Sitting in the local Toyota dealership waiting room for the service area. I am here with about a dozen other customers waiting for their vehicles to be evaluated for service, a cost to be estimated, and then for the work to be done.
Like most customer-minded modern businesses, the waiting room has an array of amenities, including vending machines for packaged goodies (mainly candy bars and pastries), several urns of coffee in vacuum pump reservoirs in a choice of flavors, including decaf and hot water for tea.
There is another vending machine for cold beverages, including bottled water, the ubiquitous Dasani, which is, I believe, a brand of Coca-Cola and its bottlers.
There are three large-screen monitors, two above my head which I have to crane my neck to view. One of these features a live Instagram feed of marketing and promotional material related to the dealership itself. The other screen, silenced seems mainly to be showing a succession of commercials from a variety of advertisers, including Mayor Mike Bloomberg, a variety of law firms of local provenance, etc. It does seem, now that I watch for about 30 seconds, to be tuned to the local major affiliate for ABC. At this hour of the morning (it’s just about to turn 9:30) the show is “Live Kelly and Ryan,” which features the eponymous perpetually mirthful hosts speaking to a round robin of guests who are there to tout whatever it is they are touting, and to bathe in the prompted glorification from the studio audience, consisting of hooting, cheers, laughter, much clapping and general expressions of guiltless, non-judgmental approbation.
The screen, about four feet above my head and located about eight feet on center from my field of vision, repeats the content of the screen on the opposite wall across the waiting room, above the alcoved coffee station. There is a mate across the way as well to the screen with the live “house” feed of marketing information.
The screen near me is muted. The screen behind me provides the main sound track for the entirety of the waiting room, which has a capacity, I would approximate, of about four times as many individuals as now occupy the space. In addition to the endless stream of mirth and enthusiasm that issues from the programming stream of Kelly and Ryan’s production, including all commercial messages (all, in some way, hopeful and upbeat, even when advertising the services of advocates for personal justice when a malign social milieu has, unjustified and fearfully, targeted the consumer’s well-being for the usual mayhem laden reasons: suits of various kinds, including divorce, malpractice, fraud, etc.).
However, in addition to this foundational layer of sound, there are additional ceaseless audible tracks from various sources located on vectors that are no doubt random and accidental, but which serve to present a current of perpetual counterpoint one to another, and challenging the listener, to exercise a significant effort of mindful aural focus. It’s the only way to distinguish one stream of audible content from another.
The effect is not unlike, say, a rough mix of the intended soundtrack of a more artfully crafted (and intended) work of cinematic presentation…very reminiscent, in fact, of a Robert Altman movie, any of the iconic ones, like MASH, Nashville, or a film from his oeuvre sometimes criticized for its extremity of sound effects, McCabe and Mrs. Miller.
The difference being, of course, that, successfully or not, Altman sought to encourage the willing viewer not only to focus, but sharpen their observational and analytical skills on the strength of more than mere visual cues and image manipulation, as one would expect from an art form like the cinema, and learn something about the cumulative and aggregate impact of a nexus of discrete and individualized coded aural content occurring stochastically in a suburban Toyota dealer showroom. Here in the specific waiting room of the Ardmore Toyota dealer’s service facility, the effect is to create, as stated, a cacophony.
The only aural signals that register and capture the attention of the listener, providing a focus, are those arising randomly from the throats of the platoon of service representatives who are monitoring the progress of all jobs being shepherded and tended to in the system. Every so often a name is announced, usually the surname of the customer, and a head twitches or jerks, or perhaps less spasmodically reorients and signals attentiveness, turning like a dish antenna in the direction of the interjection.
A hushed conference ensues, and the service representative returns to his or her station with the consent of the owner to proceed. This is usually the only hushed or modulated verbal exchange that occurs in the course of the morning.
Usually other conversations are conducted at not merely audible levels to a narrow locus of accidental listeners in the vicinity of the communicant – and almost needless to say representing one end of a multi-sided exchange by means of the ubiquitous smart phone. Every customer seems to have one. Every customer seems to have recourse to its use one way or another during the course of their vigil attendant to the mending or possibly merely the preventative maintenance of their vehicle. Most engagements by phone seem to have nothing at all to do with the immediate mission at hand. The calls have nothing to do with the vehicle.
Rather, and this is immediately evident, as no conversation—none—is conducted discretely at the murmurous level called for by etiquette and even only a token amount of self-regard. Rather all and sundry in the waiting room are privy to any and all business that occurs ex tempore.
Those scattered about the room not engaged in a magazine, not staring blankly at a television screen, not volubly holding up their end of an inevitably and quite evidently wholly banal confabulation, one of doubtless millions being conducted at any daylight moment throughout the entire great nation of ours, and all through the miracle of a slab of silicon and other much rarer minerals, are using their phones as a personal amplification systems, conveying the soundtrack of what may be a visual display of live action or other animated programming, or perhaps merely providing musical accompaniment as a kind of anodyne relief from the montony of waiting for the mechanic to get done.