It’s been nearly a quarter of a century and sports documentaries as we all know them were seeded by the work of longtime HBO president Ross Greenburg, who returns to discuss how the landscape has changed and broadened for storytelling and entertaining since Steve Sabol partnered to create the first “Hard Knocks” with the Modells and Brian Billick and the Baltimore Ravens in 2001.
SUMMARY KEYWORDS
Hard Knocks, HBO legacy, modern branding, reality sports, storytelling evolution, team websites, documentary impact, women’s sports, Bill Russell, Netflix projects, sports narration, emotional storytelling, sports documentaries, women’s soccer, sports franchises
SPEAKERS
Ross Greenburg, Nestor Aparicio
Nestor Aparicio 00:01
Welcome home. We are W, N, S T am 1570 task, Baltimore and Baltimore. Posit, that’s 26 years we’ve been doing this crazy thing around here. All been brought to you by friends at the Maryland lottery. Got Raven scratch offs to give away the Maryland crab cake tour, the holiday edition, which usually means some crab Imperial, or some oyster fell or something mixed in there. We’re putting it out on the road. We’re going to be Cocos. We’re going to be Casas. We’re going to be with our friends at faintlys downtown. The whole schedule is up at Baltimore positives. Check that out. Also our friends at Jiffy Lube, multi care driving us back and forth. Luke’s getting us ready for football. I’m getting ready for the holidays. I made a little escape on the day after election, which was the day before the Ravens played two games in three days. Wednesday was like a Saturday, Thursday was like a Sunday, and I escaped to New York right after the election. I spent like a day and a half doing what I do in New York, which is walking, eating my face off, eating with my eyes, smelling with my nose, looking at things. Was 80 degrees, and I took a turn out of Bryant Park. I got off the subway, off the train, I came up, and there’s a giant ice rink. And it was 82 degrees in New York City in November, and there was an ice rink that was melting with his Zamboni and all this delicious food around. And I’m in Bryant Park, and I thought I had a moment. I had what Yogi Berra with called deja vu all over again. I thought it was the summer of 2001 and hard knocks with the Baltimore Ravens, the world champion Baltimore Ravens, with all sorts of characters of media like Shannon sharp and Brian Billick and Hall of Famers like Ray Lewis the great Tony, Sarah goossa The late, great Tony Sarah gusta. And this guy put me up to it back in the day, he took a shine to me. I don’t know why he is the greatest documentarian and sports storyteller of my lifetime, or any lifetime. And if you don’t believe me, ask Bob Costas, ask a whole bunch of people. But somewhere along life’s journey, I managed to pick him up and bring him along. And as Dick shap once said, collected him. He is Ross Greenberg. You know, I could, like, go all lipped in on you and read all of your things and all of that stuff, but I don’t even know what you’re doing. I just know I love you, and you were always you always loved me. And I turned in Bryant Park and I said, I looked up at what used to be the HBO building there. And I’m like, that, this sort of, that weird sort of triangular angle thing. And I’m like, I need Greenberg in my life to cheer me up. How are you? I’ve
Ross Greenburg 02:30
been great, and I’m still doing it, and I don’t understand why, but all these years later, and by the way, 2001 Baltimore Ravens, hard knocks, you realize that was the first reality sports series ever that that was it. That was the start of this whole cascade. You know, I guess the box to box people, like everyone to think that drive to survive was where it started. But it actually started with me and Steve Sable, guy named Marty Colin or called and gave us the first idea, and we took off running with hard knocks, and haven’t looked back still on the air.
