A Quote by Richard Elman

If you're famous and supposedly wise, it's always a good idea to have a tape recorder in the room. Never can tell when you might spew out a line or two worth printing somewhere.
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.
But the classic Tenacious D songwriting is Jack or myself will have an idea - I might have a riff - and we'll improv. And once Jack's feeling it, we turn on the tape recorder and start jamming, improv on that riff, improv on those lyrics, and then go back and see if there's anything good in there.
I'm called an oral historian, which is something of a joke. Oral history was here long before the pen, long before Gutenberg and the printing press. The difference is I have a tape recorder in my hand.
I think there is an enormous diference between speaking and writing. One rereads what one writes. But one might read it slowly or quickly. In other words, you do not know how long you will have to spend deliberating over a sentence. ... But if I listen to a tape recorder, the listening time is determined by the speed at which the tape turns and not by my own needs.
I'll have to have a room of my own. Nobody could sleep with Dick. He wakes up during the night, switches on the lights, speaks into his tape recorder.
Sometimes when I'm going to sleep, I think, 'Oh God, my future husband is out there somewhere and I might know him, or I might not, and I wonder what he's doing and I wonder if he knows me.' I just always think that's so fascinating, that even when you were two years old, your future husband was out there somewhere.
I ain't never far away from a pencil and paper or a tape recorder.
A lot of writing I do on tour. I do a lot on airplanes. At home, I write a lot, obviously. When I write a song, what I usually do is work the lyric out first from some basic idea that I had, and then I get an acoustic guitar and I sit by the tape recorder and I try to bang it out as it comes.
In the Air Force, I had an old Wilcox Gay recorder, and I used to hear guitar runs on that recorder going (vocalizing) like the chords on "I Walk The Line." And I always wanted to write a love song using that theme, that tune.
I never do formal interviews. I don't use a tape recorder. I take notes but occasionally.
I started performing at two or three on a tape recorder, one of those little flat recorders where you just push play and record.
You can either tell yourself, 'It's too hard, I don't think I'll be able to do it,' or 'Yes, I can do this. Let me at it!' Only a fine line separates the two. But I'll tell you one thing: if you work like crazy, you'll come to display capabilities that you never knew you had--potentials that you always possessed, but never tapped.
There's some downsides to being famous, which are not even worth mentioning. But to combat the bad sides of being famous, you really should take advantage of the good sides. The good sides are, you can use that fame to get projects you might not normally get.
I never drove a car. I'm hopeless that way. I press the wrong buttons on the tape recorder. But if the person I'm interviewing helps me out, that person feels needed. People need to feel needed.
My first songs, I would just record them on this little tape recorder, and then I didn't start recording songs I really liked until my friend gave me a 4-track (recorder) and that's when my ideas really started coming together.
Anytime there is a Bigfoot show, where they supposedly have recordings of him, I am watching. I love the idea of Bigfoot. I want him to be out there somewhere.
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