KCAA: The Scene with Doreen (Tue, 6 May, 2025)

KCAA: The Scene with Doreen on Tue, 6 May, 2025

Episode Transcript

Speaker 1 (00:00):
Nineteen thirty two dot org.

Speaker 2 (00:06):
Love doing not.

Speaker 3 (00:14):
What's going on America? Welcome to the Scene with Dorin.
I'm your host, Story Taylor, setting the scene every week
to help you find out what's happening in music, TV, movie, sports,
the arts, and everything in between. We're proud to be
syndicated on station's coast to coast and originating right here
in the City of Brotherly Love on Philadelphia's number one
talk radio station, Talk eight stixy WWDB. Get inside our

(00:38):
access and go behind the scene on our show's official website,
The Scene with Doreen dot com and watch us every
week on the nationally syndicated television show The Daily Flash,
available in every major city in the US. Hi, I'm Matt.
It's a nice new week and I would love to
see you here all. Chipper, Oh, Chipper.

Speaker 4 (00:56):
Yeah, I guess I'll just have to be Chipper now.

Speaker 5 (00:58):
Hi.

Speaker 3 (00:59):
I got a lot of pressure, isn't it.

Speaker 4 (01:00):
Yeah, Well, I'm not in a bad mood, so yeah
I could.

Speaker 3 (01:04):
It's the holiday season, coding, everything is cheerful, you know.
New Year's is coming, a new year, you know, resolutions
which I will break right away, And it's just you know,
I like this time of year, everyone's a little nicer.

Speaker 4 (01:18):
Yeah they are. They're nicer.

Speaker 3 (01:19):
And when they cut you off, they only flip you
off halfway.

Speaker 4 (01:23):
Yes, because they're like, oh, it's the holiday season. You're
not getting the full bird.

Speaker 3 (01:27):
You get half a bird. Yeah, so you know it,
I'll take anything I can get.

Speaker 4 (01:30):
Yeah, I mean it is. People are in happier moods.
Parents are more stressful because they have to buy gifts,
buy gifts.

Speaker 3 (01:36):
We're all stressful because I don't think it just stops,
even with kids, because everybody, you know, you got to
buy the perfect gift. And I've always been that person
to want to buy the perfect gift for people and oh,
you know, my brain hurts after a while.

Speaker 4 (01:48):
It's harder and it's easier at the same time because
I remember back when probably we were kids, your parents
could probably go to like three stores and you'd be
good to go.

Speaker 3 (02:01):
Now, the Sears catalog, you just right J C. Penny
Sears Cattle. You just circled what you wanted and you know,
put it on your parents bends it here. I want this, Santa,
I mean I want this, you know right exactly, Santa.
You know you got a line to him up and
then was it north or south pole? North is north.
I don't even know that. I don't know what I.

Speaker 4 (02:23):
Know that Antarctica.

Speaker 3 (02:25):
I don't know the poll the pole. I have no
idea if you asked me anything like I don't know
where polar bears are, I don't. I have no idea.
But anyway, on that note, today is a little bit
of a comic day. And that is that's the transition.
If I'm going to read anything, I'll read a comic.
I think that's that's like you said, I can read
a caption.

Speaker 4 (02:45):
And this this would be a good one. Archie and
the Archies.

Speaker 3 (02:48):
And the Archies. And you're gonna know a little bit
of sweetness from our guests too, A little sugar sugar.

Speaker 4 (02:54):
All right, let's let's go today.

Speaker 3 (02:56):
On the scene with Doreen. Ron Dante was without question
one of the hottest singers in the late sixties, sailing
in the same commercial stratosphere as The Beatles and the
Rolling Stones. As the lead singer of the Archies, he
had one of the biggest selling songs with the number
one hit Sugar Sugar. Take a listen, sat.

Speaker 1 (03:47):
Hi. Yes.

Speaker 3 (03:47):
Ron Dante's Golden Boys has made national TV jingles for
American airlines, Coca Cola, and McDonald's. As a highly successful
music producer, Ron has sold over sixty six zero million records,
producing the first nine Barry Manilow albums with hits like
Mandy and I write the songs, creating hits for other
countless artists. He has a new vinyl record out called

(04:10):
Ron Dante's Fun House, and for the past seven years
he has been performing on the Happy Together Tour, singing
lead for the Turtles. Well today, I am very happy
being together with the great singer, songwriter and producer Ron Dante.
Welcome to the scene with Dreen Ron. What's going on?

Speaker 1 (04:27):
What's going on? It's just so great to be here, Doreen.
Thanks for having me.

Speaker 3 (04:31):
Oh, it's my pleasure. You grew up singing household on
Staten Island. Music was a big part of your life
from the very beginning.

Speaker 1 (04:41):
Oh yeah, everybody. I came from a big Italian family
and all my uncles sang. My dad sang at weddings
and things. Nobody did it professionally, though, but they all
love to sing, especially my dad. He was a huge
fan of Frank Sinatra and Dean Martin. All those fifties artists.
So I grew up hearing those records and listening to
my dad try to sing down in the cellar to

(05:03):
an old WEBC tape recorder, and I guess it inspired
me to be a singer. I guess. Yeah.

Speaker 3 (05:09):
But it also you had a freak accident, I guess,
and you broke your arm, and then poof, you begin
playing guitar. I guess that's what some kind of like
therapy for you, and the rest is history.

Speaker 1 (05:21):
Yes, I was playing Tarzan and I fell out of
a tree.

Speaker 3 (05:25):
Oh Tarzi, And that's what you're going with, right, Is
that the story that you're sticking with.

Speaker 1 (05:29):
That's the what I'm thinking with. And the doctor said, well, listen,
you know this is going to be stiff the rest
of your life if you don't exercise it in some way.
Play ball, maybe take up an instrument, keyboard or something.
And I was a huge fan of Elvis Presley, so
I said, Dad, maybe I could get a guitar and
strum a guitar and learn, you know, learn how to
play guitar. And my dad got me one. And that

(05:50):
was the beginning of my music career because I really
felt at home with a guitar in my hands.

Speaker 3 (05:55):
Yanna, did you teach yourself? Did you eventually get lessons?
I mean, how did that evolve for you?

Speaker 1 (06:01):
I took lessons. I had one year's worth of lessons
I played with. It's funny in this music school there
were like one one guitar player and that was me,
and there were sixty accordion players. Really, so we would
do shows and I would be the backup band for
the sixty accordions. But you could hardly hear me chunking
away on my little amplifier. But that's the way I started,

(06:25):
and it was great, And so.

Speaker 3 (06:26):
It was electric acoustic for you, what was your choice?
In the early years, it.

Speaker 1 (06:31):
Was electric because I wanted to hear it loud. And
then I got an acoustic guitar. And then I found
the joy of playing an acoustic guitar and singing along
with it, which was unbelievable sound. I got a twelve
string guitar and it sounded like a little mini orchestra.

Speaker 3 (06:46):
Really. Now, what I really want to know is why
were there so many kids playing the accordion? What was
it in the water? What was going on?

