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Eric Vitro (4:09)

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Buzz Knight (4:13)

Taking a Walk Eric Vitro, thanks for being on the Taking a Walk podcast.

Eric Vitro (4:18)

Thanks so much. I'm thrilled to be here.

Buzz Knight (4:21)

So, since we call this taking a walk, I do have to put you under the heat lamp and ask you our opening question.

Eric Vitro (4:28)

Okay.

Buzz Knight (4:28)

Which is, Eric, if you could take a walk with somebody, living or dead, who would you take a walk with? And where would you take that walk with them?

Eric Vitro (4:40)

Gosh, there are so many people that come to mind instantly, I think. And he's living. I think it would be Deepak Chopra because he's one of my favorite writers and I love so many of the things he's had to say. His books have had a big impact on me, and so I have met him briefly. But I think to take a walk with him, I think would be fascinating. And I think it would be life changing, even more so than the books.

Buzz Knight (5:12)

I think it'd be amazing. I think, yeah, it would require you possibly to not be too far from where I am. Because isn't he out in Western Mass. Or something?

Eric Vitro (5:21)

You know, I don't know, but I, I met him out here. He was in a restaurant one time. Well, I met him several times, actually. He wouldn't remember me, probably because it wasn't really a formal introduction. One time, it was one of his talks. He gave a talk and one of my students had sung an operatic aria before the talk started. So she did introduce me to him, and. And that was just, hello, nice to meet you. What a great lecture. Then I saw him at a restaurant, and I was with a friend of mine, and I said, you know, I was listening to his book, one of his books on the way here. I think I'm going to go tell him. And she kind of looked at me like, I don't know if you should bother him. And I said, you know what? I'm just going to do it because my instinct is telling me to do it. And he could not have been warmer and more friendly. And he actually hugged me. And she was like a. I could see the shocked look on her face because I was staring at her when I was having this encounter with him. And I said to him, I was listening to your book on the way, and I love it when you read the books, because there's something about his voice that I really, really like. I find it very soothing, and it's intriguing to me and seems very sincere. And so I had a really great encounter with him. So that's why I know that a walk with him would be great.

Buzz Knight (6:34)

Wouldn't it be such a terrible story that somebody so chill and so inspir if you went up to him in a restaurant, that he gave you the proverbial hairy eyeball?

Eric Vitro (6:48)

I know, I know. And, you know, you hear those things that happen all the time. But I always give people the benefit of the doubt because I think that if you. I know myself. I've been out with some of the people I work with who are quite famous, and it is really intrusive when you're having a conversation, you're right in the middle of something, you know, like I might be about to tell a punchline. All of a sudden someone comes over and goes, oh, my God. Oh, my God, I can't believe it's you. You know, all of a sudden, everything has to stop for that moment. And so I get it. I get why sometimes people get a little irritated and say, please, I'm with my family or with my friends or whatever. The person who I see, though, handle it so graciously. It's amazing, I think, because he's had to do it probably almost his entire life as John Stamos, and I've been places with him. One of the place we were in a movie premiere was Timothee Chalamet's Wonka, and John was there, and he'll spot someone. He can look at you, but out of the corner of his eye, he'll see someone coming towards him. He knows what they want. They got their phone out because they want a picture, a selfie. So he'll keep talking. He'll acknowledge them. He'll do a quick smile and a nod. He takes the phone, he poses with them for a second, takes the picture, nods, and they're happy, they're thrilled. And he somehow handles it so graciously. It's amazing.

Buzz Knight (8:10)

That is masterful.

Eric Vitro (8:12)

Wow. Yeah, he's amazing.

Buzz Knight (8:14)

So what initially inspired you to become a vocal coach? How did your early career develop before you were working with, you know, Hollywood stars?

Eric Vitro (8:23)

