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...national political correspondent, Robert Ajemian, got his first up-close look at the special tensions and frustrations of presidential campaigning when he covered Dwight Eisenhower's drive for the White House in 1952. He recalls one occasion when an exhausted Ike roundly chewed out some of his aides on a Manhattan street after fumbling an important speech because of a glitch in a TelePrompTer machine. Having witnessed similar episodes in other campaigns-as correspondent, political editor and later assistant managing editor at LIFE, Ajemian confesses: "I admire politicians enormously. They are the best of the survivalists. They get battered...

Author: /time Magazine | Title: A Letter From The Publisher, Nov. 24, 1975 | 11/24/1975 | See Source »

...interview last week with TIME'S national political correspondent Robert Ajemian, Reagan gave his views on the White House shifts and how he thinks they will affect his future...

Author: /time Magazine | Title: REPUBLICANS: Reagan: 'I Am Not Appeased' | 11/17/1975 | See Source »

...primary, each left off attacking the other, got down to politicking at luncheons, receptions, factories and even barbershops. The crowds were big and interested, but just how grimly interested one candidate was in the crowds (and their votes) was revealed in a conversation between Kennedy and TIME Correspondent Robert Ajemian. Kennedy's views...

Author: /time Magazine | Title: DEMOCRATS: Candidate Talking | 2/29/1960 | See Source »

...editors in twelve TIME Inc. bureaus at home and abroad who worked directly on the story and color layout, nine were former officers and enlisted men of the Navy and Marine Corps. The roster: Edward Cerf, Louis Banks, Champ Clark. Cranston Jones, Alvin Josephy, Tom Lambert, Curtis Prendergast, Robert Ajemian and Clay Blair...

Author: /time Magazine | Title: Publisher's Letter, may 21, 1956 | 5/21/1956 | See Source »

Weill: Concerto for Violin and Wind Orchestra, Op. 12 (Anahid Ajemian; M-G-M Wind Orchestra conducted by Izler Solomon; M-G-M). A selection from Kurt Weill's nearly forgotten early period in Germany. The first movement is modern, the second a sleazy serenade with a crude rhythm jiggling under a high-toned fiddle, the third a romping gallop. Despite the strange orchestration that leaves the mid-range empty, the music is rich harmonically, and contains snatches of Weill's low-down lyricism that was to blossom into Three-Penny Opera, Street Scene, September Song, etc. Performance...

Author: /time Magazine | Title: Music: New Records, Aug. 22, 1955 | 8/22/1955 | See Source »

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