My extensive guitar lessons collection

onacarom

Member
Technical Guitar Exercises - Part 2 - Video Guitar Lesson - 4
Technical Guitar Exercises - Part 3 - Video Guitar Lesson - 5
Technical Guitar Exercises - Part 4 - Video Guitar Lesson - 6

To be continued... :guitar:
 

Florestan

New member
This guy has a lot of lessons on You Tube, mainly blues from the 1920s and 30s. He'll play a bit then stop and show you how he does it.
 

John Watt

Member
Music lessons, how to be a musician, a musical artist, or a player in a band.

I saw Jimi Hendrix when I was 17, and within a year I dropped out of high school,
leaving behind a grant from Sheridan College, new that year, and a bursary from the University of Toronto.
My high school teacher took some of my drawing and paintings, entering them in a Brock contest,
where I won first place. That was architectural. Brock offered me free tuition.

I saw Deep Purple in Toronto next, Ritchie Blackmore being the next man on this planet,
to be playing a Fender Stratocaster, between 1960 and 1964, through a Marshall stack,
only plugging straight in, not using any electric guitar effects.

After dropping out of high school, I got an Atlas Steel factory job, full time,
and bought a '64 Strat, a 50 watt Marshall ordered from England,
when they wouldn't sell a 100 watt head to just anyone, especially a Canadian,
yeah, being very British.

That means I was playing a Strat through a Marshall with effects,
for seven months, when Jimi Hendrix was still alive.
Other musicians, travelling pros in bands in Niagara Falls, would visit,
to try my guitar out, my amp, putting their guitars through my amp,
and those were some of the best guitar lessons, learning guitar parts.
Of course, some guitarists would just be shaking their heads,
saying I don't know how you're making music with that monster.

Sitting with my mother, an exciting singer in the church my parents were founding and charter members of,
we decided I should order the songs I liked to sing and play on harmonica, like 15 year old Little Stevie Wonder.
That was more about getting the songs in the keys they were written in, just how I heard them.
"Misty", by Erroll Garner, "Strangers on the Shore", theme from "The Sandpiper"
and "The Days of Wine and Roses", from a movie of the same name.
Yes, standing in line while shopping with me as a kid, had a lot of people talking with my parents,
wondering why this little boy was playing harmonica, and singing the notes he couldn't find,
to such sad, slow songs. That was easier than fast ones.
I could play the theme from "The Chipmunks", the TV show, "The Sweetheart Tree", from "The Great Race",
and a couple of Herman's Hermit tunes, oh yeah, and "On Top of Old Smoky".
My mother was right. If I learned to play those songs properly, I could play anything.

But I had a big and constant worry, about playing my Stratocaster, being left-handed.
I was playing right-handed guitars, my brother would let me turn the strings around on his,
to be lefty like Jimi, but I found that having the bass strings on the bottom was far, far better.

My friend Kelly Blair, who became a professional flutist, guitarist and vocalist,
hitch-hiked with me to Toronto, over a 100 miles away, to see Mr. George Benson.
He won the annual Best Instrumental Guitarist Survey for Downbeat Magazine, all about jazz,
for five years in a row. Just knowing that, not having any of his music, probably not hearing any,
made me think that if someone else was going to help me make up my mind, he could.

It wasn't easy, unable to get on his side of the club, talking loud over his four bodyguards,
until he turned, to say "did you really hitch-hike over a 100 miles, to ask about your Stratocaster?".
And then he got up and waved me in, taking me to his backstage dressing room.
I have to say, it was all white, hippy looking people, on one side,
with the non-whites all dressed up and acting more polite, on the other side.
A small wooden railing was the separation.

To keep this short, too bad, Mr George Benson really helped me make up my mind.
He was laughing a lot, at what I said about him, even if I never said the name Jimi Hendrix.
Neither did he. He laughed some times, because he could move my fingers into big chords,
the chords he said he had a hard time with, and then he'd say try to move it up or down,
and I could, when he said he couldn't. This is what it came down to.
He said I didn't have to scrunch up my fingers to play lead, reaching up with extended fingers,
and the pad of my barre chord finger was holding the bass to keep it from feeding back,
so it was just a matter of turning the noise off to have any kind of bass I want, while I'm playing.
He was right about that. That's how I play, no more right or upside-down right-handed.
He suggested ordering a left-handed bridge from Fender, saying he knew some lefties, all good players,
so I did, in 1972, sending away $150 plus taxes with a one year wait, doubling the order after three months.
Those are the parts that are still in the guitar I play, now inventive.
Sitting there with Mr. George Benson, playing his 1955 Gibson L5, all black,
he explained about pickups, saying the most string action is in the middle of the strings,
where you can't put a pickup on the neck, so having one at the bottom of the neck,
will give you the most string response for the pickup.

