Beruflich Dokumente
Kultur Dokumente
Introduction 1
Theoretical Framework
Theodor Adorno’s Aesthetic Theory 4
Case Study
The History of the Music Industry 14
Conclusion 25
Epilogue
Digital Downloads and Industry Decline 27
References 29
Introducti on
“The reality is, to me, I don’t really see it as a business. I’m still one of those
people that see music as art, and maybe it’s really naïve, but maybe I’m the
future”.
-M.I.A., Singer-rapper
‘The Culture Industry’- is captured poetically in Bob Dylan’s It’s Alright, Ma (I’m Only
Bleeding). The epic tune has been referred to as ‘the ultimate protest song’ because it
expresses a general disapproval of the modern world. The lyrics are vigorously nihilistic,
claiming that “It's easy to see without looking too far/ That not much/ Is really sacred”
(Bob Dylan, It’s Alright, Ma, 1965). The narrator’s prime target is capitalism, specifically
the way in which the system’s pragmatist ideology neutralizes all other values. Dylan
calculations, describing businessmen that “cultivate their flowers to be nothing more than
something they invest in” (Ibid). The culture industry’s amoral manufacturing has “made
everything from toy guns that spark/ To flesh-colored Christs that glow in the dark”
(Ibid). Dylan is “disillusioned” (Ibid) by the “phony” (Ibid) commodity form that
traditional values are reduced to and “Advertising signs that con you” (Ibid) by diverting
from this fact. Adorno argues that the whole of culture is consumed by administration in
this way. Like Dylan, he suggests that the problematic inherent in the culture industry is
believer in the social potential of art yet markedly pessimistic about its realization in
modern society. It’s Alright, Ma is a testament to the progressive content that Adorno
believes to be inherent in aesthetics: the song steps back from society and offers a holistic
critique of it, offering possible solutions to suggested problems. “By appearing to have a
life of [its] own, [the work] of art [calls] into question a society where nothing is allowed
to be itself and everything is subject to the principle of exchange” (Cook, 114). Dylan’s
vicious cycle of conservatism: the delimiting of art is both a cause and symptom of the
culture industry’s malady. Adornian theory dichotomizes society into two necessary
elements- culture and administration. He suggests, however, that the latter’s inherent
tendency towards expansion and domination renders the structure ultimately self-
defeating. For Adorno, the absence of art in society is the emblem of the culture industry.
Adorno has proven himself to be a prescient thinker: though his theory on mass-
culture was composed early in the twentieth century, its contemporary relevance is
becoming increasingly apparent. The intimate relationship between popular music and
commerce is an ideal manifestation of Adornian theory. Though rock music was in its
infancy at the time of the philosopher’s death, its growing connection to bureaucracy and
simultaneous shift in content is consistent with the aesthetic lifecycle that the thinker
illustrates.
Dylan’s It’s Alright, Ma is a quintessential example of the rebellious folk music
that was being performed in a growing number of coffeehouses around Boston and New
York in the early 1960s. By the 1970s, administrative interests transformed the art into a
standardized collection of rock clichés. This thesis will argue that the history of rock
doing so, the case study will suggest particular answers to Adorno’s questions concerning
“Decisions are made with the aim purely of serving a big company’s financial
interests… It affects everything”.
-Chris Martin, Coldplay Frontman
As a rule, critical theorists like Theodor Adorno do not make the most gracious of
houseguests. Upon fleeing 1930s fascist Germany with a group of fellow Frankfurt
School thinkers and arriving in the United States as an exile, the social philosopher
immediately turned his shrewd eye on the consumerist culture of modern America.
