Podcasts about Dodge Dart

In this episode, we discuss whether or not God created the Dodge Dart. Marcion also had a question about whether or not the God of the Old Testament was the same as Jesus. His heretical arguments lead to the formation of the accepted Christian canon. ⁠Subscribe to our free newsletter⁠⁠ - ⁠⁠https://standardoftruthpodcast.substack.com/⁠⁠ Please visit our website at ⁠⁠www.standardoftruth.com⁠⁠ If you have any questions or possible topics of discussion for upcoming podcasts, please email us at: ⁠⁠questions@standardoftruthpodcast.com⁠

By the mid-70's the Beach Boys appeared to be a band that had been left behind.  Sales had been only moderate for their previous albums, and the band was struggling to determine their direction musically.  In the summer of 1973 the movie "American Graffiti" featured several Beach Boys songs, creating nostalgia for the earlier surfing music.Between the revived interest sparked by "American Graffiti" and the success of the Beatles "Red" and "Blue" compilation albums, the Beach Boys released a collection of hits from their early 60's catalogue called Endless Summer.  This featured songs from their Capitol Records days, 1962-1965.  It was a near-instant success reaching the top of the charts in the United States four months after its release, and becoming their second number 1 album on the US charts.  After the success of Endless Summer, the Beach Boys would reposition themselves as an oldies act, continuing in this vein for many years.  Brian Wilson would pen one further Beach Boys studio album in 1977 which would meet with meager sales.  Afterwards the band would focus on their classics until seeing a resurgence in the late 80's generated from another popular film, Tom Cruise's "Cocktail" Wayne brings us this surfin' themed compilation for this week's podcast. Catch A WaveA true surfing song, this tune is about being on a surfboard, waiting for the right wave to come along.  This song was originally released on the 1963 album "Surfer Girl," and a rewritten version was recorded by Jan and Dean as "Sidewalk Surfin."Little Deuce CoupeThis track is about a 1932-vintage Ford model 18 hot rod used in drag racing on the streets of California.  "American Graffiti" had featured the deuce coupe prominently, along with the Beach Boys song.  The lyrics were written by local radio DJ Roger Christian.Shut DownAnother song about drag racing, "shut down" means you are about to beat the person in the race.  The phrase "tach it up" may have lost some meaning in the era of automatic transmission, but the tachometer would run high for a drag race.  The song is told from the perspective of the driver of a 1963 Corvette Sting Ray in a race against a 1962 Dodge Dart.Fun, Fun, FunThe inspiration for this song was a story the Beach Boys heard during a radio interview.  The station owner described his daughter "borrowing" his 1963 Thunderbird to go to a drive-in hamburger shop.  The opening riffs were inspired by Chuck Berry's "Johnny B. Goode."   ENTERTAINMENT TRACK:Uptown Saturday Night by Dobie Gray (from the motion picture “Uptown Saturday Night”)Sidney Poitier starred in and directed this action comedy which co-starred Bill Cosby, Harry Belafonte, Richard Pryor, and Flip Wilson. STAFF PICKS:The Joker by the Steve Miller BandLynch leads off the staff picks with a well known song from Steve Miller.  The names in the first line reference several of Miller's previous songs, as well as the made-up word "pompatus."  It barely cracked the top 40 in the US, hitting 40 on the Billboard Hot 100.  Miller borrowed some lyrics from the song "Lovey Dovey" when he talks about wanting to "shake your tree."The Air that I Breathe by the HolliesRob brings us a slow burning but iconic ballad that the Hollies covered.  The original was from Albert Hammond, and previously covered by Phil Everly.  The Hollies version was the most successful, going to number 6 on the Billboard Hot 100.  Alan Parsons was the engineer on this song.Hollywood Swinging by Kool & the GangBruce's staff pick is the first number 1 R&B Single from Kool & the Gang.  It was a crossover hit as well, going to number 6 on the Billboard Hot 100.  Rick Westfield is the keyboardist for it and sings lead.  The song is a true story of the keyboardist wanting to become "a bad piano-playing man" with the group. Rock and Roll Heaven by The Righteous BrothersWayne's features an ode to the rock stars who had died at an early age. This song is another example of a song that was covered, and did better than the original.  Climax performed this song in 1973 but did not chart, while the Righteous Brothers took it to the top 10 in the United States.  Lyric would be added in the years to come as more rock stars passed. INSTRUMENTAL TRACK:Chameleon by Herbie HancockThis jazz funk instrumental track closes out the podcast for the week.  Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

This episode of The Drive Thru! is the Season 5 Finale, featuring a mix of automotive news, personal anecdotes, and event recaps. The hosts discuss their escapades at a recent bicycle expo, highlighting vintage bike purchases. They then delve into various car-related topics, such as the disappointing Super Bowl car commercials, the performance of new car models, and the revival of classic cars. The show also highlights a comedic segment featuring Florida Man antics, including a lawnmower crash and a high-speed chase in a Dodge Dart. The episode wraps up with a behind-the-scenes look at motorsports and a preview of upcoming events for the new season, so tune in for Episode #54 of The Drive Thru! our monthly news episode containing automotive, motorsports and entertaining random car-adjacent news. ===== (Oo---x---oO) ===== 00:00:00 Season Five Finale Kickoff 00:01:16 Bicycle Expo Adventures 00:04:34 Super Bowl Commercials Review 00:11:04 Rolex 24 Hours Recap 00:17:56 BMW and Mercedes Spotlight 00:31:55 Hydrogen and EV Innovations 00:40:04 Skeletor's Car and Debating BMW's Big Displays 00:43:02 The Rise and Fall of Cars & Bids 00:45:31 The Softening Car Market 00:49:09 Mercedes and the Four-Cylinder Controversy 01:01:37 Florida Man is out of Hibernation! 01:08:50 Motorsports News and Formula One 01:20:17 Wrapping Up and Looking Ahead ==================== The Motoring Podcast Network : Years of racing, wrenching and Motorsports experience brings together a top notch collection of knowledge, stories and information. #everyonehasastory #gtmbreakfix - motoringpodcast.net More Information: https://www.motoringpodcast.net/ Become a VIP at: https://www.patreon.com/ Online Magazine: https://www.gtmotorsports.org/

In this engaging episode of the AutoLooks podcast, we delve into the fascinating connection between personality and car selection. Discover how your vehicle choice can be more than just a mode of transportation—it can be an extension of your identity. Much like the bond between people and their pets, our car choices often mirror who we are. Join us as we share family stories that illustrate how individuals project their personalities onto their vehicles, whether it's through a sporty Dodge Dart or a versatile Jeep Cherokee. We explore how some people customize their cars to stand out, while others prioritize practical aspects like safety and affordability, offering deeper insights into their lifestyle and self-image. From environmentally friendly choices to vehicles that make a statement, this episode examines how our personalities shine through in the cars we choose and the market segments we gravitate towards. Tune in to discover how your vehicle might just be a reflection of who you are.

A alguno os habrá explotado la cabeza con este título: ¿Revolucionario el Dodge “Made in Spain”? ¡Si no puede ser más tradicional! Técnicamente hablando, desde luego que sí. Pero un coche puede ser revolucionario por otros motivos… comenzando por ser un verdadero desafío a un régimen dictatorial. Eduardo Barreiros era un hombre con una extraordinaria valentía y audacia que se atrevía a todo. Por ejemplo, a desafiar a un gobierno dictatorial y a competir nada más y nada menos que con el propio gobierno español. No olvidemos que Pegaso, fabricante de camiones y autobuses y Seat, fabricante de turismos, eran propiedad del Estado español. Y Don Eduardo, con la marca de su mismo nombre, Barreiros, compitió con Pegaso. Y, gracias a diversos acuerdos con los norteamericanos de Chrysler, compitió con éxito con la gama de Seat, desde los modelos más modestos con los Simca a los más lujosos con los Dodge… en los que nos vamos a centrar hoy. Tiempo habrá de hablar de Simca. El Seat 1.500 aparece en 1963, un coche grande con 4,46 metros de largo y 1,62 metros de ancho; con una carrocería moderna de líneas angulosas diseñada por el propio Dante Giacosa; y con un motor para la época de 1.481 cm3 y 72 CV. El interior no era excesivamente lujoso, pero era el coche más grande y lujoso, con gran diferencia, de la oferta nacional. Era el coche casi diría que, de los ricos, de empresarios y políticos del régimen, y de los cuerpos oficiales, porque era, desde luego, un coche caro. E insisto: Con diferencia lo más grande y lujoso de la oferta nacional… … hasta que en 1965 llega el Dodge Dart, que aplasta a su rival. El Dodge media prácticamente 5 metros, su línea a lo mejor no era moderna, pero en la España de esos años era realmente impresionante y su motor de 6 cilindros en línea, nada menos que 3.686 cm3 y 145 CV “aplastaba” al Seat 1.500 con casi el triple de cilindrada y el doble de potencia… Y en comparación era realmente lujoso y con opciones poco vistas en nuestro mercado, que llegaron muy pronto, como la servodirección y el aire acondicionado… Barreiros cerró un acuerdo con Chrysler que contemplaba la fabricación de los Dodge y Simca 1000. Primero se fabricó el más grande en 1965 y un años después el pequeño Simca. Tras el acuerdo con Chrysler Barreiros compró componentes suficientes para hacer 20.000 Dodge, una cifra realmente optimista para un coche de ese porte y de ese precio. El primer año se fabricaron 1.200 unidades… y se vendieron 742. El segundo, se fabricaron 8.000 y se vendieron 6.399… y la cosa fue a peor. Las perdidas obligaron en 1967 a que Barreiros tuviese que vender parte de sus acciones a Chrysler y, como consecuencia, a perder el control de la empresa. El Dodge en su lanzamiento en 1965 se denominó brevemente 270 y luego GL, GLE y GT, el más caro y lujoso. En 1969 se ofrece la apreciada versión diésel, en este caso con motor de 4 cilindros de la propia Barreiros de 2 litros y 60 CV… para conductores con paciencia, pues no olvidamos que esta versión se acercaba a la tonelada y media. Ese mismo año de 1969 el diseñador Mario Gamarra, responsable del diseño de muchos camiones, propone para reflotar las ventas diseñar un nuevo Dodge que, con pocos cambios y poca inversión, la clientela lo perciba como un modelo nuevo. Y así nace el Dodge Dart. Las versiones más lujosas montaban aire acondicionado integrado, servodirección, tapicería de cuero, cambio de 4 marchas en el piso en vez de al volante, lunas tintadas y opcionalmente techo de vinilo, algo muy valorado y muy de moda en esos años. Pero los frenos seguían siendo de tambor, muy asistidos y casi bruscos por ellos, pero de tambor, uno de los puntos débiles del modelo… y es que las carreteras españolas poco tenían que ver con las autopistas norteamericanas. El tope de gama de Dodge con la carrocería inicial pero renovada fue el Dodge Dart GT 3700 que pretendía ser no solo el más lujoso, sino tener un cierto componente sino deportivo, al menos sí más dinámico. Aparte de mejores digamos que menores, este modelo tenía tres características diferenciadoras: Una, el techo era siempre de vinilo; dos, el motor cambiaba su carburador y se potenciaba con 15 CV más hasta llegar a los 160 CV; y tres, casi la más importante, ¡por fin! equipaba frenos de disco delanteros y, grandísima novedad en la época, eran ventilados radialmente. Cuando por fin se acabaron las piezas compradas a los USA se tomó la decisión de hacer un coche nuevo… al menos nuevo por fuera, el 3.700 GT. Las “tripas” eran prácticamente las mismas que el GT 3700, se ganaban 5 CV extras para llegar a los 165, las suspensiones apenas recibían unos retoques y contaba con la novedosa y eficaz servodirección ZF, además de mantenerse las opciones de cambio automático, tapicería de cuero y aire acondicionado.

Andrew from Hestermann Motorwerks joined us on this episode. He told us about his progression through the car world. Starting with the family Volvo to Ford Fiesta to Dodge Dart and the great memories that came with them. He is well known for VWs and building bug/ute kit, but he still has a Roadrunner on his car bucket list. Be sure to check out both of his YouTube Channels Hestermann Motorwerks and Hesty32, Facebook, and Instagram. Visit his website hestermannmotorwerks.com. You can contact him via email andrew@hestermannmotorwerks.com, or call/text 904-452-5100. Shout out to Smyth Performance, Inc. Check out their website, smythkitcars.com.Check out Radioman: Twenty-Five Years in the Marine Corps: From Desert Storm to Operation Iraqi Freedom by Andrew Hestermann and Robert Einaudi sold on Amazon.

A TCR listener is mad that her best friend didn't have her back, Serina & Matt share "good deed fails", Tino can't stand when delivery drivers gives ZERO f*cks, and Nicasio is STILL learning his left from his right (seriously)... Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, we discuss whether or not God created the Dodge Dart. Marcion also had a question about whether or not the God of the Old Testament was the same as Jesus. His heretical arguments lead to the formation of the accepted Christian canon. ⁠Subscribe to our free monthly email - ⁠⁠https://standardoftruthpodcast.substack.com/⁠⁠ Please visit our website at ⁠⁠www.standardoftruth.com⁠⁠ If you have any questions or possible topics of discussion for upcoming podcasts, please email us at: ⁠⁠questions@standardoftruthpodcast.com⁠

His back story includes working in a jail in Ventura. He was a church youth pastor, musician, comedian, woodworking craftsman and a private investigator. But in this episode, the Randall Knight goes deep. We talk the North Hollywood Shootout and the fallout from that and the one day he and his mom were going camping and they end up at KFC and she whips out her pistol because she wants extra crispy and I'm going to pay for it and you're going to make it even if you're closing in 10 minutes. If you want to support free speech and good hunting content in the Internet Age, look for our coffee and books and wildlife forage blends at https://www.garylewisoutdoors.com/Shop/ For more info on forage blends, click on http://baileyseed.com/products/frontier-unlimited-wildlife-mixes/We appreciate our sponsors: Nosler, Hoodoo Ski Area, Camp Chef, Warne Scope Mounts, Columbia River Knife & Tool, Carson, Pro-Cure Bait Scents, The Dalles Area Chamber of Commerce, TS&S Madras Ford, Central Oregon Shooting Sports Association, Bailey Seed and Smartz. 

