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1. ADORNO’S
THEORY
OF POP
CULTURE

2. THEODOR ADORNO
Was a German sociologist, philosopher and composer.
He was known for his critical theory of society; in particular the
divide between popular culture and true art.
It formed a construction of society based on social class, and
explains how the music industry operates for different groups of
people.
Influences of his work includes Karl Marx, famous sociologist
who formed the Marxist view.

3. ADORNO’S TRIANGLE
This triangle illustrates the structure of the music
industry.
The smaller triangle consists of the ruling-class. They are
known as the Bourgeoisie in media terminology.
These people are politicians, MP’s and other wealthy
people. In other words, people regarded as the ‘social
elite’ in our society.
The Bourgeoisie have been socialised into the
appreciation and understanding of ‘true art’, for example
classical music.
_____________________________________________
The larger triangle consists of working-class individuals,
or the masses.
These people are too ‘dumb’, ‘politically apathetic’ and
‘stupid’ to appreciate ‘true art’. Therefore, they accept
‘popular culture’ and have no forms of resistance
towards it.

4. WHAT IS POPULAR CULTURE?
• Popular culture, the term coined by Adorno, refers
to standardised production to manipulate mass
society into passivity.
• Because the masses cannot understand ‘true art’,
the bourgeoisie have constructed a division
between the two cultures in terms of what they
consume.
• The masses at the bottom of the triangle intake
popular culture, such as chart music and they do
not realise that what they are listening to is
essentially ‘the same’, (singing about the same
cultural ideas, themes etc.).
• Popular media and music products standardised;
meaning that they are all similar like factory
productions. Pseudo-individualisation is also
present in the media – this is incidental
differences between content that make it seem
different, but in reality it isn’t.
POPULAR CULTURE
PASSIVITY

5. WHAT IS TRUE ART?
True art is the entertainment of the
Bourgeoisie. This includes genres that are
traditionally noted as ‘posh’, such as
classical and jazz. Galleries and museums
are also regarded as ‘true art’, as the
content of these organisations have
historical background which the masses are
not educated in.
The masses consume in popular culture
which focuses on more common
entertainment such as film and music.
The masses do not have direct access to
these forms of entertainment; instead
culture is ‘dumbed down’ to cater to the
inadequacy of the masses knowledge due
to the lack of prime education received.
TRUE ART
NO ACCESS

6. Adorno’s contribution to HEGEMONY
In-between the division between classes are
individuals of hegemony. These are the popstars
that form the masses’ false consciousness of
the world by presenting ‘dumbed down’
ideologies.
These individuals can be regarded as puppets of
the Bourgeoisie, for what they exhibit is
controlled by those social elites.
Popular culture through popstars is what blocks
access to ‘true art’ because these false
ideologies are continuously in the charts,
capturing the most attention.
Perhaps stars controlled by the social elites
form constructed relationships between the
audience to maintain their ignorance of the cycle
of hegemony.
HEGEMONY

7. WHAT WE KNOW

8. WHAT THEY KNOW

9. CRITICISMS
• The theory is explaining an outdated society. The world has
changed so it is no longer relevant.
• Within the masses exist subcultures, so it is wrong to say
they are all the same.
• ‘True art’ is subjective; as is all art whether it be
contemporary, fine or linguistic.
• Pluralist sociologists believe that the media does not
manipulate consumers – instead, media is market-driven
so focuses on what consumers want.