Subtitle Gangs Of New York
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Abel Ferrara's "King of New York," a gritty action movie about a New York drug kingpin, was a surprise entry in this year's Telluride Film Festival, where tastes are usually loftier. Maybe the selection was intended to honor Ferrara as a stylist whose movies may look commercial but feel as if the soul of an artist is stirring somewhere inside them. That was the case with his episodes for TV's "Crime Story" and for his film "China Girl," the 1987 thriller that trapped two lovers, a Chinese-American girl and an Italian-American boy, in the battlefield between opposing gangs in New York's Little Italy and Chinatown. The movie was "Romeo and Juliet" recycled through "West Side Story" and the TV action series of your choice, but the look was something else - a garish, neon-lit film noir universe of warm lips, sleek hair and desperate eyes.
GG: The subtitle of your book is: "The 19th-century New York City Neighborhood that Invented Tap Dance, Stole Elections, and Became The World' s Most Notorious Slum." You've told us about the notorious slum. Tell us about the other two.
Anbinder: He is right in the sense that New Yorkers certainly thought about themselves very much as Protestant or Catholic, Irish, or German, etc., and so the city was divided to a large extent. The blood part is also true in that the city was a very riotous place in the 19th century. It was common to read about election days, for example, "a quiet day at the polls, only two killed." So public violence was more common, espcially in the political realm, than we imagine. On the other hand, gangs were not fighting in the streets every day, not even every month, often not even every year. The huge melees depicted in the movie were very rare events. And the kind of Super Bowl of gang warfare I've seen in the clips I have seen did not take place in the 19th century in Five Points.
More than 50 cities have adopted Operation Ceasefire -- according to Kennedy, with great success. What Kennedy proposes is "stupid simple," as he once told a reporter. As a matter of course, the police conduct extensive investigations on gangs or drug dealers in troubled communities. Armed with that information, the police then invite gangs to a kind of scared-straight session and tell them that if any of their friends kill someone, the law is going to come down hard -- on everyone. Kennedy uses the analogy of an officer getting shot. Shoot a cop, and the police will pressure everyone who might be associated with the suspect. Why not try something similar in all killings? Kennedy asks. Law enforcement ordinarily works on the assumption that the way to reduce the violence is to concentrate on individuals, but Kennedy emphasizes the power of the group, or what social scientists call "informal social control." As he puts it, "Shame, conscience, guilt, what your friends think, what your mom thinks, what your community thinks -- meant far more than 'formal social control': cops, courts, probation." In other words, Kennedy is out to change the social norm.
Don't Shoot reads like a sales pitch. From the subtitle (One Man, a Street Fellowship, and the End of Violence in Inner-City America) to Kennedy's mantra ("Looks like it will travel. Looks like it will work here."), too much of this polemic comes across as self-serving and overstated. The end of violence? Really? If you agree with Kennedy, you're smart. If you don't ... well, you get the picture. Kennedy so wants us to applaud his work that you want to take him by the shoulders and ask, "Don't you have any doubt? Not even a sliver?" At one point, he writes, "We know what we need to know, now, to fix it." This surety, which borders on the dogmatic, damages Kennedy's ability to share his experiences and work, which are vital in making sense of inner-city violence and finding a way to stop it.
The Beat That My Heart Skipped (Unrated). This remake of James Toback's cult classic Fingers (1978) revolves around a 28 year-old Parisian who would prefer to pursue his dream of becoming a concert pianist rather than follow in his shady father's footsteps. In French, Mandarin, Russian, and English with subtitles.
The Beautiful Country (R for profanity and a crude sexual reference). Post-war saga about the socially-ostracized love child (Damien Nguyen) of an American soldier (Nick Nolte) and a geisha girl. The son makes his way from Vietnam to America in search of his long-lost father. In Cantonese, Mandarin, Vietnamese and English with subtitles.
The Devil Rejects (R for profanity, sadistic violence, drug use, and graphic sexuality). Rob Zombie directs sequel to the House of 1000 Corpses. Gruesome mayhem in this road movie about a couple of bloodthirsty gangs engaged in a fight to the death.
