Podcast appearances and mentions of hudson brothers

Mark has produced nine albums for Ringo. Before that, he was part of the Hudson Brothers. They had hit songs and the Hudson Brothers Razzle Dazzle TV show made them teen idols in the 70s. Mark is a huge Beatles fan and collector - and has spent time with all four Beatles. He's a great storyteller. Hosted on Acast. See acast.com/privacy for more information.

Join Doctor Movie for a look at your favorite movies from behind the steering wheel. Closing our first chapter in the Stoopid Movie Club we have a movie that I have watched way more times than the law would allow. Its the Hudson Brothers in the horror spoof Hysterical…. and you’re all doomed!! The post Doctor Movie: Episode 270: Hysterical first appeared on LegionPodcasts.

Join Doctor Movie for a look at your favorite movies from behind the steering wheel. Closing our first chapter in the Stoopid Movie Club we have a movie that I have watched way more times than the law would allow. Its the Hudson Brothers in the horror spoof Hysterical…. and you're all doomed!! The post Doctor Movie: Episode 270: Hysterical first appeared on LegionPodcasts.

Trenton Hudson is a cartoonist, entrepreneur, and comedian best known for making cartoons alongside his brothers with their company RiOT Comedy. Trenton is also an award winning entrepreneur and founder of KORMA, a coffee company that makes coffee from roasted date seeds as a healthy alternative.  After suffering two heart attacks passed his 20th birthday, Trenton realized the importance of living life mindfully and never taking anything for granted as every new day is a blessing.  Born in a small town in Missouri, Trenton is the middle of five boys. He studied strategic communication at the University of Missouri and graduated in 2012.  Self-taught in animation, the Hudson Brothers began producing animated shows in 2015 and have worked with the likes of Comedy Central, Showtime, LOL Network, and ESPN, among others. #drdanamzallag, #drdanpodcast, Happinessjourneywithdrdan, #ddanmotivation, #inspiringinterviews, #drdancbt, #drdantherapy, #drdancoaching, #drdanhappiness,   --- Send in a voice message: https://podcasters.spotify.com/pod/show/happinessjourney/message Support this podcast: https://podcasters.spotify.com/pod/show/happinessjourney/support

Auch dieses Jahr gibt es wieder grrrruselige Filmtipps zu Halloween im Spectral Radio: Denny hat das Rainer Brandt Synchro- Grusel- Gagfeuer EIN SPRUNG IN DER SCHÜSSEL im Gepäck, Heiko trägt mit MONSTER BUSTERS (Original: MONSTER SQUAD) einen echten Kultfilm bei und Timo empfiehlt HOUSEBOUND (und das nicht nur weil die Hauptfigur zufällig Kylie heisst). Ausserdem gab es Fanpost von den Ghostbusters Nürnberg, deren YouTube Kanal ihr übrigens hier abonnieren könnt: https://www.youtube.com/@ghostbustersnuernberg Achja, und natürlich besprechen die drei Pappnasen auch ausführlich das neue HasLab Projekt TWO IN THE BOX, bestehend aus Geisterfalle und PKE Meter! EIN SPRUNG IN DER SCHÜSSEL Trailer https://www.youtube.com/watch?v=QyKOWGz0XdQ MONSTER BUSTERS Trailer https://www.youtube.com/watch?v=ZJWqbPQGExA HOUSEBOUND Trailer https://www.youtube.com/watch?v=twepNfd90UQ HASBRO PLASMA SERIES HASLAB TWO IN THE BOX SET https://eu.hasbropulse.com/de/collections/haslab/products/ghostbusters-plasma-series-haslab-two-in-the-box-ghost-trap-and-p-k-e-meter Die Neuzugänge in Heikos Sammlung könnt ihr übrigens hier sehen: https://www.instagram.com/muellerheiko2011/ Und zu Dennys YouTube Kanal gehts hier entlang: https://www.youtube.com/channel/UCR_psf0XM3TfGdknR4AxtTg /// Ihr seid begeisterte Spectral Radio Ohren und möchtet uns unterstützen? Dann schaut doch gerne bei Patreon vorbei: https://www.patreon.com/spectralradio Wir benutzen für unsere Podcasts folgendes Equipment: Rode NT USB Mini* https://amzn.to/48qNr8u Fifine AM8 USB/ XLR* https://amzn.to/3rpKc0j Sudotack USB Mikrofon* https://amzn.to/3Pu4P3i OneOdio Over Ear Kopfhörer* https://amzn.to/48szyqr Neuma Mikrofonarm mit Popschutz* https://amzn.to/3rcy2rp NexiGo N60 Webcam* https://amzn.to/3PEpqU4 *Affiliate Links/ Werbelinks Die mit Sternchen (*) gekennzeichneten Links sind sogenannte Affiliate-Links. Wenn du auf so einen Affiliate-Link klickst und über diesen Link einkaufst, bekomme ich von dem betreffenden Online-Shop oder Anbieter eine Provision. Für dich verändert sich der Preis nicht.

