Podcasts about speedwagon

Bands are calling it quits - REO Speedwagon is calling it quits due to some in-fighting within the band. And Jane's Addiction also just broke up over the weekend. / Conway's personal history with his now-wife and their experience at an REO Speedwagon concert. / Conway shares a story from Kevin Cronin, the lead singer of REO Speedwagon. And Conway discusses how everyone has their own cure for hiccups. / Bruno Mars When I Was Your Man vs. Miley Cyrus Flowers mashup comparison.  

GBH, Bad Religion, Pain of Truth, Kid Rock, Reo Speedwagon, The Romantics, Sam and Dave, Molly Hatchet. Are we in an 80's joyfilled American resurgence? We discuss the convention, Biden dropping out, who replaces 10% for the new big guy? We go deep in ordering your reality to help you remove the idea of fear from your simulation. Could Vince McMahon be booking this Presidency? Are the stars aligning? Will the DNC Convention yield candidates who rise like phoenixes from the ashes? We will find out together!Become a supporter of this podcast: https://www.spreaker.com/podcast/whiskey-and-the-surfer--2019344/support.

Nuestro poeta, Mario Obrero, ha decidido que "Lo que toca" hoy es hablar Douscentos gramos de patacas tristes (Ed. Espiral Maior), el primer poemario en gallego que publica el leonés Juan Carlos Mestre. Después, en "El consulado" de Aitor Caminero, conversamos con Luis Manuel Fernández Iglesias, director de Radio Exterior de España (REE). Y finalizamos con "Las mil y una músicas" y "La playlist de Maika Makovski", que esta semana dedica a algunas de las grandes canciones que se publicaron en 1978: Roll With The Changes (REO Speedwagon), Every Fallen In Love With Someone You Shouldn't've (Buzzcocks), Shadow Dancing (Andy Gibb), Shake Your Groove Thing (Peaches & Herb), Can’t Stand Losing You (The Police) y Dance, Dance, Dance (Chic).Escuchar audio

Y finalizamos con "Las mil y una músicas" y "La playlist de Maika Makovski", que esta semana dedica a algunas de las grandes canciones que se publicaron en 1978: Roll With The Changes (REO Speedwagon), Every Fallen In Love With Someone You Shouldn't've (Buzzcocks), Shadow Dancing (Andy Gibb), Shake Your Groove Thing (Peaches & Herb), Can’t Stand Losing You (The Police) y Dance, Dance, Dance (Chic).Escuchar audio

Before their show at The Resch Center in Green Bay tonight (Oct. 5th) REO Speedwagon singer Kevin Cronin called in for some story telling and a conversation.

We get the lowdown on this year's fair but most importantly the food!

We talk about author Hirohiko Araki's flaws and success with the Phantom Blood arc of Jojo's Bizarre Adventure. Bringing up his issue with pacing the manga against multiple set pieces and fights spanning multiple environments but also praise his use of writing brave characters that inspire empathy, as well as his ability to use real world science to explain the most bizarre parts of the action.  Skip synopsis @ 5: 11   Email: WeAppreciateManga@Gmail.com   106: Jojo's Bizarre Adventure vol. 4 Chapters 28 and 37 ‘Tarkus and the Dark Knight Blufford' Part 3 and ‘The Three from a Faraway Land' part 2 By Hirohiko Araki Translation by Evan Galloway Lettering by Mark Mcmurray   The Joestar group fight Dio, in response Dio summons the undead Tarkus and Bluford. Bluford fights as if his hair is a third arm, he can also drain blood from each strand of his hair.   Through the power of Hamon, Jojo sloughs off at the undead flesh of Bluford and in turn restores his nervous system. Meaning Bluford feels pain. Bluford restrains his strike and realizes that Jojo is not fighting back, he shows honour and gratitude for being able to feel again, then yields before turning into dust. Tarkus is less sympathetic, he stomps on what remains of Bluford and then blasts the Joestar group a large distance, Zepelli defends himself from the blast by keeping himself horizontal to it, minimizing himself as a target and lessening the surface area of the damage.   Poco, having previously been hypnotized by Dio, returns with the help of two men, however they do not believe Poco and thus torment the young boy. Tarkus appears and kills the two men. The Joestar group close the distance on Tarkus and save Poco, both Jojo and Zepelli use Hamon and static electricity to form a parachute of fallen leaves and parasail to safety. During their journey Zepelli tells Speedwagon of his training with master Tonpetty, but keeps the prophecy that he will die saving Jojo a secret.   They land on the roof a castle which leads Jojo into a trap room with Tarkus, unable to effectively use Hamon. Poco remembers what his sister taught him about bravery and breaks into the room, he opens it up from inside so that Zepelli can fight Tarkus and although Zepelli is fatally wounded by Tarkus, he is able to give the last of his Hamon energy to Jojo, setting Jojo free and passing on the figurative torch to him.   Upon defeating Tarkus in a spectacular fashion they journey towards the town Dio enslaved. They are joined by a new group of men also ready to help finish what Zepelli started. The men are Dire, Straizo, and Zepelli's teacher, Master Tonpetty. Dio awaits them with Poco's sister as his prisoner, she is refusing any temptation of immortality that Dio offers her.       Topics:   ·       “Bravery begets empathy”: Hirohiko Araki has a brilliant technique in that he has characters do brave things for us to feel empathy for them. Both the flashback with Poco and Zepelli set up later events that call for both characters to be brave. ·       A criticism of Phantom Blood is how one fight can be prolonged over vast distances in multiple settings. One can suspect that if opinion polls/ratings had dropped in reader surveys that Dio would have appeared in the same castle as the “Two-Headed Dragon room” however we are introduced to new characters, Dire and Straizo before this time. Poco himself is reintroduced during the fight with Tarkus. This has a detrimental effect on the pacing of the manga.   Other references:   ·       “Turgor pressure” think of the word turgid, which is opposite to flaccid. Something turgid is swollen with water whilst something flaccid just has water sloshing around, there is no build-up of pressure in it. It is often used to describe the build-up of water pressure in the cells of a plant, in this manga it is used to explain the reasoning as to how Bluford can flex and move his hair. This implies that there is a sort of blood plasma in his hair that Bluford has full control over. Until Araki introduced the idea of “stand power” villains in Jojo's Bizarre Adventure gained their powers through their full cellular level control. It is also fair to say that Bluford's hair is not normal and perhaps does resemble that of a plant or a hair cell found in one's ears. In reality; the hair on your head is dead, only the follicles count as a living part of your body and needs blood flow from your skin to be able to generate the keratin that makes your hair strands. ·       Minimising surface area for damage is a technique used by Zepelli and is applied in real circumstances. For example, if someone were to be in a gunfight then laying in a prone position will shrink you as a target to your enemy and avoid splash damage from shrapnel, unless the enemy is on higher ground than yourself of course. An inverse example is if you were to hit the ground in a falling elevator, you would have to spread out the surface damage so as not to break your bones, so laying down in a prone position means your body can better distribute the force of the hit. ·       “To love and win is the best thing. To love and lose, the next best.”  - William Makepeace Thackeray, Thackery himself was a Victorian era English writer, known for social satire. His most well-known book is arguably Vanity Fair, "Mother is the name for God" appears in the 1994 movie The Crow. ·       Salween River Tibet, implies Tonpetty is a Tibetan monk and that he is Buddhist.   Facebook Instagram Twitter Official Website   Email