Adorno was greatly affected by the National Socialist’s systematic upheaval of Europe- a
feeling evident in the strong sense of disillusionment and deep-rooted pessimism that
pervades most of his philosophy. In his later work, Adorno stressed the lasting
inseparable from the substantiality of everything cultural down to the present day” (CA,
120). Adorno viewed the atrocities as a betrayal of the metaphysical tradition’s search for
death” (Negative Dialectics, 362). It was with this disposition that Adorno encountered
an entirely distinct form of oppression in his new home in what he famously deemed ‘the
culture industry’. “While Adorno nowhere identifies the culture industry with the
political triumph of fascism, he does imply… that [its] effective integration of society
which was achieved under fascism” (The Culture Industry, Introduction, 4). Though the
root and severity of oppression differed, America was akin to Nazi Germany in its
aesthetics. Accordingly, many of his most involved works are concerned with defining
the social role of art and assessing its potential to produce social change. The thinker’s
the capitalist system that threatens art’s autonomy: by virtue of its extreme organizational
power, the corporation threatens to subsume not only its competitors but also the
aesthetic realm itself. The phenomenon is a double-edged sword: not only is the culture
industry oppressive in its own right, but its structure also undermines attempts at
To come to terms with Adorno’s case against capitalism, one must first examine
the thinker’s aesthetic sensibilities- particularly his definition of art. Adorno’s aesthetic
investigations are primarily concerned with Modern Art. As such, his conceptualizations
are rooted in socially-minded expressionism. The thinker adopts the Kantian notion of
art, evaluating it in terms of its ‘formal autonomy’. “In addition to being relatively
independent of the market, a cultural good will also have to exhibit certain internal
culture industry would themselves have to undermine reification from within” (Cook,
the realm is concerned with applying instrumental reason and intensive planning in order
Culture, on the other hand, is the title of that which is often referred to in modern society
as ‘The Arts’. In contrast to its opposite, the cultural realm can be defined as that which
culture rejoices in its ‘uselessness’. By taking on this role, “works of art recall the human
viewed as the manifestation of pure humanity”, Adorno writes, “without regard for its
functional relationship within society” (CA, 108). The philosopher goes on to argue that
“[culture] stands in contrast to everything which serves the reproduction of material life,
the literal self-preservation of the human being in general, and the needs of his mere
creative process. Culture, Adorno writes, “would like to be higher and more pure,
considerations” (CA, 108). The thinker suggests that culture and administration are
Adorno argues the existence of a natural tension within society. Such “a twisted
relationship. The former is the necessary basis for a sustainable society, providing an
organized system in which the basic needs of the citizen are met. In this sense it is the
basis of society. Culture, on the other hand, makes life meaningful. Administration gives
society form and structure whereas culture creates and implements social values.
Art takes on great significance in light of the above conception of culture. Adorno
boldly casts art as that which is “autonomous, critical, and antithetical” (CA, 118).
Aesthetic independence allows the artist to establish an objective critique of that which
has been administered and the opportunity to challenge the status quo in his artwork.
“That better things will make their way by virtue of their own power”, he writes
culture and administration can theoretically support one another, the inherent tendency of
the latter towards expansion suggests that such a structure of society may be ultimately
sociologist Max Weber argues that “bureaucracies, following their own law, are destined
to expand” (CA, 109). The dominance of administration is directly related to the highly
advanced level of organization and “purely technical superiority” (Weber, CA, 109) that
“stands in the same relationship to other forms as does the machine to the non-
mechanical production of goods” (Weber, CA, 109). Adorno takes the sociologist’s
theory to its radical extreme, arguing that the natural proliferation of administration
threatens to make culture obsolete. “The more firmly integrated [organizations] are”, he
writes, “the greater is their prospect for asserting themselves in relation to others” (CA,
domination.
It is in Adorno’s belief in art’s progressive potential that one can ascertain the real
sense of tragedy inherent in its dissolution. In the idealized social structure offered by the
elements that exist between the two social spheres, the most pivotal exists in culture’s
ability to construct counter-culture. For Adorno, the ‘truth content’ of a particular work
of art exists in its relative ability to challenge unjust social norms and offer potential
modes of change. “[Art]”, he writes, “involves an irrevocably critical impulse towards the
status quo and all institutions thereof” (CA, 116). In so much as art is a critic, it is also a
renegade- a revolutionary force with the potential to betray a given set of principles.
Without culture, society lacks a meaningful sense of value and viable means for change.