Instead of looking for a band, or new musical friends in my home town,
I decided to build my lefty. Kim Mitchell, of Max Webster, and I did something together.
We tried to put a humbucker on an old Jazzmaster with Strat single coils,
wanting the Strat sounds, only Jimi, and the humbucker, Santana, Jimmy Page, Jeff Beck,
yeah, and I'm thinking Mr. George Benson.
It was knowing Peter Traynor and his guitarist Len Jeffries, music store employees,
coming out to watch me plug in and play, who drew out a wiring diagram for us.
When that came together, it was time for me to look for a band.

Sitting in Central Music, where I almost lived after dropping out of high school,
without ever taking even a penny out of the store, helping to build Bill's business,
I heard that "I could play anything line" again.
A country recording act came in, on a Saturday afternoon, all dressed up, talking Fort Erie.
It was Skip Neilson and Blue Creek, always playing in Fort or Niagara Falls, the tourist bars, American.
I was sitting with my back up against a big bass drum, feeling it vibrate while I made some sounds.
Skip was saying his guitarist called to say he wasn't showing up for the matinee, and that was it.
He said if he could find another guitarist to fill in right away, he could play that night,
and he'd give him all the other guitarist's pay. I said I've never been in a band, and didn't play country.

Skip just leaned down to look in my face, and said if you can play like Jimi Hendrix,
you can play anything. He was right. I left with him and stayed in that band for over six months.
Blue Creek came with a beautiful five string banjo the guitarist was supposed to play,
but I couldn't, left-handed, always a nice reason not to be able to do something I didn't want,
so he got Al, the owner of Thorold Music, to put a six string neck on a banjo body, with a pickup,
just for me. That was crazy, finger-picking and picking away on a six string banjo.

Sitting with an American country guitarist, in Niagara-on-the-Lake, a Shaw Festival event,
he was getting off on my six string banjo story, and said would you like to hear a guitar tip?
I said sure. He said I could take a piece of cigarette box foil, and fold it up, showing me how,
saying I could weave it around the strings by the bridge, folding it around the top and bottom strings,
loosely, and it would make my Strat sound just like a banjo. That was incredible, yeah,
playing a six string electric banjo with a tremolo unit, a string and spring bender.
Al kept telling me to sell it, so many musicians were making offers, so he could make a nicer one,
but I never did.

I decided to buy some guitar lesson books, to keep learning for real.
Mel Bay, books 1 and 2, plus another bigger book, written by a hippy guitarist,
that was supposed to have every single version and every single chord,
that a guitarist was supposed to be able to play.
Sometimes, just being able to play one of those chords, inspired a song.

After that, sitting around during the day with band players,
visiting local recording studios, radio stations, television stations,
got me being as much of an entertainer as a musician, having fun with it myself.
And when I say TV stations, here in Canada, up north with lots of magnetic rock,
little towns would have their own cable TV, usually two stations, one for information,
so I'd be sitting in the car, leaning on the hood, or sitting on the couch,
while the owner made his advertisement, and I'd be waving my guitar, uh, somehow.

As a total non-smoker, non-drinker, no tea or coffee, vegetarian wannabe like me,
it wasn't easy making a living on the road, when society was so stoned and drunk.
Strippers and topless were everywhere, and total nudity was legal in Ontario,
long before it was in New York State. I stayed straight, and now, I still sing anything.

That's how I kept my sanity. I never told people I sang. I just auditioned as a guitarist,
and when I started singing, if I felt like it, the leader would say you never said you could sing.
I like to dance and move around, jumping offstage onto the dance floor if I could,
whipping people with my extension guitar chord, especially bassists,
who only played bass because they couldn't make it on guitar, my room-mates.
I could make scary sounds that made people drop pool cues, if they were still playing,
or locomotive sounds by the train station in Niagara Falls, making people drop drinks,
thinking the train was coming through the wall. I was told only once a night, first set.
The Redmere Soloist, custom built in Scotland, 1977, $2,750.
Custom ordered speakers from Electro-Voice in Michigan, S.R.O.'s, two separate 12"s on stands,
150 RMS, 200 maximum, with 25 pound magnets.
If you remember "Let's Dance" by David Bowie, that's not a synth making those big sounds.
It's a Redmere Soloist on the third channel, a 60 watt overdrive system,
with the flanger set, the chorus, five-band E.Q.ed, with controlled stereo panning,
using floor switches I made myself. $15 each, for double-pull, double-throw on and off switches.
Parallel sound control with lighting to see what is on and what is off.

