And yet, it is not enough, as Adorno insists, to dismiss either Wagner or his work so quickly. There is both progressive and regressive tendencies within Wagner; how they work together, how they fit together is the task of the analyst. Precisely because the violence of Wagner’s art and the violence of the Third Reich continue to be live possibilities – even the most horrid taboo, once transcended, can never be put back in place – we must remember, as Adorno also says, “[Wagner’s] music shudders with the unrelieved violence that lives on today in the world order.” Adorno continues further down:
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Adorno is also accused of a lack of consistency in his claims to be implementing Marxism. Whereas he accepted the classical Marxist analysis of society showing how one class exercises domination over another, he deviated from Marx in his failure to use dialectic as a method to propose ways to change. Marx's theory depended on the willingness of the working class to overthrow the ruling class, but Adorno and Horkheimer postulated that the culture industry has undermined the revolutionary movement. Adorno's idea that the mass of the people are only objects of the culture industry is linked to his feeling that the time when the working class could be the tool of overthrowing capitalism is over. Other critics note that "High culture" too is not exempt from a role in the justification of capitalism. The establishment and reinforcement of elitism is seen by these critics as a key element in the role of such genres as opera and ballet .
In 1962, he accepted an invitation to return to Russia for a series of concerts, but remained an émigré firmly based in the West. He died at the age of 88 and was buried in Venice on the cemetery island of San Michele. His grave is close to the tomb of his long-time collaborator Diaghilev. Stravinsky's life had encompassed most of the twentieth century, including many of its modern classical music styles, and he influenced composers both during and after his lifetime. He has a star on the Hollywood Walk of Fame at 6340 Hollywood Boulevard.
At this time, Adorno was in intense correspondence with Walter Benjamin on the subject of the latter's Arcades Project . After receiving an invitation from Horkheimer to visit the Institute in New York, Adorno sailed for New York on June 9, 1937 and stayed there for two weeks. While in New York, Max Horkheimer's essays "The Latest Attack on Metaphysics" and "Traditional and Critical Theory," which would soon become instructive for the Institute's self-understanding, were the subject of intense discussion. Soon after his return to Europe, Gretel moved to Britain, where she and Adorno were married on September 8, 1937; a little over a month later, Horkheimer telegrammed from New York with news of a position Adorno could take up with the Princeton Radio Project , then under the directorship of the Austrian sociologist Paul Lazarsfeld . Yet Adorno's work continued with studies of Beethoven and Richard Wagner (published in 1939 as "Fragments on Wagner"), drafts of which he read to Benjamin during their final meeting, in December on the Italian Riviera. According to Benjamin, these drafts were astonishing for "the precision of their materialist deciphering," as well as the way in which "musical facts ... had been made socially transparent in a way that was completely new to me."  In his Wagner study, the thesis later to characterize Dialectic of Enlightenment —man's domination of nature—first emerges. Adorno sailed for New York on February 16, 1938. Soon after settling into his new home on Riverside Drive, Adorno met with Lazarsfeld in Newark to discuss the Project's plans for investigating the impact of broadcast music.