Podcasts about Bazooka Joe

In Episode 363 of Airey Bros Radio, we go belly to belly with a true legend in NAIA Track & Field — Coach Ed Fye, Director of Track & Field and Cross Country at Doane University in Crete, Nebraska.With over 40 years at Doane, Coach Fye has built a powerhouse:

DRAFT PREVIEW CONTINUES!  PATS trade Milton for culture?  Is Devers coming around for the Sox?  Duke and Gretzky upset all in the same week?!?!?  What's the world coming to?  All that and more with CORSO & CATONE

A continuation of our Bazooka Joe episode as Derelict brings out some of his vinyl record collection and unveils the tales within it. Windley- linktr.ee/Windleyband Myrtle Beach Shows- https://linktr.ee/myrtlebeachshows Bazooka Joe- bazookajoe.bandcamp.com Black Cat Vinyl Records- https://www.facebook.com/people/Black-Cat-Vinyl-Records/61551942031363/

We're joined by Darel and Derelict of Bazooka Joe! The band formed in 1987 and was instrumental in bringing punk rock to Myrtle Beach and shaping the scene. We cover a lot! Windley- linktr.ee/Windleyband Myrtle Beach Shows- https://linktr.ee/myrtlebeachshows Bazooka Joe- bazookajoe.bandcamp.com Black Cat Vinyl Records- https://www.facebook.com/people/Black-Cat-Vinyl-Records/61551942031363/

Hoy en Me lo dijo Adela, transmitimos desde Zihuatanejo. Adela Micha platica con el periodista en temas de investigación y corresponsal de El Universal, Carlos Arrieta y con el expresidente nacional del PRD, Jesús Ortega, para darnos detalles de la orden en contra de Silvano Aureoles y sus excolaboradores por desfalcos millonarios durante su gobernatura en Michoacán. Vía zoom, conversamos con el exembajador de México en Estados Unidos, Arturo Sarukhan, para darnos detalles del choque entre Trump y Zalensky. En la locación nos acompaña la presidenta Municipal de Zihuatanejo, Lizette Tapia Castro y el presidente Municipal de Zihuatanejo, Jesús Gallegos Galván. Como siempre, el jovencito Juan Carlos Díaz Murrieta. Hoy nos acompaña Emilio Morales y Bazooka Joe.

Hoy en Me lo dijo Adela, transmitimos desde Zihuatanejo. Adela Micha platica con el periodista en temas de investigación y corresponsal de El Universal, Carlos Arrieta y con el expresidente nacional del PRD, Jesús Ortega, para darnos detalles de la orden en contra de Silvano Aureoles y sus excolaboradores por desfalcos millonarios durante su gobernatura en Michoacán. Vía zoom, conversamos con el exembajador de México en Estados Unidos, Arturo Sarukhan, para darnos detalles del choque entre Trump y Zalensky. En la locación nos acompaña la presidenta Municipal de Zihuatanejo, Lizette Tapia Castro y el presidente Municipal de Zihuatanejo, Jesús Gallegos Galván. Como siempre, el jovencito Juan Carlos Díaz Murrieta. Hoy nos acompaña Emilio Morales y Bazooka Joe.

ESPECIAL en Acapulco: Vanessa Huppenkothen, Olí Peralta y El Bazooka Joe

ESPECIAL en Acapulco: Vanessa Huppenkothen, Olí Peralta y El Bazooka Joe

Adela Micha se puso picante EN VIVO: Adelantamos SAN VALENTIN

Adela Micha se puso picante EN VIVO: Adelantamos SAN VALENTIN

This week, Paige Ginn takes a seat in The Wayback! (The Viral Podcast).  In this episode, Paige takes us back to what it was like growing up in Utah during the late 90s/early 00s. First she reminisces about her standout high school athletic career, highlighted by the time she had a feminine hygiene malfunction in the middle of a basketball game.  As the youngest of eight kids, Paige also has some wild family stories, like knocking her brother out cold with a left hook, getting "the paddle," and her parents finding a used condom while out on their morning walk, and having no idea it was hers.  Then Ryan and Paige then get nostalgic about Bazooka Joe gum and share fake ID stories.  Also, don't miss Paige talking about the time she got arrested for mooning people in San Diego.  BTW, if your father ever happens to get his junk stuck in his zipper, Paige shares a top notch tutorial on how to remedy the situation. SUBSCRIBE to my YouTube & turn notifications ON! https://youtube.com/@rsickler SUBSCRIBE TO MY PATREON - The HoneyDew with Y'all, where I Highlight the Lowlights with Y'all! Get audio and video of The HoneyDew a day early, ad-free at no additional cost! It's only $5/month!  AND we just added a second tier. For a total of $8/month, you get everything from the first tier, PLUS The Wayback a day early, ad-free AND censor free AND extra bonus content you won't see anywhere else! https://www.patreon.com/TheHoneyDew If you or someone you know has a story that has to be heard, please submit it to honeydewpodcast@gmail.com GET YOUR MERCH! https://shop.ryansickler.com/ http://ryansickler.com/ https://thehoneydewpodcast.com/ SUBSCRIBE TO THE CRABFEAST PODCAST https://podcasts.apple.com/us/podcast/the-crabfeast-with-ryan-sickler-and-jay-larson/id1452403187

Standing on the shoulders of giants!!! Cold, dead eyes!! You don't have a goth dentist?! Caleb is so brave!! Gummi Bears vs Teddy Grahams!! Big ol' jeans!!! Masonic domination!!! The cold stink of winter!!! Hollow moon conspiracy!! Bazooka Joe backstory!!! What's this bird?! Let's GOOOO!!! SHOUT OUTS - 16:45COCKTAIL - 21:00REVIEW - 35:00OK, ACTUALLY THE REVIEW - 38:30REAL WORLD - 1:04:30 SCRIPT DEVIATIONS - 1:15:00RATE THE SCHEME - 1:16:00ICONIC MOMENT - 1:16:30

Cracker Bob is back from hiatus and discusses inflation on his one his favorite candies: Bazooka Joe.

Sutton Stewart makes his TTAB debut this week to see if he can take down our reigning champ. Listen in and play along! CARD 1 CLUE: It's a Crowd CATEGORY: 3-letter Body Parts ANSWERS: Rib, Lip, Leg, Toe, Hip, Arm, Eye CARD 2 CLUE: Being Rude is an Art CATEGORY: Things Associated with France ANSWERS: Eiffel Tower, Paris, Food, Wine, Surrender, Joan of Arc, Revolution CARD 3 CLUE: Island Life CATEGORY: Things Associated with Japan ANSWERS: Fuji, Sushi, Cherry Blossoms, Sumo, Nintendo, Ninja, Kimono CARD 4 CLUE: The Best Part of Waking Up CATEGORY: Things Associated with Coffee ANSWERS: Caffeine, Starbucks, Mug, Hot, Cream, Latte, Addiction CARD 5 CLUE: My Jaw Hurts CATEGORY: Brands of Gum ANSWERS: Doublemint, Juicy Fruit, Trident, Bazooka Joe, Orbit, Big League Chew CARD 6 CLUE: Shotgun CATEGORY: Famous Sidekicks ANSWERS: Chewbacca, Ed McMahon, Gromit, Short Round, Goose, Tonto, Robin

Steve and Cat talk about the prevalence of canceled shows in the music industry. Are the acts not a draw anymore? Actress Faye Dunaway is our one awesome lady this week. U.S. Open Tennis is our What Ca Watchin. Shot of the week is the Bazooka Joe shot. Alternative band Fontaines D.C. is returning as our band of the week.

Originally aired Dec. 6, 2022. Frank Santopadre is a veteran comedy writer and the longtime co-host of “Gilbert Gottfried's Amazing Colossal Podcast,” with the late, great Gilbert Gottfried. Prior to working with Gilbert, Frank helped to write jokes and supporting material for numerous awards shows (including the Daytime Emmys, the TV Land Awards, and the Kennedy Center Mark Twain Prize). He has also written comics for Bazooka Joe bubble gum, and mock ad copy, concepts, and character profiles for the Topps Company's popular Wacky Packs and Garbage Pail Kids trading cards series. Oh, and did we mention he also wrote for Mad and Cracked magazines? And the somewhat less zany The New York Times, The Washington Post, People, US Weekly, and Politico? Along the way, he has created comedy material for an eclectic line-up of celebrated personalities, including Bill Murray, Howard Stern, Sarah Silverman, Meryl Streep, Martin Short, and Ben Stiller, and briefly served as a staff writer on what he proudly calls “the worst sitcom in television history”—a forgettable show from the late ‘90s called “Lost on Earth,” hailed by The Los Angeles Times during its mercifully-brief run as “mirthless.” Join us for a somewhat more mirth-filled hour, as we talk about what it was like to help give voice to one of the most singular voices in the annals of American comedy—a joyful burden Frank kinda, sorta shared with podcast host Daniel Paisner, who collaborated with Gilbert Gottfried on his 2011 memoir Rubber Balls and Liquor. Learn more about Frank Santopadre, visit his official website, like his Facebook page, and follow him on Twitter.  Please support the sponsors who support our show: Ritani Jewelers Chelsea Devantez's I Shouldn't Be Telling You This Daniel Paisner's Balloon Dog  Daniel Paisner's SHOW: The Making and Unmaking of a Network Television Pilot Unforgiving: Lessons from the Fall by Lindsey Jacobellis Film Movement Plus (PODCAST) | 30% discount Libro.fm (ASTOLDTO) | 2 audiobooks for the price of 1 when you start your membership Film Freaks Forever! podcast, hosted by Mark Jordan Legan and Phoef Sutton Everyday Shakespeare podcast A Mighty Blaze podcast The Writer's Bone Podcast Network Misfits Market (WRITERSBONE) | $15 off your first order  Film Movement Plus (PODCAST) | 30% discount Wizard Pins (WRITERSBONE) | 20% discount

In this developing Memory Palace Based Detective Mystery- "Rough Draft" Codman Fisher Entrepreneur has gone missing , his company cyber hacked big time, and his seaford enterprise compromised and stolen. Carl Crab: A Colorful Antagonist- looks like possible suspect #1, but is he??? Carl Crab is a fascinating addition to the story. His appearance as a Bazooka Joe-like character is both intriguing and unsettling. The moniker "Hustler" and the rumors of trap stealing paint a picture of a character who is both cunning and dangerous. Background: Explore Carl Crab's past. Perhaps he's a former sailor with a gambling addiction who turned to crime to support his habit. Motives: What drives him to steal traps? Is it financial gain, sabotage, or something more sinister? Connections: How is Carl connected to the cyberattacks? Is he a pawn (or is that a prawn), a mastermind, or simply taking advantage of the chaos? Red Herring: Could Carl Crab be a red herring, designed to distract the protagonists from the real culprits? Trap Theft: The stolen traps could be part of a larger plan, such as disrupting the fishing industry or creating a hazardous environment for marine life. Underworld Connections: Carl's involvement in after-hours card games suggests he has connections to the criminal underworld, which could be exploited by the cybercriminals. Character Profile: Create a memory palace for Carl Crab, using his appearance, habits, and known associates as key elements. Location Mapping: Use the Portland waterfront as a backdrop for a memory palace focused on Carl's activities and potential hiding places. My granddaughter Adah, and I will be developing Carl Crab into a complex and multifaceted character, you can add depth and intrigue to the story. His connection to the trap thefts and the potential link to the cyberattacks creates a web of mystery that will keep readers engaged. We will be exploring the potential motives for the trap thefts and we will be delving deeper into Carl Crab's connection to the cyberattacks, and Maybe even a Abduction/Murder? Character Development Plot Implications Memory Palace Integration

Send us a Text Message.We do a deep dive into the Rob Crooks album Introducing the Ghost.  Rob has been busy lately on the beats and rhymes. We discuss this album as well as recent projects with Bazooka Joe, Kitz Willman, Pip Skid and Andrew Mbaruk. We also touch on his three upcoming cd's, two of which are on deck. One later on with the Deadly Stare. We included a song with Rob's album with Andrew as well as a secret bonus track at the end.   