Nestor Aparicio 03:07
You know, I haven’t had you on in a couple years, and I don’t know if we’ve even done zoom, because I’ve been doing video for five or six years, maybe sometime during the plague, I had you on. And you’re a recurring figure in my life because of those kinds of events, like I’m in New York, I’m walking through and I think of you, or something HBO, or something boxing, or something Costas, or some any of the projects you were involved in. But the thing that moves me the most being an expatriated media member. Now, I’ve been thrown out of the media here. I’ve been truly blackballed after 40 years of doing this. But what I noticed the most that I don’t know if you’ll ever be given credit for. But whatever these team websites are now, they are a living, breathing 24/7 voice as a snarky, prickly voice in social media to make fun of the visiting teams, they have their own voice. But more than that, the video portion of what let’s say Larry Rosen was doing here, we’re trying to do Emmy award winning 25 minute, miked up pieces that began everything that sable started with, with miking up coaches and John facenda and all that that came even before your time. But every team website now is a reality show, and they have editors, they have they have more people out in that building doing the work that then you had in Westminster 24 years ago, because they’re doing it every single day, and they’ve been inspired by what you you did, which is storytelling on a non stop basis. Yeah,
Ross Greenburg 04:44
and what you have to do is dig deep for the story. I mean, you you can’t, you know, you can’t just do the fluff and keep it on that level. You have to dig deep. I always tell all of the people out there that train with me and are doing such. Great work. And, you know, I’m real proud of all the people that have come through HBO that now are out there doing all this product. You know, I I have guys that work for me that are doing the fight this weekend. And, you know, Gabe Spitzer runs Netflix sports. It’s just fun. Brian Lockhart runs content at Disney and ESPN. So it’s, it’s fun to watch them kind of expand on what we did all those years at HBO, up until I left in 2011 then, you know, I started selling to all of them. So I had to go on the other side of the table, and now I’m out there pitching everybody to do you know, whether it’s docus or or movies or different things, and it’s, it’s a lot of fun.
Nestor Aparicio 05:48
I know my partner, Greg Landry, who did my documentary, which you can find out on YouTube, no one listens. Everyone hears, was named my documentary. And I, I did think through your eyes of like, all right, how’s the story going to get told? Who’s going to tell it? What are the voices look like? What are the pictures? How does it move and look I’m an old writer. I’ve written books. There’s storyboarding and saying, What is a chapter? What makes up a chapter? What makes up a story, and how to write it. I’ve been doing that since I was a kid, but doing it the way you do it, and I think the way modern reality TV. I’ve been invited to be in a couple of reality shows. They weren’t reality they were coming to me and telling me what I was going to say, how I was going to say, where it was going to stand, how it was going to be pitched. And I looked at him, I’m like, that’s going to look like shit on TV. And I don’t really want my I don’t want to I don’t need a documentary about me, or some sports piece I have, or my Aparicio. I don’t want to do that. But it seems to me that if I go back 25 years, and you’ve done a million documentaries, when I think of your Hard Knocks being the first one, and how you were doing it, some of it was a little storyboard. And I don’t know if you scripted goose locking Shannon sharp in the locker room. You certainly didn’t script those cats dancing like Ray Lewis. And the reason I bring all this up is every Ravens fan is familiar with large parts of that Todd heap and his beautiful wife, who have been friends of mine for a quarter century. But those story pieces you put together, some of it was pre storyboard, like, we’ve got a Super Bowl team here, and Bill, it’s going to be a wise ass, and we’re going to we know we’re working with but then things just happen, like goose getting drunk in Westminster one night you happen to be there. That’s part of this, the difference between a real storyboard and what becomes a final edit, right? Yeah. I
Ross Greenburg 07:30
mean, I’ve had situations even in this new world of going to sell, you know, these kinds of series where, you know, someone from the network has come to me and said, Can we get those two guys talking about so and so? And I was like, well, not really, because we’re flies on the wall and we’re kind of following them, and we’re going to tell our stories by getting them coming to us. We’re not going to tell them. You’re not blocking them
Nestor Aparicio 07:57
like actors on a stage. See, that’s where, like the fact that the sports franchises, when they do it now, they actually do outtakes when somebody walks into a shot because they were trying to create the dramatic coach walking down the hallway, and some jack wagon from sales pops out in the Nah, we gotta shoot it again. And I’m like, and you can obviously see that it’s beyond what you did, because I always, I didn’t think you ever got in the way, or there was never any perception that you were telling the coach how to cut a player. It just happened that way, and you were there, right?
Ross Greenburg 08:35
Yeah. And the beauty of it is you can tell the viewer. Can tell they’re not stupid. They can tell when a coach is walking down a hallway, you know, having been told, okay, let’s go, Coach start walking. I mean, the viewer can tell that’s a setup shot. It’s like a movie that way. And, and so, yeah, we, you know, the camera didn’t have to be perfectly focused and blocked out. It was, it was all natural. And I continue to do those kinds of shows in that kind of a way, because it, it really brings it to life. You know, you feel more of the drama that way. And you get, you know, if you want to do some things, you can add music appropriately. You can add some sound. You can add little things that make a difference, but, but you let the dramatic story speak for itself, like you said, you know, the shenanigans that that Shannon sharp and Sarah goose and all of them were doing to the rookies and all of that stuff. You let those play out naturally and and you shoot it. And that, you know, 10 years later, we were doing Rex Ryan flying off in the, you know, in the coach’s room with his coaches, trying to get Darrell Rivas back. And
Nestor Aparicio 09:48
I still never mentioned getting a snack with my wife, without mentioning a Rex Ryan profane snack.