Adorno argues that, on a basic level, the absence of culture amounts to a fundamentally
shallow existence. An even greater danger, however, lies in one’s subsequent inability to
The expansion of Administration does not result in the liquidation of culture, but
in a clearance sale. As Adorno is quick to point out, bureaucratic forces are eager to mold
art into ‘useful’ products: the culture industry systematically co-opts and commoditizes
cultural artifacts, forcing them into the rigid framework of their opposite. They are
“granted the space in which to draw breath immediately by that power against which
[they] rebel” (CA, 118). Such devaluation preserves a hollow representation of art that is
void of its defining characteristics: the products lack the autonomous, critical, and
antithetical mark of aesthetics. “What are emancipated from formal law are no longer the
entertainment value. Adorno suggests that such devaluation is critical because it not only
strips the work of its progressive potential, but also makes the consumer complacent by
way of intoxication. Most strikingly of all, the customer is left with the illusion that
whole: a work of art must internalize a holistic account of complex social structures if it
is to do them justice in its critique. Accordingly, autonomous artwork will exhibit the
reflection of the naturally opposing forces of culture and administration, the antagonistic
core of Modern Art is reflective of its antithetical character: “it bears witness to the
continuing antagonistic character of a world which is growing ever more unified” (CA,
113). Adorno argues that such unification is a mark of the homogeneity and subsequent
loss of identity that logically follow the rise of the culture industry. Just as autonomous
art expresses social tension, when subsumed by bureaucracy, it produces the same hollow
The rise of the culture industry is a direct result of “the neutralization of culture”
(CA, 117). Artwork is ruthlessly reified, stripped of any metaphysical significance, until
all that remains is an aesthetic shell. “That which is so provokingly useless in culture”,
Adorno explains, “is transformed into tolerated negativity or even into something
negatively useful – into a lubricant for the system, into something that exists for
something else, into untruth, or into goods of the culture industry calculated for the
consumer” (CA, 117). Adorno argues that most ‘artwork’ consumed within modern
society lacks aesthetic content. The thinker suggests that once a work of art is exposed to
the instrumental reasoning inherent in modern capitalism it surrenders its artistic
integrity.
Herein lies a paradox- one that Adorno is painfully aware of. He acknowledges
the fact that the modern artist (and perhaps art in general) depends on various
administrative institutions to convert his abstract creation into a work that may be
accessed by a particular audience: “Yet, at the same time, art denounces everything
institutional and official” (CA, 117). While Adorno does not wholly discount the potential
for a society in which art is reified without sacrificing its autonomy, it is clear that
modern America is by and large incapable of achieving such a feat. Instead, Adorno
would argue that citizens of modern consumerist society are fed a continuous barrage of
romantic comedies and celebrity gossip until they are too stuffed to fathom that anything
is even missing.
number of media (and has been by his many followers), the German philosopher was
known for his great passion for music and focused his aesthetic inquiry accordingly. The
philosopher came from a wealthy German family that shared a common love for music.
His mother and sister were both accomplished musicians and offered the young pianist
encouragement and training. Though Adorno spent much of his adolescence focused on
musician. After completing his doctorate in Philosophy, he leapt at the chance to study
under renowned composer Alban Berg. He later wrote that his teacher’s music “is
without force, tangible and fatal like a wine; that comprises its true modernity” (Adorno,
Alban Berg, 29). Adorno would go on to acquaint himself with Berg’s mentor Arnold
Schoenberg. The composer would become the thinker’s greatest influence, both in music
and philosophy. Schoenberg is best known for his atonal expressionism and pioneering of
manipulation of all twelve possible notes into a variety of formations. A musical genius
one of the most influential musicians of the twentieth century. For Adorno, the
composer’s work was the example par excellence of Modern Art. Not only was
represented a glimmer of hope that the modern artist could survive in the culture industry.
nineteenth century, the dramatic transformation of pop-music that has occurred since
then- a technological and administrative shift that the thinker could scarcely have
imagined- complicates modern application of his theory. Among his most notable essays
on the subject, On the Fetish Character of Music and Regression in Listening was
published in 1938 and concerns itself with classical music. Though the piece elegantly
expresses the ‘regression’ that Adorno claims to have taken place within the particular
genre, other styles of music are arguably affected by the same phenomenon in radically
context, his critique of musical form is less relevant than his investigation into a
(and society as a whole) remain relatively constant. Adorno opens the essay by remarking
on the innate appeal of music in its variety of forms: “Complaints about the decline of
musical taste”, he writes, “begin… [with] mankind’s twofold discovery, on the threshold
of historical time, that music represents at once the immediate manifestation of impulse
and the locus of its taming” (Regression, 29). This universal conception of music will be
In the context of the rise of Rock and Roll- a musical movement that was
Furthermore, the awkward relationship between culture and administration that Adorno
constructed is fully realized in the bureaucratic force that has threatened rock music’s
authenticity since its birth. This paper will use the collision of rock music and commerce
as a case study to argue the profundity, modern significance, and far-reaching application
potential of Theodor Adorno’s aesthetic theory. At the same time, Adorno’s prescient
theory offers compelling insight into the modern musician’s continuous struggle for
“There’s something about music when it’s on the street level. It’s the only way you
can build up subcultures and have manifestos to believe in and lifestyles and
ideologies… It’s going to make me sound old, but music had more in it back in the
day, and it was more open and reflective and interesting. Now it’s one dimensional
and market driven”.
