"Critical theory was sometimes teased for its aristocratic components, its disinclination to praise popular culture, jazz or Americanism, its sometimes overwhelming sense of cultural pessimism, and all these sentiments echo the larger and older traditions of aristocratic radicalism, for which the old world, in general, was better than the brashness and shock of the new. The European critique of modernity was born as a critique of the mass, mass society, mass production, mass migration, the mass man, the image of life based on the factory, on its regimentation and yesmen, the conformism of following orders. This was also Marcuse’s anxiety into the 1960s – that the lucid or erotic components of being had been submerged into dull regimes of compliance, consumption, and getting on. Perhaps this was the moment when sociology began to shifts its focus from the realm of production to that of consumption. Gramsci had already anticipated the cultural turn in marxian thirty years earlier. Marcuse was not the only high-profile critical theorist, though the fact that he remained in the USA after Horkheimer and Adorno returned to Germany placed him strategically to be more significantly influential into the 1960s. More, he wrote in jeremiad form, unlike the laconic and dense Adorno, anticipating, in this sense, the later popularity of Zygmunt Bauman, another critical Cassandra figure. The second generation of critical theory became associated especially with the work and figure of Jürgen Habermas, who turned back to the inspiration of Kantian universalism. Where Marcuse saw systemic closure and frustration, Habermas saw possibilities for change, reform, and democratization. His early work drew together Marxian and Weberian themes and filaments, again seeking a critical theory with a practical or emancipatory intention in the manner of Marx."