Mike Rowe: Renaissance Man and Jack of Many Trades

His new web show, ‘People You Should Know,’ celebrates those improving their communities across the United States.

Mike Rowe (R) and staff of "People You Should Know." Courtesy of Mike Rowe

If you don’t know his face, you’ve surely heard his silky, baritone voice. In his three-decade-plus career, Daytime Emmy winner and three times Primetime Emmy nominee Mike Rowe has produced, appeared in, and/or provided narration for a dozen different TV shows.

During this same time he’s provided radio and TV voice-over work for everything from pizza to motor vehicles to airlines, paper towels, and beyond. I recently had the chance to speak with Rowe who is as engaging and authentic as you could imagine.

Michael Clark: Could you describe the gestation of your new YouTube series, “People You Should Know?” Mike Rowe: It was originally called, “Returning the Favor” and aired on the platform, “Facebook Watch.” We did 100 episodes in four years. It was downloaded 450 million times; I won an Emmy and then Facebook cancelled it. [laughs]

Media poster for "People You Should Know." Courtesy of Mike Rowe

Clark: I watched the first episode and thought it was a reboot of “Favor.” [Both “Returning the Favor” and “People You Should Know” consist of 30 minute episodes highlighting regular citizens trying to improve their communities via their selfless dedication of time and fund-raising. At the end of each episode, Rowe surprises these individuals with donations from companies and other organizations to assist in their missions.]

Rowe: Very much so. I never had issues with Facebook. They were very generous with the show, but this was at a time when [CEO Mark] Zuckerberg was trying to figure out if he wanted to compete with Netflix. He had earmarked around $1 billion to green light several shows just to see if he wanted to be in that space and, as it turned out, he didn’t.

When they pulled the plug, something happened to me I’d never seen before. A hit show with two million regular weekly viewers just ended. It was so strange; the fans never really let it go. I told myself a couple of years ago: when I get the time, I’ll bootstrap it myself, change the title, and just get it out there. We’ve filmed six episodes, and now we’ll see. It’s a brave new world, this digital content creation space. I might be late to the party but better late than never.

Clark: Could you describe the selection process of the prize recipients on the show? Rowe: If past is prologue, then the first six I more or less do myself because there is no audience yet. Once people find it, the audience, through their many suggestions, basically programs the show. We focus on people that are changing the foster care system, those tackling literacy programs, and a guy who started a forge designed for the purpose of preventing veteran suicide. He’s had 22,000 people go through the program without a single suicide. [Note: the forge mentioned is a hearth that is used for veterans to heat metals; the metals can be shaped into objects that are sold or donated to charity. It is a way to channel depression and anxiety into something creative and beneficial to society].

Clark: That’s amazing. What’s the release schedule of the show? Weekly? Rowe: Every other Friday. The next one drops on May 16 (on the show’s YouTube channel).

Clark: It struck me as something adjacent to Habitat for Humanity. Is that correct? Rowe: Habitat would have been a great group to feature 30 years ago. I would have joined them on a build, and, when it was over, we could surprise them with a year’s supply of lumber. We’re looking for unknown or unheralded people we can help, so they can scale the good work they’re already doing.

Mike Rowe (C) during an episode of "People You Should Know." Courtesy of Mike Rowe

Clark: Do you think “legacy” media is dead or just on life support? Rowe: Great question. Obviously, I’m not an economist and don’t have a crystal ball, but I read the trades. When I look at Warner Brothers/Discovery take a $9.1 billion write-down on their cable business six months ago, that means something.

To me, it means that business model still generates billions of dollars a year, but every year, it’s less and less. Discovery, A&E, and History, at least in their cable lanes, I don’t think they’re going to go away overnight. I just don’t think investors know what to do with an asset that becomes incrementally less valuable. Yes, it’s a dead man walking. I just don’t how long it’s going to walk.

Clark: You have a superpower I’m not sure you’re aware of: the ability of appearing to be politically neutral. Rowe: Thank you. That’s very kind. Obviously, I have political opinions. I have opinions about everything. I’ve tried to align myself with … topics and subjects that are still fundamentally agnostic and apolitical. “Work,” for instance. Work is different than labor.

Mike Rowe on the set of "Dirty Jobs." Courtesy of Mike Rowe

“Dirty Jobs” was really a love letter to work and entrepreneurship, and a look at what happens when you master a skill that’s in demand. That’s not a political proposition. Once I realized I was able to occupy a little sliver of space in the middle, I tried to protect it. I’m in the business of elevating hard work, passion, innovation, risk, and kindness.

Clark: What’s the difference between voice-over and narration? Rowe: [pause] Hmm, that’s interesting. A voice-over is something you would associate with a commercial. [Slips into announcer mode] “When it’s gotta be deep, and it’s gotta be thick, it’s got to be Dominoes.” That’s the first voice-over I ever did. Narration is typically longer form, usually associated with documentaries or a [TV] series. The biggest difference is short form versus long form.

Clark: At one time you were an opera singer. How long did you do it and why did you stop? Rowe: [laughs] Well, I did it for nearly eight years. I did it because I couldn’t find an agent to get me auditions for acting jobs, hosting gigs, or commercial work unless I was in the Screen Actors Guild [SAG]. The loophole was if you get into a sister union, like the American Guild of Musical Artists, which oversees opera, then you can buy a SAG membership.

I was 22, living in Baltimore and realized it was easier to fake my way into the opera than a hit TV show. I crashed a call for the Baltimore Opera, and I got in. I then realized the music was way better than I’d thought, and the girls, Michael, the girls were just terrific. I’m dressed as a pirate or a Viking surrounded by 50 beautiful women.

I finally got an acting job which led to many other jobs. Eventually, I worked my way up to the sewer.

Clark: [laughs]

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