Omnivore monoculture allows any genre blend as long as output is glossy marketable pop

Evidence

The success of “Old Town Road”—and the deus ex machina of Billy Ray Cyrus supporting the bedroom rap of a gay Black teen from Atlanta—marked the final step of omnivore tastes becoming an omnivore monoculture. The “mainstream” market was now all-inclusive and boundaryless, containing seemingly every possible genre. In previous notions of monoculture, the culture industry permitted only a very narrow set of stylistic conventions. During the late 1950s, for example, almost every pop song pulled from the same handful of chord progressions. In the omnivore monoculture, artists were free to draw from any genre, provided the end result was glossy, marketable pop (with clever digital promotion). This was the culmination of the Neptunes’ and Kanye West’s fusions of R&B, gospel, streetwear, street art, rock, techno, indie rock, reality TV, and high fashion. But before Lil Nas X, there was one stubborn holdout: country music. — W. David Marx, Blank Space, 626

Categorization

• DEFINE: Defines omnivore monoculture precisely: all-inclusive, boundaryless mainstream that nonetheless demands glossy, marketable pop as the end product.
• ADDENDUM: Directly feeds a reading-goal claim: the era’s ‘signature’ is confinement within glossy marketable pop, not genuine boundarylessness.