KCAA: The Scene with Doreen (Tue, 8 Jul, 2025)

KCAA: The Scene with Doreen on Tue, 8 Jul, 2025

Episode Transcript

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

Speaker 2 (00:09):
Coming to you from the City of Brotherly Love. It's
the scene with Doreen going behind the scenes with the
biggest stars and getting to know the person behind the personality.
I'm Shadow Stevens and no, here's your host, Billboard journing

(00:32):
recording artist and reigning queen on the scene. Doreene Taylor.

Speaker 3 (00:39):
Hello, Hello, welcome to see the show. Great show today.
We've got a Broadway show themed show. Even though we're
from the City of Brotherly Love. We're going to dive
into Broadway. But before we get to that, it's going
to be the fourth of July. We are right here
on the precipice, right here on the doorstep of the

(00:59):
fourth of July. So happy fourth, Matt Monark.

Speaker 4 (01:02):
Happy fourth, Doreen Taylor, Thank you.

Speaker 3 (01:04):
I'm very formal. I was gonna say, though, what's your
middle name, Thomas? I gotta do the three name. But
we were talking before.

Speaker 4 (01:12):
If I'm not in trouble, I don't is gonna say.

Speaker 3 (01:14):
Did you notice we were talking about this before the
show that if you use three names, you're either like
in trouble from your parents or you're going to be
a shooter.

Speaker 4 (01:20):
Yes, that's true.

Speaker 3 (01:21):
Lea Harvy Oswald. There were always the shooters are in trouble.
They are It's like Sir Hans or hands or hand
whatever it was. There was like all these three names. Yeah,
it's like, well they're in trouble, yeah, or you're unsaved
by the bill. Come in the nineties, I think it
was one of the two things if you used three names.
Apparently those and Mark Paul Dave how to say it.

(01:42):
But yeah, yeah, that's true.

Speaker 4 (01:43):
I didn't think of that.

Speaker 3 (01:44):
It is you got to use the three name role.

Speaker 4 (01:46):
Jamericay Taylor, is it?

Speaker 3 (01:48):
Yes? How did you know? I just totally look like that.
It's Lynn. My middle name is Lynn.

Speaker 4 (01:54):
That's very uncommon middle name.

Speaker 3 (01:55):
Really, is it? No, everyone in my family's Lynn.

Speaker 4 (01:57):
I'm just joking.

Speaker 3 (01:58):
Yeah, I think I've said the story like my parents
are not really it was my mom who named me,
so I don't think my dad had much input on that.
But yeah, everyone in our family, all the women, everyone
has Linn in the middle and lt d lt. It's
kind of like a new Sandwich sandwich, the dort sandwich.
I could go off on that, but you know what,
let's not because there's a holiday coming, and I'm excited.

(02:20):
I don't really do much on the holidays. It's hot,
it's gross, but yeah, I'll barbecue, probably do something. You
have any plans, Not really.

Speaker 4 (02:27):
I'm actually off, which is good, So I don't know.
It's just we'll see what happens in the neighborhood. Maybe
we'll get together with people in the neighborhood. I'm not sure.

Speaker 3 (02:36):
Well, maybe you're celebrating early because today we have a
bunch of celebrations, because it's what do we got today?
We've got National uh.

Speaker 4 (02:44):
Your Beans Day, which is something that you have on
July fourth to any other days?

Speaker 3 (02:48):
Do we beans on July fourth? Is that what the
fireworks are is that you're eating All these people are
eating beans. That is welles it take that long to digest.
I don't know a lot of people. It's pretty pretty.

Speaker 4 (02:59):
Fair, especially if you're drinking some beer too. Oh my
bad experiences.

Speaker 3 (03:04):
The beans they could be lifting off, Yeah, that could
be beans, beans, the musical fruit. The more you eat,
the more you too, the more you tooth, the better
you feel. So eat your bes with every meal. There
you go. I think every child ever that was raised
within the last like thirty forty years knows that.

Speaker 4 (03:18):
Or it's beans. Beans good for your heart. The more
you eat, the more you the more you the better
you feel.

Speaker 5 (03:24):
So eat beans with every meal.

Speaker 3 (03:26):
I love it. I love it. I I do try
to eat beans. I like them. They don't affect me
the way other people do, though I don't notice the difference. Now.
It's like Crucifer's vegetables. Like you know in Big Bang Theory,
when Sheldon ate his Crucifer's vegetables. He thought he was
having like some kind of panic. What was it like
a I don't know, pendicitis or something. He had so
much pain and it just happened to be he had
to yeah, and then he felt better.

Speaker 4 (03:50):
Gassie show before you eat your beans, you also have
to celebrate another day because today's National Compliment your Mirror Day.

Speaker 3 (03:57):
Compliment your mirror? What do you don't I don't understand.
What do you do? Say? You're a very nice mirror.
Thank you for hanging on my walls so proudly. I
love the shine and the frame around you. I mean,
why do you compliment your mirror?

Speaker 4 (04:08):
It's description as you're supposed to compliment yourself before you
rush out the door. Because everybody the world is always
in a big rush and doing all this stuff. So
make sure you pause and tell yourself in the mirror,
just something good.

Speaker 3 (04:21):
I'm Doreen and people like me.

Speaker 4 (04:23):
There you go.

Speaker 3 (04:23):
People are gravitated towards me. I'm going to have a
good day today. I'm going to have a good show today. Yeah,
I could see that. That's not illusions.

Speaker 4 (04:31):
I tell yourself, I'm not light in the eyes and
say that.

Speaker 3 (04:33):
I think that's kind of creepy for me to have
to tell myself. You know what, that's what we need.
More people with inflated egos complimenting themselves while they're looking
at themselves. Yeah, that's what we need. We don't have
the selfies and we don't have enough influencers and selfies
out there. That we got to take more now in
our mirror.

Speaker 4 (04:47):
That is true, now that you think about that, that
maybe they need to adjust that.

Speaker 3 (04:52):
You insult yourself in the mirror day.

Speaker 4 (04:54):
Isn't too many people national, you know, compliment yourself a
little lesson.

Speaker 3 (04:59):
A little less little Let's be a little more realistic
about the way we look now day. I like that,
you know, I'm not a downer. I am sort of
Wie Downer. But no, I think I am. I really am.
But yeah, I mean, there's nothing wrong with having a
good self esteem, but some people take that out of control.
They do they have a really really, really good self esteem,

(05:19):
and that's kind of yeah. Yeah, we all know those people,
Yes we do, I think so I'm not one of them.
I swear math's gonna tele.

Speaker 4 (05:26):
You cut yourself down more than anybody.

Speaker 3 (05:28):
I do. I do. But you know what, today I
will try. I will say something nice to them around
not around people, but I will talk to myself in
a mirror. Hopefully nobody will commit me.

