Fabrizio, Timothy C(harles) 1948-
FABRIZIO, Timothy C(harles) 1948-
PERSONAL: Born June 9, 1948, in Schenectady NY; son of Felix Charles (an engineer) and Kathleen (a teacher's aide; maiden name, Della Rocco) Fabrizio; married Jane Kray (divorced, 1984); married Claire Heffernan, June 16, 1990. Ethnicity: "Italian/Irish." Education: Boston University, B.F.A., 1970. Politics: "Eclectic." Religion: "Eclectic." Hobbies and other interests: History of recorded sound and motion pictures.
ADDRESSES: Home—Rochester, NY. Office—Terra Firma Books and Antiques, P.O. Box 10307, Rochester, NY 14610. E-mail—[email protected]
CAREER: National Pantomime Theater, Boston, MA, actor and technician, 1968-71; Lift Bridge Book Shops, Brockport, NY, co-owner, 1972-84; Terra Firma Books and Antiques, Rochester, NY, owner, 1985—. Library of Congress, consultant in music machine and record acquisition.
MEMBER: Association for Recorded Sound Collections, Musical Box Society International.
AWARDS, HONORS: Award for Excellence, Association for Recorded Sound Collections, 1998, for The Talking Machine.
(With George F. Paul) The Talking Machine, Schiffer (Atglen, PA), 1997.
(With George F. Paul) Antique Phonograph: Gadgets, Gizmos, and Gimmicks, Schiffer (Atglen, PA), 1999.
(With George F. Paul) Discovering Antique Phonographs, Schiffer (Atglen, PA), 2000.
(With George F. Paul) Phonographs with Flair: A Century of Style in Sound Reproduction, Schiffer (Atglen, PA), 2001.
WORK IN PROGRESS: Designer Phonographs, 1920-1970; More Gadgets, Gizmos, and Gimmicks; research on recordings of the Spanish-American War.
SIDELIGHTS: Timothy C. Fabrizio told CA: "I have always been driven to sift through historical details in order to remove the facts from any traces of subsequent manipulation. As a young man I devoured all the written material I could find regarding the history of recorded sound. Yet, as I began to do my own research, I came to understand that the authors I had read with such devotion had not always done their duty to the reader. Inconsistencies, inaccuracies, and misinterpretations abounded. Furthermore, there seemed to be a general feeling that the history of recorded sound was a 'pop' field, and not worthy of the time it would take to represent it properly. It became my goal to take the time.
"I have been primarily influenced by nonfiction. Even as a boy, historical works interested me more than The Hardy Boys. Yet I read fiction, and I think one may find the influences of this in my prose style."