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Steve Kamer: Getting to Know a Familiar Voice

Jerry Barmash

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After losing his gig as overnight personality at now-defunct radio station Mix 105 in New York, Steve Kamer knew his best route to a lucrative life in broadcasting was going full throttle into a voice-over career.

“The choice was not mine, but the decision was easy to make,” Kamer told BNM.

He was able to parlay 17 years as a “terrible jock” into his on-air reinventing for himself.

By the time Kamer was “transitioning” as air personality, he was already the announcer for NBC’s Today show.

Over the next three decades, Kamer has established himself as a leading sound for many media companies.

Familiar Voice

Despite decades of high-profile voice-over work, with an upbeat and energetic style, there is no resting on any laurels for Kamer, 58, who is still working with coaches to hone and refine his style.

“It’s how you stay at the top of your game and not become a flash in the pan,” Kamer said. “Even though I’m working at what some would consider ‘the peak,’ there’s the next peak.”

He just concluded work for the Olympics on NBC. For two weeks you heard him primarily announcing sponsor billboards. His voice-over work in the sports division goes back to the early 1990s. But under the new management his vocal responsibilities are only needed every two years.

Kamer is also the voice of CBS Radio’s Top of the Hour network newscasts. However, since Entercom took over (and since changed to Audacy), he isn’t allowed to air on the affiliates.

He is the local and network branding voice for Saga Communications’ cluster of news/talk stations.

“In their case, Scott Chase, who’s the group PD, likes the idea of having the network voice doing the local promos,” Kamer said.

Along with the news entities, Kamer “found his voice” in daytime talk shows. His promo list could be part of a Paley Center exhibit. He estimates being heard on 20 programs over the years—Montel Williams, Geraldo, Donahue, Sally Jessy Raphael, Jerry Springer, Ananda Lewis among them and currently Tamron Hall.

Others are familiar with Kamer for joining the final season of Judge Judy after original announcer Jerry Bishop died.

Style aside, Kamer says he separates himself with customer service.

“If somebody commits to you as their announcer, you’re expected to be available when they need you,” Kamer said.

That means if he’s on vacation, Kamer is still expected to produce as necessary for his clients.

“I have a portable travel studio that I set up in the hotel room,” Kamer said.

Early in his voice-over career, he decided to create a home studio and be more accessible to his clients, while also saving himself from the commuting headaches.

“The bad news is everybody who has a home studio can compete for the same work,” he said.

The technical set-up doesn’t feature many bells and whistles. He uses all Apple products, including a Mac mini. But there is no separate announcer booth for Kamer.

“The whole room is padded and the sound is great,” he said.

In 2018, Kamer left the studio to surprise Steve Harvey, who never met his announcer, as he was interviewed from the audience about being single and taking care of his 92-year-old mother.

Beginnings

For Kamer, who hails from South Jersey, it started in radio at just 14 years old. His upbringing helped align the stars for his microphone mentality. At an early age, Kamer would sample stations from New York City and Philadelphia during the day and other markets at night.

“I always was intrigued by listening to voices on radio, and ultimately on television.” Kamer said.

The broadcasting bug bit as a youngster as his parents took him to several game show tapings in Manhattan and he was mesmerized by the announcers, especially watching the legendary Don Pardo do the audience warm-up for the original Jeopardy! on NBC.

The love for the industry was there and so was the voice.

“Even at a young age, I had a voice that stood out,” he said. “It didn’t have a New Jersey accent, which I think was probably a plus.”

During the Olympics, Kamer had to block out time each morning to record the latest scripts for producers in Stamford, CT. There was overall a lead time of two days from producing the audio to airing.   

“They want to call or page, and have you immediately drop what you’re doing, get on the microphone and record with them,” Kamer said. “I always put my best voice forward.”

Breaking news could also force Kamer to quickly rerecord a new promo for shows like Tamron Hall even just hours before airtime.

Many weekdays Kamer can get in his recording booth at 8 a.m. and not finish until midnight.

To New York area sports fans, Kamer is the voice of the YES Network with his famous “Only on YES!” delivery. He’s been with the Yankees’ broadcast home since its inception in 2002.