It started when I was really just a kid. I was always fascinated. I would see things on television. I'm old enough to have watched the Ed Sullivan show, where you'd gather around the TV on Sunday nights, and they had all kinds of, you know, live acts, everything from Elvis Presley, the Beatles, all of that. And it was so exciting to me to see those people. And I'm not quite sure what it was inside of me. Well, actually, I can say I do know, now that I think about it. So I learned to play the piano very young. I was, like, around 5 years old, and I started playing the piano. And so people would sing along. I would play the piano songs. Sometimes I played from a book called Italian Songs and Dances. And my grandmother would sing along, and she loved it. One of my grandmothers, my neighbor, had a really beautiful voice. The neighbor who lived next door to me, she came over and she would sing. And then I started playing for my classmates to sing. You know, I started playing the patriotic songs in the morning in class. I started teaching some of my classmates at school songs. So I think somehow that implanted in my head, oh, you know, I've got this gift, or I've got this thing that makes me a little special or a little bit different. And then I started fantasizing, well, what would be like, the people I see on tv, like Elvis Presley, what would Elvis be like to play the piano and Elvis sing Love Me Tender? You know, I just thought, oh, he had that beautiful voice. And even Judy Garland. All sorts of people I would listen to, and. And I think, I wonder what that would be like. And I started fantasizing about working with these people, coaching them, giving them tips. I think you should be a little louder. I think you should be a little softer. It just happened very naturally. So technically, because I started playing the piano and did it in class when I was in grade school, I'd basically been doing it my entire life. It's all I've ever done.

Buzz Knight (10:17)

So was Ed Sullivan a pivotal situation for you in terms of impacting you and your love of music?

Eric Vitro (10:28)

It was Ed Sullivan combined with. I had one of my grandmothers used to take me and my cousin Melissa to see movies at the one movie theater in the small little city that we lived in at the time. It had one movie theater, and it was a big, beautiful, though old movie theater. It's still beautiful. It's still there. And we would go and see the Sound of Music, west side Story, I think Babes and Tor Toyland. And then on the way home, we would walk back to my grandmother's house, and me and my cousin Melissa would sing every song that we could remember in the movie. You know, probably just the choruses, but we would sing along. We'd sing it on the way home. And so I think it was the combination of that then watching Ed Sullivan, watching the people live, and then me playing the piano for my classmates. And I would get very excited when they would sing, and I would start, like, coaching them. Oh, try it like this. My cousin Debbie still left. She always says, remember, I was your first student. She reminds me of that all the time. She says, I started it all off. I kicked off the whole thing. And she doesn't remember as much as I remember that she was singing A Christmas Carol one year, and I kept telling her she was singing it wrong, and I was correcting her, and she said, I got really irritated. Like, no, no, it's not like that. You're singing it wrong.

Buzz Knight (11:46)

And.

Eric Vitro (11:47)

And so for some reason, that was just my thing. And then I think when you're a child, if you get attention for doing something that makes you feel kind of special, you really lean into it because it makes you feel like you have something unique to offer. So it just went from there. And that even when I went to NYU and I also took courses at Juilliard, I spent more time working with my schoolmates on their music than I did on mine. You know, I just was always trying to help them sound better.

Buzz Knight (12:20)

And since the moment you started, it's pretty interesting. I was thinking about this before you came on for the interview. I mean, in general, the concept of coaching, you know, business coaching, leadership coaching, you know, is really sprouted so many tentacles. It's become kind of this, you know, popular, you know, way of employment for people. And when you started, I'm sure there were vocal coaches, but were there many of them?

Eric Vitro (12:52)

No. Well, certainly not. In my little city where I grew up, there were two people, but they were Just singing teachers. One taught piano and voice. One was a schoolteacher in my school. And then on the side, he had a little side business that he would coach people. But, you know, from what my mother would see of them, they weren't what you would call big successes. They didn't make a lot of money, they didn't have a big house. And that's all she cared about. She was very into finances. And so she. When I would talk about wanting to do this, she would get really upset because she thought, oh, well, then you're just never going to have much of a life. How. And you know, looking back, I go, well, how could she? How could she think I was going to be doing what I get to do with the people I get to do it with? You know, it probably did seem like a pipe dream. My father would actually get angry at it. He would get really annoyed when I say, I'm going to go to Hollywood and I'm going to work with big movie stars. And he'd be so irritated with me, like, what the hell is wrong with you? What makes you think that this possibly can happen? And so, you know, I was sort of fighting against that. But it's not like some people go, oh, okay, that's what gave you your fuel to continue. And I go, not really. It was just my desire to do it. I just wanted to do it. And every once in a while you would see, especially in those old time movie musicals, there'd be someone banging away at the piano and the singer would be singing or they'd be rehearsing, they'd be doing a rehearsal. And it looked like so much fun. It just looked like they were having a great time. Of course, they had rehearsed that rehearsal scene a million times and that's why it flowed so easily to them. But, you know, you would watch those movies Singing in the Rain, all of them. I just loved those movie musicals and I wanted to be a part of it.