Ross Greenburg 09:56
Yeah. And the funny part about that was, if you remember. They the guys in NFL films. The cameraman shot the lineup of the events prior to you know what he was going to speak to. He took a shot of that, and that began the segment. And so they firmly read that there was a snack at the end of the meeting. And so when he said it, let’s get a goddamn snack, or whatever, you know, it played off of that, and that’s what made it so funny. If he had just got said, let’s get a goddamn snack, you know, would have been okay. It was in the script.
Nestor Aparicio 10:36
Yeah, yeah.
Ross Greenburg 10:39
Impromptu. Right, right? Ross
Nestor Aparicio 10:42
Greenberg is here, the greatest storyteller. I know he’s still telling so I bring me up to speed. What are you doing? Because, I mean, I think of Tyson, I think of you, I think of HBO, I think of you. I think there’s a lot of things made me think of you, but including the zagropa Fund, which is another thing, and a friendship a whole different side of 911 in New York and my wife and her health. But for you, I when anything you do, when I see it, I’m drawn to it to maybe put an eye on it. And sometimes the subject matters hockey, sometimes the subject matters boxing, or people are certainly baseball. But what? What’s making you tick? What? What are you pitching to whom now and what gets you excited?
Ross Greenburg 11:22
I’ll pitch some things. I don’t know if enough people saw Bill Russell on Netflix. I did that a year ago, and it’s been on for a while. Very much worth watching, because he was a dear friend, and his story is revolutionary in this country and very impactful. I have a movie at Netflix, which was announced on the 99 ers, the team of Mia Hamm, Julie Fauci, Brandi, Chastain, Michelle acres, and those women that were really the first pioneers of women team sports in this country, in that they packed 93,000 into the Rose Bowl, and they were seen by millions worldwide. Yes, there were some good, solid collegiate basketball teams prior to them, but these women took it to another level. Certainly, they took women’s soccer to another level, which has never looked back. So we’re doing a scripted movie for Netflix. We’re finishing up the script now, and hopefully that’ll start production in 2025 and we’ll get it on, um,
Nestor Aparicio 12:29
scripted movie. Is that a documentary? No, or is that an active thing?
Ross Greenburg 12:32
That’s active, you know, I did miracle, so this would be
Nestor Aparicio 12:36
that version. Okay, understood. That was Kurt Russell, correct? Yeah,
Ross Greenburg 12:39
that was Kurt Russell. So I don’t know who the stars of this movie will be, but we’ll get some nice, big stars. I hope, uh, Netflix is 100% behind it and pretty
Nestor Aparicio 12:50
excited about it. I you prefer that kind of movie making to what I know you to to have done way more of, which is documentary storytelling. I fly on the wall documented, which is different than, I don’t want to call you reality show guy, I don’t want to insult you.
Ross Greenburg 13:06
No, I get it, but, yeah, it’s just different. It’s, it’s, there’s some, there’s a cache in making a movie, and, you know, having a lot of people attend a theater and watch a film. I remember when, when we did miracle, I went with my son, he was about 12 years old, and we went to, like, seven or eight theaters the night It premiered. That was really cool, you know, to see that you had made something and that all these people were assembling for this excitable weekend to open a movie. So it’s a different kind of thrill and and, you know, if you make a great sports movie, and I, you know, I shouldn’t be the one to say it, but I think that was pretty damn good movie. It lasts forever. You know, sports movies have a certain staying power that other movies may not have. And if it’s told right and done right, and it has that kind of a story to tell, and I think this women’s soccer movie has the same kind of dramatic story to tell that will get people crying their eyes out at the end and move them emotionally. I know, you know, it always did that for me. Well,
Nestor Aparicio 14:25
when you were running HBO, you were very instrumental in having stories told, having things made, not to mention real sports and just a whole bunch of journalism, things that I was really drawn to over the course of time. But the notion that that sports, you know the reason you turned in the wide world of sports, or any ballgames, you didn’t know the ending, right? And I think part of your Hard Knocks legacy was, we’re gonna start this thing in August, and Ray Lewis might break his leg, or you, who knows what’s going to happen that there that that is part. Part of all of that. And then there’s the, you know, I guess the part of making 3430s Right? Which that’s not what you’re that’s not what the movie on the 80 Lake Placid team or on the 99 ers would be. But that part of what the 3430s have become, which is taking a place and time and telling that story in a documentary kind of way, that’s even a different art form, right? And I, and I think that those are the things that tell these stories of triumph in the aftermath, where you go back, and I know you were involved in a Tyson story a couple years ago, as a storyteller that the people that live it go back, and that story gets told very richly after Ali Frazier years later by the people that you would have tell those stories. And I don’t think anybody ever did that better than you. And the 3430 is one big homage to the kind of work that that you’ve done. Yeah, well, I
