{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"dadb939e-7360-4727-a1fb-be08c2f7a611","title":"Critical Theory of Communication New Readings of Lukács, Adorno, Marcuse, Honneth and Habermas in the Age of the Internet","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9781911534044","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"dadb939e-7360-4727-a1fb-be08c2f7a611","id":"dadb939e-7360-4727-a1fb-be08c2f7a611","uuid":"dadb939e-7360-4727-a1fb-be08c2f7a611","title":"Critical Theory of Communication New Readings of Lukács, Adorno, Marcuse, Honneth and Habermas in the Age of the Internet","normalized_title":"criticaltheoryofcommunicationnewreadingsoflukácsadornomarcusehonnethandhabermasintheageoftheinternet","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9781911534044","isbns":["9781911534044","9781911534051","9781911534068","9781911534075"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":236,"navigation_url":"https://workshop.closeclaw.top/ai/book/dadb939e-7360-4727-a1fb-be08c2f7a611","title_url":"https://workshop.closeclaw.top/ai/title/Critical%20Theory%20of%20Communication%20New%20Readings%20of%20Luk%C3%A1cs%2C%20Adorno%2C%20Marcuse%2C%20Honneth%20and%20Habermas%20in%20the%20Age%20of%20the%20Internet","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/dadb939e-7360-4727-a1fb-be08c2f7a611/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/dadb939e-7360-4727-a1fb-be08c2f7a611/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/dadb939e-7360-4727-a1fb-be08c2f7a611","page_url":"https://workshop.closeclaw.top/api/ai/books/dadb939e-7360-4727-a1fb-be08c2f7a611/page","search_url":"https://workshop.closeclaw.top/api/ai/books/dadb939e-7360-4727-a1fb-be08c2f7a611/search"},"page":{"printed_page":88,"pdf_page":92,"physical_index":92,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"227e211142b200791fed1d628b9f0824e7e3b3de0135012e017defc8006d4407"},"chapter":"C H R I S T I A N F U C H S CRITICAL THEORY OF COMMUNICATION","content":"It is a strange form of reverse elitism and top-down judgement when scholars argue that Adorno, who came from a Jewish family and experienced the consequences of anti-Semitism in Nazi Germany when he had to flee, is a racist. Adorno does not make racist arguments about jazz. In his article On Jazz, he criticises the commercial character of jazz ‘as a mass commodity’ (Adorno 1936, 473) that ‘wants to improve its marketability and veil its own commodity character’ (473). Jamie Owen Daniel (1989/1990, 39–40) writes in an introduction to the English translation of the essay that it is ‘not about jazz as such, but rather about […] its commercial production and consumption’. One should certainly refuse allegiance to Adorno when he denies that ‘jazz has anything to do with genuine black music’ (477) and that its arrangement is ‘identical to that of a military band so that it ‘can be easily adapted for use by fascism’ (485). The Nazis prohibited jazz and any music performed by black people. They considered it to be ‘degenerate art and spoke of ‘nigger jazz’.8 Adorno’s assessment is problematic, but not racist.\n\nAlso in the essay On the Fetish Character in Music and the Regression of Listening (Adorno 1991, 29–60), Adorno makes clear that his criticism concerns the commodity form of music, art, and culture: ‘The listener is converted, along his line of least resistance, into the acquiescent purchaser’ (32). He is for example critical of the use of music in advertising:\n\nFor all contemporary musical life is dominated by the commodity form; the last pre-capitalist residues have been eliminated. Music […] serves in America today as an advertisement for commodities which one must acquire in order to be able to hear music. If the advertising function is carefully dimmed in the case of serious music, it always breaks through in the case of light music (37–38).\n\nAdorno was not unaware of the fact that it is not just pop and rock music that can be turned into a commodity. He saw that no form of music is immune to the commodity form. So, for example, the Salzburg Festival is considered as one of the world’s primary festivals of classical music. In 2015, the prices for a subscription package for attending a series of 3–5 of the events ranged between €129.60 and €1,231.20.9 In 2013, the Salzburg Festival’s revenues from ticket sales amounted to €28.3 million.10 Classical music is just like pop and rock music a culture industry, which renders the distinction between classical and popular or entertainment/light music and serious music superfluous. Adorno identified this tendency:\n\nThe diferences in the reception of oficial “classical” music and light music no longer have any real significance. They are only still manipulated for reasons of marketability. The hit song enthusiast must be reassured that his idols are not too elevated for him, just as the visitor to philharmonic concerts is confirmed in his status (Adorno 1991, 35).\n\n88\n\nCritical Theory of Communication","previous_page":87,"next_page":89}