““On the Fetish-character in On the Fetish-character in music and the Regression music and the Regression

of Listening”of Listening”

Reading notes for the 1938 essay Reading notes for the 1938 essay by Theodor Adornoby Theodor Adorno

Reading AdornoReading Adorno

Adorno is a member of the Adorno is a member of the Frankfurt Frankfurt schoolschool of philosophers and social critics. of philosophers and social critics. These thinkers were (are) strongly These thinkers were (are) strongly influenced by the thought of Karl Marx, influenced by the thought of Karl Marx, and also by Freudian ideas; they use and also by Freudian ideas; they use these ideas as tools for social criticism. these ideas as tools for social criticism. This essay uses Marx’s idea of This essay uses Marx’s idea of “commodity fetishism” to analyze the “commodity fetishism” to analyze the phenomenon of popular music.phenomenon of popular music.

More background on AdornoMore background on Adorno Adorno is not only a philosopher but a musician and Adorno is not only a philosopher but a musician and

composer, a student of Schoenberg’s student Alban composer, a student of Schoenberg’s student Alban Berg. Berg.

The “popular music” Adorno is writing about is jazz in the The “popular music” Adorno is writing about is jazz in the late 1930’s. But his ideas are at least as valid for late 1930’s. But his ideas are at least as valid for contemporary popular music as they were for the jazz of contemporary popular music as they were for the jazz of his day.his day.

For some background on Adorno’s theory of music, here For some background on Adorno’s theory of music, here are two web address: are two web address:

http://www.moyak.com/researcher/resume/papers/var9mkm.htmlhttp://plato.stanford.edu/entries/adorno/

The basic ideaThe basic idea

Music – both popular and the classical Music – both popular and the classical music played in concert halls and on the music played in concert halls and on the radio – is driven primarily by commercial radio – is driven primarily by commercial interests. “Music, with all the attributes of interests. “Music, with all the attributes of the ethereal and sublime which are the ethereal and sublime which are generously accorded it, serves in America generously accorded it, serves in America today as an advertisement for today as an advertisement for commodities which one must acquire in commodities which one must acquire in order to be able to hear music.”order to be able to hear music.”

The basic idea (continued)The basic idea (continued)

In other words, commercial music exists to In other words, commercial music exists to sell CD’s, stereos, i-pods and concert sell CD’s, stereos, i-pods and concert tickets rather than these things existing to tickets rather than these things existing to make music available. Both the music make music available. Both the music makers and the listeners have become makers and the listeners have become submerged in the commercial process, submerged in the commercial process, and neither is really musically free.and neither is really musically free.

Commodity fetishismCommodity fetishism A fetish is a substitute object of desire. So, in the most A fetish is a substitute object of desire. So, in the most

familiar kind of case, sexual desire might be displaced familiar kind of case, sexual desire might be displaced onto garments worn by the individual whom one cannot, onto garments worn by the individual whom one cannot, for whatever reason, directly desire or have. for whatever reason, directly desire or have.

Karl Marx said that Karl Marx said that commoditiescommodities can be fetishes. In this can be fetishes. In this case, the displaced desire is the desire for freedom, and case, the displaced desire is the desire for freedom, and for the fruits of your labor. Here’s what happens. for the fruits of your labor. Here’s what happens.

You are You are alienated alienated (estranged, separated) from the fruits (estranged, separated) from the fruits of your labor. The products you help make are too far of your labor. The products you help make are too far from your control for you to recognize them as your own. from your control for you to recognize them as your own. In return for your labor, you get dollars, which are only a In return for your labor, you get dollars, which are only a small percentage of the value you have added to the small percentage of the value you have added to the product. product.

Commodity fetishism (continued)Commodity fetishism (continued)

““Marx defines the fetish character of the Marx defines the fetish character of the commodity as the veneration of the thing commodity as the veneration of the thing made by oneself which, as exchange made by oneself which, as exchange value, simultaneously alienates itself from value, simultaneously alienates itself from producer to consumer….’the relation of the producer to consumer….’the relation of the producers to the sum total of their own producers to the sum total of their own labor is presented to them as a social labor is presented to them as a social relation existing not between themselves, relation existing not between themselves, but between the products of their labors.’”but between the products of their labors.’”

Commodity fetishism (cont.)Commodity fetishism (cont.)

So instead of a relationship between you and So instead of a relationship between you and some musicians, who would play for you in some musicians, who would play for you in exchange for some service you would render to exchange for some service you would render to them, there is now a relationship between your them, there is now a relationship between your dollars and their CD. dollars and their CD.

But the dollars and the CD are part of a capitalist But the dollars and the CD are part of a capitalist system that is driven by the need to make system that is driven by the need to make money, not the need to make and hear good money, not the need to make and hear good music. music.

Commodity fetishism (3)Commodity fetishism (3) To put this in everyday terms, you work hard. You know To put this in everyday terms, you work hard. You know

you should get back more than you do, and what you get you should get back more than you do, and what you get should not just be money but also freedom and should not just be money but also freedom and enjoyment. When you can get enough money to afford a enjoyment. When you can get enough money to afford a good concert ticket, it feels like you are getting back a good concert ticket, it feels like you are getting back a little of what you put out. The price of the ticket, spent little of what you put out. The price of the ticket, spent on your own pleasure, makes you feel good. on your own pleasure, makes you feel good.

