Soundtracks and Silence

The tyranny of imposed soundtracks

There have been a few mentions in response to various posts about songs and music that featured in the past. In some respects these are the soundtracks of our lives. Sometimes, when we hear an old familiar song, we are transported back to the event when it was significant, or think of the person with whom we heard it and shared it.

Soundtracks were important when I was growing up. We heard it on the radio (as Freddie Mercury and Queen sang in Radio Gaga). In the early days there was Bill Haley and the Comets and early Elvis – Heartbreak Hotel still resonates although the clip is more of a jam session – and they drove my parents mad.

I say that because the very early soundtracks when I was going to sleep as a small child were Beethoven, Mozart, Hayden and Chopin. Large 12 inch platters stacked one on top of the other on the radiogram (now there’s a word).

The music morphed into the Four Seasons (Frankie Valli’s falsetto – their story immortalised in the wonderful musical “Jersey Boys”) and then into the English bands of the early sixties – the Hollies, the Dave Clark Five and, of course, the Beatles. There were dozens of other bands – one hit wonders. One band, Johnny Kidd and the Pirates, had posters adorning the common room at school as I recall.

The early Beatles were a real soundtrack but it wasn’t until Abbey Road that things moved into high gear with the magnificent “Here Comes the Sun”. On that note Cirque du Soleil did a wonderful show called “Love” which played at the Mirage in Las Vegas (no longer,alas). We went 4 times on various visits and the experience was extraordinary.

Then there were the folky bands like Peter Paul and Mary and the solo artists like Joan Baez, Judy Collins and, of course, Bob Dylan. Simon and Garfunkel fell into that category (more of them later) and the folk/rock morph culminated – at least for me – with Crosby Stills and Nash and particularly their first album “Renaissance Fare” containing “Suite Judy Blue Eyes”, (a live version here) – the joy of the finale is palpable - “Wooden Ships” (written by Paul Kantner of Jefferson Airplane and “49 Bye Byes”. I still get a lift whenever I hear those songs which I first came across in late 1969 in Sydney.

And there was the hippie scene – the Haight-Ashbury moving to solid rock stuff – Hendrix, Jefferson Airplane (White Rabbit still grabs me although I like Pink’s cover), the Grateful Dead and the wonderful Quicksilver Messenger Service and their album “Happy Trails” with the two extended tracks “Who Do You Love” on one side and “Mona” on the other. Great music for a long drive playlist. The link takes you to the full album with John Cippolina’s brilliant guitar.

Then there are bands like Iron Butterfly (Inna-Gadda-Da-Vida – give it a listen – 17 minutes), Led Zeppelin and moving forward Fleetwood Mac and the late, glorious Chrissie McVeigh’s song “Don’t Stop (Thinking About Tomorrow” – the version with Neil Finn is here.) The Who’s “Won’t Get Fooled Again” could be an anthem for the 21^st Century. The Live Aid version (Roger Daltrey looking like a God during the intro) is here.

I have to confess that I am not an “earbuds” type of guy. I find them difficult to wear and Bluetooth headphones interfere with my situational awareness (especially important with quiet electric cars and soundless electric scooters). I have Apple Carplay in the car so I can hook into my soundtracks on drives longer than about 10 minutes.

My soundtracks!

I make that emphasis because there seems to have developed – insidiously – the necessity for soundtracks everywhere. I have reflected on that and have developed some thoughts on what I call “imposed soundtracks” – other people’s soundtracks that you can’t get away from. Some people call it wall-paper music but in malls, public places and even beaches people tend to impose their sound tracks on you, oblivious to the fact that you may not want to hear them.

An example is at cricket matches where there seems to be a mania for playing a few bars of loud music not only between overs but between balls. Once upon a time a day at the cricket was relaxing and laid back. Now there is pumping music that resonates with your heartbeat. I would hate to think what it would do to my Pacemaker. But I will never know. We gave up going to the cricket when other people imposed their soundtracks on us.

But I digress. Let’s have an objective look at the issues.

In recent years, the auditory landscape of our public spaces has grown louder and more complex, with music and assorted noises filling the air more pervasively than ever before. From bustling city streets to tranquil parks, the omnipresence of sound is reshaping the way we experience our communal environments.