-M.I.A., Rapper-singer
Bob Dylan’s melodic proclamation that ‘the times they are a changin’ became the
growing number of young Americans, the enigmatic poet directed a barrage of rhetorical
questions at his audience: “How many years can a mountain exist/ Before it's washed to
the sea?/ Yes, 'n' how many years can some people exist/ Before they're allowed to be
free?” (Bob Dylan, Blowin’ in the Wind, 1963). The concerns struck a chord with the
expressed their dissatisfaction with modern society and intent to provoke social change.
But the burgeoning counter-culture of 1960’s America was not only convinced
that ‘a change was gonna come’, they shared the Adornian notion that “the productive
[impulse] that [rebels] against convention” (Regression, 32) could manifest itself in their
music. Deborah Cook writes that “Adorno insisted very early in his work that the task of
music as art was to express… the exigency of the social situation and to call for change
through the coded language of suffering’” (Cook, 109). The belief had been exemplified
in the music of the previous decade: the birth of Rock and Roll had advanced the Civil
Rights Movement, its Blues-based style provoking the integration of Black artists in
youth were optimistic that their music could do the same. In the local coffeehouses of
Boston and New York, college kids started a folk-revival that transposed its traditional
aesthetic to reflect modern political concerns: “For fifty cents you could buy a mug of
coffee and hang out all night talking, reading, playing chess, or listening to the students
who brought along their guitars and banjos” (Mansion, 3). Their protest songs expressed
liberal concerns like the war in Vietnam and the nihilistic elements of modern capitalist
society. In accordance with Adornian theory, the movement was relatively detached from
administration, giving it the independence necessary for rebellion: “[The] approach and
message held a growing appeal and veracity for many young intellectuals and middle-
class college students who were increasingly uneasy with the country’s postwar
consumer society” (Mansion, 4). The movement was epitomized in 1969 at Woodstock-
when half a million likeminded fans gathered at the festival to celebrate a shared belief in
peace movement: while Hendrix was jamming at Woodstock, newly elected President
Richard Nixon was expressing his lack of sympathy for the counter-culture’s aspirations.
Under the new leadership, police brutality at political protests escalated and an increase
of troops were sent overseas to Vietnam. The developments made many hippies wonder
whether their dream of peace had actually been a hallucination: while the 60’s had seen
an unprecedented outcry for social change, the counterculture seemed as though they
were further than ever from achieving their goals. The changing mood was present in the
music, which no longer contained the same progressive messages: “Nothing in the street
looks any different to me” (The Who, Won’t Get Fooled Again, 1971) sang The Who’s
Pete Townshend, reflecting upon the naiveté and sense of betrayal that overshadowed the
‘flower power’ of the previous decade: “Pick up my guitar and play/ Just like yesterday/
Then I’ll get on my knees and pray/ We don’t get fooled again” (Ibid).
progressed, one could argue that the change had less to do with the new political climate
and more to do with the increased industrialization of the music itself. The notion is the
central thesis of Fred Goodman’s book The Mansion on the Hill, a historical account of
the rise of the music industry. “The power of the music and the broad, romantic appeal of
The author argues that by the 70’s, Rock and Roll had been appropriated by industry and
successful music:
results in the impotence of music: culture is the essence of social reform. When its formal
autonomy is violated by administrative expansion, it is stripped of its progressive
potential. Adornian theory thus suggests that pop-music’s general disengagement from
progressive ideals following the 1960’s was not a response to an increasingly oppressive
political climate. Instead, Adorno would argue, oppressive political conditions are
administration. For Adorno, a lack of progressive music suggests that no music is being
created at all. He would argue that contrary interpretations are based on the misconceived
notion that commoditized products contain the essential properties of the work of art.
