You can see when that happens with bands when they do TV appearances; they just shut down. They get really irritated.

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

I'm a sucker for a man who giggles-not a high-pitched serial-killer sort of giggle, but a lighthearted laugh.

I got a unicorn horn on my head once. I said, "Can you really see that on camera?" My producer said, "You can see it from space." I would have to angle my head a certain way so that I didn't look misshapen on camera.

Before M2, I really felt self-conscious about some of my choices, and I was slotted into a category. At Rolling Stone, I was the alternative chick, and that was just the way it was. That did break me open a little bit, and that was maybe its legacy. And it's a nice one.

Sometimes we were really surprised. There were major artists that would come by because they wanted to.

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.