Speaker 1 (06:54):
I mean, I know that's the strangest thing I said.
On this little burrow of Statton Island, which had about
fifty sixty thousand people, they were like sixty accordion players.
It was very strange. I don't know what it was.
It was very popular at the time. Lots of musicians
keyboardists who play piano, like Elton John and other people.
We all started on the accordions because it's the same keyboard.

(07:18):
So they got their starts there. So did my friend Manelo.
He got to start on an accordion then became a
keyboard player.

Speaker 3 (07:25):
So okay, I guess that sort of answers my question,
but I still that baffles me. I think somebody needs
to do like a documentary like what was going on
in the water at Stanton Island during those times, because
you know, you would think there'd be sixty guitar players
and one, maybe one accordion player. But okay, we're going
with the accordion. And you didn't want the accordion. Huh,

(07:45):
that wasn't one of your things, he weren't.

Speaker 1 (07:47):
There was no way. I hated the sound of an accordion.
Good thanks, we say, oh no, I could never do that.
And it was heavy. It was heavy. It's a heavy instrument.
It's not a lightweighting. So you play an accordion, it's
like a mini band. Way too heavy for me. I
like the nice light guitar.

Speaker 3 (08:03):
I always wonder about young kids that pick like the
you know, the UPBRK bass or something. They're like three
years old and they've got this, you know. I mean
they're smaller for little kids, but they're still huge when
they're lifting these things. I'm like, what me or the tuba?
What made you gravitate towards the heaviest thing you could find?

Speaker 1 (08:20):
And then the two we have to carry it around
a sport field. Yeah, the band, I mean, that's that's
that's a tough one. I guess they have a lot
of gumption, these guys.

Speaker 3 (08:28):
I guess I would have taken the piccolo. That would
have been my cho choice, or a singer, because then
you just bring it along everywhere you go. You don't
even need a carry in case. You just bring your voice. Yeah. Well,
so okay, so you're playing guitar and then you start
out staff songwriter, penning songs for other artists. But I've

(08:48):
read where you never really considered yourself a songwriter per se.

Speaker 1 (08:53):
Well, when I signed with my mentor, Don Kirshner, who
had that big show in the eight seventies called Rock High.
He was a huge music publisher, the most successful in
New York City in the sixties. And when he signed me,
he said, kid, I'm going to sign you as the staff,
demo maker and songwriter. That's what I'm paying you for.
So I had to write songs. And I kind of

(09:14):
liked it because the first day I walked into that
Kershon of Music office was only seventeen in these little
cubicles with a piano. Everybody had a cubicle, like eight
of them. One was Carol King, the next was Tony Orlando,
the next was Neil Sidaka. I said, well, this is music, Heaven.
I walked into music, even the luckiest thing I ever did,

(09:35):
and I wrote songs. I wrote songs for a lot
of major artists like Johnny Mathis, Bobby v Jane, the Americans,
Gary Lewis and the Playboys, James Darren. A whole bunch
of people recorded my songs. But I really was a
singer who wrote songs, not a songwriter who sang.

Speaker 3 (09:53):
Have you ever like kind of I know you felt
that in the beginning has that opinion ever really changed
for you over the years, and do you still kind
of feel that that you were singer first, songwriter second.

Speaker 1 (10:03):
Yeah, I think that's the truth. Singer first. I love
to I love to sing. I love to make harmonies
and put background groups on things, so that's one of
And I love to perform, so singing, performing and songwriting.
If I need a project. If project comes up, I'll
write a song. I've got some great lyricists I work with.
I can always come up with a whole you know

(10:25):
score if I need it.

Speaker 3 (10:26):
That's awesome. Well, I have to say happy anniversary. You're huge.
Hit Sugar Sugar that I played in the beginning turned
fifty five years old this year.

Speaker 1 (10:36):
Oh my god, that is you know, time flies like
unbelievably double Nicholas. I remember, I remember the session. I
remember the day we recorded it. I remember how I
felt that day. It was. It was a magical time.
It was unbelievable, and it just spees by. It's amazing.

(10:57):
It's fifty six. Wow, and I was only like twelve.

Speaker 3 (11:00):
Well, no, you are still in utero. You didn't even
we weren't even a glimmer in your daddy's eye. Yet
he was singing. Yeah, he wasn't even you.

Speaker 1 (11:08):
Know, that's right, that's the truth.

Speaker 3 (11:11):
Oh no, that's wonderful. You say that you remember it.
What do you remember most like when you sit there
at night and you're drinking a koonyak or something and
you're remembering that first in nineteen sixty nine, you're recording
Sugar Sugar for the Archies. By the way, what is
the biggest memory that you can recall from that session?
From that moment?

Speaker 1 (11:32):
Well, somebody would said, you know, you're living in the
past to me, and I said, no, the past is
living in me, and those moments stay with me forever.
The Sugar Sugar session was amazing. I walked into the
RCA studio and there was the producer, writer Jeff Barry,
and the co writer Andy Kim working on the rhythm track,
and I remember, wow, that's a nice sounding pocket they

(11:53):
have going there. It's very danceable. And they worked on
it hard a couple of hours to get that right,
the right sound out of the musicians. And then they said,
all right, sing it, and they showed me the song
and I immediately learned the song of media. I said, well,
I'm gonna I'm just gonna put a voice on there,
kind of like Donovan, you know, in Mellow Yellow and Yellow,

(12:15):
A hush, a hushed sound on my voice. And we
did it. We double tracked it, as we said, I
sing along with myself, and that was the sound of
the record. I remember thinking, this is a very cool song,
but I had no idea it would become the number
one record of the year and go around the world
as number one in almost every country. So it was

(12:35):
a magical time. I remember picking up one of the
trade magazines, you know, months later on a Sunday night
billboard in cash box with the two big trade music
trade magazines, and I opened it up and there's Sugar
Sugar as number one on both trades, and it was
It's the greatest feeling in the world to know, as
a singer you're singing to millions of strangers who like

(12:58):
what you do. So it was amazing.

Speaker 3 (13:00):
But it was a double edged sword a little bit
for you because you were a member of what they
would call, once upon a time a ghost group, and
they put you together and you were the Archies. I
mean you were you were a cartoon character, and at
the time people didn't know it was Ron Dante, you know,
and lead vocals, so that it had to be kind
of a bittersweet moment. You're seeing it everywhere, but you're like,

(13:22):
that's me, that's me, and here's your biggest hit so
to date, and you can't really scream it from the
rooftops yet.

Speaker 1 (13:29):
Right Well, at the time, I was a background singer,
singing backgrounds and commercials and keeping myself very busy as
an unknown, but a voice that everybody knew because I
was on the radio with commercials. So when Sugar Sugar hit,
I remember they told me it's going You're going to
be anonymous on this. Do you want to take the job?
And I said absolutely. I grew up on Archie comics.

