KCAA: The Scene with Doreen (Tue, 5 Aug, 2025)

KCAA: The Scene with Doreen on Tue, 5 Aug, 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 Dorene going behind the scenes were the
biggest stars and getting to know the person behind the personality.
I'm Shadow Stevens and.

Speaker 3 (00:28):
No, here's your host, billboard.

Speaker 2 (00:31):
Charting recording artist and reigning Queen on the scene, Doreene Taylor.

Speaker 4 (00:38):
Yes, Oh my god, thank you. Wow, that's wow. What
a new intro. Oh my god, that's the first time
I've heard it like played in the show. Amazing. Oh
my god. Welcome to the scene with Doreene. Of course,
I'm your billboard charting whatever queen on the Saint Jauren Taylor.
And I'm here with my incredible producer, Matt Monark. And

(00:58):
we are celebrating today. What are we celebrating that one
hundred episodes, one hundred episodes today? Baby, Oh my god,
it's a celebration here in the studio today that we
got here, we finally got We were talking about it
for a while, We're like, okay, two weeks ago, three
weeks ago, here we are one.

Speaker 5 (01:16):
Hundred Yes, I love it, one hundred episodes, one hundred
and thirty five guests. I love stats. I love sports stats.

Speaker 4 (01:24):
I didn't even know that one hundred.

Speaker 5 (01:25):
And thirty five guests. Wow, John is the guest with
the most name. Five John's, four Michaels, one, four Pauls,
and one Grotius.

Speaker 4 (01:35):
Only one Grotius. There is only one Grotius Maximus in
the entire planet for it.

Speaker 5 (01:40):
Yeah, one hundred and thirty five guests.

Speaker 4 (01:42):
That's amazing. You actually sat there and did the stats.

Speaker 6 (01:44):
Yeah.

Speaker 5 (01:45):
I like doing stats. And I also did something, okay,
because there's one hundred and thirty five guests, ninety nine shows,
and I practiced something, and I wanted to see if
I could get in every guest in a minute. Okay,
So all right, my voice, my they sound a little different,
all right, but I've been I've been practicing, and all right,
just just bear with me.

Speaker 4 (02:06):
I've never heard what America.

Speaker 7 (02:07):
This is news to me.

Speaker 8 (02:08):
Here we go, let me let me okay, alright, ready,
Olayas Macklin, Perry, Mineu, Paul Grat, Lawnce Grobe, Na Muskat,
Mar Bunettes, Tayor Dane, Erry McCracken, Gene Angle, aim S,
Jonnerdate Desko, Ki Winger, marm siegal Leland Staalarer, Mellie Smith
and Leeve, Murray Schwartz, Bob Gaudio, Jed Duvolfiz, Papali Lurry, Lauren,
john On, Rascott schwartzrets Wit, Donat, Tonio Tyrone, Maes Martino Cartier,
Jacky Gooschnier, Emily Robinson, Jon Davis, Joe q Ket, Sarah
sush On, Carl Louis, Peteygrey, David Smith, The Sky, Larry Laser, Yeah, Galantr,
Michael Corbinnaro, Michael good Plan, Pier Romaine, mar Johnson, Oey Gars,

(02:30):
JN Klain, Lacy Paulton, William the Golden T, Grahan Brown,
Joey Canyon, DG sheperd Ghetto, Dan Dash Freeway, John f Lee, Iverson,
Tony Orlando Odd, Glass, Catrin Yeskey, Tylor, Jonnasorn, Scott, Mcery,
Kenzi Fipsdia Mason, Lisa, Lodi, Is America Madison, mort John Bery,
Orders Pile, John Chuan, Steve r. Janny Way, sheperd Erstad
now Teressa Kputo, Zio, XL Rod Role, agerol Steve Vai,
Joe Bonamassa, Lisa, Lisa, Michael Houston, Willi Shatner, Rocky land Hower, Jones,
Captain Scott Coast, Timerralis I, didn Dorshock, Tom Bill, Jet Tate,
John oh Rasi again, Andre Ferris, Richard Sermonilmdie seven, Toolowski,
christinemer Keill, Her Drews, Films and Erra john Ners, Paloc Costello, Hight,

(02:52):
sid Fred Brene, Graziono Kliney, Klaho, Mohoe, Da Duca, Shie
roond vincent Rmy Bridechael Shreve, Paul amos Ki, Peerson, Tomyvloney,
Bratip Bisky, Joe Love, Bob Grewen, Wilmoseley, Abdela Pietrail Vera,
Dimetri Ron donte Roti's Maximssicwa, John B's, Jim Havesion, Jim
Kelly Tuk.

Speaker 5 (03:02):
You show what the w wash A J.

Speaker 8 (03:03):
Crochecy Rush weren't fry that the rights and Lynch zz
board Way Funds and is Chris Brown, Oky Fold, Vi mcain,
kazam Be, Terry Fader, Ronnie Diller, Caridgway, Rene vict Dixon, J.
T Haberstje, just Stephen and Glenhillips. That's twist poking man.

Speaker 5 (03:15):
Oh my god, I never heard that. Ninety nine shows
My head is literally blown.

Speaker 4 (03:20):
Oh my God, that was amazing.

Speaker 1 (03:22):
One breath.

Speaker 4 (03:24):
Wow, get this man of drink, celebrate early, Holy moly,
and you know what I was going through it on
I actually I can remember kind of the succession of
them all going and I was like, oh yeah, and
it was pronounced beautifully, every one of them. Because there's
some weird names in there.

Speaker 5 (03:39):
Yeah, it's so best too to get into a minute's
one hundred and thirty five guests in a minute.

Speaker 4 (03:43):
You remember that guy back in the eighties that used
to do like all the commercial miker machines. Yes, you're
better than that man. Oh wow, amazing. Oh that is
that's kind of when you listen to it that way,
that really puts everything in perspective of what's going on here.

Speaker 6 (03:58):
Yeah.

Speaker 4 (03:59):
A lot of people, a lot of people, a lot
of good people. I mean everybody. Everybody brought something amazing
to the show. And it's all different. Everything is so different.
A lot of musicians, I mean that seems are be
our big thing, but other things too.

Speaker 5 (04:12):
And oh yeah, actors, I mean authors, people, actors that
wrote books, Musicians that wrote books.

Speaker 4 (04:18):
Yeah, like today an actor that actually is a musician.
And I mean we have a lot of people that
cross all different boundaries.