Now, the future of fundamentalism is murky, with several contradictory trends at work simultaneously. There is little doubt that one fundamentalism can feed another, spurring recruitment and escalating into a sort of religious arms race. In Nigeria's central Plateau State, Muslim and Christian gangs have razed one another's villages in the last few years, leaving tens of thousands of dead and displaced. In rioting in India in 2002, more than 1,000 people, most of them Muslims, were killed by Hindus in Gujarat state - retaliation for a Muslim attack a day earlier on a train full of Hindus, which killed 59.
In 2003, Professor Appleby and two other scholars, Gabriel A. Almond and Emmanuel Sivan, published "Strong Religion," a book based on research done with Professor Marty for the Fundamentalism Project. The book's subtitle was the "The Rise of Fundamentalisms Around the World." Now, Mr. Appleby said, "There is some evidence, some literature that says fundamentalism is on the decline, that it has peaked or is peaking precisely because it has a tendency toward violence and intolerance, and those ultimately don't work. They lead to bloodshed, loss of life, and no recognizable economic upturn, and there is an exhaustion with it."
This book, a 2008 C. Wright Mills Award winner, is not (contrary to what its subtitle might suggest) about social change that might alleviate poverty or increase socioeconomic equality. Instead, the book argues that people who live in poor urban neighborhoods develop value orientations and social practices that allow them to cope in material conditions of deprivation. While useful in allowing low-income people to make the best of their circumstances, this cultural adaptation makes social change that might alleviate poverty unlikely. The study is based on a stunningly ambitious participant-observation study of two neighborhoods in Los Angeles and three in New York City from January 1991 to December 1999, and the author aims to contribute to the growing project of revisiting and revising the role of culture in poverty. (1)
As long as Mayes remains in Italy gardening, cooking, or enjoying vin santo with her neighbors, as a reader, I'm willing to go along. However, when her story returns to San Francisco, I'm less inclined to follow. While it's somewhat interesting to share in the author's realization that the leisurely pace of life in Italy has inspired her to make changes in more frantic life stateside, the later chapters of the book had me cynically thinking up new subtitles. What about How Writing a Bestselling Book Changed My Life or Writing Bestselling Memoirs Pays Better than Poetry? I don't begrudge Frances Mayes a new home in San Francisco made affordable by the proceeds from her books' sales, but the story of yet another house remodeling job just fell flat. I was eager to return with her to the sun-dappled gardens at Bramasole and take an evening stroll down into town for a gelato. I know all I need to know about the breakneck speed and boring details of American life, Frances; tell me more about the sweet life in Italy. --Virginia B. Wood
Thanks to the wonders of Hollywood, we probably know more about the Italian-American immigrant experience than that of any other ethnic group. Or at least we have a popular myth. Somewhere in the cultural consciousness exists an urban world that's equal parts 1930s gangster-noir classic, early Coppola Godfather fable, and sepia-toned Fellini film (but without the dancing midgets). And it looks something like this: Huge families make their way through "the old neighborhood" -- usually somewhere in the inner boroughs of New York City. Schoolkids, clad in frying-pan caps and corduroy knickers, play stickball and sell newspapers on the streetcorners. It's a world where gothic Catholicism and the hint of underworld influence mix on the streets before everybody owned a family automobile. And the food! Multigenerational extended families gather around groaning tables at every meal, celebrating with elaborate feasts and waxing poetic about "the Old Country."
The book's subtitle, Remembrances of Sicilian-American Brooklyn, Told in Stories and Recipes, gives you a good sense of Brukulinu's narrative structure and culinary orientation. In 17 separate vignette-based chapters, Schiavelli describes his own coming of age in a specific subsection of Brooklyn -- Bushwick, near the Myrtle Avenue el train, to be exact -- during a distinct time frame: the Thirties (when his parent's generation sought to reconcile their Old and New Countries) through the early Sixties (when suburban flight took its toll on "the old neighborhood").
In the course of his memoir, Schiavelli takes us on a street-level tour of Brukulinu, from numbers-running barbers and harmonized doo-wop street gangs to the ever present danger of il malucchiu (the evil eye). Schiavelli also details his family's great love stories, the deathbed miracles of devotion, and the cyclical celebrations that marked their lives. 781b155fdc