Johnny Marr's Faith in the Healers [URL]

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By Mark Jenkins
Special to The Washington Post
Friday, January 17, 2003; Page WE06

NOT many rock idols wait until they're 39 to front their first band, but it's not as if Johnny Marr has been goofing off. Just in the last three years, the British guitarist has played, toured, produced or written songs with Oasis, Beck, Neil Finn, Beth Orton and Haven while also making "Boomslang," the first album by Johnny Marr & the Healers. In fact, he's been working overtime ever since he introduced himself to Stephen Patrick Morrissey two decades ago in Manchester, their home town.

The result was the Smiths, perhaps the most celebrated cult band of the '80s. When that quartet split after four studio albums, Marr withdrew a bit. He was interested in more "music and performing, and less of a circus," he says by phone from Manchester. "It was the drama and the politics I wanted to avoid."

Marr began a long stint as a sideman and a collaborator, first by joining The The, "probably my favorite band in the world at that time. I'd already had a strong friendship with [The The singer-songwriter] Matt Johnson, and I was really knocked out by his albums. So it was totally logical for me to do that. All I wanted to do at that time was play innovative guitar and not really have any pressure of running a group."

Along the way, the guitarist also collaborated with the Pretenders, Kirsty MacColl, Bryan Ferry, Talking Heads and many others. But the crucial development, Marr recalls, was Manchester's acid-house explosion. At the peak of the Smiths' success, both he and Morrissey had moved to London. Whereas his former bandmate exiled himself to Spain and then California, Marr was drawn home.

"I found myself involved in what felt like a revolution in my home town, the musical revolution in Manchester in the late '80s, which was really exciting," he says. "I had been hoping that something like that was going to happen for my generation since the days of punk, because I was a little too young for that."

Marr's next songwriting partner was New Order's Bernard Sumner, with whom he founded Electronic, a synth-pop outfit. That project produced three albums and swallowed most of Marr and Sumner's decade. "In the mid-'90s, Bernard and myself were just planted into a recording studio," Marr explains. "We stayed there for a long time. Electronic was working every day, but we did lots of songs that we didn't finish. I've always felt like I've been doing similar kinds of stuff. It's just that some stuff goes out, and some stuff doesn't."

In late 1997, while Electronic was still planted, Marr met Zak Starkey, Ringo Starr's son, and the two bonded over a shared love for T. Rex. Two years later, Marr and Starkey began the Healers, a band that plays the second date of its first U.S. tour Monday at the Black Cat. The group is officially a trio, with former Kula Shaker member Alonza Bevan on bass, although a second guitarist supplements the live sound. Yet at their first few gigs, supporting Oasis in Europe in mid-2000, there were six Healers.

"It was just people who were working on the record. Friends, some people who were living at my house," Marr says. "I said that anybody who was around could be in the band. I was really into having, like, a tribal band. I wanted a lot of people. But it just became a little too difficult to deal with. These people are still around, they play on the record. Maybe one day I'll get back to the tribal thing."

There could have been one more Healer, if Marr's auditions for a singer had gone as intended. "I was never going to sing," he says. "I wasn't standing in the shadows waiting for my turn."

His original plan was "to work with an unknown singer. But I thought it would be a tall order to find someone who could write words I like, and sing the way I like, and be the right kind of guy. So I thought, if I write four or five songs and do the vocals, then the person will know exactly what I wanted to hear. I did find a couple of guys I thought had really good voices, and I was kind of pleased with myself that I'd been able to do that. I played them for the band, and they sloughed off to a cafe, came back with a kind of conspiratorial air and said the guys were wrong. Their words actually were, 'These guys sound too normal. Your voice is weird.' I guess that's a compliment."

The guitarist also gradually altered the album's sound. Songs like "The Last Ride" have a heavy, psychedelic-rock flavor, layered with multiple guitar parts and electronic treatments, but they were originally even more elaborate. "I really love synths," Marr says. "I love the way they work with guitars. But I also was up on percussion at the time. I wanted to have congas on everything. If the album had come out a couple of years ago, it would have been bongo-tastic."

