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Schorr's final, and most serious, mistake was his initial attempt to hide his own identity as the person responsible for the report's release. Schorr said he intended to write an introduction and commentary to accompany the report, thinking that others in the media, particularly The New York Times, were also planning to release the document. When he realized that he possessed the only copy, he decided on anonymity to protect his source. "I should have perceived that to make an act of disclosure a covert act in itself was a very serious mistake," Schorr said...

Author: NO WRITER ATTRIBUTED | Title: Daniel Schorr: Guarding The Source Of His Strength | 11/10/1977 | See Source »

...rent control, Clinton says he objects to candidates "whipping up elderly people" in order to get elected. "We've spent one and a half million dollars on rent control, but [Cambridge Convention] will hide this until after the election...

Author: By Jonathan H. Alter, | Title: The Independent Incumbents | 11/7/1977 | See Source »

...allow himself to be beaten by Matt, and philosophize on the Meaning of It All. Roy is a good actor, but he is all wrong for the part, El Gallo is supposed to be dark, handsome, suave, sophisticated and on-key; Roy has a paunch his cummerbund can't hide, his hair is thin, his voice is weak, and the script conspires to make his philosophical pronouncements come off as childish prattle...

Author: By Harry W. Printz, | Title: Kirkland to Enterprise | 11/2/1977 | See Source »

Should the government release Francis Rowan, in exchange for the remains of the Unknown Soldier? While Booth and the others hide out on Cape Cod with the coffin, and the FBI launches the largest man-hunt in the history of the nation, Griese and the President realize that the American public wants its coffin back at any cost, even that of releasing an anti-war radical. Griese takes a quick helicopter trip to arrange the release with Rowan, and after some negotiation, the deal...

Author: By Erik J. Dahl, | Title: Exhuming the '60s | 10/27/1977 | See Source »

...than about the spirit of the age. The use of Rudolf Nureyev for Rudolph Valentino was canny in conception-both men display an animal magnetism that audiences have found irresistible. But Rudy I had a very different appeal from Rudy II; the Valentino swagger was manifestly a device to hide his vulnerability and naiveté. Nureyev is an athlete, a sophisticated stage performer bewildered only by the demands of the camera, of the English language and of the director. Russell, who might have used Valentino's short, unhappy life as a device for social and dramatic purposes ends...

Author: /time Magazine | Title: Cinema: Rudy II as Rudy I in a Gaudy Bust | 10/17/1977 | See Source »

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