Culture industry products subordinate every element to careerist success narratives

Evidence

Record labels had long grappled with a central dilemma: Their biggest profits came from teenpop and crowd-pleasing hits that critics dismissed as derivative and uncool. Under the ideology of poptimism, however, this was no longer a problem. Poptimism championed the cultural industry’s manufacturing processes—ghostwriting, pitch correction, and cosmetic enhancements—reframing them as part of the artistry. The most cynical gambits of the industry were recast as virtues. Market success wasn’t just tolerated; it became the supreme marker of importance. Revenue was the ultimate validation of popularity and cultural significance. Business was no longer the necessary evil in the music business; it was a source of excitement. — W. David Marx, Blank Space, 131 (#corroborates, via linked claim)

Yet as a written character she announces something quite different from the psychological banners draped around her grinning mouth, namely the injunction to be like her. The new context into which these pre-prepared images enter as so many letters is always that of the command. The viewer is required constantly to translate the images back into writing. The exercise of obedience inheres in the fact of translation itself as soon as it takes place automatically. — Theodor W. Adorno, The Culture Industry, 133 (#expands, via linked claim)

Categorization

  • XREF: connects to: Culture industry images function as written commands requiring automatic obedience — Theodor W. Adorno, The Culture Industry: Selected Essays…, 133; Poptimism reframed market success as the supreme marker of cultural importance — W. David Marx, Blank Space: A Cultural History of the…, 131

Broader Connections