But this is actually an illusion, say Marx and Adorno. But this is actually an illusion, say Marx and Adorno. Underneath the surface of the transaction, commercial Underneath the surface of the transaction, commercial interests are taking interests are taking even moreeven more of the fruits of your labor of the fruits of your labor from you. And what they are giving you in exchange is from you. And what they are giving you in exchange is fake music. It is bland, repetitive, and formulaic. It fake music. It is bland, repetitive, and formulaic. It disappears quickly, to be replaced by more of the same, disappears quickly, to be replaced by more of the same, because that is what makes money. It is not because that is what makes money. It is not freefree..

Popular (and classical) music as Popular (and classical) music as “fetish”“fetish”

What do you really like when you like a popular song, a What do you really like when you like a popular song, a rap concert, or a performance at the symphony? Not the rap concert, or a performance at the symphony? Not the music, says Adorno. Rather, it’s the (illusory) feeling of music, says Adorno. Rather, it’s the (illusory) feeling of your own wealth (when you buy the concert ticket); the your own wealth (when you buy the concert ticket); the feeling of belonging, of being “cool”, when you like what feeling of belonging, of being “cool”, when you like what is popular, or of being “individual” when you like is popular, or of being “individual” when you like “alternative” music or “non-commercial” rap. (The “alternative” music or “non-commercial” rap. (The illustration of the ham radio operator. Translate it to your illustration of the ham radio operator. Translate it to your own case!)own case!)

The entertainment system, and the money you give it, The entertainment system, and the money you give it, contain the fruits of your labor, which you want. But the contain the fruits of your labor, which you want. But the freedom and satisfaction you want won’t be found by freedom and satisfaction you want won’t be found by giving the system money. It won’t be found, says giving the system money. It won’t be found, says Adorno, by listening to commercial music.Adorno, by listening to commercial music.

Regressive ListeningRegressive Listening The commodity system of music requires regressive The commodity system of music requires regressive

(i.e., childish) listeners. “Their (our) primitivism is not (i.e., childish) listeners. “Their (our) primitivism is not that of the undeveloped, but of the forcibly retarded. that of the undeveloped, but of the forcibly retarded. Whenever they have a chance, they display the pinched Whenever they have a chance, they display the pinched hatred of those who really sense the other but exclude it hatred of those who really sense the other but exclude it in order to live in peace….”in order to live in peace….”

Regressive listening is “tied to production by advertising. Regressive listening is “tied to production by advertising. [It] appears as soon as advertising turns into terror, as [It] appears as soon as advertising turns into terror, as soon as nothing is left for the consciousness but to soon as nothing is left for the consciousness but to capitulate before the superior power of the advertised capitulate before the superior power of the advertised stuff and purchase spiritual peace by making the stuff and purchase spiritual peace by making the imposed goods literally its own thing.”imposed goods literally its own thing.”

Watney’s ad: “We demand (what you are selling us).”Watney’s ad: “We demand (what you are selling us).”

Regressive ListeningRegressive Listening

The illusion of freedom: Alternative music. The illusion of freedom: Alternative music. Notice Adorno’s remarks (top of page 540) about Notice Adorno’s remarks (top of page 540) about the “wire fences” between different kinds of the “wire fences” between different kinds of music, and the remarks from the bottom of 544 music, and the remarks from the bottom of 544 to 546 about individuals trying to break free from to 546 about individuals trying to break free from the system and establish an individual taste.the system and establish an individual taste.

Adorno’s point: there is a commercial slot Adorno’s point: there is a commercial slot waiting for every “individualist”.waiting for every “individualist”.

Vocabulary tip: “reified” = “made into an object”Vocabulary tip: “reified” = “made into an object”

Advertising as terrorAdvertising as terror

Why does Adorno describe advertising as Why does Adorno describe advertising as terror? Do you think he is right?terror? Do you think he is right?

How does the advertising system work to How does the advertising system work to promote music? Does it shape musical promote music? Does it shape musical taste?taste?

Thinking about AdornoThinking about Adorno

How much truth is there in Adorno’s How much truth is there in Adorno’s analysis of popular music?analysis of popular music?

How does the commercial music and How does the commercial music and entertainment system work?entertainment system work?

How did you acquire the musical tastes How did you acquire the musical tastes you have? you have?

How much musical training do you have?How much musical training do you have?

Thinking about AdornoThinking about Adorno

Is popular music simple-minded?Is popular music simple-minded? Is classical music (as played by orchestras Is classical music (as played by orchestras

and on the radio) just as commercial as and on the radio) just as commercial as popular music, as Adorno claims?popular music, as Adorno claims?

Does commercialism tend to swallow up Does commercialism tend to swallow up musical originality, substitute simple-musical originality, substitute simple-minded formulas, and keep the audience minded formulas, and keep the audience simple-minded?simple-minded?

Thinking about AdornoThinking about Adorno

Can you think of some ways that Adorno is Can you think of some ways that Adorno is wrong? In particular, can you think of examples wrong? In particular, can you think of examples of genuine originality in popular music? of genuine originality in popular music?

What about musical taste? Are you growing in What about musical taste? Are you growing in your ability to hear and appreciate different kinds your ability to hear and appreciate different kinds of music? Do you hear more than you used to?of music? Do you hear more than you used to?

What about your musical expression? Do you What about your musical expression? Do you sing? Dance? Are you a better musician than sing? Dance? Are you a better musician than you used to be? you used to be?