Saturday, March 14, 2026

The 40th Anniversary of “United Underground” (TOTR 523)

 


-originally aired on WTTU 88.5 FM The Nest on Saturday, March 14, 2026

-episode audio archive posted after the live show

-most of the episode is a lo-fi cassette rip of my high school radio show on WSHJ 88.3 FM in Southfield, Michigan, from spring 1986

-all views only represent the host, the guests, & the artists played, never the student managers or the Communication department or the university


U2 - The Three Sunrises

R.E.M. - Green Grow The Rushes


United Underground - April 9, 1986 - WSHJ 88.3 FM in Southfield, Michigan

hosted by Andy Smith 


-This is a reconstructed playlist & a partial recording ripped from cassette to CDR to digital mp3; there are possibly songs played that are missing from the playlist; there are possibly songs listed that were played on the radio but are not played here; some songs may be excerpts. “United Underground” was a three hour program, & this is a 90-minute tape.


Cabaret Voltaire - Partially Submerged 

Salem 66 - Chinchilla

Salem 66 - Across The Sea

R.E.M. - Carnival of Sorts (Box Cars)

[brief excerpt of public service announcement]

R.E.M. -  Can’t Get There From Here

Sonic Youth - Brave Men Run (In My Family)

The Pogues - Sally MacLennane

(Andy talk back; dedication to Ernst)

The Replacements - Here Comes A Regular

Rain Parade - Kaleidoscope

Lloyd Cole & The Commotions - Brand New Friend

Marc Almond & the Willing Sinners - Oily Black Limousine

Cactus World News - Skin and Dust

Tom Waits - Downtown Train

The Jesus and Mary Chain - Some Candy Talking

The Men They Couldn’t Hang - The Bells 

The Housemartins - Anxious 

(Andy talk back; 8pm- ‘completely groovy music’; reading from the Black Poets anthology; “roses and revolution” by Dudley Randall)


Musing on roses and revolutions,

I saw night close down on the earth like a great dark wing,

and the lighted cities were like tapers in the night,

and I heard the lamentations of a million hearts

regretting life and crying for the grave,

and I saw the Negro lying in the swamp with his face

blown off,

and the northern cities with his manhood maligned and felt

the writhing

of his viscera like that of a hare hunted down or the

bear at bay,

and I saw men working and taking joy in their work

and embracing the hard eyed whore with joyless excitement

and lying with wives and virgins in impotence


And as I groped in darkness

and felt the pain of million,

gradually, like day driving night across the continent,

I saw dawn upon them like the sun a vision

of a time when all men walk proudly through the earth

and the bombs and missiles lie at the bottom of the ocean

like the bones of dinosaurs buried under the shale of eras,

and men strive with each other not for power or the

accumulation of paper

but in joy create for others the house, the poem, the game

of athletic beauty.


Then washed in the brightness of this vision,

I saw how in its radiance would grow and be nourished

and suddenly

burst into terrible and splendid bloom

the blood-red flower of revolution…


Husker Du - Ticket To Ride 

Husker Du - Green Eyes 

Julian Cope - Kolly Kibber’s Birthday 

The Cult - Rain 

(Andy talk back; Kahlil Gibran - Sand and Foam)

Lou Reed - Street Hassle 

Boomtown Rats - Drag Me Down

Elvis Costello & the Attractions - Let Them All Talk

The Skids - Circus Games

(Andy talk back; “unlike those big corporate ones”; reading from the Black Poets anthology; “The Plight” - James W. Thomspson)

The Virgin Prunes - Ballad of the Man

Howard Devoto - The Rainy Season 

Mike Peters - Radio i.d. 

The Alarm - Across The Border

The Alarm - Absolute Reality 

(Andy talk back; calendar: anti-war events, “open stage” - community concert series, concerts, etc.; “I graduate from high school on June 12”; “Phillip Glass is playing....look around the papers for that”)

Philip Glass - ???

