Entertainment’s claim to be harmless is itself the deepest ideology

Evidence

One of the most urgent tasks for any political music was to expose the pacifying mechanisms that were already secreted in popular culture — nowhere more obviously than in the cheap dreams of love songs, which groups such as Gang of Four and the Slits deconstructed in tracks such as “Anthrax” and “Love und Romance”. In a world in which people increasingly felt as if they lived inside advertisements — where, as Gang of Four put it, at home they felt like tourists — there was nothing more ideological than culture’s claim to be entertainment. — Mark Fisher (edited by Darren Ambrose), K-Punk, 1277

Categorization

• XREF: Builds on chapter 60’s point that ‘the reality principle is itself the highest form of ideology’ — both treat apparent common sense as ideological construction. — connects to: The reality principle is itself the highest form of ideology — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 990; Popular culture must be understood as politically constructed rather than innocent — Stuart Hall, Essential Essays, Volume 2: Identity…, 278; Mass culture’s commercial self-justification is a subterfuge that evades responsibility for falsity (+1 more)

Broader Connections

• Popular culture must be understood as politically constructed rather than innocent #corroborates (0.82) — Stuart Hall, Essential Essays, Volume 2, 278
• The reality principle is itself the highest form of ideology #corroborates (0.78) — Mark Fisher (edited by Darren Ambrose), K-Punk, 990
• Mass culture’s commercial self-justification is a subterfuge that evades responsibility for falsity #corroborates (0.75)