Andy recounts an adventure and talks about chicken cordon bleu, REM entering the Songwriters Hall of Fame, and Leslie Jones' audiobook. Also we listen to a clip of a young Michael Keaton putting his own spin on a Bazooka Joe comic strip. On Rachel's Chart Chat, Rachel from Des Moines looks at Barbra Streisand's most successful pop singles. Follow Rachel on Last.fm here.

PINKY'S LAUNDROMAT by JOHN SMITH was released July 1st, 2004 on the Peanuts & Corn Records label. Twenty years later, BAZOOKA JOE 204 (formally John Smith) provides behind-the-track insights and reminisces on Pinky's Laundromat's conception, recording and early Winnipeg hip-hop. Purchase PINKY'S LAUNDROMAT by JOHN SMITH here: peanutsandcorn.bandcamp.com/album/pinkys-laundromat www.linktr.ee/themanitobamoneyshotpodcast www.patreon.com/ronaldgeorgemoore

Join us in celebrating the 200th episode! It's all about gum! And friendship.

Woods are woods, maniacs! This week we're taking a look at the 1987 backwoods island flick American Gothic. While we parse through the plot, we also discuss topics such as offensive shirts of the 80s, Bazooka Joe's hard gum, and Lance's tramuatic story about The Clarks. Drop that Caramello and check out our Patreon! This month we counted down our top five 1990s comedies. For as little as $2 a month you can get in on the action as well with bonus episodes, Discord privileges, livestreams, exclusive merchandise and more! Want more slasher flick talk from 1987? Check out our previous episodes on Bloody New Year (episode 16), The Stepfather (episode 27), Stagefright (episode 36), Blood Harvest (episode 51), The Majorettes (episode 55), Blood Diner (episode 128), Slaughterhouse (episode 133), Slumber Party Massacre II (episode 178), and Blood Lake (episode 321).

Tuvimos grandes invitados como Gabriela Garza, que nos hablo de un evento que no te puedes perder si te gusta bailar en patines, además nos acompañaron Mariana Ochoa y Bazooka Joe para hablarnos de su nuevo programa y te traemos más de cine con Óscar Uriel, finanzas con Poncho Romo, coaching con el Dr. Roch y los chismes del espectáculos con Érika González. Y por si fuera poco nos divertimos jugando, para darte los mejores premios, aquí con Roger en exa.See omnystudio.com/listener for privacy information.

The crispy walleye was a hit and "Bazooka Joe" brought the laughs—just a taste of what unfolded at our Christmas fish fry extravaganza. Settle in and get ready for tales from the heart of our local community, as we take you through the highs and lows of running our cherished restaurant. From the pressure-cooker environment of a busy service to the warm afterglow of glowing social media reviews, we've cooked up a delightful mix of anecdotes and behind-the-scenes insights that'll have you feeling like part of the family.Crackling with the energy of personal connections and the quirks of everyday life, we dive into stories that are sure to tickle your funny bone. We recount the legend of "Crazy Joe" and his son Joey, whose antics inject a dose of humor into our day-to-day. Then, we shift gears and stir up a reflective conversation that touches on everything from the generational shifts in American lifestyles to political debates. And just when you think the conversation couldn't get any livelier, we reveal our aspirations for a one-of-a-kind Christmas song—with or without our questionable singing chops.As we wrap up, we don't shy away from the irony found in the chaos of daily life, drawing parallels to the likes of a Seinfeld episode. We spin yarns of teenage escapades and even dream up an album featuring our talented staff. It's a journey through the madhouse of life and local business, peppered with laughter, lessons, and a side of nostalgia. So, come join us and experience the community spirit that only a place like ours can offer. Support the showWe want everyone to enjoy the show and really appreciate your feed back

GGACP celebrates the birthday (October 5) of writer, author and "Card King" Gary Gerani by revisiting this 2018 mini-episode about the fascinating, decades-long history of Topps trading cards. In this episode, Gary looks back on developing and writing card series for "Creature Features," "Star Wars," "The Incredible Hulk," "Superman," "Star Trek: the Motion Picture" and "Dinosaurs Attack!" (among many others). Also in this episode: the artistry of Norm Saunders, the birth of action figures, the wit and wisdom of Stan Lee and the golden age of Wacky Packages. PLUS: Gilbert remembers Chick Tracts! Frank pens Bazooka Joe gags! And Gary meets the King of Pop! Learn more about your ad choices. Visit megaphone.fm/adchoices

Donald goes over “The Deal,”  the ninth episode of season two. He plumbs the depths of Aquaman's beginnings, highlights a really good day at an art gallery with William Butler Yeats, and unpacks the comics of Bazooka Joe bubble gum. Here are the books and authors discussed in this episode: More Fun Comics #73 “The Municipal Gallery Revisited” by William Butler Yeats Bazooka Joe Comics

What did you hate as a kid and love now as an adult?, is someone out of line for taking away toys as a punishment for their child?, Dave talks about one of his kinks, and more!

(Timestamps/links in show description)FOOTBALL IS BACK! Ari and David recap week one's action, including Coach Prime and Colorado doing the dang thing. Jalen Milroe, Drew Allar, Shedeur Sanders, and more had impressive first starts. Plus, our Week 1 Overreaction Team and Ari's bad beat. Subscribe to the Until Saturday newletter: https://theathletic.com/newsletters/until-saturday Call/text the Until Saturday phone and leave us a question for a future mailbag and/or Sunday Sound-Off podcast: (316) 462-9852 Subscribe to Until Saturday: https://www.youtube.com/channel/UCbhfrD1COvG40Mk7vvgaHIQ Rundown: -Colorado upsets TCU; Coach Prime proved us wrong (:30) -Jalen Milroe impresses in debut (24:15) -Kyle McCord left us wanting more (26:45) -Bobby Petrino's offense...worked?! (29:30) -Drew Allar dealt in first start (31:30) -Bazooka Joe showed out (43:00) -Iowa didn't cover (45:15) -Mordecai's up and down start, but Wisconsin prevails (51:45) -Week 1 Overreaction Team: Florida (55:15) -UNC/South Carolina; Texas; Washington; Oregon; USC & more (1:04:00) -Ari's Bad Beat (1:15:00) Follow Ari on Twitter: @AriWasserman Follow David on Twitter: @davidubben Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week’s show Chris and Aaron talk about: Flag Day, Led Zeppelin, Trump is the Roadrunner, Bazooka Joe is for sale, aliens, AI in Music, Pat Sajak is retiring, Alabama approves only peach flavored edible, and Casey Kasem. Please follow us on Twitter @TheWeedsmen420, Instagram @TheWeedsmenPotcast, and on Facebook at Facebook.com/TheWeedsmenPotcast/ Download the rest... The post Fat-Free Rubber Gloves first appeared on Christopher Media.

Craig Fowler, Tony Anderson and Thom Watt are here to look at the cinch Premiership players on expiring contracts, but with a twist. The guys take turns to draft their favourite picks as they each seek to construct the best XI from those available? But who will execute the right strategy and who'll forget all about a very good player so he goes 13th? Learn more about your ad choices. Visit megaphone.fm/adchoices

You can listen to 3HL and 104.5 The Zone no matter where you are in the world. Just subscribe to our channel by clicking on the links below  104.5 The Zone App  Apple Store - https://itunes.apple.com/us/app/104-5-the-zone/id383299700?mt=8  Google Play - https://play.google.com/store/apps/details?id=com.airkast.WGFXFM   3HL on Apple Podcast  https://podcasts.apple.com/us/podcast/3hl/id1103395659   3HL on Spotify  https://open.spotify.com/show/3O2pLdz4xu1GGc1ueCG9UD?si=475f849bc5274c78  3HL on Stitcher  https://listen.stitcher.com/yvap/?af_dp=stitcher://show/424124&af_web_dp=https://www.stitcher.com/show/424124&deep_link_value=stitcher://show/424124  3HL on Podchaser  https://www.podchaser.com/podcasts/3hl-503331 See omnystudio.com/listener for privacy information.

You can listen to 3HL and 104.5 The Zone no matter where you are in the world. Just subscribe to our channel by clicking on the links below  104.5 The Zone App  Apple Store - https://itunes.apple.com/us/app/104-5-the-zone/id383299700?mt=8  Google Play - https://play.google.com/store/apps/details?id=com.airkast.WGFXFM   3HL on Apple Podcast  https://podcasts.apple.com/us/podcast/3hl/id1103395659   3HL on Spotify  https://open.spotify.com/show/3O2pLdz4xu1GGc1ueCG9UD?si=475f849bc5274c78  3HL on Stitcher  https://listen.stitcher.com/yvap/?af_dp=stitcher://show/424124&af_web_dp=https://www.stitcher.com/show/424124&deep_link_value=stitcher://show/424124  3HL on Podchaser  https://www.podchaser.com/podcasts/3hl-503331 See omnystudio.com/listener for privacy information.

