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!!1977 — New York Social Life ---- — — ''part of the series of songs available to be played on discs (45 rpm single) via the jukebox machine at the Holly Solomon Gallery in New York for the Jukebox exhibition.''{br}{br} ---- {html} <iframe width="560" height="315" src="https://www.youtube.com/embed/mLoBpWmMFnQ?rel=0" frameborder="0" allowfullscreen></iframe> {/html} {small}from the LP [New Music for Electronic and Recorded Media\|https://www.discogs.com/fr/Various-New-Music-For-Electronic-And-Recorded-Media/release/355412] (1750 Arch S-1765), 1977{br} Recorded At – Studios Of Laurie Anderson {/small} ---- \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ''Laurie Anderson, ''New York Social Life'', 1977, 3:21{br}Tambura, Scott Johnson - Voice, Performer ^[Telephone^], Laurie Anderson{br} From the lp [New Music For Electronic And Recorded Media, 1750 Arch Records ‎– S-1765, 1977\|https://www.discogs.com/fr/Various-New-Music-For-Electronic-And-Recorded-Media/release/355412]''\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t '' ''New York Social Life'' is a song about life lived on the telephone, says Anderson, and includes her droning listlessly, "Oh, hi, sure, let’s get together, let’s have lunch…"''{br}{br}''One of the earliest Anderson pieces ''New York Social Life'' (which was later incorporated in ''United States'') exemplifies many of the traits of the New York conversational style (fast rate of speech ; fast rate of turntaking ; persistence - if a turn is not aknowledged, try, try again ; marked shifts in pitch ; marked shifts in amplitude ; preference for storytelling ; preference for personal stories ; tolerance of, preference for simultaneous speech ; abrupt topic shifting) in an apt parody of New Yorker’s speaking style which creates instant involvement through fast, formulaic talk, overlapping talk and repetition of newly used phrases. However, in the performance frame, speaking to the audience, Anderson often creates involvement through the opposite means : slow tempo of speech and extensive use of silence. In interpersonal communication between two or more people in the literal or ordinary frame, inter-run pauses may signal conversational disfluency or they can be used strategically by speakers to gain conversation status. But speaking to her audience in the performance frame, Anderson can afford to produce long silences with little threat to disrupt the flow of her talk.'' — {small}(Adam Jaworski, Silences in Laurie Anderson’s performance art, In Silence : Interdisciplinary Perspectives, edited by Adam Jaworski, Berlin / New York : Mouton de Gruyter, 1997){/small}\| \|t \|t \|t ---- {small}{cap}New York Social Life{br}{br}Hi ! How are you ? Where’ve you been ? Nice to see you. Listen, I’m sorry I missed your thing last week, but we should really get together, you know, maybe next week. I’ll call you. I’ll see you. Bye bye.{br} ^[…^] Listen, Laurie, uh, if you want to talk before then, uh, I’ll leave my answering machine on… and just give me a ring… anytime.{/cap}{/small}---- \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ''These excerpts from ''New York Social Life'' focus less on the outrage of what is evidently an awkward discourse painfully aware of its own compulsion toward insincerity, what is a wavering between sympathy and selfishness, than on the superficiality of conversation as a slick surface of ready-made signs or gestures used to break off or establish contact quickly. It is what is business is called « one minute management ».'' — {small}(Herman Rapaport — Can you Say Hello ? - Laurie Anderson’s United States, In Between the Sign & the Gaze, Cornell University Press, 1994{/cap}{/small}---- \| {br}{br} {br}{br}
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