IntroductionPopular music is popular again and it's everywhere. Be it the idols, the stars, the contestants or the academy, the growing music industry has never showcased itself so widely. But how can we mark burst music? Where is his place? Many argue that it is severely littered in teenage bedrooms around the world. Others would argue that it is more comfortable registered to the bank balance of a major multinational organization. One group of people would argue that impactful music has no home, and is just a fad lauded by the culturally inept, those who are only adept at enjoying a preformatted, formulaic product of the "culture industry." Or does it infect a diverse and creative event, allowing for communally and culturally rich expression? Perhaps burst music will never be 'pigeonholed' as such, but I wish to acknowledge the controversies surrounding popular music and understand its place within popular culture and modern society (Shanahan 2001). Discussion The topic of burst music seems to have been slightly influenced by numerous writers when discussing popular culture, but none has theorized on the topic as much as Theodora Adorn. Adorno's approach, which is strongly driven by his Marxist tendencies, is based mainly on the events of Germany in the 1930s and, subsequently, of the United States when the Frankfurt School moved to New York in 1933. Adorno talks about music popular as a commodity of the "culture industry", a stereotyped and obstinate plan to which all the music out there adheres. He proposed that explosive music “listens for the listener” and is “pre-digested” and almost collaborates with Marcuse's idea of ​​'The One-Dimensi...... middle of paper..... .ustry. Journal of Cultural Economics 6 2, pp. 11–25. Bloom, Allan David, 2004. The Closing of the American Mind. , Simon and Shuster, New York.Clyne, Manfred, 2006. Music, mind and brain. , Plenum Press,, New York.Coase, Ronald, 2006. Payola in radio and television broadcasts. Journal of Law and Economics 22 2, pp. 269–328. Levy, David and Feigenbaum, Susan, 2006. Death, Debt and Democracy. In: Buchanan, JM et al.. Deficit, Blackwell,, Oxford, pp. 236–262. Peterson, R. A. and Berger, D. G., 2004. Cycles, in the production of symbols: the case of popular music. American Sociological Review 40, pp. 158–173. Shanahan, J.L., 2001. Music Consumption: Integrating Aesthetics and Economics. Journal of Cultural Economics 2 2, pp. 13–26Whitburn, Joel, 2003. Pop Memoirs, 1890–1954, The History of American Popular Music. , Record Research Inc., Menomonee Falls.