 The attitude just described grounds Adorno’s notorious reservations regarding popular music, which he elaborated in a number of essays, as well as in his influential Introduction to the Sociology of Music (1962 [1976]). His view of “jazz”, a label he employed liberally and at times confusingly (see Gracyk 1992), and of popular music in general, is that its primary function is that of easily available entertainment, despite jazz’s attempts to dissimulate this behind musical structures that are only apparently novel. Standardization is the essential feature of popular music (Adorno 1962 [1976: 25]), and its result is music that “listens for the listener” (Adorno 1962 [1976: 29]), as it does not require any effort. The invisible hand that standardizes taste and produces art having the sole function of entertaining the masses is the culture industry, a concept which Adorno had elaborated in Dialectic of Enlightenment (1947), co-authored with Max Horkheimer (1895–1973) (Horkheimer &amp; Adorno 1947: chapter 4).