Where do I begin? These days, I do voice over full time. I’ve voiced for a ton of brands.
Before all that, I wrote some books. Maybe you read one of them, or heard one of them. The only one anyone ever asks me about is “Where’s My F*cking Latte”, a sordid collection of tales that prove being a personal assistant in Hollywood is the shittiest of all shit jobs. WMFL did get me interviewed on “Access Hollywood” and as a regular on the E! Network hit TV docuseries “Secret Societies of Hollywood”. Yeah, that was fun.
But, before all that silliness, I grew up in and around the greater Philadelphia area. Went to Boston’s Berklee College of Music, played a lot of guitar and majored in their Music Engineering and Production program. Got my degree and ended up back in Philly as an assistant engineer at Studio 4 where I got to work on some cool albums by Boys II Men, Taj Mahal, Phil Collins and other artists. Right around 1993, I started a business writing music for TV and video games where I penned some original tracks for the 1994 Winter Olympics on CBS, as well as a bunch of national network cooking shows including “Death By Chocolate”, “Sunshine Cuisine” and my magnum opus swinging Aaron Copland-inspired theme for “The Burger Meister” for PBS.
This all led to a stint working for video game companies, first Konami in Chicago, where I was an in-house composer. Hated that place, but I did get to write, perform and record a complete symphonic action-movie type score for the game “Project Overkill”. Working at Konami was so bad, that I ended up getting canned after punching a co-worker. Granted, he was a total douche who was trying to get one of my friends fired. What kind of middle-management asshat does that?
Nonetheless, I got a job offer three days later to come to Southern California to join another video game company, so I kissed Chicago winters goodbye and headed to the beach. That was pretty amazing, other than the fact that the company, Electric Dreams, went bankrupt 6 months later. I was out of work. At least I was living at the beach.
So, I decided to take some time off. I bought a sailboat down in Dana Point and hit the ocean, solo-sailing most of the week during the day and writing furiously all other times. I penned my first novel, “The Doomsday Club,” and some other crazy stuff and, through some miracle, I got signed by a well-respected second-tier Beverly Hills talent agency as a screenwriter. My agent compelled me to move up from the beach (sigh… asshole). I found a job as the assistant to TV composer Ben Vaughn, probably landing the job because we’re both Philly boys. Ben was composing for Third Rock from the Sun, That 70’s Show and eventually we took on a handful of other network sitcoms, “Greg the Bunny”, “That 80’s Show”, “Off Centre”, just to name a few.
In the five years I worked for Ben, I ended up as VP of Ben Vaughn Productions, managing all business, legal and finance. It was around this time that I landed an assignment to co-write an episode of “VIP”, a tv show starring Pamela Anderson that, at that time, was the most syndicated show on Earth, even beating out Anderson’s previous syndicated smash, “Baywatch”. In what may be the coolest thing ever, my episode, “Val on Fire” was directed by the one and only Bruce Campbell. Around this time, I was accepted into the Warner Bros. Drama Writers Fellowship Program, which was really great, but ultimately didn’t do shit for my career. Oh, and at some point I launched a small boutique paperback book publishing company called “Glenneyre Press”, a couple years before e-books became a thing.
Then I got hired at Podshow as a Director of Development. See, I had been doing this podcast called “Pacific Coast Hellway” that started in my car… yes, my car, screaming at other drivers and ranting about the world. Eventually, that evolved into something more polished and pretty funny. Enough so, a feature in Playboy Magazine followed (August 2006) where PCH was named, “The world’s most offensively enlightened podcast” and I was generously compared to “Howard Stern meets Trey Parker meets Jon Stewart.” Adam Curry put PCH on Sirius Satellite Radio right after his show every night, and so began a two year run on Sirius’ premier talk station in evening drive time five nights a week across the US. We got to say and do whatever we wanted. It was gloriously bonkers. When that ended, I spun off a bit from PCH called “Things I Learned This Week” as a weekly video show and was able to do that for a living for a while… then the strangest thing happened.
At this time, I was co-hosting Radio GoDaddy with Bob Parsons. The show was recorded at GoDaddy HQ in Scottsdale, AZ, so I had to fly in each week from LA. On my way back one time, I got a call from a producer I had written a screenplay with years before. He asked if I wanted to host a TV show.
The “Mo Show” had the world’s worst title, but it was the first TV show about apps and mobile technology and it was executive produced by the Emmy winning team behind “Judge Judy” and “Hard Copy”. We had a short run on a national network. It was fun. They couldn’t put together a deal for a second season, so I went off to write more books and be an on-camera brand advocate for Verisign promoting the merits of the .TV domain.
Years earlier, when I was doing PCH, I was also podcasting serialized audio versions of some of my other books. I had parked most of those books, along with “Where’s My F*cking Latte” on Amazon and forgot about it. One day, I realized the eBook revolution was helping me move lots and lots of books so I went all-in. I wrote some more books including the very first book about the death of Osama Bin Laden (written and published in a furious 4 days after Seal Team Six sent him to the great beyond). Sold a ton of those. Sold a bunch of travel books including “Fatal Sunset.” Momentum was so good, I took some time off from running my publishing company to try my hand at Voice Over… and that took off like a house on fire.
Now, years later, here I am, looking to finally be able to fit some other creative work into my hectic VO schedule.
Oh, and I also build custom microphones. Because, why the hell not?