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...jazz rhythms in concert works; after a long illness; in Chicago. Carpenter began winning acclaim around World War I for his polite, elegant songs, impressionistic orchestra pieces (Adventures in a Perambulator). Later he experimented widely, became the rage of the '20s with his jazz themes (the ballets Krazy Kat, Skyscrapers), was also noted for his choral works, chamber music and symphonies. Carpenter once said of his music: "At any rate, it is peaceful music, and in these days perhaps that is something...

Author: /time Magazine | Title: Milestones, may 7, 1951 | 5/7/1951 | See Source »

George Herriman's [famed comic-strip character] Krazy Kat once demonstrated, to an astonished duck, the same hat-making possibilities of the tortilla...

Author: /time Magazine | Title: Letters, Nov. 7, 1949 | 11/7/1949 | See Source »

...night in Beirut, neon signs glared garishly before such nightspots as Maxim's, Harry's Bar and the tinseled Kit Kat Club, where a burnished blonde from Budapest chanted defiantly: "Bingle, bangle, bungle, I'm so happy in the jungle, I refuse to go." In the black sky overhead, Aldebaran, Betelgeuse and Rigel blazed as brightly as they had centuries before when Arab herdsmen first gave them their names...

Author: /time Magazine | Title: CONFERENCES: Without Distinction | 12/6/1948 | See Source »

Love That Kat. Waugh agrees with many a highbrow in thinking that the greatest of all comic strips was the late George Herriman's Krazy Kat, a gentle, loving soul constantly tormented by her great love, Ignatz Mouse, whose joy in life was to "krease his [Kat's] bean" with a brick. Some partisans saw the Kat and Mouse as latter-day versions of Don Quixote and Sancho Panza; Poet E. E. Cummings found Krazy's faithfulness a vindication of the principle of love...

Author: /time Magazine | Title: The Press: Stuff of Dreams | 12/1/1947 | See Source »

Moldy Homiletics. Comedy is about as inconspicuous an item in so-called comic strips today as drugs in drugstores. Krazy Kat died with its creator, the late George Herrimann. The Gumps, which in the days of the late Sidney Smith had a modest resemblance to middle-class U.S. life, has little now. Harold Gray's Little Orphan Annie, never any too real or too funny, has sunk so deep into moldy homiletics that it is now trying to make Tory a nice word by proving that only rabble revolted in 1776. Fantasy, outside of Crockett Johnson's Barnaby...

Author: /time Magazine | Title: The Press: Average Man | 11/26/1945 | See Source »

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