Word: roofs
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Dates: during 1940-1949
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...after 4 o'clock in the morning and a light snow was falling, ruddy in the red glow of the obstruction lights. Off to the east, three miles away, the radio operator on the roof of the municipal airport could see the lights of Salt Lake City. Beyond, and to the northeast, the Wasatch Mountains jutted. From the west came the rumble of two big engines, over the radio the businesslike voice of veteran United Air Lines Pilot Howard Fey, eastbound from San Francisco...
Return Engagement (by Lawrence Riley, produced by W. Horace Schmid-lapp & Joseph M. Gaites) is a comedy about one of those summer theatres where a good rain on the roof renders the actors inaudible beyond the fifth row. The Stockton (Connecticut) Players are giving a triangle play called The Usual Three and, as might be expected, the onstage geometry has its offstage counterpart. The visiting leading lady is the ex-wife of the visiting leading man. She gradually realizes that this ham is still pretty much her meat...
When his train finally did come, detectives covered the roof, protecting him from every possible angle. Only those with special permission were allowed on the platform. The same stringent protection was in evidence all the way up Summer Street, with cops and detectives lining the way, making it impossible to approach his car. The crowds, though bigger than at the American Legion parade, were amazingly silent and only a few handfuls of confetti were thrown...
...when hundreds of tons of explosive and incendiary bombs are dropped upon them day and night, week in, week out. For U. S. audiences, the commentator was big, beefy Quentin Reynolds, war correspondent for Collier's weekly, whose favorite vantage point for watching air raids was the unsheltered roof of his apartment building (Lansdowne House, renamed "Arson House") in London's swank Berkeley Square. Of all the tough U. S. writers covering the Battle of Britain, "Quent" Reynolds was close to the toughest, yet in a letter printed in Variety last week he said: ". . . You can only make...
...barnstorming tours. He decided to take opera to smaller U. S. cities by the busload. Picking Rossini's oldtime Barber of Seville as the most portable opera (two scenic sets, chorus optional) that he could think of, he chartered a big, shiny Greyhound-type bus, remodeled its roof to accommodate a ten-foot pile of scenery, and started signing up a busworthy crew of singers from Manhattan's Metropolitan Opera. He called his new venture "Opera a la Cart...