This week, Emmy Winning Writer/Producer Jack Burditt (Modern Family, 30 Rock, Frasier and many, many more) discusses his career path, joining a show that is already established and working on shows with green screens.Show NotesJack Burditt on IMDB: https://www.imdb.com/name/nm0120994/Jack Burditt on Twitter: https://twitter.com/jackburdittMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptJack Burditt:I don't know. There was something about it that I'm like, oh, this is a show I always wanted to write. This is, and it was fun. And it was like we could go bonkers at times,Michael Jamin:But you'd go bonkers. But then you'd ground it somehow.Jack Burditt:Yes, yes. You always wanted to try to ground it somewhere in there. And even if you're leading up to a bonker scene, you wanted something setting up like this is the reason why this mayhem is going to happen.Michael Jamin:You're listening to Screenwriters Need to Hear This with Michael Jamin.Hey everyone, it's Michael Jamin. Welcome back to Screenwriters. Need to hear this. Another great guest. Hats off to me because my next guest is a friend from, I've known him for many, many years and I honestly have to say this guy's writing credits our outstanding, he's, and he's, he's going to be embarrassed when I say this, but Jack, I'm, I'm here with Jack Birded and he's literally one of the most sought after comedy writers in Hollywood. And Jack, before you say a word, let me tell you everyone what you've written on this could take a long time. You got a lot of credits, so, well, most recently, he's the creator intro runner of the Santa Clauss, the Tim Allen show on Disney Plus. Where he, Santa Claus. I'm going to, I'm just going to skip many of your credits. You have too many. I'm just going to do some of what I think of my, your highlights.Modern family. He run a Mount Modern family for many years. Unbreakable Kimmy Schmidt 30 Rock, which we're definitely going to talk about. That is literally one of my favorite shows of all time. And I want to know more about that Last Man Standing, which he created new adventures of old Christine. I'm with her watching Ellie, and I know I said that wrong. Watching Ellie Inside Schwartz created, he co-created Dag Just Shoot Me, which we worked on together, Inc. Frazier. Mad about you. What else did I, I'm sure, oh, the Mindy Project did I said that right? The Mindy Project. That's how you said that show.Jack Burditt:Yes, yes.Michael Jamin:I'm unfamiliar with her. And then most importantly, the one that everyone knows you for. Father Doubting Mysteries.Jack Burditt:Jack. Well,Michael Jamin:Thank you so much. Damn, Jack, the credits on. You are nuts. We were talking yesterday, we were picketing yesterday and I was like, Jack, come on. You got to be on it. My podcast. And you were kind enough to do this. I got a lot of questions for you, Jack. I want to talk about 30 Rock, most of all, because I had a lot of questions while we were drunk on a three hour hike around the Disney lot. But I was like, let's just save it for the podcast. Tell what was 30 Rock, because I know obviously you're LA and they flew you out because that was a New York show. So you lived out New York.Jack Burditt:Yeah, I mean, they didn't fly me out. I flew myself out. Yeah, okay. That's the first thing. Okay. They don't put you up, they don't like No, no, it, yeah, no, it was,Michael Jamin:But wait a minute. Do they give you any allowance for rent or is that No, you're just paying for it out of your salary. TheyJack Burditt:Give you a moving fee, I guess, and it's not much. And it's a one-time thing, so there's no, it's point.Michael Jamin:And then, so were you living in Manhattan then?Jack Burditt:Yeah, yeah. Yeah. And it was a big decision. I mean, that came about, I was, remember, I was actually thinking of a career move at that point. WhatMichael Jamin:Was the moveJack Burditt:To go to dramas? I don't know. A lot of sitcoms. I was like, eh, I don't know. Maybe I want to try something new. But I was supervising a pilot that season, a comedy pilot. And I remember just reading a lot of the drama pilots and go, oh, this might be interesting. And even at that time, I met on Friday Night Lights, which was going to be starting up and was really interest in that show because I thought, oh, this is a great pilot.Michael Jamin:But you had to put together a bunch of different drama specs, right, to do that. Yeah. Yeah.Jack Burditt:Okay. So I did that, and then I just read in the pack. There were some sitcoms in there too, and it was the Untitled Tina Faye project. And I read that and I'm like, oh shit, I want to be on this show.Michael Jamin:Mean it was great. But then had, okay, so then your agent submitted you and then what happened?Jack Burditt:Yeah, and he, not for a long time, could not give me a meeting with Tina. She wanted the people. She wanted, and she's going to do with Robert Carlock. And I didn't know him either. And my agent really spent a lot of time just saying, well, would you meet with this guy? And she read a spec of mine that she just didn't care about that much, but he talked her to a meeting with me. So at some point I got a call, it was a Friday. They're like, can you go to New York to meet with T? And I'm like, yeah. And they said, can you get, there's a plane leaving in three hours, can you get on that? And I said, sure. So I went out, flew out on a Friday night, got there Saturday, met with her Saturday afternoon. She was still doing, she's still the head writer on S N L.Right. She was still doing weekend update. And it was a show day at S N L. I went to her office there. And I just remember there was a lot of chaos going on. And then Gore's supposed to be doing a couple bits in the episode, but they didn't know at that point whether he was going to show up or not. And I was just, wow, curious. I go, well, what happens if you, he doesn't show up? She goes, yeah, you just deal with it. And I thought, she's so calm. I go, I want to work for her so bad.Michael Jamin:Yeah. That becomes basically an episode for 30 Rocky. That's what happens.Jack Burditt:I mean,Michael Jamin:So, alright. I'm just curious about the logistics. So you rent a place in Manhattan and then you shot it, was it in Queens? In Astoria, I imagine? No, you shot inJack Burditt:30. Yeah. Yeah. Silver Cup. So no, we shot it at Silver Cup in Long Island City, Queens. We would certainly shoot at 30 Rocket Times. But no, our offices, our main set was across the river.Michael Jamin:And then how did it work? How was she able to be in the writer's room and be on set? So how did she do that?Jack Burditt:It was tough. Mean, there was a lot of her shooting during the day, and then some of us going to her apartment at night and riding at nightMichael Jamin:Afterwards. So your hours must have been really tough.Jack Burditt:They were long hours. Yeah.Michael Jamin:What was the day, typical day on that show? I mean,Jack Burditt:I don't know mean it was always long. Always. I felt like it was always at least 12 hour days. But I mean, there were times, and we've been in the doing sitcoms or stuff. I mean, there were times we saw the sun come up.Michael Jamin:Yeah, I know. It isJack Burditt:The worst feeling in the world.Michael Jamin:It is the worst feeling. But that show, this was my complaint with 30 Rock. If you laughed out loud, you'd miss the next joke. It was that funny that I was like, I'd almost watch it in silence because like, I don't want to miss it. It was so funny that you couldn't laugh because you'd miss the next big joke, which was right around the corner. It was nuts. That show, I mean, so how was that different for you writing in that show? Was there different and it was a, I don't know, what was the secret? That was a, I just love that show. It was hilarious.Jack Burditt:Yeah. I mean, I don't know. There was something about it that I'm like, oh, this is a show. I always wanted to write this. And it was fun. And it was like, we could go bonkers at times,Michael Jamin:But you'd go bonkers. But then you'd ground it somehow.Jack Burditt:Yes, yes. You always wanted to try to ground it somewhere in there. And even if you're leading up to a bonker scene, you wanted something setting up, this is the reason why this mayhem is going to happen, or, yeah. Right. But I feel like on that show, we've been in rooms before and you pitch something really funny and everybody's pitching on top of it, and then the showrunner's like, yeah, but we can't do that. AndMichael Jamin:On that show it was like, we can that. So I mean, is that right? I mean, was there prettyJack Burditt:Much, yeah, quite often I'm things that I knew if I'd pitch on other shows, it would've been like a, yeah, that's really good. We're not doing that. Right. I thought, oh, it's got a shot here.Michael Jamin:But the thing is, I don't remember. I don't really remember. I don't remember the Beg, the early episodes. It couldn't have started out that broad. It couldn't have. Right. Because no one would've approved that. But no network is going to say you'd be this crazy red out of the gate. Right?Jack Burditt:Yeah. Yeah. I mean, it helped to have the power of Lor. Michaels behind it. He was an EP on it. But yeah, I, what the show became was a bit different from what it started, and there became more frenetic and a little bit more crazy as it went along. But I mean, even in that first season, I mean episode, I don't even know, maybe it was episode nine. By episode nine, we had Paul Rubins just playing this crazy character, and it was the first timer like, oh, maybe this is what the show can be.Michael Jamin:Oh, was really, is that what it was? Wait, the one time in Hits, and you'reJack Burditt:Like, yeah. Yeah.Michael Jamin:So I, I'm pretty sure you, well, you were in episode runs, weren't you? Weren't you in it once? IJack Burditt:Was in a few, yes.Michael Jamin:Yes, a few. And you TJack Burditt:Tina liked to, I think Tina and Robert Carlock. I don't like being on film, which is why theyMichael Jamin:Put you inJack Burditt:It. I think it was, but I also think it was partially, I did a lot of set duty. I was on set a lot during that run. And I think there's also the feeling of you put him in front of the camera so he knows what every actor's going through. And maybe it is helpful because in front of camera can be terrifying.Michael Jamin:Sure. But tell me, okay, so why were you on set most of the time? Why did they chooseJack Burditt:You? A lot the time. I mean it, I felt like in the early years, they just had, there were a few of us, there was me, they, John Regie, Kay Cannon, I don't know. There was a trust in some of us that they're like, you can sit on set. If something comes up, you can be there. Help rewriteMichael Jamin:It. Because Tina was there all the time. Right?Jack Burditt:A lot of the time. Yeah.Michael Jamin:And so she would say, Hey, can you take on another whack at this terrible scene? And then you'd got to just fix it on the set.Jack Burditt:Yeah. Yeah.Michael Jamin:So far, when we were doing Marin, I think I've told this before, but we did a scene in an anger management. Mark was in anger management. So they had a big circle where all of the other people in anger management. And so Mark yells me, he goes, jam and get in here. He wanted to be an extra in the scene. So I'm like, all right. He thought it'd be funny. So I'm sitting in the anger management scene, and then the director all cut, and then I get up and I go to the director, give him notes and all the extras. This guy is going to get fired. What the hell is he doing? Why is he talking to the director like that?Jack Burditt:That's hilarious. Do you remember the time on Just Shoot Me, were Steve was going to put me in a scene in the elevator and ask what he said? Yeah. Or I think somebody else had picked, maybe it should be Bird in the Elevator when George Siegel gets in there and Steve's like, yeah, fine, that seems good. But then the next day he's like, you know what Bird, it can't be in the elevator. This building is too nice of a building. And he basically going up too much of a dirt bag to be inMichael Jamin:That's, oh my God, we on, oh my. I dunno if I can say which. What? I was on a show, it was a network show, and we gave the lead character the last name. Well, you must know her. Linda ett. You know Linda, right? Yeah, yeah,Jack Burditt:Yeah,Michael Jamin:Yeah. So the network didn't realize, they didn't know her name, I guess, and they didn't like the lead being named Ti, they didn't like that name on her. She's like, what my name. But I remember we played, just Shoot Me at Ja, shoot me. We played, and it was best on pre-production. We played basketball. And then I would guard you because you were probably 35. I was like, I get the old, give me the old man. You were 35. Oh God. So now we were talking about this as well yesterday. You're running the Santa Clauss on Disney, and we were mentioning how, I hope you're comfortable talking about this, but the stress that comes with running a show versus being a Coex exec. And I wanted to get your take on, you feel what the differences are for you. What are the stresses for you when you're running a show?Jack Burditt:I mean, I guess the biggest stress of all is if something's not working, it's on you.Michael Jamin:It's on you. It'sJack Burditt:Just on you. I, and I just don't sleep. And it's like I, I'm like, I'm up at three in the morning going, Jesus, we don't figure this out. There's not going to be a script. There's not going to be. And it's just so many, I mean, how it is is a thousand questions a day, a thousand emails, texts, everything like that. And you just, you're overwhelmed. And I mean, what I like doing most is writing.Michael Jamin:But isn't that the hardest? I always say that's the hardest part of the job is the writing part, right?Jack Burditt:It's really hard, but it's also what I like the most. I love writing.Michael Jamin:But when they come to you with a wardrobe problem, aren't you just like, eh, put 'em on whatever. I don't really care.Jack Burditt:Yeah. Yeah. It's funny. In fact, every time I have run a show, always go to the head of wardrobe and I'm like, I don't know anything about it. Yeah. You see, the way I dress, I should never ever have a note on wardrobe. So I will always defer to you. And yet, I always wind up having a couple things like, no, this has got to be like this.Michael Jamin:I wonder if you feel this way as well. When I'm in a production meeting and everyone has a million questions and I'm like, oh, I got so much work to do. Can we get this over with? I got to go back and write. To me, that's not even the work. That's always like, this is nonsense I have to deal with. I got the writing is the hard part.Jack Burditt:Yeah. Yeah. I will say though, it, it's going to, production meetings is good because I think at first when you start writing, you're just like, I'll write anything. And then the production meeting,Michael Jamin:TheyJack Burditt:Say, no, clarifies what a jackass most production thinks you are for writing a simple line is going to cause so many problems and so much anxiety for prop people and wardrobe and special effects and stunts and everything like that.Michael Jamin:What about casting? Do you enjoy that part?Jack Burditt:No, I mean, right. It's tough. I mean, I know that a lot of Cassie now is done on tape, and I know that's its own problem. I know a lot of actors hate that, but I just feel so bad and being in the room with actors and you know, have 15 people coming in for a role and you're like, I could give this to 13 of them, anybody's going to be really good, so I'm going to pick this person. But a bunch of people who easily could have this job will not get it. I hate being in that position.Michael Jamin:So that's what it is. It's about you not wanting to hurt people that you don't, the part you don'tJack Burditt:Like. Yes. Yes.Michael Jamin:Interesting.Jack Burditt:Yeah, because I'm, there's so many good people out there, and there's so few jobs,Michael Jamin:Right? Yeah. What do you have, what's your interaction, I guess? What's your, yeah, what do you tell new actors to, how do you make 'em feel good? And do you have advice for them? I guessJack Burditt:It's funny because sometimes it's just like, they come in and what was in my head, they just nail it. And I'm like, that's great. But there's other times where actors will come in and do something that's completely different and really surprise me. And I go, alright, let's do it that way. And then I will wind up rewriting the role for them. Because Do youMichael Jamin:Tell that?Jack Burditt:I have told them that. Yeah.Michael Jamin:Well, how do, what do they feel about that? They must be very flattered.Jack Burditt:Yeah. Yeah.Michael Jamin:It's so interesting because you've been doing it so long, it's kind of interesting. I don't really talk about this, but you've been doing it so long, it's really not about, at this point, it's not about always getting what's out of your head casting that you're like, okay, yeah, I'll do some, I'll just surprise me, do something different. It's no longer about your ego at this point. It's about just what's interesting, right?Jack Burditt:Yeah, yeah, yeah. Absolutely. And when I say I hate Cassian, it's not like I hate, I'm rooting for everyone that walks through the door. I want everyone to be great, and that's it. Not because I know there's certain writers who just have a sour feeling about all actors or whatever. It's like, it's not that at all. In my case,Michael Jamin:Although, but now, because it's like, how much do you do when you're watching on tape? How much will you give them? If they have the three minute audition, how long will you watch the whole thing?Jack Burditt:Yeah, I do. I do.Michael Jamin:That's good of you. Yeah. That's really good of you. Because you know, might be reading 10 actors.Jack Burditt:Yeah, I know. But I just feel like I owe it to them.Michael Jamin:That's really good of you, especially at the end of the day when you're tired or you have more things toJack Burditt:Do. Yeah, yeah.Michael Jamin:And then on set, what else? Exactly. Let's say, I know we're getting back to the 30 Rock, but what are you looking at when you're on set? Or is it just all script? It's all about the words.Jack Burditt:Yeah. Mostly. I'm not one of those. Very rarely will I go in and go, this is blocked wrong, or anything like that. Or the act. Yeah, it's mostly about the words,Michael Jamin:Really. Yeah. So it's not even about making sure you have the right coverage. You just whatever you, you'll trust that to the director or theJack Burditt:Yeah,Michael Jamin:The dp. Yes.Jack Burditt:I mean, yeah, I'll call that out every once in a while. Like I don't think we, I got this reaction. I think the actor gave us the reaction. I don't think we have itMichael Jamin:On camera. Yeah, yeah. Right. And I'm sure you learned a lot just from being in post, right? Yes.Jack Burditt:Yeah. I know. It's one of the reasons we're running circles around Disney and other studios now, picketing, one of the big issues is younger writers aren't getting a chance to either be on set or do post. And I mean, if you're writing tell, youMichael Jamin:Have to know all this. YouJack Burditt:Got to know all of it.Michael Jamin:Yeah, they don't, it's so odd because I think they're just being shortsighted it, it's going to be fine five or 10 years. But after that, when the older writers were done, these younger writers, they're not going to have this studio system. They, they created this thing that works, this Hollywood machine that really works well. And I feel like they're just trying to save a couple of bucks, but they're going to destroy it 10 or 15 years from now. What are you doing?Jack Burditt:Yeah.Michael Jamin:Hollywood has this monopoly that they're just kind of ruining. I don't know why they'd want to do that.Jack Burditt:Didn't your writing completely change after you started doing Post the way you would write a script?Michael Jamin:Yeah, it would. Well, it, not only that, it changed the way we would shoot it. We were hired on a job just because Steve and I knew how to look at the cameras we were hired on for pre-production, but they kept us through production because we knew what to do, how to watch the cameras, which the other people didn't know how to do. But yeah. But now you were also mentioning your post-production is so long. This is something I know very little about. Special effects. What is that whole process on with the show you're on now?Jack Burditt:Yeah.Michael Jamin:What do I need to know? If I were to say, kill you and take your jump,Jack Burditt:What you need to know isMichael Jamin:Don't do it. Don't take the jump.Jack Burditt:All the effects is so much more expensive than you can ever imagine.Michael Jamin:Well, yeah. So is a lot of green screen, is it rotoscope? What is this?Jack Burditt:Yeah, yeah, it's green screen. Yeah, IMichael Jamin:So when you're on set, how do you know if they're doing it right? I know. I never know. I don't.Jack Burditt:No, you got to trust it, I guessMichael Jamin:At theJack Burditt:Time. You got to be like, I hope. Yeah, we were, and we shot stuff this year that I was just like, so those mountains we see in the background, because this is supposed to be Chicago we're in, and not Santa Clarita, those mountains will be gone. I don't know if there's no money in the budget, suddenly Chicago's going to have a mountains,Michael Jamin:So they'll take all of, so it's all, yeah, even that, that's not even, okay, so it's not evenJack Burditt:That's green screen. It's right. It's like things to paint out, or they're dealing with a green horse head on set and you have person talking to it, and you have to trust that at some point, that's going to be a character talking to a reindeer and the reindeer's talking back.Michael Jamin:Right. And that, so you are overseeing that whole process. So in other words, if the map looks funny to you, you're like, nah, can you do it again? The map looks stupid, orJack Burditt:Yeah. Yeah. You'll giveMichael Jamin:Those kind ofJack Burditt:Notes. Yeah, yeah. Until you're told we have no more money and no more.Michael Jamin:It's like,Jack Burditt:Oh. And then you're like, oh, it looks fine.Michael Jamin:You know what though? But yeah, when we did Maryland, which is such a low budget show, if there was one shot, the cameras in front of the door at the door of a house and the door swings open, and for a fraction of a second, you can see the camera looking in the reflection of the camera in the door, but only if you're looking and only for a half a frame. And they said, oh, we'll just take that out. The post-production super supervisor says, Hey, we have some money, we'll take it out. I'm like, why bother? I didn't see it,Jack Burditt:ButMichael Jamin:It was going to cost a lot of money. I was like, I don't, is this really matter to us? But they did. They removed it. I was amazed. It was like a $5,000. And it doesn't make the show better. It just doesn't make it worse, I guess, right?Jack Burditt:Yes.Michael Jamin:Yeah. So interesting. What do you say, I don't know. What's it like with working with young writers now? What do you say to the young writers? Tell me,Jack Burditt:What do you say? I mean,Michael Jamin:What's it like working with young writers because you are still working in network? Big shows. I'm on mostly low budget shows where it's like three people complaining or whatever. IJack Burditt:Mean, it's fun. Yeah, it's fun working with young writers. They're soMichael Jamin:Enthusiastic.Jack Burditt:They are very enthusiastic. And then look, I mean, on Santa Clauss in season one, I mean, our two staff writers came in and pitched this whole Santa Claus mythology to dive into, and it's really become a big part of the show. TheyMichael Jamin:Pitched it before they got hired, or when they got hired,Jack Burditt:When they got hired.Michael Jamin:So they came in on their own. They said, Hey, what about this? And thatJack Burditt:Sounds smart, and let's really dive into the mythology of Santa Claus and past Santa Clauses and Oh, wow. And it really kind of opened a lot of avenues and it made it interesting. And I honestly think it bought us, when we did it last year, it's supposed to be one time limited series, and it did really well. But I also think that storytelling that the staff writers brought in kind of helped get a second season to, that's interesting. Oh, there's other areas that dig, get we. It's not just about Tim Allen playing Scott Calvin as Santa Claus, and he got a family. But there's this entire world, and I don't know the mythology world that much. I watched some of these shows or whatever, but I never broken them down before. But these writers were just, a lot of the young writers, they're very much into that. And soMichael Jamin:I have noticed that too. When we work with young writers, they're very enthusiastic, very. And a lot of them come in, it's day one, and they got piles of ideas and the showrunner's, all right, and then what do we got? And they come up, they start pitching their ideas and they're like, whew, at least someone came prepared. Let's do their idea. Because the older writer's like, I don't really know. We'll have to bang our head up against the wall. But the young kids, they got ideas. Let's do those. Yeah, yeah. They're enthusiastic, but, and so I want to go through some of your credits here. You have so many interesting, I don't know. I guess, tell me how you, I guess let's start with this. How did you first break into the business?Jack Burditt:It was almost like, it should have been expected of me, but I kind of went away from it. So both my parents did this, right? I mean, originally from Cleveland, my dad was a greeting card writer, but then some of his friends, his greeting card friends started moving out to LA and working on variety shows and things like that. And at some point my dad, like midlife decides, yeah, I'm going to give that a try.Michael Jamin:Fuck all this sunshine greeting cards. This is some comedy. And when you say midlife, how old was he?Jack Burditt:He was in his fortiesMichael Jamin:And he broke in his forties.Jack Burditt:He broke in his forties, I guess it was a different time. Yeah. So we stayed in Cleveland while my dad came out and for a year tried to make it and then got on a show, a variety show, and he is like, all right, looks like I got a good job andMichael Jamin:Out. And what show was that though? Do you remember? It was a,Jack Burditt:Yes. So it was a show called Turn On, which is famous for being canceled. Even almost halfway through the airing of the first episode.Michael Jamin:At the first act, we got to get this thing off.Jack Burditt:There were so many calls to the network, which I, I'm trying to remember. Maybe A, B, C, maybe N B C.Michael Jamin:Why? Because there were so messy, there were soJack Burditt:Many calls complaining about it. It was done by some of the same people that did laughing and it was like, let's take laughing, but speed it up even quicker and make faster jokes and go all and make it insane. So yeah, it had a 13 order, so that's why we moved. He moved the family out here and then boom, after one episode, he's out of work.Michael Jamin:Oh my God. It's hilarious. We, that's so funny, Steve. And we did a show once and we had a long, kind of a long contract. I go, what if we have to stay on this show? He goes, Steve's like this show's canceled up the act pretty soon as they air. And he was kind of right. Okay. So then after that show, what happened after the show was canceled to your dad? SoJack Burditt:Then thankfully a little bit after that, then he started writing on the Andy Williams show and which was done at N B C and Burbank. And we lived in an apartment a block from Burbank. And so kind of grew up around it. I grew up in Burbank, and then he did other variety shows. Sonny and Cher was the big one. He did, but he did a lot of things. You probably never heard of the Lola Ana show, the Hudson Brothers show. He did. But I guess the mid seventies he really started, he started realizing variety shows are going away.Michael Jamin:Well, there were a ton of them. There was Donny and Marie. I mean, it was the realJack Burditt:Big deal. But he, I wanted to make the switch to sitcoms and he had a writing partner and they wrote a Jeffersons, they wrote on Jeffersons, they wrote all in the Family and Sanford and Son,Michael Jamin:All amazing shows.Jack Burditt:And then the guys who ran the Jeffersons started three, each company. And then that's what my dad and his partner did. They jumped ship and they went on this new show, threes company, which was just this massive, massive hit.Michael Jamin:But all those shows were massive. All of my favorite shows, I didn't know he did three's company. Oh my God.Jack Burditt:Yeah. So I think he wound up writing probably more episodes of Three's company than anybody. I think SoMichael Jamin:Did you go to set a lot? Did what wasJack Burditt:Growing? Yeah, and it was funny. So yeah, I was kind of fascinated by it. I got a kick out of it. I never thought of it as a career. I'm like, my brother and my sister are really smart. I'm kind of the dummy of the family.And I always thought, oh, maybe they'll do something in there. My brother would make home movie. He is always making movies with those Super eight. But yeah, I just going, I thought it was fun to, I would go to Sonny and Cher, go to see those tapings, and then down the hall all in the family would be shooting and my dad would go, you want to go down to see Hall in the family? Yeah. I went down and just some dump, dump kid wandering around C B s television City. And then we'd go by and I'd watch Carol Burnett being filmed and amazing. And never occurred to me that this could be a career in any way.Michael Jamin:I don't know why your dad was doing it.Jack Burditt:Yeah, I don't know. I really, because like these are all smart, funny people doing it, I guess.Michael Jamin:And then when you went into the, weren't you in the military after? Did you not or was there somebody else? No. Oh, okay. Alright. So what? I wasJack Burditt:Not, my daughter went in the military, somebodyMichael Jamin:Thinking, no, I know, but I thought you did. But I guess, or I didn't wait, but IJack Burditt:Know. No, no, no. I, oh, I worked at Lockheed. I did. I mean, thatMichael Jamin:Makes mean they make stuff in theJack Burditt:Military's. I worked on missiles. So maybeMichael Jamin:What did you do in the missiles? What did you put gunpowder in it?Jack Burditt:I honestly, I don't think I'm allowed to say everything I did. Is thatMichael Jamin:Right? You had security clearance?Jack Burditt:Probably shouldn't have said missiles. I can say missiles. It's been a long time. We know Lockheed, they made missiles, so Right.Michael Jamin:Wow. My college roommate, he was on Secret Service detail for many years. And when I ran him to at college reunion, I hadn't seen him many years and I was like, dude, I can't believe we're on Secret Service. How many of them are many are there on the Secret Service detail? And he goes, that's classified. I go, that's the answer I wanted. That's all I wanted. I don't care about the number, I want you to tell me it's classified. Okay. Alright. So then at what point after you decided you didn't want to make missiles anymore, did you get into comedy writing?Jack Burditt:So the one thing I did know I could do was write,Michael Jamin:How did you know?Jack Burditt:Just in high school, I mean, like I said, I'm kind of a dummy and I barely graduated from high school. And the only way I graduated from high school was I loaded up on any course that had writing in it. I can bss my way through this. So I knew that. Also knew I enjoyed writing. I would just write stuff all the time. And then I liked journalism a lot. And so after high school, did a little bit of college, but not really didn't. And I worked at Magic Mountain as the right operator. AndMichael Jamin:Hey, it's Michael. 