(13:51):
I love Betty and Veronica. Yes, I said, And it's
going to be a kids show, so it's a wonderful
vehicle from my voice to sing, So I wasn't that disappointed. Also, Kirshner,
who was the man behind the Monkeys and now the
Archies at that time, said to me, I'll make sure
you get known for this at some point, will give
you a solo album and will promote you as the
man who sang Sugar Sugar and the Archies. So it

(14:14):
was a great time. It was a great time. I
was very happy with everything that happened.

Speaker 3 (14:18):
Oh yes, and now you trusted the industry? You were
Were you trusting or naive? But he actually came through
with that though. He did honor his his agreement that
he would record you as an Indian, as an actual
solo artist.

Speaker 1 (14:31):
He did. He honored me perfectly and promoted the album
to the limit. Unfortunately, people wanted the Archies and not
a solo artist at that time, so so it didn't
do as well as the Archies, but we got a
great promotion boost worldwide from RCAA Records, who distributed it.
So it was it was fine. He came through. Don
Kirshner always came through.

Speaker 3 (14:52):
That's good.

Speaker 1 (14:53):
He always made sure his writers got paid, He always
made sure he promoted people. He was one of those.
He was one of those great It's good.

Speaker 3 (15:00):
To say that because so many people get this kind
of idea, especially over the years, of how the industry
is a little you know, the CD underbelly, and it's
nice to point out the ones that were actually true
to their word and honored their commitments. And that's nice
that we can highlight him.

Speaker 1 (15:14):
Yes, he was one of the good guys. Definitely.

Speaker 3 (15:16):
That's good. Now, you said you grew up a fan
of Archie comics, So was that any benefit to you
when you went into audition for this.

Speaker 1 (15:24):
You know, when I went in, I knew my voice
would be really good for the It was an audition
people with other guys were trying to get the job,
so I knew. I knew I had a good shot
at it because I had worked with Kirshner. I had
worked with the producer Jeff Barry doing backgrounds for him
when he was producing Neil Diamond, so I did some
backgrounds for him. So I had a compatibility with these guys.

(15:46):
And once I sang the first song for them, which
was called Bang Shang Lang, which became our first single,
they said you've got the job. If you want it,
you've got it. And I took it immediately. I knew
it was a great opportunity, so it was. It was
just great to be part of that, and I used
I used my younger voice. You know, singers have three

(16:06):
types of voices. They have pure voice when they sing
a mature song. They have a young voice that they
do in novelty. They can use that song. So I
was very fluent in that I could use different sounds.
And I knew this would be for preteens, the Archies.
It would be for like that, nine to thirteen year olds.
And I realized that's who reads comic books, that's who
choose bubblegum at the time. So that's why they called

(16:28):
it bubblegum. And so I worked on that sound and
it was very compatible with the animation. People really look
at the animation, they really believe Archie is singing. Yeah,
it's very credit.

Speaker 3 (16:40):
Now, when you started telling people and you know, you
would come on, did people not believe you at first?
Did they go, come on, that's not you. I mean,
did you get a little push back there in the
beginning when your name started coming out as Archie?

Speaker 1 (16:53):
You know? Not really. I was pretty well known in
the music industry when I did The Archies. I had
already been a top singer. I had already written for
major song you know singers, So I was pretty well
known people. People were just amazed, you know, the word
flew around Manhattan in New York City that I was
the voice of this number one record.

Speaker 3 (17:13):
So they knew before you even said anything. They just
heard it and they were like, oh, that's him. Oh,
I know that you didn't even have to Oh that's
awesome that you didn't even have to say anything. Yes,
you know, the Archies record was really a brand new
way of marketing music to the public. I mean people
don't realize that it wasn't really done that way before.
And it was capitalizing in mediums that weren't normally used

(17:36):
at the time. I mean cereal boxes, you were in
a Sunday Morning cartoon. I mean that it was very innovative,
thinking of multi platform kind of marketing.

Speaker 1 (17:45):
It was mister Kershner did all that Don Kushn new
was a great liquit he did with the Monkeys, you know,
promoting them to the number one, two and three singles
one week, one of the hottest groups in the world.
It's at one point it was all his doing, and
he decided to promote the hell out of this this
this project. We made a deal with Sugar Pops and

(18:07):
the Sugar Bear that we would have cardboard records on
the back of ten million cereal boxes that over that year,
So little kids were eating their cereals and seeing a record.
They a cardboard piece they could cut out and play,
and there were two or three songs on that cardboard record.
So that was one of his genius ideas. I called

(18:28):
him the Pt Barnum of the music business. The man
knew how to.

Speaker 3 (18:31):
Promote and think about it, sugar and cereal. I mean,
it's at the time too. It wasn't that healthy stuff
that we eat now. It was sugar back in the day.
So it was brilliant. There were so many levels going
on there.

Speaker 1 (18:43):
It's true. It's true. He also rented Madison Square Garden
for the debut of the album and had me and
a bunch of all the local DJs played the Globetrotters
on the on the floor for basketball. I mean, what
a wacky idea, but it oh wow.

Speaker 3 (19:01):
And also for some markets, I've read that they stripped
the Sugar Sugar off of the label of the Archies
to make sure that it would get played because overseas
and in other markets they thought the music was considered
a little too teeny boperish exactly.

Speaker 1 (19:15):
They took the label off and a radio station in
San Francisco started to play it Sugar Sugar in particular,
and they said, just don't tell them who it is,
just play it and they played it one night and
the phones lit up and it went to number one
on their survey, and then they revealed that it was
a group called the Archies.

Speaker 3 (19:36):
You know, it's interesting if you find younger, the younger
demographic now and you play the song and a lot
of them know it. They still know it. It's been
used in ad campaigns and people do know the song.
I instantly like, I'll say, oh, I know, I'm having
on the show, and immediately they start humming the song
and it's stuck in their head all day. Thank you
very much.

Speaker 1 (19:53):
Yeah, mom, My mom and dad went it took a
trip a cruise to Africa and they went to market
in Sierra somewhere and my mom was buying some trinkets
and this lady behind that she said to the do
you know my son's song? My mom said, sugar, sugar,
and the lady sang it back to her.

Speaker 3 (20:10):
See people know, oh.

Speaker 1 (20:12):
Yeah, honey, honey, honey, honey.

Speaker 2 (20:14):
Yeah.

Speaker 1 (20:15):
They all knew it worldwide.

Speaker 3 (20:16):
And I don't know if they actually tie it to
the Archies anymore. They just think it was a hit
song that was in the sixties. I don't think that.
I think that's almost been separated now from the two things.
It's a little interesting how the newer generations think, Okay,
it's like the Monkeys, or it's like the Turtles, or
it's like any of the other bands.

Speaker 1 (20:33):
It's true. The song has a life of its own.
The record has a life of its own. It's been
used in movies and commercials. It's an amazing song that
has weathered the time. There must be thousands of TikTok
videos out there, people dancing to it from all over
the world. I've seen them. It's unbelievad it's true.

Speaker 3 (20:54):
So okay, biggest question inquiring minds would like to know
Betty or Veronica.

Speaker 1 (21:02):
I love blondes, all.

Speaker 3 (21:04):
Right, Okay, you're good in my book, Okay, you're you're good.

