This book presents a rather peculiar duality.

On one hand, it feels oddly personal, as if the author is sharing intimate details with us. On the other hand, it can seem strangely impersonal, like a pre-internet time capsule that only gives us hints of a world filled with radio podcasts and "no-license broadcast" technologies.

It is also an eternally relevant commentary on the power of radio and music, regardless of the time period or our emotional state.

The book is a strange mix of awkwardness, goofiness, and deadening cynicism, yet it is also honest, thoughtful, and perfectly pessimistic.

Vowell shares her fears about politics, art, and other aspects of her life, but like randomly spinning the radio dial, there's a lot we don't hear.

This can lead to disjointed reading, with the narrative disappearing amid more random radio reflections.

However, this isn't necessarily a failing of the book, as it's mainly about her radio listenings and less about her.

Ultimately, her thoughts on a year of tuning in offer a scary and quaint look back at the 90s, its political and musical figures.

It made me realize that our current world is only slightly more insane than hers was 10 or 15 years ago.

At the very least, reading this book made me think about how I engage with the voices on the air, whether it's news, music, or something else.

If it can make me do that and even encourage me to explore new aural landscapes, then it's a good thing and worth reading.

But for the record, she's completely wrong about Garrison Keillor. So very wrong.

Can anyone explain to me why a book about an audio art form is not available in audio format?

I found myself yearning to hear Vowell read her own words. I missed her dry delivery mixed with surprising inflection.

Still, I'm glad I read this book. At first I thought that twenty years later it would be irrelevant. Who listens to radio anymore? However, it was good to be reminded that Rush Limbaugh, despite all the scientific evidence to the contrary, was denying climate change back then. It was also good to be reminded that women still struggle to find a voice in the media, whether it's on the radio or in other places.

The book offers valuable insights into the world of audio and the issues that have persisted over the years. It makes one think about the power of words and the importance of having diverse voices represented in the media.

Although I would have preferred to listen to the book in audio format, reading it has still been a worthwhile experience. It has opened my eyes to the continued relevance of radio and the ongoing challenges faced by women in the media industry.

I hope that in the future, more books about audio art forms will be made available in audio format, allowing readers to fully immerse themselves in the author's words and delivery.

Thirty years later, it is entirely too politically relevant.

This statement holds a great deal of significance. In the intervening three decades, the political landscape has changed in many ways, yet certain issues and themes remain remarkably pertinent.

It could be that the lessons learned or the warnings issued back then have not been fully heeded, leading to a recurrence or continuation of similar political challenges.

Perhaps the ideas and concepts that were considered revolutionary or controversial at the time have now become mainstream or are being revisited with a new perspective.

Whatever the case may be, the fact that it is still politically relevant after thirty years serves as a reminder of the enduring nature of certain political issues and the importance of continuously engaging with and reflecting on them.

It also highlights the need for a deeper understanding of history and how it can inform our present and future political decisions.

By recognizing the political relevance of the past, we can better navigate the complex and ever-changing political terrain of the present.

A good example of a writer before they have found their voice, style, and maturation can be seen in this work. I have truly enjoyed Vowell's later works, as they are engaging and well-crafted. However, this early attempt is rather disjointed and rambling.

The journal format that Vowell has chosen is indeed an interesting idea. It gives the reader a sense of a more personal and immediate account. But unfortunately, there seems to be no real connection between the content and the form. The entries seem to be randomly placed and lack a cohesive thread to tie them together.

I was really expecting more in-depth insights into the world of radio, especially from an insider's perspective. Given Vowell's background and experience in this field, I thought she would offer some unique perspectives and stories. However, this aspect was rather lacking in the book.

On the positive side, it is interesting to see a writer's progression and growth over time. By looking at this early work, we can see the seeds of what would later develop into Vowell's distinct humor, style, form, and focus. It shows that even the most talented writers have to start somewhere and go through a process of evolution.

