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...Jews of the Kings"--sometime pariahs and masters of the universe. The bright version of the Rothschilds--benefactors of progress, multilingual cosmopolitans, patrons of the arts, sponsors of Rossini and Balzac, vintners of Mouton and Lafite--was shadowed by a vicious anti-Semitic twin, the view that culminated in Hitler's speeches about "the rapacity of a Rothschild." The family became an all-purpose and surreal villain. Karl Marx vilified the Rothschilds as a quintessence of capitalist evil. One contemporary conspiracy theorist argued that the Rothschilds "arranged the murder of President Lincoln" and, later on, financed the rise of Hitler...

Author: /time Magazine | Title: Books: A Power unto Themselves | 12/7/1998 | See Source »

...born a few days after Hitler marched into Poland, and as a boy I absorbed, by moral osmosis and overheard conversation, some of the lessons of the time--for example, lessons taught by Auschwitz and Josef Mengele...

Author: /time Magazine | Title: Time For The Ice Floe, Pop | 12/7/1998 | See Source »

...NEXT: HITLER'S HAIKUS Looking for something for that hard-to-please war criminal on your list? A new collection of ethnic-cleanser Radovan Karadzic's poetry is coming out soon. It's available only in Greece, but here's a taste of his work, from his 1970 poem Sarajevo...

Author: /time Magazine | Title: Notebook: Dec. 7, 1998 | 12/7/1998 | See Source »

...kept on the back of an envelope, and the guys in purchasing had to weigh the invoices to count them. College kids, managers, anyone with book learning was viewed with some kind of suspicion. Ford had done so many screwy things--from terrorizing his own lieutenants to canonizing Adolf Hitler--that the company's image was as low as it could...

Author: /time Magazine | Title: Driving Force: Henry Ford | 12/7/1998 | See Source »

Instead of representation, instead of abstract beauty, Weimar visual cultural does...what? It is political, but it is more than simple propaganda--Heartfield and Georg Grosz each have their Hitler caricatures, but the meat of Weimar thought is elsewhere. Technology is everywhere: in the medium of photography, in Bauhaus design, in the mannequins of Josef Albers and Oskar Schlemmer, in the pipes and puppets in the portraiture section. The noisy whirligig of modern technology is both embraced in dada photo-montages of basketball-headed humanoids and controlled through the neat, organized designs of Herbert Bayer's movie house and exhibition...

Author: By Benjamin E. Lytal, CRIMSON STAFF WRITER | Title: WEIMAR at the BUSCH-REISINGER | 12/4/1998 | See Source »

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