Speaker 4 (05:37):
And one thing I know that you did get compliments
on because you used to be a Broadway performer.

Speaker 3 (05:41):
Yes, I was. I did my own show, I produced,
I wrote, I starred in my own off Broadbery production twice.
I was off Broadway.

Speaker 4 (05:49):
So I'm sure you didn't need the mirror to get compliments.
I'm sure that you've gotten.

Speaker 3 (05:52):
Some sometimes, you know, when the critics pan you, it's
sometimes nice to tell yourself I'm okay, I'm Durene Taylor,
and people really do you like me? True? No, But yeah,
that was a big chapter of my life and a
wonderful learning experience on both sides of the coin, good
and bad, keeps you grounded, but it also pretty cool

(06:13):
to have that on your resume. And today is a
day that I thought I would love to do a
show and kind of revisit a little bit of that
and do a Broadway based show but with someone it
actually was collaborating with me on that production.

Speaker 4 (06:25):
Yeah, that should be good to reconnect with somebody that
from that part of your life.

Speaker 3 (06:30):
And we haven't done it since I did it in
twenty nineteen, So this will be fun. It'll be a
you know, revisit of those times. Maybe it'll inspire me.
Maybe I'll go back onto Broadway.

Speaker 4 (06:39):
Yeah, let's hurry up and do this.

Speaker 3 (06:40):
Let's do it. The Broadway poster is often the first
impression that someone will get from a show and decide
whether they want to go see it or not. For decades,
ticket holders will get their first taste of a show
before they ever walk into a theater. One sheet of
rectangular paper can set the entire mood of an evening
before the curtain ever goes up. My guest on the
scene with Doreen has designed the art that has defined

(07:03):
an entire industry from The Lion King, to Sweeney Todd,
to even my very own off Broadway production of Sincerely
Oscar drama Desk Award winning artist Frank Fravor ver Lizzo
has been the man behind the scenes of the world
of theatrical advertising. He has created over two hundred and
fifty theater posters designed from Broadway, off Broadway, and around

(07:25):
the globe, and his art has been seen by billions
of people throughout his half a century as a designer.
If that were not enough, Frank is now throwing his
creative hat into the murder mystery genre with a new
series based around nineteen seventies Broadway. His first book, Scenery
of the Crime, was just released, and I am thrilled
to have him on the show today to chat about

(07:45):
it and much more so. Let's bring in award winning artist,
designer and author Frank fravor of Lizzo to the show. Hi, Frank,
Welcome to the scene with Doreen.

Speaker 6 (07:54):
Hello Dream, Great to see you.

Speaker 3 (07:56):
Great to see you too. It's been been a minute
since we were in this same room together. It's been
a few years.

Speaker 6 (08:02):
A little flash. Every once in a while I come
across pictures of us on your opening night.

Speaker 3 (08:07):
Oh I love it as Yes, So for anyone living
under a rock, it's a treat to have you here
because we collaborated about seven years ago on my design
or your design for my own off Broadway show. Sincerely,
oscar right, that's crazy.

Speaker 6 (08:23):
Help near and dear to my heart, because I certainly
spent a lot of time in the offices of Rogers
and Hammerstein, I know it, even designed their corporate logo,
and so I have very special fondness for them. And
then your show even compounded that, so it was pretty wonderful.

Speaker 3 (08:40):
I remember how excited. Yeah, it was exciting to learn
through my the show's management company, that you were coming
on board to do it, and knowing your resume with
Rogers and Hammerstein and all the shows you've Don't Carousel, Oklahoma,
King and I and like you said, the RNH organization,
you know, doing their logo. I was like, this is
sort of a match made in heaven.

Speaker 6 (09:02):
I know it was. It was for me.

Speaker 3 (09:04):
Yes, me too, me too, So what a dream come true?
And now here we are full circle. But before we
get to your new author being a you know, a
mystery murder mystery author, I want to go back and
just talk a little bit about why you're such a
good Broadway murder mystery author.

Speaker 6 (09:22):
People.

Speaker 3 (09:23):
You know, people don't realize, but designing a poster for
a Broadway show, it costs millions. For a Broadway show,
it isn't necessarily creating art first and foremost. It's in
reality about creating the perfect ad that will inspire millions
of people to go see a show. And that's where
your your foundation is advertising, right.

Speaker 6 (09:43):
Absolutely. I spent my career in advertising theatrical advertising agencies,
so I did learn very quickly that it was a
very collaborative art as you know, because we collaborated on
your show. I would go, I would present you with
a selection of designs, we talk about them, and I'd

(10:07):
make some changes if necessary, hopefully within the range of
the artwork I've presented. You find something that spoke to
you which happened with your show. Thank goodness.

Speaker 3 (10:17):
Yes, yes, I'm easy, I'm easy to work with. Hopefully
it was painless. Hopefully, Oh, it.

Speaker 6 (10:22):
Was very painless. It was a pleasure, actually, But it's
you know, sometimes it's not. Sometimes it's a little bit
of a puzzle to try to try to nail down
what the specific production is trying to tell the world
in a two dimensional graphic. That's the fun challenge for me,

(10:43):
and I do enjoy the process. I enjoyed designing off
on my own to begin with, and then I enjoyed
the collaboration with the creatives because it informs me time
and again more about the project. I mean, no one
knows your show better than you do.

Speaker 3 (11:02):
Hopefully Hopefully if I don't, then that's a big problem.

Speaker 6 (11:07):
Yeah. Actually, well, like.

Speaker 3 (11:10):
You said, producers, authors, directors, designers, and sometimes even the
stars way in on a decision about what they see
on that final poster. So tell me, you know, we're
gonna dish right off the bat here, We're gonna spill
some tea. What was the hardest one that you've I've
you've done over two hundred and fifty What was the
most difficult one for you where you had like countless
edits and you just couldn't get them to be happy.

Speaker 6 (11:33):
There was a show pretty early on, i'd say in
my career, starring Richard Dreyfus. It was called Total abandon
It had very prestigious producers, Lisim cannon Nel NuGen, who
had produced hit after hit after hit like Elephant man,
and I mean just countless Dracula, countless number of hits,

(11:57):
and they were producing this, but the show involved child abuse.
It was not a pleasant subject. So I, along with
many other designers who also were working on the design
for the poster, came out a bunch of ideas I
had started with. And once again, my theatrical agency office

(12:19):
was very informal. Clients would wander in and out all day,
and you know, it was a pretty great atmosphere, sometimes
a little daunting because you didn't want anybody to see
what you were working on. But that was a lost cause.
So you just had a you know.

Speaker 3 (12:35):
Yeah, Grin and Barrett right exactly.