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 can unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michael jamin.com/watchlist.Jack Burditt:Got yeah, started going out with another ride operator, and at some point she got pregnant and we're like, eh, let's get married. See how this goes. We're dumb teenagers. And we got married and we're still married today.Michael Jamin:But then didJack Burditt:So because of that, because I had to be responsible. I can't continue working as a riot operator. Then I worked at Lockheed, and that's where I did the missiles thing. But my wife, her friend worked at the Daily News, Los Angeles Daily News, and she knew I was interested in journalism and she got me a job as they called 'em copy boys at the time. They're editorial assistants, basically a PA for newspapers. And back then stuff still came over. The wire wasn't computer and you'd rip the wire and get different people. So I was working there for a few months and still hustling, trying to pitch editors on, can I write something? And they're like, who is this dumb kid? But then, yeah, I met the entertainment editor and just started hanging around and he took a liking to me and I got an assignment to interview a band. And that was my first, it was my first writing gig, my first professional writing.Michael Jamin:What was the band?Jack Burditt:It was a country group called Alabama. Oh,Michael Jamin:Sure. But that's not sitcom, right? That's not narrative.Jack Burditt:No. And I was really happy working for newspapers. I really enjoyed it. But while I was working there, I was working with a couple other reporters who wanted to get into script writing, and they had heard at one point about my dad.Michael Jamin:They're like,Jack Burditt:Why aren't you doing this? Yeah. I'm like, he does it. And he does it really well. I don't guess that's the biggest part of it is my dad did it so well. I didn't want to be the guy who's trying to do the same thing and being bad at it. Interesting. And I think that was always a fear, but one of these reporters, he had been in special forces and he wanted to write action movies. So the three of us would sit there and write these spec action movies, scripts, we'd get drunk a lot too, and doing that. And we got an agent, not a very good agent, but we got an agent and nothing was happening with that. And at some point I was like, you know what? We should try tv. And the guy who was in the Special Forces, he's like, I don't like tv. I don't watch tv. And he really didn't. But I think I convinced, I think at one point we wrote a cheer speck and I, I wrote a lot and I mostly wrote specs on my own. I just liked writing. I mean, geez, I probably wrote, so wrote the cheers. You wrote a Roseanne. Wow. Probably a home improvement.Michael Jamin:But did you really know then how to write, how act breaks? Did you really, I, there's a difference between knowing how to writing and enjoying writing and knowing how to write.Jack Burditt:So I didn't know what I was doing. And so I didn't really go to my dad for advice. And by this point, my mom was also became a television writer. She was writing in one hours, and I did not bug them about it. And it was just idiotic. And I think there was an embarrassment on my part or I, I'm not sure exactly why. So interesting. But I got a job reading scripts picking up, so did it for Tristar, did it for Disney Channel, did it for a couple play as a script reader and doing notes. And that to me was the education really. And I started to really see what worked, what didn't,Michael Jamin:The scripts.Jack Burditt:And I remember I read a couple books and read articles on writing, and it was always, those first 10 pages better be great. And I did discover a world where so many people had a really strong first 10 pages, and then it all fell off a cliff. And I'm like, no, I think it's those middle of the scripts that if you can nail that, then you're in good shape.Michael Jamin:But when did you, because for me, it really took many years, even as after we became professional writers, before I really kind of understood how to write. Yeah, it was mostly relying on more senior writers to do the heavyJack Burditt:Lifting. Right, right.Michael Jamin:Well, when did you figure that out?Jack Burditt:I mean, yeah, I don't know. Like I said, I did the script reading. I was still doing journalism, did the script reading on the side, and I think that really helped. Then I got a job at Disney as a script reader, and I was like full-time on the lot doing that. And then I was just around it and around people who talked about scripts and which is really, I would go to meetings that I should not have been in. I was in meetings with Michael Eisner and Jeffrey, and where they're talking about projects coming up and how to do this or do that. And I also didn't know my place. I would, I remember one point argue with Eisner, and then after the meeting, my boss said, you can never do that again.Michael Jamin:We did the show for him. This was a Michael Eisner show, and we would try to, he was a good boss, but we would try to convince him if he was stuck on something, there was no way you were going to change his mind ever. Not in a million years. And so it was his way. Okay. But for the most part, he let us do what we wanted, but once in a while he'd say, no, we're not going to do it my way. Well, you have the money. SoJack Burditt:There was one point, so there was a project, it was for the Disney Sunday movie, and Disney had signed these triplets, they're called Creole Creole triplets, and they're cute, I think 16 year olds. And Jeffrey Katzenberg wanted a show where, or a movie where on their 16th birthday, they discovered their witches. And so it was kind of charmed before Charmed. And I had been in those meetings where Kastenberg talked about it. So they hired a writer, and that writer, the first writer they got didn't really nail it. And then I had been in those meetings, I gave notes on it. They wanted me to give notes and say, this is what it should be. And then they wound up going with another writer, and she wasn't nailing it. And I gave notes and she did another pass. And it's like, I know this isn't what he wants. And so I did what you're not supposed to do. And over a weekend, I wrote, rewrote the first 30 pages of the script. And I went in Monday and I gave it to my boss, and I said, here's what I did. And she said, you can get fired for this.Michael Jamin:Why can't you get fired for that?Jack Burditt:Because I'm a reader. I'm not allowed to take a project and do my own pass on it. ButMichael Jamin:Why not though? BecauseJack Burditt:I don't know, there'sMichael Jamin:Still her version and then there's your version.Jack Burditt:It is a rule. Or maybe they just wanted to fire me. I don't know. Okay.Michael Jamin:Yeah. I don't know how the rules were. Okay, so you did this and she said, you shouldn't do this.Jack Burditt:She goes, yeah. She goes, you can get fired for this. I go, I know, but could you read it? And later that day, she came into my office, she goes, this is really good. I want to pass it up. But once again, I passed it up, you might get fired. I went, okay. And it got passed up and Kastenberg said, have this guy write the script,Michael Jamin:Then fire him. AndJack Burditt:That was your, so that was my firstMichael Jamin:Break,Jack Burditt:Yeah. Wow. And it never got made,Michael Jamin:Right?Jack Burditt:Yeah,Michael Jamin:Because things don't get made. That's how itJack Burditt:Is. Things don't get made. But then it got me, I started rewriting some Disney Channel projects and a couple, yeah, it was all these things. Nothing ever got made. I remember I was hired to write the new Mickey Mouse Club and then suddenly lost the job. And I still don't know what happened. I was you. And they're like, nah, yeah, no, you're not going to do it after all. Or that was, wow. The one with Ryan Gosling and Britney Spears andMichael Jamin:Oh my God, wow. Launched them and could've launched your career.Jack Burditt:I know I could be hanging out with all of 'em now. It'd be so much fun. So I was doing that, still working newspapers at times, still doing some script reading, the whole script reading career too. I was like always liked looking for things. And I think the only success story I ever had was I found an article in American Heritage Magazine about a newsboy strike in the 19 early 19 hundreds against Pulitzer and Hearst and I passed along because Disney was always looking for things for kids that kids could be in. And I said, Hey, I think this might be a movie. I never pitched it as a musical or anything. I thought it was a straight ahead thing, but it was like NewsiesMichael Jamin:And they, right, that became that. But you didn't have, so just whatever your job was to come up with ideas or you found an idea, you pitched it, or you put up the ladder, but you didn't get any credit. You don't get dirt. No, no. It was just, that sucks.Jack Burditt:And that's it. But yeah, also, I made money reading scripts for years, and that was the only thing that ever,Michael Jamin:Yeah, but it wasn't, I mean, you were raking it in as a script reader,Jack Burditt:Right? No, no. Right. No, no. It was mostly, it was actually a tough job for the little money. But like I said, I think that's where I learned everything. So that was helpful. And then I was still kind of kicking around, picking up little projects where I could and still work in newspapers. And I covered the riots in 92, the LA riots, and was so shook up by it. And so I really thought it was going to die up there. Everything was terrifying. And at this point, I got four kids. I'm, none of them will ever be able to go to college or anything, just scraping by. And I was like, I really need to write a great spec and try to get into sitcoms. It was finally, then I'm like, I'm really going to try this. And I wrote a Seinfeld spec that got wound up getting me with contacts I'd made Wound up getting me a really good agent. And within a few months I was on mad about you on the staffMichael Jamin:That was. And how many years were you on Mad About YouJack Burditt:Two? I did two Years On Mad About You.Michael Jamin:That was a really good show. And then Frazier, of course. And then, and most also, well, not most recently, but pretty recently, modern Family. The thing that strikes me about Modern Family is everyone in that room, I imagine it was a showrunner, potential showrunner had run shows. It'sJack Burditt:Crazy.Michael Jamin:It was really a talented room.Jack Burditt:Yeah. I mean, yes, it was. I like being on a show early on and really being able to put whatever fingerprints I can on it and direction and take character. Oh, let's do that. I like being at the creation of something. But there was something really nice about coming into the Modern family at the end, and I only worked on the last three seasons of that show. And just being no stress, no pressure. It's just, I'll tell some of my weird family stories and maybe they'll go in the episodes andMichael Jamin:Because it must be nice knowing that anyone in that room is capable. It's okay if you're having an off day, someone else would be fine. You're in good hands no matter who's talking.Jack Burditt:It was an amazing, amazing room.Michael Jamin:It's unusual.Jack Burditt:Or rooms becauseMichael Jamin:There's multiple rooms. And did you go back and forth, because obviously Steve ran Run Room and Chris together, but did you jump back and forth, or were you in someone's room most of the time?Jack Burditt:I think the first season I was there, I was mostly in Steve's the second season. It was about half and half in the third season that I was mostly,Michael Jamin:Do you know why,Jack Burditt:Chris?Michael Jamin:I would be like, wait, does he not like me? And then if I got into that room, wait a minute, he doesn't like me anymore. I would be paranoid no matter what roomJack Burditt:I was in. Yeah, right.Michael Jamin:But it was just they wanted to mix it up or what?Jack Burditt:Yeah. I mean, yeah, that first year, whatever room you started in, you were kind of there. And when I say first year, my first year, it was year nine of the show, and then there was an concerted effort. The writer said, you know what? That got too weird last year. Let's always keep mixing it up.Michael Jamin:Okay.Jack Burditt:And so season 10, we really, everybody I think did about half and half.Michael Jamin:You can answer this now, but did you, before you got there, did you watch every single episode or no?Jack Burditt:Yeah, so I had watched a show a pretty much every week, I think the first three seasons and then what happened in life. And so when I knew I was going to go on the show, I got episodes four through eight, and I just watched them all, which is a horrible way to do it. Why? Because I just bing because nothing lands. Oh. Because then I found myself pitching things and they're like, we already did that. And I'm like, really? And then they would tell me the story. I'm like, oh yeah, I saw that.Michael Jamin:Was that the one I slept through? Is that,Jack Burditt:And I felt like, I think I waited too late, like, oh, I'm going to start there next week. I got to binge every episode.Michael Jamin:Wow. And then of course, yeah, you created Last Man Standing. Now you working with Tim Allen again, and yeah, I don't know. What do you see? What does the future look like? I don't know. How has it changed for you? What's your perception? What's going on with the future of writing?Jack Burditt:Future of writing? I mean, make meMichael Jamin:Feel good.Jack Burditt:Yeah. I makes me feel good. Yeah. I decide I have to stop, have to censor myself on the picket line because yeah, I message, look, it's rough. I think what we talked about earlier, young writers are not learning the skills to run a show or whatever. And it's really, I think that has to change, I think for the sake of the business. But I don't know mean for the future tough. I hope we've hit the low point right now and that things get a little bit better. But the business is broken in a way too. And I think business has to figure itself out. And as much as writers got to figure out what their place is in the business, but I keep hearing not all these streamers will exist in a couple years. Right? And I'm like, what does that mean though, too? And our network's dead or not? Or I don't know any of this. I it's, and I've never felt like I don't have a handle on the business, but right now, I don't know.Michael Jamin:It's interesting. We sold a pilot to, I don't want to say which one, we, to a streamer, this is, I don't know, a year or so ago. And then we turned it in and it just sat on someone's desk for probably close to a year before they finally said, it's dead. It took 'em that long to say. Yeah. And then I think what happened was, usually you find out in a couple of weeks or whatever, but I think what happened was they couldn't decide if the streamer was dead or not. It wasn't really about their show. Oh, it was about the future of the streamer. I think that's what they're thinking about. It's like, are we really going to do this? Why are we in business? So I don't know.Jack Burditt:I can't believe Netflix is thinking that way, butMichael Jamin:Between me and you, you'll hear it here first. You heard it here first,Jack Burditt:ButMichael Jamin:You know what though, Jack, you are like us. I said this to Andy Gordon because, and Andy obviously, he just really enjoys writing. And you're the same way. I feel like you're just like, Andy will write and whatever. I don't really care. I'll just write something. As long as I'm writing, I do it the same way. Yeah,Jack Burditt:It, I mean, yeah, I'm always just writing things, just I do enjoy it. And Andy, you're right. Andy is another person I know, just loves it. Loves, yeah. Andy not only loves writing so much, loves everything about the business.Michael Jamin:He does. He does.Jack Burditt:And it's infectious being around him. Yeah. How much he loves it. HeMichael Jamin:Loves it. He'll take pictures. We did a show, did show in the scrim in the back, the background on stage was you could see his house. It was a Hollywood scrim, and you could see his house in that hill. And he was so excited to see his house in the scrim. Yes. That's awesome. Because he always walks around with a camera. He captures every moment. So exciting to him.Jack Burditt:He's also just one of the funniest writers. That's hilarious. And just shoot me when you're, I'll say being in that room, that was such a great room. And I also just remember, I do love, right? And I, I'll work harder than everybody. I also feel like I'm not as funny as in that room. I'm like, I know I'm not as funny as Andy or Danny or you.Michael Jamin:I don't put thatJack Burditt:Jack. No, no. Absolutely. 100% I, I'd be in that room and I'm like, yeah, I'm not going to out. Funny. These guys maybe work. And I did have a nice reputation. The best thing I've had is that I turn in great first drafts. You do. And that always my thing. It's like I don't eat or sleep when I'm working on a draft. And I just, because out of fear, I got to be as good as everybody else who's just so naturally funny. I don't know.Michael Jamin:AndJack Burditt:I would just grind and grind and grind. And even when we're in a room and going down a road and everybody's pitching really funny things, I'm like, I'm not going to be able to join in and out, pitch them. So my whole strategy was always, is there another way to go with this story?Michael Jamin:How funny. AndJack Burditt:So sometimes I would just, sometimes I couldn't figure it out and I would just be a quiet in the corner. Other times it'd be like, yeah, that's great. What if we did that? And I felt like that was, sometimes my skill is like,Michael Jamin:But even, but wait. But if that, well, first way was getting traction. If the first idea was getting traction, you wouldn't derail it with a pitch that said, what about that? IJack Burditt:Wouldn't, no. But I would like, no, not saying send the whole story, but another way to wrap up that scene or another way to try to come up with just something if it's heading some to surprise people and Yeah, this is funny. This is funny. It's going this way, this way. Oh, that happens.Michael Jamin:I don't know. What season just showed me was we were in one of the bungalows, I don't know, whatever it was. I have a clear, remember of you coming out of your office, you are off on draft on script, and you come and you were just exhausted. And it was just like, oh man. Poor Jack is on script. Yeah, you were really in it, man. You were when you're on script. Yeah, I remember that really well. You were suffering and you always turn in terrific drafts. I don't know what you're talking about, because it was always funny on page. And the most important thing is it funny on, and I don't even know how you did it, because when ER and I worked together, we know it's funny because the other person's laughing, but I always felt like, how do you know it? Because how do you know? I don't know how you did it alone. I really don't. Like how do you know it was going to be funny when you turned it in?Jack Burditt:Yeah. I mean, always felt like though there, it felt like almost every draft I turn in, there was always one or two jokes where people go, I don't get this. And I'd be like, I'd start to defend it and then realize like, yeah, no, it doesn't make sense.Michael Jamin:Don't get it either. I thought I was going to pull a wool over your eyes, butJack Burditt:Do youMichael Jamin:Keep some kind of notebook now when you have ideas or what do you do?Jack Burditt:No, I used to carry a notebook everywhere I went. Really? I don't anymore. And I don't know. At some point I'm like, eh, if I don't remember it, it wasn't that good to begin with. But I know there's a couple things I've forgotten. I'm like, I know. That was good. I can't remember what that wasMichael Jamin:Exactly. What Siebert and I say when we're on Tacoma fd, because we don't take a lot of notes. And there always our feelings. Well, if you don't remember, it was probably no good. No, but it was good. I dunno, maybe I should write it down, I guess. Oh, we should feel like you can come with something else. It's like it's not the end of the world. You come up with something, a better joke or whatever. Right. Anyway, that's so funny. Well, Jack, I want to thank you so much. This is an interesting talk. I really enjoyed this. I definitely enjoy getting your perspective on all of this, damn, honestly. And I have to, I'll say one last thing before I let you leave. You were always very support. I was a younger writer on just Shoot me. And you were very supportive of me. And I remember you sticking up for me one day and I really appreciate that. I don't remember what the details, but I said something, it was a joke. We were pitching on something. It was probably 10 o'clock at night. I was by by exhaust. And I pitched something that was kind of incoherent andSomeone started making fun of me, which you're supposed to do in the writer's room. You're supposed to make fun of the other person. But you came to my defense, you're like, no, this is his process. This is how he comes up with stuff. Leave him alone. And I always remembered that and little things like that. It's important. Oh,Jack Burditt:Well, itMichael Jamin:Really meant a lot. Really meant a lot to me.Jack Burditt:No, I liked your process too, because it was all out loud and you would try to, that's theMichael Jamin:Bad part.Jack Burditt:No, but it was interesting to me like, oh, I feel like it's what happens in a music studio, and I'm trying to figure out the thing. Yes, most people I think would keep it, try to figure it out in their head. But I also felt like with your process, because trying to get it right, you would throw something out and then work it and work it. But I also felt like there were times where you throw something out and you started working it, but then somebody else would pick up on it and I'm like, oh, maybe. To me it was like I always kept it inside until I felt like was I was 100% cooked and I probably shouldn't have at times. At times I'm like, I should have thrown something out that was half cooked and maybe gotten some help.Michael Jamin:But that's the thing. And I feel like I should have, I have not say everything out loud. That also can be a burden. When you're just spewing on stuff that's not ready to be heard, then everyone's shut up. So I can think, but how I think it's like whatever you're doing, you're always, am I doing it right? Maybe I'm doing it wrong. Whatever you're doing. I always feel like I'm probably doing it the wrong way. Someone else is doing it better.Jack Burditt:Right. Well, and that's one, and this, I guess would be the advice for younger writers if they ever happen to get into a room too. Yeah. It's just one thing I learned very late in life on this is every writer in that room is terrified that they're failing. Even the veterans, even ones have been doing it a long time, they're just like, oh shit. Oh man, if I don't, I got to get their, everybody is in their own heads, but do youMichael Jamin:Still feel that though? I mean, do you feel like other veteran writers that you currently work with or work with in the recent past feel that way still?Jack Burditt:I think the really good ones feel thatMichael Jamin:Way. Really?Jack Burditt:Yes.Michael Jamin:They feel like they're, they're stru. This is all garbage. It's all gone downhill. Yeah. Really. The good ones interesting. I'll have to get names from you, but I certainly feel like whenever we start a script, I'm like, ah, crap. You know what I really feel, I felt like, and I remember on Just Shoot Me Feeling This, every time you write a story, you break someone. We would break a story in the room and I always felt like, well, that's it. There's no more stories. That's it. How could there be more? It took us how took a week to figure out this one. Yes,Jack Burditt:Yes. Yeah. I know. It was all, yes. Especially those times where it really took a long time.Michael Jamin:Yeah.Jack Burditt:How did that take so much? We're we're done. Yeah, we, we've explored these characters too much and now,Michael Jamin:But you must've felt that way in Modern Family though, when you've done season nine,Jack Burditt:Right? I mean, yeah.Michael Jamin:You've done everything. I mean, I know in Simpsons they say, yeah, but we've only done it three times. Right.Jack Burditt:So we can still do it was this week. One more time out of it,Michael Jamin:But that shows 30 years old or whatever.Jack Burditt:God. But it's incredible.Michael Jamin:Alright, well Jack, thank you again so much. Yeah, it really was such a pleasure. This is a good talk. Alright everyone, until next week, keep tuned. Keep writing is what I all, I always say. Alright. Thanks again, Jack.Phil Hudson:This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar @michaeljamin.com/webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five star review on iTunes. For free screenwriting tips, follow Michael Jamin on social media @ MichaelJaminWriter. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music by Ken Joseph. Until next time, keep writing.

