Word: old
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Dates: during 1950-1959
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...Marcucci took time to rush to the home of a South Philadelphia neighbor when he saw an ambulance drive up. Policeman Domenic Forte had suffered a heart attack, and Bob stuck around to help. Suddenly he had a vision. He turned to the sick cop's 14-year-old son Fabian and asked: "How'd you like to be a singer?" The kid shuddered. "You crazy?" he snarled. Next day Fabian went back to playing basketball and football at South Philadelphia High and $6 a week as a stock clerk in a drugstore...
...noise sells. His rendition of Turn Me Loose was high on the charts for weeks, sold more than three-quarters of a million copies. Tiger, his latest, a song that Columnist John Crosby observes is "enormously improved by total unintelligibility," is climbing fast. Its popularity helps 16-year-old Fabian earn up to $12,000 a night, gets him TV appearances with Perry Como, Ed Sullivan, and other TV bigwigs...
...greet him at the airport (where they broke a car window and almost put out one of his eyes) and at a concert in the Hollywood Palladium. All of this leaves Bob Marcucci, 29, feeling like a waxworks Pygmalion, but without worries about the future. When Fabian grows old-18 or 19, that is-he will still have the movies. The boy's notion that he might like to have a crack at college is something Marcucci should be able to handle. There is only one danger that may yet spoil a potentially brilliant career: all of a sudden...
...stage of the dance theater at Jacob's Pillow, Mass, stood an erect, grey-haired little woman, smiling before the skirl of applause. As it drummed on, she leaped from the stage like a 20-year-old ballerina. "You can't imagine," said 71-year-old Marie Rambert, "with what fear and trembling we came here." Occasion: the U.S. debut of the Ballet Rambert, Britain's oldest dance company...
Although Britain's Royal Ballet is much better known to the public, the 33-year-old Rambert company is more revered by balletomanes as the most important modern breeding ground of British choreographers and dancers. At Jacob's Pillow, the company presented one contemporary work, Kenneth MacMillan's Laiderette, plus a full-length Giselle, long a specialty of the house. Neither as grand in its effects nor as fiery in its execution as the Royal Ballet, the Rambert version demonstrated a warmly intimate style that emphasized reality instead of fantasy, dramatic clarity instead of pyrotechnics...