Swaying in the Radio Waves

November 29, 2023November 28, 2023 your tuesday afternoon alternative Dr. J's Thoughts, Oral Histories in Music, Radio Show, WUDR, Your Tuesday Afternoon Alternative Dayton, DJ, Flyer Radio, music, Music Reflections, Radio Station, WUDR, Your Tuesday Afternoon Alternative, YTAA

In a dimly lit space of my basement home studio, surrounded by an array of vinyl records, cassette tapes along a small wall, stacks of vintage vinyl 45s, piles of CDs, and an eclectic mix of posters from local and underground shows, I sit hunched over a laptop, ready to embark on music discovery. With a cat on my lap and another nearby, I listen to new songs, local music, and pieces of someone’s heart that they have kindly shared with Your Tuesday Afternoon Alternative. This is my sanctuary, the cockpit from which I navigate a vast sea of independent music. As an indie music radio DJ, I’ve made it my mission to curate and broadcast tunes that I believe in, music that resonates beyond the mainstream. There is no shame in loving the music that speaks to you, mainstream or not. But I want to find something new, something unique. Perhaps it is an overwhelming sense of fear of missing out on something incredible, something wonderful that was released and far too few have heard it. Providing a conduit for the amazing music that has gone overlooked has kept me interested in radio for over 19 years at WUDR and for many years prior.

My love affair with indie music began in the smoky corners of obscure spaces, crowded clubs, and hidden venues in Minneapolis in the 1980s. And that interest was heightened in 1983 when I joined KUMM Student Radio at the University of Minnesota at Morris. I had chosen a college a few hours away from home, Herman, Minnesota population 550. My graduation class only had 25 students in it. I was not sure what I wanted to become when I went to college, but I knew one thing quite clearly — I wanted to leave the confines of small-town Minnesota life. The albums that my classmates loved were not my music, they did not feel real and authentic to me. The music that I heard on the few radio stations — mostly country music — did not speak to me nearly as much as the obscure bands and music that I found on late-night TV shows or magazines like The Trouser Press, Cream, and Crawdaddy.

I had a few musically progressive friends and a cousin who was like a brother to me who broadened my music experience. I was exposed to so many unique bands and records by cool friends who introduced me to bands like The Ramones, Big Star, Alice Cooper, R.E.M., early KISS records, The Replacements, The Suburbs, Loud Fast Rules (who later changed their name to Soul Asylum), and Prince. I am still prepared to argue that his first three records were and are brilliant records that fused soul, funk, R&B, pop, and punk. While I enjoyed the British New Wave of Gary Numan and the Romance Wave of Roxy Music, it was Duran Duran who led me to Joy Division, Adam and The Ants, Spandau Ballet, and The Cure. From ‘Planet Earth’ and ‘Girls on Film,’ I found ‘Love Will Tear Us Apart,’ ‘Transmission,’ ‘Ant Music,’ ‘True’ and ‘Boys Don’t Cry’ — I then spent years over Robert Smith’s catalog. I was captivated one late night when David Bowie’s music video for Ashes to Ashes played on some obscure program. It was life-changing and led me to seek out music from Ziggy Stardust in all of his personas and identities.

While others were getting lost in the polished melodies of chart-toppers, I found solace in the raw, unfiltered sounds of independent artists. It wasn’t just about the music; it was about the stories told through the lyrics, the rebellion against conformity, and the genuine passion that fueled every chord, every snap of the drum, every note that was delivered with passion. These sounds and bands were authentic and real to me. I read a story in a music magazine — Melody Maker, New Music Express, Smash Hits… to be completely honest I do not remember — about a band named after a plane, U2, and that eventually led me to their first album ‘Boy’ and that again, led me to be changed. Now, to be fair I was listening to a seriously concerning amount of Pink Floyd, Nick Drake, Television, and Patti Smith. The gateway of The Ramones led to The Sex Pistols, The Clash, Blondie (especially those early records), and more. While I did enjoy some truly strange fascination for some rock and pop groups, I had records and the usual posters on my bedroom walls of Scandal, Rick Springfield, Journey, Styx, Hall & Oates, and a brief fling with The Eagles’ Hotel California and Long Run (that led me to The Flying Burrito Brothers and Graham Parsons — thanks for sharing your records, mom!).

When I got to college, I decided to take this passion to the airwaves, embracing the role of a sonic designer. Armed with a microphone and a collection of gems that I could not wait to share, I set out to carve a niche for myself in the crowded world of radio, one that would champion the unheard and challenge the established norms. It helped tremendously that bands like R.E.M., U2, Ministry, Depeche Mode, Red Rockers, The Cure, and far more than I have the time (or you dear reader – the interest in reading) to recount here were releasing amazing records in the 1980s. The time period of 1983 to 1988 was not only my college years but an amazingly fertile time for what became known as College Rock then was labeled as Alternative or Post-Punk.