Speaker 5 (04:24):
Yeah, And what's funny is some of the actors that
are musicians that you've talked to, when their eyes light
up and there there, you know, they get more excited
when you talk about their music more than their acting,
even though if they're they're known more for their acting.
Their love is the music.

Speaker 4 (04:40):
It's true. They I've seen it several times now, and
the passion just lights up when you start talking about
something that they maybe isn't their thing, but they want
it to be their thing, or it's just the thing
that they find that makes them happy in life. And
it's kind of we just we explore that, we find
out what makes them tick.

Speaker 5 (04:57):
Yeah, and then some are really good at it is
like maybe acting just came along and asked what they
were good at, but you know, their music they're good
at as well.

Speaker 4 (05:06):
Yeah. Yeah, it's incredible. But I just think that it's
you know what, I'm gonna have to celebrate goad drinking tonight.

Speaker 9 (05:14):
I do.

Speaker 4 (05:14):
I haven't been drinking a lot lately, so I think
I'm due. But yeah, I think we gotta celebrate and
this next hundred who knows. I never know what's gonna happen.
From week to week. I don't know who we're gonna
have in here. I just don't know, but I have
a feeling that we're gonna the next one hundred are
going to really even top the first. I don't know
if that's possible, but I'm gonna work my little butt
off to try to do it.

Speaker 5 (05:35):
Yeah, I'm sure it could well.

Speaker 4 (05:38):
So I got to say, though, for our hundredth I did.
I've been teasing it for a while now on social
media and of course on last week's show, But let's
just say that today we have one of the one
of the more well known actors who has been around
multiple decades, the incredible Jeff Daniels, is joining us today.
This is a hundredth yes, and we're gonna talk about
his acting, We're gonna talk about his passions, but we're
also going to talk about his music, and we're gonna

(05:59):
just get to the heart of the matter and celebrating
style with the incredible Daniels.

Speaker 5 (06:04):
Yeah, this is the perfect person to do it with.
So let's just get to it.

Speaker 4 (06:07):
Oh yeah, my guest today on the scene with Doreen
has appeared in over seventy movies, numerous television shows, and
has graced the Broadway stage again and again. Almost fifty
years ago, multiple Emmy Award winning actor Jeff Daniels loaded
a guitar into his old Buick and headed out to
New York City to take a chance on a dream.
Through hard work and perseverance, Jeff became one of the

(06:29):
most recognizable actors of our time, starring movies like a Rachnophobia, Pleasantville, Speed,
Terms of Endearment, Something Wild, Purple Rose of Cairo, and
of course no one will ever forget him as the loving,
dim witted Harry Dunn in the nineteen ninety four hit
comedy Dumb and Dumber. Take a listen.

Speaker 6 (06:48):
I love dogs too, So how are you involved with him? Oh?
I've trained them, you know, bathe them, clipped them. I've
even bred them. Oh really, any unusual breeding? No monthly
doggie style. One time we successfully made it a bulldog
with a shitzu. Really, that's weird. Yeah, we called it

(07:12):
a bullshit.

Speaker 4 (07:19):
Oh. Yes, There is very little that actor Jeff Daniels
hasn't been able to accomplish. From his critically acclaimed movie
and TV roles to multiple runs on and off Broadway,
Jeff is now throwing his very talented hat into the
singer songwriter world, touring across the country in a select
cities with his live acoustic show, proving that nothing is

(07:41):
impossible when chasing your dreams. It is an honor and
a privilege to have the one the only Jeff Daniels
on the show today. Welcome to the scene with Doreen.

Speaker 6 (07:50):
Jeff, Thanks, Terraye. Nice to be here.

Speaker 4 (07:53):
Wonderful. You know, I want to make sure that you're
comfortable right off the bat, So how about we take
our pants off in chat?

Speaker 6 (08:01):
Yeah, that's that's the title of one of my songs.

Speaker 4 (08:04):
Oh really, I had no idea. I always asked that,
of all my guests, what are you talking about?

Speaker 6 (08:09):
Well, I'm plagiarizing someone. No.

Speaker 4 (08:14):
I wanted to start right out of there, because you know,
you do have a song that you came up with
that was inspired by what Ryan Ryan Reynolds.

Speaker 6 (08:22):
Yeah, we were making a movie in New Jersey, an
independent movie, and uh this was before Ryan was a
huge star and uh so he was a supporting character
in the In the thing. Anyway, we were walking passing
each other in a hallway of this house and usually
you stay to the right, and you know, you pass
each other. But we did that thing where we kind

(08:43):
of bumped into each other and we're, you know, did
a little that that little awkward dance, and without missing
a beat, he looked at me right in the eye
and said, how about we take our pants off and relax?
I just said, that's just I mean, that's a song.
I'm in my head, I'm going, that's a song.

Speaker 4 (08:58):
That's a song, that's a and it was you actually
wrote it. I heard what six steps passed? You had
it already written in your head.

Speaker 6 (09:05):
Yeah about you know, six feet behind him, I'm going, Okay,
there's the first verse. Here, here comes the core. Uh yeah.
But and it's a big hit. Whenever I play it,
people are so stunned. And then uh and then I
usually place it later in the set and that becomes
the obligatory sing along, which cracks the audience up as well,
because now they're they're all singing, how about we take

(09:26):
our pants off and relax, which is something most of
them have never said in public before.

Speaker 4 (09:32):
Do any of them do it?

Speaker 6 (09:34):
Uh No, I've never had anybody do that, but I
usually everybody does it that I have the guys do it,
and then I go all right, gals, And then when
the girls do it, they drown out the guys like
twice as much.

Speaker 4 (09:50):
Isn't that the story of life? I think the girl's
always drown out the guys. I mean that's sort of
like life right there.

Speaker 6 (09:56):
Yeah, and they it's it's yeah, it's always it always works.
So it's one of those songs you drop in the set.
Could you know it's going to work?

Speaker 4 (10:05):
That's why I opened our set in a way with that,
because I knew it would work. See I can read
your mind.

Speaker 6 (10:11):
Yep.

Speaker 4 (10:11):
Well, before we dive headfirst into your life as a troubadour,
let's go way back to a sophomore in high school.
Acting career was actually launched by music, a little Rogers
and Hammerstein musical called South Pacific. You played radio operator
Bob McCaffrey.

Speaker 6 (10:27):
Yes, yes, I did.

Speaker 4 (10:28):
I was.