Bryan Behar is a writer/producer known for Wilfred, Glenn Martin D.D.S., and Las Man Standing. Join Michael Jamin and Bryan Behar in this deep conversation, perfect for emerging writers or aspiring TV Writers.Show NotesBryan Behar on IMDB: https://www.imdb.com/name/nm0066864/Bryan Behar on Twitter: https://twitter.com/bryanbeharBryan Behar on Instagram: https://www.instagram.com/bryan_behar/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAuto-Generated TranscriptsMichael Jamin:Someone said, well, you know, when are they gonna, are they gonna bring back multi-camera sick? They should bring 'em back.Bryan Behar:They exist Uhhuh. But they exist either for the very old or the very young. But there's been an entire generation that has been raised without them.Michael Jamin:Right? AndBryan Behar:Which infuriates me because as a historian of the, of the genre, I look back as recently as a couple years ago, and in the previous, I think 60 years of sitcoms, the number one sitcom on the air, uh, in terms of total viewers had been a multicam in 59 of the six first 60 years.Michael Jamin:You're listening to Screenwriters Need to Hear This with Michael Jam.Hey everybody, welcome to Screenwriters. Need to hear this. I'm Michael Jam. I got a special guest today. But you know, the way, um, the Letterman show always opens with, you know, my next guest needs no introduction. Well, my next guest needs an introduction, but he's like, . But, but you know what? All writers need introductions. No one's ever heard of any of us. But I'm here with Brian Behar and he is, dude, this guy's got a, he's a sitcom writer with a list of a laundry list of shows that he's worked on. I'm Brian. I'm gonna run through those cuz I'm sure you've forgotten half the credits. That's how many credits you have. AllBryan Behar:Right. I, I could name three, so please.Michael Jamin:, we started his, his career with the illustrious teen Angel, and then we slowly move up to working. I remember that show. I'd forgotten you were on work. You had some,Bryan Behar:I started with Ned and Stacy, but that may not have appeared on the, on your laundry list.Michael Jamin:Uh, my researchers who basically just download imdb did not tell me that. But we're gonna go on the IMDB order. , okay. That's accurate. Uh, then dag, remember that show with Andy and Eileen Baby Bob, you remember that show Baby Bob?Bryan Behar:The biggest hit I've ever been on ,Michael Jamin:Then a usaBryan Behar:And I still quit because I, as I told the Showrun my self-esteem can't handle running into anyone I went to high school with telling them I'm on Baby Bob. Sorry, Saltzman.Michael Jamin:Sorry. The, then a usa and then Andy Richter controls the universe. Guys, hang on. This guy's got so many credits then I'm with her. Although we're not sure if it's I'm with her or I'm with her.Bryan Behar:Brent Must Berger said I'm with her. So it was, I'm with herMichael Jamin:, I'm with her. I'm coughing. Then eight simple rules. How many of the rules did you ever get to before they canceled the show, by the way?Bryan Behar:Uh, we were on the fourth rule.Michael Jamin:Fourth rule. I was on, by the way, rules of engagement. So, oh.Bryan Behar:And I've done three shows with the working of the titleMichael Jamin:. Then, then the New Adventures of Old Christine. The, the old conventions of new Christine would've been better, but apparently that's okay. Then The Jake Effect.Bryan Behar:Yes.Michael Jamin:Weak shots. I don't even know what that is, to be honest.Bryan Behar:Oh, that was an, that was a highly touted one hour.Michael Jamin:Oh, so you can talk about some drama experience.Bryan Behar:I can talk about anything.Michael Jamin:It doesn't mean, doesn't mean what you're talking about, but you can talk aboutBryan Behar:Any Yeah, no, you're not gonna be able to stop meMichael Jamin: then. Big. Okay. Big shots then. True. Jackson vp, which was on NickelodeonBryan Behar:One episode. I, I wrote a, I wrote a story. Let's not get carried away.Michael Jamin:All right. Let's not give you too much credit then. Wil, which we worked on together.Bryan Behar:Yes.Michael Jamin:Talking Dog Show.Bryan Behar:Oh, that's where's our other Talking dog show? That that should have been a, uh, oh,Michael Jamin:Getting there. Glen Martin dds. No one knows what that is, but that's when we first worked together.Bryan Behar:But if you love, uh, Canadian cable Claymation shows you might like GlenMichael Jamin:. You might like it. Uh, last Man StandingBryan Behar:Like animation with a laugh track that isn't jaber. You're gonna love Glen. You're,Michael Jamin:That's how they promoted it. Then, uh, last Man Standing, which you were not one of the last men standing on that show.Bryan Behar:No, I was the first to go. ButMichael Jamin:. Well, Jack, no, Jack was the first to go.Bryan Behar:That's true. GreaterMichael Jamin:Was the first to go.Bryan Behar:Then he came back and then he went again, and then he came back. So, yes,Michael Jamin:I didn't realize he came back. Sorry. Then saved me. I don't know what that is. Do you know what that is?Bryan Behar:Give me a moment.Michael Jamin:Was that just a letter that you wrote to your agentBryan Behar:? Um, I did, I did write that letter from the writer's room of Save Me . Um, that was a show about Ann Hay, uh, think she Can Speak to God. And that was the least crazy part of the show.Michael Jamin:Oh, I did not know that. We'll talk about that.Bryan Behar:Yes, please.Michael Jamin:Uh, then we'll talk about Kirsty, which we worked again on You guys brought, I mean, me and my partner in on to do a freelance of that. And I had the great Cogan on the show a couple weeks ago.Bryan Behar:Oh my goodness. Well, you, you've got to everyone before me. Oh,Michael Jamin:I I, yeah. This is the bottom of the barrel week. IBryan Behar:Know, I saw on the list. I was like,Michael Jamin:. Really?Bryan Behar:So go ahead.Michael Jamin:Uh, I also have here Jennifer FallsBryan Behar:And does not get back up. Yes. All yes, I've heard them all. Uh,Michael Jamin:Ratings falls then Ned and Stacy we have on here. I don't know why it's, it's out of order here, but yes, that was 1997 N and Stacy there. And then finally, uh, you were the, you were the showrunner of Fuller House, the, the full House Free make.Bryan Behar:That is correct. I was,Michael Jamin:Now you,Bryan Behar:Is the first time you're hearingMichael Jamin:This. I had no idea. , you've, now you're fond to say that I think you've, like, you've worked on 20, it's 26 shows. Is that what it is?Bryan Behar:21 shows in 26 seasons,Michael Jamin:21 shows. And think about, so this is a career, guys. YouBryan Behar:Are, this is a hard way to do it.Michael Jamin:It is the hard way.Bryan Behar:Apply for a new job twice a year.Michael Jamin:Yeah. And it's act I mean, to be honest, it was, um, it was more doable then than it is now. I mean, now it's really hard to do that.Bryan Behar:I have no idea what people do now. Yeah. Which is, which makes me a sort of, sort of a sham as a, a teacher of, of sitcoms as I'm trying to, um, encourage and promote people to take a, take the, the risk and, uh, and jump in. But, uh, I have no idea what a career trajectory, uh, looks like today. It was, it, it, it it was very, uh, understandable when we broke in. Yeah. Like, it, like there was a clearer path and you're like, oh, I can go from show to show and there's enough sitcoms and there's, you know, I can just, if I lose one job, I'll just walk to the next bungalow on CBS Bradford and knock on the door and hope somebody else lets us in. ButMichael Jamin:That's, that's what I say. I say maybe I wonder if you agree. I say that, um, I think it's easier to break in now, but it's harder to make a sustain a career. What do you think?Bryan Behar:Um, well, I'm, I'm certainly not gonna disagree with you on your own show. I mean, you, you ,Michael Jamin:Please, if you do, I just edit it out.Bryan Behar:You have your burgeoning media empire here and I looking to be part of it. Um, God, how many does it? Okay. Um, I think you're right. Um, and by that, i I, I don't know if it's harder to sustain a career. I see a lot more people not entirely willing to commit to putting a career together.Michael Jamin:What does thatBryan Behar:Mean? Which, I mean, there's been such, um, on social media and in the press, there's such a sort of hype surrounding the concept of like the celebrity showrun that, and, and sort of with the advent of streaming services, that there's this idea that anyone can get a show on the air at any time and immediately jump from like an unemployed, unemployable, aspiring writer to a show runner. Mm-hmm. without doing any of the work in between. Like, you know, I know I hate to sound old fashioned, but you and I, we definitely put in the time working up the rung, working up the ladder. So when we finally got that call to run a show, I, you know, we, we had the skill set presumably, you know, we had been learning, we'd been acquiring a certain set of skills. Um, and I don't know that that is really like, promoted as much,Michael Jamin:But are you seeing people with not, with not a lot of experience becoming share owners?Bryan Behar:No. Um, but I'm seeing, but I'm hearing a lot of that's the aspiration.Michael Jamin:Oh, oh, yes. That's for sure. I hear that a lot.Bryan Behar:You know, like, you know, because I know you talk to a lot of people, you know, who were, you know, aspiring TV writers. And I, you know, I was doing a lot of talks on, on Clubhouse, and a lot of ask me anything kind of talks on, on Twitter and, and the, the question always sort of circles back to how do I sell a pilot to Netflix? How do I get a show on the streamer? How do I become a show runner? And it's not like, oh, what samples do I need Yeah. To break in? What skills do I need to move up the ladder? You know, it's just a different mindset. Like, it never would've occurred to me. I didn't, I didn't even sell a pilot or even attempt a pilot until I had been on 12 networks at college.Michael Jamin:It's so fun, Brian. It's like, maybe we're just the old guys, but this is exactly what I say all the time. I mean, so I'm glad that I'm not the only one saying it, or thinking atBryan Behar:Least. No, there are, there are two old guys in the Yeah, we have become the guys from the puppets, butMichael Jamin:The cranky old guys Yeah. InBryan Behar:Waldorf and Staler.Michael Jamin:But, but you, so I wanna actually wanna mention this. I wanna jump around for a second. So yes, you are also teaching at Chapman University. You're teaching, uh, is it television writing? What are you, what's their course?Bryan Behar:Um, yeah. Um, I'm teaching, I, I just, I started last semester from, this was my first time. Um, and, and currently in this fall semester, I'm teaching two classes. One is a sitcom writing class, uh, for graduate students, uhhuh. And one is a pilot writing class for undergrads. And then I'm gonna do two, they've already asked me back, uh, for two sitcom classes, uh, in the spring semester.Michael Jamin:Wow, that'sBryan Behar:Great. Yeah. It seems to be what I do. Uh,Michael Jamin:So you're enjoying it then? I loveBryan Behar:It. I love it. And I, uh,Michael Jamin:You weren't sure if you were gonna enjoy it?Bryan Behar:No, I, it, it actually took a little bit of Mm, a little coaxing internally in the family. You know, my wife had a bit of a come to Jesus moment with me. You know how, I don't know if you've heard the old joke, but they say that in Hollywood, you're retired for seven years before you realize it. Well, I had been retired for three years, and my wife was certainly well aware, and I was, I was starting to get it. Um, and she really was, you know, she really sat me down and said, like, you know, is this what you wanna do the rest of your life? Just keep banging your head against the same wall? Or is there, is there a wall you can go around and find something that gives you joy? And this has been great. WhatMichael Jamin:Exactly do you like about it?Bryan Behar:Well, I like not being on a TV show, which apparently Hollywood, Hollywood and myself have the same, likeMichael Jamin:You do have the same goal for you.Bryan Behar:They both, my, my, uh, agent manager, Hollywood producers and teaching, I'll see it the same way. .Michael Jamin:Um,Bryan Behar:No, I, I, I love, I mean, it, it, it's something so special to be around people who just are filled with nothing but hope and nothing but confidence. And, you know, it's really, I mean, if I have to spend my days around people who are positive and, and still love, have a love for the art and a love for the craft, and would give anything to be in television or be, you know, be by myself or be around a lot of bitter people complaining about why they're not in, you know, I'll take the four hours of driving down to Orange County anytime. Uh, it, it's, it's been great. And I didn't, I had no idea if I would like it.Michael Jamin:Well, first of all, it's not really a four hour drive.Bryan Behar:It's, it's two hours each way.Michael Jamin:Right. Okay. Um,Bryan Behar:So yes, for clarity's sake. Okay. It's not a four hour drive each way, but it is.Michael Jamin:But, and I'm sure what surprises you, cause it does surprise me, is just, is how much you actually know about how to do this. Right.Bryan Behar:That's the other fun part. I mean, that's is, I mean, and I don't mean it in like a smug, self satisfactory kind of way that like, wow, I'm, I'm smart, I've learned things, but when you're, when you're actually seeing it through the perspective of, of new writers and, you know, and new students and, and you're imparting knowledge on them, and, and it's, and like you said, it's not even knowledge that you're aware you have. Right. It's, we've almost picked it up by osmosis. But I mean, you know, me and I think you're a lot, you're really kind of the same way where, you know, we were both students of, of television, students of the TV history, students of the craft, you know, more than a lot of people who we did it alongside. I mean, so I think it makes sense. The, the two of us have found virgins of, of offering guidance and coaching and Yeah. And, you know, and trying to impart expertise. But it, it is, it is really satisfying and gratifying to, to realize like, wow, I, I actually did learn something. I actually have a certain level of skill. And, you know, all those years were not for, not, yeah. I'm spelling not differently in those two cases, butMichael Jamin:K nBryan Behar:O t not for nothing. Yes. , I mean, I know you're from the tri-state area. I should, I should have said it more colloquial,Michael Jamin:But, um, and so, yeah. Good. So, and you're enjoying that and you, the class sizes are kind of small or what?Bryan Behar:Yeah, I had, uh, seven last semester. My grad student was, is nine, and then 15, uh, I got 15 in my, uh, pilot class, you know, but it's, it's way tougher than I expected. You know, like, I, like they turn in, you know, like pages of a script or an outline, uh, the day before we go into class. And I, and I'm so like, you know, of, of the neurotic sense of I need to give them their money's worth, you know, they're paying a lot for the, so I write up about three pages of notes per student, per class. Wow. So, pilot class, that's, I'm writing up 45 pages of notes between the hours of two and eight on a Thursday night just to make sure I have something to give themMichael Jamin:A lot of work, dude,Bryan Behar:You know, you know, on Friday. And it's like, wow, you know, I, I used to do half the amount of work for a lot more money, but it, you know, I don't know that I would do that again. AndMichael Jamin:Let me be clear.Bryan Behar:And that's okay. I've made, I really have made my peace, which, which is threatening to people. You know, I had, I had lunch with a writer we both know the, uh, last week. And he is like, you, you want back in? I was like, no, I really don't. He's like, you can't be at peace. I'm like, no, I'm at peace. He goes, what if I offered youMichael Jamin:Go?Bryan Behar:Yeah. And I was like, he goes, what if I offered you a job on a, on a, on a pilot? I was like, okay, well first you'd have to get it on the air and you're not going to offer it. I said, but yeah, sure. Let's say you offered me a job. I'm not gonna like turn it down out of hand. Um, but I don't think it's gonna happen. He goes, yeah, probably not. He goes, your old partner's, uh, wife works at the network. She never let me hire you anyway. I'm like, then why are we having this discussion? You, you better pay for lunch.Michael Jamin:Could you wait, can you say who it was?Bryan Behar:This was Marco from, uh,Michael Jamin:Oh, Marco, really? MarcoBryan Behar:From, uh, yeah, from our Kirsty,Michael Jamin:Yes. Marco from Hello Marco from Kirsty.Bryan Behar:Hello Marco from KirstyMichael Jamin:.Bryan Behar:One of, one of my dear friends. But, you know, but I think, you know, for a lot of people that you know this, and I'm not singling him out, you know, that being a writer on television becomes one's identity. And, and it was for me for a long, long time, you know, you know, 25, 26 years, uh, of doing it. But it, you know, at some point you just have to read the writing on the wall, if that's, if that's where your career is at. And, and that's where IMichael Jamin:Are you still doing any other writing outside? Just for your, for personal reasons?Bryan Behar:Yeah, I'm doing all kinds of writing, but none of which is with the intent ofMichael Jamin:Making aBryan Behar:TV show, selling a pilot or, or getting back in, you know, on staff. Yeah. And, and that's, you know, you know, we've talked about this off camera a lot over the last, you know, five, six years just finding our own voices and, and finding other avenues to, to write on, you know, on my own. And so I'm like, I'm still writing a, you know, you know, a lot of essays. Um, I, you know, I, I had written I think 40 essays for the Huffington Post, um, over the past five years, another 20, 25 for Medium. And, and then I've moved my stuff over, uh, to sub stack. Um, so I recently wrote a, an article about growing up in Encino that was shared 10,000 times. Um, and I performed it at a, um, wow. I performed it at a spoken word, and I,Michael Jamin:And that was all from Sub, it got shared 10,000 times.Bryan Behar:Yeah. Yeah.Michael Jamin:Wait, what? We'll plug it.Bryan Behar:Apparently. I know a lot about the Valley,Michael Jamin:But, and you have a lot of thought. We'll plug it again at the end, but I wanna make sure, might as well mention it now as well. What's your sub name?Bryan Behar:Oh, find You. I assume it's, it, it has to be Brian Behar. That's with Brian with a Y. But I can, I can check. I'm sorry. This is, this is not gonna make great television watching an old Jew look, look up his SubT. But, uh, I just, um, I just got O brian behar.com, but I just got two Twitter notifications saying that even though this, uh, episode hasn't aired, it's already been referred to as two JulieMichael Jamin:, Elon Musk's ahead of time.Bryan Behar:. He's,Michael Jamin:He's, he's, he's making it better. Um,Bryan Behar:Yeah, I've lost 10,000 followers in the last week, and I don't think I've gotten that much less funny. I, but uh, I mean, there's, there's just a Twitter at Trisha. Yeah. So, as you, but in, in reference to your other question, yeah. I'm still still posting a ton on Twitter and on, on Facebook. I, I wrote a novella, um, which is just a novel that I didn't have enough words to legally call a novel. Uh, I've been writing my articles, doing spoken words, so really doing everything but the stuff that used to pay me. And, uh, but, and loving itMichael Jamin:And loving itBryan Behar:And loving it.Michael Jamin:And that's great. I wanna, so I wanna circle back to stuff that I wanna ask you, how you broke into the business. Although it's odd because I'm not sure how helpful it is for people since so much has changed, but we might as well talkBryan Behar:About it. Yeah. I mean, sitcoms used to be on Kiddo Scopes when we were breaking in , you know, was it the Dumont network that gave me myMichael Jamin:First job? , yes.Bryan Behar:I mean, my story is sort of, sort of interesting for people who like ancient history, , um, you know, cuz in many ways I was an overnight success. I wrote one spec script and was on the staff of n and Stacy two months later. Um, but this was an overnight success that, that was seven years in the making, right? Um, between the