Speaker 6 (12:39):
But early on, Liz mccannon, the producer, I had walked
into my office when I was doing I was fingerpainting
the logo and she said, oh, that's interesting. So we
had a little conversation. Easily two months went by and
many presentations for her show, many posters. At one point,

(13:02):
out of desperation, they asked to see everything again, and
we must have had about forty posters up on the wall. Wow,
And she focused on that, Oh I remember that fingerprinting.
I like that. Use let's use that. It was like
the very first thing I had shown so we to
our men. Yeah, I would say that was probably the

(13:26):
most difficult, where I was really pulling out my hair.
And then of course, well not of course, but the
show just closed almost I think opening night. I'm not mistaken.

Speaker 3 (13:36):
Oh after all that, Oh now.

Speaker 6 (13:40):
I know, but that you know, that's you never know.
I work on every show, every project I work on,
I treat as if it's going to be the next
Lion King, for the next God, because it could very
well be. There's no formula for a huge hit.

Speaker 3 (13:57):
No one knows what's going to be a hit or
a flop. You just don't know. You everybody goes in
thinking it's going to be a hit or else you
don't put that kind of money in or you have
some kind of weird sickness if you do. But yeah,
you and I love that you've always approached that even
with me, I'm some little person coming in unknown. I
mean I had a career elsewhere in pop music, but
you know, crossing over and you treated me as though

(14:18):
I was, you know, Patty Lapone coming in and you
know working with me. Oh, I love you.

Speaker 6 (14:26):
Well.

Speaker 3 (14:26):
Now that we're flattering each other proficiently. I do want
to give a shout out to your book, Favor by Design,
five decades of theater poster art from Broadway, Off Broadway
and beyond. Lots of you know, text in that, but
you dedicate an entire chapter to the rejected designs, and
that kind of lent me to that because you're just
talking about all of these forty other kind of versions

(14:49):
of it. You know, what, do you ever believe that
one was rejected that is still better than one that
they actually picked?

Speaker 6 (14:57):
Yeah, the answer is yes, one one particular example, and
then I have to say on the whole, Well, let
me backtrack. The one that I do think could have
been better originally was Into the Woods. My poster was
the Bridesmaid, as I'd like to say, but they went
a different direction. But I always felt that mine had

(15:17):
a stronger message and explained the format of the show
a little bit more. But on the whole, even if
I felt very strongly about a piece of art that
I'd done and they didn't use it, And so you
go to the opening night and I'm looking at the
playbill cover and it's a piece of art that someone
else has done. Once you've seen the show, I totally

(15:40):
would understand how we got to that solution. It always
made sense to me after the fact. Unfortunately, I don't
have a crystal ball, so I could never foresee what
would be most appropriate for the way the show actually
looked and sounded and afformed on the stage right.

Speaker 3 (16:01):
And you know, for people that aren't in the world,
how what do you get? And you know, before they
say we want you to design this poster, how much
do you actually see? Do they just tell you a
title and these are the people starring? And sometimes maybe
not even that.

Speaker 6 (16:15):
I'll say sometimes they say, well, this is the title,
but it might change.

Speaker 3 (16:19):
This is a placeholder.

Speaker 6 (16:21):
I'm designing the title. You can't you can't do with that.
But it's it depends on how much lead time we've had.
Some shows, if they have a huge budget, we have
not the leisure, but we have more time to work
on it. And then other shows, because the theater suddenly

(16:44):
is available, have to come into New York immediately, and
you know it's a surprise to everyone. So you just
get all the wheels in gear and get moving as
quickly as you can.

Speaker 3 (16:57):
Do you like the time or do you rather or
do you work better when it's just you know, trial
by fire. Here it is, I got to give it
to you in like a day.

Speaker 6 (17:04):
Well, they're both, they're both equally challenging in different ways.

Speaker 3 (17:09):
Yeah, No, that's true. A lot more time to change
your mind when you have a lot more time.

Speaker 6 (17:15):
I was just going to say that as a performer,
you must often think, well, if I had more time,
maybe I would have done it this way.

Speaker 3 (17:21):
All the time, all the time, even in the show.
You know, I asked the best questions I can possibly prepare,
and then later I'm like, oh, I should have asked that,
or oh why didn't I ask that? So hopefully I
cover all bases. But yes, I'm people who are perfectionists
and a lot of time people in the arts, they
they definitely moll over the things they could have done
differently or better. Yeah.

Speaker 6 (17:40):
I think it's a never ending thing. Cycle.

Speaker 3 (17:43):
It's a cycle. It's part of our temperament. I think
that's why we do what we.

Speaker 6 (17:47):
Do absolutely and enjoy it.

Speaker 3 (17:50):
True, true most most of the time. Yes, most of
the time, we enjoy it.

Speaker 6 (17:55):
Time.

Speaker 3 (17:56):
That's good. I'll take those odds. I'd go to Vegas
on those odds. Yeah, Well, Sweeney Todd. The Demon Barber
of Fleet Street just celebrated forty five years last year.
And to me, that's probably one of your most iconic
Frank Favor poster designs. And that design came very early
in your career. That was sort of right out of

(18:17):
the gate for you.

Speaker 6 (18:18):
It's sort of i'd been marking probably oof, I don't know,
maybe six or six years maybe, Yeah.

Speaker 3 (18:27):
But relatively speaking, that was, you know, because you've been
doing it for over fifty So, yeah, we don't want
to age you too much here, so let's just like, well,
way wash all that. We'll just get rid of all
of that.

Speaker 6 (18:40):
Airbrush that Yeah.

Speaker 3 (18:42):
Photoshop, I love photoshop. But yeah, that was seventy nine,
nineteen seventy nine, and yeah, you were just a baby
coming out and yeah, yeah, so it was an.

Speaker 6 (18:55):
I mean, obviously it was a thriller and an honor
I believe, although I subsequently designed a lot of Stephen
Soinheim show posters.

Speaker 3 (19:06):
Yes you did.

Speaker 6 (19:07):
I do believe that might have been I think that
was the first.

Speaker 3 (19:11):
I think so too going. I was looking at your
entire like resume and trying to get all the timeline right.
And yes, because follies came after. Sunny in the Park
with George came after. So, yeah, I believe that was
your first crack at Sondheim.

Speaker 6 (19:23):
It was, and it was a pretty good one with
a great show.

Speaker 3 (19:29):
Yes, very cool that I grew up in music classes
and it was on the wall as a poster. I
had the sheet music and it was it was the
cover of the sheet music. So my experience with you
came years ago before I ever even met you. And
so seeing that in my head.

Speaker 6 (19:45):
You know, I usually want to throttle people who say, oh,
I was in great school, and.

Speaker 3 (19:50):
I don't usually say that, but you know, it just
kind of gives the idea of, like to to my
viewers and my listeners, how incredible and really instrument I
know you are in that genre and in that industry.
You have been there throughout all of the greatest shows
in the past what fifty years.

Speaker 6 (20:08):
Yeah, it was. It was a pretty amazing time theater wise.
It was like a second Golden Age and felt very,
very fortunate to be a part of it.

