CRITIQUING CULTURAL POWER
Adorno & Horkheimer, the culture industry sells entertainment to mass culture through
the commodification of an aesthetic experience.
fulfilling needs you didn't know you have.
creates the need and fills it at once, but never fills it permanently.
THE PRODUCTION OF NEEDS
they are selling you an ideology: the luxury life, etc.
the ruling class, the capitalists, need to keep making profit.
*selling art en masse like never before.
in enlightenment, our freedom depends on our ability to develop our individual reason.
adorno calls this anti-enlightenment, because it stifles our ability to develop our
individual reason, replacing it with a mass ideology of 'needs'
MUSIC AS A DISCOURSE
Zeno Ackermann's essay on Alan Parker's cinematic interpretation of The Wall by Pink
IS THERE A WAY OUT OF THE CULTURE INDUSTRY?
- How does Ackermann define culture industry?
- he talks about the emergence of Rock and Roll as emergent from the culture industry
from the first.
- the whole sound is tied to the production of a commodity for mass culture. it is the
rise of Elvis and the Beatles. This formed ideological expectations of what consuming
Rock itself depends on an assumption that there is a mass audience that wants to
consume that kind of music.
It is invested with the authority of authenticity. This is rock and this is not.
The crisis of rock, the potential for transcendance.
What people understand to be rock and roll conforms to aparticular expectation and
experience that has been manufactured by the culture industry.
a method of communication that conforms to particular structural and ethnographic
norms and marks a particular social group.
Ackermann asks us to see Rock and Roll as a discourse, socially significant/meaningful
ideology of performance that provided a format for the meaningful articulation of
popular music within the contexts of mass production and mass consumption.
there is a normative expectation from mass culture. it was in a sense made for the
rock music comes to a crisis point he calls
greek for perplexity.
a productive state of doubt
a state of puzzlement. in this moment of self-doubt, it must transform.
he argues that in the late 60s rock music encounters a moment of aporia due to its
increasing commodification as it gets famous and now capitalists are trying to
capitalize on it.
dylan starts to use an electric guitar in another genre, other genres are taking the
rock norms which are transgressing into other domains.
the crisis of rock is "what is that sound that is rock, that sound people will buy"
he says there is a clash of rock and the industry, the use of technology to resist
conformity (distorition sounds)
two directions come out of it: punk music emerges as the "low-brow" ie not artistic
on the other side, "art-rock" which embarked on the opposite route of evolving rock
this is where he uses pink floyd as a case study
they provide an affirmative response to this crisis. They create a new sound. it is
the ultimate case study for him for these reasons:
1.quasi symphonic sound;
2.trad rock single is two minutes, their tracks are over eight mins
3."suites" style songs with different movements;
4.using an entire side of an LP for one long suite
5.emphasis on the music rather than vocal/lyrics
6.changing dimensions/realtions between music and audience: no longer about "making