We must begin by accepting Hegel's notion of teleological progress, and a possible end to historical history (though not, it must be noted, to historical historicity). If this is the case, then one can look at Adorno's aesthetic viewpoint of art as the integration of form and content (Adorno and Horkheimer, 1945). If form is seen as objective, and content as subjective, a piece of art must represent a coming together of opposites, an alienated self dialectically unified to its very "Other."
If this is the case, "Friday" operates on multiple textual levels. Not only does the song act as a cultural phenomenon, but it also functions on a psychological level. First, to examine the cultural aspects of this object, let us consider the dialectical contradiction between society's "self" and the "Other" (see: Said's Orientalism). The societal self is subjective, while the cultural Other remains a looming objective force, loaded with false meaning that expresses its own alienating qualities of "Otherness" without assuming operative agency as the "Other."
What we have then, with "Friday," is a clever satire on the notion of teleological process that assumes the very structure of the concept that it deconstructs. The societal self of "Friday" must be Rebecca Black. White, middle-class, an unwitting subject of the cultural hegemony of these forces, her viewpoint is society's viewpoint, and she assumes the role of self. The concentration on inane everyday activities - cereal, fun, the bus ride to school - acts not only subjectively as a portrayal of the hegemonic hypocrisies of modern life under Western late capitalism, but also an objective portrayal of the artist-as-self (and, contrapostively, the self-as-artist) that frames oneself in such a way that one assumes the objective qualities of a society even while operating from a subjective viewpoint.
