pop-cultural

• pop cultural

pop-cultural (comparative more pop-cultural, superlative most pop-cultural)

1. Pertaining to pop culture. [from 1960s]
   • 2008 March 23, Ron Powers, “Penny Dreadfuls”, in New York Times‎^[1]:

     It suggests how deeply the comics had implanted themselves in kidhood consciousness in only their second decade as a normative pop-cultural universe; how shocking and yet irresistible we found each new and more subversive permutation; and how recklessly indifferent to adult America’s ever hardening hostility were the wild misfit artists who, even as I buckled under Superduperman’s (and Lois’s) seditious antics, were dancing into the flames of self-destruction.

   • 2009, Diane Rubenstein, “Reality: now and then – Baudrillard and W-Bush’s America”, in David B. Clarke, Marcus A. Doel, William Merrin, Richard G. Smith, editors, Jean Baudrillard: Fatal Theories, London; New York, N.Y.: Routledge, →ISBN, page 152:

     In ‘The mental diaspora of the networks’, Baudrillard offers a way to read the effect of réalité intégrale in rendering impotent media exposure of presidential misdeeds and incompetence as well as providing insight into some of the current regime’s most symptomatic pop-cultural moments.

   • 2014, Josephine Metcalf, Will Turner, “Introduction: “It’s got to feel real but not be real” (Ice-T)”, in Rapper, Writer, Pop-Cultural Player: Ice-T and the Politics of Black Cultural Production, Ashgate Publishing, →ISBN, page 4:

     Ice-T presents himself as a pop-cultural mogul, presiding over the growth of hip-hop as a multi-national and cross-platform empire. The passage stresses his success, ubiquity, and seemingly effortless ability to negotiate a number of cultural terrains. Yet the wider significance of Ice-T’s pop-cultural prominence is hotly contested.

   • 2017, Hans Nieswandt, “Concepts of Cologne”, in Michael Ahlers, Christoph Jacke, editors, Perspectives on German Popular Music (Ashgate Popular and Folk Music Series), Routledge, →ISBN:

     I was an editor at the magazine Spex at that time, that is, around 1992 and 1993, and to us, it was partly obvious, partly nonsense, that klangkunst, krautrock (see Papenburg in this book), and techno of the early nineties, a very pop-cultural thing, would have a lot in common with each other.

• “pop-cultural”, in Lexico, Dictionary.com; Oxford University Press, 2019–2022.