Speaker 6 (10:29):
You know. I grew up in a small town in Michigan,
and I had a teacher in junior high who recognized
that I could I just something was going on. She
did some skits in sixth grade in chorus class. She
knew I could sing, and she had me pretend I
was a politician giving a speech with his pants falling

(10:52):
down again with the pants, again with the pants, and
I turned it into like two or three minutes of that.
You know, I'm a sixth grader. I don't know what
I'm doing, but I you know, you start by pretending
you're giving me a speech, and then you tug at
your belt a little bit, maybe the belt loop in
the back, and you know, a minute a half later,

(11:13):
you're holding up your pants like the weigh four hundred pounds.
And she went to my parents and she said, pay
attention to this one. There's something going on. And then
five years later, I'm in high school and playing sports
and she needed guys as sailors in South Pacific because
now she's the high school musical director. And she literally

(11:35):
watched me walk past the auditorium, dead tired from basketball
practice and said, Jeff, get in here. Oh god. So
I went in and auditioned, and I did this crazy
little dance during I think it's there, ain't nothing like
a dame.

Speaker 4 (11:51):
Probably probably wasn't.

Speaker 6 (11:53):
It wasn't there, you know, slapping my knees and thighs
and you know, being funny. And she put me in
the show. And that's that's when I'm you know, now
you're doing even though I had only had a couple
of lines. That's where you're kind of going, Okay, what
is this? And she stayed on me. I had a
teacher who stayed on me. And then next thing you know,

(12:14):
she's doing musicals the following year and in the summer,
and I was playing leading roles in these musicals. And
that's where I learned how to kind of refine how
to be in an audience as an actor. I had
no idea what I was doing, but it was working,
and it was because of her.

Speaker 4 (12:32):
Amazing how much a teacher can inspire and how sometimes
we want to cut the budget of arts and entertainment
and that should be the last thing we ever cut
from the budget.

Speaker 6 (12:41):
Because your proof of that, well, my argument on that
is it's shortsighted because most people who are in musicals
in school, or pick up a guitar or are in
the band, they're not going to end up doing it,
you know, nationally, you know that the odds are against them.

(13:02):
But what they get out of the arts is how
to use their imagination amen the creativity, and how to
see things that other people can't yes, and how to
either put it on paper or into an instrument or
into an expression of something, so that maybe if you
end up in some corporate cubicle or something, and you know,

(13:24):
unless you're just going to be tapping keys and not
using your brain. I mean there is some of the
best business people in the world are very creative, imaginative people,
and so I think the arts fuels that. But you know,
you can't get people to believe that.

Speaker 5 (13:42):
Well.

Speaker 4 (13:42):
To be fair, how many of the sports people are
playing football in high school or hockey or any of
them basketball go on for a pro career either. I
mean you can say the same thing, like, you know,
well musicians are going to make a living out of it. No,
they're not also going to star on the Yankees or
the Dodgers. You know, they're not always going to go
forward either.

Speaker 6 (13:59):
So you have to take you get out of it,
and if you athlete, you got out of it discipline,
team work, you know, holding up your rand, all that stuff.
I remember high school sports was very valuable actor auditioning,
and that's that the preparation beforehand was what you learn
in sports, and that transferred easily to what do I

(14:23):
have to do to get the job? I have to
prepare I have to outwork the other guys.

Speaker 4 (14:28):
Well, so yeah, it all, you.

Speaker 6 (14:29):
Know, it's there. There are things in the arts that
I wish this country supported them, and right now that
doesn't seem to be the case.

Speaker 4 (14:37):
No, unfortunately not. And being from Michigan, though I know
you are probably a huge Red Wings fan, I would think, yeah.

Speaker 6 (14:47):
Sure, Tigers, Lions, Red Wings.

Speaker 4 (14:49):
Yeah, yeah, you almost missed your big break going off
probably that big audition because you wanted to go with
your friends to a Red Wings game.

Speaker 6 (14:56):
Yeah. I had an opportunity to audition in front of
some some one that, little did I know was a
director from New York who was just out in Michigan
to pick up a check to direct some college kids, basically,
and I auditioned for him and then wanted to skip
the callback so I could go down to Detroit with
my college buddies and go to the Red Wings game.
And I got talked into staying for the callback by

(15:19):
thankfully a smarter person than me from our college. He said,
you're not going anywhere. You're staying here, you idiot. You
and I stayed, did the callback, got the role, and
ended up being a guy named Marshall W. Mason who
was the artistic director of Circle Repertory Company off Broadway
in New York. And then four months later I was

(15:41):
in New York.

Speaker 4 (15:42):
The You send him a thank you note every year
for kicking your button.

Speaker 6 (15:46):
Making you go. He was, has been, and still is
an important person in my life. That's for sure.

Speaker 4 (15:53):
A nice You never forget those that help you along
the way, And that's beautiful. And you know you're not
just a hockey fan, though I also are. A little
Birdie told me that you once wrestled an elderly lady
for a George Brett fly ball.

Speaker 6 (16:07):
Yes, we were at Tiger Stadium and the old Tiger Stadium,
and I had gotten hot dogs for the ten people
or so that were with me, and I was coming
up that little runway into the upper deck where you
can look down and see the lower deck below you,
and everybody at the opening of the upper deck where

(16:30):
I was headed suddenly jumped up and all of a sudden,
here comes this baseball and it went right down between
my legs, and I'm holding ten hot dogs, and I
see this little old lady. It's heading for her. So
I dove with the hot dogs, dove for the ball,
grabbed it before she could. I don't care. I don't care.

(16:53):
I had to have it. It's Georgie dogs Mustard everywhere.
But I got the ball and later found out it
is George Brett that hit it.

Speaker 4 (17:01):
Do you still have it? Did you keep that ball?

Speaker 10 (17:03):
I do it.

Speaker 4 (17:05):
You worked for it. You should keep that frame prominent
position in your home. Well, a happy anniversary. Forty years
ago this year, the movie Purple Rose of Cairo was released.
That was groundbreaking for your career.

Speaker 6 (17:21):
Yeah, that was a huge break, you know. At the time,
Woody Allen was, you know, a premier American filmmaker, Scorsese, Spielberg,
Woody and to get a role for a New York
actor or any actor, to get a role in a
Woody Allen movie was one something you wanted. And I
ended up getting not one, but two leading roles in

(17:45):
the same movie because I had played two different parts.
And you're on the set with Woody and and Mia
Farrow and a lot of great actors Ed Herman, John Wood,
Debra Rush, just people that I knew from New York
and all of a sudden, here we are, and it

(18:06):
was I loved it. I just loved it. It was
I was thirty years old. And when I was done
with that, Woody was happy and with what I did.
And that's when I said to myself, Okay, okay, I
can do this. I can make a living at this business.
Because if I'm good enough for Woody, then I'm good
enough for anybody. And you know, three months later, I

(18:29):
met Mike Nichols on a film called Heartburn, and I said,
do you want me to read you know, a scene
or something. He goes, good enough for Woody, good enough
for me.

