Adorno and Horkheimer adopted the form 'culture industry' to argue that the way in which cultural items were produced, was analogues to how other industries manufactured vast quantities of consumer goods.
Adorno and Horkheimer agued that the culture industry exhibited an ' assembly-live character' which could be observed in the synthetic, planned method of turning out of its products.
The X Factor machine
Adorno and Horkheimer linked the idea of the 'culture industry' to a model of the 'mass culture' in which cultural production had become a routine, standardised repetitive operation that produced undemanding cultural commodities, which in turn resulted in a type of consumption that was also standardised, distracted and passive.
Who is in control?
Adorno and Horkheimer's view of cultural production has, with some justification, often has been portrayed as the pessimistic lament of cultural artists who were dismayed at what they perceived to be the homogeneity and vulgarity of 'mass' taste, and who were co-opted and corrupted by the production methods and administrative regimes of industrial capitalism.
The capitalist corporation seems to enjoy an almost omnipotent form of domination and both the consumers and the creative artists are not separate from; but are directly connoted to this system of production.
Adorno and Horkheimer stressed that the structures of economic ownership and control of the means through which cultural products are produced and argued that this directly shapes the activities of creative artists and consumers.
The metaphor of the 'assembly-line' was used to stress the repetitive and routine character of cultural production. Adorno and Horkheimer argued that the 'culture industry' operated in the same way as other manufacturing industries. All work had become formalised and products were made according to rationalised, organisational procedures that were established for the sole purpose of making money.
Standardisation
Adorno and Horkheimer argued that all products produced by the culture industry exhibited standardised features. The argument here is that there is nothing spontaneous about the process of cultural production; it has become a routine operation that can be carried out in an office by the application formulae.
Adorno noted that songs which became successful over time were often referred to as 'standards', a category that clearly drew attention to their formulaic character. From the 'plan' to the details, songs were based around repetitive sequences and frequently recurring refrains (Adorno, 1976, p.25) This was done for quite calculated commercial reasons, so that the song would imprint itself on the mind of the listener and then provoke a purchase. For Adorno, the production of songs had become a mechanical and manipulative operation motivated purely by commercial gain.
I agree with Adorno's argument about standardised songs because, in consideration of the music industry, trends are quickly picked up then forgotten about until the next big thing comes up. However, old trends do make their come back eventually because what is not heard of, in a long time, is considered different and fresh. Although some songs may sound different, it is very much the same beat/tune being recycled by other artists and tweaked a bit.
Pseudo Individuality
Adorno and Horkheimer were also critical of what they referred to as pseudo individuality. By this they meant the way that the culture industry assembled products that made claims to 'originality' but which when examined more critically exhibited little more than superficial differences. Adorno and Horkheimer evoked the image of the lock and key - an item that is mass produced in millions, whose uniqueness lies in only very minor modifications.
Artists certainly have managed to give themselves an identity unique enough for the audience to differentiate between one another.
In conclusion, Adorno and Horkheimer believe that the culture industry allows people to become 'masses' and be easily manipulated by capitalist corporations and authoritarian governments. Adorno and Horkheimer therefore presents us with a powerful argument about what happens to culture when it is subject to the structural control and organisation of industrial capitalist production: It becomes merely a standardised, formulaic and repetitive element of 'mass culture'. It has no aesthetic value whatsoever and leads to a very specific type of consumption that is passive, obedient and easily manipulated for the purpose of propaganda or advertising.
Artist that fits the theory - Justin Bieber
Justin Bieber is a Canadian pop star who was discovered via YouTube. Bieber, whose debut album, My World, hit stores in November 2009, is a true overnight success, having gone from an unknown, untrained singer whose mother posted YouTube clips of her boy performing, to a budding superstar with a big-time record deal, all in just two years. He signed a record contract with Usher and became the first solo artist to have four singles enter the Top 40 before the release of a debut album. His album My World has gone platinum in several countries. Naturally, his target audience became teenage girls; his lyrics and even up to his entire image as an a solo, male artist was made to appeal to a female audience. His image has become the standard but this because he is the result of a successful male, pop star therefore record labels are using him as product inspiration for their upcoming male artists as well.
Artist that doesn't fit the theory - Tyler the Creator
American rapper, record producer, songwriter and video director, Tyler Gregory Okonma, also known as “Tyler, The Creator” is the co-founder of the flourishing hip-hop collective ‘Odd Future Wolf Gang Kill Them All’. He began his career by uploading songs on ‘Tumblr’ that quickly went viral and grabbed mass attention. Tyler self-produced his first mixtape ‘Bastard’ and soon followed it up with his debut album ‘Goblin’. His first single from the album ‘Wolf’ called ‘Domo23’ was placed at number 2 on ‘Bubbling under Hot 100 Singles Billboard’ and at number 13 on ‘US Heatseekers Songs Billboard’. Producing and creating your own music is unconventional as an artist
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