Tag Archive | Jennifer Stoever-Ackerman

Summer Soundscapes, East Coast Style

The humid dog days of summer are upon us, and with them their unique soundscape. In central-AC bereft Binghamton,NY, this means the opening of windows from now until the air turns crisp in September, an act whose necessity casts the intimate sounds of my daily life into my neighbor’s homes and invites their sounds into my apartment. You don’t need to be Mrs. Kravitz to pick up on the comings and goings next door; basically, summertime means your biz is in the streets whether you want it to be or not. In my former neighborhood, youthful and well worn, this meant anything from the heated fights of newlyweds—and the equally passionate make-up sessions, stereotypical but true—to bumping music and whose kids go to sleep when. I used to know what video games the guys next door played and how they were progressing, even though I still couldn’t tell you what they looked like.

In wintertime, this heat-necessitated, neighborhood-sanctioned audio voyeurism ends abruptly with the first frost; double-paned windows tell no tales. But for now, the sonic community is vibrant, even in my current neighborhood comprised mainly of retirees: the brush of wind through the trees, the yap of small dogs, the hum-and-drip of wall units, the snarl of lawn mowers and the high-pitched whine of edging equipment—I have learned after trying to work at home a few times that retirees reserve the right to mow any time they damn well please, thank you—and the gossip of family gathered in lawn chair semi-circles two doors down. I knew my next-door-neighbor’s grandchild was visiting two days before she saw me watering my plants and proudly introduced me to the sheepish little one.

I have to say that even after three years of living here, there still a part of me that finds the annual summertime ritual-cum-reality show novel and slightly unnerving. In my home state of (Southern) California windows are rarely opened unless they have bars on them—people worry that strangers will crawl inside, especially when Robert Downey, Jr. is off the wagon—and I have my dad’s perpetual “we aren’t paying to cool the outside” burned into my brain. Not knowing one’s neighbors is often a badge of pride in SoCal and privacy is treated as a right rather than a financially and technologically-enabled privilege or an unfortunate side effect of paranoia. The closest I have come to such a high degree of sonic intermingling was when I lived in a first-floor studio apartment at the bottom of an air-shaft in an old LA building, where, in addition to overhearing all sorts of drama, I would also find unexpected gifts in my shower: old razors, half-used designer shampoos, crusty loofahs.

This season, however, I was really settling in to the summer soundscape until we finally had our first real heat wave. Temperatures skyrocketed into the 90s and the dew point wasn’t far behind, creating an intense humidity that unleashed a noise the likes of which I have never heard before. . .at least not in this acutely painful way. It was finally warm enough for the people behind us to start SWIMMING in their POOL. Pools are a rarity in the Bing, and I have to say that when it is hot enough for sweat to creep down your back, the sheer torture of hearing splash after splash is enough to push anyone over the edge. But my discomfort with the sound is due to more than simply heat frustrations; it reminds me more than anything that even after three years, I remain a stranger in a strange land. Like sound artist and theorist Tony Schwartz reminded us, “There’s no party so noisy as the one you’re not invited to.” And I feel that intensely with every cannonball and yelp of pleasure that I hear over the back fence. I don’t know my neighbors yet—definitely not well enough for impromptu pool parties—and I don’t know anyone with a pool to holler at on a hot day, something I took for granted growing up in suburban SoCal, where swimming pools and homies with some kind of access to them, illicit or not, were much more plentiful. While sound has the ability to moor us to particular locations, it can also unmoor us in the same moment. As I hear the slurp of the choppy water against the concrete rim, I am simultaneously stewing in the shade of the neighbor’s giant pool-view blocking white fence—ironically the only shade in our yard—and I am back in 1980s Riverside, playing Marco Polo until my lungs ached from gulping too much smog. The sounds of swimming are so familiar to me that they are completely foreign in this new location and I can’t help but feel a little alien myself as a result.