Speaker 4 (18:39):
M that's a nice thing. Yeah, okay, yeah, but.

Speaker 6 (18:43):
It really was kind of a you know, yeah, that
movie kicked me, you know, up several levels.

Speaker 4 (18:48):
Oh yeah, and it almost didn't happen. Michael Keaton Batman himself,
he shot for like about ten days or something, and
wood he didn't think he had the old Hollywood look.
And here you came in and stopped in. Yeah.

Speaker 6 (19:01):
I think it was mutual. I didn't ask too many
questions about it. I don't know that Michael was comfortable.
There might have been a young child at home that
he missed or something. But I think it was kind
of mutual. And that was kind of what happened with
Woody too. It wasn't just Michael, there were some other people.
It was the same thing with me. I mean, you're
shooting and you're waiting to okay, I got through this week,

(19:26):
and then you got through the month, and there were
were there were people that had shot for six weeks
and then would he cut them together and just said, no,
it didn't work, I'm going to reshoot their scenes. And
so that's just the way he was working. He didn't
really know until he saw what they were doing on
screen cut together. So yeah, I mean I thought about

(19:48):
three months into the form five months shoot that I'm going, okay,
he can't fire me now.

Speaker 4 (19:53):
So yeah, you know, at thirty years old, had to
feel pretty good when he said to you that he
thought you we're good. I mean, that's about, like you said,
the greatest compliment that you could probably get as a
young actor.

Speaker 6 (20:05):
Yeah. That came through one of his crew people, a
costume designer named Jeffrey Kurland. He said what he wanted
me to tell you that he thinks you're.

Speaker 4 (20:14):
Good, very nice. And Jack Nicholson, you know, years later,
same thing in terms of endearment, where you got to
see him on Broadway. He came backstage and he let
you know the kind of the same thing years later.

Speaker 6 (20:27):
Yeah, those are those are the awards, you know, those
are the ones that matter. I mean, it's always nice
to win a gold trophy of some kind, but it's
when people that you respect and you admire, who have
been doing it a lot longer than you take the
time to turn around and tell you that you're doing it.

(20:47):
You're doing that. You know, you're good, You're good. I mean,
it's such a stamp of approval, and it truly means
more than getting your name called on television and giving
a speech. I mean, that's nice, it's terrific when it happens.
But I'll never forget what Jack said or what what
he said. Those those matter.

Speaker 1 (21:12):
Yeah, we do.

Speaker 4 (21:13):
And after Purple Rose of Cairo, you didn't want to
raise your family in la You decided to go back
to Michigan, and I do not disagree with you to
do that. And it inspired you so much that movie
that you opened your own theater, the Purple Rose Theater,
And that's pretty that's a testament to that role for
you and what that meant to you.

Speaker 1 (21:33):
Yeah.

Speaker 9 (21:34):
It.

Speaker 6 (21:35):
Kathleen and I had a two year old boy at
the time, and we had been coming back to Michigan
for summers, and I was, you know, my career was
perfectly fine. The movies were starting to happen, and we
didn't have to New York was expensive. I didn't think
the career would last. They never do, and and I

(21:58):
just didn't know how to live in La. I didn't
know how I'd been ten years in New York. I
didn't know how to do La. I would visit it
and go shoot there, but I didn't you know. It
wasn't until decades later that I kind of, oh, oh,
this isn't so bad, you know, But at the time
it was too much. So we moved to Michigan at
a time when nobody did that. And my agent said, well,

(22:22):
as long as you're willing to get on a plane
in Detroit and fly to la for a meeting at
your own expense, we're going to act like you're living
in La Okay. And it worked for about ten years.
It worked, and then the career kind of slowed down,
and then I had to hustle a little bit. But
then I got dam and Dummer, which you know, gave
me new life.

Speaker 4 (22:43):
Well, you know, I heard a little birdie told me
this too, that you got it. You went up to
what was a Breckenridge or wherever they were taping what
it was supposed to be Avail, and you were taping
all your scenes, but you didn't really have it yet.
Supposedly that you thought you had it, but you didn't
really have it yet.

Speaker 6 (23:01):
Well I didn't really. They had seen a lot of
actors for this. They had gone to stars. You know,
I was well down the list of people that were
being considered. But I think at the end it was
just people. They were either afraid to work with Jim
or they thought it was just just too stupid, you know,

(23:23):
a movie that really was earmarked for twelve year old boys.
And I said, I want to do it. I want
to work with Jim. I want to do something different,
and I think I can be funny. I know I
can be funny in this, and so I've got several
scenes where I know I can score. And so we
started shooting, and it dawned on me about four days

(23:44):
into the first week that Jim wasn't working, and he
was there and supportive, as were the Fairly brothers. But
we were shooting all my stuff. We were shooting the
snowball in the head, the tongue on the pole, he's
in the ski lodge.

Speaker 5 (24:01):
You know.

Speaker 6 (24:02):
It was by Thursday. I'm going, oh, I get it,
I get it, And nobody said anything to me because
they all had their fingers crossed. They wanted me to work,
but the studio wasn't quite sure, as I understand it.
And then I got into that first weekend waiting to
get the phone call. Thanks, but we're going to send

(24:22):
you home, and it never came, and I'm going, well,
maybe I'm just being paranoid here. So Monday morning I
get a call makeup hair tree, Okay, here I come.
So in I went, and Jim came in and as
I was sitting in the makeup chair, he walked by
and just patted me on the shoulder and said, just

(24:44):
keep doing what you're doing. They love you. And they
had cut together the scenes from that first week and
showed them to the studio and that's when the studio said, okay,
he can stay.

Speaker 4 (24:56):
Well, thank god that happened that way. What do you
say of those people back in the day when they
would give you that advice, don't do it, don't do
dumb and dumber. You're serious actor. You know this is
going to ruin your career. What do you say to
those people?

