and Edward W. Sarath has constructively proposed jazz as a useful paradigm for understanding education and society. Constructive reception Eugene W. Holland has proposed jazz improvisation as a model for social and economic relations in general. Similarly, Edward W. Sarath has constructively proposed jazz improvisation as a model for change in music, education, and society. Criticism Simon Frith (2004, p. 17-9) argues that, "'bad music' is a necessary concept for musical pleasure, for musical aesthetics." He distinguishes two common kinds of bad music: the Worst Records Ever Made type, which include "Tracks which are clearly incompetent musically; made by singers who can't sing, players who can't play, producers who can't produce," and "Tracks involving genre confusion. The most common examples are actors or TV stars recording in the latest style." Another type of "bad music" is "rock critical lists," such as "Tracks that feature sound gimmicks that have outlived their charm or novelty" and "Tracks that depend on false sentiment [...], that feature an excess of feeling molded into a radio-friendly pop song." Frith gives three common qualities attributed to bad music: inauthentic, [in] bad taste (see also: kitsch), and stupid. He argues that "The marking off of some tracks and genres and artists as 'bad' is a necessary part of popular music pleasure; it is a way we establish our place in various music worlds. And 'bad' is a key word here because it suggests that aesthetic and ethical judgements are tied together here: not to like a record is not just a matter of taste; it is also a matter of argument, and argument that matters" (p. 28). Frith's analysis of popular music is based in sociology. Theodor Adorno was a prominent philosopher who wrote on the aesthetics of popular music. A Marxist, Adorno was extremely hostile to popular music. His theory was largely formulated in response to the growing popularity of American music in Europe between World War I and World War II. As a result, Adorno often uses "jazz" as his example of what he believed was wrong with popular music; however, for Adorno this term included everyone from Louis Armstrong to Bing Crosby. He attacked popular music claiming that it is simplistic and repetitive, and encourages a fascist mindset (1973, p. 126). Besides Adorno, Theodore Gracyk provides the most extensive philosophical analysis of popular music. He argues that conceptual categories and distinctions developed in response