Buzz Knight (14:39)

What was the town you grew up in?

Eric Vitro (14:41)

It was called Gloversville, New York, Upstate New York, near a very beautiful city called Saratoga Springs and a kind of a classic storybook city named Johnstown, New York. But Gloversville was a factory town. They made gloves and they had leather tanneries. So it wasn't really a place that would encourage the kind of behavior or the kind of career that I was looking for. Although the truth is that they did put on quite elaborate high school musicals. And I played the piano for those musicals. And they always rented this gorgeous grand piano that Liberace had played on and he had signed it. And you know, when he would travel around, he would travel around with a glass top to a certain Make Baldwin piano. He had this glass top made. So whenever he was performing, he would have this piano on stage when he was on tour and he would say to the audience, do you like my piano? It's the only one like it in the world with a glass top. But it was just the glass top that was traveling with him. It wasn't the piano. And so anyway, they would rent that piano and for months we would rehearse those musicals. And it was thrilling to me to get to play the piano for them and also to work with the singers, all the kids that got cast in it. I would teach them the songs, I would rehearse the songs. And that, to me, was my favorite time of the year. That was just so exciting to me. And I felt like I was already in the big time. And I look back and go see I was kind of doing the same thing I'm doing now. It's just a little bit different level now, and it's a little bit higher stakes, you know, at the Grammys or the Oscars, but it's the same thing.

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We'll be right back with more of the Taking a Walk podcast.

Buzz Knight (16:23)

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Eric Vitro (17:17)

I turned off news altogether. I hate to say it, but I don't trust much of anything. It's the rage bait.

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It feels like it's trying to divide people.

Eric Vitro (17:30)

We got clear facts. Maybe we could calm down a little.

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Buzz Knight (17:59)

Fascinating.

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Eric Vitro (18:04)

Uh, Limu Is that guy with the binoculars watching us?

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Buzz Knight (18:12)

Liberty Savings barriers unwritten by Liberty Mutual Insurance Company and affiliates. Excludes Massachusetts.

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Buzz Knight (19:39)

So you've coached this incredible range of artists, from Ariana Grande to Shawn Mendes to Timothy Chalamet, Emma Stone. How do you adapt your coaching approach to such diverse talents and needs? And most importantly, could you make a no talent such as me sound good after working with me?

Eric Vitro (20:05)

Well, here's the thing. I'm not sure I would know after a couple lessons. You know, this is what I always say, because when people say, can anybody learn to sing? I go, no, they really can't. That's bullshit. But, oh, I'm sorry. I don't know if I'm so. That's okay. They can't. But what I always do say is, I can make anyone sound better. I'm very, very confident because I've done it enough times that I can make anyone improve and sound better. Can I get them to sound great? No, that. I mean, I don't know. I don't know. I. I like to think I can but sometimes people just don't have the capacity. That's like someone, you know, 4 foot 9, wanting to be a pro basketball player. It's probably not going to happen because they don't have the equipment. So if you don't have the vocal cords or the ear, it's probably not going to happen, that you'll be great, but you can definitely get better. So that's how I answer that question.

Buzz Knight (21:03)

Very diplomatic. I asked my wife before I told her I was going to be speaking with you, and she looked at me and she said, please don't ask him that question. So, of course I was emboldened and I had to.

Eric Vitro (21:22)

And I don't blame you, too. And like I said, who knows? If we did a lesson, I might go, hey, I think there's something here. I think you really. I think you have some potential.

Buzz Knight (21:31)

I'm going to take the. Eric, I'm taking that part out. I'm going to take that out of the interview. He said I had potential.

Eric Vitro (21:37)