The Beatles - Eleanor Rigby

The Beatles - Love To You

Hair - The Flesh Failures

(Andy talk, poem; the security told us to sit down)

The Church - Unguarded Moment

Echo & The Bunnymen - Never Stop 

(don’t talk about it, “not meant to be a great eulogy” for Paula Ward)

U2 - Bad 


10,000 Maniacs - Daktari

Lone Justice - Sweet Sweet Baby (I’m Falling)

The Cure - In Between Days


--


To produce the weekly episode of “United Underground” each Wednesday night, we hauled two giant wooden crates of vinyl albums in the back of my shiny blue Subaru, from our suburban bungalow in the Ravines, to the industrial-looking high school at the corner of 10 Mile & Lahser. Some of those discs were found on weekly borrowing trips to Play It Again Records on Northwestern Highway. In exchange for an informal shout-out on the air, Alan lent me a stack of albums from his used stock for each show every week. My high school sat adjacent to the Presbyterian church I attended those four years; the same church campus where my Daddy’s ashes are interred.


Often I would bring friends with me to the live broadcast, to help write down in a log all the songs we played in our 3-hour shift. Friends also helped me answer the phones, which sometimes rang off the wall. I reckon I had way more regular listeners back then, than I do now on the college radio, where I have hosted a program for almost 19 years. Many of my friends would listen, & I also made friends with lots of the people, who began as listeners. Not all listeners were sympathetic fans, though.

The episode (from which I have recovered these portions from the cassette) was aired on April 9, 1986. Its immersion in 80’s indie is indicative of my eclectic tastes from those days. But we were also a punk & hardcore adjacent program. The following Wednesday, the day after the United States attacked Libya, I went all-in with my fiery activist passions. (The number of anti-war events mentioned between concert announcements on the calendar run-down in this salvaged 4-9-1986 episode is evidence of my activist yearnings of those days.) 


That concluding spring term on the air, the spring of my senior year, I invited the communist lead guitarist of a local punk band Forced Anger to be my guest on the air, to advocate for a national student strike called “No Business As Usual,” not unlike the student strikes of the 1960s, not unlike the current anti-ICE walkouts or the BLM activity among youth in 2o2o, though this 1986 event was much smaller. 


The day after that show, the day after the punk guitarist had me play some crunchy cuss-filled & n-word-laced callouts about “the pigs” by a band called The D***s & after advertising the student strike, basically promoting truancy to every high school listener in the metro area, I found myself in the Principal’s office. I sat in the hot seat for a meeting about the previous night’s episode. It didn’t go well.


(The implication of my worst iteration in the authority figure's eyes was that Reagan was a "pig" for attacking Libya & supporting the Contras & stoking Cold War nuke fears, among many other things, like demonizing the LGBTQ community during the AIDS crisis.)

As the principal leaned in to defend guns, cops, armies, Reagan, ‘murica, & the like, I found myself invoking Jesus of Nazareth & the Catholic-Worker-style pacifism I had inherited from my lefty parents. The Principal wanted to make sure, though, that I would renounce pacifism if someone raped my grandmother. That is the argument they always take. (I actually had a gun-nut here in Tennessee tell me that my pacifism basically proved I didn’t love my wife, because nothing says marital fidelity like owning a firearm to defend your castle. My wife agrees with me, though, about all that peace & love stuff. We are not stockpiling any second-amendment bunkers at our house.) 


Even though I got suspended & my radio show was summarily yanked from the airwaves, I did sneak back on the WSHJ airwaves a couple of times. Later that same spring, we were excited that the station got invited to do a remote broadcast at the local mall. With permission from our faculty adviser, I got to co-host with the younger sister of the Disoriented Rain Dance fanzine editor & on-again off-again sweetheart. 


Beyond that, I was still required to attend the radio class period each weekday. That class was always a joyfully chill affair, especially for folks like me with severe senioritis. One weekday after seeing the legendary Layabouts for the first time at Alvin’s by Wayne State, I snuck into the booth to broadcast tracks from the NO MASTERS album that I had acquired the night before. If anyone was listening, they were treated to the subversive ska-&-world-music-infused skank & dance rock of Detroit’s “laziest” band.

