Here in this instance regarding 'Bugs Bunny', we have AOL -Time Warner, 
Ironically, and Contradictorily so, going to GREAT LENGTHS to make sure 
that the public doesn't "confuse", "Reel" and "Real", in CARTOONS!!!!!! 

AND YET, they have NO such concern about their Drama ('The Sopranos' ),
where they pride themselves on being so REALISTIC, that many people view 
it as a DOCU-DRAMA! 

AOL Time Warner's concern regarding the CARTOONS was so great, that the 
content should NOT be mistaken for "Real", that the cartoons were "Censored" 
to children, and only shown after 10 PM for ADULTS.

AND,  even then felt necessary to give "LENGTHY EXPLANATIONS" about 
the "context", allow only PARTIAL showings of some cartoons, EXCISING 
Completely other portions, 

AND, "goes to great lengths to decry racial stereotyping", 

AND, stated that "The only way you can truly do this is in a documentary 
sense.",

AND, "intones"...Japanese were not portrayed fairly or accurately." 

AND, interestingly, " writers say Nazis have long been banned from kids' 
cartoons, even as villains.",

AND, we are being deprived completely of "Coal Black and de Sebben Dwarfs," a 
...1943 blackface parody of Disney's "Snow White". 

AND These are REALLY Only Cartoons, Aren't They???

AOL Time Warner, (both the Producers and Broadcasters) are SO sensitive 
about Blacks, Japanese, and Nazis in CARTOONS created  50 YEARS ago, and 
yet they take pride TODAY in "The Sopranos' and are oblivious, or
unconcerned, 
or insensitive about the damaging and negative portrayals of Italian 
Americans, 
"one of the truly last bastions of Permissable Bigotry". 

As I was reminded by Walter Santi:

A  few years back at an Italian-American rally in New York's Madison
Square Garden..the late Sammy Davis Jr. had this to say regarding the
problem of never ending gangster Italian American stereotypes.

"If you cats don't get your act together soon you won't be riding in the
back of the bus...but UNDER IT !  " 

======================================================
'BANNED WAR-ERA 'BUGS BUNNY' FILMS 
TO BE SHOWN 'IN CONTEXT' 

Television: Cartoon Network will present racially and culturally charged shorts 
left out of a recent Bugs Bunny marathon. The specials are aimed at adults. 

* "The Wartime Cartoons" premieres Sunday at 10 p.m. on Cartoon Network. The 
network has rated it TV-PG (may be unsuitable for young children). 

Los Angeles Times 
Friday, June 29, 2001 
Home Edition, Section: Calendar, Page: F-24 

By: Marla Matzer Rose

What's up, doc? 

Less than two months ago, the AOL Time Warner-owned Cartoon Network kicked up 
controversy over its decision not to show 12 Bugs Bunny cartoons considered 
to be too racially and politically charged as part of an otherwise-complete 
Bugs Bunny marathon. Now, the cable network is preparing to show at least 
parts of most of these "banned Bugs" cartoons in two upcoming specials to be 
seen in the evening and aimed at adults. 

The first of these specials, "The Wartime Cartoons,' premieres Sunday at 10 
p.m. One cartoon cut from the "June Bugs" marathon, "Herr Meets Hare," is 
included in its entirety in "Wartime." Another, "Bugs Bunny Nips the Nips," 
is shown in partial clips, along with the Popeye cartoon "Scrap the Japs." 

"We were able to get away with showing these cartoons and clips because we're 
showing them in context," said Jerry Beck, co-writer of "Wartime" and author 
of a number of books about classic animation. "With all the attention given 
to Pearl Harbor now, you can see the kind of feelings that people had at the 
time after the bombing--I think that, and the way we explain different things 
like references to wartime rationing, made it possible to do this."

Indeed, "Wartime" goes to great lengths to decry racial stereotyping. "The 
cartoon medium allowed artists to caricature the enemy in outrageous ways. 
Stereotypes were established to quickly differentiate between the Allies and 
the Axis powers," the narrator states about halfway through "Wartime." Over 
scenes from "Tokio Jokio" showing buck-toothed, bespectacled Japanese 
soldiers, the narrator intones, "Japanese stereotypes were particularly 
cruel. In these uncensored scenes--the Japanese were not portrayed fairly or 
accurately."

It's harder to see why other cartoons were considered too controversial for 
daytime viewing. "Herr Meets Hare" is relatively innocuous, other than 
featuring a fat, bumbling Nazi and a brief appearance by a buffoonish Hitler 
at the end. But animation writers say Nazis have long been banned from kids' 
cartoons, even as villains.

"We only had to take out one line, that was Japanese related," Beck says of 
dealing with Cartoon Network brass. "In one scene in the Popeye cartoon 
'Scrap the Japs,' Popeye says, 'I've never seen a Jap that wasn't yellow.' 
Other than that, the network was very supportive of the entire show."