Continuing our read along of Phantom Blood we get our first appearance of the Yoda figure and Jobro Mr. Zepelli! A man who is willing to teach Jojo all the vegan chi powers he can muster (that's Hamon energy to Jojoites). Now a lot of sagely teacher characters can come off dull and boring but not in Jojo's world! We also talk about how brave characters can beget empathy from the reader and fact check the historical fantasy of the manga.   Skip synopsis @ 6:47   Email: WeAppreciateManga@Gmail.com   105: Jojo's Bizarre Adventure vol. 3 Chapters 18 to 27, ‘Jack the Ripper and Zeppeli the Strange part 1' and ‘Tarkus and the Dark Knight Bruford part 2' By Hirohiko Araki Translation by Evan Galloway Lettering by Mark Mcmurray Our hero Jojo, having fought a vampire who killed his dad has recovered well from his injuries. It is at this time he meets a new mentor, the odd and mysterious Baron Will Anthonio Zeppeli or Mr. Zeppeli for short. He helps Jojo's arm heal faster with the use of Hamon, translated literally as ripple or wave energy. He teaches Jojo Sendo, the way of the hermit, a martial art that will allow him to harness the power of Hamon, in return he asks that Jojo helps him find and destroy the stone mask that birthed the vampire Dio. Since the once young Zeppeli himself had an unfortunate encounter with the stone mask.   One of Dio's agents attacks Jojo during his training but it serves only as a demonstration of Jojo's power, soon Jojo, Zeppeli and Speedwagon track the follower of Dio to a tunnel where they are attacked by another servant of Dio, the infamous Jack the Ripper. During the fight Jack flees into the darkness of a hidden cavern, Zeppeli gives Jojo a glass of wine and tells him that if he is to train in future with him then he must defeat Jack on his own without spilling a single drop. Turns out the glass of wine acts as a conduit of Hamon and thus reacts to the presence of Jack, avoiding any surprises, Jojo uses the Hamon to blast jack to his demise, all thanks to Zeppeli's loaded weapon of a wine glass.   Afterwards a boy steals the men's bags and lures them to a trap encounter with Dio amongst a sun set, having hypnotized the boy to do his bidding. Zeppeli makes his attack. Dio however has found a way to avoid Hamon strikes by using the laws of thermodynamics in conjunction with his vampire body. Heat is absorbed by Dio's body and in turn causing Hamon users to get frost bitten if they make physical contact with him. Dio summons two warriors from their graves to take his place in the fight with Jojo and the injured Zeppeli. These are Tarkus and the Dark Knight Bruford, former retainers to the deceased Queen of Scotland, Mary Stuart. Topics: ·       We have the first appearance of a Yoda figure, the “Jobro” Zeppeli, and we talk about what makes him such an entertaining teacher for our hero. ·       Author Hirohiko Araki demonstrates his ability to incite empathy through the  bravery of his characters, in the next volume he'll go on to set up and pay off certain events by having characters become brave enough to face their fate. ·       The new Rohan Kishibe movie will be released on May 26, 2023 (James is mistaken to believe it is in March 2023) For those who do not know, Rohan Kishibe is a character who first appears in the fourth part of Jojo's Bizarre Adventure, ‘Diamond is Unbreakable'. The film itself ‘Rohan au Louvre' can be viewed as a sequel to the live action TV series (which is currently on its third season), this is also based of the manga spin off ‘Thus Spoke Kishibe Rohan' which tells the story of manga artist Kishibe's travels as he satiates his voracious curiosity for a need to seek new inspiration, often encountering dangerous and supernatural threats.   Other references: ·       Jack the ripper was a real and unidentified serial killer active in the London district of Whitechapel in 1888. The name comes from the historical letters claiming to be the killer. The events revolving around the Zodiac killer are similar to Jack the ripper in terms of the communication between the alleged killer and authorities, but it's also important to note that the Unabomber was caught because he published a manifesto which was key in his brother identifying him to the FBI.   ·       The Highlander movie starring Sean Connery was released in the summer of 1986, since the Phantom Blood manga was first published in the winter of 1987 it is a fair assumption to say that Araki was inspired by the movie. ·       Unlike the manga, Mary, Queen of Scots has no blood relation to the Tudors, belonging from house Stewart of the Stewart dynasty. She was also in fact executed in 1587 at the age of 44, where as the manga shows her executed at the age of 23 in 1565. Her retainers in the manga are also fictitious. Her execution was a result of her complicity in treason against the Tudor queen, Elizabeth I. ·       Zeppeli's name is a reference to Led Zeppelin. A band whose contemporaries would have been the bands Deep Purple and Black Sabbath. English bands that were undoubtedly the progenitor for heavy rock and metal, and are historically significant because of it. ·       Dio's name is also a reference to ex-lead singer of Black Sabbath, whom recorded the ‘Heaven and Hell' album in 1980 after Ozzie Osbourne was fired, Ronnie James Dio, formed a band with the name of Dio in 1982, one of his most famous songs from that era being ‘Holy Diver'. He died in 2010.   Facebook Instagram Twitter Official Website   Email

