Barry Marshall: Boston Boys, Part 1

The more I learn about the Boston rock-and-roll scene of the 1970s, the more I am struck with how entrenched and artistically incestuous the players were… and still are! They were in and out of each other’s bands, jammed in the clubs together, shared crash pads and drugs and women. They were all grabbing for that brass ring combo of self-expression and fan-following that meant success. In competition with each other but also in cahoots, many made it, many didn’t. And out of the chaos and the grime and the striving, a welding happened; the unbreakable bond of a brotherhood was forged by survival and experience, and they all felt loyalty to it.

With producer and multi-instrumentalist Barry Marshall, I stumbled across a loose thread of a memory and followed it down and around his unique path in Boston music history, where the friendships cemented in those raucous days would yo-yo throughout his career for the next 50 years.

It kind of started with this: Back in 1980 all five members of The Cars were in the studio to promote the Panorama album with Mark Parenteau on WBCN. Let’s zoom in on one part of the interview for a minute. At about the 16:35 mark, a guy calls in and identifies himself as Edgar (or, more accurately, “Ed-gah”). He makes his comments and asks his question, but during the call he is ‘outed’ by staff member Eddie Gorodetsky, who reveals that the caller is actually named Barry Marshall. David immediately jumps on board with the joke. I snipped that audio out and posted it by itself, if you want to take a listen.

Now fast-forward to a couple of months ago when our good friend Becky B was scouring the internet for photos of Ben. She came across these pictures from a record release party in 1979 for a Boston band called The Marshalls. See Ben and David? And guess who they were posted by? Yup, a guy named Barry Marshall – that name! She immediately recognized the possibility of the connection to the WBCN recording and confirmed that yes indeedy, this Barry is the very same one that called in on that interview forty years ago. Barry was floored when, prompted by Becky, he took a listen to the recording. “I honestly hadn’t thought about that since I did it,” he laughed.

Thanks to Becky’s sleuthing, I was able to get in touch with Barry and chat with him about his relationship with The Cars. As it turns out, the bond of friendship between these Boston musicians started early and has remained relevant over all these years.

At the beginning of the 1970s, clubs in Boston were fairly boiling with talented and wild-eyed musicians who were ready to blow the lid off of the music scene. The roster of groundbreaking names is long and stunning (and heavily intertwined!), so for our purposes, I’ll just mention a few. Jonathan Richman and his Modern Lovers were on the scene, with David Robinson on drums. Simultaneously, there was a band called The Sidewinders that was fronted by singer Andy Paley. Andy Paley was friendly with The Modern Lovers, and also good buddies with our drummer and songwriter Barry Marshall, so through Andy, Barry met and became friends with David Robinson in about 1975-76ish. Whew! Did you follow that?

the bell buoyAt the time, Barry lived in Scituate, a South Shore community located about an hour southeast of Boston proper. Many Boston bands made their way to the stage of a local club called The Bell Buoy. Barry remembers seeing Cap’n Swing play there a couple of times and he really liked them, taking note of their unique look and sound. “Ben didn’t play bass and was the main singer. I remember him in high boots, like a pirate! Elliot wore a beret a lot. And they had longer hair.”

That would have been about 1976. Not long after that, a new band called The Cars showed up for a gig. Barry recognized Ben and Ric from Cap’n Swing, and low-and-behold, there was David Robinson on drums. Barry was surprised by the visual contrast between the two bands.

“[Cap’n Swing] were still kind of ‘hippy,’ and The Cars completely went in a different look,” he explained, acknowledging how obvious it was that David designed the unique style of The Cars. “I’m one of those people that actually truly believe that David … I mean, all of them were crucial to the success of the band, but David was actually especially crucial because I really saw the difference right away. I really liked the other band a lot, I thought they were really good, but I was completely knocked out as soon as I saw The Cars.”

Barry came to know the other members of The Cars through his early connections. “We were kind of friendly with them from the get-go because of David,” he confirmed.  Andy Paley knew Elliot, too, and everyone’s paths crossed and criss-crossed all over the place.

The Cars played at The Bell Buoy probably once a month for about a year, performing four sets a night, three nights in a row. They did some original stuff, but they also sprinkled in covers like, “Love is the Drug” by Roxy Music and “Gimme Little Sign” by Brenton Wood. In fact, Barry vividly remembers Elliot singing, “Something Else” by Eddie Cochran, and that is where Barry’s WBCN comment came from.

