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...resented by the candy & sugar industries, rebuked by the Federal Trade Commission. The current American Tobacco Co. campaign, still associating cigarets with slender figures, is built around the catch line of "avoiding that future shadow," pictures trim and athletic youth casting a fat and flaccid middle-aged shadow. Monstrous indeed are the shadows in the Lucky Strike series, almost out of all human proportion. Yet while Camel cigarets have advertised smoking pleasure, while Chesterfield cigarets have maintained that taste is the cigaret's vital quality, while Old Gold cigarets have compared themselves to Rudy Vallée, radio crooner...

Author: /time Magazine | Title: Business & Finance: Future Shadow | 7/7/1930 | See Source »

Excerpts from the excerpts: "You can imagine how intolerable to me are all those people who ape my art, my work, even my ways. ... In 1925 some friends wanted to take me to that monstrous display of bad taste . . . the International Exhibition of Decorative Art. They said to me, 'You'll see . . . that it is you who are responsible for all that architecture. . . .' Imagine Michael Angelo coming to dine with friends and being welcomed with the words, 'We have just ordered a very beautiful Renaissance sideboard inspired by your Moses.' Think of Michael Angelo...

Author: /time Magazine | Title: Art: Picasso on Picasso | 6/16/1930 | See Source »

...interesting and sometimes startling question of what Mr. George Washington Hill and his American Tobacco Co. are likely to do next was last week answered when Lucky Strike's ''future shadow." suddenly expanded from the chin in which it originated and spread over the entire figure, monstrous, ominous, and exaggerated even to advertising's nth degree. For a long time the public had been accustomed to seeing, in Lucky, advertisements, a picture of a single-chinned man or woman casting a fat and double-chinned shadow, the moral being that by much smoking instead of much...

Author: /time Magazine | Title: Business: Shadows Lengthen | 5/26/1930 | See Source »

...important as either principals or chorus were lights. For Arnold Schönberg, being a painter as well as a composer, has a passion for color. He conceived his score with fading and blazing lights in mind. In the beginning the Man lies prostrate in the darkness with a monstrous batlike creature crouched on top of him. Then at the climax a piercing yellow fills the stage as the storm comes up, symbolic of the Man's premonition of impending doom. Despite the complex, sometimes shrill chromatic combinations, Schönberg seemed subdued and civilized compared afterward with naked...

Author: /time Magazine | Title: Music: Spring Rite | 4/28/1930 | See Source »

White-haired, conventional Senator Deneen, ardent Y. M. C. A. worker that he is, was appealing to the ''better element" of the state, making "law-and-order"' his prime slogan. Esposito, his friend, once ran the Bella Napoli, was reputed in his day to be as monstrous a gangster as Alphonse ("Scarface") Capone. Senator Deneen stood as godfather for an Esposito child, partook of the Esposito baptismal feast, had himself photographed with the family. In March 1928, Esposito was shot down with 58 lead slugs in his head, according to Senator Deneen's count...

Author: /time Magazine | Title: WOMEN: Roses & Roses | 4/7/1930 | See Source »

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