James and Steven continue their read-a-long of the Phantom Blood manga. Where the author Araki pays off the last volume by having lots of gore and shirtless action.  104: JoJo's Bizarre Adventure vol. 2 Chapters 9 and 17, ‘The Stone Mask part 2' and 'The Birth of DIO' By Hirohiko Araki After striking a dagger at Jojo's dad, Dio is “fatally” shot by the police. The police captain expresses guilt, knowing that Dio's father was a dishonourable thief, he remembers when Jojo's father dropped charges of the theft, giving Dio's father mercy and compassion, something that he believes George Joestar, Jojo's dad should never had done. Either way, Dio is now, to everyone's surprise, a new born vampire, and so he smashes in the police captain's head from behind. Dio obliterates the cops and manages to turn one into a ghoul, Jojo retorts by grabbing a spear from one of the old armour suits and defeats the ghoul but Dio snaps the spear and stabs Jojo in the shoulder with it. Whilst Dio gloats he turns his back on the last men standing, Jojo and Speedwagon. The game of hide and seek does not last long when an oil lamp is smashed into Dio. Luckily for Dio he can regrow his skin whilst it is in flames. Jojo leads Dio away from Speedwagon to higher ground, He strikes Speedwagon sending him flying backward to safety.  Dio then throws a flaming chair at Jojo but Jojo grabs a sword, stabs it into the floor and jumps off the hilt to reach the balcony above. Jojo leaves his dead father to burn in the flames whilst Speedwagon believes that Jojo intends to fight Dio on the roof, all whilst the flames eat away the building sending them both to their death. When Dio knocks Jojo through the collapsed roof Jojo uses the spear that was impaled in his shoulder to give himself leverage, then in the middle of his jump he takes of his belt and lassos Dio's ankle. He sends Dio falling, Jojo jumps into Dio and drives the dagger that was used to kill his dad into Dio, who is then impaled after falling onto a statue below. A badly burnt Jojo survives by using Dio's body to break his fall. When Speedwagon goes to visit the injured Jojo but is refused by the nurse. Later in the night Speedwagon breaks in to the hospital and sees that Jojo awakens to the nurse at his bedside. The nurse is Jojo's first love and long-lost sweetheart Erina. Speedwagon then leaves without giving away his presence, his heart warmed by what he has seen. Meanwhile the Chinaman who provided Dio with the poison scavenges the ruins of the Joestar home. A charred arm reaches from out of the rumble, grabs the Chinaman's wrist and drains the man of his life force. Araki was relatively young and still new to storytelling as a mangaka when he made Phantom Blood. And because of this there are things in it he clearly would not do today, but in spite of this Araki tends to immerse as much twists in his action scenes as possible and this is what makes any action scene great. The problem arises however is that he struggles to build a sense of escalation, where the stakes increase the longer the fight goes on. He does a noble attempt at this by having the house on fire but the fire itself doesn't seem to have an effect on the fight itself. Jojo never coughs or struggles to breathe nor is he or Dio blinded by any smoke, then again perhaps it would have prolonged the fight to unrealistic proportions if he did that. In any case Araki chose to focus more on the props in the environment, the dagger, the spear, the flaming chair and when there seemed to be no more props left he wrote in Jojo to use his belt. If props are foreshadowed well in advance then this creates a satisfying and cohesive story. For every twist to be a surprise you have to hide the setup, but so not to confuse your reader you have to give a moment to explain what happened. Araki gets better at this with age. A detriment towards depicting fantastic fight scenes, especially against the supernatural, is the difficulty in reading and having the reader immersed. Manga as an art form is wholly suggestive in depicting action. In the second volume of Phantom Blood, we see Johnathan Joestar can grab items in the middle of a fall and take off his belt in the middle of a jump, sadly such scenes create a poor depiction of time as characters never feel like they are climbing or falling, more like they are floating in space as they act. Other references: Another scene reminiscent to the novel Les Misérables (Victor Hugo, 1862) is when we see Dario Brando in prison for stealing from George Joestar. The interaction is very similar to the characters Jean Valjean and Bishop Myriel. DIO scaling the walls and coming in through the window is like the mannerisms of Dracula (Bram Stoker, 1897), who was also able to do such type of activity. Erina and Jojo's romance exhibits an all-too-common trope, the ‘Florence Nightingale Effect' named after the famous nurse and statistician who in reality was a chaste character. It's also a common phenomena too, known as “Florence Nightingale Syndrome” It is an easy way for a romance to bloom in Shonen action and battle manga, since the hero tends to be in a lot of fights the love interest builds intimacy by nursing them.