That night at Alvin’s would be a portal to my future. I met my lifelong friend & fellow radio guy Peter Werbe for the first time at the show. Peter’s Sunday night WRIF show Nightcall was a staple for young liberals & lefties across the Metro area. We would become intense collaborators for the ensuing decades. After the pandemic, Peter published his novel “Summer On Fire” about the Detroit rebellion of 1967 & the counterculture community of that heady heyday. That book would bring us full circle, as it would occasionally end up on my American Mixtape syllabus & was the focus of TOTR 395 back in 2021. 







Saturday, March 7, 2026

Fortunate Son (TOTR 522)

 

-originally aired on WTTU 88.5 FM The Nest on Saturday, March 7, 2026
-an audio prayer for peace, one week into the current conflict between the USA/Israel & Iran
-all views only represent the host, the guests, & the artists played, never the student managers or the Communication department or the university

Earth, Wind & Fire - Where Have All The Flowers Gone
-Interview with guest Dr. Martha Highers
Todd Snider - Fortunate Son
-Poem recitation by guest Dr. Martha Highers
"My Life with US Regime Change War Background Music"
Eddie Vedder - Masters of War
-Various Artists & News Audio compiled on cassette by Sunfrog - Postcard from the Persian Gulf
(a personal audio documentary created in 1991 during the first Persian Gulf War; this is its first ever public airing, 35 years later)
Tracy Chapman - The Times They Are A Changin’

Thursday, March 5, 2026

“Southern gothic” folk, rock, & blues coming to Cookeville on 3/23

 




The first Monday of springtime, the first Monday after Spring Break, you want to be at our fantastic new music venue Mean Mel’s, just off the southbound lane of Highway 111, just north of Cookeville. Co-presented by Tennessee Tech’s UNCLE club (that stands for Underrepresented New Creative Live Experiences, since the 2010s), you don’t want to miss this triple threat of “southern gothic” music that will make your mind spin, your heart throb, your body thrum, and your spirit soar. 

On Monday, March 23, doors will open promptly at 6:30pm for a 7pm show. Colin Cutler kicks off at the top, followed by Adeem the Artist at 8pm, with One Eye Jack closing the night from 9-10pm. 

The “southern gothic” genre in literature percolated from the swampy reality of our shared trauma, refusing to subdue the tragicomic and spooky aspects of everyday life in the American south. Rather than run from our Bible-belt roots, these stories and poems are “Christ-haunted,” to amplify the Flannery O’Conner term for a world where the essence of Christ has been drained from Christianity, and we look with a keen and honest poetic lens at the “the grotesque, the violent, and the freaks,” often as unlikely ambassadors of the divine, as Karen Swallow Prior reiterates. 

When poet and Flannery O’Connor fan Ashley Massey introduced me to Colin Cutler of North Carolina, I knew that I needed to look deep and linger for a while on the front porch of his songcraft. Ashley and Colin, my friends and fellow Flannery fans, share my obsession with the “southern gothic” trope in Americana music. It gets under you and inside you. It comes over for BBQ and stays with you: it’s dip touching your lip, gas in your truck tank, kindling on your backyard burn. 

Cutler’s 2023 album Tarwater is a lush and unapologetic sonic gothic tribute to the short stories of O’Connor. No Depression puts it simply like this: “What happens when you take an English major and turn him into a musician?” Inspired by Flannery’s inspiration on Bruce Springsteen in the creation of Nebraska, Cutler collapses his Pentecostal and military background into song-stories that sizzle. 

Another contemporary southern singer who truly sizzles is Adeem The Artist (they/them), currently of Knoxville, Tennessee. To say that Deemie’s dark and delicious songs are raw and direct, would be one way to put it. But because of the intense humor of a wild mind and the religious murmurings of an ex-worship pastor, they challenge as often as they enchant, giving laughter and levity one moment, then kicking you with heartbreak and longing. 

When Rolling Stone magazine named Adeem’s breakout White Trash Revelry as the #7 Country Album of 2022, the magazine described the song “Middle of the Heart” like this: “a masterclass in economic folk storytelling that shows why their latest LP is the most thrilling introduction in roots music this year.”