Our guest has loved cars since her dad taught her to drive at an early age! She is definitely a savant in terms of knowing a lot about all of the cars of her past and present - not to mention planning for her next car.Listen as we (Ford) probe like Woodward and Bernstein for the story behind the story, digging deeper into the Datsun details. This episode has it all, so don't miss it: intrigue! And even another Dodge Dart!---If you're in the Cedar Park/Austin area of Texas and in the market for a personal tune up, please check out Piel Aesthetics  - you won't be disappointed. Just ask Christian  how he maintains his youthful image and you'll know!Piel Aesthetics on the WebPiel Aesthetics on InstagramPiel Aesthetics on Facebook

I denne episoden av Scoochpodden reiser vi til Max Lammers. Dette ble en vandring gjennom et spennende liv! Max har et samler-gen utenom det vanlige og kombinerer en sterk forkjærlighet for Mopar med musikk på en måte som visker ut alle spørsmål man måtte ha. Han forklarer også hvorfor han eier et drøyt snes Dodge vaner! Gjennom et langt liv har han samlet og tatt vare på tøffe ting, og har nå et helt pølserøkeri fullt av biler, deler og historier. Å holde biler rullende er en hjertesak, og det kan godt være brukskikk og patina så lenge de kan brukes! Kanskje særlig om det er en Dodge Dart. Midt i verkstedet finner du øvingstudioet for bandet EXPLÖDEMENTS hvor han spiller både gitar og bass. Musikk og bil hører sammen på et dypere plan forklarer han. I tillegg prater vi selvfølgelig både fjernstyrt, onkler, modellbiler, Tiki, USA reiser, kunst, Il Tempo Gigante, hus-design og om avanserte hjemmefester med internasjonal vibe! Takk for at du lot oss ta en titt inn i ditt rikholdige liv Max! Følg oss på facebook: https://www.facebook.com/profile.php?id=100051375947801Instagram: https://www.instagram.com/scoochpod/ Hosted on Acast. See acast.com/privacy for more information.

Todos los aficionados recuerdan al Citroën GS, a “nuestros” Seat 124 y 1430 y al refinado Renault 12… pero se olvidan de un coche que les puso en jaque a todos ellos, al Simca 1200, que en Francia fue Simca 100 y que en ambos países se vendió, al final de su carrera, como Talbot. ¡Hoy vamos a hacer justicia! Y en esta historia Fiat y Dante Giacosa tienen mucho que ver… En esta historia hay mucho que contar no solo sobre un coche tan destacado como fue el Simca 1200 sino como nació este coche… esa parte generalmente desconocida de la historia. En realidad, de las historias, porque contaremos la historia del este modelo en Francia y su nacimiento en España. Así que, como de costumbre, comencemos por el principio… A comienzos de los años 60, Fiat era el accionista mayoritario de Simca en Francia. Y ya se veía que los modelos de tracción delantera de diferentes configuraciones, estaban dominando el mercado, como el Citroën 2CV y sus derivados o el Renault 4. Y también se sabía que Peugeot quería introducirse en segmentos bajos con el 204, en fase de experimentación. ¿Y que tenía Simca? Pues por abajo el Simca 1000 ya anticuado con su motor trasero y por encima el Simca 1300, algo menos anticuado, pero con motor delantero y propulsión posterior… y en medio… la nada. El “jefe” de la marca en ese momento, Enrico Teodoro Pigozzi arrancó un proyecto denominado “Voiture Legère Berline Break”, y se referían a un modelo entre medias de los 1000 y 1300, con tracción delantera y 5 puertas. Todo parecía bastante encarrilado hasta que el grupo americano Chrysler compra el 65% de las acciones de Simca y al “signore” Enrico Teodoro Pigozzi le sucede míster Georges Hell mucho más conservador. Para la mentalidad americana un coche con motor transversal y tracción delantera, con el cambio en un lado, el motor en otro, palieres de diferente longitud, barras de torsión en las suspensiones en vez de muelles o incluso ballestas, carrocería semi-break… demasiadas novedades, demasiadas innovaciones. Aunque llegó a montar motores de 1.442 cm3, como el caso del 1200 Ti español, el Simca 1100 comenzó montando motores de 1.118 cm3 una simple evolución del motor tipo “Poissy” que equipaba el Simca 1.000 con 944 cm3. Esta cilindrada, más el hecho de quererlo situar entre el 1000 y el 1300, pero más cercano al 1000, aconsejaron esta denominación. El modelo se presentó en el Salón de París de 1967 y tuvo muy buena acogida. La estética, muy Simca, probablemente nunca fue su punto fuerte, pero es un coche con una estabilidad soberbia, muy confortable, muy amplio para sus apenas 4 metros de longitud y muy práctico gracias a su portón posterior y a sus asientos abatibles que dejaban una plataforma de carga completamente plano. Pero ahora… ¡nos vamos a España! No se podría escribir la historia del automóvil en España, quizás tampoco la historia de España, sin mencionar a Eduardo Barreiros. Barreiros había firmado un acuerdo con Chrysler para fabricar el Dodge Dart en España, pero muy avispado cuando Chrysler se hico con el control de Simca vio una oportunidad de oro y fabrico primero los Simca 1000 y luego los 1200. No se usó, al principio, el modesto motor de 1.118 cm3 y 53 CV usado en Francia. Barreiros, con buen criterio, pensó que para la orografía española era mejor más cilindrada y la gama arrancó con el 1.204 de 59 CV y luego creció hasta el 1.294 cm3 que en el especial rendía 75 CV, una cifra interesante porque era la potencia que ofrecía el Seat 1430 “potenciado” entonces un claro referente. En 1977 aparece el Simca 1200 Ti, con motor de 1442 y 85 CV… una verdadera bomba y lo más parecido a un GTi que había en esos momentos en España. Porque es cierto que Seat tenía versiones más potentes de sus 124, con motor 1.600 que llegaron a los 2000 cm3, pero con su eje rígido trasero era otra cosa: No eran ni tan cómodos ni tan seguros como un Simca 1200. Para lo que era el parque automovilístico en España en esos años, este 1200 Ti era un verdadero deportivo, que aceleraba en los mil metros con salida parada en apenas 34 segundos y superaba con facilidad los 160 km/h. Y eso sin renunciar a un notable confort, una estabilidad magnifica y una practicidad que no tenían sus rivales, pues ninguno en su versión berlina contaba con portón trasero. En 1979 llega el principio del fin, cuando el grupo PSA compra la división europea de Chrysler. Honestamente, PSA es como Atila: Por donde pasa no vuelve a crecer la hierba. Se cargaron, o casi, Citroën y se cargaron, en este caso del todo, Simca. Primero los pusieron el nombre de Talbot y en 1982 el Talbot 1200 fue sustituido por el Horizon. Un coche más moderno pero que seguía aquejado de problemas de calidad frente a su competencia.

What happens in the Dodge, stays in the Dart.  Mike had such an affinity for Dodge Dart's that he bought a second one, but it was all over once he found something special, a Buick Special that is! If two Darts and a Special didn't get your attention, wait until you hear about his current car!

A las 9 horas 28 minutos de la mañana del 20 de diciembre de 1973, en la céntrica calle Claudio Coello de Madrid, el coche oficial de Luis Carrero Blanco, almirante de la Armada y presidente del Gobierno, un Dodge Dart 3700 GT negro, voló 35 metros, hasta posarse en la terraza de la iglesia de San Francisco de Borja. Pero ¿Cómo fue posible que ETA llevase a cabo este atentado? ¿Contó ETA con ayuda de gobiernos extranjeros e incluso desde algunos sectores del propio régimen franquista?

The guys cop a squat and chat about the killer new release from Lord Dying - Clandestine Transcendence. The doom/sludge/metal outfit have graced us all with a monster album that scratches all kinds of itches.Be sure to drop by https://www.shittalkreviews.com to see all the podcasts, reviews, merch drops and instructions on how to drift your grandma's Dodge Dart.#lorddying #clandestinetranscendence #doom #sludge #metal #podcast #albumreview #rhianna

Add at least one more to the list of qualities that Tommy's erstwhile Dodge Dartre lacked: well made, dependable, fine handling, good looking and, not surprisingly, seaworthy. Tim from Washington regales us with the tale of his submersible '66 Dodge Dart on this episode of the Best of Car Talk.

Petter tror inte på Mopar och Theo vill GM-konvertera. Dessutom har vi kört en gammal raggarbil, taxi eller snutbil från sent 60-tal, Dodge Dart!

Ron starts this episode talking about how you click with some people when it comes to car repair with the story of a 12 Grand Cherokee : takes a call on a 14 Dodge Dart with multiple error codes and it is going into limp mode : takes a call on a 19 Fusion with transmission problems : takes a call on a 20 Jeep Compass where the engine has start stop technology and the caller has concerns. Visit us at https://www.cardoctorshow.com  See omnystudio.com/listener for privacy information.

KSeal worked in his motorhome. 2006 Vibe, when to maintain it. Misfire in a Caddy ESV and how to find it 2016 Dodge Dart where does the cleaned out stuff go? Why won't some cars go into neutral when not running? Auto Dismantlers. Do they need or get training? 1994 OJ Bronco replica get some trouble at the smog station. Why does my Ford Excursion dive to one side when braking? 1947 Chrysler New Yorker Fluid Drive shifts too early. 

And here we thought all those high-society soirees that we were never invited to must have been attended by owners of Rolls Royces, Cadillacs, Jags and Aston Martins. Not so! Hear Carol's story about the forgotten classic in that list -The Dodge Dart- on this episode of the Best of Car Talk.

KURT FULLER (Victor Kragston) Over his almost 40 year career, Kurt is proudest of his work as the grouchy and violent Mr. Brell (no first name) opposite Mr. Hulk Hogan in the actor/wrestler's starrer NO HOLDS BARRED. Produced by Vince McMahon, the film has been criminally ignored on every list of “ Best Films” ever compiled. Surprisingly, Fuller's performance was overlooked during 1989's awards season. WHO'S READY TO RUMBLE? Amanda Detmer (Fox's Empire), Kurt Fuller (CBS's Evil), Dana Ashbrook (Showtime's Twin Peaks), and Michael Hogan (Fox's The Resident) star in this no holds barred look at the dirty underbelly of professional wrestling. James Roday Rodriguez (ABC's A Million Little Things) joins with Legacy Theatre to produce Laurence Davis' riveting drama, taking you from the corner office to the top turnbuckle, daring to ask “Who are the Masters of Puppets?” This is the story of how the fate of a billionaire marriage and a wrestling empire are all decided in one night. Everything is on the line for everyone inside and outside of the ring. It's a winner take all battle that shows you what happens when money, love, and a real rough business fight it out on stage! There will be laughs. There will be tears. There could be blood. Born in San Francisco and raised in the agricultural heartland of California's San Joaquin Valley, Fuller became passionate about acting while attending UC Berkley, where he received a degree in English literature. After graduating, he made the move to Los Angeles with everything he owned stuffed into the back seat of a Dodge Dart (including a king size foam rubber mattress). For the next ten years he was a Realtor by day and a stage actor by night. Then, in 1986, he created the leading role in Steven Berkhoff's explosively successful "Kvetch", earning rave reviews on both coasts. Fuller has gone on to have a very successful career, working with some of Hollywood's best directors, including David O. Russell, Tony Scott, Harold Ramis, and Ivan Reitman, among others. His numerous film credits include "Auto Focus," "Ray," "Pushing Tin," "The Jack Bull," "Ghostbusters II," "Mr. Woodcock," "Nailed" and "The Pursuit of Happyness." Kurt still returns to the stage occasionally, most recently in the acclaimed "Greedy" for Red Dog squadron. He's also worked at the La Jolla Playhouse and the Mark Taper Forum.

THE LEGENDARY LLOYD PARRY is a hot rodder at heart and from a young age he was working on anything that had wheels. His involvement in land speed racing started whe he was introduced to Dave Skidmore. Him and Dave ran a '64 Dodge Dart. When the Dart engine blew up he began working the USFRA races. Starting as a course steward he is now currently the assistant race director and manages the short course for the USFRA meets.

Jonny and Richard receive news from a listener who has been experimenting on their behalf. Also in this episode, saucy tortoises, intense protein bars, fantasy scenarios involving Mercedes W126s in 1980s Surrey, elaborate graphic equalisers, Pierce Brosnan's baggy trousers, Tim Booth's even baggier trousers, Richard's mate's dad with a W126 and a mk1 Golf GTI, rave artist Baby Benz, a brief review of the Honda Civic, an amazing story of Ferrari brakes and Take My Breath Away, Austin Allegro Handling by Lotus, an amusingly named Dodge Dart and a gorgeous Citroen DS in the Car & Classic auctions, and Jonny's had a call from Tiff. patreon.com/smithandsniff Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Stacey sends out his well wishes to Jay Leno and explains the importance of shop safety, especially while working alone. Then after shaking out out the mailbag, Stacey answers listener questions about header paint, selling a Dodge Dart Swinger, and an Air Ride system for a '22 F-350.

Rik seems to have misplaced his Dodge Dart, and 3 seasonally appropriate guests stop by. Can you say "cartoon witches"? Starring Cale Evans and Jacob Brayton. Music by Josh Brayton. Featuring: Jessica noll as BeverleeeyAnna. The Podcast From Hell is a fully improvised comedy podcast featuring creatures from the worlds of Mythology, Lore, Legends, and the minds of North Carolinas okayest improvisors.

