SKU: 51747022494

Mr. Gasket Performance Valve Cover Gaskets - 378

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Description

Mr. Gasket Performance Valve Cover Gaskets - 378Overview: Mr. Gasket Performance Valve Cover Gaskets are high density cork rubber blend gaskets that use evenly sized cork particles distributed evenly throughout the rubber binder. The result is a compressible valve cover gasket without leak paths. These gaskets create a positive seal by controlled swelling of the gasket material when exposed to hot engine oil. Provides excellent flange sealing and durability. For original equipment replacement, high

Overview:

Mr. Gasket Performance Valve Cover Gaskets are high-density cork/rubber blend gaskets that use evenly sized cork particles distributed evenly throughout the rubber binder. The result is a compressible valve cover gasket without leak paths. These gaskets create a positive seal by controlled swelling of the gasket material when exposed to hot engine oil. Provides excellent flange sealing and durability. For original equipment replacement, high performance street, drag race and oval track use.

Features:

    Application:

    Year Make Model Submodel Engine Size
    1975 - 1978 Chrysler Cordoba 400/6.6 V8
    1959 - 1975 Chrysler Imperial
    1968 - 1974 Plymouth Fury III 440/7.2 V8
    1965 - 1971 Plymouth Fury III 383/6.3 V8
    1967 - 1971 Plymouth GTX 440/7.2 V8
    1968 - 1971 Plymouth Road Runner 383/6.3 V8
    1969 - 1974 Plymouth Road Runner 440/7.2 V8
    1972 - 1974 Plymouth Fury III 400/6.6 V8
    1972 - 1977 Plymouth Gran Fury 400/6.6 V8
    1972 - 1977 Plymouth Gran Fury 440/7.2 V8
    1972 - 1975 Plymouth Road Runner 400/6.6 V8
    1968 Plymouth GTX 383/6.3 V8
    1965 - 1971 Plymouth Satellite 383/6.3 V8
    1972 - 1974 Plymouth Satellite 400/6.6 V8
    1966 - 1974 Plymouth Satellite 440/7.2 V8
    1960 - 1964 Plymouth Savoy 383/6.3 V8
    1960 - 1964 Plymouth Savoy 361/5.9 V8
    1963 - 1964 Plymouth Savoy 426/7 V8
    1965 - 1967 Plymouth Satellite 426/7 V8
    1960 - 1961 Plymouth Sport Wagon 361/5.9 V8
    1960 - 1961 Plymouth Suburban 383/6.3 V8
    1970 Plymouth Superbird 440/7.2 V8
    1974 - 1978 Plymouth Trailduster 440/7.2 V8
    1961 Plymouth Savoy 413/6.8 V8
    1967 Plymouth VIP 440/7.2 V8
    1960 - 1961 Plymouth Sport Wagon 383/6.3 V8
    1960 - 1961 Plymouth Suburban 361/5.9 V8
    1967 Plymouth VIP 383/6.3 V8
    1965 - 1967 Plymouth Belvedere II 383/6.3 V8
    1965 - 1971 Plymouth Fury II 383/6.3 V8
    1965 Plymouth Fury II 426/7 V8
    1965 - 1967 Plymouth Belvedere II 426/7 V8
    1966 Plymouth Belvedere II 361/5.9 V8
    1967 Plymouth Belvedere II 440/7.2 V8
    1965 Plymouth Fury III 426/7 V8
    1959 - 1965 Chrysler 300 413/6.8 V8
    1959 - 1960 Chrysler Saratoga