After a month of Hudson Brothers news about their upcoming The Hudson Brothers Reunion after 42 years, this show give you the update of the show thus "Post". We sprinkle in some great 70's era novelty songs. We have a "Hate" filled The Zone Top 3" and we finish with a number one songs of Timm's! It's FINALLY August so enjoy the "post Hudson" love with The New Website & still Email: Timm@TimmMcCoy.com TRT: 2H11M24S --- Support this podcast: https://podcasters.spotify.com/pod/show/thezonelive/support

On July 6, 2023 I had the honor to interview The Hudson Brothers. I have been chosen to be the only one to interview all 3 Brothers for the first time in 42 years! Bill, Mark & Brett set down with me for an hour to announce a huge reunion show filled with music old and new! A complete multi media performance live and streamed online. Along with a new website and offering everything "Hudson". From Film, video and TV to brand new Hudson Brothers music. We are still in the planning stages, but rest assured we are all working on this to make the ultimate in Hudson Brothers further history. We speak of "Chucky Margolis", The Beatles, Marks songs he wrote for the band "Aerosmith", Bill talks about Cindy Williams and Goldie Hawn. Brett & I chat about Medical Cannabis some politics. Set back and relax. Take something for the brain and don't refrain because THIS...Is The Hudson Brothers 2023! ©PPL Micro Studios. The Hudson Brothers. "Take One and Here We Goooooo!" TRT: 51m 56s. --- Support this podcast: https://podcasters.spotify.com/pod/show/thezonelive/support