It has not always been easy trying to build bridges with the unknown for me. Being an indie music DJ is more than just spinning records or pushing play or fading sounds in and out; it’s about building bridges between artists and listeners. In a world saturated with predictable playlists, my goal is to be a conduit for the undiscovered. I sift through submissions from garage bands in Brooklyn to folk troubadours in the Pacific Northwest, searching for that spark of authenticity that sets them apart. We have a policy at YTAA, anything shared with us gets a listen. And in those perfect moments when we want to hear a song again, that captures our attention when there are so many records to preview, there is magic in the sound waves.

It’s not always about polished production or catchy hooks; it’s about the genuine emotion that reverberates through the music. Each song is a unique brushstroke on the canvas of the YTAA show, painting a sonic landscape that moves beyond the conventional. The thrill of introducing listeners to a hidden beauty, the adrenaline of playing a track that might just become someone’s favorite song – that’s the heartbeat of our radio station. I cannot express how much joy is experienced when someone requests a song we have played or calls the station to ask who was that amazing musician or band that they heard.

In the sprawling landscape of commercial radio, where playlists are often dictated by corporate interests or worse an inhumane algorithm, maintaining independence is a dance on a tightrope. Yet, this dance is the very essence of the existence of Your Tuesday Afternoon Alternative and my role as a DJ. There’s a certain liberation in knowing that a YTAA playlist is not dictated by market trends or corporate interests. Sometimes it is an accident of happenstance or from a connection on social media. Whatever the reason, it’s a rebellion against the formulaic, an assertion that there’s value in the unconventional, the unknown, the liminal. I would like to believe that we have built a community of listeners who crave the unexplored, and who trust this program to guide them through sonic places and spaces of undiscovered music.

Behind every track played lies a story – the struggle of an indie artist trying to be heard, the triumphs and tribulations of navigating an industry that often favors the polished over the genuine. It’s not just about the music; it’s about the people who create it. It is a privilege to interview artists whose stories are as compelling as their melodies. From the indie folk singer who busked on street corners to fund her first album to the punk rock trio that converted an abandoned warehouse into a recording studio, each narrative adds depth to the sonic tapestry we weave on the airwaves. These stories resonate with our listeners, connecting them to the music in ways that transcend the superficial. These are real experiences told by real people about the authentic music they have made to present some feelings, emotions, and ideas — the search for solidarity and connection through music is important and it should be protected at all costs.

One of the joys of indie radio is the freedom to be unpredictable. While commercial stations follow rigid playlists curated by algorithms, YTAA revels in the spontaneity of crafting a playlist that mirrors the ebb and flow of emotions. From ethereal dream pop to gritty pop-punk anthems, the playlist is a rollercoaster ride that keeps listeners on the edge of their seats wondering what is coming up next. One of the most exciting experiences in music is when we are surprised.

On YTAA we are not afraid to delve into uncharted territories, juxtaposing genres in a way that challenges preconceived notions. A haunting acoustic ballad might be followed by a raucous electronic track, or a looking-back indie classic creating a musical journey that mirrors the unpredictability of life itself. It’s a sonic adventure that invites listeners to step outside their comfort zones and embrace the diversity of the indie music landscape.

As an indie music DJ, my connection with the audience goes beyond the confines of the radio waves. Social media has become a virtual extension of the studio, a platform where listeners can engage in real-time discussions about the music they love. We endeavor to play as many requests that we receive as possible. Sometimes a request can take the show in a different, unplanned direction, and isn’t that an opportunity? The sense of community that has emerged is a testament to the power of indie music to unite diverse souls under a common sonic umbrella. It has been a rare honor to connect with other music fans on Twitter, Instagram, Facebook, and on this page. From virtual album listening parties to live Q&A sessions with artists, the digital realm has allowed us to amplify the sense of camaraderie that defines the indie music scene. It’s not just about broadcasting music; it’s about fostering a community where passion for the unconventional is celebrated.

Navigating the indie wilderness is not without its challenges. Limited resources, the constant struggle for visibility, and the ever-present threat of obscurity are hurdles that indie artists face daily. As a DJ, I’ve witnessed the frustration of talented musicians grappling with a system that often seems designed to favor the established. Yet, it’s precisely these challenges that fuel the fire of the indie spirit. The tenacity of artists who refuse to be silenced, and the resilience of a community that thrives on the fringes – these are the stories that inspire me to keep pushing boundaries and championing the cause of the independent. It is possible that the unknown music can be even more captivating than the known.