“TV pays the bills, but radio is very exciting,” Kamer said. “There’s just no way around it. It’s immediate. I like to record something, hear it on the air and know that I’m a part of the overall station.”

He’s recently got a three-year renewal to remain as the voice of WGN Radio in Chicago.

“People commit for long periods of time because they don’t want you to go somewhere else in the market,” he said.

So, the value of voice affords him “some sense of stability in a job that’s considered a freelance job.”

Even more so than traditional broadcasting, the voice-over business is highly competitive.

“There are a lot of great voice-over announcers, but there’s one Steve Kamer,” he said proudly. “That’s the mantel I claim. I play in my own sandbox.”

The next generation of voice-over artists ask him often how they can also become successful. He said a good voice isn’t enough. It can’t be a hobby; you need a coach and demo tape that stands out and shows your strongest assets.

“You can’t come across as desperate,” he said.

While every gig is important and treated with the same care by Kamer, he delineates the work, for example: “When I’m doing a radio station in Atlantic City, Des Moines, or Nashville, I put on a voice that’s reflective of wearing a pair of jeans or khakis,” Kamer said. “When I’m doing the Olympics, I put on my tuxedo voice.”

Typically, he works independently without direction, a process he considers “more efficient.”

“You might listen after a while and say, ‘They all sound the same.’ And maybe they do. But I try to give each one a little bit of its own uniqueness.”

Kamer has to “own the copy” by fact-checking and, obviously, confirming any confusing pronunciations.

CNN viewers were likely hearing him on promos in the run up to the cable network’s airing of the NYC Homecoming Concert on August 21.

Always Growing

However, his popularity has not translated into commercial work. 

“[They] have not been an area that I’ve had a lot of success in,” Kamer admitted.

Another part of voice-overs that eludes Kamer are movie trailers and network prime-time promos.

“That’s a hard one. That really borders on being a good actor,” Kamer said. “Although the jobs that I do require some acting, those movie trailers and network promos require all acting.”

Those artists are storytellers and “the minute I put on the headphones and read a script, I’m not as good a storyteller as many of the people who are currently booking them,” he confessed.  “I haven’t given up on those things, but those don’t come as easily for me. I would say that a lot of the people who do movie trailers and network promos can’t easily transition to what I do.”

He was able to separate himself from those high-profile movie announcers who missed out on work for months during the pandemic. Kamer, though, has been busy throughout for his radio and TV gigs, including Inside Edition.

“The style changed in many cases. I couldn’t be as hard hitting and abrasive in some reads. I had to pull it back and reflect what’s going on in the world, even in subtle differences,” Kamer said.  

You’ll also find him doing narration work for the Smithsonian Channel, but “you really have to stay committed and interested in the subject matter.”

Despite his many assignments over the years, few people outside of the industry connect the dots to Kamer’s work.

“My voice is a celebrity. I’m not. Only my voice is famous.” Kamer said. “It’s exciting to be out and hear my voice on the TV or radio somewhere. But I like the anonymity of being in a room and not being known as the announcer guy.”

That cache as a voice on marquee projects has helped bring more big-name jobs.

Kamer is not worrying about spreading his voice too thin.

“If someone recognizes the voice, that’s fine,” he said. “But we want the voice to sort of be in the background and the message to be in the foreground.”

Sometimes his voice literally is spread too thin with a cold, or worse, laryngitis. Instead of it being a deal breaker, Kamer has been able to use the huskiness to his advantage.

“I’ve booked the job and then I can’t duplicate it when my voice gets better,” Kamer laughed.  

Upon a visit to Atlantic City you might hear Kamer welcoming guests to the Hard Rock Hotel and Casino, where “they blast my voice with announcements constantly.”

Plus, using his fondness for transportation and his Jersey roots, he “greets” PATH train riders with next stop alert and the famous “please stand clear of the closing doors.”

He also enjoys being heard on a handful of New Jersey radio stations.

“It’s just really cool to be on local stations that you grew up listening to,” Kamer said.

When it comes to picking projects, Kamer needs to feel passionate about the topic.

“It’s not driven by money,” he admitted.

Despite that, Kamer was intrigued by the chance to earn his annual radio salary in a month of voice-over work.