Speaker 6 (25:08):
Now, Well, I've always believed in taking chances and gambling
risking something. I'm a lot. I'm still the same way
I now I'm to the point where I will take
something because I don't know how to do it, which

(25:28):
is different than playing the same character basically six seven
eight movies in a row, basically playing a version of yourself,
and you're branding yourself as an actor, which has been
done forever. I mean, Clark Gable was Clark Gable, and
that's okay. But I always wanted to be somebody different

(25:52):
each time I did it, even if it was subtle
and dumb and dumber. Was a chance to do that.
I knew if I could pull off that and then
put it next to what I did in Gettysburg or
Purple Roles in of Cairo, then I would have a
range that went from way over there to way over

(26:12):
there and in between. Those two things are jobs, yes,
And Clint told me that when I did a movie
with Clinton two thousand and two. I think Clint said,
if you can do dumb and dumber, and you can
do two days in the Valley, which is a drama
I did. If you can do that, you can do that,
you can do this.

Speaker 4 (26:32):
Yeah, you are extremely versatile and I want to talk though,
I want to take a break because I want to
come back. I'm Durian Taylor. You're listening to the Sema Duram.
When we come back, we're going to talk more with
award winning actor Jeff Daniels, but we're going to dive
headfirst into his latest exciting achievement is music. Stay right there.

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Speaker 4 (28:51):
Hey guys, are you loving the show? 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 Ashley syndicated television show The Daily Flash. The
Daily Flash is your daily destination for trending stories, celebrity updates,
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(29:13):
watch every Wednesday across the country. Check your local times
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Speaker 6 (29:22):
My Ma, Ma, my ma, my ma, Ma, Yeah, my ma,

(29:42):
Ma Inner there ebody I know's going no when you
leave the driver agree.

Speaker 4 (30:17):
Welcome back to the Scene with Doreen. Proud part of
the Beasley Media Family. I'm your host Story Taylor and
coming out of break. You just heard my guest today,
the incomparable actor and singer songwriter Jeff Daniels. That was
a short clip of his beautiful song road Signs. Jeff,
I know that you've been asked many times if you
will ever write an autobiography, and I love your answer.

(30:38):
You've already you've written that biography. Many times, your life
story is in your songs.

Speaker 6 (30:45):
Yeah, I have written a lot of them. And from
when I bought the guitar and knew two and a
half chords in the seventies, I just and I was
around playwrights off Broadway in the late seventies, so I
was around writers who were writing, and I just started

(31:06):
writing my own stuff and not for anyone to hear,
because I'm there to be an actor, and you know,
leave your guitar in the apartment. You can't do two things.
But I just stayed at it, and a lot of
them are really personal and some of them never see
the light of day. But that kind of became the journal,
the diary. And it wasn't until twenty five years later

(31:30):
when I got talked into playing in front of people,
that I started pulling up some of the ones that
I could actually share with people, and that, yeah, that
really it's a great thing to do. It for those
who have a guitar and maybe they do open mics,

(31:50):
or maybe they do just they headline their back porch,
you know, great, don't just play covers. Write your own stuff,
you know, just write your own stuff. You got to
write five of them to get a good one, and
you'll get it's that's That's always been the thing that
interested me the most was you know, the next new song.

Speaker 4 (32:15):
I love that people are amazed that you, that you're
musically inclined, but you've been doing it all along, starting
out your sophomore South Pacific. You were a tevia fiddler
on the roof. At eighteen. You were even in Purple
Rose of Cairo. You saying that in that movie. So
it's not necessarily surprising that this is in you, and
it's been in you all along.

Speaker 6 (32:36):
I was never a Broadway singer.

Speaker 4 (32:39):
I was.

Speaker 6 (32:39):
I had auditioned for a couple of shows on Broadway,
and you know those people who are trained and have
those voices, and I was never that. But I was
fascinated by the acoustic guitar that the whole orchestra is
in that in those six strings, you got the low,
you got the middle, you got the high, and when

(33:00):
you start fingerpicking then it gets even more orchestral. Yes.
And then I discovered the blues, the acoustic blues, you know,
the Robert Johnson's, the Charlie Pattens, the Skip James, those folks,
and was like, oh, what's that then John Prine and

(33:22):
Steve Goodman and Arlo Guthrie and Lyle love It and
Christine Lavin and Cheryl Wheeler kept mo. Stefan Grossman was
a huge help to me. He was a He's an
incredible acoustic player, and he's the guy that people like
Clapton go to and go, hey, Stephan, how does light

(33:42):
and Hopkins play this riff? What tuning is he in?
And Stephan will know? And I met him at the
Martin Guitar factory in Nazareth, Pennsylvania. I was just on
a little solo tour with my son Ben, who's now
a musician, and we stopped it now Rift to make
the pilgrimage to see where they made the Martin guitars.

(34:03):
And they asked me, you know when'd you start playing, Jeff, Well,
you know Stephan Grossman tablature books in the eighties. That's
where I learned how to do the Travis picking and
that alternating thumb. And they go, have you ever met Stephan?
I go, no, God no, he goes, well, he's sitting
right over there. Oh So met him. Couldn't have been nicer.

(34:25):
Spent the afternoon with him, and then later on I.
He said, come on out to my house. I'll give
you a lesson. And he really worked with me. He
knew exactly where I was and what my next level
that he was going to push me to was. He
could he could judge what I knew, what I didn't know,
what I was doing, and how I could improve what

(34:48):
I was doing where you know, I'm acoustic players. You know,
we don't have drummers in an upright bass usually to
tell us where the beat.

Speaker 4 (34:57):
Is right the pocket.

Speaker 6 (34:58):
Yeah, yeah, we've got to sustain it. And kep Mo
told me the same thing. He goes, you know, we
all tend to speed up when we do our little
lead break. You can't lose the beat. And Stephan was
the guy who said, it's on the two and the four.
That's where you keep it steady right there, and if

(35:21):
you can feel that, then you'll stay in time. And
you know you won't get ahead because you want the
audience to tap their foot, but if you speed up,
they're going to stop tapping their foot and they don't
know why. And so that was, you know, it's just
technical stuff that Stephan gave me, like that was just invaluable.

Speaker 4 (35:44):
Now, did you study all along. I mean, you picked
up the guitar, you loaded it into your buick, you
drove out to New York City. But along the way,
did you actually formally study the guitar, because you're very
really you play it well.