Speaker 1 (21:07):
And so Betty was my first choice, and that was
my first marriage, and then my second marriage was a Veronica,
and then you got a Veronica cover both bases.

Speaker 3 (21:17):
Well, that's good, see or you like to spread your
wings and explore both arenas. That's very good, good answer,
and very political.

Speaker 1 (21:25):
I min I'm.

Speaker 3 (21:28):
Well, I want to take a little break on that note,
because you're listening to the Seaman Doreen, and I'm your host,
Irene Taylor, and I'm talking to singer and producer Ron Dante.
When we come back, we're gonna chat about Ron getting
on the other side of the mic and becoming what
some would call a heartbreaker. Stay right there, you don't
want to miss this.

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six sixty two seven twenty six hundred.

Speaker 3 (23:21):
Welcome back to the scene with Darena. I'm your host,
Dreene Taylor, and I'm chatting today with singer Ron Dante,
the famous voice of the Archies, but also a well
respected sought after music producer coming out of break. You
heard the song Heartbreaker by Pat Benattar, but it was
just a tad different. That's because people may not realize Ron,
you were very instrumental in the musical direction and sound

(23:43):
of a young Pat Bennettar and cut this original demo
of Heartbreaker with the great Paul Schaeffer, even of David Letterman.
Fame on keys. There's too much to talk about. That's insane.

Speaker 1 (23:55):
Well, yeah, Pat was great. I mean, I'm working with her.
She was a dynamo. When I first heard her. She
was at Catch a rising star the club comedy club
in New York City, but they had singers once in
a while, and a friend of mine invited me over.
He said, chrys Liss is looking for a producer for
this new girl singer. So I went. I went to
the club, I sat down, I see. I saw a

(24:15):
lot of singers during those years because I was working
with many famous stars. And she came out and just
knocked it out of the park. She sang you better
run by the uh you know, rascals, and it killed me.
I said, well, she's she she want. They wanted me
to do big ballads with her. Like I did with Manelo,
but I said, no, she's a rock and roller. We
should do more rock and roller. So we found you know, Heartbreaker,

(24:40):
you Better Run. I even cut a version of Royal
Orbson's Crying with her that never came out. I can
send that to you.

Speaker 3 (24:46):
Oh I would love that.

Speaker 1 (24:48):
Yeah, But she and I clicked. We both were singers,
you know, we both knew where She knew where she
was going immediately she was She had, I have a plan.
I'm go I'm going to have hit records, a hit
career tour, then get married and have kids. That was
her plan, and now she's combined them all. She's on

(25:08):
the road with her husband. So she does very well.
And I remember thinking this is a special voice and
a special presentation of a person. She was so cute
in person. I said, well, she's so pretty. Can she sing?
And then she sang, and she could sing opera. Pat
had a range that went from low to high, and

(25:29):
she was very easy to work with. She did everything
I told her to the first session we did together,
though she was a little nervous because she was used
to live performing, not recording student performing. So after the
first few takes, I said wait, take a break. I
built a stage in the studio, put on a spotlight
and invited some people to come in and be in

(25:50):
the studio listening to her, and then we did the
vocal We did Heartbreak or You Better Run, and she
killed it. It was just perfect. Yeah, she reacted to that.
And then she and I did some backgrounds together, so
we did backgrounds on Heartbreak. You can hear us. So
it was, it was, it was. I was very honored
to work with such a major star and she broke

(26:11):
through and look what she's done for her career.

Speaker 3 (26:13):
But you're the one. I mean, she might have gone
down a completely different path if you were not to
discover that hidden, grungy, darker side of her that opened
up that really that growl. I mean, I love the
demo because the demo is different. It's it's got a
grittier edge, it's got a cooler I mean, I liked
the demo better than the other one because I think
it shows her.

Speaker 1 (26:33):
It's got the energy of the first time.

Speaker 3 (26:36):
Yes, it's it's really very thing.

Speaker 1 (26:38):
Yeah, the first time you record is sometimes you capture magic.
And I knew that was going to be a hit
record no matter what they did if they copied the arrangement.
Paul Schaefer's arrangement is brilliant on that he invented a
bridge section that was never in the demo. So this
was supposed to be the master, but I think, you know,
the record company had different ideas about who should be

(26:58):
nominated as the My history was with Deon Warwick, Barry
Manilow share. It was not in the heavy duty rock
and roll that Patty was going to crack. So that's
why I think they wanted to bring somebody else to
copy my arrangements and my productions.

Speaker 3 (27:15):
Yeah, that's gotta be tough. That's typical music industry fashion though,
and they take something from you. But I heard that
she even called you up and was crying in the beginning,
like wanting to work with you and not wanting to
go over to England and work with these other producers.

Speaker 1 (27:30):
Yes, she called me up and she said the China
they want to take me away from you and do
this other thing. And she said, I won't do She
said to me, I won't do it. And I told
her I gave it the best advice anybody could give her.
I said, this is a major record company. You're going
to get a major push. You need them right now.
I said, I'll take a back seat, but you're going

(27:52):
to be a huge star. And I said, as long
as they copy the records, you'll have hits. And sure enough, Heartbreaker,
you better hits. Yeah, you know they copied them. They
cloned those arrangements and those sounds.

Speaker 3 (28:05):
Yeah.

Speaker 1 (28:05):
And personally, because of my vanity, mine were better.

Speaker 3 (28:10):
Yes, I you know what I got to say, I
have no horse in the race here, and I gotta
tell you I agree with you. I think, like you said,
it captures that lightning in a bottle that that first time,
and it shows her in a little like I said,
there's that if she's going the rocker route, she's really
opening and tapping into that grungy or she growls it.
I mean, there's a little bit of something that I
hear there that like a live version that is just

(28:32):
very cool and it's much more restrained in the pop
slash rock version.

Speaker 1 (28:38):
And I had the very best New York musicians on it.
Alan Schwarzberg on drums. Elliott Randall made up all those
guitar parts that are on that record, and he was
the lead guitarist and played for Steely Dan and a
million people Eliant Randall, so we had the very best
people in the studio with us. So she had a
first class launching, no doubt about it.

Speaker 3 (28:59):
Yes, we have your paths. Ever found each other again?
Have you ever worked together in any capacity?

Speaker 1 (29:06):
Since you know she's on a different path. We very
rarely cross paths. I saw at the Catch a Rising
Star a few years later, and she gave me a
big hug and introduced me to a husband, Neil Geraldo,
who I said, it's a great guitar player, and what
a great person for her to hook up with.

Speaker 3 (29:20):
Yeah, and a good bourbon company. I think they have
three cored bourbon out there that they're promoting, right, I
think that's it. I was actually years years ago that
I was presented an offer to be one of the
spokespeople for that brand. So that's how I know. See,
I've crossed paths. It's like the Kevin Bacon thing. We've
all we're all floating in the same cosmos somehow, intersecting

(29:40):
each other's lives.

Speaker 1 (29:42):
It's true, It's true. It's true.