Ross Greenburg 15:53
appreciate everything they’ve done. I’m actually doing a 30 for 30 now. I can’t announce it because they haven’t announced it, but I love, you know, the Disney machine and, and I think they’ve done a great job. And I think that, yeah, well, we started in the late 80s, which really kicked off with when it was a game in 1980 I mean, 1990 and we must have produced 60 or 70 documentaries. Up until 2011 when I left the when it
Nestor Aparicio 16:27
was a game began, Ken Burns and, like all, like, all of that storytelling really started around sports, around then, right? Really,
Ross Greenburg 16:34
I guess so. I mean, I never thought of it that way. I was just thinking of an internally within HBO. But you’re right, I don’t, I think we changed the way people looked at sports. Docus, I mean, Steve Sable, as you said, followed, you know, Dick Bucha for a year, and Vince Lombardi for a year, and did beautiful, hour long documentaries of each so I would say he and Bud Greenspan, who is also a friend and a hero, who took the Olympics and told dramatic stories, but for the most part, sports was figured to be just a playground and a place people played. And if you did a documentary, it was just kind of get some people to talk about a sports moment and go from the sports moment to an interview, run the highlights, right? Literally, right, when it was a game, you know, it took us about six, eight months, and we turned into, we turned the sports documentary into living, breathing piece of documentary artwork that had never been done before, whether it’s sound effects music, you know, obviously it was revolutionary, and then we had all this color home movie footage of baseball and told the story of what it was like from the 30s to the 50s. But, you know, it changed the way I looked at storytelling. And I remember right after that, we did rebels with a cause on the story of the American Football League. I did with John Madden, and we, we told that entire 10 year story of how the League was formed and and brought in Lieb, you know, I had looked for a narrator, kind of like the sender, and I couldn’t find one. And then I found myself in my living room, and all of a sudden, fell off the couch because I heard leaves voice on a different history of rock and roll. Donkey that he was done had done, and I called the next day and signed him up. And how important is the voice? Oh, it’s massively important. If you have an actor of his ability with that voice, it can become legendary. I mean, he became the most well known, you know, Narrator Since John fascinda in our world. And I think that speaks to him, and also, you know, the ability of our producer, directors and HBO to formulate these beautiful stories and you know, and the writers that wrote the words for him and and I think, yeah, it’s very, very, very important, although, in today’s world, you know, a lot of networks don’t really want narrators. They they feel like it takes away from the ingenuity of the product to have a narrator. In certain instances, I understand it like this. Next 30 for 30, I’ll do will be in the first person by the subject, but, but for the most part, I still like sneaking in a Jeffrey Wright or a lever or someone like, you know, the way we told the Bill Russell story. It needed a narrator, because there was too much information that had to be put in there that you’re not just going to get from an interview. I
Nestor Aparicio 19:47
actually got my Narrator from a rock and roll band and from an old VH one show before they were rock stars, a buddy of mine and I caught he was the first person my friend said, we’re going to do a documentary about your career. I’m like. Yeah, I don’t have time for that. You know, like, I didn’t listen a year and a half ago, and then I sort of thought, like, at 40th anniversary, I better do it, especially if I got somebody that can be as good at doing it, and I had the script, and he said, Who’s going to read it? And I’m like, what wasn’t written for me? I said, was written for a voice. And I called Keith Brewer, and the first thing I said to my wife, I said, if Keith Brewer, who did be before they were rock stars of age, one says he’ll do it. It’s a good idea. And that night, the thing happened, because the voice is, to me, would be everything, because without that, no one will stay with it, right? I mean, James Earl Jones was unavailable last year for me too. You wouldn’t produce the damn thing. So I had to go rogue and do it here locally. Ross, you know, yeah, I get it, but I did gain incredible appreciation. And I think I gained appreciation for you because you said rock and roll, and I wanted to make a little plug for my own gig, and certainly for my buddy the ravens and and Keith Brewer, but the Rock and Roll documentary world, it’s my favorite. No offense to sports, no offense to your Mike Tyson or this or that, but every one of those ones, whether it’s rush eagles, comp, pick any a Pearl Jam, those things are like a chef’s kiss to the work that you do. And I feel like every one of them is done by you, even though I didn’t know you didn’t do most of them or any of them. But it feels like it’s right up your alley. Do you love watching those things. Are you too critical?
