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...Some of These Days in a voice already impressively seamed and corrugated. The piano selections by Rachmaninoff (Liszt's Second Hungarian Rhapsody, recorded in 1919) and Moriz Rosenthal (various Chopin Preludes, recorded in 1929) are less successful, chiefly because the early acoustical method of recording tended to blur the percussive piano sound. But Rachmaninoff's glittering technique is there, and so is a remarkable and ornate cadenza that is preserved in no other performance. The album's most fascinating track is a 1911 recording of the magnificent Soprano Emmy Destinn in a soaring performance of the Suicidio...

Author: /time Magazine | Title: Music: Terrifying Invention | 7/21/1961 | See Source »

Streetcar Blur. Ballistocardiographers, led by the University of Pennsylvania's Dr. Isaac Starr, contend that measurements of these and of minor additional thrusts show how well the heart and arteries are working. But the accelerations must be measured in thousandths of a G (the pull of gravity). No building is steady enough to be free of movements that confuse the sensitive machine. In Philadelphia, Dr. Starr got blurs on his ballistocardiograms every time a streetcar rumbled by eight floors below. To cushion out such vibrations, researchers have turned to various systems of floating the body-strapped to a board...

Author: /time Magazine | Title: Medicine: Measuring the Heart's Kick | 4/28/1961 | See Source »

...Secession Galleries in New York, a rallying point for those who wanted to "secede from the notion that photography is only literal representation." Steichen wanted to "push out the realm of the camera." He loved "wet days, yellow, foggy days, twilights," and to catch the mood, he would purposely blur the picture by kicking the tripod or wetting the lens. In developing his famed Steeplechase Day, Paris; After the Races, a carefree scene at the Longchamp track, he kept the background dark, highlighting the figures until they became three dimensional...

Author: /time Magazine | Title: Art: To Catch the Instant | 4/7/1961 | See Source »

...nearly two decades, critics have called Jacob Lawrence, 43, "the top U.S. Negro painter"-a race-conscious title that tends to blur his individual style. While the dominant school of abstract art has steadily fled the image, Lawrence goes right on telling simple, straightforward stories. If any artist or style ever influenced him, he cannot quite pin down who or what or when. He has always been his own man, and his very lack of complexity makes him something of a puzzle. "Painting is like handwriting," he says. "Every person has his own style, and my style is just something...

Author: /time Magazine | Title: Art: BRIGHT SORROW | 2/24/1961 | See Source »

Reading through a big collection of short stories is like staying too long at a noisy party. Individual impressions blur; one woman waiting uncertainly with an unlit cigarette becomes all women with that mannerism, and a silly remark made once too often makes fools, unfairly, of all who repeat it. Similarly, the impression persists that at least one-quarter of these Conrad Aiken stories begin with characters waking up in the morning, and that most of his women have "the blackest and fiercest eyes I have ever seen." The repetitions may not be important-short stories are not meant...

Author: /time Magazine | Title: Books: The Moon's Dark Side | 1/6/1961 | See Source »

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