Priscilla had rarely left her music on the piano stand, but, for the interview, she had done so. The cameraman zoomed in on some old John Thompson piano lesson books, Morton Gould’s Pavanne, and Sergei Rachmaninoff’s Piano Concerto no. 2 in C minor, op. 18.
Priscilla turned to the immediate right of the room and pointed to a huge mahogany desk in front of a decorative fireplace. Then she pointed to a dark, sleek multiline telephone, a pen-and-pencil holder with a clock centerpiece, a marble ashtray, and a few other items on her desk. Finally, she pointed to a chocolate-color, leather, high-back, swivel executive-style chair behind her desk.
“I don’t do much work in here,” she said to the camera lenses. “It’s all mainly for show.”
She proudly pointed to other objects in the room: a large