But I am the biggest loser. I lost two years of my playing life, and my heart.
I fell in love with a woman, a white light, love at first sight.
We were together for two years, but she had been the victim of a drug-overdosed gang rape,
by five men from a big family, a crime family, who get government grants and dominate this city, un-elected.
She had a baby, where her parents made her go to a home in Hamilton to have it, never seeing it.
I thought this was upsetting her more than the rape. These criminals are now world famous.
I didn't play in bands because she would see the women sitting up front,
and what happened when I was walking across the dance floor, thinking I would never marry her.
After two years, one day, after an outdoor rock concert at the bandshell in Port Colborne,
where I was a guest singer-songwriter, playing acoustic while other bands changed onstage,
the first year it was built. She dropped me off and drove away. I didn't phone and she didn't phone, it was over.
I still feel like I'm growing old with her, and loving her, helping her, understanding her, made my love deeper.

That's what people feel when I sing and play, the love, the horrors of the new blues, cancer, radiations from above,
the new ambivalence towards sexuality, addictions to technology, the wars over oil and resources for more online electricity,
even if I'm making them wiggle their toes in their shoes to make them get up and dance, what I'm there for.

I am now almost 66 years old. I still play guitar everywhere I go, singing my little heart out,
and no-one calls me an old man. Backstage, if others are surprised at my haunching down on my ankles,
waving my guitar, in and out between my knees, reaching out with a foot for the wah, or effect,
when I get up I say, you didn't hear any bones popping, did you. That's when others stop and say,
you're right, how do you do that? I just say that's how I play, and I need the exercise.
I know my ancestors didn't go through the Dark Ages, so easy to see the difference with my native friends.

So, after all that, the Niagara Peninsula, Ontario, eastern and western Canada, what was left to learn,
and even Mr. George Benson was now singing and putting out a new standard of jazz, funk and pop,
taking over the whole world, for a couple of years, until his production values got played out by others.

A local Mohawk in Niagara Falls asked me to start a band with him, playing for a year and a half.
I knew I lived in the land of the beaver, becoming Mohawk land, but I had never met anyone who shared that.
More than any geographic travels, playing with Ben Hewitt, his English name, and his friends, made me a Canadian.
I was asked to join Drastic Measures, a family with professional players and friends from Dominique.
They won the Toronto Caribana Best Parade Band Prize, their first year in Canada. I've got photos and cassettes.
But this is about my music lessons, what I think, what I say, what I've got in my brain, and what they made me to be.
If other people, young people to seniors, can ask me how to make their lives better,
what greater respect can a musician have? I walk the walk and talk the talk, and it's not being a rock star.
I always say, as a player, that no-one ever threw a drink in my face, slapped my face,
poked a cigaratte burn in my shirt, poured a drink in my lap, and I never had sex with strippers or employees.
In fact, I've never had sex with a stranger, had sex in a bathroom, or knocked over a drink at a party.

Sometimes, listening to the feelings you get when music is all around you, musicians you never heard before,
a player with virtuoso technique, playing like you've never seen, elevating you, uplifting you, inspiring you,
creating a state of grace inside that space, for listeners, for musicians, extending the beauty of our lives,
so we all are part of it, joining it, jamming along if we can, but carrying it, taking it away,
such a state of grace, that continues the energy to make you play, you, what you've got inside you,
and what you've done with your fingers and throat, your environment, and how you treat yourself.

If you're not nervous when you get up onstage, you might as well go home.
You're not feeling it, and you probably never will. You're there just to show off,
and when people are down, spending their budget on entertainment,
no-one likes someone who is just there to show off. Dancers can't get off on that,
unless you are a vainglorious fool wrapped up with your own technology.
When someone says I'm getting up onstage but I'm not sure what to do,
I just say don't be shy, you've made it this far, just be more of yourself.