This week, we have our first Podcast guest, Writer/Director Rob Cohen. Rob has written and directed for shows like The Simpsons, Wonder Years, The Ben Stiller Show, MAD TV, SNL, Just Shoot Me, Maron, Big Bang Theory & Black-ish. Join Michael Jamin and Rob Cohen as they discuss their careers, breaking in, and what it means to have a long, fruitful career in Hollywood.Show NotesMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistRob Cohen on IMDB - https://www.imdb.com/name/nm0169712/Transcripts are Auto-GeneratedRob Cohen:Just shoot Me was in the nineties. And if you said NBC in the nineties had so many comedies, some were good, and some were terrible. But now, if you look at NBC, are they doing any comedies? Like maybe two?Michael Jamin:Yeah, maybe. Yeah.Rob Cohen:Yeah. So, so it's the same place, but it's the, the tide is clear. So for somebody to aspire to working on wacky old-timey NBC comedies, it's very foolish. However, if they are a self starter and, and determine what their roadmap is, nobody will stop them. You can't guarantee success, but at least you've tried it and you might be successful trying it and pursue what you like.Michael Jamin:Right. You're listening to Screenwriters Need to Hear This with Michael Jam. Hey everybody, welcome to Screenwriters. Need to hear this. My name is Michael Jamin and Phil is not here with us today, but I have a special guest. This is our first time ever having a guest on, on our podcast. And I'm absolutely thrilled that it's, you know, in Hollywood. People say this is my good friend, My, but it's true. Rob, you're my good friend and thank you.Rob Cohen:You're my goodMichael Jamin:Friend. Yeah. . And so it's nice to actually have a good friend kick off my guest on the show. So let me introduce you. This is Rob Cohen, Writer, Director, and I'm gonna scroll through some of your credits so people know who you are. And and I'm sorry, I'm, I'm only gonna do some of the highlights that I think I'm gonna leave out. Probably the someone's I, because you had, Rob has a huge resume and you're a writer and a director, but you started andRob Cohen:Some of it is good.Michael Jamin:And for, for those of you wanna make a, a visualization. Rob also worked on one of your early jobs was The Simpsons and the character of Millhouse was Rob modeled after him. So Rob is picture Millhouse now older and sadder. So, and also Rob's Canadian. So I wanna talk about how a Canadian breaks into the business. Sure. The whole language barrier, how you learned English. Right. I wanna learn how weRob Cohen:Figured out Yeah. How the machines work so we could Yeah.Michael Jamin:I know you drove a dog sled growing up and now, now you drive a car. So stuff like that. Thank you.Rob Cohen:Thank YouMichael Jamin:Thank you. So let's begin. Rob's, I guess your first staff job, I guess was the Naked Truth, your big one?Rob Cohen:No, my very first staff job full time was the Ben Stiller show.Michael Jamin:Oh, right. Will you go back even further than that? Bend Stiller. Right. And you also did Mad tv. Hold on. Your credits are crazy good. Like you have a huge list of credits. Naked Truth work with me, I met you on, well I think I knew you before that, but just shoot me work. You work together, right? Bet, bet. Midler show. Yes. According to Jim. Mm-Hmm. , according to your credits, you are on, According to Jim. Right. the Jamie Kennedy experiment. Was that a show or an experiment? Rob?Rob Cohen:That was an experiment. That became a show on the wv.Michael Jamin:See Dots? I don't know what that is. It'sRob Cohen:A amazing, That was a pilot for nbc. Yeah.Michael Jamin:Oh, Pilot. How did you get that in there? Father of the Pride? You remember that, that animated show American Dad? I've heard of that one. Yep. Big Bang Theory. Heard of that one. Mm-Hmm. , 20 Good Years. Mm-Hmm. , our friend Marsh McCall created that show. Mm-Hmm. Emily's reasons why not. Mm-Hmm. fascinating.Rob Cohen:You're really combing through all theMichael Jamin:I'm on IMDB.Rob Cohen:Yeah, of course.Michael Jamin:There's more Life In Times of Tim, which was a riot that, that animated show Maron, which we brought you back. We hired you to be a writer and director on that. We're gonna talk about that. Yeah, sure. Lady Dynamite with our friend Pam Brady. Mm-Hmm. I don't know companies. I don't, I don't know. So I'm skipping over the, But you also have your own show called Hanging with Dr. Z. We're gonna talk about that. And then, But directing credits are also crazy. I mean, really I'm all them. Well, well you're, you're, you're good looking. Thanks. Let's go over some of them. Sure. Obviously you did a, you did a bunch of Marons. Yeah. Mystery Science Theater, 3000. You did some Lady Dynamites. Yeah. You did Blackish. Mm-Hmm. Stand Against Evil, Speechless. Bless this Mess. Superstore, you directed mm-hmm. The Goldbergs, you directed. Mm-Hmm. Interesting. told that Mo You are, And then most recently, somebody somewhere, which I, I talk about that a lot cause I love the pilot of that. And I just love that show. You directed five episodes of thatRob Cohen:Damn right. Seven,Michael Jamin:Seven. We have to update your IMDB. Yeah,Rob Cohen:Yeah.Michael Jamin:Let's start at the beginning. Cuz a lot of people ask me this and I have no answer. How does a Canadian start work in this country? Like, there are lawsRob Cohen:There are laws and I mean, I know that Americans are all about purity. So I will say that Canadians, they're almost like Americans. It's almost like we live next door to you guys,Michael Jamin:South or north of us.Rob Cohen:I, I don't know, , I don't know. But I didn't have any aspirations to get into showbiz or even come to the United States. So I didn't know that it was a, it was all a fluke. The whole thing was a fluke. I can certainly condense the journey.Michael Jamin:Let's hear it.Rob Cohen:The fast version is I was a bit of a scam as a young man and was encouraged to live on my own at a young age. And so I lived on my own and I was just a complete screw up. And I grew up in Calgary and had no future whatsoever.Michael Jamin:You were encouraged to live on your own at what age?Rob Cohen:15.Michael Jamin:Why? You were, you were a handful for your parents.Rob Cohen:I was a handful because my dad had gotten remarried and the mix was not the greatest mix. So there were two opinions on how things should work in that situation. I was of one opinion andMichael Jamin:TheRob Cohen:Back was of another.Michael Jamin:But looking back on it, do you realize, Do, are you, do you feel like you were wrong as a 15 year old? Or do you like No, I was right.Rob Cohen:You were right. I was absolutely right. Interesting. Absolutely. Right. and so I just, You,Michael Jamin:You were on your own at 15, Dude, I, I couldn't imagine.Rob Cohen:Yeah. I had an apartment. I, I mean, it's not like I suddenly got, was living on my own and figured everything out. I was still a disaster. I just had my own apartment and I was so stupid that for the first month I was like, Oh, this is awesome. My party pad. And I had all my buddies over and we were just doing stupid things. And then I got the, basically realized I had to pay rent and gas and electric. And I was like, Oh my God. Like, I actually have to pay these bills to live here. And I was delivering pizzas at night, and that was certainly,Michael Jamin:You're gonna school during the day and delivering pizza.Rob Cohen:Yeah, I delivered pizzas. Oh, yeah. Yeah. I was a comp, I was a disaster. I had a 75 Dodge Dart that I would deliver pizzas in whatever the weather was and would like steal gasoline from car lots. So I could put gas in my car to deliver pizzas. I was a complete idiot.Michael Jamin:Have you tried pitching this as a show?Rob Cohen:No. it's just, it's so, it's, it's interesting in hindsight, but it's also, you know, you could call it, you know, like it's like Don portrait of a team runaway. It's like Rob portrait of a complete disaster because every choice I made was wrong. That'sMichael Jamin:Mind's a good show.Rob Cohen:. Well, maybe at some point, but I think I sold a pilot once about my parents' weird divorce and how they lived a block away from each other, but had the same address through it, some flute. But anyways, I was just drifting around for a while, just doing nothing. And sort of speeding up to your question. My cousin lived here in LA in the Valley, and I, because I was doing nothing in Calgary and had, I was not gonna college, I did not have enough credits or interest to go to university. And just got my car one day and left my apartment in Calgary and just threw a bunch of stuff in the car and drove down here to LA to visit my cousin who lived in Vaneyes. And again, like speeding through the boring stuff. I was just gonna visit for a couple days and crash on his couch.Rob Cohen:And I met this girl that he was going to school with, and we, she and I hit it off and I'm like, I'll stay another week mm-hmm. and then I'll stay another week. And then I sort of had this, if you want to use the word epiphany incorrectly realized like, I could go back to Calgary and do nothing, or I could stay here and do nothing with this girl. So I decided to like stick around for an you know, excuse me, undetermined amount of time. And then realized I'm kind of living here. But I was, I lived here illegally for many years.Michael Jamin:And you were like 17.Rob Cohen:Yeah.Michael Jamin:How old were you? And you were living here illegally?Rob Cohen:Yes. For many years. Interesting.Michael Jamin:Yeah. And, but you were working, How did you work then?Rob Cohen:I worked under the table. I got a bunch of jobs. I think the statute of limitations is over, but I worked at different restaurants and Right. The, I was a security guard at a mall. I sold shoes, I fixed yogurt machines.Michael Jamin:You know, I worked at a yogurt store. I wonder if you fixed Humphrey yogurt.Rob Cohen:You fix, did you fix them? I worked at a place called I can't believe it's Yogurt. And then they opened up a second store that said, Yes, it's yogurt . So they basically, they opened up a store that answered a question nobody was asking. No. Was asking . Yeah. And I still remember how to, you know, you unscrew those four bolts and you pull out the assembly and you take the O-rings off and you clean them and then you lu the O-rings and then you put the thing back in. But it was all the reality was because I looked and mostly sounded like an American people never asked. And this was pre nine 11 and pre all that stuff. And they just thought I was American. And no, not one person asked me for any validating id. Wow. And I, I made up a fake social security number and got hired and they, a lot of 'em just paid me cash under the table.Michael Jamin:This is perfect. Yeah. Now, and then at some point, well, but maybe I'll skip. So how did you, how did this whole Hollywood thing happen? When did you decide, how did that, when did you decide you wanted to be a, I guess, a writer? Right.Rob Cohen:Well, I never decided it. I, I, it's such a boring story and I may actually do it as a pilot, but cutting to the chase, I was delivering food for a, a deli that is no longer in business in LA Right. And had a lot of clientele that were in show business. And this one guy took a liking to me and basically said, you know, if you ever wanna get outta the exciting world of late night sandwich delivery, gimme a call. We need PAs. And I didn't know what a PA was. And he explained what it was. So I, I, this is how dope I was. I was like, Yeah, sure. So I'll, I called him up and went over to the Fox lot and he explained what a PA was Uhhuh and I thought it paid more than working at thisMichael Jamin:Deli. And he, he was a producer. What wasRob Cohen:He? Producer? for, I mean, he's still a producer, but producer of The Simpsons, Tracy Elman show. Oh, okay. This, he's an amazing guy named Richards guy who I, I literally owe everything to. And he hired me because I was nice to him when I would deliver food as a PA on the Trace Elman Show. And that was the very first time I was exposed to anything in show business whatsoever. And I was assigned to the writer's room, so I was in charge of getting them food and cleaning up. And And that's a queen. Yeah. And it was an amazing writer's room. And that was it. That was the first exposure to it.Michael Jamin:And then when did you decide you wanna start? When did you start writing?Rob Cohen:I didn't start writing. I was there for the last two seasons of the Tracy Elman Show. And then on the last season I didn't even, I still don't really know how to type. I started hunt and peck, but I would stay late at night. And they were, it was a great writer's room and they were really nice to me. And I just thought these guys seemed to be having fun. And one night they were stuck on a joke and that meant they were sticking around, which meant I had to stick around because I had to clean up after them. And I just decided like, I'm gonna write down a couple options for this joke. And sort of meekly slipped it to one of the writers, this guy Mark Flanigan, who was an incredible, and I'm like, you know, I don't mean to step on eight toes, but I just, I wanna go home.Rob Cohen:Ideas. Yeah. And that was literally, I wanna go home. And he, they used one of the jokes. And so I got to go home . And then I was like, Okay, well I'll try this again. So I, I started to very quietly with months in between side sort of pitch ideas. And then I went in at night after work and Red Scripts and sort of taught myself how a script is visually structured. Right. And then on the computer would type fake scripts just to physically format a script. And then, because it was a sketch show, I had this idea for a sketch and I just typed it up and it took like a month for me to type up a six page sketch cuz I was terrified. Right. And they ended up buying it and Wow. It was like $1,600. And I got an agent at caa, but I was still a pa at the Tracy Elman show. Right. And, and then I thought, again, showing my lack of planning for my life it was like, this writing things seems kind of fun, like maybe I'll try it. And that was, that was when I had the first inkling that perhaps that was something I may want to try to pursue. But there was no guarantee of success.Michael Jamin:And then you just continued writing specs scripts and your agents started submitting you places.Rob Cohen:I wrote a bunch of spec stuff and then by that point to Tracy Mond show was canceled and they switched. It was the same production company as The Simpsons, which was just starting. So they switched everybody over to The Simpsons. And then because everybody there was so great when The Simpsons took off, you know, it just was huge outta the gate. They had all these weird assignments that they needed help with. Like can you come up with 50 grant calls for Bart? Can you come up with a promo for this? Do the Bartman video that's gonna be on mtv. And I'm actually looking, the, my very first check sort of professional check over on the wall was for writing the intro that Bart Simpson was gonna say on MTV for the Do the Bartman video that had Michael Jackson on it. Right.Rob Cohen:So I got $300 and then just started sort of you know, writing weird things. And the, the first actual job that I got was I was recommended by one of the writers to these producers named Smith Heian. Mm-Hmm. And they were doing a 50th anniversary Bugs Bunny special for CBS. And they needed a writer that knew a lot of stuff about Bugs Bunny. So I had a meeting with them, they hired me for $2,600 to write this whole special, And that was like my first professionally produced credit of something that was, I, I was involved in from the beginning to the end. Right. But I'm still a paMichael Jamin:And none of this see, people ask me like, Well, do I have to move to Hollywood to work in Hollywood? AndRob Cohen:Like, Right.Michael Jamin:I mean, this wouldn't happen if you were not in Hollywood.Rob Cohen:Oh yeah. And it was, everybody says this, but it was absolutely a different time. And I also think that because it was the late eighties, early nineties and things were, there were way more jobs. And also because sketch shows were so popular, they needed people needed little bits. And also being around The Simpsons from the beginning, it was great like that. The Do the Bartman thing I sweated over that for a week and it was probably four sentences. Right. and I would write like top 10 lists for Letterman and try to send them in like naively thinking here's, here's 20 top 10 lists, Maybe you guys will like them. And I was just, I would stay there late at night in the office on the Fox up by myself with, you know, feral cats giving birth under the trailer just writing weird stuff and kind of figuring out the job as I was doing it.Michael Jamin:And then how did you get the Ben Stiller Jo Show?Rob Cohen:This has gotta be also boring.Michael Jamin:I think it's fascinating.Rob Cohen:Well, the way I got the Stiller show was The Simpsons had taken off and I was still working for Gracie. And I had an idea for an episode and it was season two of The Simpsons. And so I went and just wrote this episode on spec on my own. And it was basically a diehard parody cuz Diehard had come out just like a couple years before that about the power plant where Homer works getting taken over and he inadvertently becomes a hero and saves a power plant. Mm-Hmm. . So I wrote this whole spec, I turned it into Sam Simon who was running the show and was just great and he loved it. But what I was told sort of off the record is at that time, Gracie Films had a rule where they could not hire writers that were already working for the company in another capacity.Rob Cohen:It was like this weird archaic rule. So being a Ding Don I was like, Oh yeah, well screw that. I quit. So I walked over to the main bungalow and spoke to Richard Sky and I was like, You know what? I think that rule's terrible and Sam likes my script and I just think I'm gonna try this writing thing. And, and I quit. And they're like, Well, we're sorry to have you go. And then as I was walking back across the parking lot to get my stuff, Sam grabbed me and he is like, I heard you quit. And I said, Yes. And he goes, Well now you don't work here anymore, so now we can hire you, but we can't use your idea because you pitched it to us when you're an employee. And I was like, That's weird. But cutting to the chase.Rob Cohen:They took me upstairs to the writer's room and they had an index card that just says Homer invents a drink and most deals it. And so they said, We would like you, we loved your script and you've been here since the beginning. Like, we'd love you to write an episode. And I was like, Absolutely. I was freaking out. And I said, like a, an arrogant idiot. I was like, But I wanna be involved in the entire process. Cause I knew the process cuz I was working on the show. And they're like, You got it. And so we broke the whole story and it ended up being the episode flaming mosMichael Jamin:Flaming. I know you wrote Flaming Mo. Wow.Rob Cohen:So I wrote Flaming Moose, and then time went by and, and it got produced and it was on the air. And the way that I got the Stiller show was I was doing punch up on this terrible movie for Morgan Creek and met this other writer there named Jeff Khan. And Jeff and I hit it off and he's like, Hey, they're shooting this weird pilot at my apartment, you wanna go check it out? And I was like, Sure. So we went over and it was the pilot for the Ben Stiller show. Mm-Hmm. . And Ben was there and he and I hit it off and he was asking what I'd worked on and I said, this episode that had just come out for The Simpsons called Flaming Mos. And he was like, I love Flaming Moes, you wrote that. So he said, if his pilot ever became a show, he would love to hire me because we, he and I had so many similar references in our life. We love disaster movies and all this other stuff. So we really clicked. And then a couple months later, the show got picked up and he called me and said, I wanna hire you. And that was my first staff job.Michael Jamin:Wow. What itRob Cohen:Entail? What it entail. IMichael Jamin:Not it is, No, I think it's so cool. I I've known you all these years. I didn't even know that dude.Rob Cohen:And then it's all flukes. It's all flukes,Michael Jamin:It's all Yeah. But it's also you putting yourself out there and I don't know. That's amazing.Rob Cohen:Yeah. I mean, I'm very fortunate these flukes happened because, ButMichael Jamin:You also Yeah. I hadn't but you put yourself in a position to have these flu happen too. Yeah. AndRob Cohen:You were put if I hadn't, but I was prepared. But if I hadn't met Jeff that day and we hadn't gone to his apartment, I would not have met Ben and that wouldn't have led to the show. Right. WhichMichael Jamin:Led. But you're also, I mean, honestly, and I mean this in a compliment, like you're one of the be better connected, more most connected writers. I know, you know, a lot of people like, you know, you're friend, you're a friendly guy, you, you know, a lot of people I guess maybe cuz you leave your houseRob Cohen:No, but you're, you're connected, you know, a lot of people, it's just,Michael Jamin:It's just I know, but I'm always, I'm always surprised by who you like you seem to know more people .Rob Cohen:Yeah. But it's only because I just think I hate this term, but I think the alt comedy scene was starting when you and I were starting off in LA Yeah. And because, especially because of the Stiller show, that whole crew were so important. Like Janine and David Cross and all those guys were so important to the alt comedy scene. And then that's where Jack Black and Tenacious D started and all these other people Will Ferrell. Like they were all coming up that way. I just think it was timing of an, an era that was happening. So wereMichael Jamin:Just, Were you involved in that? Like did you do like, what do you mean? Did you go to those shows and stuff? Like IRob Cohen:Oh yeah. The Diamond Club. Yeah. I mean it was, that was the whole scene. Like big intel books, the Diamond Club. IMichael Jamin:Didn't even know about it back then.Rob Cohen:Really? Oh my God. Yeah. That was where everybody hung out. Like I even performed in some of those dopey shows just because it was, it was a group of friends that were not famous yet that we're just doing these weird shows at this place, The Diamond Club in Hollywood, which is gone mm-hmm. . And you could tell it was like, you know, Jack and Kyle, you knew they were amazing, but they were not tenacious to you yet. Right. And, and Will was not Will Fiery yet. He was a guy from you, the Groundlings and people were just, you know, Janine and David and Pat Oswald and all these guys that were justMichael Jamin:Right. So let's talk about those guys. So they were, you know, these are people putting themselves out there. It's not like Absolutely. They're not saying, Hey, I put me in my movie. They're just putting themselves out there. They're doing shows. Yeah. Yeah. I mean, that's just how you do it. And so is they're not asking to start at the top, they're starting at the bottom.Rob Cohen:Yeah. Well I think that's a great point. And I think using the, the Diamond Club shows, The Diamond Club was this horrible, horrible dumpy club. A club is a loose term that was owned by one of the the Stray Cat was it Stray Cats?Michael Jamin:Yeah, I know the band. TheRob Cohen:Band The Stray Cats. Yeah. It was like Slim Jim Phantom, I think was the guy who owned the club. Okay. So it was this horrible, decrepit theater that was near LaBrea and Hollywood and it was kind of a you can do anything you want kind of place because it was just soaked in like old piss smell and booze. But the good thing was a lot of friends of ours, like this friend CJ Arabia, started to put these shows together. And so she would ask everybody in our little group that all hung out and travel together and dated each other and whatever. It's like, hey, we can do these shows at the Diamond Club. And I'm not a performer, but it would be like, we would build entire sets out of corrugated cardboard and paint them because the Diamond Club didn't care. They just wanted to sell alcohol to people that came to the shows . So there would be like, you know, shows where you look now at the lineup, you're like, Holy crap, that's the, that's like a lineup of insane comedy hitters. Right. But at the time they were not, they were just young weirdos.Michael Jamin:It's so, because you know, I moved here in 92, I lived right in West Hollywood. I lived right on the corner and I'm just, it's amazed how like we just didn't know each other then, you know? Yeah,Rob Cohen:Yeah. But you and I actually in Seavert sort of weirdly intersected with the Wonder years unbeknownst to us.Michael Jamin:I well sever wrote on that. I didn't he sold number years.Rob Cohen:No, but you guys, and you're credited on my episode.Michael Jamin:I'm no, I I didn't work in the Wonder Years. Si sold ans sold an episode of Freelance episode of Wonder Years, my partner becauseRob Cohen:Yeah. But it's so weird because on screen, it's you two and me credited on the episode. I pitched to Bob Brush. He tried to ripMichael Jamin:Up. Not me, dude. I don't have any credits on Wonder Years. You gotta, I Oh,Rob Cohen:You know, Seavert and his old partner?Michael Jamin:Yeah, his old partner. Yeah. Yes.Rob Cohen:Sorry. It was Sivert and his previous partner.Michael Jamin:I'm surprised he got credit though. Okay.Rob Cohen:Wow. Wow. The whole thing was Bob Brush was just stealing ideas left and right. But wow. That's interesting. But that's SivertMichael Jamin:And I But you never wanted to I'm well, I'm sorry I cut you off. GoRob Cohen:Ahead. No, no. I was gonna say, I didn't know you were Seavert yet. Right. But on that episode, Seavert and I share credit even though at the time we were complete strangers. And then I really met him when I met you on just shootMichael Jamin:Me. Right, Right. Now, did you, you never wanted to perform, I mean, it's funny cause you have performed but you never wanted to.Rob Cohen:I have performed reluctantly. I hate it. And it was like, whether the Diamond Club show or if I've been like an emergency fill in at the Growlings, it's, before I do it, I'm like, Hey, this is cool. It's gonna like sharpen my brain and it's gonna be a great thing. Just jump off the cliff and try. And then in the middle of it I'm soaked in sweat and hate myself. And then at the end I, I am so relieved it's over and I absolutely loathe it. I wait,Michael Jamin:I'm just shoot me. I remember we had you play the dirty bus. The dirty bus Boy was your character. Dirty Dirty bus, and you hit it outta the park.Rob Cohen:. Well, all I had to do is sort of wiggle my eyes. Lasciviously while it was clear the older waitress and I were messing around.Michael Jamin:Oh my God.Rob Cohen:Cause Andy called me in and said, Can you, He's done that so many times where it's like when he had True Jackson, he's like we need somebody to be the hobo king. Can you be a paramount an hour? I'm like, .Michael Jamin:Okay.Rob Cohen:But it's not. Cuz I love it. I, I hate it, but it's also, it sounds so goofy that if I don't have any lines or something that I'm fine doing it. But I ended up on so many shows I worked on as a writer, being an emergency go to that.Michael Jamin:IRob Cohen:Truly, I truly hate it. IMichael Jamin:Truly hate it. As mentioned, Rob was talking about Andy Gordon, who's a writer we worked with a number of times. Yeah. A great guy and hilarious writer, butRob Cohen:Hilarious and so funny. Like just as a personMichael Jamin:It really witty, really making laugh. Yeah. And you just had dinner with him. Yeah. It's so fa Okay, so then you were okay. Then we worked together and just shoot, We, for many years, we, we used to sit next to each other. Yeah. Sometimes at least. Yeah. And then, and then what happened was years, I remember years later we were doing a pilot. We were helping out a pilot. I don't remember whose Do you, do you remember? We were, I remember I pilot, I don't know, might have been, might have been a CBS Ratford pilot, but, but what happened? So people don't know. So when someone makes a pilot, it's very, at least back in the day, it was very common for the person who created the show to call in their friends as a favor. Hey, can you guys help, you know, sit a couple days and help me, You know? Right. Pitch on jokes or do the rewrite or whatever. And as it's courtesy, you always say yes. I mean, you just never, never say no. And CauseRob Cohen:You also hope, if it's a success, you'll get a job.Michael Jamin:Yeah. But sometimes you have a job so you don't even care. But Sure. But, but absolutely. You always say yes. And I remember being there on the state floor, and I hadn't seen you in a while, and I was like, Rob, what are you up to? And then you said, I was like, so I was thinking you were gonna, you know, you had written on a bunch of shows, but you were like, Yeah, I'm kind of done. I'm done writing, I wanna directRob Cohen:Mm-Hmm.Michael Jamin:. And so what happened there? What was the, what made you wanna stop writing and start directing?Rob Cohen:I feel like I, I'm gonna continue to take long, boring stories and compress them, but the, the quickest answer is I'm so appreciative of the, the fluke that come into writing. And I, I was a writer on TV shows for 18 years. Right. And I, I greatly appreciate the opportunity that it provided in all areas. But what was happening would be I would be on a show and they would need somebody to go supervise, like a shoot on, like at, you know, the Radford lot. There was that fake New York Park. So they would need somebody to go film a scene that's supposedly Central Park. Right. Also, if they were doing any exterior shoots, I would volunteer to do that. And there's people we know that are writers that hate being around actors and they just wanna stay in the room. . And I was, I was realizing I wanted to get out of the room mm-hmm.Rob Cohen: and go where the action was. And then I would direct some, some friends of mine would do low budget music videos and I would do it for free. And then I was kind of building this weird little real sort of unknowingly. And then other friends of mine that part of those Diamond Club crowds that were now becoming well known comedy performers were doing movies. And they would ask me if I would help write the promos, you know, the commercials for the movies. And foolishly or otherwise, I would be like, Yeah, if you, if you arrange for me to direct these promos, I'll definitely, I'll write it and I'll do it for free. And they're like, Okay. So because they had muscled with the studio, they would be like, Rob's the guy and he's also gonna direct it in the studio's. Like whatever you say.Rob Cohen:Right. So I realized that I was really enjoying it. I'm not saying I'm good at it, but I was really enjoying it. And then building this sort of very weird real. And then when the writer strike happened 2007, 2008 I was walking the picket line and kind of had this feeling in my head, like, if I go back into the room, I'm going to stay on the path of being a TV writer probably for many, many, many years. And this is an opportunity. I was pretty honest with myself. It's like, what I really, really want to do is be directing, like, to make the stuff instead of write the stuff. Right. So, so I decided on the picket line that I would kind of hop off the writing train and just try to keep cobbling together these weird little directing jobs. AndMichael Jamin:That's,Rob Cohen:That was when I made the term.Michael Jamin:But I remember being on the floor with you on this stage and say, I remember this conversation really well. I was like, Wow, you're gonna be a director. And I said, like, So is your, because you know, Rob's a big shot writer. I said, So is your agent helping you out with this?Rob Cohen:Right.Michael Jamin:And what was your answer?Rob Cohen:Not at all. They wouldn't not at allMichael Jamin:Discuss it. And why not didn't discussRob Cohen:It because I was making money for the agency as a writer, and they did not want to go through building me up as a director because they were and it wasn't evil, It was just, those were the facts.Michael Jamin:That's exactly right. And that's, it's not, it's because that's a hard sell. They're not gonna push that rock up the hill. They already have directors and Rob's a no one is, he's said, no one is a director. Correct. And so you, you were literally starting your career over, and the way you did it was by working for free, you know, by just doing it and not asking for permission. You just did it. You know, figure out what you can do. And I say this all the time on my podcast, on my social media, like, and I use this, I use as an example, you know, you did it. And then I, so we were at one point we were running Maron, and that's, and I use you as another example of how to get work there. So I don't remember who contacted who, but we were, Maron was our low budget show, really super low budget show. And I guess, and how did, how did we get, I don't remember. I don't remember details, but we came in contact again.