time I graduated from college, brown University. Um,Michael Jamin:Oh, for applause. Nothing.Bryan Behar:Oh, for applause. Hold for salute. Thank you. Thank you. Everyone still holding, still holding. No one seems to, no one seems to care as much as, as I do, um, between graduation and, and, and even knowing at the time of graduation that I desperately wanted to be a sitcom writer, it was seven years between then and actually getting my first job Right. Um, for the first few years. It, it just felt as though it was not like a conceivable path in my mind. It's, it felt like that was for like the funny people. That's what other people did. Um, but I knew I wanted to write mm-hmm. , and that was something I discovered at Brown. Like, I, I went to Brown thinking I was gonna be a lawyer, like all dutiful Jewish boys trying to buy their mother's affection through grades, . Um, that didn't work. So I decided I might as well do something I actually am good at and something that I like. Uh, and I started to realize that like, wow, people seem to be laughing when I'm writing stuff for the school paper. So I knew I wanted to write comedy, but, uh, a job in advertising actually felt more, uh, conceivable to me. And, and as such, I went on that path and I, and I worked as a copywriter for seven years. AndMichael Jamin:That was in New York, or out hereBryan Behar:On the west coast. Started in San Diego, then Los Angeles, and finished up in San Francisco.Michael Jamin:Okay.Bryan Behar:Um, and I was pretty good at it, and I was starting to actually get like a, a decent amount of success and traction, but all the while I could not shake the feeling that I really wanna write tv. I really wanna be a comedy writer. And if I don't try it soon, I'm gonna reach that point where I am too successful or too well paid at, at something I don't wanna do to ever take the chance. So, um, my old partner, uh, was a college friend Steve, and he said, Hey, I'm writing a specs script. And I was like, wait, you don't wanna be a TV writer? That's my dream. He's like, well, I'm doing it with another friend of ours. I said, well, tell her we're not doing it. And he and I wrote it over a facsimile machine while he was in LA and I was living in San Francisco. We were never even in the same room. Wow. AndMichael Jamin:And he was an executive at the time?Bryan Behar:He was an executive. He frequently wore suspenders by choice.Michael Jamin:I'm sorry. He was a TV executive, right? He was at, was he at a, where was he? Wonder Brother abc. WhereBryan Behar:Was he? He was at Universal. He was at Columbia. He was at spelling and he was at nbc. Yeah. So he was well into that career, but he also, he was, you know, he wa he'd been to enough tapings and be like, wow, these people aren't that smart. Like, right. Like, I can write, I can write mediocre multi-campus, it comes as well as the next guy . SoMichael Jamin:You guys teamed up, you wrote a spec and then what?Bryan Behar:And then we, we were on staff two months later. HowMichael Jamin:Did you get into, how did you get into someone's hands? What,Bryan Behar:Uh, well, he was dating the woman who became our agent. ThatMichael Jamin:Helps.Bryan Behar:And so, so there is thatMichael Jamin:,Bryan Behar:I mean, he had dated her earlier. They had met in the, uh, UTA mail room. Hi. SoMichael Jamin:That's right. She, she was my, our agent at one point too.Bryan Behar:Yeah. Um, but like I will say to our credit, like, she was like, you have to send it to me. But we were, we thought that it was almost not kosher and it sent it to some other people who were gonna sign us Uhhuh. Um, so it was a good, but here's the thing, it was a good spec. Um, and I see why we got hired, but we took a year to write it. Yeah.Because like, you know, we had unlimited time. There was no constraints of being on a show. And then we get to our first job and they say, oh, well we need our, your first script in a week. Right? Well, we had no, we had no system in place. We had never even been in the same city. Right. So we totally panicked, wrote it as quickly as possible, turned it in, and we're like, I think we did it. And we got called in by our boss, Michael Whitehorn is like, guys, you know, I have to say about this script. Like, it reads like a Marks Brothers movie. And I was like, well, thank you very much. I I appreciate. He's like, no, this is terrible. He goes, I love the March Brothers, but that's not how you write tv. He goes, there's no story, there's no setups.It's just bouncing from joke to joke. Mm-hmm. . And it literally read like it felt writing it like it was done out of panic. Yeah. And he, and he told us he was gonna have to fire us. And this was like, you know, I finally was living my dream after years and years. He did. You already. And, and within like a month it was, it was all gonna go away. And I had quit my career in San, in San Francisco in advertising. Moved down here. I had just gotten married, you know, I always like to say, other than death, divorce, and space travel, I took on all of life's great stressors in one month. But did And did you get fired from it? We did not. What happened? Here's some advice for you young folk. Yeah. Cause I know young folks like this podcast. Um, they might, they might to laugh .Um, he said, well, legally, I have to give you a second script. So you know how long ago it was when you had a two script guarantee? Yeah. He goes, so I might as well let you write it anyway cause I don't have to pay you. Right. So at that point, we, we had nothing to lose because we'd already suffered like all the indignity of being fired and everyone in the room knew it. So we kind of just slowed down and like pieced it together a lot more carefully and a lot more artfully. You know, we still, you know, we still had a ton of jokes, but it wasn't in this like, frantic style. And he, and he, to his credit, he said, this is so much better. I'm gonna, I'm taking it back. I'm gonna let you keep your job. And we ended up staying there for 24 episodes and we wrote four of them.Mm-hmm. , and we were, you know, sort of off to the races. But it, you know, so much attention is given to getting that first job. And so little attention is given to how do you keep it? Yep. How do you get the second one? How do you go from jobs two to jobs three and four? And that's like, that's the stuff that I'm trying to help people with both online and in my class, which is anyone can kind of break in with like, you know, and I've heard you talk on your, your ticks about one hit wonders. Like, that's not what people should be aspiring to. They shouldn't be aspiring to, well I, I, you know, I sold this one movie, or I sold this one pilot. But how do you get on a show? How do you, how do you keep, how do you stay in the boss's good graces mm-hmm. , how do you make friends on a staff as a staff writer, um, without being the annoying staff writer who feels compelled to fill the air with your voice mm-hmm. because you think that everyone's judging you and keeping score. And these are, you know, again, these are all super valuable, but, you know, lessons that are kind of lost arts in my mind. Um,Michael Jamin:I totally agree. It's also, you know, when I, the first script that I wrote, this is even Withouts before I met my partner, it was a good script. It got me signed by Bro Cro and Webner. But I thought I would never write. It wasn't my first script. It was the first script. I guess it was good, but I, I thought I would never do it. How could I do it again? I don't, I I got lucky. I didn't know how, I didn't know what a story was. I just got lucky, you know?Bryan Behar:Yeah. I hundred percent felt that and felt that for a long time. I mean, when I was writing like samples, and again, I, I, I sort of jumped ahead and didn't mention that I was trying to write samples for all seven of those years.Michael Jamin:Yeah.Bryan Behar:And I tried it with three or four different partners. I tried it on my own. Interesting. Um, and my real issue was I couldn't finish. You know, like people always say like, what, you know, what's the, what's your biggest advice? I'm like, finish a script. Yeah. Because I would belly ache at coffee shop houses all over Le Brea. Like, why am I not on staff? Oh, do you have a sample? Well, I've never finished oneMichael Jamin:,Bryan Behar:You know, but like, how did people not know about me? I, I won't stop talking about it, but like, I think I, I, deep down I felt that if I were to finish a script and I don't get hired then like I no longer have a sustainable dream. Like as long as it was still out there, it was something that I could always like shoot for as a safety valve if I didn't like what I was doing in advertising or in life. But once you finish something, then it becomes tangible and people would read it. But if you don't do that, it it, there's no way for them to advance you. So, uh,Michael Jamin:Yeah. Yeah. I mean it's so interesting you say about keeping the job I did. I definitely talk about that as well. It's like, how do you keep your job? And so I've seen, I've seen so many, and you must see more than me, but young staff, writers just flame out flame. They get, it's a shame cuz you get this job, but you're not ready for it. And then you're done.Bryan Behar:You, I've seen so many people get the first job and never get the second job.Michael Jamin:Yeah. Yeah.Bryan Behar:If you get the second job, there's a pretty good chance that you're inMichael Jamin:Uhhuh.Bryan Behar:Um, now again, that was in the mid nineties when NBC alone had 18 sitcoms on its fall schedule. Yeah. I don't mean 18 sitcoms on all the network, I mean, just on one of the networks. And it's not like the others, you know, were only doing, you know, biopics you, you know, this was an, an era where there was a clear path forward where you could, you could rise through the ranks. You could go from show to show you could take, you know, good credits and get a better job on another show. Mm-hmm. . Um, I mean we used to always, always, before we knew you guys, we used to resent the hell out of you. We're like, you know, cause we, you know, we'd been on like 10 shows while you guys were on Just Shoot Me in King of the Hill. Yeah.Michael Jamin:Yeah.Bryan Behar:And it's like, wow, that is a, that is an entirely other way of doing it. Which is we, we would look at you and like, so you're telling me you can get on a really good show, stay there, do a good job, stay there for a long time, then get on a better show. Yeah. And do that for a long time. And that was, you know, andMichael Jamin:A lot of that is luck. Like, you know, we got on a good show and it went four seasons and you got on a show that didn't get, you know, four seasons and then you have to, and so yeah. A lot of that is, you know, that's just luck really. You know,Bryan Behar:A lot of it is. Yes. I mean, and yet, you know, like now I've had some opportunities to sort of reflect back on my career and there are situations like old Christine for example, which ran for six years, but we just ran for the first 13 episodes. Right. Um, you know, if I knew better how to play the game, um, or you know, not to take defeat so much to heart. Um, you know, and a lot of that had to do with like, sort of grappling with depression and a lot of things mm-hmm. . Um, but like I, you know, if I knew now, if I knew then what I know now, I think there might have been a few opportunities along the way where I could have kept a job for longer. But, um, nothing I can do about that now.Michael Jamin:Not that it, not that really makes a difference, but Do you, do you see any change between the way young staff writers are today? Like when you were doing one of your last few shows and the work when you were first starting off, do you see a change in their attitudes or their readiness or anything?Bryan Behar:No. Um, I'm, I'm trying to think. You know, because I, I was very fortunate on Fuller House that I was able to promote a ton of younger writers from within the system, uh, and, and was able to give them their first staff writing jobs. Right. Um, and like that was a little different than how I had done it, which was, you know, in my case. And I think maybe, maybe in your case, but I, I don't wanna speak for you. Like, certainly in our case it was you write samples and you break in as a staff writer. And I see more and more that the only way in for a lot of people is to take other jobs on a show in the production working as a PA and then working up to a writing's assistant or start as a writing assistant then becoming the, you know, the, you know, the writing supervisor or, or you know, like that that sort of path, uh, of promotion from within seems to be a lot more common. I know that didn't answer your, that didn't answer your question specifically about the writers themselves. No. They, they seem just like young writers mm-hmm. who were, you know, who were appreciative of the shot. It seems like they've all been maybe out in the cold a lot longer than we were Yeah. Uh, before they get their first break. And I think there's less certainty about what comes after because there just aren't as many sitcoms in general and multi cams in specific.Michael Jamin:I did a post about this just a couple days ago about, cuz someone said, well, you know, when are they gonna, are they gonna bring back multi-camera sick? They should bring them back. And I was like, you know, at some point, maybe in 10 or 15 years, it might almost be impossible because whoBryan Behar:It might be Im now.Michael Jamin:Well, why do you thinkBryan Behar:So they, they exist Uhhuh, but they exist either for the very old or the very young mm-hmm. and there's been an entire, and I'm sorry I didn't mean to interrupt you, but there's been an entire generation that has been raised without them.Michael Jamin:Right.Bryan Behar:And which infuriates me because as a historian of the, of the genre, I look back as recently as a couple years ago, and in the previous, I think 60 years of sitcoms, the number one sitcom on the air, uh, in terms of total viewers had been a multicam in 59 of the six first 60 years.Michael Jamin:Yeah.Bryan Behar:Um, and this even includes like, you know, what you might call like the heyday of the single camera era. And yes, there have been a few hits that have become sizable monsters like Modern Family and The Office, but the Office even more so, you know, once it became syndicated or once it went to Netflix. Um, but even during that, those shows having their heydays, the top rated sitcoms were still two and a Half Men and Big Bang Theory. You know, I mean, I am someone who strongly believes that, that the multi cam has always been more popular than the single cam. But, and maybe we've spoken about this before, but executives didn't think it was as cool to talk about it at their, you know, west side cocktail parties. And nobody wanted to be the one who developed, you know, a big embarrassing show with a laugh track. So they would just keep plowing ahead.Michael Jamin:But they always say they're looking for it because it costs less money.Bryan Behar:They always say it, but they never buy them. Yeah. And in fact, many times we would, Steve and I would sell a pilot to someone, um, as a single cam knowing that that's the only thing that those networks were putting on that year. And they say, no, no, no, we're really looking for multi cams. They would change our pilot to a Multicam and then pick it up and say, well, nobody's, there's nowhere, nowhere on the schedule where we can place us a multicam. Yeah. There's, wait a second. You made me do it. Yeah.Michael Jamin:Um, why do youBryan Behar:Think, I'm not gonna say it would've gotten on anyway, so, butMichael Jamin:Why do you think they couldn't make it today? Do you think it's just a scheduling thing? Cause I had a different feeling about it.Bryan Behar:I think it's a scheduling thing on the one hand. Um, and I've read some articles recently about the difficulty in scheduling multi cams alongside single cams. There was an article just like this week in fact. But beyond that, I think it's, it is almost just like, why isn't there rock and roll on Top 40 radio because there hasn't been in 15 years, so there's nobody alive in that age demo who would listen to it.Michael Jamin:You think so? You think it's a viewership thing? Cause I don't, that's not what I do. I think the problem is, is I think it, when we jumped on a set, you know, when we first were on sitcoms, like, especially in Multicam, there's so much to learn about how to produce a multi-camera show that we weren't, we weren't even thinking of like running one in 10 15. Like, it was like, I don't know how to do this. Even when I'm working on it, I'm like, I wouldn't be, you couldn't put me in charge of this. And then, but now, but you, but you come out of a school. So like we were on Just Shoot Me and that came out of was on Frazier. So we kind of grew outta the Frazier School, which grew outta the cheer school. So there's like this column of like writers before you that you learn from.Bryan Behar:Yeah. It's like coming out of like the Bill Belichick coaches tree. Yeah.Michael Jamin:Right. VeryBryan Behar:Similar. You if you're, if you're a, you know, a co-executive producer on, on one on Levian show, then you can be the executive producer on when you get a deal on your next show. Like, very common to putThem,Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You could unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michael jamin.com/watchlist.Now, like if you wanted to put a single, a multi-camera show on the air, where's the talent pool other than a bunch of old guys or people who've never done it before?Bryan Behar:Yeah. And, and, and like, you know, I sounded a little facetious earlier when I said it was the purview of the very old or the very young. But like, I mean that both in terms of the people who create it and the people who watch it, you know, it, it's either like pretty old fashioned, the last remnants of like CBS multi cams mm-hmm. or it's a Disney channel, Nickelodeon show. Right. Um, and what used to be like the mainstream of comedy doesn't exist that that really vast middle Yeah. Isn't there anymore in terms of, of multi cams, either in terms of like the space that's given on the schedule or in, in the age of the people who consume it. Yeah. Um, so I just think that people now think of it as old fashioned and kind of, there's a superficial, there's a fakeness to it.Yeah. An artificiality, not superficial, an artificiality to it. Cuz now that they've seen enough comedies that are written, you know, written and produced like little movies mm-hmm. , you know, I think it's part of this, it's part of the movie of TV that's happening in the more general sense mm-hmm. that, you know, when you look at the streaming services and, and I, and I think me teaching a class on pilot writing and like of the, of the 15 kids that are writing pilots, 14 are writing one hours mm-hmm. one is writing a single camp, but of the one hours most are done in like, in genres of, you know, it's superheroes, it's science fiction, it's it's space and it's zombies. Yeah. You know, like all of which wouldn't have been on television when we were breaking in. Yeah. It was multi cam comedies and procedural dramas and that was it. It was, and it was like you could wrap your hands around it. It doesn't mean that it was like a glorious time in terms of, you know, this great diversity of product, but like from the perspective of people trying to, you know, like rise up through the hierarchy, it was a lot more tangible and easier to comprehend. Yeah.Michael Jamin:I was even thinking of shows, like even the shows were like, gimme a break or, or small Wonder. Like, those shows were also very comfortable, you know, or Punky Brewster, like they were comfortable shows they don't exist anymore.Bryan Behar:It feels like you're setting me up. But I am, I have long been of as much as I try to write edgy stuff and like you and I were on Will, I mean, you know. Yeah. Like we both have, you know, the bonafides of, you know, to write cool single camera stuff. But I've also been of the belief that the calm and sitcom often stands just as much for comfort as it does for comedy. Yeah. And all those shows you described, um, there was a comforting, soothing value. Now some of it has to do with, we were young at the time, some of it has to do with our own nostalgia for an easier