So, what is my biggest musical lesson, and it's always a freebie?
I say you have to move your body to the beat, bopping up and down with it,
if that's all you can do, so that your body is on the beat, and your hands can play around it.
When I see bands grooving together onstage, that's when I want to stop and watch.
Look at the pre-acid Beatles, bouncing up and down, being bobble-heads, very British,
or think of trumpet lines, or back-up singers, in soul bands, moving around together,
dancing together, everyone on top of the music, and dressing up as part of the show.

Tom! Tom Feldmann! Hey boy, where's'yer hat, or you one'a da hatless ones?
A Value Village shirt, faded old jeans, not even torn or ripped, with a parlour guitar,
that might be Gibson, a nice antique, but I'm seeing wood for a neck that isn't rosewood or ebony.
A too light tone to start with, and no separate, adjustable bridges for the strings, untunable,
unless you only want to work with tempered tuning musicians, like symphony players.
Time to saddle up and play the electric you haven't roped in yet, yessiree Tom!
However, you are invited over for dinner if you ever visit the Niagara Peninsula.
That's only fair.

oh... oh... it's so nice, so nice to be able to make up your mind, and do it.
I've been using the same guitar picks that Jimi and Richie said they used,
playing with the same picks since 1970,
playing with the same strings since 1970...
what a feel... always waiting for me... and if I'm just sitting with it, not feeling it,
it leads me on, and if it's not leading me on, trying to play more all around the neck,
it makes me want to make it better, build a new body, build some new sounds....

You Tube "John Watt semi-solid-body", if you want to.

May All Peace Be Upon Us.
 

John Watt

Member
Orville Gibson started Gibson Guitars in 1850.
He was a minstrel musician, dressing up like a joker in a deck of cards,
with a shirt like red and white satin diamonds, fancy sleeves and cuffs, really nice.
He played his favorite guitar, that he built, a two-piece.
He carved the body and neck out of one piece of walnut, adding a body sound-board.
He played with the bass strings on the bottom, with the highs on top, a lefty.
I think, and when others see me play, some agree,
that a lefty invented and built guitars, that righties play upside-down.
I can win easy bets with other surly musicians, saying I can play that,
before I take the right-handed guitar and turn it "upside-down".
That's also not commenting on American manufacturing strategy.

I hold my neck the same way violinists, cellists, and bass players do.
I reach over to pull down the strings the same way Jeff Healey, a lap-top, blind guitarist,
from Toronto, used to play.
I can play any chord, sliding it around, moving the strings up and down,
sometimes moving pitch three notes up, or down, without leaving the same fret.
And best of all, oh yeah,
I can still fall asleep in a hot tub, get out, dry off, and play guitar, if I want to,
no callouses at all, ends or sides, just a soft feel for the strings and springs.
Play my way, and you'll still be alive as a player, as long as you're living,
and then, no-one knows where those notes disappear,
even if the heavens are waiting for you.
 
Last edited:

John Watt

Member
I got a new pen holder, a very tricky, adjustable, spring loaded holder.
It looks like a little end to a bassoon, oboe or clarinet, that colour black,
just stretched out a little, really nice to look at and play with.
Executive level action, that's what I say.
It's on a nice onyx stone, leaving it on my clicker table, yeah...
doing a duplicate posting for the first time in a long long time.

So, here's some photos, and scans, instead of something I can't delete.
The saved posting pops up when I try to click off with nothing.

Not many band players get a pass from the Department of National Defense,
and I got my keyboard friend from Nova Scotia on there too.
That got us access to the base and all the airplanes, tanks and vehicles.

The letter from the owner of B.C. Rich is so old time rock and... rolling.

Master John, boot and shoe-maker for the stars, and all the strippers in Toronto.
He made me a pair of dancing shoes for onstage, very short fur, dyed beige and black.
My friend would tell women, when they were rubbing them between sets, feeling them up,
that they were made out of zebra fetus skin, they looked that way. I only wore them onstage.

That's me with Paul Weaver, the only lefty bassist who played lefty, that I had a band with.
Now I knew what other musicians were going through, trying to see what I was playing.
I'm not used to playing with lefties either.

