"Chains” was my introduction into the world of historical fiction, and oh what a lovely introduction it was. Laurie Halse Anderson writes about the unbreakable bond of love between two sisters, a love that carried them through the hardships of slavery, to fight for the freedom of both themselves and America."

"Laurie Anderson I discovered in college along with a whole other collection of artists, like Philip Glass, John Cage and Pauline Oliveros. I took an experimental music class when I was 18, which opened up this entire world of music I'd been missing. In high school I listened to Einsteurzende Neubauten and I'd pick up weird-looking found sound records from the used record bin at my local record store, but this was the first time I'd really studied it. Looking back at the vast majority of music that influenced me as a teenager, 99% of it was by boys. Before, my female influences had been Cyndi Lauper and Madonna and Alison Moyet. But Laurie Anderson was just playing an entirely different game. She was just making the bizarre music that she wanted to. She didn't need to glam up. I just remember looking at the fucking album cover of Big Science and thinking 'This is the coolest fucking woman in the world.' She looks like she gives no shit about what anyone thinks of her, in a way that surpassed Riot Grrrl or anything like that. And the fact that she had a powerhouse intellect and was a storyteller... she set a new bar in my head. She was a performance artist, which was what I wanted to be when I was 18. I imagined that I'd do something with theatre and music, probably both. I never thought as myself as any great shakes as a musician – and I still don't – but I thought of myself as a great creative performer. What Laurie Anderson and Pauline Oliveros were doing was taking the instruments they'd been taught and transmuting them into this beautiful, strange world of art. They were taking that stuff and fucking it up, and that gave me a lot of hope."

"I got this in sixth grade. First of all, the artwork, with those two mannequins sitting at a table, was so weird. That by itself puts it into a class of its own, because most of the other records in my collection just had pictures of pop stars. The songwriting was so beautiful and so simple and so strong, but I was also really compelled by Alison Moyet's voice. Still to this day, I generally don't like chick singers – their high squeaky voices irritate me! But Alison Moyet, sort of like Laurie Anderson, had this really beautiful, growly, rough, bluesy, believable voice. When she sang, I just bought every second of it. I believed her. And the tracks are catchy as all get out. 'In My Room' is one of my favourite songs of all time – the band and I are working on a cover of it. I'm tracing back the genealogy of my new record, and it's in those early Yazoo records, along with Soft Cell and The Cars... what they were able to do with a couple of synthesisers and really simple chord changes, great melodies and believable delivery."