Obviously, you go through a lot of emotional turmoil in a divorce.

The imminent demise of the large record companies as gatekeepers of the world's popular music is a good thing, for the most part.

I think that if they want people to listen to ten or twelve songs, they have to give the listener a reason to listen to ten or twelve songs or to buy ten or twelve and listen to the whole thing instead of just pulling one or two for their iPod or their computer.

I'm drawn to the stuff that's maybe a little bit on the fringe. Part of that is just practical sometimes. We can't compete with the major labels for some acts, so you figure, "Okay, what could I introduce to people, or what do I like that is within my means?"

Software constraints are only confining if you use them for what they're intended to be used for.

There's something about music that encourages people to want to know more about the person that made it, and where it was recorded, what year it was done, what they were listening to, and all this kind of stuff. There's something that invites all this obsessive behavior.

Maybe it's naïve, but I would love to believe that once you grow to love some aspect of a culture-its music, for instance -you can never again think of the people of that culture as less than yourself. I would like to believe that if I am deeply moved by a song originating from some place other than my own homeland, then I have in some way shared an experience with the people of that culture. I have been pleasantly contaminated. I can identify in some small way with it and its people.