Word: moods
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Dates: during 1970-1979
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...stop this bickering between the White House and Congress and get something done!' " The American public did not appear to be panicking; people were sober and subdued but still largely positive as they appraised their own and their country's future. "The mood isn't gloom and doom," says Norman Mineta, a freshman Democrat from Southern California. "The question always asked is how much and how long it is going to take to turn this around...
Good Will. Responding to the public mood, President Ford was doing his best to do something. He went on the road to try to sell his program along with his presidency. Quite deliberately, he invoked the memory of Harry Truman and let his audience draw the comparison between the two Presidents. He was not flaying Congress in the "give 'em hell" style of Truman in 1948; but befitting a more conservative and restrained politician, he was at least giving 'em heck on the hustings. Even if his listeners did not agree with or did not quite grasp...
...Americans have reacted relatively calmly, but the pain of the recent rapid rise in joblessness is only beginning to be felt and their frustration and hostility are intensifying. Congressman Peter Rodino reports that the mood of his largely black constituency in Newark "is ugly." The city's jobless rate, always high, has climbed...
...enough if the American Secretary of State intends to mediate between Israel and Egypt in full awareness that there is a partnership between us and the U.S., or whether he wants to succeed at any price, a price that Israel alone will have to pay." Aware of the pugnacious mood, Kissinger in his principal Jerusalem speech carefully noted: "We will not knowingly sacrifice Israel to considerations of great-power politics...
...fact that the scenes between mother (Bonnie DeLorme) and son succeed, only to have their intensity shattered by the entrance of the other actors. Eleni Constantine's performance as the daughter is erratic, combining a marvellous sleepwalking trance and deceptive, wide-eyed childishness, with sudden, apparently unaccountable changes of mood. The opportunist son-in-law (Don Guiney) is portrayed as too much of an arch-villain, overly conspiratorial, first with one side and then the other, weilding his cane about like a swagger stick. The pity that Strindberg felt for such a pathetic victim of the vampire mother is buried...