A Thread for Hilarious RONG Things my Sociology of Pop Music Prof Says

Evanescence

Warrant

Atmosphere

Roxy Music oh wait

Emo Phillips

I was thinking more like Carly Simon. This is higher ed from what I understand.

(This class should be on DVD. It's got a built-in audience.)

Your search - "sweet cheeks" site:ilxor.com - did not match any documents.

;_;

Maybe she was mixing up "The Message" and "White Lines," because "White Lines" did rip off liquid liquid without sampling them.

now i'm one of those posters.

nevermind me HOOS, plz keep it up.

Conal Furay and Michael J. Salevouris define historiography as "the study of the way history has been and is written — the history of historical writing... When you study 'historiography' you do not study the events of the past directly, but the changing interpretations of those events in the works of individual historians."[1] One should be cautious, however, that in the sense given in the previous paragraph when a historian does historiography she is actually studying "the events of the past directly".

-Wiki

I've decided that I like your professor's interpretation of musical history better than the other one. I'm making the switch. Who is brave enough to come with me?

I've decided that I like your professor's interpretation of musical history better than the other one. I'm making the switch. Who is brave enough to come with me?

I'm in. It's either stick with the rest of you losers or go with the originator of dancehall. No-brainer.

While this thread is amusing, the root of it raises a serious issue which pretty much everyone on ILM would probably agree with, i.e. the fact that pop music is hideously inadequately approached by academia. If someone gave a film studies class full of this kind of bullshit, inaccuracy, short-sighted opinion and foundation-less conjecture they'd get fired, so why is it allowed with pop music?

To be honest I'm not sure why pop music should need to be 'approached by academia' at all.

The 'academia approach' to pop music was started by Bob Dylan.

That sounds like a Richard Meltzer question. Seriously, if this is an undergraduate class, it's likely stocked with undergrads looking for an easy A. I don't think that pop music is being interrogated here. And there are academics grappling with pop music. Look at the faculty of the Musicology department at UCLA.

Also, these quotes are ridiculous not just because they are wrong, but because they miss the point of a sociology class. The music should be the context for discussing the social environments surrounding it. Ie: Is this what was going on in hip-hop in the 1980s, and here was the interplay between hip-hop and the communities of people who listened to it. The quotes from this professor are at best the realm of music history (or a music department, not a sociology department) and at worst, have no place in Academia. (What is the most important song ever? WTF?)

And I don't want to get heavily into justifying why Academia should be working on pop music (mostly because this thread is hysterical and shouldn't become a heavy treatise on the boundaries of Academia), tell Adorno or Attali that they shouldn't be writing about pop music.

Well, "Girls just want to have fun" is the most important song ever written from a sociological perspective, as it posits the hypothesis that when the working day is done, that girls are generally of the expectation, certainly the opinion, and definitely the inclination, to have fun. Wether this perspective reduces due to the transition from girl to womanhood, amking this a source of disappointment is not really interrogated, however there is a case to be made that women are less interested in fun, or at least have other considerations to behold.

"Oh Daddy dear you know you're still number one" = implicit acceptance of the patriarchy.

You're pulling my chain, Mark, right?

I think academia should approach everything, pretty much, but that's beside the point; academia is approaching pop music, here, and it's doing it disgustingly badly, which can only be bad for both academia and pop music.

I'm saying that Academia isn't touching pop music here. A professor mascarading as an Academic is talking about pop music. But she's not using any of the actual tools of Academia to approach the music. Like: What texts is she using (historically and critically)?

Um, I was, sort of, but I sort of warmed to the subject...

In a sort of kind of way.

Either way, however there is a case to be made that women are less interested in fun, or at least have other considerations to behold. = CLASSIC

It was originally written as 'Boys Just Want to Have Fun', wasn't it?

So while security is irrelevant, what is pertinent to young adults is continuous fun and the desire to avoid boredom. Brands and entertainment venues need to interact with the market and continually reinvent what they offer. Young adults are busier than ever before, but work night, school night, if there's something on, they're up for it. This increase in demand has been driven by an increase in opportunity. They are greatly motivated by the desire to not miss out on anything. I mean, who wants to hear the next day about some great thing that happened when you weren't around?

There are some gender differences, though, as to what young people are into. More young urban males attend major sporting events, major festivals and raves whereas more females attend major music gigs and live theatre. More young men go to the movies and to local music gigs whereas more females frequent cafes, pubs and clubs.

It's not just organised events that the youth market is interested in. Young adults are growing up in an instantaneous world and are not prepared to wait for anything. Once upon a time young adults were content to wait for their TV program to start, but now they'll do something else in the meantime. They won't wait for the news to tell them the weather; they'll look it up using digital TV, the internet, or their mobiles. And they certainly won't wait for a friend if they're running late; they'll call or SMS them to see what's going on.

