You are right, in above video there are not just talking to the 'who' are in on it; but bragging, also.
But, 'Who' owned the Beatles
publishing rights?
Not Adorno.
But Northern Songs;
a limited company founded in 1963. Northern Songs passed into the control of ATV, Then M.Jackson bought them and later merged his published catalogue with
Sony Corporation of America's to form
Sony/ATV Music Publishing.
In the above video of the Beatles at 13:23 min. in talks about 'I am the Walrus' with white baby grand, where? A airplane runway, just like where the filming of walrus was Yes flow the money! The 'Who' that owns the songs is very telling. At 39:59 min. it show the Beatles recording studio with Mosaic black and white checkerboard floor. (x-checker, etc.)
Adorno published the essays "Night Music", "On Twelve-Tone Technique" that creates confusion in the listener. That he used 16 cords in the song I am the Walrus, it may be different style but it still created confusion in the listener; is a finger print.
Loren
As Adorno believed that sociology needs to be self-reflective and self-critical, he also believed that the language the sociologist uses, like the language of the ordinary person, is a political construct in large measure that uses, often unreflectingly, concepts installed by dominant classes and social structures, such as our notion of "deviance" which includes both genuinely deviant individual and "hustlers" operating below social norms because they lack the capital to operate above.
Adorno was chiefly influenced by
Max Weber's critique of
disenchantment,
Georg Lukács's Hegelian interpretation of Marxism, as well as
Walter Benjamin's philosophy of history. Adorno, along with the other major Frankfurt School theorists
Max Horkheimer and
Herbert Marcuse, argued that advanced capitalism had managed to contain or liquidate the forces that would bring about its collapse and that the revolutionary moment, when it would have been possible to transform it into socialism, had passed. As he put it at the beginning of his
Negative Dialectics (1966), philosophy is still necessary because the time to realise it was missed. Adorno argued that capitalism had become more entrenched through its attack on the objective basis of revolutionary consciousness and through liquidation of the individualism that had been the basis of critical consciousness.
One example of Adorno's methods can be found in
Paul Lazarsfeld, the American sociologist for whom Adorno worked in the late 1930s after fleeing Hitler. As Rolf Wiggershaus recounts in
The Frankfurt School, Its History, Theories and Political Significance (MIT 1995), Lazarsfeld was the director of a project, funded and inspired by David Sarnoff (the head of
RCA), to discover both the sort of music that listeners of radio liked and ways to improve their "taste", so that RCA could profitably air more classical music.
Adorno's work sets out from a central insight he shares with all early 20th century avant-garde art: The recognition of what is primitive in ourselves and the world itself. Neither
Picasso's fascination with African sculpture nor
Mondrian's reduction of painting to its most elementary component—the line—is comprehensible outside this concern with
primitivism Adorno shared with the century's most radical art. At that time, the Western world, beset by world-wars, colonialist consolidation and accelerating commodification, sank into the very barbarism civilization had prided itself in overcoming. According to Adorno, society's self-preservation had become indistinguishable from societally sanctioned self-sacrifice: of "primitive" peoples, primitive aspects of the ego and those primitive, mimetic desires found in imitation and sympathy. Adorno's theory proceeds from an understanding of this primitive quality of reality which seeks to counteract whatever aims to either repress this primitive aspect or further those systems of domination set in place by this return to barbarism. From this perspective, Adorno's writings on politics, philosophy, music and literature could be described as a lifelong critique of the ways in which each tries to justify self-mutilation as the necessary price of self-preservation. According to Adorno's translator Robert Hullot-Kentor, the central motive of Adorno's work thus consists in determining "how life could be more than the struggle for self-preservation".
[45] In this sense, the principle of self-preservation, Adorno writes in
Negative Dialectics, is nothing but "the law of doom thus far obeyed by history."
[46] At its most basic, Adorno's thought is motivated by a fundamental critique of this law.
They do this by individualising products to give the illusion to consumers that they are in fact purchasing a product or service that was specifically designed for them. Adorno highlights the issues created with the construction of popular music, where different samples of music used in the creation of today's chart-topping songs are put together in order to create, re-create, and modify numerous tracks by using the same variety of samples from one song to another. He makes a distinction between "Apologetic music" and "Critical music". Apologetic music is defined as the highly produced and promoted music of the "pop music" industry: music that is composed of variable parts and interchanged to create several different songs. "The social and psychological functions of popular music [are that it] acts like a social cement (Adorno, 1990) "to keep people obedient and subservient to the status quo of existing power structures." (Laughey:2007:125)
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