As I peer into the future of my journey as an indie music DJ, the horizon is both exciting and uncertain. The music industry is in a state of constant flux, with new platforms and technologies reshaping how people find music. Yet, one thing remains constant – the hunger for authenticity, the craving for sounds that defy the cookie-cutter formulas of mainstream music. I envision a future where indie music continues to be a beacon of diversity and creativity. Whether through virtual concert experiences or immersive audio storytelling, the indie spirit will find new avenues to flourish. My role as a sonic guide will evolve, adapting to the changing currents of technology while staying true to the essence of independent expression. Maybe in some way, I am still the same person who knew that there was exciting and cool music waiting to be discovered, the only question was how to find it. Perhaps now the problem is how to find that music in an oversaturated culture of the moment; the internet is both friend and foe.

In the closing moments of every radio show, as the last notes of an indie anthem fade into the ether, I reflect on the journey that brought me to this point. From the dimly lit venues of my youth to the expansive world of radio waves, it’s been a ride fueled by passion, rebellion, and an unwavering belief in the power of independent music. In the vast sea of sonic possibilities, I continue to navigate the waves, a lone captain on a ship of indie music treasures. As long as there are artists pushing boundaries, as long as there are listeners hungry for the unconventional, the journey will endure. For in the realm of indie music, every note is a declaration of independence, and every DJ is a storyteller weaving tales of sonic rebellion. Now, let’s go listen to some interesting music we have not heard before.

All station photos by Tom Gilliam Photography. Photos used with permission.

11 Questions with… Greg Humphreys

November 22, 2023 your tuesday afternoon alternative 11 Questions with... Dillon Fence, Greg Humphreys, Hobex, Music Interview, Music Video, New Music, North Carolina, North Carolina Music, Spanish Steps, Take a Trip (Catch a Plane), Your Tuesday Afternoon Alternative, YTAA

In American music, there are artists whose regional roots run deep, intertwining with the cultural fabric of their home state. Greg Humphreys, the charismatic frontman of Dillon Fence, has spent decades carving out a musical niche that echoes the soulful resonance of North Carolina. His solo endeavors, marked by a fusion of rock, blues, jazz, and Americana, showcase a maturity that comes from a life dedicated to the pursuit of authentic sound.

Humphreys’ musical journey began in the late ’80s with the formation of Dillon Fence, a Chapel Hill-based alternative rock band that became synonymous with the burgeoning music scene in North Carolina. The band’s sound, characterized by jangly guitars, introspective lyrics, and Humphreys’ powerful, soulful emotive vocals, contributed to the distinctive Southern sound emerging from that fertile music community that also gave rise to The Connells, The Veldt, Fetchin’ Bones, Superchunk, Let’s Active and The dBs.

Fast forward to the present, and Humphreys has embarked on a solo career that demonstrates both evolution and continuity. His 2021 release, “Spanish Steps,” stands as a testament to his ability to navigate diverse musical waters while maintaining a distinct Southern sensibility. His most recent single, “Take a Trip (Catch a Plane)” crosses soul, ’70s pop, jazz, and smooth strands of rock and roll. Humphreys’ voice, weathered by years of musical exploration but never beaten down, lends a richness that serves as the perfect vehicle for the emotional weight carried by his lyrics. The song weaves a narrative that touches on love, loss, and the inexorable pull of life’s forces, creating a compelling experience.

Humphreys skillfully blends genres, drawing from the deep well of American musical traditions. He is equally comfortable channeling a rootsy, folk vibe with acoustic guitars or when creating a sonic laid-back atmosphere. He is also just as skillful when letting everything hang out in a full-blown rock song. Humphreys’ ability to seamlessly integrate elements of the South’s musical heritage into a contemporary framework is one reason out of the many characteristics of his songs that make them feel like lifelong friends.

Whether one is listening to Greg’s solo work or his efforts in Dillon Fence and Hobex, the songs he makes allow him to flex his songwriting muscles, delivering introspective lyrics with a raw vulnerability that resonates with listeners. “Take a Trip (Catch a Plane)” stands out as a poignant exploration of the complexities of life and the enduring power of hope, driven by Humphreys’ soulful crooning and the subtle, never forced, instrumentation that accompanies it. Humphreys’ guitar work, a hallmark of his style, shines throughout the tune, demonstrating both technical proficiency and an intuitive understanding of the emotional nuances embedded in his compositions.

