Da Capo is a collection of stories, plays, poems and journals in which Tom Bissinger takes on his world, whether reading Shakespeare to a blind bag lady, observing three playwrights comically vying to destroy each others career amidst the bustle of a Korean deli, or meditating on his father in a Sao Paulo swimming pool. Part autobiography, part story telling, part poetic explorations of dream world, and part social satire, Bissinger conveys the theatricality of so called ordinary existence by pulling his life towards him, hungering for the nuggets of mirth and meaning, ultimately owning it in original, daring prose. He takes on the challenge of staying awake in a troubled, violent world, while addressing his yearning for reverie and revelation.
The Fun House by Tom Bissinger is a rollicking tale of coming of age in the sixties and seventies. Based on the childhood thrills he experiences at the fun house at Playland in San Francisco, Tom comes to understand that making fun houses and exploring those of others would become the defining quest of his life. He’s brought up in privilege, and like his father who had at one time performed on Broadway, Tom’s drawn to the theater. After boarding school and his immersion into a repertory theater company while attending Stanford, he lives in Paris then enlists in the army then moves to New York, and we are at the birth of the sixties, erupting like a bombshell, and Tom is there to celebrate and be open to the Golden Age of New York theater while simultaneously weaving the momentous events of that era into his story: assassinations, civil rights marches, and the Vietnam War. Sexual experimentation and drugs follow Tom as he ricochets through love affairs, directs plays, and marches in Selma. He moves to Philadelphia in 1969 to become the artistic director of the Theatre of Living Arts. In 1970, Tom abandons the legitimate theater and reinvents himself on Philly’s South Street. Tom paints emotionally vivid portraits of neighborhood characters who hang out in Tom’s new fun house: eccentric old-timers, newly minted hippies, artists, dopers, and a murderer. In 1977, Tom, his wife, Kristen, and their two-year-old travel for nine months as nomads: they live with Samoan families, spend two months on a fifty-foot trimaran in Fiji, live at Papunya Aborigine settlement in Australia, fall into a drug smuggler’s den in Bali, and end up in an ashram in Sri Lanka before returning home as the book ends.
The Way We Were: a nostalgia drenched, bittersweet romance starring superstars Barbra Streisand and Robert Redford at the peaks of their careers, and a story for everyone who was ever loved with passion, if not wisely. A smash hit around the world whose power echoes to this day—yet a film whose success was so far from assured that one studio executive was heard to exclaim: “Barbra Streisand doesn’t sing and she plays a communist—are you trying to kill me?!” But succeed the film did, propelled by a smash-hit title song and career defining performances from Streisand and Redford. Now, just in time for the 50th anniversary of the film's release, this behind-the-scenes account from best-selling author Tom Santopietro features new insights from Barbra Streisand, James Woods, Lois Chiles, and Alan Bergman, providing the definitive inside story behind the challenges, disputes, and creative passions of those who fought to make this landmark film." Charting the path from screenwriter Arthur Laurents’s initial inspiration to the fervent talk of a possible sequel, Santopietro mingles reverence and wry humor to decode the mysterious chemistry between Streisand and Redford that created a romance for the ages. Filled with humorous location anecdotes and fascinating first-hand accounts by actors, film historians, and members of the creative team, The Way We Were: The Making of a Romantic Classic is a witty, thoughtful, and loving book for everyone who cherishes this American classic.
Throughout his 13-year professional and collegiate career, Braylon Edwards has heard all the talk—that he's only out for himself, only about the money; he's a bust, a bad guy, a troublemaker, a typical wide receiver who doesn't get it. He's also heard the cheering fans singing "The Victors" after victories in the Big House and cherished the smiles he saw in the crowd. Now, for the first time, the misunderstood receiver, who so often got in trouble for speaking the truth, is telling his own personal history—through the ups of athletic honors, success, and fame and the downs of injury, addiction, and arrests—in his own words. The son of start Michigan player and NFL running back Stan Edwards, Braylon emerged from the shadows of his father, with who, he has a complicated relationship, to create his own All-American legacy at Michigan—but no without clashes with his eventual mentor, head coach Lloyd Carr. Braylon takes readers inside his decorated four-year career at Michigan, the intense rivalry games against Ohio State and Michigan State, and the back-to-back Rose Bowls. Drafted third overall by a struggling Browns franchise, he endured a turbulent time in Cleveland, which included a misreported fight at a club with a member of LeBron James inner circle. Braylon resuscitated his career in The Big Apple, belting out Frank Sinatra tunes while reaching to AFC Championships Games with the New York Jets before playing under Jim Harbaugh with the San Francisco 49ers, catching passes from Seattle Seahawks quarterback Russell Wilson, and delving into a broadcasting career. In this frank, unflinching autobiography, Braylon shares how football helped him find his place and gave him a voice. He lays bare all the bumps, bruises, and unexpected turns along the way.
What is Journalism For? - Truth: The First and Most Confusing - Principle - Who Journalists Work For - Journalism of Verification - Independence from Faction - Monitor Power and Offer Voice to the Voiceless - Journalism as a Public Forum - Engagement and Relevance - Make the News Comprehensive and Proportional - Journalists Have a Responsibility to Conscience.
