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.

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.

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 don't look like a model; I'm a rock writer.

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

If you were to share your workout playlist with the world, I guarantee there's stuff on there that wouldn't pass the cool test, and M2 helped in that way.