The gritty and gregarious young upstart from Sparta, Tennessee, Jack Ray Judd, is probably going to mess up my thesis with a handle of something strong. Young and on fire, the trio One Eye Jack boils down my highfalutin potion to its common denominator as a music for the people: “We sound like the gritty blues ya papa used to play and the rock your parents still listen to.” Let’s just say that if you don’t leave early, we will push the chairs to the side and start to shake our butts like Saturday night, with an overall evening that will slip in some sacred and slippery Sunday morning themes.

I hope to see you there. I will be sho’nuff shouting hallelujah.

-Andrew William Smith, Sunfrog, Teacher On The Radio
www.teacherotheradio.com

This show is an all ages event. I.D. required. $12 in advance. $15 at the door.
Mean Mel’s is at 5760 highway 111 N. Ste A, Cookeville, TN
Get your tickets here:

Saturday, February 28, 2026

The Holy Ground (TOTR 521)

 

-originally aired on WTTU 88.5 FM The Nest on Saturday, February 28, 2026

-episode audio archive posted after the live show

-welcome to a first dispatch about Sunfrog’s

experiment in digital minimalism for Luddite Lent

-all views only represent the host, the guests,

& the artists played, never the student managers

or the Communication department or the university


Joni Mitchell - Big Yellow Taxi

John Prine - Paradise

Jason & the Scorchers - Take Me Home, Country Roads

Mischief Brew - Bury Me In Analog
Adeem The Artist - Books & Records

Chumbawamba - The Triumph of General Ludd
Mimi & Richard Farina - Bold Marauder
Dave Van Ronk - Samson & Delilah

Tom Paxton & John McCutcheon - Pathfinder

Jim Kweskin & Samoa Wilson - Honey in the Rock
Gordon Bok, Anny Mayo Muir, Ed Trickett - Turning Toward The Morning

Wooden Shoe Ramblers - Wade in the Water

Rich McMahon - Beauty All Around

The Dolly Ranchers - layer of highway

Casey Neill - Codfisher

Ye Vagabonds - I’ll Keep Singing
The Mary Wallopers - The Holy Ground
Oysterband - Rambling Irishman
The Men They Couldn’t Hang - Red Kite Rising
The Lone Bellow - Common Folk
Jeremy Ivey - Modern World
Mumford & Sons - Conversation With My Son (Gangsters & Angels)
Mumford & Sons with Gracie Abrams - Badlands
U2 - The Tears of Things
U2 & Ed Sheeran - Yours Eternally
Valerie June - A Rest Between Breaths


Tuesday, February 24, 2026

Super Superstitious for a Monday Night: Jesse is a prophet, S.G. is a saint

The winter leg of the “Underneath the Powerlines Tour” opened in Knoxville, Tennessee at the Bijou on a Monday night. Chilly winter air & snow flurries kissed the concertgoers walking up Gay Street, but it was plenty warm with energy & anticipation on the inside of the venue.

In one of a few sparse spoken interludes of his entire 105-minute set, Jesse Welles noted that it was good to be in the city that provides the setting of the novel Suttree by Cormac McCarthy. I don’t think the literary sensibilities were lost on the intergenerational sold-out crowd. 

As to literary lyrics, the night was a feast, beginning with the “born in Tennessee but raised in Kentucky as God intended” opening act of S.G. Goodman. Touring behind her southern gothic masterpiece LP “Planting By The Signs,” S.G. is a mellow, funny, & soft-spoken front-woman from the stage & such a genuine person that to be in her presence is a radical revelation. Accompanied by a full ensemble, S.G. is Flannery O’Connor with a black Gibson guitar, backed by an Appalachian psychedelic garage band. From the searing storytelling of “Snapping Turtle” to the hymn of inclusive intimacy of “I’m In Love,” a set with S.G. & her boys is a stunning situation in living folklore. 

Toward the end of her set, S.G. invoked our union ancestors from the coal wars with an acapella rendering of “Which Side Are You On,” which merged into a riotous delight of distortion & reverb & crunch with “Work Til I Die,” the raucous cowpunk hymn of the southern working class. S.G. exits the stage like a queen, while the band rides out the crushing crescendo. 

