Brendan Hines Biography, Age, Girlfriend, Height, Movies, Scorpio, Lie To Me

BIOGRAPHY OF BRENDAN HINES

Brendan Hines born Brendan Patrick Hines is an American actor and singer-songwriter best known for his television appearances, including Lie to Me, Scandal, Suits, Betrayal, Secrets, Scorpion, and Lies. He is currently part of the cast of Amazon Video’s The Tick.

BRENDAN HINES AGE

Brendan was born on December 28, 1976 in Baltimore, Maryland, United States. He is 42 years old in 2018

BRENDAN HINES FAMILY

He was born to Mary Hines, a former nun, and her father who was a former Jesuit priest who both called for their religious vows to be dissolved so they could marry. He has three siblings

BRENDAN HINES WIFE

He’s not married, he’s kept his life so private we don’t know if he’s dating or who’s dating.

HEIGHT OF BRENDAN HINES

He stands at a height of 1.85 meters

BRENDAN HINES ME MENT

Brendan was cast as Eli Loker, an employee of The Lightman Group in the American crime drama television series Lie to Me.

BRENDAN HINES SCORPION

Brendan was cast as Drew Baker, Ralph’s biological father in Season 1 of Scorpion, the American action drama television series

BRENDAN HINES MACGYVER

He had a recurring role as Ethan Raines in the third season of MacGyver, the 2016 television series

BRENDAN HINES NET WORTH

He has an estimated net worth of around $750,000.

MOVIES DE BRENDAN HINES

TWITTER THE BRENDAN HINES

BRENDAN HINES ON INSTAGRAM

https://www.instagram.com/p/BualfTaH_l5

BELOW, HINES (CURRENTLY FEATURED ON AMAZON’S THE TICK) DISCUSSES THE INFLUENCE OF JOSHUA TREE, THE IMPACT OF TIME ON RECORDING, AND SONG QUALITY.

You described the album as a rock ‘n roll album, but there are a lot of Americana flourishes to be had. Were you aware of the diversity of music?

I guess it’s Americana, because I’m American, and I definitely write verse/chorus history songs. I’m not technically great as a singer, but in the classic folk tradition that’s not supposed to be the point. For me, it’s a rock album (at least ‘Side A’ is) because there’s drums and electric guitar, and I wrote the songs on guitar. Plus, the faces Jonny Flaugher makes when he plays bass tell you it’s rock. I have a problem when it comes to describing my songs, not because they’re particularly unclassifiable but because as someone who’s been passionate about music all my life, I don’t think in terms of gender. I’m pretty binary about it: good music and bad music.

Did you have concrete ambitions on what you wanted to do on this album, musically?

I can tell you what I didn’t want: I especially wanted to avoid it sounding too much like my two previous records, hence the live band. But ultimately, I wanted people to feel what they felt in the room this weekend. Now was not the time to be silent and introspective, but rather to alert others and shout and shout until you find allies.

Do you find any of your musical heroes reflected on this collection?

I’m unlike any of them, but I’d be honored to be accused of stealing some heroes: [Elvis] Costello’s anger and love for insulting verses; [Tom] Waits, the pretty obnoxious voice; [John] Prine’s heartbreaking simplicity; The storytelling and charm of the Pogues; The humor and recklessness of Fats Waller; and Billy Bragg’s guitar and politics.

“Minus the Facts” is one of the darkest and darkest moments on the album. What’s the backstory there?

It was originally a song about temptation and blackmail that I started writing one night in New York before waking up with an unbearable hangover and an embarrassing flood of memories from the night before. It went through a bunch of permutations in a few years and finally, the day we recorded it, I started changing female pronouns to male pronouns, and suddenly it felt like it was buyer’s remorse and applicable either to an object of desire. or a low quality presidential candidate. Also, I’m a huge Bee Gees fan, and they seem to have 7 major chords in all of their songs. I had never used one in a song, so I threw a Cmaj7 in there, and it still makes me happy.

“Math” is such an honest and raw performance as well. Was there ever any difficulty in getting this recording to be perfect? Or any of the songs on the album for that matter?

When I first wrote ‘Math’ I was playing it in 3/4 time, which works with my default solo Irish Bard performances. The band took it on and they made the very intuitive and useful choice to play it in 4/4 time, which freed me up to take a little more time, vocally. I actually had to record the vocals for this song a few weeks later because my voice was absolutely torn up by the desert, wine, campfires and loud rockers that we very smartly started the weekend off with .

What did you learn about yourself, the president and the music from writing and recording this record?

I learned nothing about the president because there is nothing to learn about the president. He’s the same racist, evil, evil child everyone always knew he was. We have always known everything we need to know about this person and his cohorts. When it comes to myself and music, I was grateful to be reminded that I was incredibly privileged. Being able to escape the aftermath of the election for three days with five close friends who also happen to be great songwriters, musicians, producers and humans was a real gift, and the only thing better than that is getting the songs in in the ears. people who dig them.

How do you think you have changed thanks to this album?

Every time I made a record, I learned a lot. I try to improve myself. To some extent, I think I just make them as an intensive way to learn and improve. These recordings were set by a specific time – wrong. This time will pass soon, but the songs will drag on.