    1959 - 1961 Dodge Custom 361/5.9 V8
    1960 - 1961 Plymouth Custom 361/5.9 V8
    1960 - 1961 Plymouth Custom 383/6.3 V8
    1962 - 1966 Chrysler 300 383/6.3 V8
    1962 Dodge 880
    1963 - 1967 Plymouth Belvedere 426/7 V8
    1960 - 1964 Plymouth Fury 361/5.9 V8
    1966 - 1967 Plymouth Belvedere 440/7.2 V8
    1960 - 1970 Plymouth Belvedere 383/6.3 V8
    1960 - 1971 Plymouth Fury 383/6.3 V8
    1963 - 1966 Plymouth Fury 426/7 V8
    1970 - 1971 Plymouth Cuda 383/6.3 V8
    1970 - 1971 Plymouth Cuda 440/7.2 V8
    1968 - 1978 Plymouth Fury 440/7.2 V8
    1960 - 1963 Plymouth Fleet Special 383/6.3 V8
    1960 - 1963 Plymouth Fleet Special 361/5.9 V8
    1972 - 1978 Plymouth Fury 400/6.6 V8
    1968 - 1971 Plymouth Fury I 383/6.3 V8
    1968 - 1973 Plymouth Fury I 440/7.2 V8
    1972 - 1974 Plymouth Fury I 400/6.6 V8
    1968 - 1974 Plymouth Fury II 440/7.2 V8
    1972 - 1974 Plymouth Fury II 400/6.6 V8
    1967 Plymouth GTX 426/7 V8
    1968 - 1978 Chrysler New Yorker 440/7.2 V8
    1972 - 1978 Chrysler New Yorker 400/6.6 V8
    1972 - 1978 Chrysler Newport 400/6.6 V8
    1966 - 1978 Chrysler Newport 440/7.2 V8
    1968 - 1977 Chrysler Town & Country 440/7.2 V8
    1972 - 1977 Chrysler Town & Country 400/6.6 V8
    1976 - 1978 Dodge B200 400/6.6 V8
    1975 - 1978 Dodge B200 440/7.2 V8
    1975 - 1978 Dodge B300 440/7.2 V8
    1976 - 1978 Dodge B300 400/6.6 V8
    1977 - 1978 Dodge CB300 440/7.2 V8
    1972 - 1978 Dodge Charger 400/6.6 V8
    1976 - 1978 Dodge CB300 400/6.6 V8
    1972 - 1976 Dodge Coronet 400/6.6 V8
    1968 - 1976 Dodge Coronet 440/7.2 V8
    1976 - 1978 Dodge D100 400/6.6 V8
    1975 - 1978 Dodge D100 440/7.2 V8
    1977 - 1978 Dodge D150 400/6.6 V8
    1978 Dodge D150 440/7.2 V8
    1975 - 1978 Dodge D200 400/6.6 V8
    1975 - 1978 Dodge D200 440/7.2 V8
    1975 - 1978 Dodge D300 440/7.2 V8
    1976 - 1978 Dodge D300 400/6.6 V8
    1978 Dodge D400 440/7.2 V8
    1978 Dodge D450 440/7.2 V8
    1972 - 1978 Dodge Monaco 400/6.6 V8
    1966 - 1978 Dodge Monaco 440/7.2 V8
    1978 Dodge Magnum 400/6.6 V8
    1974 - 1978 Dodge Ramcharger 440/7.2 V8
    1975 - 1977 Dodge Royal Monaco 440/7.2 V8
    1975 - 1977 Dodge Royal Monaco 400/6.6 V8
    1977 - 1978 Dodge Ramcharger 400/6.6 V8
    1977 - 1978 Dodge W150 400/6.6 V8
    1975 - 1977 Dodge W100 400/6.6 V8
    1975 - 1977 Dodge W100 440/7.2 V8
    1978 Dodge W150 440/7.2 V8
    1975 - 1978 Dodge W200 440/7.2 V8
    1960 - 1966 Plymouth Belvedere 361/5.9 V8
    1964 Plymouth Barracuda 361/5.9 V8
    1968 - 1971 Plymouth Barracuda 383/6.3 V8
    1961 - 1962 Plymouth Belvedere 413/6.7 V8
    1963 Plymouth Fleet Special 426/7 V8
    1968 - 1971 Dodge D300 Pickup 383/6.3 V8
    1960 - 1962 Dodge Polara 361/5.9 V8
    1960 - 1971 Dodge Polara 383/6.3 V8
    1963 - 1965 Dodge Polara 426/7 V8