The Zone with Timm McCoy 1804 "Big News. Big Boom!" It's the July show which means Fireworks, America, Patriotism and Politics! Joan & Timm with Clara The Sheep play songs of the meaning of "The Fourth". Also Timm has big news about a 3 man band of the 70's who are dipping their wicks again in a huge announcement that will take place after 42 years of quiet. "The Hudson Brothers" Big Announcement on July 6th and Timm has been chosen by The Hudson Brothers to do it! Great music! Funny!. Take something for the brain and don't refrain! It's The Zone with Timm & Joan! TRT: 2:18:31 --- Support this podcast: https://podcasters.spotify.com/pod/show/thezonelive/support

S01E12 - News about an interview Timm will have with The Hudson Brothers reuniting after 42 years and a possible tour? Live webcast? The David Cassidy Show hosted by award winning DJ Timm McCoy. 20 Shows a Season. Each show is compiled of all the music that David has ever recorded. From Stage/Screen/Movies From Partridge to EFX to Adam 11 to "Songs My Father Taught Me". Timm was dear friends with David for 28 years until his untimely death. They spent time with each other, shared letters, calls and friends. This show is for the Fans of David who Timm calls "Cassidians". With much Love & Respect. EMAIL: Timm@TimmMcCoy.com HAPPY TRAILS, BABY BLUE!