Ross Greenburg 21:22
I love watching them. No, no. I mean, every once in a while I’ll get too jealous to watch but not, not music ones like the Eagles, and I’ve watched so many now. You know, the storytelling there is so rich, because there’s always guys dropping out or coming in, or, you know, there’s drug issues. So those, those have natural
Nestor Aparicio 21:45
tension in rock and roll,
Ross Greenburg 21:49
there’s always a breakup for a certain amount of time, and it’s, it’s really dramatic stuff. So yeah, I really appreciate that. Well, that’s
Nestor Aparicio 21:58
my favorite documentary art form. I mean, you really so for you with documentaries in your era, and I guess we’re almost the same age, that was so PBS, right? Like when we were kids in the 70s, the only place you could learn Nova or something. I’m trying to think of the TV shows my uncle watched, you know, on PBS, that’s what documentaries were relegated to, right, like this is a relatively new phenomenon in the modern era to storytelling this way, even though the Greeks and the Romans were doing it billion years ago, right? Yeah.
Ross Greenburg 22:29
The funny thing is, I think a lot of my instincts got picked up through Roone Arledge his ABC Sports in the 70s, though, because when he started doing the up close and personals for the Olympics, and the way they covered the Olympics by really zoning in on the athletes and their stories. That’s where I really got an appreciation for making people laugh, cry and think and get it chill up their spine over those moments, because you felt it through his you know, his eyes and the way he instructed cosell and McKay and all those announcers to really go hard into the players lie or the athletes lives. And you know, because even when I was doing baseball with ABC in the 70s, and Howard was up in the booth. I’ll never forget the way he gave you this beautiful historic oration of Reggie Jackson’s three home runs in the sixth game of the World Series in 1977
Nestor Aparicio 23:33
you know. And none of it scripted with Howard right, like Howard was just going right.
Ross Greenburg 23:39
Oh, just going right from here and and so I had an incredible appreciation for that world. And so when I got to HBO, my whole philosophy, whether we’re doing a big boxing event with Tyson, as you said, or whoever was, okay, let’s send the same chills up their spine while they’re watching these events, you know, because I was a weird kid, I used to cry when, you know, a team won a championship, and still, if it’s my team, I still shed a tear or two. But I think, think of
Nestor Aparicio 24:13
Freddie pottech in the dugout as a kid. I’m 10 years old. I mean, just those moments of the thrill of victory, the agony of defeat, right? Boom,
Ross Greenburg 24:22
boom. That those two sentences. I mean, that’s what Roone Arledge lived by, written on a napkin, by the way, by Jim McKay on a plane, my dear
Nestor Aparicio 24:35
friend in Baltimore in the great Jim McKay, how about Sean McMahon is stepping I mean, all you guys are making way for these kids in the network, in the TV business.
Ross Greenburg 24:44
You know broke we live in next
Nestor Aparicio 24:47
up, Ross Greenberg, nobody did it better. Long time documentary storyteller, Ross Greenberg productions, HBO, you kids out there, Google the Hard Knocks thing with the Ravens back in 2001 And and all the fun we had, right? So bring me up to speed a little bit. I mean, I really did think of you because of Brian Park, and I don’t get together with you too often. Um, what moves you at this point? And I think about sports like, I think you’re a Yankee fan. I’m pretty sure you are based on 61 and all of that, um, the Yankees making the World Series Baltimore, sort of back in this the Lamar Jackson thing that’s going on. There’s just so that’s the thing about sports. It never stops. And the stories keep coming, and the money keeps coming, and the avarice and greed and just all like society, all of it. But it is from a media perspective, in a storytelling perspective, the work you used to do is now so steroidal that I just, even if you love the ravens, I don’t think you can sit there and can consume can consume every piece of video content that they make available. No. I
Ross Greenburg 25:47
mean, I’m a die hard in 1963 my father got tickets to Shea Stadium for the Jets. We got season tickets. So, suffering,
Nestor Aparicio 25:55
you? Suffering? Sob, you.