One of the primary drivers of this phenomenon is the widespread use of personal devices with speakers. As technology has become more portable, individuals are more likely to bring their own soundtracks wherever they go, whether through smartphones, portable speakers, or other media devices. This personalization of public auditory space often clashes with the ambient sounds, creating a cacophony that can be disruptive.

Commercial interests also play a significant role in the increased presence of music in public spaces. Businesses use music to attract and retain customers, creating dynamic, appealing environments. Shopping malls, restaurants, and even outdoor markets now consistently play background music. This not only serves to enhance the consumer experience but also acts as a marketing tool, influencing customer behaviour and potentially increasing sales.

This increased prevalence of sound in public spaces is transforming urban and recreational areas into zones of constant auditory stimulation. This can have mixed effects on the public.

On the one hand, music can energize spaces, making them feel more alive and vibrant. On the other hand, it can be a source of tension, particularly when it overrides the natural or expected sounds of a place.

Noise pollution has emerged as a significant concern in this context. High levels of unwanted sound can lead to stress, diminish quality of life, and contribute to health issues such as hearing loss and cardiovascular diseases. The World Health Organization has identified noise pollution as an environmental threat to human health, underscoring the need for better management of public space soundscapes.

The cultural implications of this sonic increase are profound. Public spaces are essential for communal interaction and societal harmony, for reflection and physical or mental recreation.

When these spaces are dominated by intrusive sounds, it can hinder communication, diminish social interactions, and even create barriers within communities. Moreover, the homogenization of public soundscapes, often dominated by certain genres of music or commercial messages, can overshadow local cultures and identities.

Achieving a balance between the benefits and drawbacks of music and noise in public spaces is crucial. Urban planners, local governments, and community leaders must work together to create sound policies that respect both the desire for lively, engaging public areas and the need for quiet, restful spaces. This might involve designing soundscapes deliberately, with zones designated for different levels and types of sound, or implementing stricter noise regulations to protect public health and well-being. Alternatively, what sounds there are may be restricted to natural sounds.

Malls and Supermarkets

In the modern retail environment, background music is as ubiquitous as the goods on the shelves. However, this constant auditory presence in malls and supermarkets is not without its detractors. For many shoppers and employees, the perpetual soundtrack is not merely a minor annoyance but a significant source of discomfort and stress.

Research in environmental psychology suggests that background music can influence shopper behaviour, often used by retailers to control the pace at which customers shop or to improve the overall shopping experience. Music at slower tempos typically encourages shoppers to spend more time browsing, potentially increasing sales. Conversely, more upbeat music can speed up the flow of customer traffic. While these tactics can be beneficial for retailers, they may not always align with the well-being of the customer.

The main issue arises from the nature of the music selected and its volume. In many retail settings, playlists are often repetitive, and the volume can be intrusive. Such conditions can transform background music from a subtle ambiance enhancer into a relentless auditory barrage. This can lead to sensory overload, where the ability to process information effectively is compromised due to the overwhelming input, causing stress and irritation.

For shoppers with auditory processing issues or sensory sensitivities, such as those with Autism Spectrum Disorder (ASD), ADHD, or sensory processing disorders, background music is not just a nuisance but a barrier to accessibility. The constant noise can exacerbate anxiety, leading to a sense of being overwhelmed that can deter these individuals from frequenting these environments. For that reason some establishments have set aside quiet times to cater for those who prefer a quiet environment.

Furthermore, the workforce in these establishments often bears the brunt of this auditory experience. Employees working long shifts have no respite from the continuous loop of music, which can lead to decreased job satisfaction and increased stress levels. Over time, this constant exposure can contribute to burnout and high turnover rates, which are already significant issues in the retail industry.

While the strategic use of music in retail spaces is understood to boost sales, it is worth questioning whether this practice is sustainable in terms of customer satisfaction and employee well-being. The potential short-term gains in sales must be weighed against the long-term impacts on consumer and employee health.

Moreover, the homogeneity of music in public spaces like malls and supermarkets also reflects a broader cultural imposition where the diversity of individual preferences and needs is not accommodated. This can alienate those who do not find the selected music conducive to their shopping experience, ultimately impacting the inclusivity of these spaces.

To address these issues, retailers might consider adopting more nuanced approaches to the use of background music. Options include lowering the volume to less intrusive levels, diversifying playlists to include a wider array of genres and tempos, or implementing designated quiet hours without music, particularly benefiting those with heightened sensitivities.