Happy Monday, Alchemist! Today's episode is a unique one. I had an opportunity to sit with someone who you might not think of as a traditional healer, and yet their line of work is tremendously healing. Trenton Hudson is a cartoonist, entrepreneur, and comedian. Best known for making cartoons as part of The Hudson Brothers, he has worked with the likes of Comedy Central, Showtime, and LOL Network, among others. Trenton is also an award-winning entrepreneur who founded KORMA, a coffee company that makes coffee from roasted date seeds as a healthy alternative. One of the best quotes Trenton shared in this discussion points to what you will feel and be inspired by throughout our conversation, “You don't have to know how, you just have to know you can.” Be sure to check out Trenton's work, With All Due Respect, on YouTube, @riotcomedy – you can also follow him on IG under the same handle. Then pop over to order some date-seed coffee at https://kormacafe.com/ If you enjoy the episode, subscribe to this channel, and share with your community. Then download The Energetic Alchemist app! Learn more at http://theenergeticalchemist.com, and get your limited-edition of The Energetic Alchemist Oracle while you're there! xo

GGACP celebrates the birthday (August 23) of musician, songwriter, bandleader, producer and comedian Mark Hudson with this ENCORE presentation of one of the funniest and wildest interviews in the show's history. In this episode, Mark looks back on a 6-decade career in television and pop music and discusses the many legends he's worked with, from Steven Tyler to Margaret Hamilton to Ringo Starr to Captain Kangaroo. Also, the Hudson Brothers meet the Osmond Brothers, Ed Wynn steps out of character, Elton John takes a dip and Mark remembers old friend Harry Nilsson. PLUS: "The Hudson Brothers Razzle Dazzle Show"! Tito Jackson! Rod Hull and his Emu! The REAL Fifth Beatle! The Hudsons "pay homage" to Herman's Hermits! And Mr. Green Jeans goes loco! Learn more about your ad choices. Visit megaphone.fm/adchoices

The Girls (as Amy DeFazio and Robbie-Ann Feeney) do a Deep Dive into 70s sitcom classic Laverne and Shirley. The iconic shabby basement apartment, which Amy reports was also the former set of another classic sitcom. The show's frequent 'winter' settings. Landlady Mrs. Babish. Lenny Kosnowski and Andrew 'Squiggy' Squiggman - David Lander and Michael McKean...and the surprising origins of their characters. Did Shirley and Laverne date Lenny and Squiggy, or what? Robbie-Ann wonders about a Steinbeck influence on their characters. Carmine - Shirley's 'sweetheart.' Character analysis: Shirley Feeney. Were you Shirley or Laverne? Boo-Boo Kitty - Cindy Williams' ad lib. The origins of the famous nonsense hop-scotch intro "5, 6, 7 8..." Some ocean-floor level deeeep-dive trivia on the iconic theme song sung by Cyndi Greco, and its connections to the Happy Days theme song. How producers discovered Cyndi Greco singing at an amusement park. Sidebar: go find the documentary The Wrecking Crew about the famous musicians who played on pretty much EVERYTHING between 1960 and 1980. The Ron Hicklin Singers: the surprising "Making Our Dreams Come True" theme connection with The Partridge Family, Batman, Wonder Woman, and the Kawasaki and McDonald's jingles, and a long list of 60s and 70s hits. Robbie-Ann reports the 'WHAAAT?!" connection with the "Making Our Dreams Come True" song and...."We Are the World?!" Character breakdown: Laverne DeFazio. The iconic 'L' monogram on her sweaters, which Penny Marshall contributed to Laverne's costume. The abomination of 'milk and Pepsi.' Amy reports on Laverne's backstory. The incredible physical comedy from the two leads. Shirley's disappearance from the last season of the show - the 'marriage' excuse. Michael McKean's exit to shoot "Spinal Tap" - and Amy reports a stunning announcement that Spinal Tap actually appeared on an episode in the last season. The final episode of Season 8 - a Carmine spin-off? The show's move to Burbank that jumped the shark. Laverne and Shirley in Burbank: gift wrappers? "Big Rosie" as their nemesis in early episodes. When Mrs. Babish married Laverne's father Frank, but leaves him in the lurch in later episodes. Robbie-Ann's issue with sitcoms that got serious: just be funny please. Sidebar: Seinfeld's wise 'no hugs' policy on the sitcom. Amy liked those episodes though, because it was unexpected. The 80s hair and wardrobe of the later seasons, even though it was supposed to be late 60s. The lost season 5 when Laverne and Shirley joined the Army Reserves. The show's great use of the street-level window as a comedy device. How Cindy Williams and Penny Marshall initially got on the show, and their connection to...Francis Ford Coppola? Penny Marshall's marriage to Rob Reiner, and Cindy Williams' marriage to Bill Hudson of the Hudson Brothers. The infamous terms 'Vo-di-oh-do-do' and 'hot to trot.' The 're-virginization' of Laverne and Shirley. Rumors of off-camera antics: partying? Diva behavior? Drugs? The effects of the show's success on egos and the work environment. The cozy first seasons and the focus on the characters' friendship. Didn't every little girl think she would grow up to live with her best friend? 

This one's a bit different. Matt and Todd discuss Hysterical. A 1983 horror parody starring The Hudson Brothers. In the mid 80s it was on of their absolute favorite comedies. How do they feel about it 40 years later? Starring Bill, Mark & Brett Hudson, Cindy Pickett, Richard Kiel, Clint Walker, Murray Hamilton & Robert Donner. Follow us on Twitter & Instagram @MovieMattSirois. Look for us on Facebook at the Movie Asylum of The Weird Bad & Wonderful

This week we revisit a cult 'classic' featuring ghosts, gags and three brothers. Yep, we're doomed! Join us for Hysterical    To contact the show email show@isawthatyearsago.com   You can also support us via Patreon - https://www.patreon.com/istya    

Whisp Turlington rejoins Geoff "The Angry Man" Garlock on the "Whisp & Geoff Morning Show" after a very hard night of partying with Nick Nolte at the premiere of Peter Cetera's new movie. The "kid" on the cover of Nirvana's Nevermind, Hudson Brothers (Andy Beckerman), tries to make a case for why he's suing Nirvana AND Whisp. Val Verde's Channel 8 pumps some money into the station. Everyone's excited for the VAL VERDE Amateur Air Show at Kirk Hammett Peak Airport! Guest Starring: Andy Beckerman (Beginnings, Couples Therapy) as Hudson Brothers! Val Verde Community College written and voiced by Emily Gore! Get all things 108.9 The Hawk at: 1089thehawk.com! GET THAT 108.9 THE HAWK MERCH: http://tee.pub/lic/goodrockshirts SOCIAL SIGHTS: https://twitter.com/1089thehawk https://instagram.com/1089thehawk

In which an Oregon pop trio become near-stars of record, TV, and screen in the mid-1970s, and Ken wonders who the Bee Gees are romancing in the afterlife. Certificate #37614.

This week on It Was a Thing on TV we go lost in translation while Mike regrets his choice for Money in the Bank for his birthday.   First, we start our 2nd annual "Lost in Translation" week with a hit comedy from Australia which bombed in the States in 2008.  Kath and Kim was to be the next big NBC Thursday night comedy.  Despite a plum time slot, a great cast, and a plethora of great guests, it was sent packing after 17 episodes.   Next, the Power Rangers franchise has made bank off of taking an existing Japanese series and creatively editing it for an American audience. On one occasion, they took it another step. Was it a parody? Was it a tribute? Who knows?   Finally, it's Mike's birthday and he played his Money in the Bank on this?!  Take three musical brothers who gained a modicum of popularity in the 70s despite having no big musical hits and add a cast of zany characters including the future Unknown Comic.  What do you get?  A repetitive and derivative show which lasted 16 shows.   Follow us on social media @itwasathingontv on Instagram and Twitter and @itwasathingontvpodcast on Facebook.   Timestamps 0:30 - Kath & Kim (US) 50:10 - Classic Commercial Break 52:45 - Power Rangers Bad Dubbing Episode 1:25:33 - The Jenny Position Commercial 1:26:38 - The Hudson Brothers Razzle Dazzle Show

It's Mike's birthday and he played his Money in the Bank on this?!  Take three musical brothers who gained a modicum of popularity in the 70s despite having no big musical hits and add a cast of zany characters including the future Unknown Comic.  What do you get?  A repetitive and derivative show which lasted 16 shows.

In the 1970's a new genre of music was being celebrated by teenagers of that era. They were born too late to enjoy the height of Beatlemania and many of the other 60's pop groups. So by the 70's a new form of teenage music was triggered by the band The Raspberries. The music had similar melodies and harmonies to The Beatles and other British Invasion bands and it appealed to teens and people in their early 20's. "Power Pop" was a decade-long musical movement that kids embraced from different bands that briefly had the public eye on them. These are some of the highlights musically of this genre that were very reminiscent of the 60's sound.  Also:Listen to previous shows at the main webpage at:https://www.buzzsprout.com/1329053View the most amazing paintings by Marijke Koger-Dunham (Formally of the 1960's artists collective, "The Fool").Psychedelic, Visionary and Fantasy Art by Marijke Koger (marijkekogerart.com)For unique Candles have a look at Stardust Lady's Etsy shopWhere art and armor become one where gods are by TwistedByStardust (etsy.com)View and purchase wonderful art by Patricia Rodriguez at:patriciarodriguez (tigerbeearts.com)Tarot card readings by Kalinda available atThe Mythical Muse | FacebookI'm listed in Feedspot's "Top 10 Psychedelic Podcasts You Must Follow". https://blog.feedspot.com/psychedelic_podcasts/

The Hudson Brothers Razzle Dazzle Show has it all - Dazzle, Razzle, the Hudson Brothers... and Rod Hull & Emu! TWITTER: @spreadthewhimsy FACEBOOK: facebook.com/whenwagonwheelswerebigger WEBSITE: whenwagonwheelswerebigger.com W4B theme composed by John Croudy W4B theme acoustic arrangement by Joe Beckhelling

The Girls talk Saturday Morning Cartoons back in the day. Bugs Bunny and Friends. The Pink Panther. The toys you thought you would die without and the Saturday morning advertising that made you want them. Amy's Medieval Care Bears - was it real? Robbie-Ann's love for the Hudson Brothers. The Krofft Supershow. Tom and Jerry: Tom speaks! The Pink Panther, and the mystery of who voiced the Aardvark is solved! The Barbie bathtub. The Barbie head. The cereal...oh the cereal. Amy's awful "healthy" cereal vs. Robbie-Ann's bowls of sugar. The Superfriends: a debate, was Batman a Superfriend? Wonderbug. Sigmund and the Sea Monsters. 