    1968 - 1971 Dodge Charger 383/6.3 V8
    1964 Dodge 330 383/6.3 V8
    1963 - 1964 Dodge 330 426/7 V8
    1968 - 1974 Dodge Charger 440/7.2 V8
    1964 Dodge 440 383/6.3 V8
    1963 - 1964 Dodge 880 361/5.9 V8
    1959 Dodge Coronet 361/5.9 V8
    1974 Dodge B100 Van 440/7.2 V8
    1971 - 1974 Dodge B200 Van 400/6.6 V8
    1965 - 1967 Dodge Coronet 426/7 V8
    1959 - 1971 Dodge Coronet 383/6.3 V8
    1970 - 1971 Dodge Challenger 383/6.3 V8
    1970 - 1971 Dodge Challenger 440/7.2 V8
    1968 - 1971 Dodge D100 Pickup 383/6.3 V8
    1973 - 1974 Dodge D100 Pickup 440/7.2 V8
    1971 - 1974 Dodge D100 Pickup 400/6.6 V8
    1967 Dodge D100 Series 383/6.3 V8
    1968 - 1971 Dodge D200 Pickup 383/6.3 V8
    1971 - 1974 Dodge D200 Pickup 400/6.6 V8
    1967 Dodge D200 Series 383/6.3 V8
    1971 - 1974 Dodge D300 Pickup 400/6.6 V8
    1973 - 1974 Dodge D300 Pickup 440/7.2 V8
    1966 - 1973 Dodge Polara 440/7.2 V8
    1967 Dodge D300 Series 383/6.3 V8
    1960 - 1968 Dodge Dart 383/6.3 V8
    1960 - 1962 Dodge Dart 361/5.9 V8
    1968 - 1971 Dodge W100 Pickup 383/6.3 V8
    1971 - 1974 Dodge W100 Pickup 400/6.6 V8
    1974 Dodge M300 440/7.2 V8
    1974 Dodge M350 440/7.2 V8
    1960 Dodge Matador 361/5.9 V8
    1969 - 1971 Dodge W200 Pickup 383/6.3 V8
    1968 - 1971 Dodge Monaco 383/6.3 V8
    1971 - 1974 Dodge W200 Pickup 400/6.6 V8
    1974 Dodge W200 Pickup 440/7.2 V8
    1968 - 1971 Dodge W300 Pickup 383/6.3 V8
    1972 - 1973 Dodge Polara 400/6.6 V8
    1974 Dodge W100 Pickup 440/7.2 V8
    1967 Dodge W100 Series 383/6.3 V8
    1967 Dodge W200 Series 383/6.3 V8
    1976 - 1978 Dodge W200 400/6.6 V8
    1975 - 1978 Dodge W300 440/7.2 V8
    1976 - 1978 Dodge W300 400/6.6 V8
    1963 Chrysler 300 426/7 V8
    1964 - 1965 Dodge 880 426/7 V8
    1966 Chrysler 300 440/7.2 V8
    1963 - 1965 Dodge 880 383/6.3 V8
    1967 - 1971 Chrysler 300
    1976 - 1978 Plymouth PB200 440/7.2 V8
    1976 - 1978 Plymouth PB200 400/6.6 V8
    1976 - 1978 Plymouth PB300 400/6.6 V8
    1976 - 1978 Plymouth PB300 440/7.2 V8
    1977 - 1978 Plymouth Trailduster 400/6.6 V8
    1959 - 1974 Chrysler New Yorker
    1959 - 1964 Chrysler Newport
    1961 - 1963 Chrysler Newport 361/5.9 V8
    1965 - 1971 Chrysler Newport 383/6.3 V8
    1959 - 1965 Chrysler Town & Country
    1963 Chrysler Town & Country 361/5.9 V8
    1963 - 1971 Chrysler Town & Country 383/6.3 V8
    1963 Chrysler New Yorker 413/6.7 V8
    1963 Chrysler New Yorker 426/7 V8
    1963 - 1964 Dodge 440 426/7 V8
    1963 Chrysler Newport 413/6.7 V8
    1963 Chrysler Newport 426/7 V8
    1974 Dodge B200 Van 440/7.2 V8
    1963 Chrysler Town & Country 413/6.7 V8
    1963 Chrysler Town & Country 426/7 V8
    1960 Dodge Matador 383/6.3 V8
    1965 Dodge Monaco 426/7 V8
    1973 - 1974 Dodge D200 Pickup 440/7.2 V8