That said, his rates are based on various factors, including market size and amount of copy per month.

“A local radio station isn’t going to pay the same as NBC Sports. That would be ridiculous,” Kamer said. 

With a great career that shows no sign of slowing, Kamer occasionally wonders “what if”? 

“Had radio continued to embrace me as a jock, I might still be doing it today,” he said.

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BNM Writers

It’s Time for News Radio to Clean Its Clock

With radio, the top of the hour always begins with a self-aggrandizing, overly-produced introduction to a program I may have been listening to for half an hour already.

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A photo of clocks

News radio is an interruptive format that swiftly moves listeners from one informative topic to
the next but over the years we’ve gotten bogged down with an insufferable amount of clutter: too many commercials, endless promos and teases, and pointless production pieces. All of it
interrupts the flow and cuts into the interesting information you promise to provide.

Let’s clean the clutter, starting with the anachronistic basis for it all: your hourly format clock.

I’ve never understood why radio stations root themselves to the clock. The show starts at the top of the hour and you bury your boring features at the end. Why? Why should the top of the hour be considered the beginning of anything? It’s not how people live their lives. Radio isn’t like TV where shows start at specific times. Hell, TV isn’t that way anymore.

But with news radio, the top of the hour always begins with a self-aggrandizing, overly-produced introduction to a program I may have been listening to for half an hour already. This is especially true with morning shows, where simple logic would suggest that people trying to get to work by the top of an hour begin listening at various times before then.

Who even owns a clock radio anymore?

The 21st century is nonstop. There is no daily news cycle, no beginning or end to anything but
news radio programmers still think of time in divisions of hours, minutes, and seconds. We still draw empty circles depicting analog clocks to plot hourly radio formats.

On news and talk stations, the top of the hour almost always begins with the hourly network
report. It’s the biggest of big-time radio, steeped in tradition, professionally detached, global. In other words, it sounds nothing like your radio station in your unique market and it contains the least interesting content you have to offer.

We cling to the networks at the top of the hour for their prestige, because that’s just how we’ve always done it. Any national or international stories of real interest to Americans, the latest Trump-Biden court decisions, for example, will be well covered in talk shows and you’ll probably want to drop it into your local programming, too. How about a one-minute segment twice an hour, 60 seconds of just the big national and world stuff, in 10-15-second boil-in-the-bag headline segments? I’m just spitballing here. You’re the programmer.

In my heretical news radio mind, the networks do great journalism but they still sound flat,
stuffy, and old-fashioned. They don’t sound like anything else on my station. I’ll dump the top-of-the-hour five minutes and cherry-pick the network sound bites. We’ll deliver them ourselves.

While I’m carving up your format and trying to get you thinking outside the box, do you need
traffic reports every ten minutes? Or, at all? Heresy, I know. Catch your breath and read on.

When we had real-time airborne local reporters telling us what they were looking at it had a gee-whiz factor and the information mattered because it was live, local first-hand reporting. I could imagine the scene as it was being described. Now we have reporters in booths looking at
computer feeds and doing shotgun-style traffic reports for multiple cities. Words without
pictures.

I knew an L.A.-based traffic reporter who did reports for Salt Lake City though she had never even been there. These so-called “real-time traffic” reports are nearly always recorded and delayed for playback. Does this practice serve any purpose at all except to deceive listeners?

Not incidentally, traffic reports are a prime target for AI exploitation. How difficult can it be to
attach state and local transportation agency traffic data to AI voice-to-speech generators? For all I know this is already being done. You can argue it’s cost-efficient but as a longtime morning news host/anchor/personality, I despise it. One of the greatest assets to any morning news team is the interaction between news and traffic people.

When Amy Chodroff and I started working together at KLIF a dozen years ago we had that human contact with remarkable radio veteran Bill Jackson doing traffic from an adjoining studio. Bill wasn’t just a voice, he was a talented news radio veteran and a valued part of our show. He was so good the company, Cumulus, put two more stations on his plate, ripping a valued team member away from us.

