As a means of resistance to Adorno’s critique – ‘the reader….involved in the articulation and interpretation of this play of language should act independently of any supposed intentions of the author’ - this study shall sub-divide the popular music sphere into two independent fragments. Therefore this study shall assign the authentic popular musical sphere as those; pre-eminently strong in muscle and the temperament. This concept of authentic popular music can be attributed to the work of Frith (1996) who stated that traditional dominant ‘assumption about the source of musical value – serious music matters because it transcends social forces – popular music is aesthetically worthless because it is determined by them’ can be challenged.

Therefore, this lead to the process of distinguishing the authentic from the in-authentic. According to Frith (1996) such an authentic field of work pertains to a ‘critical judgement measuring the performers truth to the experiences or feeling they are describing’ which, typically, I an ‘expression of something – a person, an idea, a feeling, a shared experience, a zeitgeist (ibid1). It can be suggested that this process contains modes of transactions; the initial – The Emotional Transaction - the artist will provide an interpretation of such aforementioned emotions and experiences and the listener – via a combination of monetary and emotional currencies – will buy into this interpretation and, secondly – The Power Transaction - the exchange of cultural capital to the listener – status and power within social groups – and popularity for an artist who contributes a strong, sustained economic source to popular music production. This is, indeed, the essence of perfection and mastery within this sphere of which bands such as U2 and other career based bands such as; The Stereophonics, Foo Fighters, etc, sustain the economic power of contemporary, authentic popular music.