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Tom Fasano

Shakespeare Coriolanus

posted Mar 20, 2019 by Tom Fasano

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Shakespeare Coriolanus [ Caedmon]

Tracks:
▶ 01 Coriolanus [Caedmon] 1 (39:03)
▶ 02 Coriolanus [Caedmon] 2 (41:11)
▶ 03 Coriolanus [Caedmon] 3 (40:42)
▶ 04 Coriolanus [Caedmon] 4 (35:52)

View on Archive.org

Caedmon’s Coriolanus, fronted by a granite-voiced Richard Burton, is one of those LPs that feels like it’s been carved out of a hillside rather than recorded in a studio. Burton doesn’t so much speak the verse as detonate it—every line flares with that volcanic Welsh baritone that made even his grocery lists sound operatic. Jessica Tandy, Michael Hordern, Robert Stephens, and the rest of the cast round things out with a clean, unfussy delivery that keeps the focus exactly where it belongs: on Shakespeare’s most abrasive, least domesticated tragedy.

Director Howard Sackler opts for austerity—no sonic fireworks, no theatrical gimmickry. Just actors, breath, and text. And surprisingly, that’s enough. The result is a taut, muscular performance that captures the play’s chilly political undercurrents without ever slipping into doctrinaire sermonizing. Yes, it’s an artifact of the early ’60s Shakespeare boom, but it hasn’t yellowed. Like Coriolanus himself, it barreled into the world already half-made of stone.

Exploring an Old Mining Area: Florida Sasquatch Research Insights

posted Mar 13, 2019 by Tom Fasano

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In this intriguing installment of Tim’s Bigfoot research series, we delve into his latest investigation titled “Florida Sasquatch Team in an old mining area.” Published on March 13, 2019, the video explores a specific region within Florida that has recently been the site of a reported Sasquatch sighting. Tim, along with his team, embarks on an expedition into the woods with the hope of uncovering evidence of the elusive creature often reported in such remote locations.

The video captures the essence of fieldwork as Tim’s team navigates the challenging terrain of the old mining area. One of the notable elements from the transcript is the determination and camaraderie among the team members. Despite the light-hearted moments, such as when they jokingly discuss camera angles focusing on “six-pack abs,” the team’s dedication to their mission is evident. Tim’s approach involves not just physical endurance but also a keen attention to detail, as they utilize monitoring equipment to capture potential evidence of Sasquatch activity.

Tim’s methodology in this investigation appears to be a mix of traditional fieldwork and modern technology. The use of a monitor attached to their recording equipment allows the team to see what they are filming in real-time, enhancing their ability to capture any fleeting evidence of Bigfoot. This setup is crucial in such environments, where sightings can be rare and brief. Tim emphasizes the importance of being prepared and using the right tools to document their surroundings effectively.

The significance of this investigation lies in its contribution to the broader search for Sasquatch within Florida, a state not commonly associated with such sightings. By focusing on an old mining area with a recent sighting report, Tim’s team is strategically targeting locations that could yield new insights into the existence of Bigfoot. This particular investigation offers viewers a glimpse into the rigorous and sometimes arduous nature of Bigfoot research, highlighting both the physical and mental challenges faced by researchers in the field.

Overall, Tim’s video not only documents an expedition in search of Sasquatch but also underscores the importance of perseverance and preparation in field research. By inviting viewers to “come out with us,” Tim seeks to demystify the process and encourage a deeper engagement with the natural world, suggesting that such experiences can be transformative. This approach not only furthers the investigation into Bigfoot but also fosters a greater appreciation for the environment in which these legends persist.

King John – Audiobook

posted Mar 4, 2019 by Tom Fasano

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Shakespeare - King John [Caedmon]

Tracks:
▶ 01 King John 1 (46:08)
▶ 02 King John 2 (45:35)
▶ 03 King John 3 (23:44)
▶ 04 King John 4 (30:02)

View on Archive.org

This is a 1964 recording of Shakespeare’s “King John” by The Shakespeare Recording Society, distributed by Caedmon Records. The production was directed by Howard Sackler and featured:

  • Donald Wolfit as King John
  • Kenneth Haigh as the Bastard (Philip Faulconbridge)
  • Rosemary Harris as Constance

This was part of a comprehensive series by the Shakespeare Recording Society to record all of Shakespeare’s plays. The series was notable for featuring distinguished British actors and high production values.

The album artwork is particularly striking, featuring a medieval-style illustration with armies, tents, and castles that captures the play’s historical setting during the reign of King John (1199-1216). The stylized art reflects the period’s illuminated manuscript aesthetic.

“King John” is one of Shakespeare’s less frequently performed history plays, focusing on political intrigue, the conflict with France, and the king’s troubled relationship with the nobility and the Pope. Having this on vinyl would have been an important cultural artifact in the 1960s, when recorded drama helped bring classical theater to wider audiences.

Dad’s Postcards #3

posted Mar 28, 2018 by Tom Fasano

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This entry is part 3 of 3 in the series Dad's Postcards

March 24, 1958
Hello Mom & Dad:
We got your letter and the check too. Thank you. Janet is going to buy clothes for the babies. They need summer clothes. Marylou is all fixed up already, except she wants a pair of loafers, which she will get. Mike needs a couple shirts and ties, so they aren’t bad off. So we will spend the twenty on the babies. I brought home a little metal car which has a friction motor. I wanted to see how they would like it. We had to take it and hide it ’cause you never seen such a fight, pulling, pushing, hitting, rolling all over and both of them crying and madder than wet hens, and they broke the front wheels off while they were dong it. It doesn’t pay to buy two because one gets broke and they fight over what’s left. Gotta go. Your son, O. Jr.
P.S. Mom xxxx!