What role did the Joshua Tree environment play in the music?

We had no neighbors we could see or hear. Cell service was not good and we had a very good reason to avoid the daily news cycle. I asked the band and our engineer to refrain from talking about the news, although of course that was not entirely possible. But we were able to isolate and just focus on recording for days. Wake up, eat, record all day, open several bottles of wine, light a fire, screw up, and start recording again late into the night. We were there during a supermoon, which was pretty to watch and some people say may have had an unquantifiable effect on our behavior as well.

How has the weather affected the recordings or your approach?

He completely defined the process. We only had three days to get everything we wanted. We had barely rehearsed before arriving in the desert and a lot of songs were unfinished, lyrically. It was rushed, but not frantic. We thought we would come out of the weekend with four songs but ended up coming away with nine.

Five years separated your previous album Small Mistakes and this one. What was your personal journey between these two points?

I was lucky enough to work quite regularly on various TV shows during this time. But that meant lots of traveling to other cities and spending weeks and months away from home. So I was writing quite a bit but couldn’t find the time to record anything, which has both advantages and disadvantages. I think I got better by revising and being more selective about what I wanted to say, but a handful of songs probably got lost along the way. If the songs don’t fit into a demo or a live, they eventually evaporate, and it’s only when I start going through old notebooks and voice memos that I can resuscitate them and see if they still have something to say.

What brought you to make music?

I missed playing live for strangers. It’s the same reason I love doing theater, but there are huge gaps in time when I just can’t afford to do it. I never stopped writing or performing, but I finally had some time to record before I started shooting ‘The Tick’. I love playing live for new people, but I don’t get to do that much outside of LA or New York, so I was hoping that recording new songs might eventually lead to more of tours.

You described the album as a rock ‘n roll album, but there are a lot of Americana flourishes to be had. Were you aware of the diversity of music?

I guess it’s Americana, because I’m American, and I definitely write verse/chorus history songs. I’m not technically great as a singer, but in the classic folk tradition that’s not supposed to be the point. For me, it’s a rock album (at least ‘Side A’ is) because there’s drums and electric guitar, and I wrote the songs on guitar. Plus, the faces Jonny Flaugher makes when he plays bass tell you it’s rock. I have a problem when it comes to describing my songs, not because they’re particularly unclassifiable but because as someone who’s been passionate about music all my life, I don’t think in terms of gender. I’m pretty binary about it: good music and bad music.

Did you have concrete ambitions on what you wanted to do on this album, musically?

I can tell you what I didn’t want: I especially wanted to avoid it sounding too much like my two previous records, hence the live band. But ultimately, I wanted people to feel what they felt in the room this weekend. Now was not the time to be silent and introspective, but rather to alert others and shout and shout until you find allies.

Do you find any of your musical heroes reflected on this collection?

I’m unlike any of them, but I’d be honored to be accused of stealing some heroes: [Elvis] Costello’s anger and love for insulting verses; [Tom] Waits, the pretty obnoxious voice; [John] Prine’s heartbreaking simplicity; The storytelling and charm of the Pogues; The humor and recklessness of Fats Waller; and Billy Bragg’s guitar and politics.

“Minus the Facts” is one of the darkest and darkest moments on the album. What’s the backstory there?

It was originally a song about temptation and blackmail that I started writing one night in New York before waking up with an unbearable hangover and an embarrassing flood of memories from the night before. It went through a bunch of permutations in a few years and finally, the day we recorded it, I started changing female pronouns to male pronouns, and suddenly it felt like it was buyer’s remorse and applicable either to an object of desire. or a low quality presidential candidate. Also, I’m a huge Bee Gees fan, and they seem to have 7 major chords in all of their songs. I had never used one in a song, so I threw a Cmaj7 in there, and it still makes me happy.

“Math” is such an honest and raw performance as well. Has there ever been any difficulty getting this record right? Or any of the songs on the album for that matter?

When I first wrote ‘Math’ I was playing it in 3/4 time, which works with my default solo Irish Bard performances. The band took it on and they made the very intuitive and useful choice to play it in 4/4 time, which freed me up to take a little more time, vocally. I actually had to record the vocals for this song a few weeks later because my voice was absolutely torn up by the desert, wine, campfires and loud rockers that we very smartly started the weekend off with .

What did you learn about yourself, the president and the music from writing and recording this record?

I learned nothing about the president because there is nothing to learn about the president. He’s the same racist, evil, evil child everyone always knew he was. We have always known everything we need to know about this person and his cohorts. When it comes to myself and music, I was grateful to be reminded that I was incredibly privileged. Being able to escape the aftermath of the election for three days with five close friends who also happen to be great songwriters, musicians, producers and humans was a real gift, and the only thing better than that is getting the songs in in the ears. people who dig them.

How do you think you have changed thanks to this album?

Every time I made a record, I learned a lot. I try to improve myself. To some extent, I think I just make them as an intensive way to learn and improve. These recordings were set by a specific time – wrong. This time will pass soon, but the songs will drag on.