What really takes me back is when I'm walking around the Lower East Side, because we went to so many places [there] - the bakery, a mannequin store, all these factories with mice running around. That also is very visceral and takes me back. Pool halls, tattoo parlors, all kinds of stuff like that.

I started getting fan notes from people saying, "Oh, keep up the mess-ups," and I'm thinking, "I'm not doing it deliberately. This is just who I am." But people thought it was funny. I guess if you're watching and you see that I could do it, maybe it gives hope that anybody can do it.

I would get adult acne when it was somebody really famous I had to interview, so sometimes I would have to look straight at the camera because I couldn't look sideways or profile, because it would show.

I was working as a staff writer at Rolling Stone. I had a friend who worked at MTV, and she called me and said, "They're looking for VJs for this new channel. Do you want to try out?" I had zero TV experience, but I thought, "Well, what the hay."

And when I say [M2 was] lo-fi production, it was so great and grimy. I was used to that world anyway, because we shot in bars, we shot in thrift shops, we shot on the street. And the bars, they would have just opened, and still there was barf on the floor and beer. We certainly kept it real. It was a small crew.

We had a wonderful department that scouted out new music. It was beneficial to Rolling Stone, because I would come back and say, "You have to hear this, you have to hear that," and I found a lot of bands to feature, emerging bands. It [ended up being] symbiotic.

I can barely listen to my tapes when I'm transcribing, because I can't stand how I sound.