Barry genuinely thought Elliot had a great voice and enjoyed it when he sang, but it was pretty obvious that The Cars were settled on just Ric and Ben on vocals. Still, Barry would bring it up just to tease Ric. “I used to joke even when I was playing with them, just before they really took off. I used to needle Ric and say, ‘Oh, you should let Elliot sing more. He’s great!’ and he would actually get almost mad about it. He wasn’t amused!” Barry recalled, laughing. “Although I got along really well with him; I got along with all of them. They were really great.”

But where did “Ed-gah” come from?

Around 1975, Barry and his siblings were striving to get their own band, The Marshalls, off the ground. In order to help make ends meet (and partake of some cool free perks), Barry took up writing in local papers: he wrote opinion pieces and film reviews for publications like The Real Paper and The Boston Globe. When he started writing about the music scene, he recognized that as a musician himself there was a bit of a conflict of interest, and, not wanting to tarnish his credibility, he began writing under the pen name of Edgar Willow. Eventually he gave up the writing gigs as his own music career got more serious and successful, but the alias came in handy for things like calling up his buddies on the radio and busting their balls during their interviews. Haha!

The_Boston_Globe_Thu__Dec_20__1979_
Edgar Willow review, The Boston Globe, December 20, 1979

The Marshalls, consisting mainly of the three brothers, Kenny, Kevin, and Barry, and later their sister, Ellie, started playing seriously in 1975. All of them wrote songs, contributing to the fun, happy vibe of the group; they were ambitious and eager. The Marshalls opened for The Cars several times when The Cars were on their way up. Not everyone had heard of them yet, but they were famous around town. “[The Cars] were already known in Boston as being the hot-shit new band in Boston,” as Barry put it.

Because The Marshalls had the connection with The Cars early on, they got the gigs with them; Barry guesses they played about ten openers for them altogether. “And then when they really got going, it was a little bit more difficult to get opening for them, because all of the bands that were a little bit bigger than us in Boston tended to get it then.” And rightfully so, Barry concedes. “It was understandable, why it went that way. But we were still friends with them; everybody was friendly, there was no issue about that. If anything, they were so friendly that they’d have so many people backstage that it was a problem!” he joked.

As The Cars’ popularity grew, and they were getting closer and closer to landing a deal, Barry and David would help each other out when it came to booking shows. Barry explained, “It was like, ‘Hey, I could put together a show at this place in Marshfield called the Rexicana, and if you guys were to open, I would put it together just to play with you all.’ And David might say, ‘Yeah, we need a gig for so and so to come see that weekend.’ That happened with a couple of gigs at The Club in Cambridge, where I put together three nights at the joint with a band called The Criers from NYC, and David mentioned, ‘Oh, we need to play for someone that weekend, would you want to put us on the bill?’ And they played two of the nights, which, of course, were packed! I wasn’t really booking as a job, but I was promoting shows just to get The Marshalls good gigs!”

One night in late 1977, Barry pulled together a gig for The Cars and The Marshalls. They played a weekend at The Rexicana:  two nights, sold out, for about 800-1000 people each performance. Unexpectedly, Barry saw a bit of Cars’ history being made.

You know how David plays the Syndrums on “Good Times Roll” and “My Best Friend’s Girl” on the first album? Well, those Syndrums were a pretty new technology at the time, and it’s no surprise that David wanted them. Using the advance money the band received from Elektra, David worked with Syndrum rep Andy Bergsten to purchase a set, and the two spent some time fiddling around with them in the studio, figuring out the most effective way to incorporate them into The Cars’ songs.

So on one of those specific nights at The Rexicana, Andy came in and David played the Syndrums for the first time in a live set. Barry was floored when he heard the results. It was SO revolutionary. “Nobody had seen something like that. People in the audience were stunned,” Barry recalled, still impressed with the genius of the sound. “It was amazing.”

1977. business cards from his wallet
Business cards from Barry’s wallet, 1977. Courtesy of Barry Marshall; shared with permission.

Those were exhilarating times. “Opening for The Cars was really fun, first of all, but second of all, it was educational,” Barry emphasized. “We learned a lot about showmanship and about performance and stuff.”

