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Finally, there was only acceptance of what had to be done. On Thursday, David Eisenhower and Edward Cox bade occasionally damp-eyed goodbyes to members of the White House staff they had come to know over the past several years. Friday morning was even more difficult. As Nixon took a long, emotional farewell of the White House staff, the girls had to struggle to keep their composure; even Mrs. Nixon seemed on the verge of losing her almost uncanny air of calm. Later, when the rest of the family boarded a helicopter for the hop to Andrews Air Force Base...

Author: /time Magazine | Title: THE NIXON FAMILY: FACING THE ORDEAL | 8/19/1974 | See Source »

...short stature. Wendy, a boneless counterculture chicken enrolled in one of his graduate courses, is unaccountably but irrevocably daft about him. He is flattered but sensible; 46-year-old professors do not (or should not) have affairs with students. Yet she clings, adores and listens in damp fascination to his explanations of foreign policy...

Author: /time Magazine | Title: Books: Curriculum Vitae | 7/29/1974 | See Source »

...flood also caused telephone breakdowns in parts of the University due to damp cables. By Friday morning all service had been restored...

Author: By Hannah J. Zackson, | Title: Flood Costs Seen at $15,000-$25,000 | 7/16/1974 | See Source »

...Maugards rent their two-story, three-bedroom house, a former vicarage, for $100 a month. They have repaired its worst defects, but there is no central heating. Two space heaters fight a losing battle against the damp cold of a Norman winter. "The chimney is cracked, and the mayor won't repair anything," she says. "The septic tank smells terrible, and we're crowded together. My two smallest children sleep in the same bedroom as my husband and I." Their grounds are ample, however. The Maugards are able to eat their own chickens, turkeys and rabbits, as well...

Author: /time Magazine | Title: The World: Two Halves of a Nation | 6/3/1974 | See Source »

French cinematographer Jean Boffety has helped give this world a pale damp beauty. Critic Pauline Kael compared the effect to the mood of Faulkner, but there is something lyric and almost painfully beautiful which could exist nowhere outside of film. There are wonderful details of gas stations and motor courts which recall Walker Evans, like the shots taken through screen doors to which bits of a painted bread ad still adhere or the recurrent presence of Coke bottles with their pale green glass, and Coke signs, even at the entrance of the state prison. But the effect of this carefully...

Author: By Phil Patton, | Title: Movies for Mood or Money? | 4/17/1974 | See Source »

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