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"Real Loud." When Welk and his accordion first came out of Strasburg. N. Dak. (pop. 800), his music was brash and noisy. A farm boy of Alsatian descent (he still has a faint Germanic accent absorbed from his parents), he learned to play "real loud" at barn dances. One of...

Author: /time Magazine | Title: Radio: The Big Corn Crop | 5/21/1956 | See Source »

It was from this background, represented by Wolgemut in the woodcut and Schongauer in engraving, that the great transition figure of Albrecht Durer emerged. But the beauty of this exhibit is the opportunity to see the Germanic elements in his art, as well as his foreign innovations. It is clearly...

Author: By Lowell J. Rubin, | Title: Nuremberg and the German World | 12/13/1955 | See Source »

It was from this background, represented by Wolgemut in the woodcut and Schongauer in engraving that the great transition figure of Albrecht Durer emerged. He is usually discussed as the father of the Northern Renaissance. But the beauty of this exhibit is the opportunity to see the Germanic elements in...

Author: By Lowell J. Rubin, | Title: Nuremberg and the German World | 12/12/1955 | See Source »

It took only a few months at the Western front as an enlisted man in the Kaiser's infantry to turn Grosz's boyhood love of military panoply into a deep hatred of war. He was twice invalided, the second time to a military hospital for the shell...

Author: /time Magazine | Title: Art: Public Favorite: The Pit | 11/21/1955 | See Source »

The Oct. 3 review of The Myth of Sisyphus by Albert Camus states: "The garden which Voltaire advised the French to cultivate (instead of listening to crazy Germanic philosophers) has turned out to be a stony little half-acre. Furthermore, the horticulture is hampered all the time by the heavy...

Author: /time Magazine | Title: Letters, Oct. 31, 1955 | 10/31/1955 | See Source »

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