I like making little videos and little records. I've always loved video cameras and four-track cassette recorders, still cameras, anything.
Whenever I see something that looks like it could be good - whether it's on vinyl, CD or cassette - if it's not too expensive, I'll take a chance.
Yeah, anybody can go in with two turntables and a microphone or a home studio sampler and a little cassette deck or whatever and make records in their bedrooms.
In the past 3-4 years I've developed a habit of keeping numerous small cassette recorders in my house and in a bag with me so that I'm able to commit to tape memory song ideas on a constant basis.
I think video is the best market. When the cassette market comes out, if you just do movies that nobody else can do, that'll be the new way.
I don't like the way recording to digital sounds. Most of the time when I'm recording to 2-inch tape, I still have a romantic vision of how songs sounded coming out of the radio when I was younger, and how they sounded coming out of my little four-track cassette player.
If some unemployed punk in New Jersey, can get a cassette to make love to Elle McPherson for $19.95, this virtual reality stuff is going to make crack look like Sanka.
There is a lot of money to be made from miseducation, from the easy to read easy to learn textbooks, workbooks, teacher manuals, educational games and visual aids. The textbook business is more than a billion-dollar-a-year industry and some of its biggest profits come from 'audio-visual aids' - flash cards, tape cassettes, and filmstrips. No wonder the education industry encourages schools to focus on surface education.
Let's assume that all the cassettes of monochrome film Cartier-Bresson ever exposed had somehow been surreptitiously loaded with colour film. I'd venture to say that about two thirds of his pictures would be ruined and the remainder unaffected, neither spoiled nor improved. And perhaps one in a thousand enhanced.
I become one of those people who walks alone in the dark at night while others sleep or watch Mary Tyler Moore reruns or pull all-nighters to finish up some paper that's due first thing tomorrow. I always carry lots of stuff with me wherever I roam, always weighted down with books, with cassettes, with pens and paper, just in case I get the urge to sit down somewhere, and oh, I don't know, read something or write my masterpiece. I want all my important possessions, my worldly goods, with me at all times. I want to hold what little sense of home I have left with me always.
I used singing as a safety measure. I would pay attention to what songs the popular girls liked, learn those songs from the radio or library cassettes, and then "accidentally" sing or hum these songs in class. This would impress the girls, who would then defend me from the boys.
I have to shoot three cassettes of film a day, even when not 'photographing', in order to keep the eye in practice.
Maybe I'll start from the initial idea, what motivated me to do that. In 1953, I had access to a tape recorder. Tape recorders were not widely available. There was no cassette tape back then. It was a Sears Roebuck tape machine. I put a microphone in the window and recorded the ambience.
I got a new 4-track cassette recorder a year or so after high school. For a while I would just stare at it thinking, how am I going to do this if I don't play guitar or keyboards? How am I going to write and record a song if I don't know how to play any instruments? I mean, I played the violin, but I didn't know anything about how to work a 4-track.
Last year we drove across the country...We had one cassette tape to listen to on the entire trip... I don't remember what it was.
As music becomes less of a thing--a cylinder, a cassette, a disc--and more ephemeral, perhaps we will begin to assign an increasing value to live performances again.
I graduated from high school in 1963. There were no computers, cell phones, Internet, credit cards, cassette tapes or cable TV.
For any producer I've ever worked with, their toughest job is to convince me to not to obscure my vocals. A lot of people don't like the sound of their own voice on, like, cassette tape or something. It's like that for me, and other songwriters I know. Like, "Oh God, that's what I sound like?"
Martin, Dave, and I get together and rough out a few songs and put them on cassettes for some reference...With the actual music, I'm not interested in objectivity, quite the opposite. I want a solely and totally subjective experience...A lot of pop music is about stealing pocket money from children.
I get nostalgic for things that didn't really exist. I might have a cassette from the first time a Melle Mel track, say, got played on radio in Manchester. And it might be a copy of a copy of a copy of a tape and there's all these weird nuances and distortions that have affected what I know as the truth, if you like, of that track.
I get cassettes near Academy Award time of every movie that's made that thinks it has some kind of chance for a nomination - that's when I watch my movies
I got the idea for Netflix after my company was acquired. I had a big late fee for Apollo 13. It was six weeks late and I owed the video store $40. I had misplaced the cassette. It was all my fault.
I used to do little sketches into my cassette tape recorder when I was a little boy. I would just turn it on and just start doing voices and characters. I just loved it.
The key to writing for Richard (Pryor) was to just push his buttons and then know when to push the buttons on your cassette recorder. You'd get him started, then surreptitiously start recording when he got inspired and started walking around the room and improvising in character. Then you'd get it all transcribed and take credit for it.
I started by studying Kiswahili to learn the dialect. Then, I studied tapes, documentaries, footage, and audio cassettes of Idi Amin's speeches. And I met with his brothers, his sisters, his ministers, his generals' all kinds of people, in order to try to understand him.
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