Hold music: Difference between revisions
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A badge of [[Früheankunftfreude|honour]] amongst people of a certain disposition (“''[[warteschleifenmusikopfer]]''”) — they who think [[the early bird gets the worm]], the first cut is the deepest and so on. | A badge of [[Früheankunftfreude|honour]] amongst people of a certain disposition (“''[[warteschleifenmusikopfer]]''”) — they who think [[the early bird gets the worm]], the first cut is the deepest and so on. | ||
There is something psychotic about an | There is something psychotic about an organisation which expects you to listen without protest to its own corporate tune on a 15 second loop while the AV guy in the room spends 15 minutes trying to find the chairperson's passcode to open an [[all hands conference call]] that, in itself, promises an hour and half of numbing tedium. In that upbeat, high-energy percussive turnaround — transmitted through one ear of a telephone receiver for maximum total harmonic distortion, you can almost see the remaining good years of your life leaking out of you, in fifteen-second drips — as you sit there. You can’t even get on with any other work in the mean time. | ||
One can also draw xenophobic stereotypes over nations and their hold music. The Brits will prefer Elgar (though Europhiles might stretch to Vivaldi); the Luxembourgische a fluffy Straussian waltz; the Austrians a ''Scorpions'' greatest hits compilation, while German firms do have hold music (“[[warteschleifenmusik]]”) - usually Brahms or something like that — but prefer a stern female voice intoning “BITTE WARTEN. BITTE WARTEN.” | One can also draw xenophobic stereotypes over nations and their hold music. The Brits will prefer Elgar (though Europhiles might stretch to Vivaldi); the Luxembourgische a fluffy Straussian waltz; the Austrians a ''Scorpions'' greatest hits compilation, while German firms do have hold music (“[[warteschleifenmusik]]”) - usually Brahms or something like that — but prefer a stern female voice intoning “BITTE WARTEN. BITTE WARTEN.” |