Speaker 6 (35:56):
So no, it's all self taught, it's all tablet your books. Wow,
I knew that I wanted. The fingerpicking really started Road Signs.
Was that song that Lanford Wilson, who was a Pulitzer
Prize winning playwright, handed me a poem in nineteen seventy eight,
and I fingerpick on that and I said, he just

(36:18):
put some music to this, and it's you know, the
guy ended up win a Pulletzer. So of course I
put music to it. But I was fingerpicking in the
late seventies because how I play it now is how
I played it then. And then Stephen got me more technical,
and then you learn the blues. Now you're into the
blues scale, and now all of a sudden, the acoustic

(36:40):
guitar gets fun. And then you find out about Christine
Lavin and Steve Goodman and Arlo Guthrie, and they gave
me permission to be funny. You don't have to try
to write the next big hit, or to try to
write something somebody in Nashville might record. If you're lucky,
ignore that. Write stuff for your own set. And that's

(37:02):
where you know, the sense of humor and the comedy
that I have is you know that I go to
as an actor on occasion, I can get that into
the set and it's it's invaluable if you have a
sense of humor and you can write to it. You
can write smart funny like Christine and Arlo and Stevie.
Did you know That's that's you're pulling the audience in

(37:24):
and when they laugh, they relax, Yes, they physically relax,
same thing in the theater. And then that's when you
hit them with the road signs. That's when you hit
them with the one that's going to break them. But
you've softened them up with the humor, with the ones
that are you know, funny and entertaining. And then bang

(37:46):
and then you get them and you know, make them laugh,
make them cry, you know, good night, Drive safely.

Speaker 4 (37:51):
When you can touch them on a level, you reach
into their soul and you get them and you connect
with them on that level, you have them forever. They
are in your hand.

Speaker 6 (38:00):
The thing that that songs do. Theater can do it,
movies can do it, I guess. But if you're in
a room and you get that song, that that just
stops you. You know, I I really enjoy singer songwriters
and I don't, you know, scour the internet like most

(38:21):
some people. But you know, I came on this guy
named Stephen Wilson Junior and he's got a song called
I'm a Song and it was just on YouTube and
I took a chance because you know, the algorithms or
you know, I'm going to singer songwriters. So here pops
up a kid named Stephen Wilson Junior. Never heard of him,

(38:41):
and it's stunning, stunning, And that's that's I've been in
those rooms where you know, road Signs is one of
those songs that you know, I played fifty four below
about a month ago in New York City and nobody
moved right, nobody moved. And the power of a well

(39:03):
written song, well executed, well played, well sung, can hold
up with anything.

Speaker 4 (39:10):
It's true. It's a language that everyone can understand and comprehend.
It's one of those things. It's universal.

Speaker 6 (39:19):
Yeah, And I think that's that's the tricky thing when
you're writing something that happened to you, you know. Like
I got a song called Grandfather's Hat. I used to
I didn't know how to go out on stage as
a musician with a guitar and a chair. I didn't.

(39:39):
I was terribly nervous. And I can walk on a
movie set or a Broadway stage, no problem. This terrified
and I could what is the problem? And I didn't.
I didn't. I needed a character. I needed to play someone,
and it's I came up with, Oh, I know it is.

(40:00):
It's me in a good mood. That's the character. And
so I would get this fedora because I just love
those old hats. They're timeless and far as I'm concerned.
And so I as soon as I put the hat
on and I walk out, Jeff in a good mood,
you know, and I hit the chair, there's the character.

Speaker 12 (40:19):
Now.

Speaker 6 (40:19):
All of a sudden, all the fear went away and
I'm entertaining. And then I get into a song called
Grandfather's Hat. Where And this just came from somebody who
walked up to me one day when I was wearing
the fedora, and he goes, that your grandfather's hat. No, no,
it's not it's just something that I like, and I'm
realizing as I'm saying it that this is a song

(40:42):
and it ends up I play it and it's just
about remembering him or my father. It's really about my father.
But that didn't scan. You know, my father's hat is
not as good as my grandfather's, right, And then people
after hearing it would come up and say, my mother's necklace, yeah,

(41:05):
my father's pocket watch, my uncle's you know, wristwatch, whatever.
They all have mementos of someone they miss, and then
it becomes universal. Then it's not yours, it's theirs. And
when that happens as you're doing the song, that's when
you've struck gold. You can't go up there and sing

(41:25):
into your navel. You can't write a journal full of
songs and then sing one of them that you're the
only one who can relate to it. And I've really
worked hard, and I think being an actor and a
playwright and being around all those playwrights off Broadway, they're storytellers,
you know. John Prime is a storyteller. And your usually

(41:50):
have beginnings, middles and ends, and a lot of songs
you write and it's just capturing a moment and then
spinning around that moment and songs over and that's Those
are fine too. But I've liked those songs that go
somewhere and then end up somewhere that you didn't expect.
And it's a little bit like story structure when you're

(42:11):
writing a play or a movie or a novel. There's
a beginning, of middle, and an end and I like those.
I like those guys. Guy Clark was another one that
would write those songs that went somewhere, arrived somewhere, and
so you're literally singing them a story. Yes, and I
like those too.

Speaker 4 (42:30):
You take the listener on a journey wherever that journey
may go, wherever they're going to take it, but you
are there to be the trans you know, the vehicle
to get them from point A to point B.

Speaker 6 (42:41):
Yeah, And I think spending my life as an artist,
whether actor, a musician, writer, you got to assume you
got to get past the point that you've got to
get past. You know, if you're playing one hundred and
fifty people in a club, one hundred and fifty people
can play guitar better than you, you got to get
past that. You've got to assume that there are one

(43:01):
hundred and fifty people here who can't do what you do,
and they are there so that you can take them
somewhere else a journey.

Speaker 4 (43:11):
You know.

Speaker 6 (43:12):
I've always said that art is what gives us wings,
and a good song well played can do that, and
that's what they're looking for. They don't know how to
do that. Most of them don't know how to play
the guitar, or can't tell a story well, or don't
know how to time a joke, or don't have the

(43:32):
imagination to think of a hat like grand you know,
Fedora and turn it into Grandfather's hat. They don't know
how to do that, but they love listening to people
who do. And if you can get around your head
that you're one of those people, your shows get a
lot more fun to do.

Speaker 4 (43:48):
Oh yeah. And they want to escape. They go to
the theater to escape, They go to see you to escape.
They want to be entertained for whatever amount of time.
That is, especially now, I was going to say that
because of everything going on, and we need more and
more of that. And you're funny. You actually were at
sellers Were right outside of Philadelphia, and you were at
Sellersville Theater not too long ago. And I watched that

(44:09):
entire concert that you did, and you're funny. The stories
you tell in between, that's worth it's weight in gold
right there. You paint. You set it up so beautifully
that when you do play the song, you've already been
on the journey for ten minutes while you're telling that
story ahead of time.

