Word: keyboarding
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Dates: during 1980-1989
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...strength. The Vocal Minority (Catherine Josman, Susan Minter, Heather Moore, Jennifer Bryant), the choral backup, swells the musical numbers and fills in the gaps with an unflagging stream of beautiful singing. Equally indefatigable was the professional performance of Laurence Sobel on the piano, with Rich Dikeman on an electric keyboard that provided ice-skating-rink music to humorous effect. Led by Morland, the cast rejuvenates for the last song, "Company," and launches a high-energy, Broadway-type finale to a 100-percent fun show...
Moore became famous in 1961 when he teamed with three other Oxbridge grads-Cook, Miller and Alan Bennett-in the satirical review Beyond the Fringe. Moore's most brilliant contributions were at the keyboard, in a lampoon of Myra Hess playing the "Moonlight"Sonata and in a hilarious, dizzy bit about a pianist who is unable to conclude a coda to a florid piece. The show played for four years to packed houses, first in London, then in New York. When it ended, Moore and Cook went on to do a television series and five movies, including Bedazzled, their...
...Engelbart's design, and soon after, computer experts at the company's Palo Alto research center began using a mouse in a computer language they called Smalltalk. By pointing and pressing buttons, they could send messages to and from objects on a screen without using a keyboard. In December 1979, Jobs and a group of Apple engineers visited Palo Alto for a demonstration of the Smalltalk system. They watched the electric rodent point at commands while a Xerox researcher, Larry Tesler, made the case for the hand-held device. Recalls Bruce Daniels, a Lisa designer...
Reagan also stopped at the Digital Equipment Corporation's computer-keyboard assembling plant and called for a greater partnership between business and government, although the president has attempted to cut back money to support such alliances...
...Rubinstein onstage was to witness a master in his element. Striding purposefully to the keyboard while acknowledging the welcoming cheers, he would sit down, adjust the tails of his formal coat, tilt his face upward at about a 45° angle and stare intently into the middle distance as he composed himself. Then the great hands would rise from his sides and come down on the keyboard. The piano, with its intricate mechanism of strings and hammers, would cease to be a percussion instrument when Rubinstein caressed it; in his hands, it sang...