time. But I mean, that's why I got into sitcoms in the first place because, you know, my family life was pretty rough. I didn't have a ton of friends, but I loved the Brady Bunch. Yeah. Um, and I found that even like, at a very, very young age, like I found that world incredibly soothing.Michael Jamin:But that's not a good example. Cause that was a single camera show.Bryan Behar:I know. But it, it doesn't feel like a single camera show. Um, and you're right. But, uh, I mean, but whether, but it was still, it was still a family sitcom. Yeah. Um, and like for instance, like when I, like when we were first offered the chance to write on Fuller House, not to run it, but just, you know, to be a co-executive producer in the first season, I had no interest mm-hmm. and I was like, I never saw Full House. Um, but two, but two things sort of changed my mind. One was my daughter, who was like maybe like 13, 14 at the time, and she's like, you're gonna take this meeting and you're not gonna fuck it up. She's like, this is gonna be huge. Because she, you know, she knew the power of the original Full house as a kid who sort of grew up on the reruns and like whatever, she was homesick from school, we would tape her five episodes of the Brady Bunch and five episodes of, um, full House.It seemed easier than actually parenting or offering her medicine. Um, but that's neither hit nor the other. But the other thing was realizing like, okay, I don't know Full House, but I sure know the Brady Bunch. And that full house served the exact same function for kids who were 10 years younger than me as the Brady Bunch did in my life. And I'm like, oh, I know what that felt like to Yeah. I know what it felt like to be that age and, and want to be soothed by a TV show and wanna feel like you're part of a, you know, a surrogate family on the air. And, and that that really helped, helped me as a way inMichael Jamin:Yeah.Bryan Behar:So realize is that kind of showMichael Jamin:Yeah. It's an interesting, it really is an interesting time for writers. What are you, what are you, how are you advising your students to break in then? What are you telling them?Bryan Behar:Well, I try not to spend as much time on the how to break in mm-hmm. as to give them the tools that might open the door and might help them. And, and, and I, you know what, what I do, again, I'm, I'm, I'm sort of evading the question by design. Um, like for instance, I, I run my classes as if they were a writer's room. I push all the tables together. We sit around one big table with me at the front, like a big mock, just like the old days. Yeah. At one 20th. At one 20th. The salary. Right. Of, of, but like, I want them to get used to what it, you know, what it feels like to, you know, pitch amongst their peers what it feels like to, you know, offer an idea or a joke to somebody at the head of the table.So like, as far as teaching them the craft, I think I'm doing a pretty good job. I don't know that I have as much wisdom when it comes to how does one break in these days. Right. Um, I alluded to in a teeny bit earlier, which is one of the things I will say is do not turn down any job on a television show mm-hmm. , because that has become more and more the only way in is to rise through the ranks. It, it is entirely a function of who, you know, so many of the jobs come from the people doing, you know, the non-writing jobs that, you know, that lead into it.Michael Jamin:But you also have to be ready. It's not, it's not enough to know somebody. Your script has to, you have to know how to writeBryan Behar:Well. Yeah. I don't know that you're gonna get those writing assistant jobs or those pa jobs even without a script. So, I mean, you have to have a great script now just to get those jobs.Michael Jamin:Oh, okay. I wasn't aware ofBryan Behar:That. I think you do. I'veMichael Jamin:Never, I've never read any, I've never asked a pa or write assistant to read their, I'd rather not read their script.Bryan Behar:Yeah, no, I, I, I mean, I'm of the, I'm of the, I'm the same way. I just would rather assume that they, that they're funny. Right. Uh, you know, after the interview, but like you, I, again, since I wasn't running the show, um, when we started out, I don't know if they had spec scripts originally. Right. I inherited so many of them, you know, so, but you know, but what I tell them is like, you know, you're sitting there behind the keyboards. Like, nobody wants you to be the one pitching jokes all day long, but like, pick your battles. Like, you know, I've seen, I've seen writing assistants like win a job from pitching a, you know, lobbying a giant joke out of the corner of the room when no one's expecting it. Right. You know, and in some ways, like the pressure's off. No one is expecting you to save the day.Mm-hmm. . Um, and I always say like, if you really need to be funny, be funny at lunch, you know, like when you're just like, cuz then you were, if you're sitting around one table at lunch, you're all just people. There's not that same hierarchy. Right. People. And then a year from now when we say, oh, we need a staff writer, we were far more likely to say like, oh, so and so made me laugh, you know, you know, while I was eating my gato grill. Then, uh, you know, then have to read a stack of scripts. You know, you know, so like I say, like you can break it as a staff writer, the traditional way you can get hired, um, at, in another type of job. Like we've just been talking about within the production. And then there's all these writing programs that mm-hmm. Things still exist, even though Warner Brothers a few weeks ago said they were canceling the Warner program. They brought it back. They brought it back. Okay. Yeah. That's like, that is like the third way. And that, that's still a valid and beyond that, I don't really know how, I know people all wanna be discovered. Everyone, everyone wants to like write a pilot that gets bought by a streamer mm-hmm. and they wanna be a celebrity showrun. Right. And I don't know, I don't know that that exists, but it probably exists just enough that everyone thinks they can do it. Yeah. Like for instance, like I'm teaching at Chapman, which is a fabulous program. It like barely existed 20 years ago, and now it's like the fourth film school in the country according to the, you know, the most recent rankings. And like, their big claim to fame is the two brothers who created Stranger Things like in their twenties. Right. Like out of nowhere, I think they had one credit. And the next thing you know, they have a show that's the biggest show on all television in all mediums. Right. Streamer, cable pay, cable, anything. And I forgot broadcast that used to be a thing that we cared about. Um, but like, everyone's like, well, the Duffer Brothers did it. Why can't I create some, some genre of sci-fi? And it's like, you can possibly, but that's again, that's the exception. Yeah. What's gonna happen if you don't,Michael Jamin:I think that's exactly right. I think that's, that's the exception. It's, and it's such a remarkable exception that the media picks up on it and talks about it because it's what an unusual story. And then therefore people think, oh, that's how you do it. You know,Bryan Behar:And I guess that's, I mean, if we really were being fair, there's always been that media story of the V kid, you know mm-hmm. 20 years ago it was Josh Schwartz, he's, he's 11 years old and he created the oc Yeah. You know, there's always, you know, there's always someone who got, you know, I think James L. Brooks was one of them, you know? Right. Like, there's always somebody who in their twenties gets a show on the air and ruin it for everybody else. Mm-hmm. . But, but, but I mean, by ruin it by everybody else is it creates this illusion that all you need to do is sell a pilot, not learn how to write tv.Michael Jamin:Yeah. I, you know, I remember when we were first signed, or when I, yeah, I guess it was with Sheer signed and, um, our agent said, oh, oh, no, no. She said it to me before, before I was with Sheer. She said, you know, I signed one new baby writer a year. You're the baby writer. In three years you're gonna be running your own show. And, and I, and I, I, I smiled very play. Oh, that's great. And then after I hung up, I was seriously panicked. I was like, run my own show. I, I, I don't even know if I can write another script. Like that's the last thing I wanna do is run our own show.Bryan Behar:Of course. Now here's something I'm gonna admit to you that you're, you're gonna laugh at me. And, and, and That's okay. It would not be the first time. Like Steve, and, and, and I can't talk too much about it because it's part of ongoing litigation, some of the specifics of this. But Steve and I were offered the opportunity to run Fuller House, uh, beginning season four.Michael Jamin:Mm-hmm. .Bryan Behar:Um, so we had been doing this for I think 22 years. I was like 53 years old, 52 years old. And I said no, because of the thought of running a show, even with 22 years experience, even at 52 years old, seemed inconceivable to me. Yeah. Now, you know, I have a history of severe panic disorder and a lot of other things that, that contribute to that. And then they came back and offered it to us again. They're like, no, no, we, we thought about someone else, it's you. And we said no again, um, because no, now we're, we're in a kind of an extreme case, but part of it was a function of that ship had sailed in my mind mm-hmm. as far as like being a possibility. Like when you, when you're hitting your, your, you know, your your early to mid fifties and you've not run a show, I think in it's a, it's a, it is a fair assumption to say that the business doesn't see you that way.Mm-hmm. , like you're, you know, Steve and I were very competent number twos and very competent number threes mm-hmm. . Um, but the thought of actually like taking on the big chair still seemed like something that like engendered panic. Yeah. And, and then, you know what? We did it and I loved it and I, I loved doing it. I was eager to do it again. Um, you know, we did 30, 31 episodes, uh, under our helm and like started to take on responsibilities and facets that I'd never, ever even thought about. Right. It was great. So, and I, so even though I never got to do it another time or another time yet, I'm thrilled that I was able to get past that fear because it really was like the sort of the last fear that was out there for me.Michael Jamin:But the thing is, when people say that, when people say, I wanna run my own show, and I said, do you, you don't even know what a Showrun does. Like why would you, like, why, why are you signing up for a job? You don't even know what the job entails.Bryan Behar:Well, because they've seen Matt Wener give an interview at the end of Madman or Vince Gilligan, the end of Breaking Bad. And they know that like, you know, they know what their salaries are and they know their celebrities. Yeah. You know, and they get good, you know, they get good tables at Mr. Chap. I mean, I don't know, but like, I didn't know what his, there was no such thing as a celebrity Showrun when we were breaking in. Like there were, yes, there were successful people. You know, like I was very aware who created Seinfeld and friends and who created Cheers and what the back ends were. Right. But that thing where, and it really is kind of a function of premium tv, like sort of the Post Sopranos one hour world, you know, the Mad Men, Sopranos, breaking beds, the Shield, the Wire Deadwood, like those have really kind of deified the one hour show runner as like pop culture celebrities.Michael Jamin:Yeah.Bryan Behar:And they've, they've sort of become the new film directors. Yeah.Michael Jamin:Right.Bryan Behar:So everybody wants that.Michael Jamin:Right.Bryan Behar:And again, like if you see the Duffer Brothers do it, you know, at, at 28 years old or however, however young they were, um, people are, people rightly do ask Why not us? Mm-hmm. . But again, like I had been doing TV for 22 or 23 years before I took over that show and still had no conception of what running a show entailed. Yeah. In terms of just the sheer enormity of the pressure of the responsibility. And that was with two of us, and that was with two of us dividing the task. I had no idea how someone does that on their own. Yeah. Cause even with two people that felt like, like, like a, her her lay super human effort. Yep. You know, and I'm sure you found the same thing, like, um, there's so many different, you're making a decision all day long, every day at a furious pace. Yep. And yet there's nothing like it. Like it was such, it was, you know, and I don't mean like just from like a, the standpoint of like, I felt powerful, but like, there were like, having such a sense of purpose every day was fantastic. Uhhuh,You know, overcoming fears and like developing like a skill like that I didn't even know I needed to possess. Like, that was interesting. Yeah. You know, so I feel, I mean, it certainly helps me as a teacher because if I had never run a show, I'd feel like a little bit like a fraud offering notes and like fixing scripts and mm-hmm. having now having done it, like at, I'm not gonna say the highest levels, but a high level. Right. Um, you know, I feel like far more qualified to be the one teaching people. Cause I feel like I've done at least the equivalent of that in, in tv.Michael Jamin:Yeah. It, it's, it's interesting because even as I, before I started doing, like talking on social media, I was like, well, you know who, I'm not Vince Gilligan, I'm not Chuck Lori, I'm not Steve Levitan. I'm not, I'm not the highest there is, you know, um, what,Bryan Behar:Well, two things come to mind. Number one, don't sell yourself short because you're still super high within, you're still super high within the, you know, the pecking order. Like, once you take out those, those few brand names, right. You've done it. You've, you've run multiple shows. You've run multiple good shows and people liked working for you. And, uh, you know, like the, the job we did together on, on Glen Martin was a pleasure. And, uh, you know, that's probably the closest I ever felt to like really writing in my own voice Yeah. And kind of just letting go and not being self-conscious and just writing whatever felt silly or funny. Right. So that's one thing you've done. But the other thing where I think you have a leg up in fact, is what was the last time Chuck Laurie or Steve Leviton had to really think about what they were gonna do next and plot accordingly. You know, like both of them just go to CS and say, get me a get me, you know, get me a show on Hulu. And they do. Like, but that's not like how people in real, in real life behave.Michael Jamin:Yeah. I, that's one I talked about with my wife. She goes, well, yeah, but that, those are the superstars you can talk to. You can speak to what does it mean to be a working writer who's not a superstar? Who'sBryan Behar:That's, that's a hundred percent right. It's a little insulting that our wives know about people who are superstars and they, they tend to usually be taller, um, Who had a here, but like, um, I don't, I don't know that Steve Levitator or Chuck Laurie or you know, or Larry David is gonna speak as, you know, as succinctly or as I impactfully as you do about, you know, the like day to day mechanics of breaking in, building a career, keeping a job. And those are, you know, those are the things that I talk about day to day. And, and now I've moved on to the third, you know, the third thing, which is how do I build like a sort of a purposeful life outside of the writer's room, right. And, and try to use the skills that I developed or the knowledge that I accrued and either help others or, you know, game satisfaction for myself. And I'm, you know, trying really hard to still do both without, you know, the, you know, the old crutches that I used to have, which is, you know, getting laughs from a, from a gaggle of Jews,Michael Jamin:It's so,Bryan Behar:And JBMichael Jamin:N JB, we, um, you know, I, when people, they'll comment on social media, sometimes I'll, I'll make a post and then I guess people are, I dunno if they're being argumentative or just trying to impress me or whatever, but they'll say, yeah, but Quentin Tarantino says, and I'm like, Quentin Tarantino is anybody just, is anyone mistaking you for Quentin Tarantino ? Yeah. No, I mean, have his career,Bryan Behar:But I mean, but they're, they're, I mean, it's beyond annoying, but that's always been the case. I remember like my, one of my first or second jobs running into like, the wife of someone I went to college with, and she's like, why aren't you on Seinfeld or South Park? That's what we watch. Yeah. You don't watch the shows you're on. It's like, okay, first of all, like, you're a viewer. You didn't create either of those shows unless you're, unless you change your name to Matt Stone. Like you're not those people. So like, pipe down a little. I said, secondly, you have to think about this. Like, it's the nba, like, hey, like I'm coming out of college, I wanna be on the Lakers. Who gives a fuck what you want? You were drafted by the Pelicans. Like, like, we don't get to choose where we write.Yeah. Like, oh, Tarantino said like, okay, you're not Tarantino. Like, trust me, I'm doing better than you are. So like , you know, I mean, yes. But that, I mean, that's gone on forever and ever. I'll tell you a story. My grandmother re she rested me. She just, she passed away a year ago and she ended up being, she lived in 99 years and eight months and ended up dying as a very kind person for like the first 95 years. She wasn't Right. And like, she would admit that, and like, we had no relationship and like on, I, I had been on four jobs at the time. Um, and on all four she told me how much she didn't like the show. I was on . So she invited Beth and I out for dinner. I hope it wasn't Glen Martin . No, no, no, no, no. That would've been later that she didn't like, okay, what's, she's like, who watches Claymation ?Why is there a laugh track? Scooby . But she, so she invites Beth and I have to dinner with her and her, her boyfriend. Um, and she's like, oh, that show that Then Stacy, I hated that show. And I'm like, oh, well I'm on a different show now. Oh, I don't like that show either. Okay. And I literally said, grandma, like I, I'm happy to tell you that before I, right before I came to dinner today, I came, I'm coming directly from a meeting. I had just had a meeting on Frazier. Uhhuh. Now Frazier at the time had just won the me for Best comedy five years in a row. Right. Anything's gonna oppress her. And she goes, Ugh. She goes, I hate that show. That's a dumb show, . So I say to myself, okay, and I turn to Beth, like, she can see that I'm soothing, and Beth and I are Huling and I'm like, the woman doesn't know anything about television.She's an older, she's an older Jewish woman from a different era. She's not gonna like anything you do. She, she knows nothing about television. I was like, you're right. That's why would I get myself upset? She knows nothing. And then she says, why don't you write something like David Kelly mm-hmm. . And then the boyfriend says, it's David E. Kelly. And then I realized, no, she knew a tremendous amount about television shouldn't . Like she knew chapter in verse, everything that he had written from Allie McBeal to picket fences. She just didn't like what I was doing. Right. , I don't remember, I don't remember how we got to this, but Oh, annoying people telling us our credits aren't good enough. Right. It's like, yeah. Like, I remember, I remember when people were on Raymond for the, you know, all nine years, and I'd be like, these lucky SAPs, like had, they haven't had to go through anything that we've gone through.They got one job. They had a, they had to go to a few movie nights on a Sunday with Phil Rosenthal never eat dinner there. Yeah. And to get nine years of fat paychecks. And that's just not, that wasn't our experience, but our experience certainly prepared us for more kinds of experiences. And I, and it certainly behooved me, I believe when it, when it was time to run a show, you know, I definitely had far more of an awareness of what I wanted a room to feel like mm-hmm. , uh, what I wanted it not to feel like specifically. Yeah. Uh, you know, based on having had so many different kinds of experiences. And that's, that's like 0.2 that I alw