The New Hollywood of the late 1960s and 1970s is among the most exciting and influential periods in the history of film. This book explores how the new wave of historical films were profoundly shaped by the controversies and concerns of the present.
A first-of-its-kind investigative book on the least examined and most important topic in sports today. Youth sports isn't just orange slices and all-star trophies anymore. It's 14-year-olds who enter high school with a decade of football experience, 9-year-olds competing for national baseball championships, 5-year-old golfers who shoot par, and toddlers made from sperm donated (for a fee) by elite college athletes. It's a year-round "travel team" in every community--and parents who fear that not making the cut in grade school will cost their kid the chance to play in high school. In short, a landscape in which performance often matters more than participation, all the way down to peewee basketball. Much as Fast Food Nation challenged our eating habits and Silent Spring rewired how we think about the environment, Tom Farrey's Game On will forever change the way we look at this desperate culture besotted by the example of Tiger Woods. An Emmy award-winning reporter, Farrey examines the lives of child athletes and the consequences of sorting the strong from the weak at ever earlier ages: fewer active kids, testier sidelines, rising obesity rates, and U.S. national teams that rarely win world titles. He dives into the world of these games that are played by more than 30 million boys and girls, and along the way uncovers some surprising truths. When the very best athletes enter organized play. The best approach to coaching them. And the powerful influence of wealth and genetics. Farrey has written a surprising, alarming, thoughtful, and ultimately empowering book for anyone who wants the best for the newest generation of Americans, as athletes and citizens. From the Hardcover edition.
The Fun House by Tom Bissinger is a rollicking tale of coming of age in the sixties and seventies. Based on the childhood thrills he experiences at the fun house at Playland in San Francisco, Tom comes to understand that making fun houses and exploring those of others would become the defining quest of his life. He's brought up in privilege, and like his father who had at one time performed on Broadway, Tom's drawn to the theater. After boarding school and his immersion into a repertory theater company while attending Stanford, he lives in Paris then enlists in the army then moves to New York, and we are at the birth of the sixties, erupting like a bombshell, and Tom is there to celebrate and be open to the Golden Age of New York theater while simultaneously weaving the momentous events of that era into his story: assassinations, civil rights marches, and the Vietnam War. Sexual experimentation and drugs follow Tom as he ricochets through love affairs, directs plays, and marches in Selma. He moves to Philadelphia in 1969 to become the artistic director of the Theatre of Living Arts. In 1970, Tom abandons the legitimate theater and reinvents himself on Philly's South Street. Tom paints emotionally vivid portraits of neighborhood characters who hang out in Tom's new fun house: eccentric old-timers, newly minted hippies, artists, dopers, and a murderer. In 1977, Tom, his wife, Kristen, and their two-year-old travel for nine months as nomads: they live with Samoan families, spend two months on a fifty-foot trimaran in Fiji, live at Papunya Aborigine settlement in Australia, fall into a drug smuggler's den in Bali, and end up in an ashram in Sri Lanka before returning home as the book ends.
Da Capo is a collection of stories, plays, poems and journals in which Tom Bissinger takes on his world, whether reading Shakespeare to a blind bag lady, observing three playwrights comically vying to destroy each others career amidst the bustle of a Korean deli, or meditating on his father in a Sao Paulo swimming pool. Part autobiography, part story telling, part poetic explorations of dream world, and part social satire, Bissinger conveys the theatricality of so called ordinary existence by pulling his life towards him, hungering for the nuggets of mirth and meaning, ultimately owning it in original, daring prose. He takes on the challenge of staying awake in a troubled, violent world, while addressing his yearning for reverie and revelation.
A paradise of color and climate, Central America is a compelling, fascinating part of the world. Though best known for the turbulent politics of some of its countries, it is an area of magnificent beaches, fascinating relics of Mayan civilization, fine parks and diverse cultures, all covered in this practical guide.
The Fun House by Tom Bissinger is a rollicking tale of coming of age in the sixties and seventies. Based on the childhood thrills he experiences at the fun house at Playland in San Francisco, Tom comes to understand that making fun houses and exploring those of others would become the defining quest of his life. He’s brought up in privilege, and like his father who had at one time performed on Broadway, Tom’s drawn to the theater. After boarding school and his immersion into a repertory theater company while attending Stanford, he lives in Paris then enlists in the army then moves to New York, and we are at the birth of the sixties, erupting like a bombshell, and Tom is there to celebrate and be open to the Golden Age of New York theater while simultaneously weaving the momentous events of that era into his story: assassinations, civil rights marches, and the Vietnam War. Sexual experimentation and drugs follow Tom as he ricochets through love affairs, directs plays, and marches in Selma. He moves to Philadelphia in 1969 to become the artistic director of the Theatre of Living Arts. In 1970, Tom abandons the legitimate theater and reinvents himself on Philly’s South Street. Tom paints emotionally vivid portraits of neighborhood characters who hang out in Tom’s new fun house: eccentric old-timers, newly minted hippies, artists, dopers, and a murderer. In 1977, Tom, his wife, Kristen, and their two-year-old travel for nine months as nomads: they live with Samoan families, spend two months on a fifty-foot trimaran in Fiji, live at Papunya Aborigine settlement in Australia, fall into a drug smuggler’s den in Bali, and end up in an ashram in Sri Lanka before returning home as the book ends.
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