In a time where commercialization emphasizes the entertainment aspect of the arts and shadows its sociopolitical influential powers, this thesis seeks to debunk the phrase “its just music”. With 91% of the U.S. population, as of 2015, listening to an average of 24 hours of music a week, it is crucial we understand the effects. Using Eyerman and Jamison’s “cognitive praxis” as well as Foucault and Lyotard’s knowledge/power ideas, a hybrid theory is formed to study the power-producing dynamics of music, specifically narco-corridos (regional Mexican genre) and rap/hip-hop. Sadly, as Adorno argues, commercialization (capitalism) co-opts music that originally challenges the status quo (pertaining to rap/hip-hop and narco-corridos in this paper), and in turn finds a way to empower the system it once defied. Although I do agree with Adorno, I use Foucault’s concept of the masked other, the reversal of power direction through appropriation, to also appropriate, extend, and critique Adorno’s argument. Commercialization strips genres of their power, but there are also ways for artists to pimp the system. Music has the power to influence physical/mental functioning, identity, and culture; an influence that can be positive or negative. Do YOU reap? Only way to know is by paying attention.