As Marr came back to the songs, "having been away on these useful diversions, I weeded it down. Now it's a little more recognizable as me, but without losing the initial agenda, which was to keep it rocking and have some energy and be groove-based."

Ironically, the notion of this guitar-happy sound came to Marr while he was working on synth-pop material. "On the last Electronic album, I got on a bit of a roll with the songs I was writing," he says. "They were going in more of a rock direction. Crucially for me, I was starting to get an idea of how I wanted the vocals to sit on top. So I saw the big picture, whereas before I had been more than happy to do something without knowing how it was going to turn out."

The Smiths songwriting team was a traditional one, although unusual in rock: Morrissey wrote the lyrics and Marr the music. With Electronic, Marr began contributing words, but "Boomslang" is "the first time I've written lyrics to a song entirely, or written a whole song. I always wrote stuff down. Just strung words together for the sake of it. But I've never put them out in public as a complete writer of songs."

In some ways, "Boomslang" is a return to Marr's indie-rock background. The album is being released by iMusic, a Web-based company that allows musicians to own the masters of their recordings, and the Healers are guided by Joe Moss, the Smiths' original manager. Yet Manchester's outbreak of psychedelia seems to have affected Marr profoundly. He took the name "Healers" from "The Secret Doctrine," a book by 19th-century spiritualist Helena Blavatsky, who was once popular with British intellectuals.

"You've got to be interested in something besides Gibson guitars," Marr jokes. "It's just kind of a hobby, really. I don't think you're going to see me turn up with a picture of some dude around my neck, or shaving my head and changing my name to Simon or anything like that."

Still, there is the fact that Marr, a master of the pithy guitar line and a devotee of studio craftsmanship, briefly thought of the Healers as a "tribal" group. "At one time, I just wanted it to be like a jam band, pretty free, really," he admits. "Maybe I'll get there one day."

JOHNNY MARR & THE HEALERS -- Appearing Monday at the Black Cat. • To hear a free Sound Bite from Johnny Marr, call Post-Haste at 202-334-9000 and press 8101. (Prince William residents, call 703-690-4110.)

© 2003 The Washington Post Company




Washington Post LINK
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Re: Johnny Marr's Faith in the Healers

I have to say that Mr Marr's singing is shockingly bad. The music sounds alright and in patches quite good - given that these are rough MP3 files - which are currently available. There are many (hundreds of) better singers.
Sorry.

Now Marr and Lauren Laverne - that would be a sight.

Angel

> By Mark Jenkins
> Special to The Washington Post
> Friday, January 17, 2003; Page WE06

> NOT many rock idols wait until they're 39 to front their first band, but
> it's not as if Johnny Marr has been goofing off. Just in the last three
> years, the British guitarist has played, toured, produced or written songs
> with Oasis, Beck, Neil Finn, Beth Orton and Haven while also making
> "Boomslang," the first album by Johnny Marr & the Healers.
> In fact, he's been working overtime ever since he introduced himself to
> Stephen Patrick Morrissey two decades ago in Manchester, their home town.

> The result was the Smiths, perhaps the most celebrated cult band of the
> '80s. When that quartet split after four studio albums, Marr withdrew a
> bit. He was interested in more "music and performing, and less of a
> circus," he says by phone from Manchester. "It was the drama and
> the politics I wanted to avoid."

> Marr began a long stint as a sideman and a collaborator, first by joining
> The The, "probably my favorite band in the world at that time. I'd
> already had a strong friendship with [The The singer-songwriter] Matt
> Johnson, and I was really knocked out by his albums. So it was totally
> logical for me to do that. All I wanted to do at that time was play
> innovative guitar and not really have any pressure of running a
> group."