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 michaeljamin.com/watchlistRob Cohen:In what I think it was, I emailed you guys to congratulate you on the show and we just started a dialogue. And then you guys very generously asked what I was doing. And I think that's how we loosely started this conversation.Rob Cohen:Right. But it was you Sivert, Mark, who I'd known a bit in the past. And then was it Erco or was it yeah,Michael Jamin:Probably Pi Cerco.Rob Cohen:Yeah. I can't remember. I mean, you guys went way out of your way to let me have a meeting.Michael Jamin:But what's what I, IRob Cohen:Remember is in Glendale.Michael Jamin:Yeah. And what I remember about that meeting was how prepared you were. You came, we met with a lot of directors and we needed directors who were cheap, can do low budget. Who, And you, you had, you were all that I could do low budget cuz you do low budget, you do no budget. Right, Right. And you came in super prepared, and I've talked about this before as well. I, I think on my podcast, we on social media is like, you blew us away. So what you did, as I remember, you watched the presentation, which is already shot, and then you, you blocked it. You, you, you drew diagrams and you said, this is where I would've, this is how I would've shot the presentation. This is where I would've put the cameras. And see, by doing it this way, you have less setups and you don't have to move the cameras much.Michael Jamin:And because you do, because you're being efficient with your setups, you can make your day, you can get all the shots that you need because I'm not getting a ton of coverage. I'm just getting exactly what I need and I'm getting it fast. And the fact that you took all that time to draw those drawings, you, you know, you proved to us, and I remember you walked out and we were like, He's hot. You know, he's the guy, he knows how to do it. Mm-Hmm. , you know, you blew us away. So it wasn't like we did you a favor, you came in, you were prepared. You know,Rob Cohen:We, Yeah. But I really, I mean, again, I remember that meeting so clearly because I was, I, I, I loved you guys. I thought the presentation was awesome and the show had all this great promise, but I loved the vibe of what the show could be and really, really wanted that job for those reasons and to work with you guys again. But also because I knew there was a way, and it was my old writer sort of producer brain thinking like, there's limited time, there's limited money. How can you maximize the writing and the, the humor opportunities, but your production schedule is so crazy tight. How can mathematically you do both things? And that's, I remember leaving that meeting and just like, I, I didn't know what else I could've said, but it was really my experience as a writer and a producer, just like, this is how I would make this more efficient. Not that you guys were inefficient, but it was just how my brain had worked from the writing side.Michael Jamin:And that's, and I, and that's what we appreciated most about you as a director, is that you came from a writer, you were a writer, you understood the writing, you understood how to be true to the script, how to service the script. And I gotta say, it was always very easy working with you was never, you had never had any ego attached. You were like, Hey, is this, how do you like this? Oh, you don't like that? Maybe you like this. It was always, you know, course pleasing the client basically. ButRob Cohen:You guys were not only were you my friends, but you guys were the bosses along with Mark and I I would say just, it's not even from a Canadian standpoint. It's like you are hired to visually capture the script that has been written mm-hmm. . So if somebody's coming in thinking like, here's how I'm gonna put my stamp on it, or this is gonna be for my real, it's a mistake because Right. What I, what I love doing, and you guys were great show runners, was if you got Guy, if there was an idea I had, I would happily run it by you because it made it easier if you liked it. And if you said, Well, we actually thought about it this way when we wrote it, it's like, that's cool. My job is to visually capture it. Yeah. And, and also it's like this scene's running over, so here's a, here's an idea how we can pick up that time.Rob Cohen:Right. Or Mark has an idea. So it's like, okay, let's honor what Mark is saying and Right. That's to me, it's your number one goal is to take the blueprint and build a house. And it was so easy because you guys, we all knew each other, but we all came from a writing background. Yeah. And it was, it was like, well, you know, this B story's never gonna pay off this way, so what if we just save some time and just make this like a joke instead of a B story or whatever was going on. ButMichael Jamin:I remember right. I was always relieved when you, when you were directing, I was like, Oh, this is gonna be a good fun week. It's gonna be easy. It's gonna be yeah, we'll get what we need.Rob Cohen:Oh, I loved it.Michael Jamin:Yeah.Rob Cohen:I love that show.Michael Jamin:Yeah. That was, we had a blast. But it was, yeah, it was low budget. And then, so what do you say to, because it's so many people, you know, they do ask me like, Well, how do I, how do I become a director? Mm-Hmm. . And so how would you tell people, young people just starting out, I would do what you just did, but go, let's hear what you would say. No,Rob Cohen:I, I would say you know, again, to sound like an old man, times have changed mm-hmm. . and I would say that the number one thing is to show somebody that you have directed something and that can be directing it on your phone or making a short film. There's so many ways to do it inexpensively now with technology. There's no excuse. Right. My second answer would be it's to show the people that have written the show or have the script that you can not only be trusted to run the set and get all the scenes and get some options e editorially, but that you also aren't literally just filming the script that you are gonna mind some more humor. Right. Or you have a style that's appropriate and that's established in the first part that I said, which is make your own real.Rob Cohen:You know, like there's a music video I did the total budget out the door before, way before that was $2,000. Like everything. Right. And we were able to, you know, we had three minutes and 25 seconds or whatever it was to do it, but we were able to get some funny stuff within the video and it was for Virgin Records. And the one letter I got back from was like, We love this video because there's so much funny stuff in it. It wasn't about the song, but it's finding a way to sort of add, without putting the spotlight in yourself because the spotlight should be on the script.Michael Jamin:But once you have your reel, like okay, how do you, who do you show it toRob Cohen:You? If I was doing it today? I think you show it to I mean YouTube is a great example of somewhere that for free, you can exhibit your wares mm-hmm. , I would say the going, showing it to an agent is a, is an older route that I think is gonna be more frustrating because you can now start a website of yourself and send it around to people with a click. I think, you know, the great thing about short films is there's so many festivals and a lot of 'em are online that even if you make a three minute short film for a, a very inexpensive amount of money, you could literally have people around the world see it after you're done editing it. And so that's what I would do today is write something, because if you write it, it gives you extra juice.Rob Cohen:Mm-Hmm. . And then you're also not paying a writer. Right. And you, and then the way that you saw it as a writer, writers basically direct stuff in their head when they're writing mm-hmm. . So then take the initiative to film what you saw in your head originally and put down on paper. And then there's so many people that would do favors. Your friend might be an editor and he needs something for his reel. So you make a deal. It's like, if you edit this for me we'll have a finished product, then both of us have something. So I, I would say it's, it's, it's it's hustle, but it's not like that lame thing of you gotta hustle. I think it's an iPhone will make something so beautiful. And with an iPhone and a tripod, your costs are gonna be your phone and a $10 tripod.Michael Jamin:And I, I say the, I Go ahead. Continue. Right.Rob Cohen:Well, no, I just think there's no excuse to not make stuff. Yeah. But you want to, you, you want to use the internet you want to use film festivals that a lot of 'em have free submissions and start a website you're on webpage and people will find it like they, somebody's gonna see it. And as long as you keep adding to it on a fairly regular basis, it's the same as when you and I were starting, you would have to send out a packet and to meet writers for staffing meetings, they would want to either read your spec half hour or your writing packet. So this is the same thing, it's just your directing packet.Michael Jamin:Right, Right. I say this all the time, I think people think I'm nuts, but Yeah. It's just like, stop asking for permission and just do it. Yep.Rob Cohen:Absolutely.Michael Jamin:A Hundred percent. And stop and stop thinking about starting at the top. How do I sell my, how do I direct for Twentieth Century Fox? No. How do I direct for my neighbor? Yeah, That's, that's the question. Yeah.Rob Cohen:But that's what I loved about those music videos. Not to keep referencing 'em, but you're, the, the greatest thing is when the artist said yes, because I was like, Oh, this is great. I'm gonna have a music video in my real, And then you realize like that $2,000 pays for catering, pays for editing, pays for a dp, pays for lighting, pays for location, and you very quickly realize you have no money. But the challenge of that is so great and has so much value, these little jobs that people can take because when you do show it to somebody, they go, You made that whole thing for $2,000. That's ex or damn, or you made this short film for a hundred dollars and you could, I you could, if you have a Mac and an iPhone, you can make a film.Michael Jamin:I said, so funny you say, cuz I said the same exact things. Like the less money you spend, the more impressive it is because you're saying aRob Cohen:Hundred percent,Michael Jamin:You know, and, and by the way, no one's gonna be impressed by the Dolly shot or the special effects you put in because you're not gonna, you know, the Marvel movies are gonna do that a thousand times better than you can ever dream of doing it. Yeah. So it always comes down to the script and Yeah. And, and how little you can spend. That's the impressive part.Rob Cohen:Yeah. And I will say, not to over compliment you, but whenever I have meetings for directing jobs that every, the shows that they bring up almost every time that they're really curious about are Marin mm-hmm. standing against Eva, which is another Iffc show. And somebody Somewhere, which is the Bridget Everett show, which is an incredible group of people that do that, but on a fairly low budget. Yeah. And nobody wants to talk about how you pulled off some amazing big budget production because they know you had a big budget, but if you can show them that you can work lean and mean and you were involved from the ground up it has so much cred with everybody that to this day, like it happened the other day, people were talking about Marin, they did not believe what that schedule was like. Yeah. And when I explained it to 'em, their minds are blown. Yep. They, they can't believe it's possible. Yeah.Michael Jamin:Right. Yeah. FastRob Cohen:And it is possible.Michael Jamin:Yeah. It was like two or two and a half days for a shoot,Rob Cohen:Which is two and a half days for an episode.Michael Jamin:Yeah. And ordinarily, it's like five. Right. Or how do you, have you ever directed an episode that was more than five days?Rob Cohen:I've done one that's six. Okay. but you know, me, the thing that I would say in these meetings is like basically a, a regular work week, you will have completed two episodes where most shows are barely getting one for a way bigger budget. Yeah. But the great thing about the Iffc model was they don't give you notes, they stay outta your way. They're supportive and they appreciate that you're delivering a television show for peanuts. But then everybody benefits because they've agreed to embark on a journey where everybody has skin in the game. And that, that I think also will help people get writing or directing jobs.Michael Jamin:I see. I, I think sever and I, we prefer, you know, we take whatever work we get, but we prefer working low budget for that reason. They leave you alone and you can actually be more creative. But how do you feel when you're like, I would imagine directing a high budget piece would be more stressful and, and and terrifying.Rob Cohen:It is, but because there's more writing on it. But I would say the larger budget stuff that I've directed, and it's not like major movies or anything like that. The, the pace of things is a lot slower mm-hmm. because people have more time and more money. And to me, I love going fast and lean and mean because you still have the amount of money, but why not get five takes at a scene instead of two takes. Right. And, and so if you have more money, it doesn't mean you get lazy, you keep your foot on the gas, but you just get more options. Right. And so I think learning anything, writing or directing anything from the ground up with no resources will make you be more creative and more efficient. And people, when they're hiring you, certainly for directing, appreciate how efficient you are. Because you're basically saying, Give me the keys to the bank and I will take care of your money and you'll have five choices instead of two choices. Right. And that's what it comes down to.Michael Jamin:You say choices, do you mean coverage or do you meanRob Cohen:Coverage?Michael Jamin:CoverageRob Cohen:Takes coverage? You know, Maron, we would rehearse it as we blocked it. You know, like it was, it's not like we had these long, lazy rehearsals. It was like, Okay guys, we have three hours in the living room. Let's,Michael Jamin:Do you have more rehearsals, more rehearsal times on your other shows? Yeah. We had no rehearsal time.Rob Cohen:Yeah, sometimes, but I also think that's built into the larger budget. So if it's a network, single-camera show, people can walk away to their trailers and you call him back when you're ready and then lighting director gets everything perfect. And again, like with Joe Kessler, who is our awesome DP on Marin mm-hmm. , that guy works so well just like running gun, Running gun. Yep. And there's ways to make stuff look great. And also Mark, who's not a trained actor, was delivering some really heavy stuff mm-hmm. and people are finding it as they go. Because I think that team mentality, if you're writing or directing, everybody's on board. They, they've signed up understanding what the job is and once people chip in it's gonna make it a better experience in every area.Michael Jamin:Now you, I'm changing gears here, but you also do a lot of like this Dr. Show. Like you do a lot of, like, you do commercial work, but you also do like bizarre passion projects on the side. Mm-Hmm. , Right? So talk about like that. Like what, what's, what'sRob Cohen:WellMichael Jamin:Hanging with Dr.Rob Cohen:Yeah. It was during the Pandemic and Dana Gold, Pete Aaronson and I are friends and we just, everybody was stuck inside and a lot of work had gone away because of the pandemic. And we just started talking and kind of came up on the fly of the show and realized we could make our own YouTube channel and if we put the money together ourselves, then we're the studio. So nobody's gonna stop us because we're paying for it. Right. So Dana does this incredible Dr. Zs impression and we were like, what if Dr. Zs hosted the Mike Douglas show? But he was sort of like a cheesy Sammy Davis Jr guy, and we would call in favors with friends of ours who would be real guests, shoot them remotely and make 10 episodes. Right. And it was truly a fun project during Covid. And we ended up, you know however you could describe having a small but interested following making season one of Hanging with Dr. Z. And we used the internet and Instagram and, and all that stuff, which led to us having a really successful Kickstarter campaign for season two. And the budget, I wouldn't even use the word shoestring, I would say it was like a photocopy of a shoestring, but I love doing weird, silly stuff. And a lot of it it improvised and it just tapped into all of our favorite ways to do stuff. Right. But it was working with friends, you know, during a pandemic.Michael Jamin:Right, Right. People have friends and you do project with your friends, right?Rob Cohen:Yeah. And we ne we, we have not made one penny on that show. We, we have lost money on it, but willingly because it going, what I said earlier, we could guarantee it would exist because we were creating it and paying for it. So there's nothing stopping us. Why not? Like why not do it?Michael Jamin:People often say to me like, you know, they want, or they want me to read this, they want me to make their career. And it's like, you don't need me to make your career. You need three funny friends. There are three friends with a similar vision. Yeah. Do something with them. And that's exactly how you, that's how you started. That's how I started. Yeah. And so that's why I say stop asking for stop begging for permission to just start, you know, doing it. Just do it.Rob Cohen:The thing that, like using hanging with Dr. Z as an example, and only because it's something that I was involved in that came out of some friends of ours who were politically active when the elections were happening, the 2020 elections mm-hmm. . And there was a group that had reached out to my friend Colin to make a campaign to stop Mitch McConnell. And so they asked Dana and I like, Could you guys help us out? And there's zero money involved, but are you guys interested? So Dana and I just started to shoot the breeze and we thought, let's just shoot Dr. Zs basically talking about why Mitch McConnell should be stopped. We shot it in his backyard and his girlfriend at the time played Nova and he played Dr. Zs and we did it in front of a, a green screen sheet and we knew we were gonna put the Statue of Liberty from Planet Apes behind them and shot a political ad in two hours.Rob Cohen:Right. And then we had so much fun with that and the, this little weird ad kind of did well enough within the small circle of people that love Dr. Z's political ads, that that's what led us to talking about the talk show. But again, it was just homemade. And my point is, I think whether people call it a passion project or whatever they wanna call it, if they have an idea and they write it or they direct it, or they do both, you immediately eliminate people saying, You can't do it because you did it. But more importantly, the people that could give you other opportunities respect the fact that you did it and didn't wait around for somebody to give you an opportunity. Right. Cause you will get the opportunities by creating your own opportunities.Michael Jamin:And that's, that's one thing I always admire about you, is you're, you're very entrepreneurial that way. And it's like, Yeah. You follow your heart.Rob Cohen:Yeah. But I'm also convinced, like as flukey as my career started, I'm convinced that it's gonna end. Every job will be my, my last. So I'm trying to keep more plate spinning Uhhuh. But I also love, you know, like whether it's, you know, somebody somewhere is such an amazing experience because of Bridget and Hannah and Paul who created, and Carolyn Strauss and hbo. And it is the nicest group of people and the most enjoyable environment where you can, every single person on that show in rural Illinois is there because they want to be there. Mm-Hmm. . And that energy drives that show where people watching it on TV can feel that vibe. Right. And, and whatever people think of that show, it's like summer camp where every year you get together and people are so excited to take very little money to be part of this experience.Rob Cohen:Right. And that the same thing can happen with person X deciding they want to make a short film or they wanna make fake commercials or whatever, because they're gonna set the tone and they're gonna create the vibe. So I think it's a mistake if somebody's like, I only wanna do cool stuff, or, you know, nobody's gonna let me do my ideas. It's like, Yeah, you're not letting yourself do your ideas. So when you told me you were starting your course, I'm like, the biggest obstacle to somebody making anything these days is the person who's bitching about it.Michael Jamin:Yeah. That was me. Yeah.Rob Cohen:No, but, but it's all doable. Can you guarantee success? No. But you will gain amazing respect and opportunities by having it be tangible instead of complaining about it.Michael Jamin:Yeah. Yeah.Rob Cohen:And that's just a fact.Michael Jamin:That's just a fact. Well, where do you see, where do you, because the industry has changed so much since we started, What? I don't know. What's, what's your prognosis for the future? What do you see? People ask me this, like, I don't know.Rob Cohen:I think, what doesMichael Jamin:The present look like?Rob Cohen:Well, I don't know, but I think it's quite obvious that streamers of the future and broadcast networks are not the future. Mm-Hmm. . So you and I were lucky enough to start in sort of part of the glory days of the nineties when mm-hmm. , you know, you had multiple staffing meetings, you know, you would just, it would be that sort of dating circuit for a few weeks where you would bump into people going in and out of offices. And you started off like having four offers. And then it would be two offers, and then it would be one offer. And then it goes from you hoping you do get an offer, or hoping you get a meeting and you could see the tide is turned. So to me, the future is definitely streaming and smaller budget, shorter orders mm-hmm. . And if somebody is expecting it to go back to people paying you a lot of money to do 22 episodes of a TV show a year, I think that is very foolish. Yeah. In my opinion, because it'll never go back to that.Michael Jamin:Yeah. Yeah.Rob Cohen:But it shouldn't go back to that.Michael Jamin:Well, it is what it is. But, but no,Rob Cohen:But there's no more musty tv. Like Right.Michael Jamin:YouRob Cohen:Know, look at the Emmys. Like, it's the, the show with the biggest amount of TV stars on it that just aired, had the lowest ratings ever. And it's not because of one person, it's because they've lost their viewership. Right. It's, they, they're not gonna get it back. People aren't gonna wake up one day and go, Gosh, I can't wait to watch this award show on broadcast. Like, those days are over.Michael Jamin:Right. And so it's always about, it's about hustling, it's about getting work, looking for the next job. Mm-Hmm. about doing your own stuff. Right. Yeah. And, and at the end of day it's gotta be, it's also has to be good. Whatever you're working on, like, you know, has to be great. Right. Well, IRob Cohen:Mean, look, I've done more than my share of crap and largely in my own hand. And I think that an opportunity is an opportunity. You know, there's a lot of credits I don't have in my IMDB page because the show was either a deeply unpleasant experience, or it's such a crappy show. You would spend so much time explaining it to people that they would fall asleep. And so the reason that I've called those credits is because it's, I'm grateful for the experience, but it was a stepping stone to what, what I wanted to do. And if I hadn't taken crappy show X, it wouldn't have led to a more positive thing. And, and I think like what you're doing is encouraging people to pursue an idea that they really believe in and learn the basics of how to write it and shoot it. Mm-Hmm. and just that small amount of initiative, even if you never show your project to anybody, you've made it, It's, it's an immense amount of satisfaction. Mm-Hmm.Michael Jamin:. That's right. Incredible. Exactly right. And I, I said that as well. And if you didn't enjoy it, then this Hollywood thing is not for you. Cuz if you're not enjoying it for free, you're not gonna enjoy it when someone's banging, you just, you, you're just gonna get money for it. That's it. Yeah.Rob Cohen:And there's people that do that, and they make a fortune. But it's also, you know, like, not to keep talking about when you and I started, but mm-hmm. just shoot movie was in the nineties, and if you said NBC in the nineties had so many comedies, some were good and some were terrible. But now if you look at nbc, are they doing any comedies? Like maybe two?Michael Jamin:Yeah, maybe. Yeah.Rob Cohen:Yeah. So, so it's the same place, but it's the, the tide is clear. So for somebody to aspire to working on wacky old timey NBC comedies, it's very foolish. However, if they are a self starter and, and determine what their roadmap is, nobody will stop them. You can't guarantee success, but at least you've tried it and you might be successful trying it and pursue what you like.Michael Jamin:See Rob Cohen is Rob Cohen. Everyone is, is there something where, is there something, What, what, Is there something people can do to follow? What do you, what what do you wanna, Can we plug something about what you're doing? Can we No, no. Can,Rob Cohen:No, I mean, I'm not on social media. I, I'm I just, I I'm genuinely appreciative of the projects that invite me to be a small part of it. And those happen, you know, here and there. And there's nothing to really follow. But I, I just think I'm excited to see this on your, your podcast. You've built a great following.Michael Jamin:I'll say this, when I need a pick me up, when I need a little encouragement, I call you mm-hmm. to kick me in the ass. Right. So I, you're just a great dude, and I appreciate you so much and for coming on and for sharing, but you thought was what was boring, but it was not boring at all. I, I learned some things about you.Rob Cohen:Yeah. I was a disaster as a young man, and now I'm an older disaster.Michael Jamin:, that's soRob Cohen:What you're, what you're doing, I know you're wrapping it up, but IMichael Jamin:Well, that's okay. I I don't wanna take more of your time, but go ahead. No, you'reRob Cohen:Not. That's, you're not, I'm, you've got as, as long as you want. I, I really think that if somebody wants to be a writer or director or producer or an editor, then do it. Like, again, you don't have to show it to anybody, but if somebody writes something really great, you can show it to people and someone will recognize that you have talent, but nobody's gonna be able to know anything about what you want to do if you haven't, if you can't manifest it. Right. So you know, again, like when you guys gave me that opportunity on Marin, unbeknownst to me, it, it was a huge help in me getting my next directing job because it, it legitimized me as a director, and then the next thing and the next thing and the next thing. But if I hadn't had that opportunity, it would be a struggle until there was another opportunity. Right.Michael Jamin:So you wanna It would happen eventually.Rob Cohen:Yeah. But you wanna be prepared for those opportunities. Right, right. So I just think that's just common sense. But what you're doing now, like if I told you you're gonna be doing this five years ago, you would, you would laugh.Michael Jamin:I would've said absolutely not. Yeah. Yeah. Of course. Yeah. Wisdom, Rob. Hustle. Hustle muscle. That's it. I can't thank you enough for coming on, coming on the show time, man. Thank you for being my first guest. I, I didn't, I'm surprised I let you talk so much. I thought maybe I'd be doing all the talkingRob Cohen:. No, I'm surprised I talk so muchMichael Jamin:. I'm surprised. I'll let you get a word edgewise. Yeah. I dog a lot. Dude, thank you so much again. AndRob Cohen:Anytime. I love it.Michael Jamin:Don't go anywhere. We're gonna, we're gonna have a post more to wrap up after this, but Sure, sure. Thank you, everyone, for listening. And until next time,Phil Hudson:This has been an episode of Screenwriters Need to Hear This with Michael Jamin. If you'd like to support this podcast, please consider subscribing, leaving your review and sharing this podcast with someone who needs