In a musical landscape often dominated by trends, the passing ‘sound of the moment’, and fleeting fads, Greg Humphreys stands as a beacon of authenticity, his music is tangibly real… it resonates. Greg’s music not only pays tribute to the distinctive musical heritage of North Carolina but also adds another chapter to Humphreys’ ongoing exploration of sound and emotion. His most recent music invites listeners to journey through the landscapes of the South, guided by a seasoned troubadour whose passion for music burns as passionately and brightly as ever.

Dr. J: What can you share with us about when and how you started writing music?

I started writing songs in high school. My high school garage band “The Trash” decided to start playing our original music… our members would bring songs in to try. My early songs make me wince a bit, but you have to start somewhere. Dillon Fence bass player (and fellow The Trash member) Chris Goode and I will often sing a line or two from these old songs for a few chuckles.

I have to say, my basic appreciation and understanding of songcraft came from my dad. He was always listening to his favorite songs learning them and playing them on his guitar in his spare time.

I also think that my strong desire/need to create, expressed through art and music, comes from my mom. She’s been a visual artist for as long as I can remember and has had some different, interesting periods to her artistic expression.

Dr. J: What first led to your recording music? How do you approach production?

I started recording on a boombox, then a couple of boomboxes. I remember re-creating the harmony solos on Boston’s “Peace of Mind” with two boom boxes in High School.

After a couple years of this, my parents helped me get a Fostex 4 track recorder, which was my constant companion until I started learning ProTools / DAW recording in the late 90s. I have boxes and boxes of songs and music ideas I recorded in the 90s on that 4 track.

Of course, I learned a lot from the professional engineers and producers I worked with early on when making records with Dillon Fence and Hobex: Steve Gronback, John Plymale, Lou Giordano, Ron St. Germain, Mark Williams, David Leonard. I’ve also been lucky to sit in/take part in sessions with pros like John Wood, Joe Boyd, Al Kooper, Bill Symczyk, Chris Stamey, Mitch Easter, Don Dixon, and Jim Dickinson.

As far as my production approach, I think my main attitude is, that there’s no “correct” way to do things. All that really matters is do you have an end result that is compelling and/or worthy of listening to over and over. If budget was no issue, I’d probably do a more collaborative recording with other musicians/engineers/studios, but I do enjoy making records on my own.

I try to keep in mind that some of my favorite records were made with some of the most basic recording technology. I believe that what is going on in front of the mic is usually the most important factor in recording most musicians or singers.

Dr. J: ‘Take a Trip (Catch a Plane)’ is your most recent music, what led to the making of that song? What were the main influences on your recording of this song?

I talked about it at length in my bio over greghumphreys.net if you’d like to pull from that/peruse that. but essentially it’s a song I wrote for my wife kind of trying to express one of those feelings that’s personal yet universal. Hopefully, the song has the same quality.

Dr. J: The song ‘Take a Trip (Catch a Plane)’ seems to capture a remarkable constellation of musical influences. The song seems to have a 1970s soul feel. Is that a correct interpretation? If that is correct, did you intend to create a song that connects to that style? If that is not correct, how would you describe the feeling of the song?

The rhythm section definitely has a ’70s soul vibe – Marvin Gaye records are always a North Star for me. I played bass guitar on this track, which is also a lot of fun and something I haven’t been doing on my trio records. This track is basically a taste of an approach I’ve been taking. Using drum machine sounds to create grooves. Building songs around a melody, groove, or musical idea using a looper. Then, building the arrangement over time either in live performance or in the studio.

It’s not really that different from a songwriting approach I’ve used for bands I’ve fronted over the years. It’s just that I am able to create more of a “keeper” version on my own these days.

Dr. J: How did the song ‘Take a Trip (Catch a Plane)’ come together musically for you?

The song really started from being inspired by a moment in a George Shearing “Lullaby of Birdland” recording where the musicians play the melody (Jazz terminology would be “the head”) together. I wanted to use that vibraphone sound, and I wrote a melody that is vaguely reminiscent of the Shearing tune – not as harmonically sophisticated, but still good. After that, I just followed my instincts to complete the song.

Dr. J: Where do you often derive inspiration to make music?

Looking back on my songwriting path, I’d say my main wellspring of music-making has been expressing myself – getting out all those feelings I have difficulty manifesting any other way. The confessional songwriting thing has definitely been a big part of who I am as a writer. That being said, I like switching it up and trying different approaches, and that shows up in my songs as well.

Dr. J: How would you describe the music that you create? How has that process evolved or changed over time (especially as you think about your journey in the last few years)?

I feel like in the back of my mind I’m always trying to create something that is timeless and universal. The quality that a great piece of music or song has – if you take it out of its cultural context, does it still resonate? I think that’s why I enjoy going down the wormhole with music from different eras or time periods and finding songs that grab me.