Of course, Ben made a lasting impression. “Ben Orr had a huge influence on every band in Boston. Half the guys in Boston imitated the things that Ben did, if you know what I’m saying,” Barry shared, laughing. “Those looks he would give, and the way he would bend down with the bass, and that ‘pursed lips’ thing! I even did that a couple of times! That little pout that he did, to me he invented that. I mean, I don’t know if he really invented that, but to me he did!”

The Marshalls Barry on left
The Marshalls (that’s Barry, smoldering on the left)

Barry continued, “I gotta say, I honestly don’t think The Cars might have made it quite like they did – they wouldn’t have been as big if it wasn’t for him, because he sold it in the beginning, he totally sold it.”

But The Cars’ influence went deeper than exuding rock-star sex appeal. Barry had example after example of how his bond with the members of The Cars continued to intersect with the trajectory of his own career.

1977. business cards back side
Back of the Andy Bergsten business card. Courtesy of Barry Marshall; shared with permission.

After The Cars got signed, David bought two brand new sets of Slingerland drums, and he gave Barry a deal on his old ones. In around January, 1978, Barry and his brother went to pick them up from Ric’s house where they were stored. While they were there, Ric started asking them questions about what was happening with their band. At the time, The Marshalls were talking with a manager and there was some interest from a record label and talk of publishing, and it was a bit over Barry’s head; he didn’t quite understand the process. He explained all this to Ric, and Ric said, “Oh, okay… you guys got a little time? Come on in the house and let’s talk and I’ll explain some of this to you.”

Still grateful, Barry explained, “We spent like two or three hours with him, and to this day, that’s the most I ever learned about the music business in the shortest amount of time.” He continued, “For years, later, I taught a lot of that music business stuff and every once in a while I’ll say, ‘well the person who taught me most about this was Ric Ocasek.’”

Remember when I mentioned Andy Paley earlier? Well, in the late 70s Andy was the caretaker of this incredible mansion at the bottom of Beacon Hill that was owned by the Museum of Fine Arts. While he was in residence, he used to throw these amazing, elaborate parties there. In 1979, when The Marshalls released their first album, Andy hosted their record release party, and Ben and David attended (see those two photos above). By this time, The Cars were riding the charts with their debut album and getting Candy-O under their belt, too, so their presence created quite a buzz. “As an element of the party, that was a big deal that they came. A lot of people talked about the party because, ‘oh! The Cars were there!’” Barry laughed.

In some ways, it wasn’t a surprise: the support, the endorsement, the returning of a favor for a Boston brother. “The one thing about The Cars… they were super-supportive of local bands. They were really nice.”

The Marshalls had some local success – and a lot of fun – with their original music, and Barry found his true calling, though not as a drummer. That first album served to showcase Barry’s production skills, and it wasn’t long before other artists were asking him to produce their stuff.  Gradually it took on a life of its own, and ultimately Barry ended up carving out a long and varied career as a producer of music and movie soundtracks, while continuing as a performer and session musician.

[You can take a listen to The Marshalls’ original tunes by clicking on this playlist I created. Great stuff!]

In fact, Barry was into producing records when The Cars bought their own recording studio, Syncro Sound, in 1981. He did several projects there, like these charity Christmas albums he produced for WBCN. The Cars let Barry work on them at Syncro Sound basically for cost. Though it was pretty much ‘nose to the grindstone’ when he was focused on a job, Barry could definitely feel the club-like atmosphere.  There was always something going on at the studio. The Cars recorded there (of course), and Ric, Elliot, and David were all involved in producing various acts. David lived right around the corner off of Newbury Street and he came in a lot. There was always a steady stream of different people going in and out. “It was definitely a hang.”

Barry owned a video store on the same street. “Very typically people would rent all the video tapes for that place [Syncro Sound] at my store, and so I would see Ric about every other day doing that. He’d come in and get about ten movies just to amuse people to keep them out of his hair when he was working, you know what I mean? So it was enough of a clubhouse that he did that to keep them out of his hair, literally.”

Eventually the studio was sold and Barry didn’t run into the guys much anymore. shagThe years marched on, and the Boston brotherhood stayed intact. Barry worked closely with Andy Paley on the soundtrack for the 1988 film Shag, The Movie, producing two songs with the iconic rhythm and blues singer Lavern Baker. That experience led him into one of the most fulfilling stretches of his career as Ms. Baker’s producer and musical director from 1989 until her death in 1997. It was the best of all worlds for him: he was touring and playing on stage with her in front of thousands of people, jamming with people he grew up idolizing, and running things from the producer’s chair. Even more importantly, Ms. Baker influenced Barry’s growth as a man and a musician.

