Indeed

"...I knew that pop music should, first and foremost, be exciting, but that it could also deliver considerably more than a quick kick. I knew that it was not monolithic in syle or content or constituency: that it represented the input and articulated the fantasies of people from no one class or race or nationality. I knew that, sooner or later, it had to have some politics: though not all the time, and not necessarily those which would benefit any of the self-serving hacks and bullshitters who periodically offered themselves up for election. I knew that pop didn't so much love having money as it enjoyed spending money: that things like shoes, shirts and haircuts were both utterly trivial and vitally important; indeed, that their triviality and importance were inextricably linked. I knew that pop was both about asserting your identity and about reinventing it if the identity with which you started out was unsatisfactory--what, after all, were Bob Dylan, David Bowie, Johnny Rotten and Prince if they are not inventions?--and that pop also involved not only a conspiracy between high-life and low-life to destroy the bourgeoisie, but a conspiracy by the bourgeoisie to penetrate the mysteries of the proletariat and the aristocracy." From Shots From the Hip by Charles Shaar Murray