Tag Archive | New York

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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“Last Recording of a Porn Palace”

In the “Sound and Noise” chapter from Aden Evens’s Sound Ideas, he asserts that “to hear is to hear difference” (1), and while he is referencing the variation inherent to the sine wave of a frequency, more broadly we can see this statement as also applying to notions of sounds and their associated historical timeframe in recordings. This is to suggest that the sound quality and fidelity not only speaks to understandings of what makes a recording “good,” but also helps to place it in a historical framework constructed not only of the sound quality, but the means of recording it, delivering and its purpose within the culture, and how this might capture a particular cultural/historical moment or feature. Evens also asserts that “sound is repetition at every turn” (3), and such repetition breeds such an immediate familiarity that sounds can begin to sound dated as they become less common (and thus less familiar) as the push of technology and economics makes them obsolete.

In February 2006, the Polk Theatre in Jackson Heights, Queens closed its doors for good. The theatre presented a daily festival of pornographic films for the waning audience of men who preferred a public showing of lewd offerings to the private show available via VHS and DVD. Despite the relatively recent closure of one New York City’s last porno theatres, the answering machine message giving the show listings and times bespeaks not of the mid-portion of the first decade of the 21st century, but rather harkens back to an older time when such recordings informing patrons of showings were more common. The recording sounds anachronistic and stands out in an anomaly in terms of the typical ways we find information these days. The low-fidelity, background noise, and timbre of the 70-something old man’s voice, not just the content, suggests a particular era of sound communication (and also a stark contrast to the visual mode most used these days to gain information about movies being shown, e.g. the internet).

Click Here to listen to the “Polk Theater Answering Machine”

The recording also speaks to a localized and low budget operation that is marginalized no longer for its lurid content, but by the failure of this dying porn economic model. “This is a recording,” says Harold Guissin (the proprietor) on the message, feeling it necessary to remind callers that it is not a live person that can be engaged with, that is, no questions can be asked of him. There is a clicking hum of a projector in the background, and his coughs, unedited from the recording, present a lackadaisical and spontaneous approach to the recording of the week’s featured films. Furthermore, the old man’s intonation underscores the absurdity of the titles of pornographic movies, such as “Sexo a la Mexicana,” which he makes sound like “Sexualla Mexicana.”

In comparison to the current mode of using a phone to find out listings for movies, the Polk Theatre answering machine is dated and quaint. Moviefone, by contrast, presents a contrived announcer’s voice, and presents a method with which to interact with the recordings, moving through menus and portions of the announcement as desired. The recording is digitized and free of any context that may alert the caller to where or how it was recorded or the experience to be had at any of the movies listed. Furthermore, Harold Gussin includes his own opinion (ostensibly) on the pictures, something we’d never hear on moviefone, “Brazilian Mulatto, great title, great picture!” Ultimately, however, even Moviefone has started to feel dated and obsolete, or perhaps it is my own decreasing familiarity with it, preferring Netflix to theatres, and a website to the telephone on those rare occasions that I do go out to see a movie. The recorded listings reinforce the multifarious ways that time is involved in the how we hear and interpret sound. Sound is noted for its change over time; both in an immediate physiological way in how out eardrums react to changes ton air pressure, but also a marker of time in a broader historical way.

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