And usually there's a lot going on. In their world of constant movement, things that don't change are perceived as old. If they don't go to a movie when it first comes out then they probably won't go to see it because there's something newer to see. Unless it's a blockbuster with special effects that cannot be fully appreciated on DVD and unless they hear by word of mouth that they can't afford to miss it. Knowing a lot about movies is, along with sport and music, the highest value of social currency.

But it's social currency of a disposable income with a minimal attention span and a desire to cram something into every moment, providing opportunities for youth-savvy organisations that can supply young adults with interactive content. Think consumer electronics, entertainment devices, movies and social network websites.

The prevalence of entertainment in all areas of life has proven that practicality and ease of use are no longer enough in the realm of personal electronics. Nokia is now the leading digital camera producer in the world, because it's all about convergence: phones with cameras, games and MP3 players, game consoles with widescreen displays, wi-fi for multiplayer gaming, web browsers, photo albums and e-mail capability.

Edgar Bronfman jnr, chairman and chief executive, Warner Music Group, understands the possibilities of convergence. In his address at the CTIA Wireless IT & Entertainment Conference late last year he said: "One of the principal reasons we acquired Warner Music in early 2004 was that we were convinced that we could make the company evolve, and that we could take a company that simply sold music on shiny plastic discs and turn it into a music-based content company, one that would exploit the many developing forms and varieties of digital distribution and transmission, and sell not only our artists' music but a wide range of innovative, music-based content, audio content, video content, graphic content and text content to an ever-expanding consumer base."

He said the mobile phone "is not only the most popular innovation in the history of consumer technology, as a unified device it will have a profound social, economic, and cultural impact on our global society".

The next of these impacts will be an influx of wireless music stores. Last year Europe and Asia launched services for downloading full-length songs straight to mobiles. And now the US is ready to enter the market. With electronic companies such as Samsung at the helm with their SCH-a950 phone that features, among other extras, a clamshell handpiece with stereo speakers and a thumbwheel for cuing up songs.

Which is sure to mean more music while walking to the train, waiting for it to arrive and while journeying to the next social engagement. She may have retro-chic appeal, but I have one word of advice for all those Lauper fans among you: headphones. If you're authentically trying to communicate with the youth of today, although they just want to have a good time, you still need to speak the same language.

Dion Appel is chief executive and co-founder of Lifelounge, a branded content and marketing agency that specialises in the youth demographic. d✧✧✧@lifelou✧✧✧.n✧✧

citation: http://www.theage.com.au/news/business/opinion-girls-and-boys-just-want-to-have-fun/2006/03/07/1141493617828.html

oops, I meant to post only the first two paragraphs there.

This reminds me, I once read in an sociology book that some English sociologist had theorized one of the reason rock music appeals especially to young working-class men is that it reminds them of the factory noises they hear at work. And this was like in the eighties!

I would like to say "hi" to the pinefox, whose presence has been sorely missed!

Squarepusher records are almost exclusively bought by road workers, incidentally.

best thread ever. its as if the class was taught by Patrick Bateman.

http://content.answers.com/main/content/wp/en/5/55/JohnCaleAcademyInPeril.jpg

http://www.bloody-disgusting.com/images/features/topvillains/10brooks050107.jpg

"Paula Cole's 'where have all the cowboys gone' is a heartbreaking lament for the plight of the modern American farmer."

uh, i mean...

http://img75.imageshack.us/img75/1773/patrickswingaxhr2.jpg

My English Professor's a HACK

if this is an undergraduate class, it's likely stocked with undergrads looking for an easy A. I don't think that pop music is being interrogated here. And there are academics grappling with pop music. Look at the faculty of the Musicology department at UCLA.

Also, these quotes are ridiculous not just because they are wrong, but because they miss the point of a sociology class.

^^^^ otm

it's likely stocked with undergrads looking for an easy A. I don't think that pop music is being interrogated here

ding ding

i saw yo mama the other day, right?

she had on a sweat shirt, said "UCLA" on it.

i was like god damn, I didn't know you went to college!

she said "I DIDNT - MY NAME'S OOOKLAH"

"To be honest I'm not sure why pop music should need to be 'approached by academia' at all.

-- Matt DC"

amen. fuck academia.

i saw yo mama the other day, right?

she had on a sweat shirt, said "UCLA" on it.

i was like god damn, I didn't know you went to college!

she said "I DIDNT - MY NAME'S OOOKLAH"

Quite possibly the funniest joke ever on a rap (or "rap") album. And people think psychoanalysis is humorless.

YEAH, FUCK ACADEMIA

lol

FOR RODNEY KING

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FOR DESCARTES

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FOR NANCY SINATRA

for usa for africa

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4 non blondes