Word: mohr
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Dates: during 1950-1959
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...direct result of the Nixon party's tour of the Soviet Union and Poland, some new assumptions are bound to be cranked into high-level U.S. policy decisions. Among the assumptions, as pieced together by TIME'S White House Correspondent Charles Mohr, who traveled with the Nixon party...
...quite a week for Charlie Mohr, TIME'S White House correspondent. He had to rush away from a reception at the home of the Vice President of the U.S. one evening so that he would not be late for dinner with the President. Two days later he flew from New York to Moscow in the Boeing jetliner that set a new speed record. There he dogged the steps of Richard Nixon, was so close at hand so much of the time that at one point in the historic "kitchen summit" at the U.S. exhibition, Nikita Khrushchev swung around, mistook...
...their ears toward Moscow. In Moscow, oddly enough, there were no negotiations at all in the orthodox diplomatic sense, but there were loud, serious, deadly earnest debates about the resources and strengths of the West and Communism. "One reason for the length of the debates," cabled TIME Correspondent Charles Mohr from Moscow, "is that Khrushchev finds it hard to believe that he cannot top Nixon, and so he keeps trying. Nixon on his own part has not been able to top Khrushchev, either...
From the Washington bureau, White House Correspondent Charles Mohr followed President Eisenhower on his trip to Manhattan to welcome Kozlov; Correspondent Mark Sullivan tracked the Russian steadily through public and private functions in Washington; Anne Chamberlin flew to California in the Kozlov plane, persuaded him to answer the first personal biographical questions he had ever answered. The Kozlov story-a narrative of his travels and a portrait of his personality-was written by Jesse Birnbaum and edited by Louis Banks. It is preceded in NATIONAL AFFAIRS by a story that puts his visit and all the current visits by Americans...
...Ready, maestro?" Mohr would say into the mike. "Very quiet, please. Take One ... Take Two . . . Take Three." In Butterfly the takes sometimes lasted less than a minute, sometimes ran for as much as twelve minutes. Later, in the control foyer, the singers listened in anguish to the playbacks while Mohr kept up a running commentary: "That's too heavy there, Anna; in the next line you can be as tragic as you wish. You're weighing it down a little, maestro. Diction, diction. It's ECCO, Anna, not echo. We must hear every word...