“If she hadn’t died in 1997 I might still be doing that, because it was that much fun. We had a good relationship; more like a mother-son almost, because at the time I started working with her I was about 37 or 38, and she was about 59-60, so she was an older woman, of course. I loved hanging out with her; I had such a great time. Every day I did with her I learned something about music, and every day I did with her I learned something about life. It was that kind of a thing. It was tremendous.”

Take a minute to enjoy this footage of Barry (on the right with the red guitar) performing with the legendary Lavern Baker in 1991. Man, that woman can SING.

After Ms. Baker passed, Barry turned his attention back to producing music for Boston artists. During these years Barry would run into Elliot from time to time through work with Andy Paley and other common friends in LA. They crossed paths again in 2013 when Barry was producing an album for a fellow Scituate-tonian (I might have just invented that word), Kevin McCarty and his group, Twice the Size of Jupiter. Barry invited Elliot to play on the album, and Elliot was terrific. Barry remembers, “I realized this is a guy that is not only a great guitar player, but he really knows how to play sessions; he really knows how to get what you need and fairly quickly.”

Having established a good working relationship, and being highly impressed with Elliot’s professionalism and versatility as a session musician, Barry recently collaborated with Elliot on a much more current album… but the story of that project overlaps with the path of another rocker, a next-generation Boston musician who has Cars threads of his own to weave. Should we be surprised? Stay tuned: Boston Boys, Part 2 will include the rest of Barry’s story, insight into Elliot in the studio, an encounter with Ben in the 90s, and the journey of a kick-ass new album you’re definitely going to want to hear!


Here’s a little Barry Marshall bonus: a snippet of an episode of Joe Viglione’s Visual Radio show featuring Barry and Fox Pass co-founder Jon Macey. I love it!

40 thoughts on “Barry Marshall: Boston Boys, Part 1

  1. Yes! I remember you mentioning these interviews a couple months ago and have been waiting. 🙂 I love hearing about the Boston music scene back then, so interesting and informative. Looking forward to part 2.

    Also, for what it’s worth “Shag” was one of my “watch it whenever I see it on” movies for years, I was a teenager when it came out, it’s such a nice film, good music.

    Liked by 1 person

    1. Shag was a big one for me, too! My college roommate and I watched it a billion times. I was so thrilled to find that Barry had a hand in it. I interviewed Barry back at the end of January, I think, but with all of the craziness that has gone on, many projects got pushed to the back burner. I’m itching to get to the others, too — so much fun stuff to write about! Thanks for commenting; I’m glad you enjoyed this. ❤

      Like

  2. Oh forgot, it cracks me up whenever someone mentions the “hippy” aspect of Cap N Swing, I don’t know why it does it always gives me a giggle, but that seems to be the common thread almost everyone mentions. LOL That and usually something what Ben was wearing(let’s see so far we’ve had high boots, flip flops and karate pants, right? Oh and eyeliner)

    Liked by 3 people

      1. I fully believe that this is one of the best written articles I have ever read. I can’t imagine a better format and the use of video and audio is well, what to me writing should be about. I look forward to part two and if you don’t mind I have lots of friends who would so dig this story so I would like to share it, as long as your cool with it. I love to write and I enjoy a great story told by a unique voice. Well done ✌️👏👏👏

        Liked by 3 people

      2. Well deserved 👏 I love the combination of mediums, it probably doesn’t seem so dramatic to you but it takes a lot of thought to combine still and video photography with a great story told at a pace that is quick like a classic #Cars song. Some of my favorite writers wrote about Music and wrote for magazine’s.

        Liked by 2 people

      3. Right, the “hippie” moniker does not seem appropriate.
        Maybe more during Milkwood days. But then they were trailblazers so started experimenting with different “masks” & “personas” to see what fit.
        Avant-Garde more like it – eyeliner, flip flops, high boots – not hippie. Long hair could cross many styles. Everyone had long hair as I remember it. A very heady time. Lots and lots of fun.

        Liked by 2 people

    1. Right, the “hippie” moniker does not seem appropriate.
      Maybe more during Milkwood days. But then they were trailblazers so started experimenting with different “masks” & “personas” to see what fit.
      Avant-Garde more like it – eyeliner, flip flops, high boots – not hippie. Long hair could cross many styles. Everyone had long hair as I remember it. A very heady time. Lots and lots of fun.

