In a sense, most listening to music could be classed as ironic, since for a good deal of the time there's an extreme disjunction between the ostensible subject of the song (limitless freedom/mindblowing sex or drugs/undying scorn) and the context in which we listen to it (in the office/on the bus/in the chip shop). To listen sincerely to pop music would have to involve either committing whole-heartedly-and-brainedly to the world of the song for its duration (this can be pretty ace and romantic and it's why indie kids obsessives valorise the lonely boxbedroom experience) or only listening to the song at appropriate times (eg Broooce can only be listened to while escaping from a life of mundane drudgery on a rock and roll highway to oblivion). But far more interesting, and what seems to me far more common, is an ironic inhabiting of the two worlds at once: does the romantic absolutism of the song take the piss out of your life? Or is the song humiliated by fact of its context in the everyday world? It's the singular strength of pop music that it's not tied to venue or technology like chamber music or cinema, it goes out and invades public and private space, bumps up against you in the shopping mall or the leisure centre, demanding a response. Finding yourself caught up in 'Lose yourself' while doing the hoovering... well maybe that's an interesting kind of irony.
― Jerry the Nipper (Jerrynipper), Wednesday, 22 January 2003 23:45 (twenty-three years ago)