Speaker 3 (29:44):
Yeah, So you know I can't not mention I was
going to lead off with Barry because I mean that
the first nine albums and it's huge. But I had
to go to pat first. But you know, to revisit now,
first nine albums, Barry Manilow had eighteen hit singles in
a row five or six years. I don't think you
were off the charts. How did that match meet in

(30:04):
heaven happen?

Speaker 1 (30:07):
It was fate. I was singing commercials at the time.
Barry was writing some new commercials. I got booked on
a session for a Pepsi product that was a sample product,
I guess, and I walked in the studio and I
met Barry and I said, well, who are the other singers?
He said, well, this girl Melissa Manchester is going to
sing with you, and Valerie Simpson of Ashford and Simpson.

(30:28):
Valerie will be there and I'll sing with you. So
it's the four of us. So I listened to the arrangement.
It was brilliant. I said, you sing really well too,
he said, listen. After the session, he said, I'm working
with this girl, Bette Midler, but I really want to
be a solo artist. Would you listen to some of
my songs? I said absolutely. If you can write songs
like this commercial you've got something, You've got it. So

(30:51):
I went to see him a few days later and
he played me four or five of his songs and
one of them was could it Be Magic? Could it
be Magic? I said, Wow, that's a brilliant piece. Burst
On Chowpan said we're going into the studio. So we
went in the studio a few weeks later cut for sides.
They came out great. They were just demos, but they
came out great. And we had a showcase a few

(31:13):
months later and invited a few record companies down and
they been on Barry, and one was a record company
called Bell Records, which they knew him. They knew Barry
and they knew me, so they signed us to an
album deal. And that was the beginning. And Bell Records
was purchased by Arista Records about a year later, and

(31:34):
Barry and Melissa Manchester myself kept as the recording artist
on the label. I was also on the label as
an artist. But that was the beginning of a relationship
and I knew I knew that there was something special
that musically that Barry and I brought to each other
and and it worked. It just we never had a
conflict and There's never a time when he said, oh,

(31:54):
I don't like that idea, or I said I don't
like what you're doing. It was all smooth as silk. Wow.

Speaker 3 (31:59):
You never hear that in the industry. I mean there's
never I don't think I've ever heard one. There was
no drama whatsoever, and everything was perfect. I don't think
I've ever heard that. You're the first, and I.

Speaker 1 (32:08):
Am not making this up. I've been in the studio
where there's been tons of comfort people, some artists have
driven me nuts. Maneloe and I were on the same wavelength.
We musically, we knew what we were doing. We went
We immediately went for the right choice, and that's that's
that's the talent's and the choice. So we went for
the right choice together. I would coach him a little

(32:28):
bit on a musical phrase. Once in a while, I'd
help him on the arrangements. Mainly, I would make sure
that everything got recorded properly and it sounded like a
Dante mix because I mixed very pop oriented. I was
very pop music oriented in the way I approached music.
I approached it. I was going to come through a
radio serio system and it had a pop you know

(32:52):
how to have that extra.

Speaker 3 (32:53):
Sound, the Dante sound. I like the Dante's Inferno. I
love it, and I could. I am already trade marking
and branding things in my mind as we speak, but
my marketing brain works too. But the majority of Barry's
early songs were definitely power ballads and they were very
piano centric. Did that ever, did you ever want to
break from that norm? Did you ever get tempted to

(33:14):
just make him rock out one time? I mean just
kind of break from the norm.

Speaker 1 (33:19):
Well, we wanted to break from the norm, but it
was some ballads. The power ballads really well people, and
they encompassed great songs.

Speaker 3 (33:28):
Yeah they did.

Speaker 1 (33:28):
I mean, you know, trying to get the feeling again.
Even now you know I write the songs, you can't
beat some of those songs. So, yeah, we wanted in
our albums there was always a couple of jazz pieces.
You tried to jump more up tempo, so his albums
went more diversified the singles. The label wanted the ballads

(33:49):
for a long time.

Speaker 3 (33:50):
Yeah.

Speaker 1 (33:51):
The record company president, Clive Davis, a brilliant man, wanted
to wanted to put out the big ballad, and sure
enough they became number one, and we sold unbelievable amounts.
I was very happy that Copa Cabana came about. Yeah,
and I remember I said, well, finally this is a
big break from I write the songs I Can't Smile

(34:13):
without You, you know so very originally wanted to do
it like a like a Big Bugsy Berkeley musical, really
dancing and stuff, and I said no, we got to
keep it pop. Yeah, it was the pop conscience. I
said no, no, let's keep it pop. And Barry come
up with a great arrangement of that song I Can't
Smile without You. It was unbelievable.

Speaker 3 (34:34):
Now he also produced your music as well. Don't call
it love as you were, bo Cooper.

Speaker 1 (34:41):
Yes, I was into my ghost names.

Speaker 3 (34:44):
Had a lot of ghosts names. I gotta say. I
don't want to digress, but you've had a lot of
stage names.

Speaker 6 (34:50):
Have you ever.

Speaker 3 (34:50):
Counted how many you actually had through the years.

Speaker 1 (34:54):
Yes, upward of twenty five to thirty week ghost groups.
I'll send you a list. Unbelievable, the California gold Rush,
the two Dollars, Question of the Cuff Links, all these
other groups we made up. Boll Cooper. I decided I
was going to call myself Bow after seeing a movie
with with the actor Bow Bridges.

Speaker 3 (35:13):
You spelled it differently. You spelled the boh instead of
the B. He's b e A Oh you I think, yeah, exactly.

Speaker 1 (35:19):
But I liked I liked the bow. I said, well,
I think I'll do this song with Manelo and I'll
make up a new character. And it was just my
imagination was wild. You know, I would just I would
just go with things. I said, nobody's ever done that,
I'll do it. Yeah.

Speaker 3 (35:33):
Now, I gotta say, that's a really great song. I
like that song a lot, I really do. And I
you know, I'm surprised I didn't have longer legs. It
literally was a very good song.

Speaker 1 (35:45):
You know, it's tough these things fall through the cracks
when when it's it's the wrong time for that type
of song on radio, you never can tell. But I'm
proud of it, and it holds up till today.

Speaker 3 (35:56):
It's beautiful.

Speaker 1 (35:57):
It's a beautiful song, and I was very very proud
have written and have Barry arrange and produce with me.

Speaker 3 (36:02):
Timeless arrangement too. You don't hear it and go, oh
that's the fifties or oh that's the sixties or oh
that's the seventies. You don't hear it and think, Okay,
this is definitely put into a box. You could be
at a wedding today and be just as timely as
it would have been when it was recorded.

Speaker 1 (36:18):
That's true. And when we recorded up temp with things,
a lot of people said, put these syndromes in. Oh, yeah,
electronic syndromes. I said, no, No, Once you put the
syndromes in, you dated it's this year, you'll never get around.
They'll hear it three years from now and say, oh,
that's an old arrangement. Yeah. So I tried to avoid
the current hip things that were on records and try

(36:39):
to keep it more legendary.

