This chapter looks at how hegemonic masculinities exert control over culture, looking first at their naturalisation in high culture and how this continues into the domain of the popular through practices of aestheticisation or 'purification' of mass culture. It argues that any aesthetic that depends on mutually opposing categories of high and low culture repeats patriarchal dualism. The chapter discusses Andy Warhol's Pop Art aesthetic as an example of how high cultural values of purity, mediated through 'camp', become central to masculine hegemony in art rock and alternative rock. It begins by critiquing Theodor Adorno's conception of the place of high culture that is 'art', in modernity. Warhol's emphasis on naivety allowed him to smuggle in an intellectual aesthetic in the face of the anti-intellectualism of US society. That is, the intellectualisation of the popular can be both a way of reaffirming the 'powerless power' of the intellectual, and a force for social change.