Excerpts from The Recording Angel by Evan Eisenberg :

‘…Bing Muscio, former president of Muzak Corp.,who came to the firm from a manufacturer or air conditioners, said that his product should be heard but not listened to. Designed to flatten work efficiency curves, Muzak is programmed by a teleprompter computer in fifteen minute segments. A segment holds five selections, each more stimulating the last (in terms of tempo, rhythm and orchestration). There are different programmes for offices, light industry, heavy industry and public places (where the emphasis is on ‘well being’ rather than efficiency.)…That makes it the largest network in the world. Here is architecture of time on a titanic scale–free world equivalent of totalitarian radio. Generalissimo Franco used to have Muzak played over Radio Madrid. But then Muzak was conceived by a brigadier-general who wanted to pump it into the trenches of the First World War, and it had its first great success in the munitions factories of the Second.’ P.65

‘Of course, Muzak is not work music for musicians, but for workers. If good music were played in factories, either it would distract the workers or they would have to learn to ignore it. Surely people should not be taking good music for granted. Should they then, be taking bad music for granted? It may be a false dilemma. Where a task is is mechanical, good music may not speed it up, but it will make it infinitely more bearable.’ p.65-66

‘In some cultures work music is music one sings while working: grinding songs, harvest songs, building songs, sea shanties, field hollers. When the worker is exuberant, the song recycles his exuberance. When he’s bored, it entertains him. It thus reinforces the natural rhythm of the workday. Muzak comes from outside worker. It smothers his exuberance, prods, his exhaustion, and flatness the workday.’ p.66

Thought: Having worked in a number of establishments within the hospitality sector, I have noticed that hugely popular streaming channels such as Spotify and Apple Music ‘Playlists’ are the natural predecessors for Muzak. Without the intervention of a ‘conscious DJ’ who can alter the programme of music–restaurants, cafes and bars all fall into the trap of repetitive playlists. (It is understandable that the music is least of the owner/managers concern when running a restaurant, thus there is no desire to alter a comfortable sonic fit.) I find it interesting that we consciously numb and anaesthetize ourselves in certain situations and environments, it is not always outside oppressors that dictate our sonic experience. Why?

At my families restaurant I have also began to notice a rather strange phenomenon or sonic peculiarity that seems intertwined with the theories of Muzak. The Spotify account linked to the restaurant plays a continuous playlist mix of acid jazz, UK and US Soul/R&B and nineties house music, which I estimate runs for about four hours before replaying again. Interestingly, I have began to associate certain songs and respective rhythms with the a particular mood of service and noticed changes in the customers attitude.

The mood of service: How the waiting and cooking service is going-i.e a high influx of people and orders results in a manic service, resulting in arguments between workers and a decrease in moral.

On the weekend (the busiest days), the music played from the surround system guides, ignites and foreshadows the running of the service. EXPAND ON THESE THOUGHTS IN A SEPARATE POST