The first part of Jojo's Bizzare Adventure (Phantom Blood) is best described as Dracula starring Jean Claude Van Damme with costume design by Jean Paul Gaultier, and you know something? It is a good read! Blending Shonen anime spectacle with the influence of classical literature. We see if the manga has stood the test of time since its 80's debut. Skip synopsis @ 6:32 Email: WeAppreciateManga@Gmail.com   103: JoJo's Bizarre Adventure vol. 1 Chapters 1 to 8, ‘Prologue' and ‘The Stone Mask part 1' By Hirohiko Araki Translation by Evan Galloway Lettering by Mark Mcmurray   Phantom Blood is the first part of the epic Jojo's Bizarre Adventure and tells the tale of two young men, Johnathan “Jojo” Joestar and Dio Brando. It starts in south America during the reign of the Aztecs, where a king has used a magical death mask like object to gain supernatural power, then we are taken to the 80's, the 1880's to be precise. where Dio arrives at the home of the Joestars after the death of his father, Dario.   Jojo's father, George Joestar, becomes Godfather to Dio and so they welcome the young man under their roof, all whilst Dio plans to rob Jojo of his status and make him suffer. Dio does this whilst maintaining the guise of a step brother but when he discovers Jojo has a girlfriend, he torments him further by forcing a kiss on the poor girl. Dio sadistically claiming, “You wanted Jojo to be your first kiss, but it was I, Dio”.   So, Jojo attempts to kick his ass and in doing so spills blood on the mask that hangs in their home. That same magical mask used by the Aztecs now activated by the touch of blood and designed to penetrate the wearer's brain upon doing so.   Years pass by but Dio takes it further when Jojo infers that Dio had poisoned his father, Dario Brando and has been doing the same to George Joestar.   Jojo sets up new care for his father and sets out on a journey to discover the origin of the poison and get evidence, or at least a cure for his father. Meanwhile Dio investigates the mask to use as a potential murder weapon against Jojo only to discover that it can turn its wearer into a vampire.   As Dio returns to the Joestar residence he is ambushed by Jojo who has gained new allies on his journey, meanwhile Dio, with mask in hand, has a plan.     ·       The theme of Jojo is one of becoming a “peon to humanity”, Jojo aspires to become a true gentleman. Meanwhile Dio himself aspires for greatness albeit through horrific ways, and at the cost of his own humanity.   ·       Phantom Blood was first published on January 1987 in Shuesha's weekly Shonen.  Alongside the original run of Dragonball (not Z), Ultimate Muscle and Saint Seiya. Like Saint Seiya, Phantom Blood is a very fashion-conscious manga, as we'll see in later episodes. This was to appeal to the readers at the time.   ·       At the time the manga was published Arnold Schwarzenneger, Slyvester Stallone and Jean Claude Van Damme were dominating Hollywood. Their action movies were a response to feminism at the time, with men being celebrated for their physical strength and stamina. So naturally Araki has his hero be the same way, which makes more sense knowing that Jojo needs to be exaggerated physically in order to fight the supernaturally powerfully Dio.   ·       Physically masculine heroes aren't an action movie ideal either, Jojo takes more influence from ancient styles of stories, where mythological characters show further supernatural feats of masculinity, such as the greek Demi-god Hercules, the Olympics itself being a demonstration of competitive power and indiviualism.     ·       One of the manga's most iconic scenes is Dio's “kick the dog” moment. A now popular trope for villains, the oldest examples being seen in Anne Brontë's novel, ‘Agnes Grey ‘(1847) where upon Mr. Hatfield kicks not just a dog but also a cat, Anne's sister, Emily went one step further by having Heathcliff hang a puppy in Wuthering Heights, which was published within that same month and year. In Stephen King's novel, ‘The Dead Zone' (1979), the villain of that story also kicks a dog. It is important to note that the trope isn't about kicking dogs but instead is a shorthand way to tell the audience immediately that a character is despicable.   Other references:   ·       The manga opens during the reign of the Aztec Empire, the empire itself was taken over by Spanish conquistadors and their allies in 1521. The Aztecs, also known as the ancient Mexica were the ancestors of the Nahua people of Mexico.   ·       A nod to Charles Darwin is mentioned, Jojo having a passion for archeology compares his studies to Darwin's and wishes to make breakthroughs like himself. Darwin himself changed academia with his ‘Origin of Species' published in 1859. Although incredibly abstract for its time, Darwin's theories still have a lot of credit to them in contemporary times. The phrase “survival of the fittest” is sometimes mistaken as Darwin's words but comes from Herbert Spencer, responding to Darwin. For Jojo to speak of Darwin, is no different than millennials speaking of Carl Sagan or Jordan Peterson, of which the latter's academic legacy has arguably not reached apotheosis as of writing this article. But who knows what the future will bring?   ·       Dario Brando actions resemble that of the character Thénardier in Victor Hugo's Les Miserables, they both inadvertently save a man whilst trying to rob them.   ·       Speedwagon looks suspiciously like Australian actor and film director Mel Gibson, especially in his mullet wearing Lethal Weapon days.   ·       The mysterious mask in Phantom Blood resembles the mask seen in the Italian horror movie ‘Demons' (1985), that mask has the power to turn someone into a ghoulish demon. Although it may be coincidence, it could also have been a possible inspiration for Araki.   Facebook Instagram Twitter Official Website   Email

After all this time we can confirm whose corpse everyone is trying to assemble: some guy named Jesus Christ, never heard of him. We attempt yet again to explain Blackmore's stand. Diego Brando is back, still 50% dinosaur and 100% hot. This is a Lucy Steel fan podcast now. We are forced to be our own Speedwagon for this fight because nobody will explain what is happening. And Johnny finally gets a spine. -- JoJo's Bizarre Explainer JoJo's Bizarre Adventure! Either you love it, or you've never seen it. But what exactly is JoJo? Why is everyone talking about it? Why is it so great? Whether this is your first foray into Hirohiko Araki's decades-spanning masterpiece, or you're a seasoned JoJo Opinion Haver looking for more of your kind, JoJo's Bizarre Explainer is here for you! Hosted by Elizabeth Simins, Courtney Stanton, and Darius Kazemi, this podcast will tease out the running motifs, fascinating weirdnesses, occasional dog deaths, and ineffable charm of JoJo's Bizarre Adventure—anime-episode by anime-episode, with stops along the way for the manga, the videogames, and whatever else we can get our hands on. Join us as we attempt to do the impossible: Explain JoJo! explainjojo.com @explainjojo @explainjojo@crazynoisybizarre.town Here's where to find the gang on the internet! Eliz: eliz.abeth.net @elizsimins Courtney: superopinionated.com @courtney@friend.camp Darius: tinysubversions.com @tinysubversions @darius@friend.camp

A few weeks ago the gang was thrust into Parts 1 and 2 of JoJo's Bizarre Adventure, the legendary 1987 anime series, and learned everything there is to know about the Joestars, the evil vampire Dio, the enigma that is Speedwagon, the Pillar Men, and Hamon. So anyways, literally none of that is relevant anymore, as Stardust Crusaders elevates the series to heights never seen before, with the introduction of... ゴ ゴ ゴ 「ＳＴＡＮＤＳ」ゴ ゴ ゴ. It's more fun, more interesting, more hilarious, more memeable, and somehow manages to live up to its own self-generated singularity of hype. Content warning: SPOILERS, strong language.

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

Joe Fria is an American stage, television, and film actor. He has appeared in such movies as Guardians of the Galaxy Vol. 2, The Belko Experiment, and Speedwagon. Additionally, he is a writer and producer in the film industry and a voiceover actor and director. Joe is the voice of Slappy in the Scholastic Goosebumps: Slappyworld audiobooks and D'Argencourt/Darkblade and Philippe/Frozer in Miraculous: Tales of Ladybug & Cat Noir.

Our first post-centennial episode comes with an introduction to an absolute classic in the anime sphere, originating all the way back in 1987, with JoJo's Bizarre Adventure. We start with Parts 1 and 2 for this week's episode, following the stoic Jonathan Joestar in Phantom Blood as he faces off against the evil Dio, and then continuing with his grandson Joseph in Battle Tendency as he fights the Pillar Men, named after cool American bands! The show's reputation precedes it, as Iris and Michael discover just how deep this rabbit hole goes, but beyond how crazy the narrative gets, there's aspects of horror, comedy, drama, and Speedwagon packed into these two short seasons. Content warning: SPOILERS, strong language.

