Conventional radio programming wisdom supports the idea of shows having benchmark features. Pieces of content that run at the same time every morning. The idea is that listeners will know when that content will air and tune in to hear it, creating a daily appointment.
Many hosts push back against this idea, saying it’s too predictable. Especially if people listen in the same pattern every morning. The listener might only hear that one piece of content and never experience the full breadth of the show.
There are merits to both sides of that argument. However, what’s often missed in the discussion is what defines a true benchmark feature. Too often, the issue is that the content being used as a benchmark isn’t strong enough to drive listeners to make an appointment to tune in. In other words, any feature that doesn’t include enough dinosaurs.
At least that’s what Gregr of Audacy’s Alternative KNDD/Seattle might say. His signature benchmark is called Nerd Talk. A benchmark that’s lasted so long that he’s now into a second generation of nerds.
“Nerd Talk is the thing that I hear about the most,” Gregr says. “I recently had a mom say to me the only way she can get her kids into the car on time is at 7:45, you’re going to play Nerd Talk. So, we rush to get to the car to hear it.’”
Authenticity Works
That is what a true benchmark does for a radio show. It becomes a reason for listeners to tune in every day. There’s nothing easy about creating one that sticks with listeners like Nerd Talk.
Part of what drives the success of Nerd Talk is Gregr’s passion for the material. To be clear, this isn’t about superhero movies or TV shows with aliens. Nerd Talk focuses on real science, like dinosaurs and the recent NASA Artemis mission.
“I grew up with Mr. Wizard and Bill Nye. Being able to talk about science without having to be a teacher and deal with punk ass kids is awesome,” Gregr says.
When you listen, his enthusiasm for the content comes through clearly. A good lesson for hosts looking to find their signature bit.
“My excitement for what I’m talking about is legitimate. That’s what I think has worked for me on the radio forever,” Gregr says.
In addition, he’s happy to do his part to counter the giant wave of disinformation that’s exists. Gregr believes that internet has not helped people gather and understand information. Also the internet allows people to chase popularity for being wrong, because there is an audience for it.
Another element that’s helped propel the success of Nerd Talk is its sonic signature. A quick jingle that plays at the start of the feature. Gregr says that part came together with the station’s production director very quickly, and ended up being the feature’s identity for the past 15 years.
Endorsement Approach
While Nerd Talk may be Gregr’s signature benchmark, it’s far from the only thing he does exceedingly well. Another area in which he excels is making endorsements come alive. The best example is his Space Bed campaign which he started many years ago.
Originally, the campaign was an endorsement for a Tempur-Pedic bed that claimed to be made from “space age materials” used on the space shuttle. He began referring to it in the commercial as his Space Bed.
Over the course of the campaign, he got married and had a son which he affectionately dubbed Space Baby.
“Space baby was conceived in space bed which is how he got his nickname. It became a running joke. People still call him space baby and he’s eight now,“ says Gregr.
That campaign became so synonymous with Gregr that it came up during an interview with Pearl Jam.
“After the interview, Stone Gossard [Pearl Jam guitarist] asked me if I was going to try and sell him a mattress,” recalled Gregr. The request left Gregr confused until Gossard asked is Gregr was “the mattress guy.” At that point, it clicked for Gregr.
“That’s when I realized the idea that I was the mattress guy was a real thing in Seattle. It made me so happy to know that talking about a mattress and making a baby in it, I made a fan out of a guy. One, who by the way, is in the Rock and Roll Hall of Fame.”
Gregr believes it’s that the best endorsement campaigns are the ones where he can be himself. He’s happy to read any script for a client. However, the ones that really catch fire are when he gets to be creative.
“I love getting to be weird,” sais Gregr. “The wonderful people at Sleep Country and at Lexus have let me do that. They wanted me to be me.”
Relating To Your Audience
Another piece of Gregr’s career success can be attributed to being inclusive. He stay’s away from divisiveness—other than maybe occasionally making fun of one certain group.
“I try make things about Seattle when I can. Making sure that everyone who wants to be a part of the show can be,” Gregr says. “Sometimes, I’ll throw a zinger at the sort of faceless billionaires which everyone can relate to. People don’t like their jobs. They’d rather be playing in the Super Bowl or going to the moon. So, it’s easy for an old punk rocker to say the billionaires are holding us back. It’s their fault.”
But he never goes too far with anything that might upset listeners. Gregr says he’s not interested in making people uncomfortable with any of his content. Instead, he’d rather make dumb jokes about dinosaurs.
He believes it’s the attitude that has helped him maintain a long, consistent career.
“They are in good hands with me. For almost two decades, they’ve trusted me not to go too far and not to say the wrong thing,” Gregr says. “If I think something is a little coarse there is always a way to rephrase it. I’m not trying to be safe but there’s always a way of punching it up and rewriting it. Finding a sillier way to say it.”
That approach builds trust with the audience and with station management.
“My motives are pure because I think it’s fun to be on the radio,” explains Gregr. “I’m not trying to see how close I can get to saying a slur. Instead, I’m more focused on how I can make a fart joke about Jupiter by calling it a gas giant.”
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Mike Stern is a Classic Rock columnist and Features writer for Barrett Media. He has been with Jacobs Media consulting stations in the Classic Rock, Rock, Alternative and AAA world for more than a decade. Prior to that he programmed stations in Chicago, Detroit, Denver Las Vegas and other markets. He also worked as News/Talk Editor for Radio and Records, wrote about Top 40 Radio for Billboard Magazine and had his own radio talent coaching business called Talent Mechanic.