Amon Düül II - Kismet (1978) From Wikipedia: Amon Düül began in 1967 as a radical political art commune of Munich-based artists calling themselves, in part, after the Egyptian Sun God Amon. The word Düül originally had no intended meaning.  The commune attained underground popularity for its free-form musical improvisations, performed around the happenings and demonstrations of the youth movement at the time. The commune had a liberal attitude to artistic freedom, valuing enthusiasm and attitude over artistic ability, and as a result, band membership was fluid; anyone who was part of the commune could be part of the group. They issued a declaration: "We are eleven adults and two children which are gathered to make all kinds of expressions, also musical."[5] A faction within the commune was more ambitious, conventional, and musically structured than the commune society overall. This led to a split within the collective, and in September 1968 they performed at the International Essen Song Days—Germany's first underground festival—as two groups, "Amon Düül" and "Amon Düül II", at the suggestion of drummer Peter Leopold. Amon Düül engaged in exuberant open-ended experimentation that at times equaled their psychedelic rock equivalents in countries such as the USA or Brazil (e.g. [Ed: The vastly better] Os Mutantes), with a focus on political activities. The members were close to Kommune 1 in Berlin and boasted, for a time, a prominent member in the model and activist Uschi Obermaier. Amon Düül signed a contract with the firm "Metronome Records", and continued for seven years with varying degrees of success and in various guises. They wound down in 1973 after releasing four official albums (and a posthumous fifth), though all except one were recorded at the 1968 sessions for their debut. Apparently, the man responsible was producer Peter Meisel, who released the albums without the band's approval in an attempt to capitalize on the success of Amon Düül II. The LPs are these days regarded as unique, if unessential, records in the history of German rock. In contrast, their Paradieswärts Düül album featured a pastoral, folk-influenced sound. The name 'Amon Düül' was trademarked by Chris Karrer and Peter Leopold of Amon Düül II, meaning that re-issues of Amon Düül's albums required to license the name from them. Like so so so so so many acts of the day, Amon Düül started out with a pure, sincere (if unlistenable) concept and ended up doing disco. Carole King - Disco Tech (1978) And ended up doing disco! During the nadir of her career, Carole King recorded with a band named Navarro, which co-wrote this dreck. They themselves put out two albums in the later '70s and faded away. Carole King returned in the video era with a song called "City Streets" which, to my ears, sounds so trite and overproduced that it literally means nothing. Her fella at the time died shortly after this was recorded. That's him on the cover.  Hello People - Future Shock (1974) Hello People - Destiny (1974) Hello People - Creego (1974) Two versions. One produced by Rundgren, and the other (somehow...better) recorded at home with fine TEAC equipment.  With the rock-steady guidance of Todd Rundgren and the big break of being asked to team up with TEAC to show off the possibilities of new reel-to-reel home recording technology, it seemed like a match made in heaven. Bowie. Alice Cooper. Peter Gabriel. Mime Rock was due. Alas, it was not to be. I am the proud owner of both of these records, and I feel very, very alone. And yes, they cover "Just One Victory".  From Discogs:  "Recording demonstration; from microphone placing, editing, balancing, channeling, terminology, sound recording & effects. One full-length song in this recording, it was not recorded inside a Studio; instead, it was fully recorded in someone's house to demonstrate the flexibility of the TEAC multi-track tape record. Many clear examples of what it takes to record a song, all the potential obstacles that come with making a song using all analog instruments. Home recording tips; recording at home with the 3340-S multi-track tape recorder can offer many of the important elements of the studio experience without the bill. No experience required; you have the opportunity to work ideas in private and to experiment with your own sounds, and learn what you need to know at your own pace. Recording music, like making music, is fun as it is challenging." Daddy Dewdrop - Nanu Nanu  (I Wanna Get Funky Wich You) (1978) His big hit was "Chick-a-Boom (Don't Ya Jes' Love It)". This is a mawkish attempt at a cash-in.  Deftly combining the Mork and Mindy zeitgeist with the Disco zeitgeist, he somehow creates something unlistenable and cheap. His website claims he wrote a song for Ringo Starr. Or that Ringo covered a song of his. That song, "I Wanna Be Santa Claus", was co-written by Mark Hudson, who was the lead singer of The Hudson Brothers, who POACA will remember as the bearded fellow on The Hudson Brothers Razzle Dazzle Show, which aired on Saturday mornings, from September 7, 1974, to August 30, 1975. Chuckie Margolis!!! Ahahahah.....    The brothers released "serious" albums throughout the '70s.  Donny and Marie - I Want It Back (1978) From the movie Goin' Coconuts, which is a graphic retelling of the Dresden bombing. Graphic.  Franki Vallli - Save Me, Save Me (1978) From the album titled, "...Is The Word". Let there be no mistake. He had lots of momentum. Pretty good shelf-life for a '60s singer. His career was revitalized in 1975 with "December, 1963 (Oh, What A Night)" and "Who Loves You". I like Frankie Valli very much. You hear his voice and you know. I think of all the crooners from back then, he deserves his revivals. It didn't hurt to have Barry Gibb behind you in 1978. In a sense, they were contemporaries from different places.  And he was in "The Sopranos".   If after one listen you can't tell who wrote this, you are in the wrong place. Off with you!!!  Gnidrolog - Snails (1972) No one mentions Gnidrolog when they are listing good prog bands. Believe me. I was swimming in the prog for a good decade, and not one soul mentioned them. If I were to compare their two albums to any other artists, it would be Octopus-era Gentle Giant or Gong. I really like them. They didn't last long, but I think their productions were nice. Especially... Gnidrolog - Social Embarrassment (1972) Members Colin Goldring (vocals / guitar) and Stewart Goldring (guitar / vocals) went on to form Pork Dukes, and either ironically or to satisfy a hunger for, you know, the Zeitgeist, made the lyrics base and the music basic. One album and no one cared.  Jay Traynor - Love Is In The Air (1978) Jay Traynor of Jay and the Americans tries to jump onto the Disco train by covering the 1977 hit by John Paul Young. Look carefully at the composers.  Kitty and the Haywoods - Disco FairyLand (1978) Kitty had a long recording history as a background vocalist for such acts as Curtis Mayfield. She was also a member of The New Rotary Connection after Minnie Riperton departed Rotary Connection. Kristie and Jimmy McNichol - Hot Tunes (1978) It was "Little Darlings".  Little Nell - Fever (1978) Too much cocaine will make the dancers dance to everything.  Lenny McDowell - Locomotive Breath (1978) And what better way to bring another award-wanting episode to a close than to play a flute version of "Locomotive Breath". 

This week on NSTS I speak with someone whose parents I watched on television as a kid - her mom is Cindy Williams, who played Shirley from Laverne & Shirley, and her dad is Bill Hudson of the Hudson Brothers. Her name is Emily Taylor Hudson, and she's a super talented singer songwriter with brand new music available.     Emily and I have a really great chat in this episode. Her new single is "Hearts We Wanna Break", from her EP entitled Love is a Dirty Word. We also talk about her deep appreciation for the classics - old school Marvin Gaye, Joni Mitchell, The Beatles' "Julia", and more.  Wonderful discussion.  Hudson's playlist (found here on Spotify) The Beatles - Revolution Enya - Caribbean Blue Marvin Gaye - Ain't That Peculiar Joni Mitchell - The Last Time I Saw Richard Sting - If I Ever Lose My Faith In You   

The Zone with Timm McCoy #1512 "The Razzle Dazzle Green Spring Drink Thing Fling" Songs about, all of those words there. Timm does a cover of a Hudson Brothers hit (approved by Brett Hudson). A Sea Shanty about "Kitties" from The Trailer Park Boys and The Zone Top 3 for the month. Hosted by Timm & Joan McCoy featuring "Clara The Sheep". Comedy/Music/Parody/Satire. Recorded Live! TRT: 1:17:06 --- Support this podcast: https://anchor.fm/thezonelive/support

Home is where the gum is, so let's go home! Who are Chee Chee and Peppy and what do their pet dogs have to say about it! Fake Jan's best song ever! A song just for us from Echo Valley's favorite elementary teacher! A look at the complete Beaver Cleaver songbook! A dramatic reading from a Leave it to Beaver book written by Beverly Cleary! Plenty of rare bubblegum pop from The Ohio Express, 1910 Fruitgum Company, Jack Wild, The Hudson Brothers, Spider-Man, The Orlons, Beaver and the Trappers, Geri Reischel, Smoke, Slim Goodbody and Friends, Ronnie and Dirt Riders, Rejoice! and Miss Abrams & The Strawberry Point 4th Grade Class!

Who's Arnie Corrado? What is Rollermania? How do dolphins and porpoises differ? Those questions and more are answered on this rip-roaring, jam-packed, sugar-filled episode of Echo Valley! A dramatic reading of a Flipper comic book! Plenty of great bubblegum music by The Hudson Brothers, Austin Roberts, The Bay City Rollers, The Archies, The 1910 Fruitgum Company, The Monkees, The Arbors, Crazy Elephant, The Cryan Shames, Bobby Sherman, The Bugaloos and The Fun and Games Commission!

A look at the songwriting career of one of bubblegum's greatest, Joey Levine! A dramatic reading of a Jetsons children's book! A bubble entendre from The Bats! The exclusive Echo Valley cut of Eep Opp Ork Ah-Ah from The Jetsons! Plenty of great bubblegum music from The Ohio Express, The Brady Bunch Variety Hour, Tony Burrows, Bay City Rollers, Hudson Brothers, Groovie Goolies, Mungo Jerry, The Innocence, The Tradewinds, The Barbarians, The Third Rail, The Jet Stream, The Capitols and The Vogues!

A whole hour of bubblegum pop music that you've never heard before! Probably. A dramatic reading of Brady Bunch's Florence Henderson's thoughts about TV husband Robert Reed (SPOILER ALERT: He's a perfectionist)! A solo number from Marcia Brady (Maureen McCormick)! Plenty of great bubblegum from Ron Dante, The Kids from C.A.P.E.R., Joey Levine, Barbie and Ken, Apache Dropout, Micky Dolenz, 1910 Fruitgum Company, Ohio Express, Giorgio, Edison Lighthouse, Elton John (as Reg Dwight and Bluesology), Robert Reed, Phil Harris, The Rubettes, Tommy James and the Shondells, The Hudson Brothers, John Wagner Foundation, and Jimmy Osmond!