Ross Greenburg 25:59
I did as a 13 year old go to Super Bowl three. So I had my moment. Okay, but let me tell you,
Nestor Aparicio 26:06
did you see him wag his finger from where you were sitting as a kid, right
Ross Greenburg 26:10
in the tunnel, right next to me? Yeah, yeah. There’s
Nestor Aparicio 26:13
a great example of whoever was holding the camera that got that shot. That’s the only way. I never see it from any other angle. I just see it from the 12 from behind, right? And, and the llama rug. I mean, NATO is his own, you know, come on, yeah. So
Ross Greenburg 26:29
that was my superhero, but, and it got to know him very well, which was a thrill of a life you’ve had, that, I’m sure, in your situation. But, yeah, I look for really cool stories to get me inspired and then try to act on them. You know, whether it’s Caitlin Clark, which I’m fascinated by, what she’s doing to the world of women’s sports, you know, there’s, there’s, it comes from all angles for me, yeah, I was inspired by, you know, the Yankee story, but I got inspired by the Met story this year. There, whenever there’s a crazy comeback or a special moment for any athlete, it drives me. And, you know, I think Lamar Jackson is going to be interesting through the rest of the year if he gets that Super Bowl, you know, trophy that he’s coveted and and will establish him as one of the greats. Because, you know, having won all those MVPs until he wins that Super Bowl, you know, he’s he’s not going to feel fulfilled. It’s just what athletes do. So each of their stories, you know, the human drama is what gets me going and, and you see it every day in this world. So especially in sports, I think last
Nestor Aparicio 27:53
thing for you, Ross women, and where you are with telling women’s stories. And, you know, I guess I go back to Billie Jean King, right? And then I would go through the 70s where Chris Everett was beautiful, and I was interested in that. And tennis was a game that came to me, and one that I played. Women’s Golf, not so much, but it did come with, you know, Nancy melted, you know, at that period of time. But then the soccer, the soccer thing that you’re telling a story from, you know, quarter of a century ago, and now women’s basketball, making that next step here and before that. To your point. Peggy Fleming, ice skating, gymnastics, Mary, Lou Retton, who is my all time favorite guest. And you talk about Olympics storytelling, that’s really where the women’s movement began in the Olympic side, but the the business of telling stories and selling tickets and selling marketing, despite how the election went last week. Um, women is a women’s sports is a growth, but I don’t know that men’s sports can grow much more. II question that with n, i, L and college and all that, but I there, it feels like there’s, um, it’s a blue sky for women’s sports, specifically as a 56 year old old dude here that if I had a granddaughter, the world would be much more open for her.
Ross Greenburg 29:07
Yeah, which is why I made a deal with hello sunshine. We joined forces. Reese Witherspoon’s company and I have joined fourth forces to try to really get to the well and dig up all these women’s stories in sports and start producing multi, multi episode documentaries, or single documentaries, whatever. But we’re going to, we’re going to dive in now. You’ll see some announcements come coming up where we’re going to get some good documentary series made.
Nestor Aparicio 29:38
Did I blow the embargo? Okay, well, we will get that right. Ross Greenberg is here. You’re so old, you know what an Olympic embargo is, right? Yeah, it wasn’t even economic. We’re in a different world. We
Ross Greenburg 29:52
really are, right, yeah, yeah, you got it. Ross
Nestor Aparicio 29:57
Greenberg from Ross Greenberg productions, nobody. Does it or did it better than him? As the sunlight hits my eye and I look sort of demonic here, let’s stay in touch. I never go to New York without stumbling into something that makes me think of you. So I’m glad that when I think of you, you return the call and come on and tell great stories. Keep telling them anything else to promote you. Let me know when that 30 for 30 thing happens. All
Ross Greenburg 30:19
right, you got it. Thanks. Nestor. Russ Greenberg checking
Nestor Aparicio 30:22
in, and the Yankees still didn’t win a championship here this year. I’ll have Janet Marie from the Dodgers, coming in here with her canopy and showing off all of her rings the way, you know some of my other friends have who work for the Red Sox and some other places. We’ll get there one day. We’re the Orioles. We’re trying harder. I am Nestor. We are W, N, S, D, am 1570 Towson, Baltimore, and we never stop talking Baltimore positive.