Within minutes, S.G. was at the merch table, signing compact discs & vinyls & taking pictures with her fans. The merch included the usual hats & shirts & coozies, but also a pouch of seeds & boxes of matches or playing cards, & of course, a ‘zine. I love that artists are making their own paper ‘zines again. 

Jesse’s 28-song set had the symmetry of a solo acoustic opening section, a full band meaty middle, & an extended acoustic encore. 

The affectionate crowd hung on every word, every note, every song, & punctuated the pauses between tracks with howls & emphatic petitions of “I love you.” Silver hairs & teenagers & every demographic in-between comprise the deep well of Welles heads. The transition from the first acoustic section to the electric set was like the colors coming out in Oz, it was like Dylan’s move from a Greenwich Village unplugged strummed sermon to a Newport Festival plugged-in surrealist electric blues. 

As the band stepped-out & the rock sounds surged, an oversized American flag unfurled behind the stage. At first I thought it was a video projection that would change by the next song. No, this was an obscenely gigantic flag, fit for a car & truck dealership in a deep red state. But make no mistake, this bold icon was deployed as more MC5 & Abbie Hoffman than as Lee Greenwood & Kid Rock. 

This artist adopts classic-rock roadhouse tropes both unironically & unapologetically & with the bookish side, it’s like Jim Morrison meets Jim Harrison. Throw in the Black Sabbath, CCR, & Bob Dylan covers & sprinkle in some LSD references & the yearning of 1970s folk-rock radio, you get the idea. The American flag fits when understanding this larger context. It’s reclaimed with the fervor of a peaceful revolutionary. It honestly calls up these lines by the Kentucky poet Wendell Berry: “Denounce the government and embrace/the flag. Hope to live in that free/republic for which it stands.”

Jesse played most anything & everything you needed to hear from the flurry of recent albums since he blew up not that long ago, from “Walmart” to “War is a God” to “War Isn’t Murder.” The only “hit” I feel like we missed was a full-band version of “Fear Is A Mind Killer.” I have the entire setlist pasted at the end of this reflective review.

It’s all here, all the references, influences, & inclusion, & it needs no disclaimers or gatekeeping, it’s the biggest tent of all possible tents, which I presume is at least partially the source for some of the anti-Welles backlash. The tired critique supposes his trite insincerity, which is wonky, only because he is so sincere. But no sincerity is more earnest than the cynical eyeroll, against your own folky family. They seem to think that Jesse Welles is a coin-operated song-generator to give your liberal couch-boomer version of the Facebook-grandpa all the nostalgia content he craves. 

Of course, I think it’s all bullshit, all this comments-section posturing, because what we really crave is the human connection & the spirited solidarity. Frankly, the Jesse Welles vast discography & his communal concerts, all provide the passion & purpose & prophecy we need, a pierce to the veil of apathy & complacency. 

Yes, the postmodern Instagram TikTok factory has created a steamy heap of simulacrum, & it’s wild that these Jesse Welles injects his peaceful poetic insurrections into reels on your daily doomscroll. But it’s not just another white dude folksinger with an acoustic guitar, it’s the voice of Thoreau & Kerouac & Rumi & Walt Whitman, breaking the curse & cursing the trance, to make us feel alive again, to feel like we might actually have a chance. 

Speaking truth to power in your purple college towns, purple churches, & purple workplaces can be a real sacrificial pain in the ass, with consequences to your mental health & job security & personal safety. To say nothing of folks living in MAGA colonies of nationalist patriarchal enclaves. 

No, in this terrifying timeline, a Jesse Welles concert reminds you that you are not crazy & you are not alone, & yes, they are gaslighting us. 

If it all sounds like hate & hypocrisy too much of the time, well, that’s because some of your friends & neighbors & family members are contaminated by all those things, even on a good day. A Jesse Welles song circle is a place where nobody is scared to admit that the Emperor is a naked narcissist & we have the power to get out of this shit when we learn to believe the evidence of our instincts & intuitions about the wanton warmakers & grotesque greedheads.   