Can an obscure Archies song tell us all we need to know to fill an hour with great bubblegum music? Kid Bubblegum seems to think so, but Professor Bubblegum has his doubts. Along the way, we get a dramatic reading of a Kaptain Kool and the Kongs comic book, rediscover the Hudson Brothers and their friend Chucky Margolis, learn that Paul Simon wrote a classic proto-bubblegum hit, search fruitlessly for a Jimmy Page-bubblegum connection, and, unexpectedly, the whole hour becomes about Rick Springfield for some reason. Enjoy plenty of great bubblegum pop from The Archies, The Rubettes, Shadows of Knight, Rock Hudson and Bea Arthur, Simon and Garfunkel, Picketywitch, Johnny Farnum, Vince Guaraldi, Status Quo, Neil Christian, and Everybody Was in the French Resistence...Now!

A groovy opening medley from the long lost Brady Bunch Hour variety show! The bubblegum sensibilities of Katrina and the Waves! A dramatic reading of a 1970 Karen Valentine interview! Plenty of great bubblegum pop music from The Hudson Brothers, Bobby Sherman, The Wombles, Tony Burrows, The Sweet, The Kasenetz-Katz Super Circus, Judy Thomas, The Monkees, The Hot Wheels, The Sufaris, Johnny Whitaker, Boyce and Hart, and Brian Hyland!

Home is where the gum is, so let's go home! Who are Chee Chee and Peppy and what do their pet dogs have to say about it! Fake Jan's best song ever! A song just for us from Echo Valley's favorite elementary teacher! A look at the complete Beaver Cleaver songbook! A dramatic reading from a Leave it to Beaver book written by Beverly Cleary! Plenty of rare bubblegum pop from The Ohio Express, 1910 Fruitgum Company, Jack Wild, The Hudson Brothers, Spider-Man, The Orlons, Beaver and the Trappers, Geri Reischel, Smoke, Slim Goodbody and Friends, Ronnie and Dirt Riders, Rejoice! and Miss Abrams & The Strawberry Point 4th Grade Class!

He scored among the most iconic goals in Stanley Cup history, then disappeared without a trace. You may know Bill Barilko from the Tragically Hip’s ’50 Mission Cap.' But prepare to meet the man behind the myth. Amongst the treasured images and memorabilia inside the Leafs' locker room, few are quite as esteemed as one of two original lyric sheets to the Tragically Hip's '50 Mission Cap.' Signed by the band, and framed alongside the Pro Set 1991 hockey card that inspired lead singer Gord Downie to pen the song, the lyric sheet has pride of place in the equipment room - where it continues to inspire. As Hip bassist Gord Sinclair tells it, the song was nothing but a riff until, mid jam, Downie opened up a pack of hockey cards, read the Barilko story, and became an extemporaneous freestyle. That hockey card, written by historian James Duplacey, reads as follows: " Bill Barilko, The End of Innocence" Although he was not noted for his offensive skills, Bill Barilko scored one of the most celebrated goals in NHL history during the 1951 Stanley Cup Finals between Toronto and Montreal. This series was the only championship final that required overtime in every contest. In Game Five, the extra session was nearly three minutes old when Barilko spotted a loose puck near the Montreal crease. He dove in from the blueline and fired a shot over Montreal goaltender Gerry McNeil's outstretched arm to give the Leafs the Cup. Unfortunately, it was the last goal of Barilko's career. He disappeared that summer on a fishing trip, and the Leafs didn't win another Cup until 1962, the year his body was found." As Downie himself said of Barilko, and the song, 'we are all united in tragedy.' To learn more about Barilko's amazing life, check out Kevin Shea's Barilko: Without a Trace. This podcast could only scratch the surface. Bill's time as 'Hollywood Bill Barilko' alone could fill a book of its own. And be sure to check out Gord Sinclair's first solo album, 'Taxi Dancers,' out on February 28th. CREDITS: Leafs Forever is hosted by Scott Willats & written by Paul Matthews. This episode was produced by Katie Jensen & Vocal Fry Studios. Production & research assistance from Ellen Payne Smith,  Erin Brandenburg, and Erika Dreher. Special thanks to Mike Ferriman, Kevin Shea, Gord Sinclair, and Frank Klisanich for speaking with us. And special thanks to Nick Konarowski for helping us out with the archives. Subscribe to Leafs Forever on Apple Podcasts, Spotify, Google Play, or wherever you get your podcasts.  

My wife, Joan and I had a chance to have a 2 hour interview with my childhood hero, Brett Hudson from "The Hudson Brothers". He is currently in Michigan working on a new film "What You Can't See" Check out Brett Blog, https://www.bretthudson.org/projects We talk about David Cassidy, CBS, Mark & Bill, Razzle Dazzle, Performing, cancer, open heart surgery, and oh, comedy & music. Between talking segments are some great music from "The Hudson Brothers" too! Set back, take something for the brain and don't refrain and let the melodic voice of Brett Hudson, relax you into a state of blissful silliness. "Yes, we do have shrimp!" TRT: 96:51 Recorded September 18, 2019 at 12pm Central --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/thezonelive/support

Good laughs on this beauty...

Who's Arnie Corrado? What is Rollermania? How do dolphins and porpoises differ? Those questions and more are answered on this rip-roaring, jam-packed, sugar-filled episode of Echo Valley! A dramatic reading of a Flipper comic book! Plenty of great bubblegum music by The Hudson Brothers, Austin Roberts, The Bay City Rollers, The Archies, The 1910 Fruitgum Company, The Monkees, The Arbors, Crazy Elephant, The Cryan Shames, Bobby Sherman, The Bugaloos and The Fun and Games Commission!

A look at the songwriting career of one of bubblegum's greatest, Joey Levine! A dramatic reading of a Jetsons children's book! A bubble entendre from The Bats! The exclusive Echo Valley cut of Eep Opp Ork Ah-Ah from The Jetsons! Plenty of great bubblegum music from The Ohio Express, The Brady Bunch Variety Hour, Tony Burrows, Bay City Rollers, Hudson Brothers, Groovie Goolies, Mungo Jerry, The Innocence, The Tradewinds, The Barbarians, The Third Rail, The Jet Stream, The Capitols and The Vogues!

Stephen SPAZ Schnee chats with THE HUDSON BROTHERS' Brett Hudson about their music, their popular TV series, the music scene during the '70s, his post-Hudson Brothers career and his successful battle with cancer. After listening, please consider making a donation to www.kingdombuildersworldwide.org to help put an end to cancer for good!

A whole hour of bubblegum pop music that you've never heard before! Probably. A dramatic reading of Brady Bunch's Florence Henderson's thoughts about TV husband Robert Reed (SPOILER ALERT: He's a perfectionist)! A solo number from Marcia Brady (Maureen McCormick)! Plenty of great bubblegum from Ron Dante, The Kids from C.A.P.E.R., Joey Levine, Barbie and Ken, Apache Dropout, Micky Dolenz, 1910 Fruitgum Company, Ohio Express, Giorgio, Edison Lighthouse, Elton John (as Reg Dwight and Bluesology), Robert Reed, Phil Harris, The Rubettes, Tommy James and the Shondells, The Hudson Brothers, John Wagner Foundation, and Jimmy Osmond!

Can an obscure Archies song tell us all we need to know to fill an hour with great bubblegum music? Kid Bubblegum seems to think so, but Professor Bubblegum has his doubts. Along the way, we get a dramatic reading of a Kaptain Kool and the Kongs comic book, rediscover the Hudson Brothers and their friend Chucky Margolis, learn that Paul Simon wrote a classic proto-bubblegum hit, search fruitlessly for a Jimmy Page-bubblegum connection, and, unexpectedly, the whole hour becomes about Rick Springfield for some reason. Enjoy plenty of great bubblegum pop from The Archies, The Rubettes, Shadows of Knight, Rock Hudson and Bea Arthur, Simon and Garfunkel, Picketywitch, Johnny Farnum, Vince Guaraldi, Status Quo, Neil Christian, and Everybody Was in the French Resistence...Now!

A groovy opening medley from the long lost Brady Bunch Hour variety show! The bubblegum sensibilities of Katrina and the Waves! A dramatic reading of a 1970 Karen Valentine interview! Plenty of great bubblegum pop music from The Hudson Brothers, Bobby Sherman, The Wombles, Tony Burrows, The Sweet, The Kasenetz-Katz Super Circus, Judy Thomas, The Monkees, The Hot Wheels, The Sufaris, Johnny Whitaker, Boyce and Hart, and Brian Hyland!

In one of our wildest episodes to date, musician, songwriter, producer and comedian Mark Hudson joins Gilbert and Frank to talk about some of the showbiz legends he's worked with, from Steven Tyler to Margaret Hamilton to Ringo Starr to Captain Kangaroo. Also, the Hudson Brothers meet the Osmond Brothers, Ed Wynn steps out of character, Elton John takes a dip and Mark remembers his old friend Harry Nilsson. PLUS: Tito Jackson! Rod Hull and his Emu! The REAL Fifth Beatle! The Hudsons "pay homage" to Herman's Hermits! And Mr. Green Jeans goes loco! This episode is sponsored by Seeso. Comedy’s experiencing a serious renaissance right now, and Seeso is a comedy streaming service tailor-made for comedy-lovers and nerds, with thousands of hours of the best comedy, 24/7/365. Go to http://Seeso.com and start watching all the comedy you can stream for free. Learn more about your ad choices. Visit megaphone.fm/adchoices

Each week, comedian Gilbert Gottfried and comedy writer Frank Santopadre share their appreciation of lesser-known films, underrated TV shows and hopelessly obscure character actors -- discussing, dissecting and (occasionally) defending their handpicked guilty pleasures and buried treasures. This week: Roger C. Carmel! John McGiver returns! Lucas and Spielberg go to school! And Jerry Lewis meets the Hudson Brothers! Learn more about your ad choices. Visit megaphone.fm/adchoices

On this show, Gary tells an AMAZING story about how he was unexpectedly called into duty recently during an emergency, and how he reacted has Tony calling him a “hero”.  Then, Tony tells a story and shows how he himself….is….well….only heroish. Also on this episode:  Musician, record producer, and all-around renaissance man MARK HUDSON!  Mark has written for and produced some of the greats, including Aerosmith (he co-wrote their hit “Livin' on the Edge”), Cher, Ozzy Osbourne, and Ringo Starr!  Plus….he was one of The Hudson Brothers, stars of mid-70s TV and radio (“So You Are a Star”)!  Mark is a great guy and is very, very funny. Plus:  Another musical selection from Rob Ford; a very nice encounter with Carol Burnett; and a segment called “Why Are People Hatin' on Phil Collins So Much?”  It's ANOTHER fun-filled episode!

The gang is back and anything that could possibly give them a buzz was giving them a buzz. Keith and Doc get Sam so flustered that he creates new words. Doc does The News and tells of Super Heros that just were not up to par. Sam is still watching the Hudson Brothers. God now has his own dating service. The convesation zigs and zags, twists and turns and ends up where it always does...in the toilet. Call the comment line at (206) 309-7308. E-mail at insignificast@gmail.com and check out the Insignificast Facebook page. Thanks for listening.

The Magic Milkshake Machine Team sit around and chit chat for an hour. Chizzie's (Trap Door Charmed) New Gimmick, Joe's grumpy, Wiggly's exhausted and this is our life to live. Fun facts, a bit of science and a Clump Stroker Ending.