his theory. The culture industry, Adorno suggests, “has developed formulas… [for]
musical entertainment” (Mansion, 105). Goodman spends much of his book expounding
this theory, going into great detail about the high level of forethought and organization
within the music business. “In all [the culture industry’s] branches”, Adorno writes,
“products which are tailored for consumption by masses, and which to a great extent
determine the nature of that consumption, are manufactured more or less according to a
plan” (Culture Industry Reconsidered, 98). In doing so, the system fixes its gaze on
precisely that which is non-essential to the artwork: “The entire practice… transfers the
profit motive naked onto cultural forms” (CIR, 99). For Goodman, this is precisely what
unfolded in the popular music of the 1960s, as musicians were hired by record labels that
were admittedly “concerned not just with the question of whether a recording [is] good,
but why it [succeeds] or [fails] with the public” (Mansion, 275). The book chronicles the
intensifying affinity of popular music and industry, the awkwardness and complexity of
substantiate the Adornian notion that “the autonomy of works of art… [are] tendentially
eliminated by the culture industry” (CIR, 99). While the form of the product tends to
mimic its former self, its aesthetic content is dissolved: “It does not strictly counterpose
another principle to that aura, but rather… it conserves that aura as a foggy mist” (CIR,
102). Goodman believes the same to be true of the modern music industry. He cites
altering progressive content in accordance with the status quo. The author reduces this
conformity to the listener’s preference for that which is familiar, a symptom of Adorno’s
‘regression of listening’. “The blending of aesthetics… leads art… not to its rightful
position [of] opposition”, Adorno writes, “…but rather in a variety of ways to the defense
of its baneful social consequences” (CIR, 102). He argues that a depreciation of artistic
The Mansion on the Hill is a strong exemplification of Adorno’s theory, particularly its
detailed account of the way in which the industrialization of music degrades its aesthetic
content.
references: “Jesus, man, could you change the channel?” The Cohen Brothers’ The Dude
memorably pleads from the back seat of a cab before being forcefully ejected by its
offended driver. “…I had a rough night and I hate the fuckin’ Eagles, man!” (The Big
Lebowski). The Eagles have become synonymous with the spiritually void ‘Corporate
Rock’ of the 1970’s. The band’s music was the product of meticulous standardization.
biographical details or on the situation in which things are heard” (Regression, 30).
Standardization is positively correlated with record sales because “the familiarity of the
piece is a surrogate for the quality ascribed to it” (Ibid). Adorno argues that
commoditized music is simplified in much the same way so that it makes for easily
digestible consumption.
Record executives of the 1970s based their business model on Adorno’s theory,
gradually perfecting a formula for producing profitable acts that necessarily lacked
progressive content. In the case of The Eagles, Atlantic Records carefully constructed a
model for success, including a pre-planned image that adopted cliché rock aesthetics:
“The songwriters honed a metaphor The Eagles would use to great advantage in their
career: rock and roll as an outlaw lifestyle” (Mansion, 238). The extensive role of
Eagles- is an explicit product of Adorno’s culture industry. For proof of the music’s
concealing or disguising their reification, some modern artwork also subverts it; they
becomes quite difficult to identify prevailing authentic works among a wash of corporate
imitations. “The scope and reach of the business often make it impossible to tell what is
done for art and what is done for commerce- which calls into question the music’s current
ability to convey the artistic intent that made it so appealing and different to begin with”
(Mansion, xii).
