530 Notes to pp. 194–199
32 Adorno, ‘Aus dem grünen Buch’, West Drayton, 27 April 1934, Frank-
furter Adorno-Blätter II, 1992, p. 7.
33 Adorno and Horkheimer, Briefwechsel, vol. 1, p. 18.
34 Ibid., p. 19.
35 ‘The Horkheimer circle arrived during a period in which the government
was sympathetic towards intellectuals and prepared to entrust them with
important tasks. It was a government which, by American standards, was
left-wing, but at the same time successful and popular. The group arrived
with a great deal of money, and at a moment when the numbers emigrat-
ing to the USA to escape the Nazis were still small.’ Rolf Wiggershaus,
The Frankfurt School, p. 148.
36 Even so, the Geneva branch was maintained, initially under Andries
Sternheim and later under Juliette Favez. There was also a London branch
under Jay Rumney, which had a small office in Le Play House belonging
to the Institute of Sociology, as well as the Paris branch under Paul
Honigsheim and Hans Klaus Brill, which was situated in the Centre de
Documentation at the Ecole Normale Supérieure. The Zeitschrift für
Sozialforschung appeared in the Librairie Félix Alcan in Paris until the
outbreak of war.
37 See Martin Jay, The Dialectical Imagination, p. 115ff.; Wiggershaus, The
Frankfurt School, pp. 133ff. and 149ff.
38 Adorno and Horkheimer, Briefwechsel, vol. 1, p. 25.
39 Ibid., p. 26.
40 Ibid., p. 36f.
41 Ibid., p. 64f.
42 Ibid., p. 49.
43 Ibid., p. 50.
44 See Adorno to Benjamin, 29 December 1935, and Benjamin’s letter to
Adorno of 7 February 1936. Benjamin and Adorno, The Complete Corres-
pondence 1928–1940, pp. 120f. and 123f.
45 Adorno and Horkheimer, Briefwechsel, vol. 1, pp. 64 and 66.
46 Ibid., pp. 122 and 128ff.
47 Ibid., p. 185.
48 Ibid., p. 149.
49 Willi Reich was born in Vienna in 1895 and he died there in 1960. He
studied composition and music theory with Alban Berg and Anton Webern.
He published the journal 23: Eine Wiener Musikzeitschrift. In 1935 he
emigrated to Switzerland, where he worked first as a music critic for the
Neue Züricher Zeitung and afterwards as lecturer and then professor at
the polytechnic in Zurich.
50 Adorno, ‘The Form of the Phonograph Record’, Essays on Music, p. 279.
51 Ibid., p. 279f.
52 See Adorno, ‘Zur Krisis der Musikkritik’, GS, vol. 20.2, p. 746ff.
53 Martin Jay remarks, not unreasonably, that Adorno’s essay on jazz con-
tains ‘occasionally outrageous assertions, made in an uncompromising
manner designed less to persuade than to overwhelm.... Still, what must
be remembered is that the jazz he was most concerned with was the
commercial variety churned out by Tin Pan Alley, not the less popular
variety rooted in black culture itself.’ See Martin Jay, The Dialectical
Imagination, p. 186f. See also Michael Kausch, Kulturindustrie und