November 1st, 2015
Song of the City
I want to call it a “song,” but it's really more of a hum, a drone. Less like a melody, and more like one of those eternal drone pieces by LaMonte Young. It's the sound that a city makes, but it's not something you hear in an ordinary way. It's a vibration that one's whole body can sense.
In the Sunday paper, a writer was documenting his interior journey, as his family was priced out of Brooklyn and moved to a suburb, up the Hudson River Valley. In passing, he noted, “I didn't really vibe with the city anymore.” What he was afraid he'd miss, was no longer there. The charge he'd felt was gone. And the process of attuning himself to his new environment was going better than anticipated.
The vibrant drone of a city isn't an abstraction, it's the sound and feel of all the things in the city. When the composition of those things changes enough, the feel of the city changes. Some have a kind of faith that New York City will always be some version of itself. It's core hum will always throw off roughly the same set of vibrations. The hum of a city can be an addictive experience. You can see the rush of the city in the eyes of young people strutting down the sidewalk mouthing the words, “New York City,” to the rest of their crew.
SoHo, the area south of Houston street, has been ruined for a long time. The corporations chased the artists out years ago. But walking around SoHo now, one can feel the pre-packaged, bland, corporate cool even more. The vibrations that drew these corporations to that part of town are almost entirely gone. Slivers of the older SoHo manage, somehow, to continue to exist. They emit strong beacons, that are nonetheless swallowed by the roar of commerce surrounding them.
It's as though the experience, the sound of the city, had been replaced with a store, offering to sell you the sound of the city. And not the actual sound of the city, that's gone, it's an “amazing simulation.”