Then again, some cases are more obvious than others. Adorno argues that typical
commodities fail to disguise their entanglement with administration and “do not pretend
to have any value apart from that of exchange” (Cook, 114). “If the album [The Eagles’
Desperado] struck many critics as contrived, coming as it did from a group that was
straightforward about its commercial aspirations, the view eventually found great
resonance with fans” (Mansion, 238). As Adorno writes, public reaction was “split
between the prescribed fun which is supplied to [fans] by the culture industry and a not
By the 1980’s, rock music had splintered into so many disparate yet uninspired
subgenres that incessant journalistic claims regarding the ‘essence of rock’ became
musical production in the capitalist marketplace” (Cook, 43). That being said, growing
administrative involvement within ‘the music industry’- a new colloquial term whose
prevalent usage implied the two were now inseparable- had left a definite imprint on the
content of music and the corresponding image of the musician. While Dylan’s manager
Albert Grossman made a conscious decision to refer to his client as an artist, and with
good reason, one could not apply the title to the bulk of modern ‘pop-stars’ without
evoking a sense of irony. While the folk singers of the 60’s were epitomized by their
poetic reserve, progressive aspirations, and disdain for mass-culture, the modern
ambivalent attitude towards social issues. “By the late seventies… the record companies
had succeeded to such an extent that the modern rock scene became the antithesis of what
it had originally aspired to be” (Mansion, 306). The tendency of commoditized art to take
progressive potential, it now serves to reinforce the status-quo. Adorno argues this
As Goodman astutely deduces, “the problem [is] that the music no longer [drives]
the business, the business drives the music” (Mansion, 306). The quote reads as an
expression of the danger that Adorno described in Culture and Administration: while art
distributed, there is an inherent threat that presents itself when culture and administration
come in contact with one another. Adorno argues that the organizational model will
necessarily expand to the point at which it violates culture’s aesthetic autonomy,
eventually swallowing it up, and then spitting it out as commodity- a pitiful parody of its
former self. Such is certainly the case for the music industry Goodman describes in The
Mansion on the Hill: rock music was originally independent of commerce (in the 60’s
folk-revival) but was harnessed by entrepreneurs as soon as its mass appeal became
evident. Popular music was then subjected to an increasing level of standardization and
organization, until many artists became too overwhelmed by foreign commercial interests
“It’s okay as long as it stays out of the way and it helps” Bruce Springsteen once
said reticently. “Otherwise [it’s] got me freaked out… I get upset sometimes, you know- I
just don’t wanna go and get lost in a bunch of stuff that don’t mean nothing to me”
(Mansion, 302). A musician whose professed ambivalence to business led him to sign
contracts without even reading them, Springsteen was acutely aware of the conflicting
interests pervading the music industry. When he first started playing, his absolute refusal
no end: when attempting to choose a final cut of his song The River, Columbia A&R man
Peter Philbin explains, the rocker played him 17 different mixes of the song. “And then
Bruce goes, ‘Now which one is better?’ Which one is better? Hey, flip a coin!” (Mansion,
333). The anecdote fits well into Adorno’s account of the awkward relationship between
regard for the obligation of the internal artistic whole implied by its functionality, but
also without concern for the laws of form demanded by aesthetic autonomy” (CIR, 101).
Springsteen’s delicate relationship with record executives is reflective of Adorno’s notion
of the irreconcilability of art and business. The realms are based on two fundamentally
himself: “We’ve got at least five big records here” Springsteen’s manager Jon Landau
insists. “Now all we have to do is cleverly stage them, the sequence of them, the touring-
and nobody tours better than [you] Bruce- and basically put together a two-year plan”
(Mansion, 342). Born in the U.S.A.’s title track- profound disillusionment with the
ambiguous relationship to American consumer culture, its inherent tension, and the
paradoxical pursuit of authenticity: “You end up like a dog that's been beat too much/ Till
you spend half your life just covering up” (Bruce Springsteen, Born in the U.S.A.).
critical theory. Using Springsteen as a prime example, the author argues that even the
autonomy. Born in the U.S.A. (1984) marked a departure from the rockstar’s earlier work:
the tracks were shorter, less experimental, and dealt in rock cliché rather than social
critique. “Born in the U.S.A. wasn’t undertaken to question authority or the supremacy of
commercialism but to achieve it. It now spoke for the aspirations of rock” (Mansion,
351).
While Springsteen’s capitulation could simply lead to his being discarded
amongst fellow victims of the culture industry, his prodigious devotion to Adornian
aesthetic ideals raises far greater questions: Can the artist survive in the culture industry?