Speaker 3 (20:20):
It was pretty wonderful, Yes, And you also were kind
of revolutionary in that poster design for Sweetey Todd. You
were one of the first that was showing blood. I'm
a poster and they wanted more.

Speaker 6 (20:33):
Yeah, well Stephen Sonheim wanted more.

Speaker 3 (20:36):
Yeah when Sonheim. When Sonheim wants something, Sonheim gets something.

Speaker 6 (20:40):
Though, Yes, absolutely so.

Speaker 3 (20:43):
Yeah.

Speaker 6 (20:45):
We had a funny phone call system at the office
at the time where the receptionists would announce a call
for anyone, so you know, you Darene, there's a call
from you know whoever. And whenever I'd get Frank, there's
a call from Stephen Sondheim, fifty seven people would pile
into my office to listen to the phone call. And

(21:06):
I always thought that was very funny.

Speaker 3 (21:09):
I was gonna say, if you're talking about something private too,
that would be a little uncomfortable.

Speaker 6 (21:15):
A little bit privacy.

Speaker 3 (21:19):
I also heard you almost blew the Big Shot because
you had to go present it to Angela Lansbury, who
is the star, and you were showing, like we were
talking earlier in the show about how sometimes the stars
have to weigh in on and on a design, and
you went to show her, but you kind of let
the cat out of the bag about a very integral
part of that plot that the producers had planned on.

Speaker 6 (21:39):
I did. I had seen costume sketches and in the
costume sketches, the character of Missus Lovett was very very
obies and you know, I thought, wow, Angela Lansbury hasn't
been that long since I've seen her on stage.

Speaker 3 (21:56):
What happened?

Speaker 6 (21:56):
Yeah, the director Harol Prince said, I'm going to talk
to her about wearing a fat suit. That okay? So
I did the Missus loved character drawing in a Rowton fashion.
When I found out, I was told I had to
show it to her for her approval. I immediately went
back in and drew two others, getting thinner and then thinner,

(22:22):
and so I felt a little more comfortable when I
went to present to her. However, like as you hinted,
no one had talked to her about wearing a fat
suit or overweight and she was a little shocked. And
when I explained that, you know, that was the reason
that the first drawing looked the way it did. But

(22:44):
then I have the these, she said, oh, let's she said,
you know what, I'll play it fat. Use the thinnest drawing.

Speaker 3 (22:50):
There you go. Perfect.

Speaker 6 (22:51):
She couldn't have been more charming, She couldn't have been nicer.
She was just she was wonderful. So it was a
great experience presenting to a star rather than one of
the creatives of your show.

Speaker 3 (23:04):
Yes, you are listening to the Seaman Durin and I
am chatting with Drama Desk Award winning artist and designer
Frank fravor Verlizzo. When we come back, we talk about
how Frank is now throwing his creative hat into the
murder mystery world as a new author, and we're going
to wrap it all up. Don't you go anywhere.

Speaker 7 (23:22):
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twenty four to seven. Patreonic cards, helping our soldiers and
veterans live a better life. Call eight hundred four to
six zero fifty nine fifty four. Together we can make
a difference. New York City, nineteen seventy five. Behind the
glamorous world of Broadway, behind all the beautiful scenery hides

(24:30):
a myriad of potentially life threatening hazards. Has there ever
been a stage related accident that was actually a cover
up for murder? Welcome to Scenery of the Crime, book
one in the retro Broadway mystery series where the drama
is real and the murders are diabolically staged.

Speaker 3 (24:49):
Welcome back to the Sema. Darin a proud part of
the Beasley Media Group family, and I am your host
story Taylor coming out of break. You heard a taste
of the new book by my guest Today Drama Desk
Award winning Broadway poster design artists now turned Murder Mystery
author Frank fravor Verlizzo. Frank, congrats on the release of
your new murder mystery book, Scenery of the Crime. You

(25:13):
are diving into the tightly woven theatrical community of the
late nineteen seventies Broadway, and your background really allows you
to give a unique behind the scenes perspective to your readers.

Speaker 6 (25:23):
Absolutely, yeah, I have very much, and I admit it freely,
have a terrible memory for those things.

Speaker 3 (25:31):
Who are you again? I don't even know what are
you talking about? Where are we? No? No, go on,
I understand.

Speaker 6 (25:37):
But really that period of time for me, when I
first started in theatrical advertising and being part of the
theater world and Broadway, and I have to say probably
that first five or six years are emblazed on my memory.
I remember weird details and people that I met and
things that happened, and so I decided I would tap

(25:59):
into that world for the Murder Mystery. And when I
first started writing it, I wanted to write about something
I was familiar with, and that's how it came about.
That's how I chose that particular period of time in
that particular place which I knew very very well and
still know very well.

Speaker 3 (26:20):
Yes you do, out of anyone I've ever met. Yes,
you know it very well. And your two main characters,
Vic and Betty, they were really were they inspired by
anyone in real life or were these just concoctions of
like kind of a blender of a lot of different
people they are.

Speaker 6 (26:36):
Indeed upland of people. Vic is probably made up of
four people, and Betty's probably made up of four people
that you know, I just picked and chose different aspects
of their personality that would help the story, but also
find them to be interesting characters to want to hang

(26:56):
out with.

Speaker 3 (26:57):
Yeah, and I've heard people say that they're kind of
like the will and of the Broadway murder mystery genre.

Speaker 6 (27:03):
They are. Hopefully it's very lovely of excuse me, Richard
Bridge from Broadway World to say that, yes, it's a
lovely way to look at it.

Speaker 3 (27:13):
Right, And we know how much we love them being
in our house every week, so we love that they
are going to be that kind of inspiration is going
to be in a book.

Speaker 2 (27:21):
Now.

Speaker 3 (27:22):
It's very cool.

Speaker 6 (27:23):
Yeah, thank you, thank you. I'm excited.

Speaker 3 (27:25):
Oh yes, you should have no idea where.

Speaker 6 (27:27):
This adventure is going, but we'll see. You're a great
start to it, Dory.

Speaker 3 (27:31):
That was going to be my question. Now, this is
a series, so you have other books coming out. I
think another one is do out maybe later this year.

Speaker 6 (27:39):
Yes, yeah, admitted to three. The first three. When I
first wrote, I mean, when I first wrote Scenery the Crime,
I had no idea I was ever going to write
anything else. I really did it for myself to see
if I could because I've since I was a kid,
I've loved murder mysteries, so I just thought I would
try my hand at it. And I kind of liked

(27:59):
what I I liked the process, and I kind of
like the results. So I thought, you know what, I'm
going to maybe continue with the same setup because I
did like the Theatrical land Agency and their access to
all the Broadway theaters and to the actors and actresses
and directors. You know. It gave them an outlet, an

(28:20):
easy outlet and very believable outlet, rather than an intrusive outlet.
And I also tried to get as many theatrical landmarks
that don't exist anymore. I like that, you know, like
the old Helen Hayes Theater on forty six years Scortosoul
Theater and the Morosco Theater also both had both been

(28:44):
knocked down for the hotel. They're very much a part
of a scenery of the crime story because I was
very fond of them and heartbroken that they were gone.
Amen about things like manual elevators, telephone boots and you know,
things that just are not around anymore.