Speaker 3 (36:41):
Very very smart. And speaking of smart, you again branched out.
I did not realize this until my research of you,
that you had quite a decent success as a Broadway producer.
And it's another serendipitous meeting. You were a producer and
just a little bit of a show called Ain't Misbehaving.
I mean that is like unbelievable. How did you fall

(37:04):
into that?

Speaker 1 (37:06):
You know? I just I you know where I worked
in New York City, the recording studios, were dead in
the theater area. So I always wanted to be a
part of theater in some way, musically or producing. And
when I was about, I don't know, twenty one, I
got an opportunity to write a Broadway show called Billy,
which was based on the novel Billy Budd. So it

(37:26):
was a rock opera and I wrote it. It didn't
do well, but I met all these nice guys and
those people who produced Broadway shows. So years later a
friend of mine named James Lipton, who had a big
te talk show, you know, used my buddy. We used
to go to dinner together and he said, would you
be interested in producing a show with me? I said, well,

(37:47):
let me see it, and he brought an eight Misbehavin
and I said. I saw it at the Manhattan Theater
Club with just five people and a piano. I said,
this is something I'd love to He said, okay, it'll
be me, you and the Schuberts. And that was my
That was a big production and it ran for three years,
and I had the honor of having Gene Kelly give

(38:07):
us our Tony's one on the Tony. It was like
a big dream for me. So I did I did
about twelve shows over those over three or four years
with my friend Manny Aisenberg Emanuel Aisenberg, who was a
top New York producer, wonderful guy, and he'd call me
up for every show he was doing. Said you want
to be a part of it? And I said, well,

(38:27):
I'd like to do that. Once he said, go to
England see a show called Children of a Lesser God.
And I went to see it and then it played
in New York City and then played in Los Angeles.
That's where I made the decision we should produce that.
So that was another show I got involved in that
as a producer, and it just so it's a whole
different trip than producing records. You have to get involved

(38:50):
in the scenery, you have to get in the cork
work station, the casting of people.

Speaker 3 (38:55):
Well, you also got RCA to do the soundtrack for
Ain't Misbehaving? You were involved in that stup?

Speaker 1 (39:00):
Oh sure, I went. I went right to the I said, listen,
this is going to be a big hit. Uh, you
guys should record it the week after we opened. We
should record it. Wow, And we did Ambitious of you
original cast with and Nell Carter and Ken Paige God
Bless it. So it had some great people in it.

Speaker 3 (39:20):
Oh, yes it did. It was again lightning in a bottle.
There's always I'm kind of learning that as I've been
interviewing so many amazing talents, and it's those things that
you just don't plan for and they become these incredible
opportunities that you don't and they're the greatest successes that
you can find and you didn't plan.

Speaker 1 (39:38):
It's just it's just you have to say yes to
some things. Don't don't, don't overthink it. That was my philosophy.
If something sounds really good, go for it. Do it okay.
If it works, it works. If it doesn't work, at
least you did something that you felt in your heart
would work, and you can always be proud of it
because it's not some junk you've done. I went into

(39:59):
quality product quality productions with artists. The artists I worked
with were all great singers, and the producers that worked
with were great producers on Broadway shows. So I was
I was, you know, I tried to make as as
good as decision as I could.

Speaker 3 (40:15):
Yes, Now, Broadway has seen a huge resurgence of musicals
in the past few years that would be perfect for
a real life storyline like yours. So any interest in
having the Ron Dante musical on the Great Right Way.

Speaker 1 (40:29):
You know, I'd love to do that. People have talked
to me about it. They say, where you came from
in Staten Island, where you ended up is a wonderful
journey and it's it's like a success story that has
many facets. So I've been approached for that. Someday I
may may be a part of a show that encompasses
what I've.

Speaker 3 (40:48):
Done, very very nice. And my brain again is like clicking, clicking.
I said, we got to like connect here.

Speaker 1 (40:55):
Why where are you located?

Speaker 3 (40:56):
I am outside of Philadelphia, and I actually I started
two shows a Broadway, so I'm a little familiar with
the that that world. So yes, we will talk. We
will get together, and you know we share the mutual
friend of Michael. So yes. On that note, you're listening

(41:17):
to the scene with Doraine and I'm your host, dour
in town. I'm spilling the tea with singer and producer
Ron Dante. When we come back, we're gonna talk about
when Ron has cooking up for us next and we're
gonna wrap it all up. So do not go anywhere. Hey, guys,
are you loving the show? Do you want to see
more of the scene, Well, guess what you can, because
The Scene with Doraen is now a weekly segment on

(41:39):
the nationally syndicated television show The Daily Flash. The Daily
Flash is your daily destination for trending stories, celebrity updates,
and industry highlights. And it's now your home to watch
the Scene with Doraen. You can turn us on and
watch every Wednesday across the country. Check your local times
and listenings at the Scene with dorin dot com.

Speaker 7 (42:00):
I'll introduce to your friend sitting in with the band
this evening.

Speaker 4 (42:03):
Tell us all about this rock and.

Speaker 8 (42:04):
Roll history lesson for you all. In the sixties there
were guys. There was groups called ghost groups or studio groups.
These were groups that could have big hit records, but
really there was no group. It was just a studio singer,
a great singer who was behind the mic and the studio,
singing anonymously. And tonight we have one of the best.
This guy was the voice of the Cufflinks. He was

(42:25):
the voice of the Detergents, he was the voice of
the Archies. He went on to produce the biggest hits
for Baron Madewell, including I write the song and he
gave me my first break in the music business. My
dear friend Ron Dante.

Speaker 1 (42:42):
Boys, thank you so much, run here and rule lives him.

Speaker 3 (42:48):
Welcome back to the Seama Doorina, I'm your host Dorian Taylor,
and I am talking with singer Ron Dante, Voice of
the Archies and so much more. You just heard coming
out of break Paul Schaeffer on the David Letter and
Show singing Ron's praises as Ron sat in with the house.

Speaker 1 (43:04):
Fan.

Speaker 3 (43:04):
Now, you gave Paul Schaeffer his big break, or so,
he says.

Speaker 1 (43:08):
Yes, I mean I met Paul when he was He
came up to audition for Don Kirshner and they were
doing a TV show called The Year at the Top,
and Paul got the part, and I just immediately liked him.
I said, you play keys? He said yes, I heard
him play keys. I said, wow, you're a great keyboard player.
I need a good keyboard player for my next Manilo album,
So I brought him into the studio with Barry. Now,

(43:30):
Barry Manelo is a great keyboardist, yes, but he never
let anybody else come in and play keys. But he
liked Paul so much, and he thought Paul played so well.
He let Paul play on the whole album with us.
So that was the beginning. It was a breakthrough for
Paul because it's a great credit. Barry was a major
star in the late seventies, and Paul's on that it

(43:51):
was a great on. Then I brought Paul in on
almost every project I worked in worked on. I brought
him in on the Pat Benatar thing. I flew him
to Los Angeles with me to work with Share on
the Share album. Every artist I worked with I brought
Paul in and it really helped his career in New
York City. And then he called me one day and
he said, they want me to be the you know,
the keyboardist and this this new guy, David Lanman. It's

(44:15):
a late night show. What do you think. I said, Paul,
you should do it?