Overall, though, this book is rather repetitive and odd when compared to Vowell's later works. It feels like a rough draft or a work in progress that didn't quite reach its full potential. While it may have some redeeming qualities, it is not one of her best efforts.

An interesting trip down memory lane for me!

I was living in Milwaukee as a college freshman and sophomore during 1995, with a summer at home in Iowa in-between. Some of the news events Vowell mentions were on my radar, but most weren't. All of the "alternative rock" stations were in constant rotation for me, plus healthy doses of NPR during any time spent with my parents. In contrast to Vowell's impressions, though, I love all of the NPR voices from that period of time. I think they added a unique charm and depth to the shows. So, she can keep her snide comments on them to herself. :-)

As a book, this is not nearly as polished as Vowell's other work. However, one can clearly see her future style in development. It's quite amazing that she was able to get this published at all at the young age of 25. Just imagine the hutzpah it took to even propose it. It shows her determination and confidence in her writing.

Borrowed from MM during isolation.

I have a great affection for Sarah Vowell, which might be the reason why my rating of this book was relatively low.

This particular book stands out as being very distinct from her other works. It predominantly focuses on her personal experiences and music. I, unfortunately, am a complete novice when it comes to music, with rather poor taste. As a result, I was unfamiliar with the majority of the bands and songs that she discussed.

Moreover, the book expresses a great deal of anger regarding the state of the US and its politics in the mid-90s. In a way, it's almost endearing to see her so passionate and mad about the right wing, especially considering how much worse the situation has become since 2001.

Despite my lack of musical knowledge and the book's political leanings, I still appreciate Vowell's unique perspective and her ability to share her thoughts and experiences in an engaging manner.

I didn't have a great affection for this book. The diary format seemed rather rambling and disorienting to me. At certain points, she complains quite a bit about NPR, which I found rather interesting as I have always associated her with NPR.

What I truly loved was the process of reminiscing about this particular year in my life, 1995. It was likely one of the last years when I was really engrossed in listening to the radio. I vividly remember driving home after dropping off a video (not a DVD!) at the video store and hearing the news of Kurt Cobain's death on 107.7 (The End). I also remember seeing Courtney Love at Lollapalooza. For me, a teenager in a small rural town, the radio held immense significance. It was my connection to the big city, Seattle at that time. It was the pre-internet era, before the advent of Myspace, Facebook, and such. The radio was my gateway to discover new music. Additionally, I spent a considerable amount of time driving around in my car, and the radio was my constant companion back then. (One thing I miss as a bicycle commuter is the radio.)

It was also an intriguing look back at the politics of the mid-90's. Clinton was still our hero, Newt was our punching bag, and the federal government shut down several times due to the inability to balance the budget. Finishing this right before the elections, it made me wonder what the future holds in the Obama years, as there is always this perpetual push-pull between liberalism and conservatism in our country.

I really read this so that I could head into The Wordy Shipmates having read all of Vowell's work to date.

It is definitely a relic of its time, that being the mid-90s. In those days, Rush Limbaugh was a highly controversial figure, and Kurt Cobain was a beloved icon. However, as time has passed, my perspective on them has changed.

These days, it's hard for me to muster much emotion over either of them. I can still appreciate the significance they held in the 90s, but my focus has shifted to other things.

Nonetheless, reading this work by Vowell was an interesting experience, as it gave me a glimpse into the cultural and political climate of that era.

Surprisingly enjoyable, and quick to devour.

Vowell's engagement with a handful of broadcasting-oriented theorists such as R. Murray Schafer and Allen S. Weiss is of particular surprise and enjoyment. It's truly remarkable how she delves into their works and presents fresh perspectives. We felt the same way about Phantasmic Radio.

A nearly ethnographic view of the production of an early episode of This American Life is another fabulous morsel. It provides a fascinating glimpse into the behind-the-scenes processes, from the initial concept to the final broadcast.

