Word: mohr
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...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...
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...
...compassionate sensitivity for the little things. Last week TIME assigned just that kind of reporting task to its correspondents. From reporters across the U.S. came rich detail that developed into a theme: the U.S. in this midsummer is on the move, bag, baggage and children. Correspondent Charles Mohr, driving crosscountry from San Francisco to his new assignment in the Washington bureau, tuned in a sharp traveler's-eye view. Mohr noted, in addition to such phenomena as foam-rubber hats and rock-'n'-roll-loving Indians, that the new state turnpikes are working a special kind...
...boxes were empty, dust covers lined the balustrades. A 62-piece orchestra was spread over the stripped main floor, and a 30-voice chorus was onstage. The principals stood at the music stand in bright cotton prints or sports shirts and slacks. In the control foyer Music Director Richard Mohr and the technicians hunched over the controls...
...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...