industry, he belongs to it as does the land-reformer to capitalism. Realistic dissidence is the trademark of anyone who has a new idea in business. In the public voice of modern society accusations are seldom audible; if they are, the perceptive can already detect signs that the dissident will soon be reconciled. The more immeasurable the gap between chorus and leaders, the more certainly there is room at the top for every body who demonstrates his superiority by well-planned originality. Hence, in the culture industry, too, the liberal tendency to give full scope to its able men survives To do this for the efficient today is still the function of the market, which is otherwise proficiently controlled; as for the market's freedom, in the high period of art as elsewhere, it was freedom for the stupid to starve. Significantly, the system of the culture industry come from the more liberal industrial nations and all its characteristic media. such as movies radio, jazz, and magazines, flourish there. Its progress, to be sure, had its origin in the general laws of capital. Gaumont and Pathe, Ullstein and Hugenberg followed the international trend with some success; Europe's economic dependence on the United States after war and nflation was a contributory factor. The belief that the barbarity of the culture industry is a result of cultural lag, of the fact that the American consciousness did not keep up with the growth of technology, is quite wrong. It was pre-Fascist Europe which did not keep up with the trend toward the culture monopoly. But it was this very lag which left intellect and creativity some degree of independence and enabled its last representatives to exist- however dismally. In Germany the failure of democratic control to permeate life had led to a paradoxical situation. Many things were exempt from the market mechanism which had invaded the Western countries. The German educational system, universities, theatres with artistic standards, great orchestras, and museums enjoyed protection. The political powers, state and municipalities, which had inherited such institutions from absolutism. had left them with a measure of the freedom from the forces of power which dominates the market, just as princes and feudal lords had done up to the nineteenth century. This strengthened art in this late phase against the verdict of supply and demand, and increased its resistance far beyond the actual degree of protection. In the market itself the tribute of a quality for which no use had been found was turned into purchasing power; in this way, respectable literary and music publishers could help authors who yielded little more in the way of profit than the respect of the connoisseur But what completely fettered the artist was the pressure(and the accompanying drastic threats), al ways to fit into business life as an aesthetic expert. Formerly, like Kant and Hume they signed their letters Your most humble and obedient servant, and undermined the foundations of throne and altar. Today they address heads of government by their first names yet in every artistic activity they are subject to their illiterate masters The analysis Tocqueville offered a century ago has in the meantime proved wholly accurate. Under the private culture monopoly it is a fact that tyranny leaves the body free and directs its attack at the soul. The ruler no longer says: You must think as I do or die. He says: You are free not to think as I do, your life, your property, everything shall remain yours, but from this day on you are a stranger among us. Not to conform means to be rendered powerless, economically and therefore spiritually-to be""self-employed. "When the outsider is excluded from the concern, he can only too easily be accused of incompetence Whereas today in material production the mechanism of supply and demand is disintegrating, in the superstructure it still operates as a check in the rulers'favour. The consumers are the workers and employees, the farmers and lower middle class. Capitalist production so confines them, body and soul, that they fall helpless victims to what is offeredindustry, he belongs to it as does the land-reformer to capitalism. Realistic dissidence is the trademark of anyone who has a new idea in business. In the public voice of modern society accusations are seldom audible; if they are, the perceptive can already detect signs that the dissident will soon be reconciled. The more immeasurable the gap between chorus and leaders, the more certainly there is room at the top for everybody who demonstrates his superiority by well-planned originality. Hence, in the culture industry, too, the liberal tendency to give full scope to its able men survives. To do this for the efficient today is still the function of the market, which is otherwise proficiently controlled; as for the market’s freedom, in the high period of art as elsewhere, it was freedom for the stupid to starve. Significantly, the system of the culture industry comes from the more liberal industrial nations, and all its characteristic media, such as movies, radio, jazz, and magazines, flourish there. Its progress, to be sure, had its origin in the general laws of capital. Gaumont and Pathe, Ullstein and Hugenberg followed the international trend with some success; Europe’s economic dependence on the United States after war and inflation was a contributory factor. The belief that the barbarity of the culture industry is a result of “cultural lag,” of the fact that the American consciousness did not keep up with the growth of technology, is quite wrong. It was pre-Fascist Europe which did not keep up with the trend toward the culture monopoly. But it was this very lag which left intellect and creativity some degree of independence and enabled its last representatives to exist – however dismally. In Germany the failure of democratic control to permeate life had led to a paradoxical situation. Many things were exempt from the market mechanism which had invaded the Western countries. The German educational system, universities, theatres with artistic standards, great orchestras, and museums enjoyed protection. The political powers, state and municipalities, which had inherited such institutions from absolutism, had left them with a measure of the freedom from the forces of power which dominates the market, just as princes and feudal lords had done up to the nineteenth century. This strengthened art in this late phase against the verdict of supply and demand, and increased its resistance far beyond the actual degree of protection. In the market itself the tribute of a quality for which no use had been found was turned into purchasing power; in this way, respectable literary and music publishers could help authors who yielded little more in the way of profit than the respect of the connoisseur. But what completely fettered the artist was the pressure (and the accompanying drastic threats), always to fit into business life as an aesthetic expert. Formerly, like Kant and Hume, they signed their letters “Your most humble and obedient servant,” and undermined the foundations of throne and altar. Today they address heads of government by their first names, yet in every artistic activity they are subject to their illiterate masters. The analysis Tocqueville offered a century ago has in the meantime proved wholly accurate. Under the private culture monopoly it is a fact that “tyranny leaves the body free and directs its attack at the soul. The ruler no longer says: You must think as I do or die. He says: You are free not to think as I do; your life, your property, everything shall remain yours, but from this day on you are a stranger among us.” Not to conform means to be rendered powerless, economically and therefore spiritually – to be “self-employed.” When the outsider is excluded from the concern, he can only too easily be accused of incompetence. Whereas today in material production the mechanism of supply and demand is disintegrating, in the superstructure it still operates as a check in the rulers’ favour. The consumers are the workers and employees, the farmers and lower middle class. Capitalist production so confines them, body and soul, that they fall helpless victims to what is offered