My Thoughts

 

This postcard speaks volumes—gratitude, family budgeting, a house full of children, and the good-natured frustration of a father trying to bring home a little fun, only to see it dissolve into a squabble. It’s written with warmth and immediacy, as though he dashed it off in the middle of a loud afternoon.

All in all, a gem of domestic storytelling, full of love and gentle irony.

Dad’s Postcards #2

posted Mar 21, 2018 by Tom Fasano

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This entry is part 2 of 3 in the series Dad's Postcards

Hi Mom and Dad
We have been listening to and reading about the bad weather. It seems that from just north of us on up it has been one of the worst winters ever. The weather man last night said high winds and several inches of snow for the great lakes. For us he said fair and warmer. Right now it is snowing NO KIDDING! TEMP is 39° Real screwy weather. Good for breeding colds. The list goes Mommy, Mike, Thomas and Timothy, then I guess Marylou and I will get the virus next. Boy I can’t wait! I can see the Doc wringing his hands right now. Well got to go folks. See you soon. Love your son Orlando Jr.
P.S. Mom xxx x! U.C.G.O.T.P.

U.C.G.O.T.P. [You Can Give One To Pop]

This postcard isn’t really about weather jokes. It’s about a young father facing a problem he can’t quite solve. He hated the house we lived in back then — said it was always damp and made us sick all the time. Still, he kept working long hours at the shipyard, hoping for better days even though they hadn’t arrived yet. The humor is still there, but now it carries a trace of frustration.

Dad’s Postcards #1: Introduction

posted Mar 17, 2018 by Tom Fasano

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This entry is part 1 of 3 in the series Dad's Postcards



March 17, 1958
Hello Mom & Dad
I forgot to tell you we have three rolls of film to be developed 1 roll of still and 2 rolls of movie take about two week[s] before we can get them up to you. Getting quite a collection now. I feel fine today. I haven’t anything to say today tell you something tomorrow. Love your son. O. Jr. xxx! (U.C.G.O.T.P.)

U.C.G.O.T.P. [You Can Give One To Pop]

The First of a Series

In 1954, my father Orlando moved his young family from Rochester, New York to Newport News, Virginia, to take a job as a draftsman at Newport News Shipbuilding. He and my mother Janet brought along my older siblings, Michael and Mary Lou, and two years after arriving in Virginia, my twin brother Tim and I were born.

During his lunch breaks at the shipyard, Dad would dash off postcards to his parents back in Rochester — quick updates written in a few minutes before returning to his drafting table where he designed boilers, exhaust systems, and gate valves for aircraft carriers and atomic submarines. These cards weren’t meant to be great literature. They were just a young father’s way of staying connected across the miles, letting his parents know the family was doing fine, the babies were healthy (mostly), and life in Virginia was good.

What I love about these postcards is their honesty. Dad didn’t save up only the highlights — he wrote about the mundane stuff too: sick kids, bad weather, grass seed washed away by rain, twins fighting over a toy car, a little boy who wouldn’t go near Santa Claus. He wrote about Mike’s school troubles and his football triumphs, about haircuts that left everyone crying, about loads of laundry ending up in the trash can.

Reading them now, more than sixty years later, they’re a time capsule of ordinary American family life in the late 1950s. Two-cent postcards, written at lunch, mailed from Newport News to Rochester. Brief notes that added up to something bigger: a father’s love, a family’s story, a connection across distance that neither time nor miles could break.

David Hockney’s “Henry Geldzahler and Christopher Scott”

posted Sep 20, 2016 by Tom Fasano

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David Hockney’s double portrait “Henry Geldzahler and Christopher Scott” (1969) is a striking example of his mastery in capturing personal relationships and individual character through art. This portrait features Henry Geldzahler, the influential New York City-based curator, alongside his partner, painter Christopher Scott. The painting is celebrated for its intimate portrayal and its significant role in chronicling the lives of those within Hockney’s social circle during a transformative period in art and society.

The composition of the painting is both casual and deeply telling. Geldzahler is depicted seated on a lavish, red sofa, engrossed in what appears to be a thoughtful, perhaps even critical, examination of a book or a catalog. His posture and expression convey a sense of intellectual engagement and perhaps a touch of weariness. In contrast, Scott stands at the periphery of the canvas, somewhat distanced from Geldzahler, looking out towards the viewer with an expression that mixes contemplation with a hint of detachment. This spatial and emotional gap between the two figures subtly hints at the dynamics of their relationship.

Hockney’s use of color in this portrait is particularly noteworthy. The vibrant reds of the sofa and the muted background both highlight and contrast the figures, drawing attention to their expressions and the psychological space between them. His style, with clean, precise lines and a clarity of form, enhances the visual impact of the portrait, making the personal narrative strikingly vivid.

This double portrait not only documents a personal moment between Geldzahler and Scott but also serves as a reflection on the era it represents—an era characterized by a burgeoning openness in discussing and depicting homosexual relationships in art. Hockney’s work, through its honest and unapologetic portrayal of his friends and their lives, breaks down barriers and invites a deeper understanding of intimacy and identity. This painting remains a powerful testament to Hockney’s ability to weave complex human emotions into the fabric of visual art.