"With 'June Bugs' (the marathon of nearly all Bugs Bunny cartoons), we were 
running cartoons in their entirety with only minor explanations," said Mike 
Lazzo, programming chief for the Cartoon Network. "We think it's a far better 
approach with these cartoons to have lengthy explanations. The only way you 
can truly do this is in a documentary sense."

The special is part of the network's long-running "Toonheads" series aimed at 
the one-third of Cartoon Network's audience that is over the age of 18. 
Cartoon Network already has another special in the works, "The Twelve Missing 
Hares," focusing exclusively on those 12 cartoons that were barred from the 
"June Bugs" marathon. It's expected to air in the fall.

Lazzo said the appearance of these specials now has more to do with the 
network having more money to spend on programming than with changing 
political sensitivities. "We always knew we wanted to do things like this," 
Lazzo said, "But we didn't have much money to spend on specific demographic 
groups such as adult viewers and cartoon buffs. Now, at almost 10 years old, 
we have more flexibility. We can address these audiences."

Lazzo claimed he welcomed the heated debate that came with the network's 
last-minute decision not to air the 12 controversial cartoons as part of its 
recent Bugs Bunny marathon.

Media outlets came down on both sides of the issue regarding the network's 
decision to bar the 12 Bugs Bunny cartoons. TV Guide said executives did the 
right thing by pulling cartoons with racial stereotypes that "left TV Guide's 
editors cringing." A columnist for the Seattle Times, meanwhile, accused 
Cartoon Network parent AOL Time Warner of only being concerned with the 
bottom line, rather than being "socially aware." "This is about protecting a 
prized asset [Bugs Bunny] whose image on merchandise brings in millions," the 
columnist wrote.
* * *
The debate also raged on online message boards devoted to animation. On 
AnimationNation.com, a site for professional animators, the topic inspired 
dozens of impassioned postings. "Let's not attempt to rewrite history, and 
let's not throw out the baby with the bathwater. Eliminating these films will 
not make racism disappear," posited one member. "It is easy to defend these 
kinds of films as history, especially when your race isn't the target of the 
humor," insisted another.

"I love the debate," Lazzo said. "I thought it was interesting and 
fascinating. In the end, I think we did the exact right thing, and I think 
most people agreed with us." Lazzo added that the network also plans to put 
out these specials on video in the future, as it has with other programming.

Filmmaker Beck has long been a proponent of making all the old cartoons 
available. The guide to Warner Bros. cartoons that he co-authored, "Looney 
Tunes and Merrie Melodies: A Complete Illustrated Guide to the Warner Bros. 
Cartoons," unflinchingly describes such cartoons as "Coal Black and de Sebben 
Dwarfs," a long-out-of-circulation 1943 blackface parody of Disney's "Snow 
White" (and you thought Disney's rivalry with DreamWorks was nasty).

But he is also quick to call the stereotypes in cartoons such as "Tokio 
Jokio" tasteless. "My dream--and it's not unrealistic--is to move the classic 
cartoons that were made for theaters, including Tom and Jerry, Popeye, 
Superman and the Looney Tunes, to a different category," Beck said. "We have 
50 years of TV animation now, and people have come to perceive cartoons as 
kid fodder. The old cartoons don't have to be lumped in with that. They 
should be in the same league with 'The Wizard of Oz,' 'Gone With the Wind' 
and 'Citizen Kane.' They can run 'The Jazz Singer' on TV. They run 'Babes on 
Broadway' with Mickey and Judy in blackface. Why can't we see the old 
cartoons for what they are too?"
 

The most important part of this article is it's last two paragraphs.
It TOTALLY validates what the I-A activists have been WARNING... that if you 
"allow" this "Italian Mob Genre" to be perpetuated, it will be the ONLY 
portrayal
of Italian Americans that will be ACCEPTED by the American audience. 

Italian Americans Are Being TYPECAST!!! Ask actors who are typecast, 
how difficult it is to "shed" that "image". Many NEVER do! 

LindaAnn Loschiavo, well known educator and activist is quoted expressing 
her frustration at this "immediate equating" in the general public's mind of:
Italian = Criminal.  (The 5th paragraph from the bottom).
========================================================
MOB SCENES: 
POP CULTURE IS EMBRACING THE MAFIA 
AS NEVER BEFORE 

New York Daily News
Sunday, July 1, 2001
By Lance Gould

"These characters are able to act in a way that we all wish we sort of could" 
--Jon Favreau 

It seems to be an offer no entertainment conglomerate can refuse. Whether 
it's a TV show, play, ad campaign, book or even a music video, they've got to 
glamorize the Cosa Nostra — or fuhgeddaboudit.

