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 organization which expects you to listen to its own corporate tune on a 15 second loop while it spends 15 minutes trying to remember 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, you can almost see the good minutes of your remaining life leaking out of you 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.” | ||
Revision as of 14:16, 18 September 2017
A badge of 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 organization which expects you to listen to its own corporate tune on a 15 second loop while it spends 15 minutes trying to remember 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, you can almost see the good minutes of your remaining life leaking out of you 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.”