What would go wrong if all the department professors got together before the semester and agreed on a grading system for the entire department/major's classes?

Senior undergrad Mechanical Engineering student at a smallish uni, taking distance classes from a much bigger school in our uni system. I'll acknowledge that I'm asking this out of frustration with how my TSAD class is graded.

One of the big curfuffels students face in college is inconsistent grading systems between classes. 2 classes can require fundamentally the same work, with said work given the same effort by the same student, but one grade could be lower than the other entirely based on the different professors' idea of partial credit, for example. I was wondering, what would happen if, before every semester, all the professors of a department had to get together and agree on the same grading scale/system across all of the classes they teach in their program?

There's a ton of issues with this idea, of course, which is why I've never heard of any uni doing this. Differing personalities and different requirements for classes throughout the program are obvious things to point out (tho what I'm thinking of would exclude classes outside the major program that are still required for credit. The comp professors wouldn't have to meet and agree on the grading scale with the engineering or film professors, that'd be beyond stupid to suggest).

I feel like, even in an ideal scenario where all the classes in the program are similar in work and effort enough to be compatible across a uniform grading system, there's something inherently wrong with this idea that prevents it from having been seriously considered.

What am I missing here? Has there been an attempt at this idea in higher education?

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EDM's Pinkerton

Moby's 1996 record "Animal Rights" would make an excellent rule bend episode. This album almost entirely wrote off any success he had prior and it was a complete miracle that "Play" became the blockbusting smash it did.

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I find the story and legacy of this album more interesting than "Pinkerton" tbh (and "Pinkerton" is a legendary rock story). Moby was best known for extremely rave-y techno at this time and was only a year off from his last album "Everything is Wrong," which began to establish his signature sound while flirting with Moby's punk roots on 2 songs. "Animal Rights" was a full-blown dive into punk aggression, complete with post-punk covers (That's When I Reached for My Revolver), horny lyrics (Come on Baby, Heavy Flow), and extended track lengths (Alone, Face It, Living).

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The album differed between the US and UK. British fans got a second CD upon second printing called "Little Idiot" (named after Moby's iconic cartoon persona that would adorn several of his later music videos), featuring more traditional ambient Moby songs. In the US, several of those tracks were mixed into the album, while one of the punk songs (My Love Will Never Die) was straight up removed from the tracklist. Both of these editions were made to curb the intense backlash this album received upon release (alongside the release of an ambient album under Moby's lesser known Voodoo Child alias).

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When Moby opened for Soundgarden on tour that year, fans pelted him on stage. Solo shows only had around 50 people show up. Both singles flopped, Moby got heat for recording a clean version of Revolver for MTV and the album sold horribly. I think I read somewhere that the only big music industry guy that stuck his neck out on the line for this record was Axl Rose.

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What's even stranger is that, despite having almost the same "complete career destruction followed by intense rebirth" aftermath as "Pinkerton" to the Green Album (and despite Moby making the best music of his career after this record compared to Weezer softening the edges), this album has never had a proper cultural reappraisal like the former. I think the differing tracklists, much longer length (the US cut is an hour and 16 minutes) and aggressively dated 90's sound play a role in this. As much as I really dig this album, it's no influential classic like "Pinkerton;" and Moby's weird Natalie Portman antics definitely make some of the horny lyrics on this thing a tad uncomfortable (tho creepiness certainly didn't stop "Pinkerton" from becoming a rock-and-roll all time great).

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I don't think a video on this album is too likely but I'd love to see it, personally. Don't think Todd would be all that big of a fan, but Moby's one of my favorite artists and I'd love to see Todd give more attention to this weird little oddity in music history.

Good video about this album by Shonky Music

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