Certainly, this work is a useful tool for students within media studies or media anthropology disciplines. They can reference it towards a fieldwork of broadcasting and aural transmissions. It offers valuable insights and practical examples that can enhance their understanding and research in these areas.

Overall, it's a captivating and informative read that leaves a lasting impression.

I truly adored her other literary works, namely Partly Cloudy Patriot and Assassination Vacation. However, this particular one failed to resonate with me to the same extent. I believe it was partly due to the fact that she was extremely young and perhaps a bit too hip when penning it.

Moreover, she takes several digs at A Prairie Home Companion, which really irked me as I am a huge fan of that show. It's quite ironic that despite all her criticism of NPR, she now contributes a significant amount to it.

Nonetheless, for the most part, I still found the book to be entertaining. I also have a great deal of appreciation for her unwavering passion for the things she holds dear.

Her writing style, even in this book that didn't quite capture my heart as fully as the others, is engaging and full of personality. It's clear that she has a unique perspective and isn't afraid to express it, which is both refreshing and, at times, a bit polarizing.

Overall, while this book may not have been my favorite of hers, it still has its merits and I look forward to seeing how her writing evolves in the future.

Sarah Vowell’s first book, Radio On, titled after the Modern Lovers’ song “Roadrunner,” is a detailed diary of her radio listening experiences in 1995.

She spends countless hours tuned in to various stations. NPR is a regular choice, as is Q101, Chicago’s prominent alternative rock radio station. She also delves into right wing talk shows, including those hosted by Mancow and Howard Stern, although to a lesser extent.

Vowell is a passionate fan of Nirvana and Hole but has strong opinions against many of the new “alt rock” artists. Alanis Morissette is criticized as “whiny,” “overrated,” and “over analyzed.” Sheryl Crow is labeled “ditsy,” and Hootie & the Blowfish are dismissed as “crud.” Stone Temple Pilots even draw a parenthetical “Good God!” from her.

She makes some rather bold claims, such as Nirvana “kicking Mariah Carey” off the airwaves (a statement that leaves one wondering) and asserting that the Smashing Pumpkins are better than Michael Bolton (a claim that the author begrudgingly concedes).

Vowell visits the Q101 studio and is intrigued by the framed gold records from Nirvana, They Might Be Giants, and the Meat Puppets (who竟然 had a Gold Record?). Interestingly, the studio lacks a turntable.

A Q101 radio personality announces his departure to work for Rolling Stone, and a caller named Todd berates him for being a “sellout,” a term that was commonly used in the ’90s.

Vowell also listens to Rush Limbaugh and meticulously analyzes the content of his shows, almost to the point of nausea. Howard Stern wrongly predicts Limbaugh’s imminent and steep decline into irrelevance.

Meanwhile, the news of the day is dominated by events like the partial government shutdown, the Unabomber, Bosnia, the OJ trial, and the emerging American right wing movement led by Newt Gingrich.

For Vowell, her year of radio listening is described as a season in Hell, yet she narrates it in an entertaining manner.

It's not Assassination Vacation. It's not Take the Cannoli. However, it is a valiant first work whose essence lies at the core of the latter incarnations that we all love.

From a 25-year-old's perspective, it strikes me as a bit too cynical. It seems a bit too much of a black (t-shirt) and white (noise) for someone who claims not to know it all and not to want to pretend to know it all.

But, overall, I appreciate a 25-year-old with a good idea. I have a fondness for music as a state of mind. And I always welcome a new playlist, regardless of the day of the week. Music has the power to transport us to different emotional landscapes, and a fresh playlist can offer a new perspective and a new source of inspiration. Whether it's a collection of upbeat tunes to boost our energy or a set of mellow melodies to soothe our souls, a new playlist can make a significant difference in our day.

So, while this first work may have its flaws, I'm still excited to see where this 25-year-old will take their musical journey. I'm looking forward to seeing how their ideas evolve and how they continue to explore the power of music as a state of mind.