Speaker 6 (44:25):
Yeah, if the stories are good, and those are all
pretty much most of them were road tested, so it's
almost scripted. I remember there's the club in Michigan called
The Arc in ann Arbor, and my agent said, you
know there's somebody playing the Arc Saturday night. You should
see him. I said, who is it? Utah Phillips. Well, okay, whatever,

(44:49):
So I went and Utah's first song, the Great Railroad Divide,
was twenty minutes long. He kept stopping it to tell
a story, and then he would go back into the song,
and then he would stop it and then tell another story,
and then he would and on and on and on,
coming back to the Great Railroad, over and over and over.

(45:09):
At the break, I said to the agent, I said,
that's some of the best improv I've ever seen. He goes,
it's not improv, it's scripted. He does it the same
way every night, and I go, I know how to
do that. I know how to do that. And so
that he was a great influence as well. And so
you know, Sellersville, which is a great venue. They streamed it,

(45:30):
and you gotta it's it's you're, you're, you're holding them,
it's just you. It's there's just me and a guitar
and a chair and there there there is no band.
Nobody's gonna come out dancing. The rockhets aren't going to
back me up nothing. It's just me. And so if
it's about if you if it's the stories and the

(45:50):
songs and the timing and the humor, uh, and if
you build your set right so that it goes somewhere
and then you let him go at the end, there's
an art to that, and I really enjoyed trying to
continuing to try to master it, because to hold an
audience for ninety minutes with just you and a guitar,

(46:13):
it's easy.

Speaker 1 (46:15):
No, it is not.

Speaker 4 (46:16):
People think they just take it for granted. They think
that's what you do. You just sit there and you know,
you're just it's just part of you. And they don't
realize that there's so much work that goes involved in
all of it, be before the show, during the show,
after the show. The performance is the easy part, honestly,
it's everything else too, that the build up and the
marketing and the promotion and all of that. People have
no idea what it takes to do what you do well.

Speaker 6 (46:39):
You want to get it so that when you get
up you want to do all the It just wraps
the same thing with athletes. You know the quarterback throws
to the tight end one hundred times so that he
can do it once in the game. It's the same thing.
It's practice. It's getting that guitar in your hand when
you're home and practicing that song that you you sort
of know and sort of no, doesn't make the set list.

(47:03):
You got to know it and know how to play
it well before you get to the venue otherwise.

Speaker 4 (47:10):
Cut it true. Yeah, being able to read your audience
and know what's flying and what's not with your audience
and knowing how to gauge them. That's also a talent.
Like a DJ can do that and they go out
there and they know, okay, well they're still dancing. I'm
not going to go to a slow song now, and
you have sort of a feeling. By doing it, and
by you doing theater and all of that, I'm sure
that you're able to read an audience easier than some

(47:31):
of these musicians that could just come out there and
don't maybe have that experience.

Speaker 6 (47:35):
Yeah, there's a structure to it. You've got to win them.
You've got to grab them. The first song has to
grab them, the second one has to keep them paying attention.
The third one really needs to be, oh, this is
going to be good. You've got by the third song,
you've got to have them now you can drop in
Grandfather's hat and then and then you pick them back

(47:59):
up again. Some of it's just tempo and changing keys,
making sure you aren't playing three in a row in
the key of the eight.

Speaker 4 (48:06):
That's true, but it's.

Speaker 6 (48:08):
It's just subtle stuff like that you learn over time
and you know and save your best ones for last.
But it's a lot of it with me. Is I
need them laughing here? Laughing there, there's a serious one
laugh there. This is funnier than anything that's come before.
It great, I'll put that sixty percent of the way

(48:31):
through and then build from there. I mean, it's just
like writing a play.

Speaker 4 (48:35):
It is true. And after all this time, I know
you had the butterflies in the beginning. Do you still
get them.

Speaker 6 (48:42):
Only when?

Speaker 1 (48:47):
Well?

Speaker 6 (48:49):
Not really?

Speaker 11 (48:50):
No.

Speaker 6 (48:54):
I think when there's somebody in the audience that I
a is a guitar player, that I know they're there,
I focus even more less on the audience and more on,
you know, keeping in time or playing well. It just
makes me focus more. No, nerves are something I used

(49:16):
to get.

Speaker 4 (49:17):
Yeah, do you ever worry that all the practice and
all of the perfection that you're creating that you have
a beautiful organic feel to your music? And you can
even hear in the song I played coming out of
the break there's this realness, there's this authenticity of your
music and your voice. Do you ever worry you'll ever
lose that little bit of an organic edge?

Speaker 9 (49:40):
No?

Speaker 6 (49:42):
Uh no, because I'm not in Nashville. I'm not writing
so someone else can do it. I'm writing it because
I'm on my porch and I've got a new chord
progression and okay, this one makes sense. Okay, let's find
some good words this time. I'm Jeff and put to

(50:02):
this and you kind of wait for the right lyrics
to come, and my goal is the set list. It's
either going to make the set list or just go
into the notebook. There is no kind of sending anything
to Nashville and hoping someone else likes it. It's I don't.

(50:22):
I write for me, And it's all part of trying
to make the show I do unique. And and I think,
you know, all these decades later, I've got the set
lists and the songwriting and the stories to.

Speaker 1 (50:38):
You know, do what I do.

Speaker 6 (50:40):
And while there are of others, you know, Utah and
Stevie Goodman and Christine people like that who have done
this and do this, this is what I do, and
you try to make it unique. You try to make
it so that it's the same thing with being in
a movie or a play. You want people to see it,

(51:01):
and then when they're done seeing it, the best compliment
I can get is I can't imagine anyone else playing
that part. And it's the same thing with a song.
You know, the way Prine sings Hello in there. You

(51:23):
know others can do it, but not like him. Yeah,
And that's you're always searching for that. You're always hoping
that that and there are very few of those, whether
they're acting roles or movies or plays or songs. They
don't come around very often.

Speaker 4 (51:46):
Now you've written hundreds and hundreds of songs over your
you've been writing for years. Do you have a favorite?
I know it's like children, but do you do you
look back and say, you know what, if I could
only keep one one of these songs and this is
the one I want to reper is that me? As
the singer songwriter that I am? Do you have one
that you would like, you know, played for you?