A friend recently suggested that I should resolve my noise-related tensions the old-fashioned upstate New York way, by knocking on their door, son in tow, with a basket full of tomatoes fresh from our garden. I have long disagreed with the slogan of the Noise Pollution Clearinghouse—“Good Neighbors Keep their Noise to Themselves”—believing that in many occasions, noise is a product of social relations. This instance seems like an excellent test case. Perhaps if good neighbors shared more fresh produce, they would get more pool invites, and all that splashing would blend seamlessly back into the Binghamton summer soundscape. Or, I will pack up the car like usual and continue to be grateful that, unlike SoCal, public pools are still king in these parts.

Sounding Out! would like to hear about your favorite summer sounds. . .and the ones that drive you a little bit crazy. Drop some in our comment box, then adjust the bass and let the Alpine blast. . .

JSA

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And you will know us by the sound of vuvuzelas

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Despite some stunning matchups, the news story of the 2010 World Cup has undoubtedly been the vuvuzela. While there have been valiant efforts to the contrary (see Jennifer Doyle’s article in The Guardian about homophobia and sexual violence), not a newscycle goes by without some reference to this small plastic horn.

Designed in South Africa in the 1960s as a more portable facisimile of traditional kudu horns —and now mass-produced by the thousands in Chinese factories—the vuvuzela’s drone has been broadcast across the globe to the thrill of some and the annoyance of others. Non-African players have complained of headaches and difficulty playing because of the constant, loud sound; the BBC has created a special filter to block out some of the horn’s buzzing tones for at-home viewers. An oddly virulent backlash against the rising popularity of the horn outside of South Africa has effected bans against the vuvuzela at events as distant from South Africa and FIFA as one can get: the U.S. based Ultimate Fighting Championship, the Scottish T music festival, and, most recently, Nathan’s Coney Island Eating Competition, lest the horn “damage the competitive eating aesthetic.” The language used by many of these bans is that of contagion, like the sound of the vuvuzela is the herald of an infectious disease or a plague of locusts.

There have been many critiques of the horn at the level of decibels and hearing damage—the vuvuzela is reportedly 127 decibels, louder than a rock concert—although by that same logic the entire sport of NASCAR should be banned outright, as the New York Times reports it at a whopping 140 decibels. The pointed Nathan’s ban targeting “aesthetics” cuts to the quick of this heated debate. As an African instrument with its own particular history and cultural protocols, the vuvuzela seems to bother some people—namely members of Western and European nations—much more intensely than others, and for different reasons. Two of my husband’s coworkers, from the Ivory Coast and Grenada respectively, described the vuvuzela as a symbolic African diasporic sound of celebration that makes many white people uncomfortable; banning it outright would be not only an obvious pander to Western sensibilities—especially a preference for song over more random outbursts of sound—but also offensive, especially as South Africa is hosting the event. Or as the Botswana Voice Newsblog broke it down: “Hands Off the Vuvuzela!”

Dissenting voices have described the horn as annoyingly loud at best and disturbingly disruptive at worst. John Leicester, sports columnist for the Associated Press, managed to describe the sound of the horn as both “mindless” and “brainless” in his blog “Vuvuzela drone killing World Cup atmosphere,” as opposed to what he calls “football’s aural artistry”: the “ooohs,” “ahhhs,” and stadium chants of the “inventive” English who are “usually among the best-drilled noisemakers in football” but have been tragically drowned out by the “brainless” horns. After cultural comparisons like this—along the lines of the old racialized mind/body split concocted during the Enlightenment—it is difficult not to read Leicester’s closing plea, “Please, South Africa, make them stop. Give us a song, instead,” as a latent desire to control African people, not just their sonic output. At the very least, it is a tacit acknowledgement that the world is still divided along the lines of “us” and “them” and that sound plays a much larger role in facilitating these uneven power dynamics than previously thought.

It has also shown the world that struggles over the shifting border between sound and noise are rarely just that. It is precisely in such battles where sound studies can make an important intervention. . .so drop us a comment on the vuvuzela and the intense reactions it has elicited. What do you think? Has the vuvuzela been racialized? Is it a case of noise just being noise? Or is this phenomenon something else altogether? At the very least, blow one for yourself here and get a taste of what all the fuss is about.

JSA

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