Word: pianos
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...squawk of voices breaks the extraterrestrial spell. As Joseph Allen, 47, and his fellow skywalker, Navy Commander Dale A. Gardner, 36, wrestle a disabled telecommunications satellite into the cargo bay of the space shuttle Discovery, they sound like a pair of movers trying to squeeze a 10-ft. piano through a 9-ft. door. "Joe, I assume you're comfortable there," says Gardner. "Not very," replies Allen. "Sorry to be taking so long," apologizes Gardner. "It's harder than it looks, just floating around." Back at mission control, a NASA spokesman quickly reminds reporters of the momentousness...
...teenager, Weakland was torn between two vocations. After making a creditable soloist's debut, performing Rachmaninoff's Piano Concerto No. 2 with a local orchestra, he considered a musical career. Instead, he became a Benedictine monk at St. Vincent's Archabbey in Latrobe, Pa., in 1945. Nonetheless, he kept up his music, earning a master's degree in piano at New York City's Juilliard School and doing doctoral-level work in musicology at Columbia University. He also transcribed medieval works into modern notation for the Play of Daniel, a heralded music-drama introduced...
...holding a traditional welcoming banquet for parish priests and wealthy Roman Catholic laymen, Weakland had a dinner for the city's poor. He also sold his predecessor's mansion and moved into a modest apartment in the cathedral rectory. Its one luxury: a Mason & Hamlin grand piano, which he tries to play daily...
...with Maud Charteris (Faye Dunaway), a rich actress for whom he once worked as a gardener in Italy. And talk about a small world: Marco's friend Jake, a Russian Jew who came over on that same crowded boat, hears the tinkle of a ragtime piano while strolling through Harlem. Darned if it isn't Roscoe Haines (Ben Vereen), who helped Jake earn his passage to America back in Hamburg...
...would the screen serve merely as a window through which the spectator sees "real people." Now it could show anything, in any and all fashions. Time could be stretched or collapsed, as in Jules et Jim; the narrative could be interrupted for capricious movie references, as in Shoot the Piano Player; the film could jettison the neat happy ending for a character frozen in indecision, as in The 400 Blows. With these first three features, Truffaut helped provide a new grammar for the international cinema vocabulary...