> Along the way, the guitarist also collaborated with the Pretenders, Kirsty
> MacColl, Bryan Ferry, Talking Heads and many others. But the crucial
> development, Marr recalls, was Manchester's acid-house explosion. At the
> peak of the Smiths' success, both he and Morrissey had moved to London.
> Whereas his former bandmate exiled himself to Spain and then California,
> Marr was drawn home.

> "I found myself involved in what felt like a revolution in my home
> town, the musical revolution in Manchester in the late '80s, which was
> really exciting," he says. "I had been hoping that something
> like that was going to happen for my generation since the days of punk,
> because I was a little too young for that."

> Marr's next songwriting partner was New Order's Bernard Sumner, with whom
> he founded Electronic, a synth-pop outfit. That project produced three
> albums and swallowed most of Marr and Sumner's decade. "In the
> mid-'90s, Bernard and myself were just planted into a recording
> studio," Marr explains. "We stayed there for a long time.
> Electronic was working every day, but we did lots of songs that we didn't
> finish. I've always felt like I've been doing similar kinds of stuff. It's
> just that some stuff goes out, and some stuff doesn't."

> In late 1997, while Electronic was still planted, Marr met Zak Starkey,
> Ringo Starr's son, and the two bonded over a shared love for T. Rex. Two
> years later, Marr and Starkey began the Healers, a band that plays the
> second date of its first U.S. tour Monday at the Black Cat. The group is
> officially a trio, with former Kula Shaker member Alonza Bevan on bass,
> although a second guitarist supplements the live sound. Yet at their first
> few gigs, supporting Oasis in Europe in mid-2000, there were six Healers.

> "It was just people who were working on the record. Friends, some
> people who were living at my house," Marr says. "I said that
> anybody who was around could be in the band. I was really into having,
> like, a tribal band. I wanted a lot of people. But it just became a little
> too difficult to deal with. These people are still around, they play on
> the record. Maybe one day I'll get back to the tribal thing."

> There could have been one more Healer, if Marr's auditions for a singer
> had gone as intended. "I was never going to sing," he says.
> "I wasn't standing in the shadows waiting for my turn."

> His original plan was "to work with an unknown singer. But I thought
> it would be a tall order to find someone who could write words I like, and
> sing the way I like, and be the right kind of guy. So I thought, if I
> write four or five songs and do the vocals, then the person will know
> exactly what I wanted to hear. I did find a couple of guys I thought had
> really good voices, and I was kind of pleased with myself that I'd been
> able to do that. I played them for the band, and they sloughed off to a
> cafe, came back with a kind of conspiratorial air and said the guys were
> wrong. Their words actually were, 'These guys sound too normal. Your voice
> is weird.' I guess that's a compliment."

> The guitarist also gradually altered the album's sound. Songs like
> "The Last Ride" have a heavy, psychedelic-rock flavor, layered
> with multiple guitar parts and electronic treatments, but they were
> originally even more elaborate. "I really love synths," Marr
> says. "I love the way they work with guitars. But I also was up on
> percussion at the time. I wanted to have congas on everything. If the
> album had come out a couple of years ago, it would have been
> bongo-tastic."

> As Marr came back to the songs, "having been away on these useful
> diversions, I weeded it down. Now it's a little more recognizable as me,
> but without losing the initial agenda, which was to keep it rocking and
> have some energy and be groove-based."

> Ironically, the notion of this guitar-happy sound came to Marr while he
> was working on synth-pop material. "On the last Electronic album, I
> got on a bit of a roll with the songs I was writing," he says.
> "They were going in more of a rock direction. Crucially for me, I was
> starting to get an idea of how I wanted the vocals to sit on top. So I saw
> the big picture, whereas before I had been more than happy to do something
> without knowing how it was going to turn out."

> The Smiths songwriting team was a traditional one, although unusual in
> rock: Morrissey wrote the lyrics and Marr the music. With Electronic, Marr
> began contributing words, but "Boomslang" is "the first
> time I've written lyrics to a song entirely, or written a whole song. I
> always wrote stuff down. Just strung words together for the sake of it.
> But I've never put them out in public as a complete writer of songs."