      Liked by 2 people

    2. And don’t forget Ben’s flared leg pants that David found appalling. First time hearing about the high boots. I wonder if there’s a photo out there of him wearing these:)

      Liked by 2 people

    3. Oh Inwoukd love to see Ben sporting that look! I’ve seen him with the guyliner-nice…♥️ I’ll take him anyway with all his looks. He really was experimental in his look which I like. Ben wasn’t afraid to try something new and different and actually he could wear it all very well!

      Liked by 2 people

  3. Thanks so much for posting this… a wonderful distraction! I am really enjoying your blog, as well as Night Spots on YT. I love reading about the behind-the-scenes happenings. The more I read about the Cars, the more amazing I think they are/were as a band and as people. The way they kept re-inventing themselves is inspiring and each individual member definitely had an important role to play in the band’s success. Also need to see if I can locate “Shag” somewhere 😊

    Liked by 3 people

  4. A couple of other things I forgot to mention as I was in a hurry earlier. I agree with Barry about David’s importance. It seems to me, if I’m recalling correctly, the major thing at that showcase, the criticism wasn’t that Cap N Swing lacked talent. It was that they lacked cohesion. They had didn’t have a cohesive look or a cohesive sound. Seems like they all wore whatever they felt like and they all felt like wearing different things and, while I personally LOVE variety, it seems a lot of people can’t wrap their head around music being different styles on the same album or during the same concert. So Cap N Swing having their jazzy, folky, glam, rocky variety was considered a negative to the industry people who saw them..

    I would imagine they all agreed on the “cohesive sound” and David with his proto-new wave experience in Modern Lovers was certainly part of that but especially he gave them the suggestions that gave them a cohesive LOOK. He had ideas for a modern cohesive style, not just in their fashion but when it came their over all aesthetic. Having a catchy look can be almost as important as having a catchy song.

    Also OH MY GOD, how much would I love to hear them covering Roxy Music’s Love is a Drug! I bet there is a recording of them doing that out there somewhere, either in with Ric’s stuff or just someone else who has some of their stuff.(Or at least I hope there because then maybe we might get to hear it someday, anything for more Ben vocals:))

    (And one more thing, I recall another article of Benjamin’s eclectic fashion that has been mentioned for this Cap’n/Car time period, striped bell bottoms, David mentioned them in the 79 Rolling Stone article. Still I do remember being impressed when I read Ben wore eyeliner BEFORE David came along because a guy who puts on eyeliner is definitely going for “a look”. Maybe he didn’t have it all there yet but there was a nascient “look” trying to work it’s way out. 🙂 And also from the Rolling Stone interview, Greg got a shout for wearing a lot of corduroy and Earth shoes. Poor David had his work cut out for him with this lot)

    Liked by 4 people

      1. Yes absolutely! I agree spot on. Also I want to add that I am pretty sure that he wore eyeshadow some of the time. Definitely during the Shake it Up times. It accented his pale blue eye color.

        Liked by 3 people

      2. Agreed!! Also, he may have abandoned the eye liner, but I think Ben wore eyeshadow at times. I am pretty certain he did during Shake it Up, and there were a few other videos where you can tell he wore like a light gray color, it accentuated his pale blue eye color. He was certainly a character.

        Liked by 3 people

      3. @Silver Sunday, I didn’t mean to suggest Ben didn’t wear eyeliner after that or that he didn’t wear eyeshadow. He wore both, and more, on a fairly regular basis during The Cars run(and as a true child of the 80s, what can I say, I love a man in eye make up LOL, plus Ben wore it really well, maybe it was that awesome bone structure 🙂 ). I just meant that I found it interesting and pretty cool to hear he was already wearing eye make up, pre band “make over” by David. It was interesting in that this was his own decision and also kind of gives an idea of maybe where some of his inspiration was coming from.

        Liked by 3 people

  5. Donna – this article is awesome!!! Absolutely fantastic and I agree with the posters who talk about your mixing of video and photos with your stories. So effective.

    My heart was literally pounding as I read through the story. I felt like I was there. New information that adds to the flavor of the times of our boys at the beginning. Delicious!!
    Becky B – ROCKS!!!!! A new photo of Benjamin we can obsess over.
    Oh, to have been at that party.

