"Thee Headcoats had a really big and important part in mine and Laurie’s sound when we first started. We really loved that rough, dirty, garagey sound and the singer Billy Childish was a massive inspiration to us, he’s a Kent boy as well. “When me and Laurie were starting the band my Dad sat us down and played us a load of records, I remember him getting a stack of records out and this was one of them. This song really shaped our sound early on, we were a two-piece and we’d found this weird set-up, kind of by mistake, where I was going to stand up and drum and Laurie was going to play guitar. My Dad went through his records and picked out two-piece bands and garage punk bands. Quite a lot of it was this sort of stuff, Billy Childish has had quite a few other bands and there was a band called The Husbands as well, there was a lot of them. “It was everything about “I’m Hurting”, the whole sound of it and the vocals. I love that his voice is so British but it’s not a London voice, it’s got a real Kent twang to it and we wanted to sound like that a bit. I really like it when people sing in their own accent, a lot of the time these days’ people are singing in American accents, so it’s really refreshing to hear someone shouting in a Kent, geezer voice. “’I’m Hurting’ was one of the ones that clicked and we just thought ‘this is amazing.’ That was six years ago and I’m very fortunate my old man was obsessively into music his whole life and I had a lot of that put into me. Without him I wouldn’t know a lot of this music that I know about now."

" Oswald is probably best known for her last book, “Memorial,” an extraordinarily free reinterpretation of the Iliad. (At public readings of “Memorial,” she recites it from memory, in homage to the orality of the original. I was lucky enough to witness this in London. The effect is rhapsodic, spellbinding.) Oswald does indeed have a classical power: she’s at once a grand elegist and a close celebrant of life, a rhetorician and a playful contemporary—a writer who can describe Hector dying in battle but can also depict how he “used to nip home deafened by weapons / To stand in full armour by the doorway / Like a man rushing in leaving his motorbike running.” At the heart of her new book is a long poem titled “Tithonus,” after one of Eos’s lovers from Greek mythology. It is a minutely detailed, ravishing, and rapturously observant account of the English countryside waking up at dawn—what Oswald calls “46 Minutes in the Life of the Dawn.” Slowly, the light builds and the stars disappear and the woods awaken to the birds: “as soon as dawn one star then / suddenly none then blue then pale / and the whole apparition only / ever known backwards already too / late now almost gone.” I’m sometimes reminded of Gerard Manley Hopkins and Edward Thomas, but the tutelary spirit seems to be Virginia Woolf’s “The Waves,” and that novel’s patient italicized passages (written from the point of view of the author) about sunlight building and spreading across the English landscape. (“The day waves yellow with all its crops” is one of my very favorite sentences from Woolf’s novel, and one that Oswald might easily have written herself.) This poet is, for me, a perpetual inspiration."

"This is a movie about showbiz, musicals, death, Bob Fosse, his love life: it’s all over the map. I can’t tell you what it’s about, but I love it. It’s so sexy. The first ten minutes are a feat of editing and music. One of the great openings of a musical. “It’s showtime,” says Roy Scheider as Joe Gideon, a thinly veiled portrait of Fosse himself. Little echoes of Joel Grey singing “Willkommen” in Cabaret. Gideon is our master of ceremonies, warning us to get ready to see some blood, sweat, and tears. I love movie musicals about showbiz—The Band Wagon, A Star Is Born, Singin’ in the Rain—and this really fits in that genre, with the dark edge of The Bad and the Beautiful. That should have been a musical directed by Fosse! Fosse as a choreographer turned director reminds me of another director I love, Stanley Donen. Aside from dance and music, their movies have another thing in common: incredible editing. All That Jazz and Lenny both play around with time in a way the Donen film Two for the Road does. A lot has been written about Fosse and his love of Fellini films. All That Jazz does borrow from 8½, but this is not an homage. Fosse, inspired by Fellini, created something new. It’s a tragedy that Fosse didn’t live longer, because in his five films—Sweet Charity, Cabaret, Lenny, All That Jazz, and Star 80—I see what could have been one of the great filmmakers of all time. Imagine Bob Fosse directing Chicago! All That Jazz is the beginning of that journey. It’s as if all his gifts—the love of dance and the inspiration from Jerome Robbins and Jack Cole; the personal and profound collaboration with his partner, Gwen Verdon; and the man himself—were coming into focus."

"I’m going to end this list with a request that you also seek out Kurosawa’s Dreams after you see this movie. Dreams is my absolute favorite film of all time, and when you bookend it with Ikiru, the experience is quite amazing. Ikiru is the story of a long-tenured public servant who discovers he only has a year to live. He makes a last-ditch effort to bring meaning to his existence by working tirelessly to build a children’s playground. It is the work of an artist feeling he has not done enough substantive work in his life—a romanticized notion that our daily routine is often meaningless save for a few charitable acts. It is our fears as a young mind. Over the years, Kurosawa would endure a tumultuous career that nearly ended in an act of attempted suicide. Now consider Dreams, a film coproduced by Steven Spielberg and featuring Martin Scorsese in a cameo as Vincent Van Gogh. These filmmakers, along with George Lucas, would rally behind Kurosawa in the ’80s and help him make a comeback with Kagemusha and Ran (both on Criterion), winning him a Palme d’Or and an Academy Award nomination while also bringing back to light his incomparable portfolio of works (Lucas would very often recount how The Hidden Fortress was the narrative inspiration for Star Wars). Dreams, to me, feels a bit like a representation of the playground that Kurosawa built through his works, and the children he inspired coming out to thank him for it. I can watch this movie again and again forever. Criterion has an amazing collection of twenty-five films by Kurosawa. I cannot recommend watching his entire body of work highly enough, as it is perhaps the best documentation of a commercial artist in the modern age."

"I’ve known this song for about ten years from when I picked up the compilation album Disco Not Disco on tour, I found it on vinyl and I just liked the cover. This song’s from the end of the ‘70s, its New York, disco-punk and that’s my other thing, like ESG and those sort of bands, it’s the sort of song you’d hear in a weird dark New York club in the late ‘70s. “Like with a lot of these songs it’s got a groove, but it’s a slightly off the beaten track sort of groove, there’s a dirty bassline running along and a cool beat that makes it. There’s a vibe about it and it gets me going, you can put it on just before you go out, or like the Beefheart track I’ll put it on if I’m having a party. “I don’t really do dance music or funk but that doesn’t mean that stylistically I can’t attach myself to elements of them, it’s just a case of finding inspiration in anything, even if it’s not my school. There’s no reason why I can’t hear a song by Kendrick Lamar or Kanye West or whoever and hear an element of it and think ‘Fuck, that’s great’ and relate to it. It’s similar with this song, it’s like ‘Wow, that’s not what I expected’ but I’m hearing other things in it that I find inspiring from the point of view of being in a studio and creating a piece of music. It’s like ‘Copenhagen’ by Scott Walker and hearing an element of that or the percussive element of Kazino, there’s no reason why those two can’t marry together."