Robin James is a philosopher who writes about popular music. She is the author of, among other books, Resilience and Melancholy (about how Rihanna’s refusal of positivity undermines the neoliberal recuperation of feminism) and The Sonic Episteme (a warning against the neoliberal resonances of the ‘ontological’ turn in sound studies — I have taken to heart her critique of tendencies in ‘theory’ that I am otherwise too easily seduced by). Her latest book, The Future of Rock and Roll, is somewhat different from the previous ones — it is largely a history of 97X WOXY, an independent radio station from Oxford, Ohio that broadcast from 1983 until 2004, and then online until 2010, and that — under the slogan “The Future of Rock and Roll” — offered a broader variety of music than nearly all other US radio stations. I have never lived in that area of the country, and never heard of the station before. But in James’ account, it was far more diverse in the sort of popular music it played than “alternative rock” or “indie rock” stations ever are. WOXY refused to just repeat a small number of songs over and over, in the ways that nearly all commercial radio stations (regardless of genre) tend to do. James gives detailed information on just what music the station played — which gratified my inner music nerd, and made me sorry I had never heard the station in its heyday. But beyond that, James writes about how the station succeeded for several decades (before ultimately ceasing due to the neoliberal economic conditions that oppress us all) because it nurtured a community of listeners, and was grounded in a philosophy that understood true independence as being enabled precisely by serving and helping to sustain such a community. Instead of the neoliberal “freedom from” (the simple absence of regulations), the station emphasized “freedom to” — the sort of creativity that can happen when people support one another. This positive sort of freedom — “the idea that true independence is possible only if you practice it with and for other people” — is generally stifled by the alienating hyperindividualism of the mainstream American idea of merely negative freedom. Things like exciting musical creation, and exploration of new aesthetic forms, do not happen in a vacuum — they require the backing of a scene, a community of people who are open to and interested in such developments. Mainstream commercial radio, despite all its changes over the decades, is not open to or supportive of such a scene or community. WOXY was a for-profit business, but its owners and staff were committed to their vision of independence and diversity (rather than just seeking to maximize profit, regardless of content). Although WOXY eventually stopped broadcasting, its community of fans continued its activities in various formats (podcasts, online discussion boards, etc.). James both gives a detailed history of the station, explicates its philosophy, and the way its community worked, in great detail, and draws lessons from all this about the possibilities for continued projects of independence in our current neoliberal world, when nearly every activity, no matter how niche or how unusual, gets recuperated and milked for profit by the 1% at the expense of all the rest of us. The Future of Rock and Roll is inspirational in the way that it gives us hope, and even provides something of a blueprint for change, in a very unpleasant and otherwise despairing time.