Speaker 3 (29:04):
I love it, and cursive as you were saying in
cursive writing.

Speaker 6 (29:09):
I actually do mention that in do you see?

Speaker 3 (29:11):
I told you great minds think alike? I knew it. Oh,
it is a beautiful era because you know, they do
a lot of the Art Deco time and they do
things like that, but nobody really talks about the seventies
in that Broadway time and like you said, a resurgence
of the theatrical community was going on, and it was
a beautiful time.

Speaker 6 (29:30):
Yes, absolutely, you know, physically New York desperately needed to
be cleaned up. It was, Oh, especially I'm Square area
was fairly, to put it nicely, disgusting.

Speaker 3 (29:43):
Yes, that was nice, that is kind.

Speaker 6 (29:47):
The subway was horrible. I mean it was really.

Speaker 5 (29:50):
Yeah.

Speaker 6 (29:50):
You know, when we would leave the theater at night,
because we'd see shows quite often during the week, and
you know you'd be leaving at around eleven o'clock a night.
In the Times Square era, you walked really quickly.

Speaker 3 (30:03):
You still do it for different reasons now. No, it's true,
and they did clean it up, and it's it's amazing now.
I mean, the difference between I stayed there, right, yeah,
right in Times Square. I was right at the Pod Hotel.
I had an apartment up on like I don't know,
the top floors. Just when I was doing the show
and I said, this is nice, you know, any place

(30:23):
in the world, And I mean, I'm written the heart
of it, and it was. It was nice, and I
do it alone back in time gorgeous. Oh yeah, oh
it's beautiful facility. Acorn that used to be the Acorn
And now I don't know if they have names anymore.

Speaker 6 (30:35):
You know, I don't know. I don't see why they
would have changed it, but who knows, who knows?

Speaker 3 (30:40):
Just you know, somebody got an idea, Like do you
see when they're doing it with your designs, they just
get some weird idea and they want everything change, reinvent
the wheel for no reason whatsoever exactly. But we're not
doing that. We're not doing that with your books though,
because it's got to be liberating to be collaborating with
all of these people and all their input and now

(31:01):
it's just you. You're writing your own book. You're sitting
down with that piece of paper and it's on.

Speaker 6 (31:05):
You yep, ye over my shoulder. It does allow you,
or allows me freedom to pretty much just experiment or
you know, go in one direction. If I see that
the story may not be doing what I would like

(31:25):
it to do, it's you know, you erase it, or
you know, shelve it and move on. And I very
much approached the writing the way I approached my poster designs,
with layers and going back in, you know, when when
the it's not the skeleton, but when the bulk of
it was done, going back in and filling in details

(31:47):
to make it more interesting and to fill it out
and to make the characters fuller. So hopefully the book
captured what some of my posters have captured Broadway.

Speaker 3 (32:00):
Yes, people don't realize too that you had to take
an entire plot, an entire story, and entire everything and
put it into one rectangular sheet of paper pretty much,
and you would tell a story. You were a storyteller
all that time, even though you weren't the one writing
the book for the musical or writing the book for
the play. You were the one the first taste. Like

(32:21):
I said in the introduction, you were the first taste
of that show and kind of set the mood before
they ever walked in the theater and that's difficult to do.
And now you're doing it and you're being able to
elaborate on all of those ideas. You're being able to
tell your story and tell the story and really you know,
bring out all of those ideas.

Speaker 6 (32:38):
And because it takes place, you know, the center of
it is the ad agency. You do get it great
behind the scenes workings of what theatrical advertising sort of
is all about. It's not you know, all those things
you see on Time Square and billboards and lights, and
that's only the finished part of it process getting to that, right,

(33:02):
it's really kind of a fascinating, kind of a fascinating
look at an art form that's now.

Speaker 3 (33:11):
Basically changing, changing, we'll say changing.

Speaker 6 (33:16):
Changing, I believe for the better because you could do
it faster and probably a little more concise. But you
did lose that and like cursive, you did lose that
hand written yes, individuality, Yeah, but you know you make
up for it in other ways.

Speaker 3 (33:36):
Right, there's always a given a take, like there is
something about that old Hollywood magic, that old whatever it is,
like theatrical magic where the Rogers and Hammerstein musicals, where
they were these lavish productions and all of these costumes.
It's become a more simplistic kind of thing. Very few
shows out there had that kind of grandeur quote unquote
that the old shows used to have. Yeah, so it's

(33:57):
kind of like it has evolved. I guess you know,
of a is what we would say.

Speaker 6 (34:01):
Yeah, evolution is a good description.

Speaker 3 (34:03):
Yes, Yeah, so I.

Speaker 6 (34:05):
Thought I would capture the the the part of it
that is no longer accessible. It's just not there anymore.
But there people hopefully will have a fondness for it
just as much as I do.

Speaker 3 (34:18):
There is a huge popularity, especially on like the Hallmark
Channel and other like Acorn TV and Ather just whole
big stations, dedicated streaming platforms dedicated to these kinds of stories,
especially period pieces. And I was just putting it out there.
I'm just sticking it out into the universe. Have you
given thought too, is this going to be something that
translates to a streaming series or maybe even back onto

(34:41):
the stage where it actually belongs.

Speaker 6 (34:44):
Wouldn't that the exciting I say, is no one's approached
me yet.

Speaker 3 (34:49):
Okay, well I'm putting it out there. Just started. We're
just kicking this. I mean, it just was released a
few weeks ago, So I'm just putting it out there.
You know, you never JK Rowling when she came out?
Who knew?

Speaker 6 (34:58):
You know exactly? But it is so perfect it kind
of would be, I think, ideal. But once again, I'm
so focused now on the writing part of it that
I'm just being free form and enjoying the the process

(35:20):
of writing rather than designing.

Speaker 3 (35:22):
Yeah, I can see how that can be interesting a
new chapter, so to speak, in a book that you're
turning the page. I can use a lot of references,
a lot of different metaphors.

Speaker 6 (35:31):
But you should write a book.

Speaker 3 (35:34):
Oh God, nobody want to read that, or I would.
I would either be murdered for I could be one
of your series in the book because I would tell
too much. I know too much. So it's best I
just keep my mouth shut and just sit here and
ask the questions instead of answer the questions always. But okay,
so you did allude to it earlier that you don't

(35:56):
really know where these stories are going. Do you have
kind of a skull what an idea of kind of
where you want to see this series evolve, or do
you kind of just are You're letting the books dictate
the path that goes, well, it's a.