Speaker 3 (44:19):
Yes, say yes? They yes?

Speaker 1 (44:21):
And I said, and you should write the theme song.
And that's what he did. Yeah, a little extra, you know,
just like Paul wrote the Tonight Show theme.

Speaker 3 (44:36):
Oh that was smart. Yes, okay, so I could definitely
see you gave him his big break. Yes, he was
not lying about that.

Speaker 1 (44:44):
Oh no, no, we're close friends. I see him a lot.

Speaker 3 (44:47):
You are a good friend, though, I got to say,
I need more friends like you. I mean that what
a good friend, and how you don't forget people along
the way and you keep bringing them back, and that's
that's a really a testament to you. And also because
that's not normal in the music industry.

Speaker 1 (45:01):
I've been very lucky my friend and my friend Anne
Aisenberg once said to me, you're in the music business.
When we're doing a Broadly show, he said, how do
you swim with those sharks? And I said, I don't
swim that often.

Speaker 3 (45:15):
I just dip my toe in it. That's all I
get in. Oh, you are quite the renaissance man. I
said it in the beginning. But there's so much more.
And I'm just gonna go bang, bang bang with some
of these really cool things I learned about you. Your
voice has been heard singing the Silver Spoons TV theme song.

Speaker 1 (45:35):
That's what they say to tell you the truth.

Speaker 3 (45:38):
I'm sure I did that.

Speaker 1 (45:41):
I am credited with it.

Speaker 3 (45:42):
Now I went, I listened, and I did. Now. I
was going to include that as one of the you know,
the clips coming in and I found obviously the Letterman
clip that I thought was better, but I can't confirm
or deny based on my listening of it. But it
sounds like you.

Speaker 1 (45:58):
It's so it's I think somebody iating me, really, But
to tell you the truth, some of those sessions back
there in the sixties, I don't remember. Yeah, fun times time,
So it could have been me. I did many many
demos for things, and I sang, you know, a theme
song for this or that that. I don't know if

(46:18):
it went on or not.

Speaker 3 (46:19):
That's intriguing. Now we got to find out if you
really are indeed the Silver Spoons voice. I would like
to know that if anyone out and you know, my
viewers or listeners, no, they got a message me if
they have, like you know, hardcore evidence somehow either way.
But yeah, that's that's gotta be an interesting Now. It's
funny because you say that and the songs that you

(46:40):
should have had credit on you had to hide, and
the ones that you probably don't even remember doing. Oh yeah,
it's totally you. Well, I'll take it when you get it.
Do you get the residuals for it? I mean I
would take the residual checks then for it.

Speaker 1 (46:55):
If it's they've never sent me a residual checks. Oh
so far nothing.

Speaker 3 (47:01):
Well then I don't know. Then you didn't do it
in my book? No, well you were also another interesting
turn of fate for you. You again, probably, I would say, probably,
Out and about you meet someone and you become the
publisher of the quarterly literary magazine, The Paris Review from
seventy eight to nineteen eighty five. Yes, how has that happened?

Speaker 1 (47:27):
You know, it's just fate has a way of intersecting
people with you. I lived in Manhattan, the brownstone that
was connected to other brownstone, and one night there was
a fire in the brownstone next door, and my wife
and I ran and we realized that mister George Plimpton
was living in that apartment with his wife, Freddie, and

(47:49):
she was waxing her eyebrows and the curtains caught fire. Well,
we rushed in and we helped get the baby out
with Freddie and George, and George and I became fast friends.
So I would play He had a great pool table
in his apartment, and we would play pool once a
week Sunday nights and uh and we'd go to lanes
on Friday nights together so we became fast friends with

(48:12):
George and it was always a lot of funn He
asked me, how do you do so well? I said, well,
I sing commercials. He said to me, can I get
into commercials? And said, I introduced to my agent and
he became He was starting to do commercials and he
got into movies and everything. But George was a great guy.
And one night he said to me over the pool game,

(48:32):
if I beat you on this game, I want you
to become the Paris Review, a publisher which had a
lot of money. I said, I'm gonna beat you. You're
not gonna beat me, and he ran the table. He
ran the table on me. I said, you're you're a ringer.
I was happy to do it.

Speaker 2 (48:50):
I was happy to do it.

Speaker 1 (48:51):
What an honor to be involved in such a prestigious
magazine that had the first interview ever with Ernest Hemingway,
and after that they interviewed every famous writer.

Speaker 3 (49:03):
Yes, Elliott, I mean there were so many amazing like
writers that I the list goes on and anyone who's
anyone it was featured there. That's incredible.

Speaker 1 (49:11):
So that's why I've become the Parish Review publisher.

Speaker 3 (49:14):
Jeez, like I said, Broadway Musical Life, Story of You.
I'm just saying there's some weird things going on here.

Speaker 1 (49:21):
And I could put a scene in from a George
Plimpton party that would be fun, where you meet Muhammad Ali,
Jackie O, NASA's Woody Allen. It's amazing the people that
would come to his party. I was part of it
because I was next door. That's nice and that would
make a great scene.

Speaker 3 (49:38):
Oh my goodness. Definitely. And you recently now came out
with your newest album, Ron Dante's Fun House. It's on
vinyl and it has many unreleased songs on it.

Speaker 1 (49:51):
Yeah, I was just happy. This is part of a
we finally decided to do a vinyl album. I'd put
a double CD out a couple of years ago with
like their six sides. Now we've got it down the
twelve fourteen sides, but it's pink vinyl and it has
some out you know, some Archie songs that have not
been released. The Dance of the Week, the Veronica, the Betty,
the jug Head, the Spaceship, some of those things are

(50:14):
on it. And it's got some of my favorite cuts
from that CD. And I'm happy that people like it.
We got the cover done by a guy who does
the Archie covers, Yeah, comic book, Dan Parent. So he
did a wonderful job on the cover. You know, it's
just it's just me with Betty and Veronica dancing in
the background.

Speaker 3 (50:31):
It's perfect.

Speaker 9 (50:32):
It was.

Speaker 3 (50:32):
It was the epitome of what I would think if
you're going to pick a cover for your your works,
that is it. And also, for the past seven years
you've been hitting the road and the Happy Together tour
as you sing lead for the Turtles, and you're back
at it again this summer.

Speaker 1 (50:51):
Yes, summer's every summer. It seems like we go out
for three months on some tour buses and they're beautiful busses,
like Dolly Parton bus type.

Speaker 3 (50:59):
Of busses, the Premierre.

Speaker 1 (51:02):
Yeah, we visited fifty or sixty cities last year. We
played sixty dates in three months, so it's great to
go out there.

Speaker 3 (51:10):
I do.