As hosts, Amy and I had to assume Bill wasn’t able to listen to the show anymore because he
was too busy gathering and preparing his reports for the other stations. Then he was shipped out of the building to do his work from home which made his insights and witty exchanges
impossible. We couldn’t talk to each other off the air. We couldn’t exchange glances, smiles, and hand signals or bump into each other in the hall. Our show suffered and our audience became a bit more detached.

Bill Jackson, real name Dale Kuckelburg, was also significantly detached from his career.

But I digress. The biggest problem with traffic reports is the shotgun approach I mentioned,
telling everybody in our listening area driving to their unique destinations how traffic is snarled thirty miles away. Good god, we have apps in our cars that do a much better job in real time.

How about the weather? What the hell, we’re swinging the ax here. Let’s be realistic.

There isn’t a day in my life that I don’t wake up with a fair idea of what weather I should expect. I don’t need someone on the radio telling me to carry an umbrella. If it’s iffy the immediate and highly local details are now available at the touch of an app. When the weather becomes of critical and life-threatening importance it’s a major news story and that’s when local radio news shines, making it the center of our continuous attention, not just a regular feature at scheduled times.

It’s your radio station, do what you think is best. I’m only suggesting that you might want to
reevaluate all the things we’ve all taken for granted for far too long.

News radio has always been an interruptive format. We promise listeners “the news you need” in the time it takes them to drive to work. They understand that they’ll receive useful and
interesting content in exchange for frequent subject switching and sponsorships. The great news stations know how to capitalize on that agreement but too many have sold their souls to
commercial clutter that chokes a news team’s ability to serve the promised meal.

As if 22 minutes of inane and repetitive commercials per hour aren’t bad enough programmers, struggling to do their work in a hurricane of increasing spotloads, add to the clutter with recorded promos that simply beseech listeners to keep listening while offering nothing of substance. Meanwhile, the same programmers tell talent to tease, tease, tease the subjects they’ll talk about six, twelve, and twenty minutes from now.

I know the business reality. Radio — especially news radio — is struggling to meet the profit insistence of corporate boards and the overhead needs of staying afloat locally. But at some point, we must answer the question, who do we have to serve first, our clients or our audience?

Station managers and their corporate masters have to stop issuing profit mandates without
offering programmers the opportunity to do their jobs, to provide more valuable content while
limiting commercial minutes, sponsorship rhetoric, and eliminating distracting bells and
whistles.

Clean your clock. Stop filling empty circles with stuff that made sense 50 years ago but is merely clutter today.

The only way to think outside the box is to get rid of the box.

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BNM Writers

AM 680 WCBM Leapt Into Action As the Francis Scott Key Bridge Collapsed

Our employees live and work here and know what’s important to our listeners.

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As Americans woke up to a cargo ship hitting Baltimore’s Francis Scott Key Bridge Tuesday morning, the crew at AM 680 WCBM was already hard at work gathering the facts.

Just before 1:30 AM, a cargo ship lost power exiting the Baltimore harbor, striking a support beam that toppled the 47-year-old structure. In the wreckage, six people working on the bridge died, while drivers were rescued from the rubble in the chilly waters of the Curtis Bay.

The AM news/talk station — which celebrated its 100th anniversary Thursday — went wall-to-wall breaking coverage, something most outlets now avoid because of budget concerns. 680 WCBM morning host and Program Director Sean Casey told BNM in an email exchange how his crews handled the breaking news.


BNM: When did you guys hit the air with breaking news coverage?

Sean Casey: We first broke in with updates at 3:30 AM, approximately two hours after the bridge collapsed. Breaking news updates continued every half hour until 6 AM.”

BNM: How did you coordinate coverage in those moments?

SC: Full wall-to-wall coverage started at 6 AM and included full newscasts as well as interviews with state and local law enforcement agencies, eyewitness call-ins, and our national news partners. Our producer made call-outs and our news department shifted to full-blown local coverage.

BNM: How much experience did you have in putting together coverage of an event like that on the fly?

SC: Having been on the air during 9/11, I used the same formula that listeners want to know: Who, What, When, and Where? The why will come later.

BNM: How does your coverage show the importance of both local radio and AM radio?