Is it still possible to create genuine art in modern society? While Adorno does not
explicitly deny the potential for art within the culture industry, he is decidedly pessimistic
about the prospect of creation within the given context. Goodman shares a similar belief:
“It is possible to both achieve commercial success and rise above it”, he maintains,
“but… it requires an absolute faith and focus in the intrinsic value of the work itself
“The authenticity, originality and truthfulness of music is not like it was. The big
corporations… [aren’t] concerned with discovering the revolutionaries and poets
that I [have] admired. In today’s commercial radio and recordings, there’s no risk,
there’s no sense of discovery, and people are trying as much as they can to sound
alike”.
-Perry Ferrel, Jane’s Addiction and Satellite Party Frontman
‘Songs can't save the world’ Bob Dylan once said. ‘I've gone through all that’.
Popular music has gone through it as well. As Goodman argues in The Mansion on the
Hill, the content of rock is drastically different than it was back in the 1960’s. By
presenting the history of the genre from the point of view of the industry- an angle fans
hardly ever get a glimpse of- the extreme level of planning, organization, and
the folk-revival with Corporate Rock, Goodman is able to persuasively argue that the
tangible shift away from progressively-minded music that has occurred is directly related
to its escalating integration with business. The author’s case is reinforced by Adornian
aesthetic theory. For Adorno, the rise of the music industry is synonymous with the
The question of whether Adornian art can exist within modern consumer society
revolutionary potential of music but are pessimistic about its ability to remain authentic
in the culture industry. Goodman suggests that if anything, the problem is getting worse.
Adorno, who argues that administration has a tendency to expand at an exponential rate,
supports his position. Accordingly, music is now a billion-dollar industry churning out
popular music that exhibits a whole new level of standardization. “I think it’s happened
and nobody knows the difference” (Mansion, 352), says Dylan. “The great folk music
and the great rock & roll, you might not hear it again. Like the horse and the buggy”
(Ibid).
Epilogue
Digital Downloads and Industry Decline
“It seems like [the music industry is truly dying], and I don’t find it particularly
sad”.
-Jeff Tweedy, Wilco Frontman.
“I don’t think the love of music is thanks to the record industry… I guess what I
mean is I don’t think we’re going to lose music”.
-Dave Matthews, Dave Matthews Band Frontman
Since Goodman’s book was published in the late 90s, the music industry has
undergone yet another dramatic transformation- a revolution that has the potential to
authenticate art in the culture industry. For the first time since the emergence of Rock and
Roll, the business has faced a significant decline, largely the result of technological
advancement. While digital downloading has arisen as a popular medium for purchasing
music, it fails to offset the loss inflicted by non-commercial ‘file-sharing’ over the
Whereas 60’s youth rebelled against consumerism through the content of their
music, the present generation is taking a more direct approach. Studies estimate that over
60 million people have downloaded songs illicitly, the major offenders being tech-savvy
youth. Industry representatives have stated that rampant ‘piracy’ is not an ideological
steal. While this may very well be the case, file-sharing has already proven itself to be an
effective means of resisting the industrial production of music. Whereas political activism
may have served this function in the past, downloading is a much more forceful course of
action. While the ethics of file-sharing may be debatable, the effect on the music industry
is certain.
references in his theory: the commoditization of music relies on the presumption that
music is a ‘useful’ product that can be exchanged in the marketplace. Basic economic
theory states that if there is no longer consumer demand for music it will cease to be
produced commercially. The decline of the music industry would directly affect the form
and content of popular music: while record executives caution that downloading could
ultimately lead to the extinction of the musician, Adorno would make the opposite claim.
He would argue that artists that continued to make music would necessarily be those
genuinely concerned with the creation of art. The survival of modern poets and authors-
starving artists that create as an end in itself- is living proof of Adorno’s claims.
Furthermore, the decline of the music business would see that commercial interests are no
longer challenging the musician’s aesthetic values. Adorno would conclude that the death
of the industry would greatly increase the potential for the creation of art within the
culture industry.
generation’s belief that ‘music should be free’. And while most teens downloading the
new Kanye West album will certainly never have heard of the Frankfurt School, the
9. Goodman, Fred. The Mansion on the Hill. New York, NY: Vintage
Books, 1998.
12. Cohen, Ethan, and Joel Cohen. The Big Lebowski. Dir. Joel
Cohen. DVD. Polygram Filmed Entertainment, 1998.
14. Header Quotes: "The Future of Music." Rolling Stone, Issue 1039
10 Nov. 2007.