Popular medical specialty is surfaceular again, and its everywhere. Whether its the idols, the stars, the rivals or the academy, the part unison labor has never flaunted itself to such a large extent. But how potbelly we label pop medicine? Where is its place? Many would get by that it belongs solely littered across the floors of teenagers bedrooms worldwide. Others would say it is most at home listed on the bank balance of a major(ip) multinational organisation. A lot of people would insist that pop music has no home, and is just a fad applauded by the culturally inept, those who are only capable of enjoying a pre-formatted, formulaic product of the ending industry. Or is it infact a diverse and artistic phenomenon, allowing a socially and culturally rich expression? Maybe pop music will never be pigeon holed as such, notwithstanding I hope to identify the arguments surrounding popular music and determine its place inside popular culture and within modern society.
The Formula
The subject of pop music seems to have been softly touched on by many writers when talking slightly popular culture, but none have theorised on the case as much as Theodor Adorno. Adornos approach, which is bound heavily by its Marxist leanings, is based largely on observations of 1930s Germany, and subsequently, the united States when The Frankfurt School re-located to New York in 1933.
Adorno talks more or less popular music as a product of the culture industry, a formulaic and stubborn master-plan to which all pop music adheres. He suggested that pop music hears for the listener and is pre-digested and he most collaborates with Marcuses theory of The One-Dimensional Man when the culture industry is viewed as an irresistible force. In light of these statements Adorno went on to conclude that pop music lacked the potential to...
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