Dr. J: What is next for you musically? How would you describe your thoughts at this point for your next project or release?

I am close to the finish line on a couple of recording projects. One is a Dillon Fence live album that we recorded in April 2023. I think it captures the energy of the band in a good way and I’m looking forward to sharing it with our fans. I am proud of that catalog of music.

The second is another solo album in the same fashion as my 2021 album “Spanish Steps,” using a lot of the approaches and techniques I mentioned earlier. “Take a Trip (Catch a Plane)” will be included on this album, as well as some other songs I’ve been writing over the last 3-4 years. I find that these days with my family life taking precedence I’m not nearly as prolific as I used to be. The songs that I do complete tend to be real “keepers” – songs that I keep coming back to over time.

Dr. J: What is your favorite song to perform live? What is your favorite song to perform in general? What makes that song a current favorite in your performances?

I think the song that I usually enjoy performing live most is usually my most recent song that I really believe in – the song that fits that category lately is called “Fall into the Sea.” That being said, I’ve gotta give props to a song I co-wrote with my old friend Jim Smith, “Windows,” which was originally on the Hobex LP “Back in the 90s.” I still play that song in almost every show. It just works, it connects, it makes people happy, and that makes me happy.

Dr. J: What is one message you would hope that listeners find in ‘Take a Trip (Catch a Plane)’?

Hopefully, they’ll find inspiration to renew their love for their significant other. That’s what it’s really about. The ‘Take a trip’ part is just an impetus to do that.

Dr. J: As a musician, how are you adapting to the challenges of creating music? What are your biggest challenges in creating music?

That’s a big question. Honestly, I don’t really know which way to go. The sheer volume of music produced these days and the torrential nature of media consumption are obviously on my mind, as far as what is ahead. I consider myself lucky I have an (admittedly boutique) audience that still comes to see me play and listen to my music online, but obviously, the Internet disruption is real and it has affected my life. It has always been a rollercoaster ride and a struggle to pursue a creative life, though.

I think my biggest challenge is managing the balance between my family life and my desire to pursue my art and music. There’s just not enough time in the day to do what I’d like to do. Once I have the time, I’m often too tired to do it!

We want to extend our sincere gratitude to Greg Humphreys for answering our questions and continuing to make some really excellent music! Click on the links throughout the article to visit his social media or to listen to various songs that were discussed! If any musicians or artists would like to participate in future ’11 Questions with…’ columns, please feel free to email us at drjytaa@gmail.com. All photos and images courtesy of Greg Humphreys.

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Grooving to the Beat of ‘Your Tuesday Afternoon Alternative’: The 19-Year Sonic Odyssey of a Radio DJ

September 27, 2023September 27, 2023 your tuesday afternoon alternative Radio Show 19 Years of Radio, Art Jipson, Being a DJ, Dave Marsh, Dr. J, Flyer Radio, Lester Bangs, Making Radio, radio, The School of Rock with Dr. J, University of Dayton, WUDR, Your Tuesday Afternoon Alternative, YTAA, YTAA Anniversary, YTAA19

Nineteen years feels like a long time to do anything. Why do a radio show when no one may be listening?

Let me tell you, being a radio DJ isn’t just a gig; it’s a cosmic voyage into the heart of musical expression and requires more endurance than you think. Just the other day, someone came up to me with ‘Hey, you’re that weird DJ guy!’ To which I answered, ‘Yup.’ And then they said, “Why do a show when you know no one is listening!” And, I stopped short, wondered about whether they were right, and then came to the conclusion that as long as one person finds comfort, as long as one person finds a song that speaks to them – then it matters. We are a community. We stand strong in the face of a destructive tide of avoidance and ignorance of new music. And that’s why I am who I am, standing behind the microphone every Tuesday afternoon, steering the ship that is ‘Your Tuesday Afternoon Alternative.’

If I were to condense 19 years of my life into a single, rhythmic heartbeat, it would be the pulsating cadence of a radio wave, broadcasting stories, music, and dreams to an invisible audience. My journey through college radio has been a dance with the ether, a passionate affair with sound, and a canvas for my creative expression. I invite you to join me on a nostalgic journey through the tapestry of my radio experience.

The Birth of an Odyssey

As the crackling needle touched vinyl for the first time in 1983, I found myself immersed in a world that was both electrifying and liberating. I began doing radio to work on improving my stutter but I also wanted to know more about music. I wanted to comb through the vinyl collection and find records that I had read about but never had the chance to hear. I was hungry for music old and new. College radio at the University of Minnesota was not just a hobby; it was a calling. Like music journalist David Marsh dissecting the nuances of rock lyrics, I dissected the frequencies and wavelengths that carried the voices of generations before me while anxiously awaiting the new music that was to come.