Our podcast jumps back into the Joestar mythos with JoJo's Bizarre Adventure: Battle Tendency. Joseph, the short-tempered grandson of Jonathan Joestar, arrives in New York City with his grandmother Erina. Joseph is attacked by the fallen Hamon master Straizo, now an immortal vampire, and becomes aware of a looming threat. An elderly Robert E.O. Speedwagon is being held captive by Nazis, who are experimenting on a mysterious Stone Pillar. JoJo travels to Mexico to rescue his old family friend, but he may be too late to stop the dangerous lifeform sleeping within that stone. We invite our listeners to crack open a cold Coco Cola and don a 100% beetle scarf for today's Hamon-infused episode of Anime Was (Not) A Mistake!   Rate, Review, Subscribe, and Listen to Us on Podbean/iTunes/Stitcher/Spotify Follow us on Instagram:@animewasnotamistakepodcast Or on Facebook:@animewasnotamistakepod Music Provided: “Sono Chi no Sadame TV-Size Instrumental” – JoJo's Bizarre Adventure OP 1   “Simple And Clean -Ray of Hope MIX” - KINGDOM HEARTS HD 2.8 Final Chapter Prologue - Soundtrack “Sakura Kiss String Version” – Ouran High School Host Club

What do our favorite songs, movies, and shows -- and even places -- say about us? Why do we like the media we do? What draws us to one form of art rather than another -- to one sort of setting rather than another? Why R.E.O. Speedwagon, for some strange reason, rather than Dylan? Why "Next Plane to London" rather than "A Day in the Life"? Whatever the draw is, I think it has more to do with us than with the thing. Or rather, the object or medium that catalyzes one's deep feelings is less important than the feelings being catalyzed. This cast starts with a reflection I first encountered through Mockingbird. It is from Frederick Buechner (R.i.P.). The cast then careens into George A. Romero, director of Night of the Living Dead -- to which I dragged poor Mary back in '73 when we were courting. (That particular date was almost as much a disaster as when my friend Lloyd and I dragged her to see Jean-Luc Godard's Wind from the East in 1970.) But George Romero's Damascus-Road experience in terms of his future direction in life and art turns out to have been... Tales of Hoffmann. I mean... Then Jerry Garcia gets a hearing, with his Damascus-Road experience. Time and again, and I believe you can see it in your own life, the thing that moved you was accidental. You, however, and your vulnerability were not. Try to focus on the latter, not the former. We close with an immortal and illustrative song by Jimmy Webb, as performed by Johnny Rivers. Please hear it through to the very last line. LUV U.

For this episode, Jane and LeEan talk about season 1 of JoJo's Bizarre Adventure, the voice acting (or lack thereof) in the series, whether JoJo's is a parody or not, the epic battle scenes and how they compare with other anime battle scenes, and whether Speedwagon's British accent is more Wales or Cockney. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/isle-of-anime/support

Chicago Legend, Jerry Bryant started JBTV 38 years ago and hasn't slowed down. Jerry stops by the Mason Paine Show to speak about what made him start JBTV and what he envisions the future for the show. For the latest information about JBTV visit: JBTVMusic.comFollow JBTV on Twitter at: Twitter.com/JBTVLike JBTV on Facebook at: Facebook.com/JBTVMusicLike and Follow JBTV on Instagram at: Instagram.com/JBTVStudio https://masonverapaine.com/wp-content/uploads/2022/05/19.-Jerry-Bryant-JBTV-Future.mp3 Interview Transcription Mason Paine: JBTV's Jerry Bryant is here to speak about the history of JBTV and what plans he has for the future for his show. Thanks for joining me, Jerry. Mason Paine: I just have a couple of questions for you. What did you do before you started JBTV? Jerry Bryant: Oh, wow. You know, I'm an old man now. So, I started out in 1968 with a company called studio 68 that was involved with helping teenagers get into radio. Jerry Bryant: And that was in Milwaukee at, W O K Y and at WISN. And, I did workshops with a high school. 'cause, you know, I was a high school kid graduating . Wasn't with new, with junior achievement. So I got involved with that end WTMJ, TV. We did a TV show and I fell in love with TV. As soon as I got into the STV studio, I just loved television since I was a kid. Mason Paine: Why didn't you go into a traditional TV, actually joined a TV station. I mean, you just made your own. Jerry Bryant: Well TV, even back then, there was only three channels, you know, in Milwaukee and even here in Chicago, you know, then four or five, if you can, you know, put the educational stations in there, WTTW. Jerry Bryant: Everything was very corporate, very big. But I started wanting to do my own thing. I loved music. And I did commercials for many years for like 300 radio stations, with a company called super spots. We did imaging. I worked with Joe Kelly, who is a famous voiceover guy and I was the production guy. Jerry Bryant: We did all like ELO pink, Floyd, all those, you know, REO, Speedwagon, all those big concerts back in the day. Pink Floyd was the big one we did in the Milwaukee, one of the first open air concert. And, then I moved to Chicago like in 1979. Mason Paine: Wow. So you were doing a lot of the background work. When did you decide to just start your own station JBTV? Jerry Bryant: JBTV, came out of, literally it was a hobby cause we would do these radio stations spots, and they would have like Madonna and I'd have a one inch video tape. And on that video tape would be like Peter Murphy and a lot of these other bands. And I go. There's no. Cause you know, Jane Byrne was the you know, was our mayor at the time we didn't have cable in Chicago. Jerry Bryant: So I got involved with doing production for, W G V O channel 66 back when it was a real, ethnic Gar Spanish TV station. And, they had like guns smokes. So I did the promos and in exchange. For the production like Gunsmoke tonight at nine, you know, that kind of stuff. I would do. I want to do JBTV, don't pay me. Jerry Bryant: I just played music videos, and that's how I got started. Along with, I was also, I first started actually in 1984 with a, CAN TV 19, which is the public access channel, which a lot of Chicago famous people were on there. You know, they got their first start there because, there wasn't the same kind of, you know, anybody can get on public access TV, which is so cool that we have that in Chicago and it's still exists. Right now. Mason Paine: Wow. I didn't know. It still existed. I remember watching it when some guy wanted to help you with your math homework and I would call up and be like, could you help me with my math homework? That was like, besides JBTV. That was the only other one I knew about. But when it comes to the concept of the show, you said you wanted to do music in general. I mean, what, what drove you to that? You could have done anything.