Yeah. Edited it just the way I. I said, you know, you had asked me about all the different people, wide range of people, and some of the people, you know, I've worked with since they were so young. Ariana Grande was like, think around 13 or 14. Sabrina Carpenter was around 12 or 13. I knew right away in those cases they had such a strong work ethic, so much talent. They had such a desire and passion for it. And a lot of the other younger ones I worked with, like Shawn Mendes or Camila Cabello, Rosalia, a lot of them, you know, I just had a feeling they were going to do well because they had a passion for what they were doing. They had a really strong work ethic and they had a lot of natural talent. And. But, you know, you have to just sort of diagnose what's in front of you and make a decision of, like, how am I going to proceed? How best can I help this person? That's why when I hear a teacher say, oh, I teach the blank Blank method, I kind of turn off to that because I think, well, that method will work on some people, maybe a third of the people, but it's not going to work on everybody because everybody is so different. Everyone's history and experience of singing is so different. You have to be flexible. You can't just give everyone the same exercises and accept, you know, the same result, expect the same result. You just can't. It's impossible. So I try to tailor everything I do to whatever I'm hearing in right in front of me, that moment, that day, you know, Angelina Jolie, when we were working on the movie Maria that she did that came out last year, she didn't even sing Happy Birthday at birthday parties because someone had said to her, you can't sing. Don't do it. Don't even sing Happy Birthday. So she had a mental block about it. So part of the excitement about working with her was to get her over that so that she actually could sing and sing opera with, you know, with one of the greatest divas who ever lived, Maria Callas. So everybody is so different. Where they coming from, what their attitude is, what their talent is. I just try to be. I try to be like a doctor, you know, good diet. What do you call it? Diet. Oh, my God. Could you cut that part out, please? Diagnostician, I think that's the way you would say it. Please edit that. So anyway, I think that that's what I try to do. I try to figure out what each person needs and go from there.

Buzz Knight (23:59)

So that leads me to the direction I was going with. The next question, because many artists, they. They credit you, you know, not just with vocal training, but emotional support. And how important is the psychological and emotional aspect of. Of the work that you do with your clients?

Eric Vitro (24:19)

I think it's huge. You know, there's so many studies on how our mind affects our body. You know, the mind body connection. There's books written about it, there's articles written about it, there's documentaries about it. And so I always think to myself, I have to keep that in mind. Their mental state is going to make a huge difference on how well they do. So I try to concentrate on both things. I am always honest. I never lie to anybody. I'm very, very honest. I learned long, long, long ago that there's. There's nothing that's good or positive that's going to come out of telling someone they're great if they're not, because they're either going to make a fool of themselves or they're going to get angry at you that you told them we were great and then it didn't work out or they did make a fool of themselves. So I'm always very honest, but I do it in a way that I say, okay, this is what you need to work on. For example, someone might be singing a little flat. So I wouldn't just say, you're flat, you're flat. You're on your pitch. I might say your tone quality is improving. That's getting really good. But let's work more on Your pitch, because I think that's one of your weaknesses that we need to make stronger. So that's how I approach it. I try to do it in a way and then when they do improve, I make a big deal out of it so that they feel good about that. And when someone feels good about their progress, they keep wanting to work at it more. You know, if you're just too hard on someone, they kind of. I won't say they give up, but there is a part of them that is spirals inside and then they can't possibly do their best. So I try to figure that out. And, you know, you can suss out pretty quickly the people who really want the tough love and want you to just go at them. And then there's other people that just need more of a gentle approach.

Buzz Knight (26:03)

So I was a program director of radio stations. I started on the radio and then grew into the role as the program director. And one of the things I was responsible for was coaching the on air talent. And we used to talk about this concept with talent that most talent hated. First of all, being coached, they didn't really want it. And then secondly, this notion of the ratio of filling up the bucket with good vibe things versus those tough love things. And that ratio in radio terms was about 80% bucket filling, 20% of. Of tough love. What kind of ratio for a coach like you?

Eric Vitro (26:52)