My first show, Radio Artifacts, was from 1983 to 1984 where I truly learned about indie music, Minnesota-based bands, and in so many ways the future of music through bands like R.E.M., Hüsker Dü, The Smiths, U2, The Replacements, The Cure, The Connells, and The Clash. From 1984 to 1988, a new show focused on alternative and college music and the art of music making, the poorly named ‘Art for Artsake’ that was both a play on my first name and — at least to me — a reflection of the mission of the show. During graduate school from 1988 to 1993, I was involved with Bowling Green State Universities’ WBGU where I had a succession of shows whose names were lost to reflections and glimpses of memory. After grad school, I dabbled in radio at WMUB in Oxford, Ohio from 1995 to 2000. For four years I had an itch I could not scratch.

The love of indie and alternative music was something that stayed with me even without a show. But eventually, that itch became unbearable and I started a show “The School of Rock with Dr. J” in 2004 at The University of Dayton’s WUDR. Modeled in some ways on the Jack Black movie — yeah I know: Cue the eye roll. TSOR was an almost didactic approach, I played music that mattered to me and explored current indie, local, and Dayton music. I explored how current unknown and undiscovered music was connected to the music of the past. Several shows explored how The Byrds – The Flying Burrito Brothers – The Eagles – Jason and the Scorchers – Cowpunk – Uncle Tupelo – Son Volt and Wilco were all connected. The airwaves were my playground from which I discovered the richness of independent, alternative, and college music.

During these various shows, I interviewed indie artists and underground bands. College radio was not just about the music; it was about the stories behind the notes. The vibrant community of DJs, producers, and listeners was a testament to the power of shared passion. Just like Dave Marsh in his work united rock aficionados, we united lovers of alternative sounds, forging connections beyond the frequencies.

Nineteen years is a long time to do anything, and within the span of my radio experiences, I have witnessed the tectonic shifts in the audio and radio landscape. College radio stations evolved from humble FM stations to digital juggernauts streaming across the globe. Writers and journalists have chronicled the evolution of rock music, and I chronicled the evolution of radio itself in the changes in my own practice. The use of digital tools has made so much of the “doing of radio” the clicks of buttons and the dragging of files. Many tasks that once involved carts and tape or vinyl were replaced with CDs which in turn were replaced themselves with digital files. The advent of the internet brought a new dawn, expanding our reach but also challenging our authenticity. Is radio still real in the digital age? In an era of Spotify, does radio still matter when you can listen to what you want, when you want, and do it all in the palm of your hand? Why do a radio show when no one might be listening?

The Sonic Shaman

You see, being a radio DJ is more than just “spinning tracks,” It’s more than just “playing music.” It is far more than just clicking a button and dragging a cursor across the soft glow of a computer screen. It’s about conjuring emotions and weaving stories through sound. When I join with the airwaves and internet signals, I am driven by faith in the power of new music. The beauty and the lifeblood of local music call to me. Maybe all of this is some strange and unchangeable part of being a “music evangelist.” Perhaps one becomes a sonic shaman of sorts, guiding listeners through the labyrinthine tapestry of music. Every tune I play carries a piece of my soul, and when those frequencies hit your ears, they transcend mere notes and rhythms. It’s a trip through time and space seeking the person who feels alone with a simple message that they are not disconnected, they matter and the community is better for their contributions.

The Rebel Cry

Lester Bangs, one of the quintessential American rock critics, taught us that music is the language of rebellion. And that’s precisely what I aim to channel with ‘Your Tuesday Afternoon Alternative.’ It’s a rebellion against the mundane, against the homogenized playlists of corporate radio. in my vision of myself, I am like the underground guerrilla fighter, battling the forces of mediocrity with a vinyl arsenal of sonic revolutionaries. Each song I play is a battle cry, a defiant scream against the mainstream. Or at least, that is probably what I really want to believe because, you know, 19 years is a long time.

The Community Connection

Radio is a lifeline to the community, a bridge between disparate souls. ‘Your Tuesday Afternoon Alternative’ is not just a show; it’s a lifeline for misfits, dreamers, and music lovers who still hang tight to the idea that music matters. I’m not just playing records; I’m forging connections. I’m the curator of a sonic underground, bringing people together through the magic of music. When that listener calls in to request a song, it’s more than a request; it’s a statement that says, “I’m part of this, too.” Those moments of connection are more important now than ever before. We need that musical validation: “Look, we are here and the music that speaks to us matters.”

