I don't even know what a traditional producer is or does. I feel like the job is like being a coach, building good work habits and building trust. You want to get to a point where you can say anything and talk about anything. There needs to be a real connection.

I don't know what makes someone hip. The goal is artist achievement and the best work we can do with no limitation.

I've always been an outsider. When I did magic, I was the only kid. When I worked with Johnny Cash, I was completely out of place in Nashville. And when I started Def Jam, I was the only white guy in the hip-hop world.

Everything happens kind of the way it's supposed to happen, and we just watch it unfold. And you can't control it. Looking back, you can't say, 'I should've... ' You didn't, and had you, the outcome would have been different.

Berklee played a huge role in shaping my music. On an academic level, I learned a lot about vocal technique and culture. Since my major was Music Production and Engineering, I got a good handle on the technical and creative aspects of making a record.

That's the beauty of creativity. It comes from the ether. I like to think, sometimes, it's like I haven't written it, it's more like I just reached up and grabbed it from somewhere. That song, 'Song of the Red Rock Mountain,' is one of them. I recorded it and thought, 'Where did that come from?'

When I was 18, I lived in Greenwich Village, New York, for nine months. At that time, I wanted to change the world, not through architecture, but through painting. I lived the artist's life, mingling with poets and writers, and working as a waiter. I was intrigued by the aliveness of the city.

The moment of creative impulse is what an artist gives you. You look at a Pollock, and it can't give you the tools to do a painting like that yourself, but in doing the work, Pollock shares with you the moment of creative impulse that drove him to do that work.