If I felt like not saying what was on the cue card, I would. We rarely did retakes.

We were really responsive. It was very personalized for the die-hards that did watch, and I thought that would be a big draw, too.

We were the ultimate consumers of the thing, and we thought, "Every college kid is going to go berserk. High school kids - it will introduce them to music they didn't know about. This is going to be a phenomenon." Plus, it seemed like it was insider-y, yet it was available to everyone. I thought, "Cable companies are going to be snatching this up." You think about the dreck that is on so many cable companies, of course they're going to love this. And we were just crushed that nobody cared.

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 was 35. I was the oldest female VJ at Viacom ever. I left them, which at least preserved my dignity, because I'm sure they would eventually have kicked me to the curb. I mean, who there is over 35 now? I can't even imagine. On air? I was glad I lasted that long.

I wondered how I was going to do it and keep my job at Rolling Stone at the same time. They were very nice, and they let me disappear for two days a week for a couple of hours. That's how long shooting was.

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.