Marilyn Neely was last seen at approximately 3:30 p.m. on September 18th 1983. She was seen by a friend driving her gold colored 1983 Dodge Dart southbound on Goodfellow road in the county of Peterborough. Her vehicle was located on September 23rd on the Fine Point Trail access road, north of Buckhorn, and approximately 11 km west of highway 507. A group of hunters going to a hunting camp found the Dodge Dart in their way, they pushed it out of the way and notified police. Neely is a mother of two children and was an employee of Call-A-Cab. She was reported to be in a depressed and suicidal state. The morning after her disappearance her family reported her missing.

Kyle Kuhnhausen sweats the small stuff.   Over the last seven years, Kyle has built a reputation for showstopper builds made up of incredible details tucked behind every corner. Even the parts you can't see are cool. Take for instance the water pump he made for his upcoming LT4 Corvette project. It's a D-cast water pump converted to clamshell hydroflow, beautiful in its own right. Kyle has carved out his name building cars where every component, down to each fastener, is cool to look at. His cars are the cars other builders enjoy, even if they don't particularly enjoy the car itself.  In fact, we saw his Datsun 240Z at the 2018 SEMA show. We were surprised to be so captured by a Datsun build, considering we're usually obsessed with stuff many decades older. The folks at SEMA were also enamored, and that build won Kyle the 2018 Young Guns Award.  In this episode, we talk with Kyle about getting his start sneaking away with his dad's MIG welder, learning the trade and pulling off the last-minute theatrics that come with the car building territory.   Kyle talks building his 1972 Datsun 240Z, the Ballistic Beige and some upcoming projects he has in store, including a wild Triple 20 Dodge Dart he has on the backburner.