Speaker 6 (36:07):
You know, I certainly knew the first book, I obviously
as the murder mystery. I knew how it was going
to end. When I realized I wanted to write another
book using some of the same main characters, I then
peopled that story with a whole bunch of new characters
as well as the mainstay characters, but also each one's

(36:30):
individual and quite honestly, now I'm in the middle of
writing the fourth one, which is nineteen seventy seven, so
time is moving forward. But you can really read the
books in any order whatsoever.

Speaker 3 (36:42):
I love that it's not.

Speaker 6 (36:43):
A contingent on you know, oh well I wouldn't have
known that happened or so. It's really their individual murder mysteries.
They just happen to be concerned with the Broadway community
and the theatrical ad agency that services it.

Speaker 3 (36:58):
I love it, and that can give you endless material
so that it never actually has to plateau or come
to its you know, conclusion. There is always a new
a new story, a new murder, so to speak.

Speaker 6 (37:11):
Yes, many avenues.

Speaker 3 (37:13):
Yes, and any of these I just got to ask,
because you know, I got to dish a little bit too,
anything that you know, you kind of experienced yourself, that
you're sort of you know, any of these sort of
true life things that you suspect maybe something happened and
you're kind of writing about it. Now.

Speaker 6 (37:28):
I can't say murder.

Speaker 3 (37:29):
No murder, Okay, we won't say murder, but any other
kind of crimes.

Speaker 6 (37:34):
A lot a lot of dirty doings going on.

Speaker 3 (37:37):
It's Broadway, it happens exactly. It happens in all walks
of life. I gotta say, it's not just entertainment. It's
in all avenues of life. But I just love that
you're doing this and you're kind of closing the chapter
on the theatrical poster for a while, right You're not
going to be designing as much right now, you're going
to be focusing on the on the writing.

Speaker 6 (37:57):
Writing, and doing my book covers.

Speaker 3 (37:59):
I love oh book covers.

Speaker 6 (38:02):
Was very kind and said it was okay if I
went forged ahead and designed the book covers for my books.
So that's a pleasure too.

Speaker 3 (38:11):
Well, of course, how could you not design your own
book covers? That would be like ridiculous. I'd be like
a chef not designing the recipes for the restaurant. That
they're working in that would just not work.

Speaker 6 (38:22):
I agree with you and hope and happily they agreed
with you, So that's good.

Speaker 3 (38:26):
Yeah, So everyone visit fravor dot com to learn more
about Frank and his incredible journey from designer to author.
Pick up his book Fravor by Design, Five Decades of
Theater Poster art from Broadway, Off Broadway and Beyond. Also
grab your copy of his newest murder mystery, Scenery of
the Crime at Retro Broadway dot Com. Did I get
you all there? I love it beautiful, and I'm you know,

(38:47):
when we do this and we we're on TV, you
know you're gonna have all that spectacular stuff going on,
all that digital photoshop crap. Oh good, No, no, no,
you're beautiful. We don't have to do anything to you.
Your perfect the way you are. And I think when
you do the next the next book, I want to
have you on again and I want to see how
this evolves over time. And I am also kind of interested.

(39:09):
I really like this idea of the streaming platform and
getting you out there, and I just think it could
be so perfect.

Speaker 6 (39:16):
Thank you.

Speaker 3 (39:17):
Yeah, my people will call your people.

Speaker 6 (39:22):
Operators are standing.

Speaker 3 (39:24):
Yes, so when they announce it, they'll say, Frank, you
have a call from Doreen Tailor, and everyone can come
into the office and go, oh my goodness. No, no,
nobody's going to do that, trust me. But it is
so wonderful to have you on the show today. I
just thank you again for being part of my Broadway
journey through when I was a child to even my
own personal Broadway journey. You've been so in, you know,

(39:45):
integral into my life. But thank you for that.

Speaker 6 (39:47):
A pleasure, a pleasure, a pleasure today just as much
as you were in twenty nineteen.

Speaker 3 (39:52):
Oh and likewise to you, it's been like no time
has passed. I love it now.

Speaker 6 (39:57):
It's great.

Speaker 3 (39:57):
So hopefully you know, when I come up to New York,
I would love to do I'd love to meet you
like again and you'll catch up. That would be wonderful
if you would. Yeah, so can I. I put an
ivy right in my arm and we're good. Well, you
have a wonderful day. Congrats on the book and many
many future successes. I see the world just opening.

Speaker 6 (40:15):
Thank you so much, Thank you, and hopefully we'll be
speaking again.

Speaker 3 (40:19):
Yes, likewise, oh, you have a wonderful day, you too,
Bye bye ye thanks.

Speaker 8 (40:24):
Thanks.

Speaker 3 (40:25):
Stay right there because after the break we have another
Broadway favorite singer songwriter Ryan Shaw. 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 Doreen is now a weekly segment on the nationally
syndicated television show The Daily Flash. The Daily Flash is
your daily destination for trending stories, celebrity updates, and industry highlights.

(40:50):
And it's now your home to watch The Scene with Doreen.
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.

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Speaker 6 (42:00):
This is radio.

Speaker 9 (42:12):
Lifting. We live meat to believe it well.

Speaker 3 (42:39):
Oh yes, Billboard raved that my spotlight guest today on
the Scene with Doreen is a massive talent with a
huge voice, and The Washington Post praised his voice as
so full of fire and conviction, exploding with emotion. Three
times Grammy nominated singer Ryan Shaw's music has been featured
on Foxes, So You Think You Can Dance, and AB

(43:00):
He's Dancing with the Stars, Gray's Anatomy, and Lincoln Heights,
and even the Sex and the City soundtrack. His versatile
and eclectic musicality crosses over multiple genres effortlessly, and his
latest single Rising Up, has just been released with a
forthcoming album of the same name, do out in twenty
six And if that were not enough, he just dropped

(43:21):
his latest album Off Broadway with the very talented Ray Angry,
and features contemporary and progressive soul versions of classic Broadway
songs spanning over seventy years. So let's get to it.
Please welcome three time Grammy nominated R and B vocal
powerhouse Ryan Shaw into this week's Spotlight.

Speaker 5 (43:40):
Hi Ryan, Hi, Hi, that was a nice intro.

Speaker 3 (43:44):
Oh well, thank you. You're the one that did it all.
I'm just telling I'm just reporting on it, so we
should be saying you had a nice intro. Well, congrats
on the new single rising Up. It is such a
beautiful message behind it, powermant and hopefully inspiring people to
overlook their differences and welcome change in their community. Where

(44:05):
did this all come from? Why?

Speaker 6 (44:07):
Now?

Speaker 3 (44:07):
Why did you want to get this message out there?

Speaker 7 (44:09):
Oh?