    I was watching a documentary on Crosby Stills Nash & sometimes Young. It covered the scene in California. It was very similar to Boston. Musicians sharing beds, couches, instruments, women, drugs, & ideas. In and out of each others bands and lives. People helping each other in their quest for fame and glory. Offering advice and not competing with each other. More like a brotherhood. Picking up pieces of what another person does. A brotherhood kind of feeling. Happy when someone else succeeds.

    I find it interesting the differences in the kind of music that came from a place that had people outdoors much of the time, the scenery, the California attitude, compared to Boston – indoors much of winter, closer in space as in a city. Walking everywhere, no need for a CAR. Small basement venues. A very different vibe.
    So grateful be able to go on these journeys with people who appreciate similar things.

    Liked by 2 people

    1. Thank you so much, my sweet friend! Interesting about the similarities and differences in the CSN experience. Another person commented above that Chicago, too, had a tight music culture. It must have been pretty cool to belong to such a ‘club’ in those days!

      Liked by 1 person

    2. I was so happy to have found that pic! Ben’s face is just so pouty and beautiful there. (He also looks like he’s feeling no pain!) I kept joking that I had a perm and that same green striped shirt like the girl behind him…that could’ve been me!! I wish. 🙂

      Liked by 3 people

  6. Donna- all the compliments have already been said here. This was a great read! I can’t wait for part 2. You have a wonderful style of writing and storytelling. Thank you for finding, investigating and writing these stories and bringing them back to life. What is remembered, stays alive in our hearts. Ben 💙.

    Liked by 2 people

  7. Do you recall, please, which article said that Ben wore eyeliner even before the Cars? I would really like to see where it was mentioned. I must have missed that.

    Liked by 3 people

    1. Hi. I needed time to look it up. It’s in Joe’s book, Let’s Go page 68(these are Kindle pages I don’t know if they match up to physical pages), Barbara Rhind, who managed Bosco’s and The Bell Buoy, mentioned it. I believe it was when she first saw them, before booking them for her clubs, and naturally Benjamin made a very strong impression as a great looking guy with an even better voice. In this case Ben was wearing an orange karate looking outfit(as opposed to the white satin karate looking outfit) and eye make up. This was with Cap N Swing, pre-Robinson. (I’m wondering if Ben’s thought was “If I can somehow manage to make this take off, I can be a rock star AND be comfortable!” alas it was not to be but I cannot fault the effort)

      Oh and castanets, Boby Bear who drummed for another band, recalled on page 71 that Ben had castanets. (Also recalling he was a great looking guy who looked like a rock star, with a great voice. And a generous, patient fellow. Male, female, Benjamin was equal opportunity impressive:))

      It was reading information like this makes me SO not surprised I love this guy. 😀

      There have GOT to be pictures of the band at this time. LOL

      Liked by 2 people

      1. What a great story. 😃 I really enjoy hearing all of them. I hope someone can get a hold of a photo 😆 that would be awesome!

        Liked by 2 people

      2. It occurred to me that Ben probably had make-up applied, including eyeliner, when he was very young and appearing on the TV show with the Grasshoppers. Apparently he was a very quick learner of everything, so why not this. With that beautiful face he certainly could carry it off .

        Liked by 2 people

  8. This isn’t really connected to this story but seeing as David is mentioned prominently and I have no where else to ask…I have something I’ve been wondering for the last few days.

    Did David Robinson get a nose job maybe around 1980 or so? His nose had a noticeable bump early on(good view is him and Ric in that OGWT-Old Grey Whistle Test- interview from 1978. He turns to look at Ric and it’s very noticeable. In fact they look kind of brothers because of their noses and hair color as they turn to face each other) But it seems to me that sometime after that, no more bump. Personally I don’t think there was anything wrong with it, he looked good.(though it could be why in one of those early Cars photos, an unclear black and white one, I thought “Why is Alice Cooper in a photo with the Cars?” and then realized it was David LOL, his bangs were long and hanging in his face and the hairstyle was like Coopers)

    It’s very good nose job, if he got one, and I’m not just seeing things. Didn’t really change the over all size or shape of his nose looking at it straight on, just got rid of the bump. Very subtle. It’s just that for the longest time for some reason his nose has kept attracting my attention in photos because of something I couldn’t put my finger on, and I finally think I figured out why, because there was a subtle different between photos.

    Did anyone notice this or am I just imagining things?

    Liked by 1 person

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