My 2013 Range Rover Evoke has a brake noise how can I stop it? Why does my 1995 Ford F150 have a check engine light on and chugs? My 2000 Dodge Dart has a clunk under the hood is it a motor mount? Why does my ac switch not work on my 1995 Thunderbird? Why do my windows roll down by themselves on my 2016 Ford Fusion? My 2000 Ford F350 wont start do I have dead batteries? 1992 Ford Town car has multiple problems. 2008 Ford F250 wont take fuel just kicks back.

WBUR management used to make us host a party for our listeners about once a year as a way of apologizing for our lousy show. Having had our fill of Sock Hops and other themed events in previous years, we settled on a carnival-styled occasion and called it, "The Games of Ancient Grease". We rounded up a bunch of old car parts and we invented some games of (little) skill like 'the discus-brake-us toss', 'The MacPherson Strut' and 'Pin the Tail on Tommy's Dodge Dart'. In this episode of the Best of Car Talk we pick the winner of the all-expenses paid trip to our party from the trunk of the Dart.

Have you ever thought about all the different cars you had in your driveway and garage growing up? New, used, classic or barely running, each car drives lots of memories.  Join us as we share our family car memories and experiences. And of course, enjoy our drink of the week while you listen and laugh to our family car stories.  Remember to give us a 5 star rating after laughing when you listen!

Our Motto: Some of this is whimsy – some of this is true – the interpretation of it all is entirely up to you! Today is Saturday, May 7th, 2022 In todays' episode: Bangor, Maine Struggles to Spend $20 Million Maine Stone Goes to Statue of Liberty Brunswick Stew, Pecan Sandwiches, Oyster Toast (Maine Recipes, 1898) Maine Mammal of the Moment Thank you for listening! Please send your birthday wishes, comments and requests to mike(@)downeastmike.com Now Available! Downeast Mike Merch! https://downeast-mike.creator-spring.com/ Frank Norwood - A Singer-Songwriter with a Podcast. It's a one-man variety show cobbled together with all the care of a welded up Moose replica you'd find Downeast. From a distance it'll look like a moose, but up close you'll see the antlers are from the kid's old bicycle and the body is from Aunt Esther's Dodge Dart. So it goes with Frank's music and podcast...if you have a few minutes to waste he'll be more than happy to provide you with fresh, quirky, clean and ever sarcastic Downeast humor. And maybe lean just within earshot to hear an enthusiastic and heartfelt tune. https://anchor.fm/frank-w-norwood https://podcasts.apple.com/us/podcast/downeast-mike/id1610092577 franknorwood.com downeastmike.com --- Support this podcast: https://anchor.fm/frank-w-norwood/support

In this "combination" episode, I dive into one of my favorite stories in Mopardom: The origins of the 383 Dodge Dart!   The Articles: Motor Trend Article, Street Muscle Mag Article, and My Dream Car Online Article   Check out my YouTube Channel here: https://youtube.com/codyscarconundrum New: CCC Teespring store with more merch: https://my-store-10138012.creator-spring.com New: My Ko-Fi page (a Patreon alternative): https://ko-fi.com/codyscarconundrum Purchase my Car Tshirt merch at:   https://tinyurl.com/y8tjl3jw Stay up to date by visiting my (Newly Updated!!!) website: http://www.codyscarconundrum.com/ 

When people say the future of the automotive hobby depends on the next generation taking the wheel and driving interests forward, we need only look to Adrianna Straub to see that the community is in good hands. With a healthy schedule that includes piloting her pure stock ‘70 Olds 442 or her '69 Dodge Dart at local tracks, she is also brand ambassador for the Oldsmobile Club of Ontario and the Super Bowl of car shows, The Muscle Car and Corvette Nationals.https://www.facebook.com/adrianna.straub.1/aboutMuscle Car and Corvette Nationals https://www.mcacn.com/Oldsmobile club of Ontario https://oldsclubontario.ca/ Show information:How to contact and connect with JP Emersonwww.jpemerson.comTwitter: @The_jpemersonemail: jp@jpemerson.com For more podcasts on cars check out Ford Mustang The Early Years Podcast at www.TheMustangPodcast.com or at Apple Podcasts or anywhere you get your podcastsFor more information about sponsorship or advertising on The JP Emerson Show or podcast launch services contact Doug Sandler at doug@turnkeypodcast.com or visit www.turnkeypodcast.com

When people say the future of the automotive hobby depends on the next generation taking the wheel and driving interests forward, we need only look to Adrianna Straub to see that the community is in good hands. With a healthy schedule that includes piloting her pure stock ‘70 Olds 442 or her '69 Dodge Dart at local tracks, she is also brand ambassador for the Oldsmobile Club of Ontario and the Super Bowl of car shows, The Muscle Car and Corvette Nationals.https://www.facebook.com/adrianna.straub.1/aboutMuscle Car and Corvette Nationals https://www.mcacn.com/Oldsmobile club of Ontario https://oldsclubontario.ca/ Show information:How to contact and connect with JP Emersonwww.jpemerson.comTwitter: @The_jpemersonemail: jp@jpemerson.com For more podcasts on cars check out Ford Mustang The Early Years Podcast at www.TheMustangPodcast.com or at Apple Podcasts or anywhere you get your podcastsFor more information about sponsorship or advertising on The JP Emerson Show or podcast launch services contact Doug Sandler at doug@turnkeypodcast.com or visit www.turnkeypodcast.com

Chris met Todd in Burlington VT in the early mid 90's at shows at 242 Main and have been friends ever since. He was extremely straight edge and even had a volkswagen with the words Straight Edge in decals across the front windshield.  The first time Chris went out to California, Todd just happened to be out there recording with Heckle and they all cruised around in a 62 Dodge Dart that a friend of Chris's had loaned him.  Todd lived in LA for many years and currently lives just outside of Portland with his wife Lindsey and their two awesome daughters, Lucy & Ava Jane He has a solid side hustle called 2020 woodworks where he makes top quality custom furniture.