Speaker 1 (51:11):
I love the Turtle song. So I originally was the
opening act for the Happy Together Tour about seven eight
years ago, and the following year the lead singer of
the Turtles retired at Kaylin and they called me up.
He and Mark Voheman called me up and they said,
would you like to take over as the lead singer
of the Turtles, And I dropped the phone out. I said,
I love Happy Together, I love your songs. Can I

(51:34):
do a few of my archies in the middle of
the act. He said yes. So that was the deal maker.
And it's been a joy every summer to meet all
the fans out there. Of course, finally meet the people
that loved the Archie records and wanted to say hello.
So I go out to the I go out to
the merch table and I say hello to the people.

Speaker 3 (51:51):
Oh nice, and they get a photo with you and
relive some of these and you know, sometimes they bring
their grandkids or they bring their children and it's the
first time they're experiencing you as well, and they become
fans as well.

Speaker 1 (52:03):
Well. This this, this is a great tour because next
year we've got the Vogues, Jay and the American Little Anthony,
the cow Sills are on it. The Association. We've got
some great groups, six groups, and we do we all
do our hits, so it's not like an hour and
a half of unknown songs. It's like thirty minutes of hits.

Speaker 3 (52:22):
The new cuts off the album, The new album, but
nobody wants to hear and then there are one.

Speaker 1 (52:26):
Yeah, nobody wants the new cuts. They want the hits,
and the band does them just great. They reproduced what
was on the record, same key, same tempo, same sounds.

Speaker 3 (52:36):
Are you going to be stopping in Jersey again? I
know you were here last summer. Are you going to
be revisiting back? Because we're, like I said, outside of Philadelphia.
I'd love to come up and meet you.

Speaker 1 (52:45):
Email me and email me just before the shows get booked,
and I'll make sure you're my guest.

Speaker 3 (52:50):
Oh I would love that. That would be awesome. Oh
my god. Yeah, Okay, it's a deal. It's a date. Well,
you know, and if all this warn't enough, because we're
you know, we're running out of time, what else are
you doing? I mean, is there anything else left in
your life to any time left?

Speaker 1 (53:07):
It's so funny. I did a cruise earlier this year
with my friend Brian Hyland, who had nitsy bitsy teeny
radio with a Kiss and Gypsy Woman. I said, Brian,
I have a couple of songs for you. So we
went in the studio and I produced a single on
them call Where did the Summer Go, which is available
on Amazon. And we have a brand new Christmas song

(53:28):
coming out call a little Bit of Christmas Beautiful. Yeah,
it will be out next week. So I do keep
my hand in, you know, very good, keep my chops.
It's very important to keep your chops.

Speaker 3 (53:41):
Yes, it's wonderful. And where can people follow you?

Speaker 2 (53:44):
Now?

Speaker 3 (53:44):
I went and where do you have a website? Because
I looked, I could not find a website for you.

Speaker 1 (53:49):
Yeah, my website's in construction. Again. I decided I've got
to update it. So but the website's cool. But go
to Facebook.

Speaker 3 (53:56):
Facebook.

Speaker 1 (53:56):
Look look for me in a red jacket or a
sixties day glow shirt. These sites I have on Facebook,
and I look at everybody who comes in beautiful.

Speaker 3 (54:06):
So hear that out there in viewerland. Go to Facebook
follow like friend Ron Dante. Check out his newest The
Christmas song intrigues me too. I wish I could get
a little cut and include that in. If you could
send that to me, that would be amazing. And I
can kind of include that in this all when it airs.

Speaker 1 (54:23):
I'll be mixing it Saturday. I'll send you something.

Speaker 3 (54:26):
Oh gosh, we're getting like right, you know. The very minute.
This is awesome. Oh beautiful. Well, it's been a pleasure
talking to you. I mean, I have so much more,
but I don't want to keep you too much because
I think your life is crazy enough.

Speaker 1 (54:40):
Thank you. I've really enjoyed our interview. Yes, the beautiful questions,
and thank you for it.

Speaker 3 (54:45):
Oh my pleasure. It was very easy to do. And
thank you for all the gifts you've given. And I
don't think you're done yet. I think you have a
lot more to give. And happy fifty five double nickels
on your big tune, Sugar, Sugar. That's go out and celebrate,
Go do some thing exciting.

Speaker 1 (55:01):
I am on my way, all right.

Speaker 3 (55:03):
I want to see I want to see instagram pictures
of what you do.

Speaker 1 (55:07):
Okay, we'll have to we'll have to keep connected.

Speaker 3 (55:10):
Yes, it's a deal. And thank you so much. Ron,
You're your pleasure.

Speaker 1 (55:14):
Okay, have a good one. Thank you so much, Dorine,
Bye bye bye.

Speaker 3 (55:18):
Thank you to my guest today, Ron Dante, and thank
you again for tuning into the scene with Dorin. I'm
here each week across the country bringing you the best
interviews from the entertainment world and beyond. Get connected with
me on social media and on our official website, The
Scene with Dorine dot com and make sure to tune
in next week so you can find out what's going on. Bye.

Speaker 10 (56:00):
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(57:05):
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Speaker 6 (57:09):
Org, NBC News Radio. I'm Brian Schuck. President Trump says
the American film industry has been decimated by other countries.
While speaking at the White House today, he addressed his
Truth Social post that called for a one hundred percent

(57:31):
tariff on films produced outside of the US.

Speaker 9 (57:35):
We're going to meet with the industry. I want to
make sure they're happy with it. You know, it's very important.
It's a big industry, but it's an industry now that's
it's really left. Its abandoned the USA where it started.

Speaker 6 (57:47):
In his Truth Social post, Trump cited nonspecific national security
threats and said we want movies made in America again.
A star witness will be called by prosecutors to take
the stand in on Diddy Combe's sex crimes trial. Combs
is facing life in prison on charges including sex trafficking
and racketeering. The Israel Defense Forces is claiming an attack

(58:10):
on Huthi targets along Yemen's coastline. According to an IDF statement,
parts of a Yemeny port used by the Huthis as
a central supply source were hit in the strike, as
well as a concrete plant that the rebels have as
a significant economic resource. The East African nation of Rwanda
is reportedly being eyed as a potential destination for deported migrants.

(58:34):
Lisa Taylor has the details.

Speaker 5 (58:37):
Rwanda would take migrants from countries that won't accept repatriots,
though it's unclear whether it would be seeking financial compensation
in return for accepting other country citizens. The countries for
A minister confirmed with the Rwanda Broadcasting Agency Sunday that
the government is in early talks with the US about
the proposal, but he didn't provide details. Trump borders are
Tom Homan acknowledged the administration is trying to hash out

(58:59):
agreements with the other countries, but he wouldn't identify which nations.
I'mly Se Taylor.

Speaker 6 (59:04):
Catholic Cardinals are preparing to select a new pope this week.
You're listening to the latest from NBC News Radio.

Speaker 7 (59:13):
Located in the heart of San Bernardino, California, the Teamsters
Local nineteen thirty two Training Center is designed to train
workers for high demand, good paying jobs and various industries
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(59:37):
to enroll today. That's nineteen thirty two Trainingcenter dot org.

Speaker 11 (59:46):
You're listening to KCAA, your good neighbor along the way.
KCAA is your CNBC News affiliate. We're the station that
gets down to business.

Speaker 1 (01:00:02):
Joy Control case