The Quest for Obscurity

Lester Bangs was all about the obscure, the unknown, the raw. I share that passion. My show isn’t about chart-toppers or Billboard hits; it’s about the hidden gems, the indie bands struggling for recognition, the perfect voice that chills us while holding us close and telling us that everything is going to be alright. YTAA is about the beautiful unknowns, the forgotten tracks that deserve a second chance, and the great new songs that need to be heard. I think of myself as a musical archaeologist, digging through archives, near and far, and unearthing sonic treasures. It’s about unearthing the lost voices and forgotten riffs that deserve a place in the sun.

The Journey Continues

So why am I a radio DJ with ‘Your Tuesday Afternoon Alternative’? Why continue to be a DJ even if no one is listening? Because it’s not just a job; it’s a calling, a mission, a cosmic journey through the soundscape of the human experience. It’s a rebellion, a lifeline, and a quest for the obscure. It’s about community, connection, and the never-ending search for that perfect riff, that perfect groove, that unbelievable hit of the drum, that chilling voice that makes you catch your breath. It’s about the song that you cannot forget, no matter how hard you may try. It’s about the perfect lyric that shows you that you are not alone in feeling the way that you do.

Today, as I look back on 19 years of college/indie/alternative radio with YTAA, I see the echoes of countless voices, the resonance of music that touched souls, and the indelible mark it left on my life. David Marsh once wrote, “Rock and roll is an attitude, it’s not a musical form of a strict sort. It’s a way of doing things, of approaching things.” College radio, in my world, was — and is — that attitude – a way of doing things that transcended the mere act of broadcasting. So, yeah, it’s more than pushing a button and just playing a song. I would like to believe that it matters, and if it has meant something to just one person somewhere, anywhere then it was absolutely worth it for me.

Hopefully, this essay has helped chronicle my lifelong journey with college/indie radio – a journey that echoed the rhythms of my heart, shaped my identity, and allowed me to be a storyteller in a world of sound. Just as the radio DJs, Music writers, and journalists of the past contributed words that continue to resonate with music enthusiasts, the memories and experiences of 19 years on the airwaves/internet will forever resonate within me, a testament to the enduring power of radio and the magic of its transmission through time and space.

In the spirit of Lester Bangs, I’ll keep cranking up the volume, diving deep into the musical abyss, and taking you along for the ride. Because ‘Your Tuesday Afternoon Alternative’ is not just a show; it’s an alternative reality, a refuge for the sonic explorers, and a testament to the power of music to change our lives. So, tune in, turn it up, and let’s keep this cosmic journey rolling for as long as we are able to do so.

Tamar Berk Interview

May 12, 2022 your tuesday afternoon alternative Interviews, YTAA YouTube Musician Interview, Start at The End, Tamar Berk, The Restless Dreams of Youth, YTAA

Dr. J spoke with Tamar Berk in the evening on Wednesday, May 11, 2022 for Your Tuesday Afternoon Alternative. Tamar spoke about the powerful new record Start at The End, her music career, songwriting and her approach to recording and producing her music.

Tamar shared some compelling insights as a songwriter in this interview! Anyone interested in the subject should explore her thoughts on the subject. Tamar was honest and remarkably introspective about how pain can be transformed into art through music. It was a real pleasure to speak with her about the music that she has made in her various music projects (Starball, Countdown, Pynnacles and Paradise to name a few). And it was a singular joy to talk to her about the exciting music that she has made in the past few years under her own name with The Restless Dreams of Youth (2021) and Start At The End (2022).

If you do not know these records, we highly recommend that you explore them. Tamar’s songs evokes The Spinanes/Rebecca Gates and Liz Phair but the musical space she surveys does not end there. She uses a variety of musical ideas to create a sound that paints with a rich pallet of color and texture. The music is infectious, passionate, personal and introspective in an adventure that leads the listener into a communal rather than singular experience. Start At The End is one of our favorite records of the year!

You can listen to Tamar’s music anywhere you stream but we recommend buying her excellent music at Bandcamp!

You can contact Tamar through her social media https://twitter.com/TamarBerk

Youtube

Instagram.com

For a complete list of her social media and music: https://ffm.bio/tamarberkmusic

Touchy Feelys on the show this week

January 15, 2022 your tuesday afternoon alternative Radio Show Live in the Studio, New Music, The Touchy Feelys, WUDR, YTAA