SC: In times of breaking news events that impact our listeners, local AM radio stations are more in tune with the local listening audience. Our employees live and work here and know what’s important to our listeners. We also know the local players and officials and can get immediate reaction.

The talk component of our news/talk format offers listeners a chance to vent, share, and communicate with each other in good and bad times. This is why AM radio is still relevant. In some emergencies you can lose your cell service or have too weak of a signal, AM radio remains viable for in-car listening and at home with battery backup.

The AM 680 WCBM morning host and Program Director concluded his thoughts by noting the importance of a team effort, not only in coverage of breaking news events but also in operating a successful station and business as a whole.

“One of the biggest concerns we have is budgetary. More and more AM stations are abandoning the format because of its expense. Very few can afford a live and local news staff and show hosts,” Casey told Barrett News Media.

“Now more than ever, it’s vital that there be synergy between ownership, sales, and programming to maximize ratings and revenue so that we can continue to deliver vital information to listeners in our market.”

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BNM Writers

News is the Only Thing Missing From Election Coverage

Coverage of the election is, as we’ve discussed, still very horse-race-centric, and there’s been, of course, coverage of the various Trump court cases, but where is the coverage of exactly what the candidates plan to do if elected?

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A photo featuring I voted stickers

The first thought I had when I heard NBC had hired Ronna McDaniel as a commentator for $300,000 a year was to wonder how many actual journalists they could have hired for that money. Then, I recalled that NBC had laid off dozens of news staffers just a few months ago. Then, I remembered that I had just recently written a column decrying news organizations throwing pretty much anybody on the air as a “pundit” and this….

This was worse. It’s one thing to grab some rando who happened to be a minor functionary for the Executive Branch. It’s another to hire someone whose job was to promote election denialism and pretend that her opinion is something valuable for viewers. And, yes, it’s just as ridiculous when news organizations hire former presidential press secretaries (that’s you, Jen Psaki and Sean Spicer), their very jobs were to spin everything in their bosses’ favor and now you’re going to pay them big salaries for, um, what? Because they “have a name” or you’re afraid someone else will snap them up? Why them?

The McDaniel deal lasted five days, one completely unilluminating interview, and one unexpected Chuck Todd spine-growing outburst, so it’ll all blow over soon enough. The problem is, though, the part about having fired several news staffers, and what it means in an election year on both the national and local levels. If you have the money to hire an alleged pundit – any alleged pundit – you have the money to hire reporters, and I don’t mean anchors or opinion show hosts.

Coverage of the election is, as we’ve discussed, still very horse-race-centric, and there’s been, of course, coverage of the various Trump court cases, but where is the coverage of exactly what the candidates plan to do if elected? Who’s probing Project 2025 and why isn’t it front-page, first-segment news? Who’s pressing the Biden administration on Gaza? Is anyone reporting on the candidates’ record on climate change?

Beyond prescription drug prices, is anyone digging into the broken healthcare system and demanding answers from the candidates about what they’ll do to fix it (and not letting Trump get away with “I’ll have a better plan, a beautiful plan” without a single specific detail, like they did in 2016)? Why didn’t anyone focus on, for example, the GOP candidate for governor of North Carolina and his incendiary past comments well before the primary?

Pundits are not going to do the legwork on the issues; they’ll just talk about swing states while John King and Steve Kornacki point at their touchscreen maps. We need reporting on the things that matter (and can affect that horse race, even if most people have made up their minds). It shouldn’t just be Pro Publica and scattered independent journalists doing the dirty work.

Honestly, I don’t want to hear the complaints about the quality of the candidates or how this is a rerun or any of that. (We’ll leave that to The New York Times.) We are a horribly underinformed electorate and we got the horse race we deserve. It might just be idealists like me who think that, just maybe, the news media can play a role in educating the public and bursting the bubbles and echo chambers. This country has survived and prospered for a few centuries with the press shining a light on injustice and corruption.

Now, when we need that most, they’re more concerned with what they think will bring them ratings and money (although someone will have to explain to me who thought having Ronna McDaniel as a paid commentator would draw a single viewer to NBC).

Here’s a thought: Don’t lay off reporters, especially in an election year.  Assign them to dig deep on issues that matter to the voters.

Let the pundits talk about that.

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