Indeed, such popular music which fails – or indeed simply perceived to have failed – to portray required elements of truth and, therefore, provides an un-sustainable economic source to popular music production will therefore be deemed as the mediocre in-authentic.

Such music is a mere novelty and, indeed, an accurate reflection of Adorno’s critique of popular music – ‘the detail has no bearing on the whole, which appears to be an extraneous framework’ – where the focus is the performers idiosyncrasies; the music is mere background accompaniment which is, indeed, ‘mutilated by a device’; a recent example being Jedward, of whom their hairstyles, pseudo-rapping and erratic dance-routines render music a simple coincidence (Adorno:1941) (ibid1). Although in a rather contradictory sense, the perfection and mastery within this sphere is the celebration of novelty, a break from reality, a metaphorical throwing of inanimate objects at the stalks of pseudo-celebrity.