Change your oil often?

In the history of NHRA, there have been a lot of famous family operations, and, of course, some hard working not so famous.  This is particularly true in the Sportsman Classes.  One notable family operation is Emmons Motorsports Racing.  Based outside of Houston with the family business, Emmons Autoplex, the four brothers come to run.  Not only four brothers, but triplets with a brother who happens to be in the run for a National Class championship as the team competes in the Stock class and the Super Stock class.Join us as we talk with Jerry Emmons about the '69Camaro his is campaigning this year, all the racing they have been doing and still have to do in their chase for a 2021 Championship.  In our feature segment, Jeff Dziekan has been over in the Pre-owned Showroom going over a 2016 Dodar Dart from days gone by.----Be sure to subscribe on your favorite podcast provider for the next episode of In Wheel Time Car Talk six days a week, and check out our live broadcast every Saturday, 8a-11aCT simulcasting on YouTube, Facebook, Twitch and InWheelTime.com.In Wheel Time Car Talk can be heard on you mobile device from providers such as:Apple Podcasts, Pandora Podcast, Amazon Music Podcast, Spotify,   Google Podcasts,    Stitcher, iHeart Radio podcast, TuneIn + Alexa, Podcast Addict, Castro, Castbox and more on your mobile device.-----  ------  ------Want more In Wheel Time in real time? Follow InWheelTime.com for the latest updates!Twitter: https://twitter.com/InWheelTimeInstagram: https://www.instagram.com/inwheeltime/Facebook: https://www.facebook.com/InWheelTime/ YouTube:  https://www.YouTube.com/InWheelTimeTags: In Wheel Time automotive car talk show car talk Live car talk show Tags: In Wheel Time automotive car talk show car talk Live car talk show

In This Episode You'll Learn About: The power of how you care for yourself  How to avoid being a “helicopter” or “friend” parent Guiding your girls to treat themselves like a Ferrari, and surround themselves with great friends Setting your kids up for success as adults - while they're teens/tweens   Resources: Learn more about our coaching services & upcoming events: https://www.girlsmentorship.com/   Connect with us on Instagram: Girls Mentorship | @girlsmentorship Jill Petersen | @jillphxsen Mary Frances | @msmaryfran   Show Notes:   Take a look in the mirror and repeat after us, “I am a gosh dang Ferrari, and I will treat myself as such!” In this episode, we're talking about how we all too often treat ourselves like a Dodge Dart when in fact we are Ferrari's! Are you at the top of your priority list? Have you made it on your priority list at all today? Take this as a reminder to care for yourself like you would something precious to you. Among the importance of being the example of caring for ourselves, we of course also share ways to help your girls remember who they are. You wouldn't fill a Ferrari with trash, let it get dinged up or keep putting off getting an oil change. You would make sure it was properly cared for. You are a gosh dang Ferrari. Remember to treat yourself as such. 03:00 What color would your Ferrari be? 06:00 Are you a Dodge Dart or are you a Ferrari? 09:30 Reminding our girls that they should treat themselves like the Ferrari they are. 12:15 Avoiding being the “helicopter” parent or the “friend” parent. 15:00 Do your girls know what is expected of them?

We spend this entire episode lying on the hood of our Dodge Dart, looking up at the heavens, waiting for the little men in their fantastic vehicles. Actually, we ordered Ubereats and they're 20 minutes late (and there's probably not a road-worthy Dodge Dart left in the country). When the Zaxby's finally arrives, we watched two very different takes on the alien movie genre: one big-budgeted and star-studded, and one that takes a decidedly more subdued approach.

O Autorama desta semana conta a estratégia de dois novos SUVs no mercado brasileiro: o Jeep Commander com seus sete lugares e preços competitivos, e o Hyundai Creta 2022 totalmente renovado. Contamos também histórias divertidas das desculpas mais esfarrapadas dos motoristas que foram pegos pelo bafômetro. No Momento KBB, Hector Vieira revela o Top 5 dos automóveis que ficaram mais caros. E no Retrovisor Especial: Carros Clássicos, André Deliberato conta a história do Dodge Charger, conhecido como Dart no Brasil. O Autorama Podcast tem produção e apresentação de Fernando Miragaya, direção e edição de Sérgio Carvalho. Acesse www.colmeiapodcast.com.br/autorama e siga o nosso perfil @autoramapodcast no Twitter. Estamos também no Facebook e no Instagram. Veja fotos incríveis dos assuntos destacados em cada episódio do Autorama! Conheça também os outros conteúdos do Colmeia Podcast, o rádio do seu tempo! Visite www.colmeiapodcast.com.br. Autorama: o melhor podcast de 2021 no "Mais Admirados da Imprensa Automotiva - Jornalistas e Companhia".

In this weeks episode, Amber covers the stalking and murder of Shana Grice. Shana was a beautiful 19-year old young woman with a bright future ahead of her, when she was senselessly murdered. Shana's murder sparked outrage amongst her friends and family because it could have easily been avoided. Shana was being stalked by her ex-boyfriend and former co-worker, Michael Lane. Shana had reported the stalking to the Sussex police 5 times in a 6 month period, only to be ignored and to have her reports not taken seriously. She was even issued a fine for wasting police time and resources. It wasn't until after the brutal murder of this vibrant young woman, that the Sussex police finally believed Shana. Amber pulled her sources from:Podcast “They Will Kill” The Stalking and Murder of Shana GriceWikipediaThe Cut “Shana Grice Reported Her Ex to Police 5 Times. Then He Murdered Her.By Claire LampenThe U.S Sun Alison Maloney 3-22-21Then Erika covers the alphabet murders. Three young girls:  Carmen Colón, Wanda Walkowicz and Michelle Maenza  between the ages of 10 and 11, all born and living in Rochester, New York at the time and all brutally murdered. They had a few similarities like being young, girls, catholic, having a hard time in school, living in poor neighborhoods of Rochester and the most obvious similarity was that their first names started with the same letter as their surname.   From 1971-1973 these 3 little girls would be abducted, raped, and strangled to death all on their way home from running errands for family members.  They were all seen associating with someone driving a small beige or brown car like a Dodge Dart as well.   Each girl's body would be discovered near an expressway, just tossed aside in a city that also began with same letter as their name. These murders remain unsolved.   If you have any information regarding the murders of Carmen Colón, Wanda Walkowicz or Michelle Maenza, please reach out to the Rochester State Police at (585) 398-4100 or email them at crimetip@troopers.ny.govErika pulled her sources from:www.democratandchronicle.com‘Double initial” murders remain mystery after 35 years – police still track leads into three 1970's slayings that shattered community's calm/Gary Craig-Rochester/Mar 1, 2009/Updated: Apr 25, 2017www.theguardian.com Has the Alphabet murderer finally been caught? / The Observer-US News/Chris McGreal/May 26, 2012www.wikipedia.com

Martelle and Randy sit down to sip a Buckatucky Lemonade and we talk cars, lots of cars like the Audi R8 LMS GT2, Dodge Dart (past and present) and the Double Down by Fuller Hot roads   Buckatucky Lemonade 1 cup freshly squeezed lemon juice (with an efficient squeezer, you should get this plus up to 1/3 cup extra from 2 pounds of 8 lemons) 2 1/2 cups cold water, plus additional if needed 1/4 to 1/2 cup maple syrup Bourbon Lots of ice Double Down by Fuller Hot roads https://silodrome.com/jet-hot-double-down-fuller-moto/   Show music provided by: This Fires Embrace - Warrior Poets Podbean / Apple Podcast / Google Podcast https://podfollow.com/BuckhornPodcast - Spotify: https://open.spotify.com/show/2uhj7Vzq8u3SPvB01VqAh7   #whiskey #whisky #bourbon #scotch #whiskeygram #cocktails #whiskygram #bourbonwhiskey #whiskylover #whiskeylover #whiskyporn #vodkasucks #drinks #beer #bourbongram #bar #scotchwhisky #alcohol #whiskeyporn #rum #gin #wine #cheers #bourbonporn #instawhiskey #instawhisky #podcast #liquor