> In some ways, "Boomslang" is a return to Marr's indie-rock
> background. The album is being released by iMusic, a Web-based company
> that allows musicians to own the masters of their recordings, and the
> Healers are guided by Joe Moss, the Smiths' original manager. Yet
> Manchester's outbreak of psychedelia seems to have affected Marr
> profoundly. He took the name "Healers" from "The Secret
> Doctrine," a book by 19th-century spiritualist Helena Blavatsky, who
> was once popular with British intellectuals.

> "You've got to be interested in something besides Gibson
> guitars," Marr jokes. "It's just kind of a hobby, really. I
> don't think you're going to see me turn up with a picture of some dude
> around my neck, or shaving my head and changing my name to Simon or
> anything like that."

> Still, there is the fact that Marr, a master of the pithy guitar line and
> a devotee of studio craftsmanship, briefly thought of the Healers as a
> "tribal" group. "At one time, I just wanted it to be like a
> jam band, pretty free, really," he admits. "Maybe I'll get there
> one day."

> JOHNNY MARR & THE HEALERS -- Appearing Monday at the Black Cat. • To
> hear a free Sound Bite from Johnny Marr, call Post-Haste at 202-334-9000
> and press 8101. (Prince William residents, call 703-690-4110.)

> © 2003 The Washington Post Company
 
How are you, STRMF?

Y'know, there always comes a time to let go. The guy, without Morrissey, is just normal.Nothing special at all. For how many more years does this blatant evidence have to be apparent before it registers?
Move on. Stick with Morrissey. Marr's an arse. That's official.

> By Mark Jenkins
> Special to The Washington Post
> Friday, January 17, 2003; Page WE06

> NOT many rock idols wait until they're 39 to front their first band, but
> it's not as if Johnny Marr has been goofing off. Just in the last three
> years, the British guitarist has played, toured, produced or written songs
> with Oasis, Beck, Neil Finn, Beth Orton and Haven while also making
> "Boomslang," the first album by Johnny Marr & the Healers.
> In fact, he's been working overtime ever since he introduced himself to
> Stephen Patrick Morrissey two decades ago in Manchester, their home town.

> The result was the Smiths, perhaps the most celebrated cult band of the
> '80s. When that quartet split after four studio albums, Marr withdrew a
> bit. He was interested in more "music and performing, and less of a
> circus," he says by phone from Manchester. "It was the drama and
> the politics I wanted to avoid."

> Marr began a long stint as a sideman and a collaborator, first by joining
> The The, "probably my favorite band in the world at that time. I'd
> already had a strong friendship with [The The singer-songwriter] Matt
> Johnson, and I was really knocked out by his albums. So it was totally
> logical for me to do that. All I wanted to do at that time was play
> innovative guitar and not really have any pressure of running a
> group."

> Along the way, the guitarist also collaborated with the Pretenders, Kirsty
> MacColl, Bryan Ferry, Talking Heads and many others. But the crucial
> development, Marr recalls, was Manchester's acid-house explosion. At the
> peak of the Smiths' success, both he and Morrissey had moved to London.
> Whereas his former bandmate exiled himself to Spain and then California,
> Marr was drawn home.

> "I found myself involved in what felt like a revolution in my home
> town, the musical revolution in Manchester in the late '80s, which was
> really exciting," he says. "I had been hoping that something
> like that was going to happen for my generation since the days of punk,
> because I was a little too young for that."

> Marr's next songwriting partner was New Order's Bernard Sumner, with whom
> he founded Electronic, a synth-pop outfit. That project produced three
> albums and swallowed most of Marr and Sumner's decade. "In the
> mid-'90s, Bernard and myself were just planted into a recording
> studio," Marr explains. "We stayed there for a long time.
> Electronic was working every day, but we did lots of songs that we didn't
> finish. I've always felt like I've been doing similar kinds of stuff. It's
> just that some stuff goes out, and some stuff doesn't."

