"An exposition of the science of manufacturing written in the guise of the novel, the book encourages companies to identify the biggest constraints in their operations and then structure their organizations to get the most out of those constraints. The Goal was a bible for Jeff Wilke and the team that fixed Amazon’s fulfillment network."

"I love Roy Wood. Once again, we're talking about songs. He couldn't be constrained; he had to be different. He wouldn't just grow his hair and look like a troll, he'd dye it purple. He'd always take things one step too far. We worked with him, playing at Irving Plaza in New York, and we told him we'd had a hit with 'California Man'. "Well, I want to do my version." Hell, do our version! Roy was obtuse, while Jeff Lynne was more of a rocksteady kind of guy, which I think is why Jeff ended up being more successful, because they're both talented beyond belief. Two guys from Birmingham: "Let's work together!" The next day: "Maybe not such a great idea!" Because Roy would want to have 80 saxophonists, and they'd have to be girls. The difference between Roy and Jeff is that Jeff would want to have a band who could get out there every weekend. Roy's his own worst enemy: he's the most underappreciated of the pop geniuses, but not by me. But if he were any more successful he'd never talk to me."

"He was already with Rod Stewart. I'd started following him because he'd been in The Yardbirds. But he was always the most animated guitar player. His mistakes were tasty. I loved English music - I came here in 1968 and I saw Bakerloo Blues Line, I saw Love Sculpture, I saw Jethro Tull, I saw Spooky Tooth. And The Jeff Beck Group was the template for Led Zeppelin."

"Easily The Big Lebowski is one of them — it’s a little cliche, but it’s a great movie. Sam Elliot’s voice: warm and inviting. From square one, you’ve got an inviting narrator, which is hard to find these days. If nothing else, [Jeff] Bridges is one of the most incredible performers, and I never would have assumed that he had similarities to that character. I hadn’t seen anything like that that he had done up until that point, and it feels like the more I get to know him — not personally, but through his work and since Lebowski until now — he has a very Buddhist, easygoing, “everybody needs to chill out” vibe to him that’s awesome, and it totally reinforces my love of the movie. John Goodman is always great, but I feel like he really got to show his aggressive side — he’s so good. And Buscemi. And the nihilists. I’m not good at explaining movies."

"In the UK people know Jeffrey Lewis. He is this artistic polymath, he does comics, he's one of the most talented people I've met in my life, he can do anything. I feel if you looked into his notebook it would almost be like looking tin DiVinci's notebook. He can draw anything, write anything. He's got a lot going on, but he's also a super humble guy. This is his first album which he put out through Rough Trade. When I first heard his music I felt it was actual folk music from someone who'd grown up in the East Village. It felt like I was hearing a document of a great person who someone had recorded on a hi-fi in someone's home. He just played his diary to music, but it happened to so interesting and he happened to be a genius so you could put it out as an album. The way Jeff tells a story is unique. He lets words unfold in a way that only someone like Eminem or Notorious BIG – or someone that good! – can. It's great watching someone listen to his songs for the first time: 20 seconds in they're interested; a minute in they're trying to process all the information; three minutes on and they're getting even more intense, but by the end they're 'I cannot believe a person could make a complete statement in something so concise!' His music is like a mathematical proof. You don't realise at the beginning of a song what you're getting into and by the end Jeff has floored you!"