This week the guy's welcome Ty Walsh back from his comedy adventures! He was recently in California and stops by with tales of rivers, the homeless and his shows. The guys talk about the pregnant eating dirt, differences in comedy clubs, butt stuff, how to use ring central, coins and Vinnie gets mad about nerds all while a thunderstorm is going on. Check It Out! doorguyspod@yahoo.com

Cinquenta anos se passaram e outro JoJo assume o protagonismo. Porém as ameaças são as mesmas... Começa aqui a quarta temporada do Kanshow, onde acompanharemos JoJo's Bizarre Adventure parte 2 - Battle Tendency! E neste episódio, vemos como é bom respeitar figuras maternas, Speedwagon tem um sucessor e Joseph provavelmente tem ansiedade. Contaremos com a participação de Carol Tomé e Nelson Haraguchi! Não deixe de seguir o Kanshow no Twitter e no Instagram!Gosta do nosso trabalho? Considere se tornar um apoiador!Capa por Analu AraújoPétalas de Akayama:WattpadNewsletterTapas

It's time to bring this podcast into the shore, and throw away the oars foreverrrrrrrrr. HAPPY MARCH!Oh come on, you know that song. No? Do you take it on the run baby? If that's the way you want it baby... maybe in my dreams you love me? It's REO SPEEDWAGON! And... Mel and Justin saw them in Rochester on February 25th. This is our recap of the concert that was.Did Kevin Cronin get tortured by Mayo Clinic Doctors?Did Levon sell cartoon balloons in town?Did a drunk person totally biff it and cause a disturbance?Do people at the Rochester Civic Center wear masks (the answer is no)?Did a bunch of butts attack the band and eat them? Wtf?Did REO Speedwagon kick ass? You'll just have to check out this episode to see!Also, in light of the events going on in Europe, we try our best to explain it and give you a brief update as to what's going on. Normal programming resumes next week, but with this podcast, you never know what normal programming is. Check us out on the Facebooks, Instagrams, and emails (thecatboxchronicles@gmail.com)

Mike Reno, the super powered singer of Canada's Loverboy came back to my show, just in time for the one year anniversary of his last appearance. He's my first 2-fer, and of course I had a blast.Mike and the boys will be on tour with Styx and REO Speedwagon, doing the outdoor amphitheater tour and rocking the socks off the old fans while creating new ones. You know it's going to be good.The new single, Release, found its way to YouTube and radio recently in celebration of this new tour, so make sure you check out the full track, which will be linked to the show today.Until we meet again, thanks to Mike Reno for making this fan a happy camper and here's to Loverboy, the hard hitting power pop machine...... on Rockstar Superhero.Time Codes:1:25 Actually meeting Mike3:00 Getting to Penticton5:00 Watching Mike play drums7:00 Writing better songs with his brother9:00 New songs, old style11:00 Recording over the internet13:00 When we were young15:25 American Bandstand17:30 Solid Gold and Marie Osmond20:00 Touring over new records22:00 Pat Benatar and Journey24:00 The Neil Peart story25:00 The Bruce Springsteen story27:00 The tour with Styx and REO SpeedwagonThe song, 'Release' is graciously provided by Loverboy for this interview. Release, copyright 2022, Loverboy, All Rights Reserved.Subscribe to both shows here: https://bit.ly/3airCvhWanna be on the show? Go here: https://calendly.com/rockstarsuperheroThe Rockstar Superhero Podcast examines the personal lives and creative careers of your favorite classic rock artists. We are obsessed with understanding the inner workings of the music business and all that it takes to remain in the public eye for as long as possible. Join us as we pursue conversations with legends and legends in the making.The Rockstar Superhero Radicals podcast was created to connect you directly to people, professional and private, who have lived lives worth discussing and offer solutions to our listeners, one heart at a time. If you are seeking truth and purpose beyond yourself, the Radicals podcast is for you.Copyright 2022 Rockstar Superhero Podcast - All Rights ReservedBecome a supporter of this podcast: https://www.spreaker.com/podcast/rockstar-superhero--4792050/support.

Get ready for trembling hearts, intense heat, for maximum overdrive! This week the guys take on the action filled beefy drama about evil step-brothers, vampires, and class disparity, Jojo's Bizarre Adventure. This show is a 25 year long legacy of the Joestar Family, and Kyle and Garrett can only scratch just scratch the surface of Jojo's world. Why is Dio so blatantly a Disney Villain, why does Jojo dress so extra when he goes out? Wait where did this weird magician chi master come from? We try to find out all this and more as we find out how to meddle like R.E.O. Speedwagon. --- Support this podcast: https://anchor.fm/wanwapodcast/support

Chris & Grace embark on a bizarre adventure as they discuss the anime adaptations of Jojo's first two parts; Phantom Blood and Battle Tendency. Discover the origins of your favourite Jojo memes! And enjoy our deep dive into the strange Speedwagon fandom. Follow us on Twitter: @ThereWeeb Art Credit: Wafflecaramel Agency: https://www.etsy.com/uk/shop/Wafflecaramel?ref=simple-shop-header-name&listing_id=878105809 Music (Used in Fair Use): Missive - Andrew Langdon (Opening) (YouTube Audio Library) OK POP KO! - Freedome Trail Studio (Ending) (YouTube Audio Library) JoJo ~Sono Chi no Sadame~ (ジョジョ ～その血の運命さだめ～)- Hiroaki "TOMMY" Tominaga

In this episode we go think back on the first third of Diamond is Unbreakable with special guest Emily, also known as PAMaster!

Continuamos este homenaje a la música de 1971 con grandes discos de lo que podríamos llamar rock clásico, pero que dada la época se muestra como un género enormemente abierto en cuanto a influencias, estilos y producción. Un nuevo diálogo abierto entre Jose Funes y Fran Macías. Repertorio: 1. Elton John - Madman Across The Water (Madman Across The Water) 2. Jack Bruce - Can You Follow?/Escape To The Royal Wood (Harmony Row) 3. Diabolus - Lonely Days (Diabolus) 4. David Bowie - The Bewlay Brothers (Hunky Dory) 5. R.E.O. Speedwagon - Dead At Last (R.E.O. Speedwagon) 6. The Who - Bargain (Who's Next) 7. Ten Years After - I'd Love Go Change The World (A Space In Time) 8. The Rolling Stones - Can't You Hear Me Knocking (Sticky Fingers) 9. Family - Spanish Tide (Fearless) 10. Birth Control - Stop Little Lady (Operation) 11. Traffic - Rainmaker (The Low Spark Of High Heeled Boys)

Join the Senpais as they shop for clothes, punch things hard, and come up with solutions out of nowhere with Jonathan Joestar, Robert E. O. Speedwagon, and other famous musicians from the 1800s! If you like this show, remember to leave us a rating or review! It helps the show out more than you know! --- Send in a voice message: https://anchor.fm/pretty-fly-for-a-senpai/message