> In late 1997, while Electronic was still planted, Marr met Zak Starkey,
> Ringo Starr's son, and the two bonded over a shared love for T. Rex. Two
> years later, Marr and Starkey began the Healers, a band that plays the
> second date of its first U.S. tour Monday at the Black Cat. The group is
> officially a trio, with former Kula Shaker member Alonza Bevan on bass,
> although a second guitarist supplements the live sound. Yet at their first
> few gigs, supporting Oasis in Europe in mid-2000, there were six Healers.

> "It was just people who were working on the record. Friends, some
> people who were living at my house," Marr says. "I said that
> anybody who was around could be in the band. I was really into having,
> like, a tribal band. I wanted a lot of people. But it just became a little
> too difficult to deal with. These people are still around, they play on
> the record. Maybe one day I'll get back to the tribal thing."

> There could have been one more Healer, if Marr's auditions for a singer
> had gone as intended. "I was never going to sing," he says.
> "I wasn't standing in the shadows waiting for my turn."

> His original plan was "to work with an unknown singer. But I thought
> it would be a tall order to find someone who could write words I like, and
> sing the way I like, and be the right kind of guy. So I thought, if I
> write four or five songs and do the vocals, then the person will know
> exactly what I wanted to hear. I did find a couple of guys I thought had
> really good voices, and I was kind of pleased with myself that I'd been
> able to do that. I played them for the band, and they sloughed off to a
> cafe, came back with a kind of conspiratorial air and said the guys were
> wrong. Their words actually were, 'These guys sound too normal. Your voice
> is weird.' I guess that's a compliment."

> The guitarist also gradually altered the album's sound. Songs like
> "The Last Ride" have a heavy, psychedelic-rock flavor, layered
> with multiple guitar parts and electronic treatments, but they were
> originally even more elaborate. "I really love synths," Marr
> says. "I love the way they work with guitars. But I also was up on
> percussion at the time. I wanted to have congas on everything. If the
> album had come out a couple of years ago, it would have been
> bongo-tastic."

> As Marr came back to the songs, "having been away on these useful
> diversions, I weeded it down. Now it's a little more recognizable as me,
> but without losing the initial agenda, which was to keep it rocking and
> have some energy and be groove-based."

> Ironically, the notion of this guitar-happy sound came to Marr while he
> was working on synth-pop material. "On the last Electronic album, I
> got on a bit of a roll with the songs I was writing," he says.
> "They were going in more of a rock direction. Crucially for me, I was
> starting to get an idea of how I wanted the vocals to sit on top. So I saw
> the big picture, whereas before I had been more than happy to do something
> without knowing how it was going to turn out."

> The Smiths songwriting team was a traditional one, although unusual in
> rock: Morrissey wrote the lyrics and Marr the music. With Electronic, Marr
> began contributing words, but "Boomslang" is "the first
> time I've written lyrics to a song entirely, or written a whole song. I
> always wrote stuff down. Just strung words together for the sake of it.
> But I've never put them out in public as a complete writer of songs."

> In some ways, "Boomslang" is a return to Marr's indie-rock
> background. The album is being released by iMusic, a Web-based company
> that allows musicians to own the masters of their recordings, and the
> Healers are guided by Joe Moss, the Smiths' original manager. Yet
> Manchester's outbreak of psychedelia seems to have affected Marr
> profoundly. He took the name "Healers" from "The Secret
> Doctrine," a book by 19th-century spiritualist Helena Blavatsky, who
> was once popular with British intellectuals.

> "You've got to be interested in something besides Gibson
> guitars," Marr jokes. "It's just kind of a hobby, really. I
> don't think you're going to see me turn up with a picture of some dude
> around my neck, or shaving my head and changing my name to Simon or
> anything like that."