    Specs:

    Application Big Block Mopar
    Brand Mr. Gasket
    Color Brown
    Emission Code 5
    Engine Chrysler Big Block B/RB
    Packaging Retail - Skin Pack
    Product Type Valve Cover Gaskets
    Valve Cover Gasket Material Performance
    Valve Cover Gasket Thickness .187"
    Warranty Limited 90 Day Warranty
    Weight 0.4
    Shipping Notes
    • Free Standard Shipping on $100+ Orders to the USA.
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    Exchange/Return Notes
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    SKU: 51747022494

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    4.9 ★★★★★
    Based on 11 reviews
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    Product Reviews
    B
    Verified Purchase
    Bookworm
    Dallas, US
    ★★★★★ 5
    It's All Right Here. All of it.
    Format: Hardcover
    I shouldn't even be writing this review because doing so only creates my competition. I'm writing it for Robert McKee out of respect and love for him as one of the best instructors I've never met. I have both STORY and now, DIALOGUE in hardcover, on my Kindle, and the audio version (he narrates his books) in my headphones. I read it, I listen to it and take it with me when I travel. Sometimes I listen and read at the same time. Most nights I listen to the audio version in my sleep. In other words, I eat, sleep and breathe this book. I did the same thing with Story, his other book. I may go to my grave never fully comprehending the vast wealth of knowledge contained in these two books. That's OK. What I can tell you is this. With nothing but STORY as my guide, my very first screenplay took seven months and thirty-five drafts from start to finish. But. That screenplay became a Hallmark Movies and Mysteries feature film. The producers liked it so much they gave me another assignment. That one took six weeks, and they bought the first draft. I'm now working on my fifth script; this one is in the six-figure category, with five figures upfront just for the Treatment. And I owe it all to everything I've learned from studying Robert McKee, supplemented by what I learned from everyone else. Over the past thirty years, I’ve studied with forty plus instructors and highlighted hundreds of books and listened to dozens of recorded seminars. All that information is summed up and thoroughly explained in Robert McKee's two books STORY and now DIALOGUE. I won't live long enough to absorb everything he teaches. And I still study two hours a day as a warm up for my writing. I’d recommend Aaron Sorkin, Warner Hertzog, William Goldman (both Sorkin and McKee say he's the greatest), Blake Synder, Chris Vogler, Michael Hauge, William Akers, and anybody else you can find who’s willing to share their knowledge. Because you never know when a concept you didn’t realize you didn’t understand or needed is going to show up. Especially when presented from a different perspective. Having said that, if you are serious, and I mean dead serious, about becoming a working screenwriter, or any other kind of fiction writer for that matter, then you have no choice but to study McKee like your literary life depends on it. Buy the hardcover, buy the Kindle version, and buy the audio version of DIALOGUE and STORY. And supplement these two works with any other material that speaks to you. If you do this, you will become a first class screenwriter or novelist or playwright, because all three genres are only different ways of presenting a Story. If you can’t commit to this, unless you’re a genius or prodigy, you’re wasting valuable time which could be spent following your true life calling. But if your heart’s desire is to become a working writer, then sooner or later you’ll have to know everything in McKee’s two books. So, you might as well bite the bullet and jump in head first. It's all right here in STORY and DIALOGUE. All of it. Thank you, Mr. McKee. You, sir, changed my life.-- Jimmy Hager
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on September 21, 2016
    J
    Verified Purchase
    jk Smiles
    West Palm Beach, US
    ★★★★★ 5
    A book on dialogue should be experienced first as a book on tape
    Format: Audio CD
    I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on August 30, 2018
    L
    Verified Purchase
    Lori T. Sly
    Omaha, US
    ★★★★★ 4
    Helpful, but not as good as "Story" by same author, and it disses certain genres
    Format: Hardcover
    This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful. McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do. However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies! If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why. McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism. Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging. With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else. In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree. But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on December 12, 2019
    R
    Verified Purchase
    Ray Pryor
    Lowell, US
    ★★★★★ 5
    Amazing.
    Format: Kindle
    Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on April 18, 2017
    K
    Verified Purchase
    Kindle Customer
    Waukegan, US
    ★★★★★ 5
    So to speak
    Format: Kindle
    Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on June 12, 2017

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