There is a timelessness to the truth-tellers, & Jesse Welles is a peaceful peacenik warrior wielding the guitar like Woody Guthrie has come back to remind us all, to remember who we are. Jesse says what you were already feeling about all this fascist nonsense, & he says it with the dense poetic line of a beatnik wordsmith who has studied the greats to fuel his greatness. It’s refreshing to me that he acknowledges the river of his lineage, the connective tissues & juicy root systems of our revolutionary musical rhizome. 

This leg of this tour is what this world & this winter needed right now. I was more excited for this show than any show so far this year, & I had that tingle-goosebump feeling of being in the presence of history remaking itself to save us from ourselves. I know tickets are tricky to find, but get yourself, if you can, to see Jesse & S.G. on this tour. 

I say that they are a prophet & a saint, not to prop them on any pedestal, but because at a show like this, we all feel the emergence of our shared saintliness to speak our own fragile prophecies, right now, because all the time we have is the time we have now. Let’s use it to share all this magical music together & then take these messages out into this messed up world.

-Andrew/Sunfrog

Teacher On The Radio/Everything’s Folked fanzine


 Solo Set
Join Ice
Walmart
Whistle Boeing
Fat
The List
United Health
Cancer
The Great Caucasian God
The Poor
Band Set
Domestic Error
Philanthropist
Red
God, Abraham, & Xanax
War is a God
Malaise
It Don’t Come Easy
Horses
Paranoid (Black Sabbath cover)
Masks Off
Wheel
Have You Ever Seen the Rain? (Creedence Clearwater Revival cover)
Encore:
Bugs
Knockin' on Heaven's Door (Bob Dylan cover)
Turtles
Gilgamesh
That Can't Be Right
See Arkansaw
War Isn't Murder 






Sunday, February 22, 2026

Going Old School & Uncool with Our Town



All photos by Abby Weeden Photography.

In her director’s note for the current Backdoor Playhouse production of “Our Town” by Thornton Wilder, Prudence van Aalten admits that her early impressions of this iconic 1938 play suggested that it was “uncool.” But over time, as humans contemplate the intricacies of everyday life, we all learn that being “uncool” can often be even cooler than being cool. I’m grateful that our director for this show made that discovery.

In recent seasons at the Backdoor Playhouse, the community of patrons and supporters have noticed a pivot toward producing more well-known and canonical plays. The interesting thing about “Our Town,” though, is that as deeply reputable and renowned as this text is, and while the play may be old-school in tone, tempo, and topic, it’s anything but “traditional.” As far as innovation, the show packs several surprising aspects, despite its deeply throwback and folksy setting, amplified by the amazing period costumes provided by Spotlight. 

Despite this play’s regard and reputation and an entire century of admiration, this was actually my first time to see it performed in person. Its fascination with bending the forms of theater and drama themselves gets you from the get go. Kudos to the cast and crew and director for managing its many nuances with creative confidence.

In contrast with the modest period costumes of the rest of the cast, the Stage Manager is more modern and wows us with her charisma and charm. No pressure for anyone in a role that has been taken by the likes Frank Sinatra and Orson Welles, but Chris Margraves carries this show by curating our experience, catering not just between audience and cast, but carrying us safely between the time of the show and our time, in our town, on our campus. Margraves’ omniscient guidance is the perfect spark and gift that this production needed to distinguish itself.

Each and every one of the student players in this production earn their flowers, from the leads of Landon Plemons as George Gibbs and Hannah Rockensock as Emily Webb to some more subtle surprises, such as Playhouse newcomer Damian Lino portraying the problematic church choir director Simon Stimson or freshman theater major James Howard really reaching everyone with his take on the loyal local milkman Howie Newsome. 

As the 21st century is already a quarter over in its hyper-technological spiral toward what-we-don’t-know, it’s pleasantly surprising to see so many revivals of all things archaic, crafty, and vintage, you know, the stuff that’s timelessly old-school and even uncool. I say bring it. Suspend your disbelief and your belief and just be present to this heartfelt and deeply human show. 

-A local author and teacher, Andrew Smith has been Cookeville’s theater critic for almost 20 years. 

Our Town runs through February 28th.
For the first time, the Playhouse now allows advanced and reserved seats.
You can get them here:
Backdoor Playhouse