The “Frankfurt” school refers to a group of German theorists who analysed the western capitalist societies

with classical Marxist Theory. Their most prominent representatives are the Institute’s long-time director,
Max Horkheimer, and his later co-director, Theodor Wiesengrund Adorno. They criticised the culture
industry, which they saw as a form of mass manipulation and domination in capitalist societies.

The Frankfurt School's contribution to popular culture is that they stated popular culture as a highly
manipulative tools that controls the people or masses without removing the threat of the dominant capitalist
class. They trick the mass about the domination of capitalism in the form of free will. They believed that
American “popular culture” was also highly ideological and worked to promote the interests of capitalism.
The cultural industry were controlled by big corporate companies being responsible for creating docile and
easily manipulative mass society.

They coined the term culture industry, which refers to the mass production of cultural materials, including
films, television programs, games, music albums, magazines and newspapers. They argued that the
culture industry creates a false sense of individuality and satisfaction among the masses, while in reality it
reinforces their passivity and conformity to the dominant ideology. The culture industry really took off in the
early 20th century, with the rise of Hollywood and the development of radio and television. The industry has
since expanded into other areas such as music, books, video games, and more.

The cultural industry has a profound effect on our livelihood. With the advent of social media and the
internet, it has become more globalised and accessible. As a result the cultural industry influences our
lives in every aspects. The culture industry has a significant impact on our economy. It is estimated that the
global creative industries are worth over $2 trillion annually. The culture industry employs millions of people
around the world and generates huge amounts of revenue for governments and businesses.

The cultural industry's power and influence often used to manipulate and control. Its marketing creates
false needs.

They analysed the effects of mass media on the public sphere, which is the space where citizens can
engage in rational debate and democratic participation. They claimed that mass media undermines the
public sphere by creating a one-way flow of information and entertainment that manipulates people’s
emotions and opinions. They also criticised the media for promoting a culture of consumption, spectacle,
and celebrity that distracts people from the real issues and problems of society.

The mass media often contains ideological messages which reflect the domination of the ruling class or
ruling party.

Theodore Adorno also talked about commodity fetishism. Commodity fetishism means when people only
value the characteristics of the final product while the process through which it was created remains
obscured and unconsidered.

In the context of the Frankfurt School's cultural analysis, commodity fetishism extends beyond the
economic realm to influence cultural and social aspects. The mass production and consumption of cultural
products, such as films, music, and advertisements, create a sense of illusion and detachment from the
underlying social processes. People tend to focus on the surface appeal of these commodities rather than
critically examining the broader social implications and power dynamics that shape their creation.

The Frankfurt School, particularly Theodor Adorno, had a critical perspective on popular music and its role
in society. Adorno's analysis of popular music was part of his broader critique of the culture industry and its
impact on individual and societal consciousness.
Adorno viewed popular music as emblematic of the cultural decay he observed in capitalist societies. He
believed that popular music was manufactured by the culture industry to cater to mass tastes and generate
profit, resulting in a homogenised and standardised cultural landscape. He argued that popular music was
marked by formulaic structures, repetitive melodies, and simplistic lyrics, all designed to ensure easy
consumption and prevent critical engagement.

One of Adorno's key concepts was the notion of "pseudo-individualization." He posited that the culture
industry creates an illusion of choice and individuality through superficial variations in popular music, while
the underlying structure and content remain remarkably uniform. This pseudo-individualization masks the
commodification and manipulation of culture, leading individuals to believe they are making distinct choices
when, in fact, they are consuming pre-packaged and controlled content.

Adorno also criticized popular music for its potential to reinforce conformity and distract individuals from
genuine self-expression and critical thought. He saw popular music as an instrument of social control,
contributing to a passive and conformist populace.

It's important to note that while Adorno's perspective was highly critical, it sparked important discussions
about the relationship between culture, capitalism, and individual agency. While his views have been
debated and critiqued by subsequent scholars, his analysis of popular music remains a significant
contribution to the study of cultural theory and its implications for society.