Speaker 6 (52:09):
I would. I've been ending my the last I did.
I went out and did about two weeks in April,
and I I ended the set with a song I
wrote called start at the End. I don't have favorites.
I've got maybe ten that you know are equally enjoyable. Yeah,
but that one was based on something that Lanford Wilson,

(52:34):
the playwright, would say. And he was the one who
told me, if you want to be a playwright, if
you want to be a songwriter, you need to open
your eyes and your ears and pay attention to everything
around you because something will be said, you'll see something
or hear something, and if you aren't, if you don't
have your writer's radar on, you'll miss it right, and

(52:57):
that could be a play, a novel, a poem, a song,
whatever it might be. And he used to do things
where he would just sit in a dirty diner in
New York City at two in the morning, and he'd
be eating this cheeseburger and he would just look up
and say, this is the best cheeseburger I've ever eaten.
Any meant it, and so I was. Years later, I

(53:25):
wrote a song called the first line is the best
damn Pickett bline I ever heard, was by some guy
in a bar south of Harrisburg. And then I go
on to do this elaborate where he sits next to
this woman at a bar and just and it's not vulgar,
it's beautiful. It's just this gorgeous kind of pick up

(53:49):
that ends with hope, that ends with you know, at
the risk of seeing a grown man cry, you know,
he'd love to live in a place that whether there
are no castles, there are no thrones, where everyone's got
everyone and no one's alone, there are no hatred, there
ain't no greed. The only thing you wants, the only
thing you need, Miracles happen and dreams come true, and

(54:13):
where a man like me can love a woman like you,
and I'm just going, okay, well that's yeah, you know
it ends on such hope. Yeah, that's how I would
end the set. And it worked.

Speaker 4 (54:28):
Oh yeah, I'm getting a little for clumped over here too.
I mean, yeah, I could see you got me, and
I mean there's no music even behind that, just your
spoken word. I said that that's beautiful. That really is
a beautiful testament to everything. I don't think we can
top that, So I think I probably have to end
it here because I think that was this the beautiful

(54:48):
cheering on the Sunday. But everyone should visit Jeff daniels
dot com. Check out his music, his touring schedule, keep
up to date with everything that is the amazing Jeff Daniels.
I know you're returning, you all. You're being added to
the cast of the Apple TV show Shrinking for season three. Congratulations.
I know that's your next projects.

Speaker 6 (55:06):
Great bunch of people.

Speaker 4 (55:07):
Yeah, so congratulations. You are a busy, busy man, and
I am thrilled and honored that you took some time
today to talk to us over here. It's just incredible.
I grew up watching you and I hope to continue
watching you. For many, many many years to come.

Speaker 6 (55:22):
Thanks Darin, appreciate it.

Speaker 4 (55:24):
Thank you, you have a wonderful day.

Speaker 6 (55:26):
You two.

Speaker 4 (55:27):
Bye bye, Hey guys, that's all the time we have
for today. Thank you to my guest, the incredible Jeff
Daniels and celebrating our one hundredth episode today. For more interviews,
visit the Scene with Doreen dot Com. I'm Dorian Taylor
and on behalf of Matt myself and the rest of
the scene with Dorian crew. See you next week.

Speaker 3 (55:57):
Casey AA Loma Linda, NBC news station where your business
comes first.

Speaker 9 (56:05):
There's never been a better time for men to be
whoever they want to be. Yet it's never been less
clear who men really are. Guys Guy Radio, starring author
Robert Manny, is on CASEYAA every Wednesday at eight pm.
Whether it's relationships, sex, wellness, or spirituality, join Robert as

(56:26):
he interviews the experts about how men and women can
be at their best. Guys, Guy Radio, Better Men, Better World.

Speaker 3 (56:36):
Ten fifty AM, don't forget that number. And for you
young people who got here by accidentally fat fingering your
FM band selector. We're an AM radio station and AM
refers to more than just the time of day.

Speaker 13 (56:52):
Project twenty twenty five is already underway, and the Second
American Revolution that they promise won't be bloodless unless the
left surrenders. This is Paul by Jake Mondays and Fridays
seven am on KCAA Hi.

Speaker 10 (57:05):
This is Pastor Adrian McClellan with Jesus is the Way ministries.
Are you now ready to understand the Word of God
in truth instead of by uninformed and misinformed people. Tune
in on Sundays at one pm for the truth. You
will be very grateful that you did see you there.

Speaker 1 (57:28):
NBC News on CACAA Lomlanda sponsored by Teamsters Local nineteen
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Speaker 12 (57:45):
I'm Brian Schuok. Texas Governor Greg Abbott wants the Democrats
who fled the state to stop congressional redistricting to be arrested.
The Republican has ordered the state's Department of Public Safety
to arrest House Democrats who were not present and for
the special legislative session on Monday. Speaker Dustin Burroughs says
that state troopers have been ordered to track down the

(58:08):
four dozen or so members who fled the state.

Speaker 13 (58:10):
The governor has called me.

Speaker 14 (58:12):
He has offered DPS to fully help us make sure.

Speaker 12 (58:15):
We need to do what can be done to establish
a quorum. American Eagle stock is soaring after the retailer
received praise from President Trump. Trump complimented American Eagles marketing
campaign with actress Sidney Sweeney, which sent stocks up twenty percent.
The President addressed the controversial ad campaign with a post
on truth social writing. Sydney Sweeney, a registered Republican, has

(58:39):
the hottest ad out there. A tropical downpour threat that
will stay in the Southeast region for days has millions
on watch for potential floods. It comes after Alabama was
hit with deadly flooding yesterday that killed one person. Tourists
from certain countries could soon have to pay up to
a fifteen thousand dollars bond for a visa to enter

(59:00):
the US. Chris Caragio has more.

Speaker 14 (59:03):
That's according to multiple reports citing a notice sent to
State Department employees today. Under the program, visa applicants from
countries with high overstay rates would be required to pay
a five, ten thousand, or fifteen thousand dollars. Bond travelers
will get their money back if they leave the US
within their visa's given time span. I'm Chris Krajio.

Speaker 12 (59:23):
A civilian aircraft was intercepted by fighter jets after flying
above President Trump's golf club in New Jersey over the weekend.
Trump was there at the time, and the aircraft was
escorted out. You're listening to the latest from NBC News radiops.

Speaker 6 (59:41):
Hey you yeah, you do?

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You know where you are? Well, you've done it. Now
you're listening to Caseyaa Loma Linda, your CNBC news station.
So expect the unexpected.

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