If 'Mystery Train' is my Nixon book and 'Lipstick Traces' my Reagan book, 'Invisible Republic' is my Bill Clinton book. I really liked Clinton. He made me proud to be part of this country again. For all of his failings, the way he put all that he'd done in jeopardy, I supported him from beginning to end.

I want another idea, another project, but you can't make them up. They show up.

We fight our way through the massed and leveled collective safe taste of the Top 40, just looking for a little something we can call our own. But when we find it and jam the radio to hear it again it isn't just ours -- it is a link to thousands of others who are sharing it with us. As a matter of a single song this might mean very little; as culture, as a way of life, you can't beat it.

Patriotism in America, as I understand it, is a matter of suffering, when the country fails to live up to its promises, or actively betrays them.

I had tremendous fun fooling around with the way people talked about songs, just the way that became another way of understanding the world.

Hearing things like 'Wake Up' by Lora Logic, or the Raincoats' 'In Love' - that was something I wasn't prepared for. I couldn't hear anything that came before it in the music, and I didn't want to. I was absolutely in love with its out-of-nowhereness.

The Sixties are most generously described as a time when people took part - when they stepped out of themselves and acted in public, as people who didn't know what would happen next, but who were sure that acts of true risk and fear would produce something different from what they had been raised to take for granted.