Frank Santopadre is a veteran comedy writer and the longtime co-host of “Gilbert Gottfried's Amazing Colossal Podcast,” with the late, great Gilbert Gottfried. Prior to working with Gilbert, Frank helped to write jokes and supporting material for numerous awards shows (including the Daytime Emmys, the TV Land Awards, and the Kennedy Center Mark Twain Prize). He has also written comics for Bazooka Joe bubble gum, and mock ad copy, concepts, and character profiles for the Topps Company's popular Wacky Packs and Garbage Pail Kids trading cards series. Oh, and did we mention he also wrote for Mad and Cracked magazines? And the somewhat less zany The New York Times, The Washington Post, People, US Weekly, and Politico? Along the way, he has created comedy material for an eclectic line-up of celebrated personalities, including Bill Murray, Howard Stern, Sarah Silverman, Meryl Streep, Martin Short, and Ben Stiller, and briefly served as a staff writer on what he proudly calls “the worst sitcom in television history”—a forgettable show from the late ‘90s called “Lost on Earth,” hailed by The Los Angeles Times during its mercifully-brief run as “mirthless.” Join us for a somewhat more mirth-filled hour, as we talk about what it was like to help give voice to one of the most singular voices in the annals of American comedy—a joyful burden Frank kinda, sorta shared with podcast host Daniel Paisner, who collaborated with Gilbert Gottfried on his 2011 memoir Rubber Balls and Liquor. Learn more about Frank Santopadre, visit his official website, like his Facebook page, and follow him on Twitter. Tune into the final episode of “Gilbert Gottfried's Amazing Colossal Podcast,” from Dec. 8 through Dec. 14. Proceeds from this ticketed event will help support Myotonic Dystrophy research. Please support the sponsors who support our show. Daniel Paisner's Balloon Dog Film Movement Plus (PODCAST) | 30% discount Libro.fm (ASTOLDTO) | 2 audiobooks for the price of 1 when you start your membership The Thoughtful Bro podcast, hosted by Mark Cecil Pop Literacy, hosted by Jennifer Keishin Armstrong and Kimberly Potts Writer's Bone, hosted by Daniel Ford

