Again like Carroll and Shusterman, rather than confront the ideology of mass culture, they seek instead to privileag and thus to remove certain of the texts and practices of popular culture from the condemnation of the critics of mass culture. Popular art, therefore, is mass culture which has risen above its origins. Unlike “average films or pop music [which] are processed mass art,” popular art is, for example, the “best cinema,” the “most sdvanced jazz” (78).They claim that, “Once the distinction between popular and mass art has been made, we find we have bypassed the cruder generalisations about ‘mass culture’, and are faced with the full range of material offered by the media.”