It really depends on the person I'm working with. You know, some people would need. I don't know if I've ever gone 80%, but let's say 70%. I probably have gone 70%. It just depends on the person. You know, they're all so different and I don't want, you know, I also learned many, many years ago, I said to an actress who was auditioning for a Broadway show, I said to her, here's the deal. I was really clear. I said, you, chest voice, your lower range is really good. You have a great natural lower voice. The part you're auditioning for is a high soprano. That is not where you're at your best. As a matter of fact, that's probably your weakest area. I think you should, instead of putting so much time and energy into this, audition for a part that's really not meant for your voice. I think you should find a musical that is meant for your voice that is going to suit you and then we can work on that. And I made it really clear. And a couple months later, I ran into another actress, or not ran into. She came in for voice lessons to work on A movie. And she said, I was really nervous about coming here. And I said, why? And she said, well, because so and so told me you could be so cruel. She said, eric Vitro told me I couldn't sing. Eric Vitro said, don't even bother auditioning for the show. And I was like, what is she talking about? Was she high? Was she on crack? What was going on in her head? That's not what I said at all. And I was so, so careful not to give her that impression. I kept saying, your lower voice is great. Your belt voice is where you really should focus. That's where you're meant to be. And it also went with her personality and her look. You know, there's. There's a certain look to certain characters and musicals. You know, the belter, the high soprano ingenue, all of that. So she just wasn't meant for the character that she was auditioning for. And I couldn't believe she so got it wrong or that's what she walked away with. So after that, I was even more careful than ever. But still, the ratio just depends on the person in front of me. And I think that one of the things I'm pretty good at is reading the room. I think I'm pretty good at knowing what someone needs and also what they want. Now I'm in a lucky position, as opposed to what you were at the radio station. Whereas most of the people are coming to me for help. They want help, they're asking for it, sometimes begging for it. You know, I get calls, please, please fit me in. I really need to work on this. I can't believe I said yes to this project and now I've got to do it. So most of the time, they really want to come here. There have been several people along the way that were usually older, usually in rock bands, and the producer, the music producer who was doing their album encouraged them, or some, in some cases, insisted they take voice lessons to improve. And those people I had to win over, you know, I could see it in their eyes. I. I walked into a situation once in. The lead singer of the band said, before he said hello, before he said anything else, he said, don't try to get me to quit drinking, don't get me to try to stop smoking. And whatever you do, don't try to get me to sound like an opera singer. I said, well, I'm a voice teacher, not a miracle worker. No one's going to make you sound like an opera singer, so don't worry about it. So. So. But I'm Pretty good at knowing who I can talk to like that and who I can't.

Buzz Knight (30:18)

Have you ever had to coach a comedian? And was it possible to coach them to be able to be a vocalist?

Eric Vitro (30:28)

Yeah, well, there's been several cases where I worked with comedians or actors who did comedy. You know, the. The first was Prisoner Comes to Mind and, oh, my God, I'm forgetting his name. Isn't that awful? I can see him in front of me. He died fairly young. Oh, gosh. He ended up doing the tour of Hairspray. You know, there's the role of the mother and Tracy's mother, Edna Turnblatt, who is always played by a man. That's how it's always been. Right. John Travolta played him in the movie. Played her in the movie. And this comedian, I'm drawing a blank on his name, John. Oh. Anyway, so he was a comedian, and so I worked with him, and I thought he did a very good job. Bruce Valanch, which I don't know if he considers himself a comedian, but he certainly is a hilarious comedy writer and, you know, very funny public figure. I worked with him on Hairspray. Billy Crystal, I worked with on one of the Oscars when he sang the opening medley, which was a very comedic medley. So there's been a number of those people. Yes. And Ben Stiller, of course. Ben Stiller can do anything, comedy or drama. But I worked on a movie with him where he's saying. And they were all great working experiences, all of them. It was really, really fabulous. The only hard part about working with Ben Stiller was that every once in a while, he would have an expression on his face that I remembered being in one of his movies. And so. And I loved Ben Stiller and his movies. I just love them, all of them. And sometimes he would just kind of react to something, and I would see a Zoolander face, and I couldn't stop laughing. And, you know, and I would say to him, I'm sorry. I'm sorry, but that reminded me of Zoolander. That reminded me of, you know, another movie. And so. But he got it. He understood it. He said, oh, I know. I'm used to that. People tell me that all the time. So he was so great to be around.

Buzz Knight (32:25)

So, Eric, looking ahead, what exciting projects or New Directions are you most passionate about in your. In your work as a vocal coach?

Eric Vitro (32:33)

Oh, gosh, there's so many, you know. Well, I'm working on three movies right now that unfortunately, I can't really talk about because they haven't been announced. Well, one has been announced. It's gonna be about Sammy Davis Jr. And Colin Domingo is directing it and David Johnson is starring in it as Sammy Davis and Sydney Sweeney is in it. And I'm very excited about that. I'm such a huge fan of Colman Domingo anyway, and I had a great meeting with him, and so I'm thrilled about getting to be a part of that. I have a movie that I worked on with Jeremy Allen White about Bruce Springsteen delivery. Deliver Me From Nowhere, I believe is the title. I've got so much swimming around in my head at this moment. And Jeremy, he's going to astound people with his. His portrayal of Bruce Springsteen. He really did such a great job vocally, I can't even tell you. It was really amaz. And that's not an easy person to sing like, because Bruce has, you know, sings with such intensity. High notes, intense notes, raspy notes. I mean, it really puts you through the ringer. And Jeremy did a great job. I think that movie's going to be great. And I work with a lot of young pop stars. Several of them are going to be singing on the VMAs soon. Sabrina Carpenter is going to be on there. Alex Warren. Alex Warren had a huge song this past year called Ordinary. I think it surpassed Elvis for weeks on the charts in the uk and he's broke a lot of records. I'm so proud of him. And so there's a lot of things. Wicked Part 2, Wicked for Good is coming out, which I worked on with Ariana Grande and Jonathan Bailey. I'm so excited to see it. I have not seen it and I'm really thrilled. I mean, that, that, that became a whole world unto itself. The world of Wicked, really, you know, and so I could not have been more honored to be a part of that. And there you go. So there's a bunch of stuff that's great.