On this weeks episode Kyler and Reed share some of their favorite dishes at Thanksgiving before diving into the win over Vandy. They discuss whether Bazooka Joe can be “the guy” and the impact Jeremy Banks has on the field. They finish the podcast discussing the CFP rankings and just how bias the committee is. NEW MERCH!! https://shop.bleav.com/product/how-we-doin-bud-tee/ LISTEN AND REVIEW!! Spotify - https://open.spotify.com/show/2dz8zVfjhB7wYp0Yj36P5A?si=McurJHHJTcakE3KjOdHqPA Apple - https://podcasts.apple.com/us/podcast/bleav-in-tennessee-football/id1533311033 LIKE AND SUBSCRIBE!! YouTube - https://youtu.be/6UUQ8TdpQ38 FOLLOW US ON SOCIAL!! TWITTER: www.twitter.com/BleavinTenn www.twitter.com/kylerkerbyson www.twitter.com/RBacon26 FACEBOOK: www.facebook.com/kylerkerbyson INSTAGRAM: www.instagram.com/kylerkerbyson CONTACT US: E: bleavintennesseefootball@gmail.com P: (865) 322-9232

The Celtics have lost a game. Jam Packard and Jay King react to the end of the C's 9-game winning streak and discuss Bazooka Joe's minutes distribution, the state of the defense, and the eventual return of Rob Williams  Learn more about your ad choices. Visit megaphone.fm/adchoices

