Adorno
in America
by David
Jenemann
University of Minnesota Press, Minneapolis,
MN, 2007
288 pp. Paper, $22.95
ISBN: 0-8166-4809-2.
Reviewed by Michael R. (Mike) Mosher
Saginaw Valley State University
mosher@svsu.edu
David Jenemann argues that severe cultural
critic and German exile Theodor W. Adorno
wasn't a fish out of water in America
but was an active and engaged participant
in the cultural and intellectual issues
and arguments of his time concerning mass
media and its messages. Adorno arrived
in New York in 1938, to work in collaboration
between the Institute for Social Research
(ISR) and the Columbia University Office
of Radio Research. One day he was struck
by the experience of walking out of one
downtown building while a piece of music
was playing on the radio, and hearing
it several times coming out of other buildings
as he walked down the block.
In Adorno's critique of the authoritarian
logic of radio, he felt the mass media's
own seamless narrative of the culture
industry prevents any historical understanding
of it. CBS Marketing material privileged
European music, especially musicians from
the Axis countries or imperial capitals.
Cultured Europeans in evening dress were
photographed in sharp contrast to rustic,
outdoorsy American folk musicians (the
publicity omitted any mention of jazz
or black music). Radio, movies, early
television were all strongly girded with
white, male authoritative (or authoritarian)
voices, from the 1930s through WWII and
the 1950s to the mid 1960s, voices that
spoke in a confident and un-ironic tone
difficult to fathom in a world where most
students get their news from the Daily
Show's John Stewart or his colleague Steven
Colbert.
Adorno noted atomized listening was the
condition fostered by the repetition and
interchangeability of radio programs,
where all pop culture and programming
were merely tools of workplace productivity.
Adorno fumed, "Music under present radio
auspices serves to keep listeners from
criticizing social realities; in short,
it has a soporific effect upon social
consciousness". His colleague Max Horkehimer
worked on building the relationship between
the critical theory of the Frankfurt School
and empirical research. In 1945 Adorno
lamented the "sneering empiricist sabotage"
of social research, when sociologists
like Paul Lazarsfeld turned it into venal
market research. Audience measurement
and reductio-ad-absurdum product rating
systems and focus groups grated upon Adorno.
Lazarsfeld, in turn, found Adorno an elitist
and odd dilettante.
Adorno was interested in new musical technology,
including the electronic violin, the Hammond
organ, and especially the theremin, all
of them dispensing with imitation of natural
sound for something entirely new. The
theremin, now re-popularized by Michigan
rock songwriter Mr. Largebeat, was used
in many horror and science fiction movie
soundtracks of the 1950s as an audio signifier
of weirdness and alien presence.
In 1941 Adorno moved from New York City
to what he called "a small university
town", Los Angeles, and soon completed
a book on film music with Hans Eisler.
He also advised Hollywood director William
Dieterle on scripts and was criticized
by Hans Richter for unconscious racism
in depiction of a black character in a
possible version (several were proposed)
of a movie called "Below the Surface"
that Dieterle and Adorno developed concerning
anti-semitism and ethnic prejudices.
Adorno advised Thomas Mann on musical
sections of his novel Doctor Faustus,
and some of his ideas turned up in the
dialogue of characters in the book. The
novel tells of an artist's retreat from
the world, and the communist critic Georg
Lukacs claimed itdespite some
self-conscious techniques of fragmentation
of dialogue and chronology--as anti-modernist,
socialist realist work. This reviewer
recalls how the book was suggested by
Chilean novelist José Donoso to
students in his 1970s fiction workshops
who proposed rock n' roll settings for
novels.
David Riesman argued in The Lonely
Crowd (1949) that comic strips encouraged
kids to think in terms of winners and
losers rather than complexity of life's
situations. Driving around Los Angeles
in his Plymouth, Adorno was a fan of a
Chrysler-sponsored comic strip Chuck Carson,
whose crime-fighting hero was an automobile
dealer. In his summary to his book on
Theodor W. Adorno's American years, Jenemann
compares Adorno, (Jewish) exile from a
doomed foreign world, to the comic book
superhero Superman, or at the least the
Man of Steel's creators Siegel and Shuster.
In making this comparison, Jenemann might
have cited Michael Chabon's 2000 novel
The Amazing Adventures of Kavalier
and Clay, which explores the mindset
of Jewish superhero creators. Theodor
Adorno, regrettably, failed to live to
read and critique that novel, though in
his heightened sensitivity to American
pop media, surely would have done it justice.