That's Smokey with his 1958 Les Paul, with the original case, strap, warranty and receipt.
He hunted me down like he said he would, to offer it to me first, if he ever sold it.
He signed a contract with Bear Records in Germany, putting out an original album,
and a double live album, with a German rockabilly band backing him up.
He wanted to give his wife some money in case he didn't come back.
I wouldn't travel overseas with a '58 Les Paul either.
He phoned an L.A. agent he knew, and Slash bought it, saying it's the best guitar he has,
and he's keeping it in his studio, not taking it out.
Jamming with that guitar through my 100 watt Marshall stack, the thunder of the gods,
with some of that low-down Allman Brothers harmony tones.
Getting an old Les Paul that's dried out, very, very light, is the only semi-acoustic quality it has.
Gibsons are built like a piece of furniture made out of mahogany.

That's me with my '64 Strat in 1970, after I used my Dad's hacksaw to cut away the body,
for better upper fret access. I wasn't in control of the tremolo arm, so it's not there.
That's a newspaper photo, after I was taken home to get my Strat and Marshall with effects,
so I could jam with other musicians to fill in for bands that backed out for a music contest.
The professional band that was hired to play for an hour to end the day,
asked me to jam with them, really nice. I liked "29 or 6 to 4" by Chicago the best.
And yes, we jammed All Along the Watchtower, getting the wah into it.
May Ist, my birthday, and I still had hopes, that with the same equipment and sounds,
Jimi might hire me some day to be his second, or third guitarist.
He was talking about a 16 to 18 piece orchestra to play his new music.

Was I really just playing guitar because I can just play guitar, just playing guitar all the time,
or did I really never ever sit and play music to learn what other guitarists were doing?
I'm not sure. All I know is, after two weeks onstage I'm starting to dance with it.
Other musicians, in the background, might come up to me after I'm leaving,
to say John, admit it, you never really learned our songs, and I'd say that's right.
You hired me for my guitar playing and equipment, and you know I tried my best.
I always had a good time. at the very least. That's what music is about, at the very least.

security pass.jpgB.C.Rich.jpgMaster John.jpgTrouble Clef1.jpgSmoky.jpg1970.jpg
 
Last edited:

John Watt

Member
This is an over four minute apartment video of me playing an acoustic guitar,
mostly a g-string jam that moves down to the d-string, and...
getting into some dark guitar... just because it was feeling, and sounding,
that way.
This Art & Lutherie "parlour guitar", short-scale for me, came with copper anodized strings.
I took them off right away and put on the Ernie Ball 10's I've been using since 1970.
So it sounds twangy and not as loud.
It's also a $200 retail guitar, made in Quebec, Canada, from fallen cherry and silver maple trees,
with imported rosewood. There's a smooth plastic ring around the sound-hole,
so nice to rest a finger on.

I bought it from one of the King Biscuit and Crowbar boys, in Hamilton, now with a big studio.
They wrote the "classic r'n'b" songs that our local comedian Dan Ackroyd used in "The Blues Brothers".
I was playing those in high school after they played here a few times.
I said if I can play and sing "Little Wing" on it, will you give me a discount? $50 off.

When you're playing up there in the feedback zone, having to hold all six strings all the time,
letting the G, B and E strings ring out is more about sustaining the effects and making artificial notes.
It gets to be a bit too much, this recording, the open strings, and I coulda slowed down a little.
I'm not an acoustic player, and it shows. My fingers are a little sore already.

I bought this guitar, so I could sit outside with 83 year old Uncle Bill, and write some songs,
without having to get an extension cord out.
It takes me over twenty minutes to set my amp up onstage, uh, not lately.

https://www.youtube.com/watch?v=a5IJ0dqBMP8&feature=youtu.be

I never was able to embed.
 
Last edited:

John Watt

Member
All day, I was really waiting to see if you'd be here and say something,
or put some more videos up.

Did you watch mine? I made one just for you, and then did another for a B.C. friend,
who's working on Misty, so we can try it when he visits his mother in the summer.
Of course, I'm coming at you from a totally different perspective,
if being a very old man can be where it's at, even if it is for me.

But, right now, right here, I'm willing to say,
I can make a bet that I know an A minor chord that you don't.
I can ring out all six strings, and work the bass and add accents.
Yes, I've never lost this bet, even in major recording studios.
You just have to be playing upside-down to do that,
and that's what the theme of my video for you was,
playing upside-down and playing something you can't play,
right-side up.

And I never paid to have a lesson, so easy to just talk about myself,
my favorite topic.
 