Speaker 5 (44:09):
I mean it's really weird about this particular song. Well,
actually this whole next album. Most of these songs were
actually written during what I call the Lost years, and
so there's as as you know, the years went on,
I just realized that all the songs that I was
writing had a similar tone, and it was about you know,

(44:30):
coming together or you know, there was a lot of
craziness happening during that time, with you know, mandates and
people being unsure and not enough information or misinformation and
all whatever was happening. So all the songs that I
ended up writing had like a similar thing, like that
was rising up. There's another one called like Let's Go.
So once we were on the other side of this,

(44:52):
you know, we sort of started, you know, taking a
retrospective of now that things are open, like let's go
back and like look at, like, what what did happen
during those years? And then a view My manager called me.
She was like, I was listening to all the songs
you did during the pandemic, and there seems to be
a theme and I feel like that they're still super
relevant now with what's happening, and I think that's something

(45:12):
that the world should know and should hear about. And
so I went back and listen. I was like, oh,
you know, sometimes when you're in it, you don't realize
what's really happening, like what you're actually doing when it's happening.
You're just in those moments, which is a testament to
like being present in the moment and you know, allowing
you to have those experiences. So it was it was
a combination of that. But this song, particularly that we
started with Rising Up. You know, it came out last

(45:35):
you know, April fourth, and it was I mean, it's
really about lifting each other up, like even now. I
mean there was a lot of fallout. I mean, I
live in New York, and so the sentiment in New
York around the elections and everything that was happening was
a certain thing. And you know, post pandemic situation still happening.
So it was just like you know, the lyric I
Lift you and you lift Me was just the super

(45:58):
powerful things like we we are our community, and if
we just engage and get with our community, then we
can make a change locally. And if everyone does that locally,
then we can implement change globally.

Speaker 3 (46:11):
Well said, and we're not no man is an island.
I mean that's an old adage, but yet it is
so true that we are a community, we are together,
and yet people think, oh, you know I don't need anyone, right,
I could do this on my own whatever, and know
we're better together we really are. And I think that's
a great powerful message you have in there too, just
relying on each other, lifting each other because you know what,

(46:32):
maybe you can't lift all the way, maybe you need
someone to help. And I love that that you have
that in there, and that you trade off. There are
gonna be times where I need to lift you, and
there're gonna be tis where you need to lift me.
But we lift together for a better, better world.

Speaker 5 (46:44):
Yeah. And then there's another line that I really love
in the song that it says the way out is
the way in, you know, but we need a solution.
Like so if you trace, like they say, history is important,
So if we trace how we got into this, then
the way out is to make sure that the way
we got in never happen again.

Speaker 3 (47:00):
Yes, learn from our mistakes, learned from our past.

Speaker 5 (47:03):
Yeah, yeah, how we got into this back out.

Speaker 3 (47:09):
Like leaving breadcrumbs along the way and figuring out, oh god,
how do we get out of the spooky forest? Yeah? Well,
you co produced Rising Up with the wonderful Grammy Award
winning Scott Jacoby and he's worked with other greats like
John Legend and Sea Coldplay, Alo Black. I mean that's

(47:30):
quite a nice list, and here he is with Ryan Shaw.
I mean, you guys, you guys worked really closely together
on this.

Speaker 5 (47:37):
Yes, Scott. Actually, me and Scott have known each other
for I mean at least fifteen years. We worked together
way back when I kind of when I first started writing.
We did like one or two sessions and then we
just sort of, you know, stayed in contact with each other.
I think we ran into each other a couple of
times when I was on the board of the Recording Academy,
the New York chapter with Naris, and when it was

(47:58):
time to do this record had I'm trying to remember
how we reconnect. Oh, I was doing a writer's camp.
There is a really great writers camp here in New
York that happens every year called Antisocial Writers Camp. It
became the biggest, one of the biggest writing camps in
the world. At this point, I'm super busy this year,
so it's my first year of sitting it out, but

(48:18):
I've been doing it for the last three years. But
if you're a songwriter you want to connect with like
who's doing what in New York, that's a great place
to go. It's called Antisocial and that's happening next month June,
and I re reconnected there because I had a session
and it ended up being in his studio and so
when I walked in, it was like, I feel like
I've been here before. And then he walked out. I
was like, Scott, he was like, Yeah. He ended up

(48:39):
like playing me the song we wrote like fifteen years
ago when we first connected, and then I was like,
I love the stuff you're doing. He was playing me
some new stuff he was doing. I was like, I
feel like we should connect for this new record. And
it's just been the gift that keeps on giving with Scott.
He's such a great, super talented, super connected producer. I
was really great and the fact that he works across

(49:04):
almost all genres of music is a real testament to
his true skill. Yeah, we worked really, really great together.
Super excited about doing more, and you know, he had
come to see me do my show at fifty four Below,
which was my reintroduction to my Broadway community with Ray Angry.
And when I invited him because we were going to

(49:26):
be doing Rising Up, and I was like, you should
come see me perform live because you know, it's been
fifteen years, so let's just reconnect in all the ways.
So I invited him to the show, and when he
got home the next day he called my manager Elizabeth.
He was like, I couldn't wait to get home. The
show was so amazing, so exciting. There's something very special
with the energy between these two, and I feel like
it should be an album or a version there else.

(49:46):
So let's explore this idea. And I believe in it
so much that you know, I will put up the
studio time, I will mix the record and we can
get it mastered. They have to come up, so, you know,
me and Ray had to come up. We had to
pay the musicians and get the arrangements and pay the licensings.
But it's a joint vent between the three of us,
Ray Angry, myself and Scott Jacoby. And that was back
in That was November seventh, and so we brains throw

(50:07):
them the holidays past, and by mid January we were
in the studio and we recorded this whole record over
like two days.

Speaker 3 (50:14):
Wow, yeah, like two weeks. I read from beginning like
you were doing the cutting, the band overdubs, vocals, mixing,
and mastering. I think it was like a total of
two weeks. That is so impressive.

Speaker 5 (50:25):
And that's not and that's two weeks just for the
time span. If you the time that was spent on
the record was probably dates. So it's two one day
of recording with the band, one day of overdubs. I
spent two days doing my vocals, and then Scott mixed
it all in I think two days, so we're talking
about six days and so a week.

Speaker 1 (50:44):
Wow, over two weeks.

Speaker 5 (50:46):
A week's worth of work over two weeks.

Speaker 3 (50:47):
Yeah, that's incredible. And look at the beauty. And we're
obviously referring your newest album because you've got so much
going on. You've got The Rising Up, another forthcoming album
of the same name, but also you just put out
another album off Broadway what we're talking about, and that
is putting your theater roots on full display, but with
this contemporary, cool musical twist. And I really like the

(51:08):
songs that you picked because you didn't pick your stereotypical
songs like you've been picked on the street where you live,
which is lerner and low, my fair lady. And it's
interesting why did you pick the songs that you picked,
because it goes over seventy years and you picked the
ones that you did.