Support us on PATREON for the monthly Q&A Show, a weekly Post Show, an ad free experience and more! ►► https://www.patreon.com/naninoanime Thank you Advanced for sponsoring today's video! Use code "naninoanime" to save 10% on Advanced Focus or Energy the drink we drink daily and help support the podcast! ►► https://advanced.gg/?ref=naninoanime In this episode of the Nani no Anime Podcast RuffSenpai & SeeOhKnee get together and talk and rank over 100 Anime Husbandos in a Tier List! Check out the Nani no Anime YouTube Channel ► https://www.youtube.com/naninoanime Check out SeeOhKnee on YouTube Channel ► https://www.youtube.com/seeohknee Check out RuffSenpai on YouTube Channel ► https://www.youtube.com/RuffSenpai Timestamps 00:00 - Intro 05:45 - Anos 09:30 - Tatsuya 12:45 - Light Yagami 14:20 - L 16:00 - Sir Zech Lucifer 17:50 - Voli 21:50 - Ainz 26:25 - Itachi 30:55 - Sasuke 33:40 - Kakashi 34:35 - Ichigo 35:30 - Kiske Urhaha 38:30 - Grim Jow 39:45 - Zoro 42:40 - Luffy 46:05 - ACE 48:20 - Killua 49:50 - Kurapika 53:15 - Hitsoka 55:25 - Leoreo 57:05 - Levi 59:05 - Eren 01:01:55 - Mikey 01:03:55 - Draken 01:06:35 - Edward Elric 01:08:20 - Mustang 01:09:20 - Sebastian 01:12:50 - Laxus 01:14:55 - Grey 01:15:30 - Bakugo 01:19:50 - Almight 01:21:15 - Hawks 01:23:20 - Rin 01:24:40 - Ruyji 01:24:45 - Kenshin 01:27:45 - Lord Sesshomaru 01:30:00 - Inuyasha 01:32:35 - Ken Kaneki 01:35:10 - Juzo 01:37:15 - Gintoki 01:39:00 - Shinya Kogame 01:41:55 - Speedwagon 01:42:25 - Dio 01:43:20 - Jotoro 01:47:55 - Joske 01:50:10 - Giorno 01:53:50 - Tanjiro 01:54:50 - Rengoku 01:55:50 - Saitama 01:57:10 - Genos 01:57:30 - Metal Bat 01:57:55 - Yuno 01:58:45 - Yami 02:00:00 - Julius 02:01:40 - Lelouch Vi Britannia 02:03:10 - Suzaku 02:05:15 - Kaiba 02:05:45 - Yami Yugi 02:07:15 - Gojo 02:11:00 - Sukuna 02:12:10 - Karma Akabane 02:13:20 - Kuro Sensei 02:16:10 - Ban 02:18:25 - Meliodas 02:20:05 - Toru Oikawa 02:20:55 - Howl 02:22:05 - Bell Crenel 02:24:00 - Loga 02:25:00 - Senku 02:27:55 - Tsukasa 02:29:50 - Shinra 02:33:00 - Joker 02:33:40 - Kirito 02:34:55 - Klein 02:38:05 - Tamaki 02:39:10 - Honey Senpai 02:40:10 - Sinbad 02:42:35 - Judar 02:43:05 - Aladdin 02:43:45 - Naofumi 02:44:55 - Motoyasu 02:45:25 - Spike 02:46:45 - Jet Black 02:47:10 - Kanami 02:48:10 - Zero 02:49:00 - Soul 02:50:00 - Death the Kid 02:52:10 - Shizou 02:53:55 - Izaya 02:55:00 - Gilgamesh 02:57:45 - Lancer 02:58:10 - Kurokiba Ryo 02:59:15 - Soma 03:00:30 - Tatsumi 03:01:20 - Bulat 03:02:20 - Tuxedo mask 03:03:35 - Allen Walker 03:04:25 - Yu Kanda 03:05:30 - Kaze no Stigma 03:06:10 - Vash the Stampede 03:06:50 - Alucard 03:08:05 - Thorfinn 03:10:05 - Diablo 03:10:50 - Kyoya 03:11:35 - Kagame 03:12:20 - Daiki

For this episode of JoJo's Bizarre Adventure, we review Battle Tendency: The Ties That Bind JoJo (Ep 15 of Part 2). Speedwagon and Smokey reveal the truth behind Lisa Lisa and her past, while Joseph continues his battle against Kars. We discuss the truly nonsensical aspects of this episode, the importance of Lisa Lisa's backstory and choices, and how poor Stroheim just can't catch a break.⁠

Monday is prime time for movies! We rank a remake of a film Max enjoyed, consider poking our eyes out, blue hedgehogs and follow the trail to Dracula. Enjoy! --- Support this podcast: https://anchor.fm/capesandscowls/support

In this episode, the team meet each other, Roundabout fires up, and the adventure begins. This is a podcast 4 years in the making, and one of the most insane campaigns I have ever had the pleasure of being a part of, we cannot wait to share it all with you.

On this episode we begin by discussing networking secrets, the range of AWS functionality, and how to save on your cell phone bill. Then we get into the week's tech news including Apple's satellite ambitions and a surprisingly in-depth debate around mobile gaming's effects on society. Picks of the week: giant ethernet cable (Colby Rabideau) TP-Link Deco S4 (Shaun Jennings) Wandavision (Disney +) (Dan Miller) dontpanic.io Twitter: @dontpanicshow Proud member of the Coffee & Beer family of podcasts, streaming at coffeeandbeer.tv.

Amy and Beth cover "Time for Me to Fly" by R.E.O. Speedwagon.  Listen to the song first before Amy & Beth ruin it for you.Email us at amyandbetharesorry@gmail.comVisit us on Instagram at https://instagram.com/sorryiruinedthatsong?igshid=1cqqhy050qg8qVisit us on Twitter at https://twitter.com/sorry_songListen to our Spotify Playlist here:https://open.spotify.com/playlist/1N6BzJ2NejvzSmuhpkZhRb?si=ladyFquiSkqsrb4np4I3ow

In order to access the entire archived shows/podcasts, you must sign up on our secured server at aftermath.media/ If you want access to the entire online Ground Zero library, which includes videos, audio clips, e-books, e-magazines, documents, a news aggregator, a social media platform, plus the archived shows/podcasts, it's $10 a month. Check out the yearly special during the month of June for first-time subscribers - it's only $99 a year!