The Sex Pistols supported pub rock band Bazooka Joe and played a few cover songs on equipment borrowed from the headliners, but the plug was pulled after twenty ...

Aaron and Bazooka Joe recap UFC 280, a preview of UFC Fight Night: Kattar vs. Allen, Bellator announces a co-promotion with Rizin, PLUS interviews with Belal Muhammad, Calvin Kattar, Arnold Allen, Chase Hooper, Khalil Rountree and Biaggio Ali-Walsh.

On part 2 of Dave and Ethan's interview with Eric Appel, the director and co-writer behind the upcoming Weird: The Al Yankovic Story on The Roku Channel (Weird Al's biopic starring Daniel Radcliffe), Eric shares how he came up with the idea for the original 2010 Funny or Die Weird: The Al Yankovic Story video, who they originally approached to play Weird Al, and how they ended up casting Aaron Paul and the rest of the cast!

Daniel, Ben and Tanya take their first foray in to the Marvel Universe and discuss the 2011 film, Captain America, The First Avenger. Starring Chris Evans, Tommy Lee Jones, Hugo Weaving, Stanley Tucci, Sebastian Stan, Haley Atwell, Dominic Cooper, Samuel L. Jackson and Neil McDonough.Join them as they relive the transformation of a weakling into one of the best Marvel Superheroes. Learn how this film turned around some pre-conceived notions and quickly became the favorite Marvel film for one (or more) of our hosts. This episode does not feature a celebrity interview OR a Sound Table. Just raw , mostly unfiltered opinions about this epic film that is not sequentially but time-wise, the first Avengers film. Grab a pop, some taffy or a Bazooka Joe and sit back in an old timey theater to listen to another great episode of Popped!Support the show

Delving into the controversies of the day, the Law Offices of Quibble, Squabble & Bicker have a conflated client in the form of Roe Vs. Wait A Minute Amber Heard That! While developing the fake case they discuss SCOTUS Seltzer, Don King, Politico, Julian Assange, Jersey Shore, so many woman, a lapsed Catholic, Fat Cat In The Hat, sea monkeys, menthol bourbon, goat rodeo, pygmy marmoset, tumescent orange, Pendleton Roundup, Yellowstone, Timothy McVeigh, The Gong Show, vaginal whatever, the weasel inside your throat, horseradish parts, Bazooka Joe, Only Fans comic books, Baltimore Hillbillies, Bill Chain Link Fence, ferret legging and enjoy the soup. Buy our merch here: https://my-store-11556994.creator-spring.com/ To access special content go to www.patreon.com/qsblaw and for other episodes, go to www.qsblaw.org. They are also internettable on: Instagram - @lawofficesofquibble; Twitter- @qsblaw; TikTok - @qsblaw; Uhive - https://www.uhive.com/web/shares/z/QTTCLFU; Facebook: https://www.facebook.com/quiblle.bicker.3; Tumblr- quibblesquabblebicker; Reddit - https://www.reddit.com/user/QuibbleSquabbleor watch them on YouTube - https://www.youtube.com/c/LawOfficesofQuibbleSquabbleBicker --- Send in a voice message: https://anchor.fm/qsb/message Support this podcast: https://anchor.fm/qsb/support

JT and TA are joined by CG Commentator again to chat week 2 of free agency, including:Juju to Kansas CityMore receivers gone-James Washington, Ray RayZack Banner let goReturn specialist Gunner Olszewskithe GM hunt continuesTomlin visits QBs pro days, didn't we find our QB already?Is Baker Mayfield really being consideredA look into the O-Line and who is availabe left in free agency or the draftNew! Vote for us for Best of Indiana County/Best Podcast! Voting starts March  at https://bestofindianacounty.com/Please like/follow and share when you can.  We appreciate your listen! Transcript included.Watch our video podcast versions on our YouTube, Rumble or Facebook (check out our former player episodes too!)Home Base is  SteelersRealm.comTwitterInstagramFacebookLinkedInBUY US A COFFEE!!!   ->HereSteelers Realm Podcast is powered by Riverside.fm HD Audio/Video remote conferencing software.  Sign up for your free trial here  Riverside.FMLocal Steelers Radio Affiliate while in Indiana County, PA - WDADRADIO.COMFor more incredible Steelers content from Steel City Star make sure to check out his new website!Steel City Star Homepage: SteelCityStar.com Support the show (https://www.buymeacoffee.com/SteelersRealm)

Welcome to the Mess Hall Podcast, part of the Alberta Podcast Network, Locally grown. Community supported. Avery, Lena, Kevin and Haydn celebrate the Mess Hall Podcast's 4th anniversary with vanilla cake: from a box(Betty Crocker), from the freezer (McCain's), made at the grocery store and from a vending machine (Cake Boss).  We wash it down with Bazooka Joe soda.   Follow us and send a message at: Twitter @themesshallpod Facebook @messhallpodcas Instrgram @messhallpod  email: messhallpodcast@gmail.com  We talking about Kevin's new podcast, find it here Sports Facts, Stats and Smacks sfsspodcast.podbean.com This episode is brought to you by Park Power, your friendly, local utilities provider in Alberta. Offering Internet, Electricity, and Natural Gas with low rates, awesome service, and profit-sharing with local charities. Winter is coming and energy usage for all Albertans will be increasing, so now is a great time for listeners to look at their utility bills and ensure they are on the best plan. Albertans have a choice who they pay their utility bills to. Park Power is happy to provide free no-obligations comparisons. If you decide to switch providers, it's easy. And you can feel good knowing you are supporting a local business, and helping to give back to our communities with your utilities bills. Learn more at parkpower.ca With Pod Power, our sponsors are making it possible for us to amplify the voices of Albertans and Alberta podcasters. This episode, Edmonton Community Foundation is helping us give a Pod Power shout out to: YOURFOREST YourForest is a podcast about the natural world. Hear stories about the environment, renewable resources, conservation, forestry, hunting, fishing, and more. This is a podcast for those who cannot live without the joys and wonders of all wild things. Find YourForest wherever you get your podcasts, or at yourforestpodcast.com

Sean and Amber discuss Licorice Pizza, Bazooka Joe, and soups soups soups. Music: "Coro dos Tribunais" by SantaJustaStudios - Pedro Monteiro & "Coming Too" by Jake McKelvie & the Countertops

This "Quick Shot" episode I finally go off about how people will to often look at the people of the service industry and ask us, "Why don't you get a real job?" I talk about how much we are needed, and what this job means to us. I also talk about how to make a shot called the "Bazooka Joe shot." --- Send in a voice message: https://anchor.fm/heybartenderpodcast/message Support this podcast: https://anchor.fm/heybartenderpodcast/support

The boys are back!! And what better way to welcome back GPC than a conversation about Bazooka Joe? The lads catch up on cartoons, then dive into a discussion about Toucan Sam, Tony the Tiger & Chef Wendell! If you wanna hear some cereal mascot hot takes you have simply GOT to listen! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Jesse Talks olympics , WCE in Milpitas California, Nashis fight got pulled Damn. Also Jesse talks with Lion fight Heavy Weight Joe Stripling, 8 Limbs Academy Charlie Cottone , and Gun Shot Survivor Suitcase Kid. Again link in bio to listen whole episode

Holmberg's Morning Sickness - Friday July 23, 2021 Learn more about your ad choices. Visit megaphone.fm/adchoices

Logan sits and breaks down the newest episode of Rupauls Drag Race with his good Judy Adam, aka Renee Flaming. The girls sit and talk their opinions about the past few weeks of the show and also the PV mess.