> Still, there is the fact that Marr, a master of the pithy guitar line and
> a devotee of studio craftsmanship, briefly thought of the Healers as a
> "tribal" group. "At one time, I just wanted it to be like a
> jam band, pretty free, really," he admits. "Maybe I'll get there
> one day."

> JOHNNY MARR & THE HEALERS -- Appearing Monday at the Black Cat. ETo
> hear a free Sound Bite from Johnny Marr, call Post-Haste at 202-334-9000
> and press 8101. (Prince William residents, call 703-690-4110.)

> © 2003 The Washington Post Company
 
Quite how Marr has a record deal with singing like that is totally beyond me. I don't mean to sound cruel, but that's my view.

> How are you, STRMF?

> Y'know, there always comes a time to let go. The guy, without Morrissey,
> is just normal.Nothing special at all. For how many more years does this
> blatant evidence have to be apparent before it registers?
> Move on. Stick with Morrissey. Marr's an arse. That's official.
 
Re: yeah, well, it's a free country

> How are you, STRMF?
- Great... just watched the Tampa Bay Bucanners clinch the NFC Championship- now let's see if the Raider$ can beat the Tennesee Titans and meet the Bucs in the Super Bowl in san Diego

> Y'know, there always comes a time to let go. The guy, without Morrissey,
> is just normal.Nothing special at all. For how many more years does this
> blatant evidence have to be apparent before it registers?
> Move on. Stick with Morrissey. Marr's an arse. That's official.
- nah man Marr's a great musician... he helped make Moz what he is today... I think Marr's new music is great.
 
Re: Marr "an arse"

have you ever met Marr? Cos he is not an arse in any way,shape or form
 
Re: Marr "an arse"

> have you ever met Marr? Cos he is not an arse in any way,shape or form

Are you sure that's not John Squire you're thinking of? haha
 
Re: yeah, well, it's a free country

> - Great... just watched the Tampa Bay Bucanners clinch the NFC
> Championship- now let's see if the Raider$ can beat the Tennesee Titans
> and meet the Bucs in the Super Bowl in san Diego

Help me on this one STRMF. A couple of questions.
Are the raiders from LA?
Where are the eagles from?
What happened to the new england patriots this year? They won it last year, right?

> - nah man Marr's a great musician... he helped make Moz what he is
> today... I think Marr's new music is great.
Fair enough, STRMF. I don't know why but every time I look at a photo of him, the same thought crosses my mind - Poor Johnny.
Just my gentle nature I suppose. Let's face it - he screwed up big time.
 
NFL & Smiths Trivia

> Help me on this one STRMF.
- okay

A couple of questions.
> Are the raiders from LA?
- They were originally established in the American Football League by Owner/Coach Al Davis in Oakland, California in the early 60's. The AFL merged with the NFL in the early 70's. When the Los Angeles Rams moved to Anaheim in the early 80's- Al Davis saw this as an opportunity to swoop in on the huge L.A. market and moved his Oakland Raider$ to L.A. in 1983. The other NFL owners sued him but he won big time time. He moved th eteam BACK to Oakland in 1994 after he couldn't get a new stadium deal from L.A. - they are again the Oakland Raider$ since then...

> Where are the eagles from?
- Philadelphi, the City of Brotherly Love. Rocky Balboa knocked out Appollo Creed for the Heavyweight Title there in 1976 and writer/star Sylvestor Stallone got the Oscar for Best Picture

> What happened to the new england patriots this year? They won it last
> year, right?
- yes they did... but this year they sucked in a few gams and missed the playoffs. The Raider$ actualy beat them last year but the officials contorversially game the Patriots new life after a game-losing fumble and they went on to win the Superbowl.