Speaker 10 (51:22):
Yeah.

Speaker 5 (51:23):
After Scott came to see the show and we started
diving into what this record could be the songs that
I did in the show, I was like, well, I'm
not sure if I would want to do these songs
as as an album. So if we're going to really
do this, let me just go back through the canon
of what is Broadway. And I just went back and
did like a you know, a Google search, like what
were the top the top five Broadway musicals that won

(51:48):
a Tony over the last since the inception of the
Tony's Basically all these musicals came up, and then I
started seeing names of musicals that I kind of knew,
and then songs started popping up. And I also did
like the you know the who like you know what
songs were from these musicals, and then like, the songs
just started coming out at me. So initially, when I

(52:08):
was done of stuff that I already knew that resonated
with me, about thirty songs came out.

Speaker 3 (52:15):
MM, and you know what, everything happens when it's supposed
to happen, when it's meant to be, and because it
didn't for the first time, it now, like I said,
Part two, I'm just putting it out there for you
in the cosmos now that you're not busy enough, because
you are so busy, you are continuing to put out
new music, but you also have multiple live dates performing
all across the country, but in several different kinds of shows.

(52:38):
You're not just doing one show going out, You're doing
all these different like Icons and all of these different
shows all around the country. How do you keep your
schedule straight? How do you keep this all going?

Speaker 5 (52:49):
It's a it's a very small but well oil oil machine.
I have a really amazing manager in Elizabeth Healey, and
we sort of keep it together. But yeah, I'm I'm
launching a new show if you're in the New York
area at the Princeton Symphony is launching a new show
with Broadway legend Capathia Jenkins and I doing a new

(53:11):
show called Icon, and that'll be with the Princeton Symphony
on the six next Friday, actually June sixth, next Yeah,
that's next Friday, Yeah, June sixth. And that's in a
very exciting show. And me and Capathia have been out
years before doing erutha Franklin tribute. And then I have

(53:31):
my own solo Symphony show called Ryanshaw Matters of R
and B. That's actually going to be with the Father's
Day with the Nashville Symphony, So if you're down in
Nashville area, that's a great one to check out. And
then I also have and then hopefully soon we'll be
touring this Off Broadway record with Ray Angry. We're in
talks with certain venues about, you know, doing a little

(53:53):
tour around the world and so yeah, it's super and
a bunch of private engagements that I do as well.
So yeah, the schedule's packed.

Speaker 3 (54:03):
Yes, that's a good thing for a musician. You don't
want it. They'd be the other way where it's like crickets. No,
this is a good thing that you are constantly working
and I think you know, there's gonna be more that's
going to keep like filtering in there. So people got
to keep checking out these tour dates on you got
to check out Ryan Shaw's newest single, rising Up, his
new album Off Broadway with Ray Angry, and visit ryanshaw

(54:24):
dot com floor more info tour dates, and just stay
connected with Ryan and everything that he is doing. Because
I only have you for a short segment, but I
can't fit it all in, so everyone else has to
do their research back too. Well, I want, Yeah, I
would love to have you back, and I would love
to talk about everything. And when you come up with
a new album rising up in twenty six, please come back.

(54:47):
I'd love to chat more about everything and fill it
all in, fill the puzzle.

Speaker 5 (54:52):
In, and we'll talk about my mother, which will be Hystericia.

Speaker 3 (54:54):
Oh yeah, because I know that you left college to
do Tyler Perry's play. I mean, there's so much about you.
You're fascinating, so I got in all the bullet points,
but there's so much more.

Speaker 5 (55:04):
Yes, well, thank you for having me.

Speaker 3 (55:05):
This is great, Oh my pleasure. And you are great
and I wish you the best and I can't wait
to see you doing this off Broadway around the globe.

Speaker 5 (55:14):
Yes, I'm excited. From your lips, from your lips to
God's ears.

Speaker 3 (55:18):
Oh it works, sometimes it does work. Well. You have
a wonderful day. Thank you for spending a little time
on the scene with Doreen.

Speaker 5 (55:25):
Thank you.

Speaker 3 (55:26):
We'll go with you too. Bye bye, Hey guys, that
is all the time we have for today. Thank you
to my guests, Ryan Shaw and the wonderful Frank fravor Verlizzo.
For more interviews, visit the Scenewtdorean dot com. I'm Dorian
Taylor and behalf of Matt myself and the rest of
the scene with Dorian crew.

Speaker 2 (55:42):
See you next week.

Speaker 11 (55:59):
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Speaker 1 (56:53):
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Speaker 12 (57:17):
I'm Brian Schook. Over one hundred people are now confirmed
dead from catastrophic flooding in central Texas. In Kirk County,
officials are reporting fifty six adults and twenty eight children
are dead, with ten children and one adult still missing
from a girl's camp. Officials at hundreds of first responders
are working search and rescue operations in the area. President

(57:39):
Trump is accepting the nomination letter for the Nobel Peace
Prize from Benjamin Netanyahoo.

Speaker 3 (57:45):
Thank you very much coming from you in particular, this
is very meaningful.

Speaker 12 (57:49):
Net Yahoo announced the nomination at a dinner at the
White House, saying Trump is pursuing peace and security in
many lands, especially in the Middle East. Sean diddy Comb
sent date could be moved up with a Tuesday hearing
weighing the timeline. Last week, the rap mogul was found
guilty of transporting people for prostitution, but acquitted of the

(58:10):
more serious charges in his sex trafficking trial in New
York federal authorities say there's no evidence Jeffrey Epstein was
murdered or kept a so called client list. Kristin Marx reports.

Speaker 10 (58:22):
A memo released by the Department of Justice and the
FBI Monday says the disgraced financier died by suicide and
that a systemic review found no list that could incriminate
prominent associates. Supporters of President Trump and some of his
cabinet members had questioned the official story about Epstein's death
in the past, and the review was ordered by Trump.
Elon Musk had claimed in a post on X that

(58:44):
Trump was in the alleged Epstein files, but later deleted
at Epstein was found dead at the Metropolitan Correctional Center
in Manhattan in twenty nineteen, while awaiting trial on charges
of sex trafficking.

Speaker 12 (58:55):
The quarter finals are set on the grass courts of Wimbledon.
Top seeded Yanix Sin advanced after nineteenth seated Grigor Dimitrov
retired due to an injured pectoral muscle in the third set.
You're listening to the latest from NBC News Radio.

Speaker 13 (59:12):
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(59:36):
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Speaker 5 (59:45):
Ten fifty AM. Don't forget that number.

Speaker 12 (59:48):
And for you young people who got here by accidentally fat
fingering your fmband selector, we're an AM radio station and
AM refers to more than just the time of day, control, chaos,