BECOME A PRODUCER! http://www.patreon.com/themidnighttrainpodcast   Find The Midnight Train Podcast: www.themidnighttrainpodcast.com www.facebook.com/themidnighttrainpodcast www.twitter.com/themidnighttrainpc www.instagram.com/themidnighttrainpodcast www.discord.com/themidnighttrainpodcast www.tiktok.com/themidnighttrainp   And wherever you listen to your favorite podcasts.   Subscribe to our official YouTube channel: OUR YOUTUBE and Twitch: https://twitch.tv/themidnighttrainpodcast On today's episode we are bringing it back to the world of true crime. If you're a regular listener you know that we don't do much true crime as there are exactly 1,742,657,301 true crime podcasts out there. You'll also know that when we do true crime stuff we like to touch on the unsolved crimes. And if you're not a regular listener you won't know this stuff and what's your problem anyways. All that being said, today we are looking at the alphabet killer or also known as the double Initial killer. There are some weird coincidences and crazy connections in this case so it makes for an interesting one for sure.   The alphabet killer is so named for the fact that his/her victims all had names that were double Initial names. So first off let's get into the lives and tragic deaths of the victims.     The first victim we're going to talk about is Carmen Colon. This one is nuts as people essentially saw her abduction happening and no one did anything to help, but we'll get to that point in a minute. Carmen Colon was only 10 years old when she went missing on November 16, 1971. She was on her way home after running an errand for her grandmother; getting a prescription filled at the local pharmacy. She left the pharmacy empty handed after learning that the prescription was not yet ready. Store owner Jack Corbin remembers Carmen's hurried last words to him: “I got to go. I got to go.”   She was seen by witnesses entering a parked car nearby the pharmacy and was reported missing later that night by her family.    Approximately fifty minutes after Colón exited the pharmacy, scores of motorists driving along Interstate 490 observed the child, naked from the waist down, running from a reversing vehicle believed to be a dark-colored Ford Pinto hatchback, frantically waving her arms and shouting in an attempt to flag down a passing vehicle. At least one of these witnesses observed Colón being submissively led back to this vehicle by her abductor. Police say that more than 100 motorists saw this happening and no one called the police or stopped to try and help this girl. Experts attribute this to a thing known as the bystander effect or genovese syndrome.  The bystander effect, or bystander apathy, is a social psychological theory that states that individuals are less likely to offer help to a victim when there are other people present. First proposed in 1964, much research, mostly in the lab, has focused on increasingly varied factors, such as the number of bystanders, ambiguity, group cohesiveness, and diffusion of responsibility that reinforces mutual denial. The theory was prompted by the murder of Kitty Genovese about which it was wrongly reported that 38 bystanders watched passively. Recent research has focused on "real world" events captured on security cameras, and the coherency and robustness of the effect has come under question. More recent studies also show that this effect can generalize to workplace settings, where subordinates often refrain from informing managers regarding ideas, concerns, and opinions.   Whatever the reason, the fact that no one stopped or made a phone call to help these girls sounds pretty ridiculous.   It would be two full days before her body was discovered, two teenage boys discovered Colón's partially nude body in a gully not far from Interstate 490, and close to the village of Churchville. This location was approximately 12 miles from where Colón had last been seen alive.  Her coat was found in a culvert 300 feet from her body, but her trousers were only found almost two weeks later, close to a service road where she was last seen attempting to escape her kidnapper.   The forensic examiner noted that Carmen suffered a fractured skull, and a broken vertebrae before she was strangled to death. She was also raped, and her body indicated excessive fingernail scratches throughout. The viciousness of the beating and the scratches indicate an incredibly emotionally charged murder. Perhaps an impulsive one, as a result of her attempt at escape, which the other children did not manage to do.    Almost a year and a half later, on April 2, 1973, little red-haired Wanda Walkowicz, 11, disappeared from east Rochester, also when returning home from an errand. She visited a delicatessen to purchase a few groceries, and was seen by the owner of the store walking down a major avenue at 5:15 pm. Wanda was reported missing by her mother three hours later, when she failed to return home. Wanda Walkowicz Detectives quickly jumped into action, orchestrating an intensive search to locate the missing child. Approximately 50 police officers searched a wide area around her home, the store where she was last seen and a nearby river where Wanda used to play.   While the search was ultimately fruitless, several witnesses saw Wanda struggling to carry the bag of groceries, with three classmates recalling with clarity that they saw her brace the bag against a fence so she could get a better grip, as a brown car drove past her. The same color vehicle that witnesses saw in the Carmen Colon abduction.    After setting up a tip hotline, police received a witness who claimed to have seen the young girl standing next to the passenger door of a large, brown vehicle as she spoke to the driver. Another witness that came forward said they saw a man forcing a young girl matching Wanda's description into a light-colored Dodge Dart on the day she went missing. The witness who originally gave the partial number plate returned to the police station several days after his original visit. The man had luckily come across the same beige vehicle he had stopped to help but this time he was able to get a full license number. This led police to an unemployed petty criminal living with his family in Lyons, New York.   The suspect was a good match for sketches given by witnesses. He had also been the owner of the beige sedan witnesses had reported seeing. Despite this, the suspect claimed he had nothing to do with the murders and that he had an alibi.   The man's alibi was that he was job hunting all day. After checking his account of events telephone records appeared to confirm his story, though it could just as easily been a family member using the phone, and his family also gave him an alibi. Police eventually released the suspect, who has never been named, after he passed a polygraph.   Only one day later Wanda's body was discovered by a police officer in the morning, at the base of a hill alongside the access road to state route 104, in Webster, about seven miles from her hometown of Rochester. The way her body was positioned seemed to indicate that she was likely thrown from a moving vehicle, her small delicate body rolling down the dirty embankment to its final resting place.   Just like Carmen, she too was sexually assaulted and strangled. Although unlike Carmen, she was fully clothed, and was strangled by a ligature (thought to be a belt) from behind, whereas Carmen was manually strangled from the front. She also appeared to have been redressed after her death, with the autopsy revealing traces of semen and pubic hair on her body.   Interestingly, several strands of white cat fur were found on her clothes, although her family didn't own a pet with white fur.   Only seven months later, on November 26, 1973, another 11-year-old girl went missing. Michelle Maenza failed to return home from school, and was last seen by her classmates walking alone towards a shopping plaza located close to her school, with the intention of getting a purse her mother had left inside a store in the plaza earlier that day. A little while after she was seen walking to the plaza, a witness saw Michelle sitting in a beige or tan car that was traveling at high speed. The witness noted that Michelle was weeping.   Hours later, another motorist saw a man standing by a large beige or tan car with a flat tire, alongside Route 350 in the nearby town of Walworth, holding a girl he believed to be Michelle by the wrist. When the motorist stopped to offer a hand, the man “grabbed the girl and pushed her behind his back”, while also covering his license plate from view. The witness claimed that the man stared at him with an angry, menacing look that compelled the driver to move along, although he did write down a partial license plate.   Two days later, Michelle's small, fully clothed body was found lying face down in a ditch on a rural road in Macedon, 15 miles from Rochester. Like the other two girls she had been raped, strangled from behind with a ligature, with her body bearing bountiful evidence indicating excessive blunt force trauma.   Like Wanda, there was the presence of white cat fur on her clothing, while leaf samples in her clenched fists matched those in the surrounding area where her body was found, meaning she was likely strangled to death at the location she was discovered. Police also noted the presence of semen, which helped determine that she was raped by only one person. Unlike the other cases, detectives were able to recover a partial palm print from her neck, although so far of little use.   Oddly, her stomach contents revealed that she had eaten a hamburger and onion rings approximately one hour before she was murdered. This was corroborated by earlier reports of a girl matching Michelle's description eating at a nearby fast food joint with a white male with dark hair, aged between 25 and 35, approximately 6 ft tall.   Those are the three victims. The search began for suspects almost immediately after the first murder. Next up we'll talk about the suspects in the car. There are some interesting people in this set of suspects.   Building on police investigators' theory that Carmen knew her killer, police strongly consider Carmen's uncle Miguel Colon as the main suspect. Miguel was Carmen's father's brother, and once her parents divorced, he formed a relationship with Carmen's mother, quickly becoming known as Uncle Miguel.   There are several compelling reasons why he is thought to have been her killer:   Weeks prior to her murder, Miguel purchased a car that closely resembled the vehicle seen by witnesses reversing down the interstate chasing down Carmen.  When investigators searched his vehicle after the murder, they found that it had been wiped clean both inside and out. To add to the suspicious nature of the state of his car, the trunk was found to have been washed with an incredibly potent cleaning solution. The dealership that sold him the car confirmed to police that they didn't wash the car's trunk with detergent before selling it. One of Carmen's dolls was found in his car, which relatives informed police was not unusual considering that she frequently traveled with Miguel. Merely two days after the death of his niece, Miguel informed his friends that he had to leave the country to Puerto Rico, as he had “done something wrong in Rochester.” He left only four days after Carmen was murdered. While investigators did travel to Puerto Rico to question Miguel in 1972, local papers leaked this, causing Miguel to flee. He eventually surrendered a few weeks later and was extradited back to Rochester for questioning. Although he didn't have a credible alibi on the date of Carmen's murder, and other circumstantial evidence, there was simply no physical evidence at the scene or his vehicle to link him to the murder. And so he was released.   Several years later Miguel would commit suicide in 1991 after a domestic violence incident in which he shot his wife and his brother, both of whom survived.   Many family members are still vocal about their belief that Miguel is Carmen's killer.   Next up a giant piece of shit. Just weeks after the death of the final victim of the Alphabet Murders, Michelle Maenza, a man held a teenager at gunpoint. The girl refused to stop screaming despite his repeated threats so the man decided to flee and go on the hunt for an easier target. The man in question was a Rochester firefighter named Dennis Termini. Termini was a prolific serial offender known as the "Garage Rapist" who is known to have committed a minimum of fourteen rapes of teenage girls and young women between 1971 and 1973. He is also known to have owned a beige vehicle similar in description to the vehicle observed by several eyewitnesses to the abductions. On top of this he lives roughly a block away from where Michelle Maenza was abducted. After he was chased by police from his botched kidnapping he was cornered in his car where he promptly did the world a favor and shit himself in the head. A subsequent forensic examination of Termini's vehicle did reveal traces of white cat fur upon the upholstery.In January 2007, Termini's body was exhumed to obtain a DNA sample for comparison with the semen samples recovered from Walkowicz's body. The results of this test confirmed Termini was not responsible for her murder. Despite this he still remains a plausible suspect in the other abductions.    Another interesting suspect is none other than Kenneth Bianchi. We're going to assume that you guys know who that is but for those who don't, google the hillside stranglers. Before Bianchi headed to Los Angeles and committed the hillside strangler murders he lived in the area of the murders and worked as an ice cream vendor. While he was never charged in the murders he remains a suspect. He was known to drive a car similar to the description given of the car involved in the alphabet murders by witnesses. Bianchi would vehemently deny any involvement in the case. He repeatedly asked investigators to officially clear him as a suspect but they did not.   The last suspect we're gonna talk about is a guy they called Crazy Joe. Joseph Naso is a convicted serial killer and serial rapist sentenced to death for the murder of six women in California. His crimes spanned between 1977 to 1994. Naso has been one of those killers who seemed to take pride in his work, so much so that he had a rape diary containing gruesome details of the victim's deaths. And that wasn't all. He had a list better known as 'The List of Ten' of his ten murders that he seemed insanely proud of. While the details of the list were vague for the layman, it was a reminder of his work for Naso. He led a life as a photographer with a penchant for clicking pictures of dead women — especially those he killed and had quite the collection. Naso lived in Sacramento between 1999 and 2003 and finally settled in Reno, Nevada, in 2004. He was arrested in 2010. It was quite the body count he stacked up. Roxenne Roggasch was found dead in 1977 after her body was dumped near Fairfax. She was strangled to death. This was followed by Carmen Colon in 1978. This one is obviously crazy considering that it's the same name of one of the victims in New York.  Pamela Parsons was a waitress who was found murdered in 1993. Three of those four fit the same pattern as New York. Double initials. He drugged, raped and strangled these women before dumping their bodies. He was also convicted in the murder of another double Initial murder of Tracy Tafoya. All of this is pretty similar to what went down in New York. Another victim would be identified from his book, Sarah Dylan. All told six women would be connected to Naso but the other four in his book would never be identified. Naso also had numerous pictures of women in various states of undress all seemingly unconscious, some of which were found to be his murder victims. Not only was Naso linked due to the double initials of his victims and those in the Rochester Alphabet Murders but also because his modus operandi was to offer a lift in his vehicle before murdering his victims, similar to how police believed the Rochester perpetrator enticed his victims. Police were given further hope as Joseph Naso was born in Rochester, New York and lived there for many years, including the time period when the young girls were murdered. Again investigators we're hopeful with this lead but again when the DNA taken from Wanda was tested with crazy Joe it was negative. Due to this he had been largely written off as a suspect but many still think he had something to do with at least one of the murders in New York.   DNA was only able to be collected from one victim. And while the suspects mentioned did not match her, it didn't necessarily rule them out on the other ones. Some people think there were separate killers. With a popular opinion being that Miguel killed Carmen Colon and someone else was responsible for the other two. This is another case that has fascinated true crime enthusiasts and confused investigators. We may never get the answers we're looking for but that won't stop people from looking and speculating.  https://addictedtohorrormovies.com/2017/06/15/the-10-best-horror-movies-of-1995/

Listen in on episode 7 where we have a few drinks with Justin Carter. A technician who is building a 1968 Dodge Dart. We discuss everything from his build, drinking, and the future of cars. 

In this week's episode, we talk about the future of electric cars, our thoughts on bringing back old car brands for something nothing like the original (ex. the Dodge Dart), and what car models we WISH that manufacturers will bring back. Watch the full video episode on our YouTube channel: https://youtu.be/vCLX5xzLu4s Follow us on social: Facebook: https://www.facebook.com/thirdpedalpodcast TikTok: https://www.tiktok.com/@thirdpedalpodcast Instagram: https://www.instagram.com/thethirdpedalpodcast/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/thirdpedalpodcast/support

In today's episode, Gio and Sam discuss the 2013 Dodge Dart. Don't be fooled by the name, this thing is anything but a "Dart." From mechanical mishaps to the poorly thought out trim levels the Dart comes action packed with failure. Gio and Sam will discuss the trims, engine, transmission, suspension, appearance and a critic review. Will Gio and Sam concede that the trim might be a good buy? Or will they expose the truth about how "Dodgy" the Dart really is? Find out in today's episode! --- Send in a voice message: https://anchor.fm/giovanni-ross/message

Some of the questions I ask Chris on today's episode:How long have you been listening to the show? What do you like about it?Fill in some of the gaps. The car has only had 2 owners, both in your family and 1 was you correct?Has it always been a prized possession in your family?What one option do you wish the car had?Who is the next in line to get the car?What are some of the issues you have repaired or restored over the years?What repairs need to be made now and where do you get your parts?Do you do all the work yourself?What advice would you give to a new Mustang owner or someone about the invest in one?What do you do to stay in touch with the community of Mustang owners?What else is in your garage?How many miles are on your Mustang?Information about today's guest and any special links will be in the show notes. Have an idea for the show, want your classic Mustang on the cover of our weekly show or think you'd make a great guest, send an email to me: doug@turnkeypodcast.com or check out the website, www.TheMustangPodcast.comThanks for listening, keep it safe, keep in rollin' and keep it on the road! Until next time. Chris' Back Story:On a rainy Sunday (January 31st 1965) New Zealand nationals living in San Fran Cisco Richard (Dick) and Carole Hince went car shopping to replace their aging car. This was to be their first ever “new car”.  On the list was a Dodge Dart and the “Falcon with a fancy top”. In the back corner of William's Ford Daly City, Carole spotted a 6 cylinder Ivy green hard top Mustang that was very much to her liking. After a positive test drive and having been in a friend's Mustang late the year before, a decision was made. Dick, as was his style, consulted the price guide he had sourced earlier, and made a “reasonable” offer to the salesman.  The is offer was rebuffed and the couple started to walk away stating that the Dart was next on their list. The Salesman followed them out of the show room and bought them back saying it was a slow day and he would take their stated price. In the office the Sales man's face dropped when he enquired about the finance the couple would need, and Dick wrote a cheque for the full amount.  (The sales document reads “Zero Monthly Payments of Zero dollars”). A year later the couple decided to return to New Zealand to visit with family not seen for over ten years, and in fact to meet each other's families. An unexpected turn of events saw Carole pregnant with her first child and they decided to raise their family in New Zealand. Richard secured a lecturing role at Canterbury University (his Alma Mater) who offered to help them relocate their belongings back from the USA, including their new car. The Mustang was pressed into service of the burgeoning family of three boys all born within the next three years.  The youngest of these, Chris, is you narrator. Time flies by to the mid-90s and the Mustang now unroadworthy but loved was put into storage. I set out on my overseas adventure with my new wife for half a decade, and returned home in the brand-new century to 2 cars in storage, a decision was made to abandon the Holden Torana and concentrate on the older and more desirable Mustang. My father and I spent the following 4 years slowly pulling the car to pieces and either repairing or replacing almost every piece. In the day before the Internet (well before it was in our house in any major way) advice was sought from around the country and across the Atlantic via phone, letter, and visits. Many solutions were nutted out sitting on the garage floor. 2004 saw the Mustang venture onto the road for the first time in a decade and a half to join the “Great New Zealand Mustang Run” celebrating 50 years of the Mustang.  After a large number of questioning looks, a fuel blockage saw us on a tow truck headed home.In his dying days Dad insisted I take ownership of the Mustang. The Mustang now sits in my garage and is affectionally known as “The Stang”. Not quite a daily driver it is also no show car. We use it we share it. We take it to Rock and Roll festivals every year.  Its not original but does have the original engine, rebuilt only once in 2013 when my father and I stripped it down. My mum still has a smile whenever she sees the Stang pull up to visit, I'm not sure if the grand kids or the car.

Ep. 179: August 16, 2017On Today's Show:JV's nose itch. Annabelle Creation review. JV's new video idea. Natasha screaming Dodge Dart rental. Boss's recommendation for hard worker's. There's an up swing in cancer due to this. Natasha's famous ‘“Eat The Pu**y”! More fake laughing. Lady born without a ‘virginia'. Elvis hits a milestone. Reviewing Elvis' instagram. Yet another new car service. Highlighting a new young artist filled with pain and rage XXXtentacion.

Adam can't complain about the 1964 Triumph TR4A? Oh, really? Thoughts on the new Dodge Dart, BRZs, WRX STIs and why Adam doesn't own a GT-R. And Adam hacks up almond bits on air and we leave it in the show. And speaking of GT-Rs, Matt gets his foot into one while Adam is out of town.