Buzz Knight (34:35)

Oh, what an honor to talk to you. Thank you for sharing all the behind the scenes and some of the secret sauce. And it's just great having some laughs and hearing the stories behind your work, Eric.

Eric Vitro (34:49)

Well, it's my pleasure. I'm so happy to meet you. Thank you so much for having me. You have such a great podcast, so I'm honored to be on it.

Commercial Announcer (34:57)

Thanks for listening to this episode of the Taking a Walk podcast. Share this and other episodes with your friends and follow us so you never miss an episode. Taking a Walk is available on the iHeartRadio app, Apple Podcasts, and wherever you get your podcasts.

Buzz Knight (35:16)

This episode of Taking a Walk is brought to you by Chase Sapphire Reserve. Whether I'm booking my next vacation or going to a concert, Chase Sapphire Reserve is my gateway to the world's most captivating destinations. When I use my Chase Sapphire Reserve card, I get eight times points on all the purchases I make through Chase Travel and even access to one of a kind experiences like music festivals and sports events. And that's not even mentioning how the card gets me into the Sapphire Lounge by the Club at select airports nationwide. No matter where I'm walking, travel is more rewarding with Chase Sapphire Reserve. Discover more@chase.com Sapphire Reserve cards issued by JP Morgan Chase Bank NA member FDIC subject to credit approval terms apply ABC.

Commercial Announcer (36:11)

Wednesday it's the CMA Awards Live.

Eric Vitro (36:14)

That's what I'm talking about.

Commercial Announcer (36:15)

With performances by Lainey Wilson, Kelsey Ballerini.

Eric Vitro (36:18)

Zach Topp, Brian Lee Green, Ella Langley.

Commercial Announcer (36:21)

Kenny Chesney, Megan Maroney, Brandi Carlisle and the hottest collabs, Miranda Lambert and Chris Stapleton, Jabuzzi and Steven Wilson Jr. Big.

Eric Vitro (36:28)

Extra plug featuring Luke Combs.

Commercial Announcer (36:30)

It's country music's biggest night hosted by.

Eric Vitro (36:34)

Your girl, Lainey Wilson.

Commercial Announcer (36:35)

The CMA Awards live Wednesday, 8, 7 Central on ABC and next day on Hulu.

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Eric Vitro (37:26)

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Eric Vitro (37:30)

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Buzz Knight (37:31)

Getting 5% cash back when I pay in 4. No fees, no interest. I used it to get this portable spa with jets. Now the bubbles can cling to my sculpted but pruny body.

Commercial Announcer (37:42)

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Buzz Knight (37:45)

Save the offer in the app ends1231.

Commercial Announcer (37:47)

See paypal.com promoter points can be redeemed.

Eric Vitro (37:49)

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Buzz Knight (37:49)

Paying for subject to terms and approval.

Eric Vitro (37:51)

PayPal Inc. And MLS 910457.

Commercial Announcer (37:54)

What a matchup we got, y'.

Eric Vitro (37:55)

All.

Commercial Announcer (37:56)

This is that classic HBCU vibe. Non stop action. The band is rocking and the crowd lit. Chance echo drum beat, everybody showing that school pride. Game like this.

Eric Vitro (38:08)

Yeah.

Commercial Announcer (38:08)

It calls for an ice cold Coca Cola.

Buzz Knight (38:11)

Ah.

Commercial Announcer (38:12)

Crisp and refreshing. That's a game changer right there. Yeah, that taste always hits the right note. Just like the band at halftime. And just like that, we're back at it. Passionate fans, school colors everywhere and it's and ice cold Coca Cola. That's a winning combo. No matter the sport, no matter the yard. Everybody knows fan work is thirsty work. So grab a Coca Cola and keep that HBCU pride going.

Ad Voice (38:40)

This is an iHeart podcast.