This essay will discuss Theodor W. Adorno's criticisms of popular music and examine the extent to which his criticisms are or are not accurate towards contemporary music. A number of topics will be discussed in the essay to explore the topic. Through research, relevant quotes and theories will be available to support opinions on this particular topic. Theodor W. Adorno (1903-69) was a German philosopher and a leading member of the Frankfurt School (YourDictionary 2010). He, and with the assistance of George Simpson, critically analyzed the culture industry and popular music, in On Popular Music, writing how the way popular music is constructed and perceived to have its effect on listeners. In his essay, On Popular Music, Adorno begins by suggesting that there are "two spheres of music" as he illustrates the difference between "serious" music and "popular" music (2009, p63). He writes that popular music can be characterized by its difference from serious music by stating: "A clear judgment on the relationship between serious music and popular music can only be achieved by paying rigorous attention to the fundamental characteristic of popular music: standardization." (Adorno 1941)Standardization is one of three specific ways in which popular music is transliterated to its audience, according to Adorno. This technique, as Adorno points out, consists of interchanging one hit song with another, which "extends from the most general to the most specific characteristics" (Adorno 1941). He states that the structure of popular music is standardized, from the chorus structure, to the harmonic progressions and melodic range. It suggests that popular music follows a set of given rules and patterns, so that the... middle of paper... conscious 'fascist conspiracy'. Golding demonstrates this by quoting Phil Slater (1977) when he states that manipulation is driven by the same blind economic determinism as that of capitalist societies as a whole. To conclude, the accuracy of Adorno's criticisms of contemporary music is questionable as there are some of his statements that can be applied to today's musical culture. His arguments present the strengths and weaknesses of popular music production for the masses. However, the writers note the change in "popular" music and with the evidence of Frith's music record sales figures, the culture industry is not as manipulative as Adorno makes it out to be. Although several writers point out the flaws in Adorno's statements, this proves with today's contemporary music that the culture industry follows pseudo-individualism to create music for what the consumer needs..