Another progressive approach could be providing personal listening devices at entrances, allowing customers to opt into the auditory experience if they choose, rather than imposing it universally. Such initiatives could help transform retail environments into spaces that respect and cater to a broader spectrum of human needs and preferences.

While background music in malls and supermarkets has become a staple of the shopping experience, it is imperative to critically assess its impacts. A shift toward more thoughtful and inclusive auditory practices could significantly enhance the well-being of both customers and employees, fostering environments that are not only commercially successful but also supportive and welcoming for all.

Perhaps they might like to think about doing away with it altogether.

At the Beach

The serene sounds of waves crashing or birds chirping at beaches and recreational areas are frequently overshadowed by blaring speakers playing loud music. This invasion of sound not only disrupts the natural ambiance but can also be a significant annoyance and even harmful to other visitors. This article explores the implications of playing loud music in public outdoor spaces and advocates for a more considerate approach.

The Intrusion on Public Space

Beaches and parks are communal spaces meant for everyone to enjoy. They serve as escapes from the urban clamour, offering a sanctuary where people can reconnect with nature, relax, and rejuvenate. When individuals or groups play music at high volumes, it imposes their auditory preferences on others, often without consent. This can disrupt the experience for those who come to these places seeking peace and quiet or wishing to enjoy the natural sounds of the environment.

Loud music in these settings can be particularly jarring because it contrasts sharply with the expected natural ambience. This can lead to conflicts among visitors, as not everyone shares the same taste in music or desire for an auditory backdrop to their outdoor experience. The assumption that public spaces can serve as personal sound stages exhibits a lack of courtesy and awareness about shared rights to the environment.

Environmental and Health Concerns

Beyond social etiquette, blasting music in natural settings can disturb wildlife, affecting their behaviour and potentially their survival. Birds, for instance, rely on subtle sounds to communicate with each other, find food, and avoid predators. Loud music can mask these sounds, leading to confusion and stress in animals. This not only impacts biodiversity but also diminishes the ecological health of the area.

For humans, the health implications of loud music can be equally concerning. Consistent exposure to high decibel levels can lead to hearing damage. While visitors can choose to leave a noisy area, repeated exposures, even during supposed leisure time, can contribute to long-term auditory issues. Moreover, loud music can increase stress levels, negate the psychological benefits of spending time in nature, and exacerbate conditions like hypertension and heart disease among susceptible individuals.

Social and Cultural Considerations

The cultural dynamics of shared spaces also come into play. Public beaches and parks are utilized by a diverse cross-section of society, including families with young children, elderly individuals, and people seeking solitude or meditative experiences. Loud music disregards these varied uses and needs, potentially alienating those who feel that their rights to enjoy public spaces are being overridden.

Addressing the problem of loud music at beaches and recreational areas requires a communal effort towards promoting respect and consideration. One practical solution is the designation of specific zones for different activities. Areas could be allocated specifically for those who wish to play music and socialize loudly, while other parts would be preserved for quiet and relaxation.

Local authorities could also enforce existing noise ordinances more strictly and consider the introduction of signage that educates visitors about the impacts of loud music. Moreover, outreach programs that inform the public about the ecological and social benefits of keeping public spaces quiet can help foster a more respectful and inclusive outdoor culture.

While everyone has the right to enjoy public spaces in their way, this should not infringe upon the rights of others to enjoy the same spaces peacefully. By fostering an environment of mutual respect and understanding, we can ensure that our beaches and recreational areas remain welcoming and enjoyable for everyone. In doing so, we not only enhance our own experience but also preserve these communal natural resources for future generations.

So there is the problem in its varied forms. The BoomBox speaker is a frequent visitor at the beach where we holiday and on Waitangi Day a group decided to film and livestream DJ’s at work on the beachfront. They had some great kit but the “music” was not to the taste of many present. So it goes.

It is at times like this and thinking through these issues that a song by Simon and Garfunkel comes to mind. Perhaps it is more the title than the sentiments expressed because it is a very urban piece. It is about silence as a reaction to ideas – silence like a cancer grows.

The song is “Sounds of Silence” and the song (words, music and video) can be found here.

But there are times when the sounds of silence can be a wonder – those moments when time and the world hold their breaths as the sun rises above or falls below the horizon. Times of magic. Times of silence.