For this episode of JoJo's Bizarre Adventure, we review Battle Tendency: A Hero's Proof (Ep 6 of Part 2). As the title suggests, Joseph is tasked with proving he can protect Caesar and Speedwagon in the short-term, and protect the world in the long-term, against the threat of The Pillar Men while trying to protect his own life from the Wedding Rings of Death.⁠

We return to cover another Shinichiro Watanabe anime! With TikTok sensation Tunji Taylor-Lewis coming onto the podcast to chat all things SAMUARI CHAMPLOO! This hip-hop influenced show has it all: Brothels, Ninjas, Assassins, and SO MANY Record Scratches!!! And for the first time ever, could a car be named the Speedwagon of the episode?!? Tune in and find out! Anime discussed: Samurai Champloo Episodes 1, 10, and 15 Edited by: Sacha Husband (@sachahusband on Instagram) Follow Us on the Socials: Is This Anime? Twitter: @isthisanimepod Instagram: @isthisanimepod Jack Metcalfe Instagram: @jackisjak Twitter: @OnlyRealJackM Malcolm McLeod Instagram: @malcolmrjmcleod Twitter: @malcolmrjmcleod Tunji Taylor-Lewis Instagram: @tunjitl Tiktok: tunjitl https://www.tiktok.com/@tunjitl?source=h5_m

Matt is immediately suspicious when he sees milk waiting to greet him this week! Our boys hit the heat last time, so we're treating them with sweet. Classic flavor, maple creme, allspice, and everything nice. That's what this episode is made of! Watch the way Matt and Glenn's cookie crumbles in their cup and Let's Try Something New! #LetsTrySomethingNew #LTSN #madebyHibyrd

This week we touch on Part One, giving a detailed description of the plot and characters! Our overall rating was a 6/10, and we also hate the waifu Speedwagon meme.

Treat yourself to weekly Patreon-exclusive episodes and help keep our iron lungs pumping. Visit http://patreon.com/heavybreather. We've unlocked Patreon episodes 1 through 30 - in this trying time, force a roommate or loved one to listen because they have nowhere to escape to.MUSIC: Mason Lindahl - Sky Breaking, Clouds FallingDj Python - oooophiThe Monks - Shut UpLow - StarfireRobert Lester Folsom - Please Don’t Forget Me

This episode covers episodes 13 - 15 of JoJo's Bizarre Adventure. Joseph has encountered the Pillar Man who, to be fair, has done nothing but kills Nazis and vampires so far. But is he mean to Speedwagon? Because if he's mean to good boy Speedwagon then we've got a problem.

A pair of band mates were born on this date in 1979.

This episode covers episodes 1 - 3 of JoJo's Bizarre Adventure. Chip and Grant begin their watch of JoJo with the first arc: Phantom Blood. What starts out as a fancy lad quarrel soon escalates into something far bigger. What's that? There's a guy named Robert E.O. Speedwagon and his hat is a knife?

Jason 'The Statman' Regan chats with the Nims Azoor, host of FlowFM's new motor racing segment about his pit crew for 2021's motorsports season, to air on Saturday mornings

“How many breads have you eaten in your life?” For this episode of JoJo's Bizarre Adventure, we review Phantom Blood: The Dark Knights (Ep 5 of Part 1). Like the ice running through Zeppeli's veins, we too were pretty cold about this episode. With that said, it gives us another look into Jonathan's continued development and mastery of Hamon where even Dio acknowledges his growth. Also, it has best waifu Speedwagon's flaming hot abs (literally). Enough said.

Episode 2. Tracklist: 1. Fourward - Over [Shogun Audio] 2. Locksem - Wall Of Silence [Lockdown Recordings] 3. Speedwagon, Sikey - Without You [Celsius Recordings] 4. Colossus, Lavance, J S - No Time To Lose [Context Audio] 5. Technimatic feat. Matt Wilson - Holding On [Shogun Audio] 6. Wilkinson, Hayla - I Need (Wilkinson & Metrik Remix) [Virgin Emi] 7. Dc Breaks - Halo Vip [Viper Recordings] 8. Hybrid Minds, Koven - In Your Arms (Original Mix) [UKF] 9. Gerra Stone - Feels Like [SGN:LTD] 10. Alb feat. Siege Mc - Major Deep [Fokuz Recordings] 11. Aetherial, Cosmic Sequence - New Beginning [Boey Audio ] 12. Mitekiss, Degs - Lie Awake [Hospital] 13. Demigroove - Always Fading feat Ro [Galacy] 14. Edlan, Djah - Fragile [Integral Records] 15. Lenzman feat. DRS - Pictures of You [Metalheadz]

And I can’t find this feeling anymore…I need some Keeping It Nerd back. On this edition, Vince (@vmostajo09) and Anthony (@murseant) are joined by Reyna (@reynax81) in a discussion of book versus movie adaptation of ‘Ready Player One’. The trio discuss what they enjoyed from each medium, what could have been improved, what would have been cool to see from book to screen, and how each version brings its own unique commentary to virtual reality. Special thanks: – The Loyalist (https://soundcloud.com/why_you_look_at_my_link_listen_to_my_music) for his song, “Pinecrest” – As always, Evan King (http://evanking.bandcamp.com) for “Alpha Channels”, the official theme of ‘Keeping It Nerd’ heard on this and almost every episode of this very fine podcast. Please rate, comment, and subscribe on Apple Podcasts, Google Play Music, and on STITCHER Radio. Email: keepingitnerdpodcast@gmail.com Socials: @keepingitnerd Web: KeepingItNerd.com

Phil Whelans is joined by Jim Grant and Mark Webster for tonight's Hammertime!Sign up to a new kind of fantasy football at fanduel.co.uk with our promo code HAMMERTIME, FanDuel will refund your entry fee up to £10 if you lose!westhampodcast.com@westhampodcastProduced by Paul MyersA Playback Media Productionplaybackmedia.co.uk Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Despite our assurances that this would be a short episode, it still ended up being nearly 50 minutes long! Some of that is spent discussing timely anime subjects like Erased, Lupin III, and Dagashi Kashi, but there’s also some video game talk (more Fallout and Final Fantasy) and then a bunch of gaming-centric listener questions. Topics include “possibly one of the worst anime seasons in recent memory,” ill-advised compilation albums, and the glory of Robert E. O. Speedwagon. Direct Download • RSS Feed • iTunes • Send us Feedback! • More episodes Runtime: 48 minutes Opening Song: “Blues Machine” by Scott Gratton David’s watching Dagashi Kashi. Evan’s watching Erased and the new Lupin III. The Fallout: New Vegas train keeps on a-rolling, but Evan’s getting a little bored. Final Fantasy VI is a nostalgia trip for David. David is rewatching the JoJo’s Bizarre Adventure anime, and Evan is reading the Part 1 manga for the first time. Evan found a GamerGate compilation album and it’s everything you’d expect from that description. Twitter: Ani-Gamers, Evan Evan hosts the Crunchycast podcast on Crunchyroll and writes for Otaku USA Magazine. Ending Song: “Blues Machine” by Scott Gratton