> Fair enough, STRMF. I don't know why but every time I look at a photo of
> him, the same thought crosses my mind - Poor Johnny.
- nah dude Johnny has plenty of $$$, happiness and success- don't pity that guy

> Just my gentle nature I suppose. Let's face it - he screwed up big time.
- he was miserable with Moz... like a horribly bad marriage... he got out for his own sanity... maybe someday they will reaunite for a gig for old time's sake but he doesn't regret ditching out on all the crap he was dealing with from Moz at the time...

cheers
 
marr:a weasel faced arse or an arse faced weasel?
 
Re: NFL & Smiths Trivia

Thanks STRMF,

Hey, did you know that 'philadelphia' is actually Greek for 'brotherly love'?

> - okay

> A couple of questions.
> - They were originally established in the American Football League by
> Owner/Coach Al Davis in Oakland, California in the early 60's. The AFL
> merged with the NFL in the early 70's. When the Los Angeles Rams moved to
> Anaheim in the early 80's- Al Davis saw this as an opportunity to swoop in
> on the huge L.A. market and moved his Oakland Raider$ to L.A. in 1983. The
> other NFL owners sued him but he won big time time. He moved th eteam BACK
> to Oakland in 1994 after he couldn't get a new stadium deal from L.A. -
> they are again the Oakland Raider$ since then...
> - Philadelphi, the City of Brotherly Love. Rocky Balboa knocked out
> Appollo Creed for the Heavyweight Title there in 1976 and writer/star
> Sylvestor Stallone got the Oscar for Best Picture
> - yes they did... but this year they sucked in a few gams and missed the
> playoffs. The Raider$ actualy beat them last year but the officials
> contorversially game the Patriots new life after a game-losing fumble and
> they went on to win the Superbowl.
> - nah dude Johnny has plenty of $$$, happiness and success- don't pity
> that guy
> - he was miserable with Moz... like a horribly bad marriage... he got out
> for his own sanity... maybe someday they will reaunite for a gig for old
> time's sake but he doesn't regret ditching out on all the crap he was
> dealing with from Moz at the time...

> cheers
 
cool

> Thanks STRMF,
- welcome

> Hey, did you know that 'philadelphia' is actually Greek for 'brotherly
> love'?
- well hey you learn something new every day... and wow I just got booked for an AT&T Commercial tomorrow... I call back for the confirmation and details later tonight so will have more then!

WOOOOO-HOOOOO!!

Jay
 
I'm not a stockbroker, but I played one on T.V. yesterday...

Well I worked that AT&T commercial yesterday- and it was a BLAST!!

I played a stockbroker for a day...

It was set in a brokerage firm - and we all watch an update on a stock that plummets- and then everyone PANICS and the whole office goes into a mad frenzy with people screaming out to dump it- with papers flying everywhere and total pandemonium... we did about 100 takes and each one was hilarious!!

Hopefully it will air soon

cheers!!
 
Re: I'm not a stockbroker, but I played one on T.V. yesterday...

YAY! Congratulations. Can't wait to see it.
 
thanx

> YAY! Congratulations. Can't wait to see it.
- yeah hopefully it will air SOON!!




pic95013.gif
 
Re: I'm not a stockbroker, but I played one on T.V. yesterday...

> Well I worked that AT&T commercial yesterday- and it was a BLAST!!

> I played a stockbroker for a day...

> It was set in a brokerage firm - and we all watch an update on a stock
> that plummets- and then everyone PANICS and the whole office goes into a
> mad frenzy with people screaming out to dump it- with papers flying
> everywhere and total pandemonium... we did about 100 takes and each one
> was hilarious!!

> Hopefully it will air soon

> cheers!!
Congrats. Is it going to be shown on the East Coast? Have you ever thought of doing a soap? Specifically Port Charles.You would make a much better Rafe.
 
LOL

> Congrats.
- thanx!!

Is it going to be shown on the East Coast?
- HOPEFULLY!!

Have you ever thought
> of doing a soap?
- that would be AWESOME.. I have done some sappy dramas on film and stage- but never a Soap...

Specifically Port Charles.You would make a much better
> Rafe.
- I'll have to watch that sometime

cheers!!

Jay
 
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