This week we joined in the studio with some incredibly authentic Americana musicians, The Touchy Feelys! Their latest record Breakup Songs about Staying Together is available now! Andrea Dawn Courts and Jason Trout — collectively known as The Touchy Feelys — are incredible songwriters and vocalists. The ability to create meaningful songs about the pressures, pushes and pulls of relationships and make those feelings understood within a prism of release for each listener is a rare talent. To call these songs evocative is to give a slender acknowledgement to the portent captured in this record. Produced, engineered and mixed by The Wizard Patrick Himes at Reel Love Studios in Dayton, Ohio, this record captures a raw authentic feel when two voices collide together around a swirl of guitars, drums, upright bass, piano and more. Our good friend Mr. Himes did incredible duty on this record! Patrick contributed drums, guitar, piano, organ, banjo, mandolin, omnichord, xylophone, vibraphone and pedal steel. Yeah, he helped out a little. But no matter the brilliant cacophony, without excellent songwriting and emotional singing, even the best of intentions would fall flat. We are happy to say that is not the situation here. These songs are the real deal.

Whether Andrea Dawn or Jason take the lead, there is an inescapable realization that these songs come from a genuine and authoritative vision. The best moments for me are when they sing together complimenting their individual strengths. Andrea Dawn has voice that draws from great roots voices of the past yet turns her phrasing around into something quite modern and relatable. Jason sings each song as if it is to be the last song he ever sings. These songs should be heard. Any fans of country, folk, Americana and roots music would be well served to give this album a passionate listen. Standouts on the record for us at YTAA include the driving ‘Hard Time,’ the rollicking “If You Weren’t My Lover,” the propulsive “Left Me Lonely” and the pensive “On High Lullaby.”

We are looking forward to speaking with them this week in the studio! Join us from 3-6pm on Your Tuesday Afternoon Alternative on WUDR Flyer Radio.

Video of the Day: Seth Canan & The Carriers – Saturday’s Shirt

December 9, 2021December 9, 2021 your tuesday afternoon alternative Video Dayton Music, Dayton Music Scene, Seth Canan, Seth Canan & The Carriers, YTAA

One of our favorite Dayton-based bands, Seth Canan & The Carriers! This song is taken from their self-titled first release.

This song captures the feeling of being out of sorts and managing, maybe just barely. How often do we find ourselves in situations where we are ‘just getting by’. Perhaps today that feels all the more real to us. When Seth sings about wearing ‘Saturday’s shirt on a Sunday morning’ – that is a feeling or actual decision that we all can understand. This personal music helps us reflect on feeling being wrong. But there is a joy in the song that we can move on and feel better, do better, be more than what we were in the past.

You can find out more about them on their F acebook page and Twitter.

YTAA on Mixcloud

June 9, 2021June 11, 2021 your tuesday afternoon alternative Radio Show Mixcloud, Your Tuesday Afternoon Alternative, YTAA

Not able to listen to Your Tuesday Afternoon Alternative when we air the show on Tuesdays from 3-6pm on WUDR Flyer Radio? We now have a Mixcloud page where you can listen to YTAA at your convenience! Please take a moment and visit our Mixcloud page!

YTAA Playlist for 08-04-2020

August 4, 2020August 4, 2020 your tuesday afternoon alternative Playlist YTAA, YTAA Playlist

Our weekly playlist of music we would play on Your Tuesday Afternoon Alternative if we could. Playlist of some new & local music we play on YTAA! So, enjoy and check us out on Facebook, twitter and instagram as drjytaa! Today’s YTAA Playlist featuring new music from The Psychedelic Furs, Katie Von Schleicher, George Huntley, Viceroy Kings, Advertisement, Fontaines D.C. Nana Grizol, Next To Nowhere, Leah Senior, Blitzen Trapper, Little Rooms, The Cleaners from Venus and more! Plus tons of Dayton area music from Rich Reuter, Simply Burris, Kris N., HEXADIODE, The Nautical Theme, Charlie & Amanda, Me & Mountains, Me Time, Real Lulu, Yuppie, Smug Brothers, M Ross Perkins, Mike Bankhead and Auburndale!

And some indie classic from Matthew Sweet and Uncle Tupelo!

Interview with Charlie & Amanda Part 1!

July 21, 2020July 21, 2020 your tuesday afternoon alternative Interviews Authentic Country Music, Charlie & Amanda, Charlie and Amanda Jackson, Charlie Jackson and the Heartland Railway, Dayton Music, Dayton Music Scene, music, Music Interview, New Music, Songwriter, YTAA

Part one of our interview with Charlie & Amanda Jackson about their new record, ‘The King & Queen of Dayton Country,’ recording, songwriting and their approach to music. We can consider this record to be a powerful return to a classic country duet sound that has been missing for quite some time. Check out their Facebook page! You can find their music on bandcamp! They are playing a safe outdoor show at the Yellow Cab Tavern on Saturday! Please check the Yellow Cab Tavern’s page regarding their policies for a social distancing outdoor show!