John Watt

Member
Hey! I'm legit. That means I'm back with a better background guitar arrangement for Misty.
I'm even saying I've got a new chord, and I mean new chord, that I use for the end of the verse,
instead of going into the what I hear as a traditional turn-around.
And it's the traditional turn-around that dates these chords, as the song it is.
Either that, or making up a new chord that right-handed guitarists can't play,
unless they play a left-handed guitar upside-down, is just a way to avoid figuring it out.
Not!
those violins and trumpets in the distance will be calling your name, yes they will,
if you just take a viewing of my hands....

Plus, I'm setting myself up as if I can generate a new kind of interaction on You Tube.
This is a very weak video, just taking it as I'm going through the song, not even down yet.
I'm using this, posting under other guitarists, jazz and country, doing five,
saying we could start having answer videos, like country had answer songs,
women for men, men for women, religious for honky-tonk.
I'm saying you could butt in to my personal video-email, with your Misty statement,
and maybe I could be playing it and recording me jamming along with it, actions like that.

I'm definitely the first "Play Misty 4 U", and that means I'm waiting for "Play Misty 4 U#2".
Previous technique and evolving techniques are available for immediate upgrades,
if I need to.

https://www.youtube.com/watch?v=_ConBnySmnE
 
Last edited:

onacarom

Member
Chromatic Exercises - Video Guitar Lesson - 7
https://www.youtube.com/watch?v=vKMU6O0L8tw
Diatonic Exercises - Video Guitar Lesson - 8
https://www.youtube.com/watch?v=STkRasI2arE
Pentatonic Exercises - Part 1 - Video Guitar Lesson - 9
https://www.youtube.com/watch?v=9CKMEJdDKYM
Pentatonic Exercises - Part 2 - Video Guitar Lesson - 10
https://www.youtube.com/watch?v=Ms9ZuAkc77I
Pentatonic Exercises - Part 3 - Video Guitar Lesson - 11
https://www.youtube.com/watch?v=9jOtJSIoQc8
Pentatonic Exercises - Part 4 - Video Guitar Lesson - 12
https://www.youtube.com/watch?v=6opcMeeGY0A
Pentatonic Exercises - Part 5 - Video Guitar Lesson - 13
https://www.youtube.com/watch?v=j4pTF82I-wU
Car Exercises - Video Guitar Lesson - 14
https://www.youtube.com/watch?v=_Nw4X86TJa0
Revitalizing Exercises - Video Guitar Lesson - 15
https://www.youtube.com/watch?v=zj2sED15Ltc

 
Last edited:

JackStuart

New member
Hey these are great lessons buddy!! I am sharing with you this video, I am a huge fan of this person, Chuck in video, he is a leading manufacturer as well as retailer of guitars in united states, I bought my first guitar from his store, and trust me I was so delighted by playing it everytime, it made my learning process a very beautiful journey, all thanks to him!! He is himself a very good guitar player, you can checkout through this video https://youtu.be/hk1jsIqwZ_k
 

John Watt

Member
Oh! This video is so dated, as far as seemingly being proud of going to China to show American manufacture,
and then expecting them to make it with slave labour and resell cheap in North America.
When I say dated,
isn't the new Tom Hanks movie "A Holograph for the King" something that's new news for Americans,
okay, and everybody else, even if we're trying not to have to see it.

Yes, it is about an electronic executive with telephone holograph technology,
setting up a display for a first sale to a King of Saudi Arabia.
Saudi Arabians were the nationality of all the "terrorists" in the New York airplane disasters,
even though America attacked Iraq.

But, everywhere Tom Hanks goes, from America to overseas and some say offshore,
everyone asks him about his time as an executive at Schwinn Bicycles,
when he was one of the first to take his product to China to get it made cheap.
Only, they were all saying after that, the Chinese imitated his manufacture,
and now only the Chinese are building bicycles for the rest of the world.

I like that attitude. It's for real.
Maybe they can get back to "Free Trade", when there can be no such thing.
How can countries that have to heat and air condition workplaces and homes,
compete with countries that can have a thatched roof and dirt floors,
and still be manufacturing better products?

But that's okay. People will start to think about burning the Bushes,
to get rid of all that. That's a happy thought.

And at the end of the movie, after Tom and his team have been there for weeks,
the Chinese show up and get the deal, doing it for half the price and faster.
The Chinese executive is shown looking at Tom Hanks, and it's not a look of respect,
or any kind of friendship.
 
Last edited:
Top