"This is the Keith Sweat album I like the most; you never get a second chance to make a first impression. The production of Teddy Riley… he was just the man. And Keith Sweat is a sexy name. It has a lot of character; it's like he was born to make this record. It was his birthright, just through that name alone. I was in the seventh grade I believe when it came out, and got it straight away. There's a song called 'Right and A Wrong Way' and it starts with these two chords, and then it just goes "BOOM"! Back then, we used to sit and doctor our speakers - I had these house speakers and I took the covers off and rewire them, trying to be technical. I'd lay the speaker down on its back, and I'd sprinkle powder in the woofer just for my own amusement. And then… BOOM! [mimes powder explosion]. That's why I remember that album."

"There's at least 10 Herbie Hancock albums that would be in my top 100 of all time, I listen to a lot, but the thing I like about Crossings is how dark it is. The opening of the second song, 'Quasar'… it's one of the darkest moments in Jazz history, this horn line that sounds more like a dark planet in a sci fi movie. It's so moody, it's mysterious and sexy. Me and my girlfriend like to listen to this record when we sit and maybe get down… we like to listen to really weird shit… I notice that if we're at a party and we put on a song we'll clear the floor. Those dark, mysterious melodies really turn us on. We get off on it, maybe it's because we're damaged. I get most excited about music when it's dark and weird and sad, like I prefer Mozart's Requiem to his symphonies because it's so sad and devastating."

"I like movies like Gone with the Wind, or The Unbearable Lightness of Being, but I’ll actually choose Traffic. When I did not speak the language, I watched the movie sex, lies, and videotape, and I didn’t understand; I thought American movies were always blockbusters, hard movies, with action and male leads. But that film was like pieces of life, pieces of dreams. I did a movie called Nipples, based on my dreams, with different characters coming together…very sexy, and very modern, and very open. I think that’s something that’s very contemporary and I didn’t think a lot of American directors were [that way]. [Steven Soderbergh]’s mind is very modern. I like Traffic because he shot it like a documentary, but there’s mystery, there’s modernity. There’s an unknown danger in it. When the characters are crossing the border — I just like the momentum of life, when people cross each other, when lives cross each other. In that moment of life, what can happen."