Despite the Mafia's penchant for murdering, maiming, prostitution, extortion, 
drug-running and other untaxed enterprises, there has been a boom in the 
number of entertainment projects featuring mob figures — often as sympathetic 
heroes and with little concern for the sensibilities of Italian-Americans, 
who are expected to good-naturedly bear the stereotyping.

In the last decade, there may have been more films made about "made men" than 
men made in the actual mob. Even movies with no direct mob theme are finding 
ways to include gangsters in subplots. 

Take the just-released childrens' movie "Dr. Dolittle 2." Among its talking 
animals are a wiseguy weasel and his boss, a fat, dam-building capo known to 
the local fauna as the God Beaver.

In the last few years, various television films also have immortalized the 
lives of Paul Castellano ("Boss of Bosses"), John Gotti ("Gotti"), Sammy (The 
Bull) Gravano ("Witness to the Mob") and other organized-crime kingpins.

The main character in Jimmy Breslin's latest work of fiction, "I Don't Want 
to Go to Jail: A Good Novel," seems modeled after pajama-wearing convicted 
Mafia boss Vincent (Chin) Gigante.

In the theater world, the currently running "The Dog Problem" by David Rabe 
takes place in Little Italy, and features a main character whose life — and 
whose dog's life — is threatened by the Mafia. 

The very notion of gangsta rap grew out of a fascination with the lifestyle 
led by organized crime's biggest names. Kool G. Rap's 1988 "Road to the 
Riches" featured the couplet, "He likes to eat hardy, party/Be like John 
Gotti, and drive a Maserati." Many others have since paid lyrical tribute to 
Gotti, including the Fun Lovin' Criminals and Too Short.

A TV commercial for Budweiser sends up its own "Whassup" campaign with a spot 
featuring a bunch of mafioso-style mooks greeting each other with a 
rhetorical "How ya doin'?"

Thanks for the current spree of mob-centered entertainment goes to HBO's 
mega-hit "The Sopranos," which owes some of its inspiration to another 
mobster-in-therapy hit, the movie "Analyze This." Before that, there were 
"GoodFellas," "Married to the Mob" and, of course, the first two "Godfather" 
movies.

For an arts patron, it's like Michael Corleone says in "The Godfather, Part 
III" — "Just when I thought that I was out, they pull me back in."

"It's our opera," says Jon Favreau — star of the upcoming mob spoof "Made" — 
of pop culture's Mafia fixation. "It's even in the name of 'The Sopranos.' 
It's an operatic telling of very mundane stories. These characters don't have 
the inhibitions or the social constraints we have and they're able to act in 
a much more visceral, feral, primitive way, that we all wish we sort of 
could."

Nothing New Under the Gun

"People have always been fascinated by the underworld and violence and 
crime," says William Romanowski, a professor at Calvin College in Grand 
Rapids, Mich., and author of "Pop Culture Wars: Religion and the Role of 
Entertainment in American Life." 

"This genre has existed for close to a century."

Romanowski says that until Francis Coppola's 1972 "The Godfather," 
Hollywood's gangster films were mostly perverse rags-to-riches stories about 
poor kids in the inner city who hook up with criminals and rob, shoot and 
kill their way to their own version of the American Dream. 

"['The Godfather'] transformed the gangster genre," says Romanowski. "Here we 
had mobsters who carry out their work as a business and a protection of their 
family. Protecting your family with violence has become a theme in American 
popular culture. That's dramatically different from where it was just an 
individual's rise to — and fall from — power."

But at what expense has this new breed of anti-hero risen to the forefront of 
our popular culture?

"People internalize these images about Italians," says LindaAnn Loschiavo, an 
Italian-American activist. "People who are not Italian think that all 
Italians have the phone numbers of Mafia people, and that if we need money, 
all we have to do is call. Like, 'I'm Italian-American, ergo, I know Mafia 
people.' It's so confounding."

It can also be offensive from an artistic point of view, in that it supports 
lazy, cliched writing.

Queens-born Favreau, whose "Made" (due in local movie houses on July 13) 
playfully tweaks Mafia-genre conventions, acknowledges that mob movies 
inevitably embrace cliches, but argues that's what people want and expect 
from them.

"I think people ultimately want to see this story play out again and again in 
a very similar way," Favreau says. "They demand it to be familiar, in both 
senses of the word. They don't want you to deviate too much from it — if you 
deviate even slightly, it's disappointing to people."

Until that changes, mob couture and its pinky rings, high hair and 
double-breasted pin-striped suits will remain en vogue.

http://www.nydailynews.com/2001-07-01/New_York_Now/Movies/a-116662.asp
 

By Constance L. Hays

Joseph Picone, a tailor who specialized in men's trousers until a woman's 
skirt crossed the threshold of his tiny shop, died on Saturday at his home in 
Manhattan. He was 83.

In 1949, Mr. Picone was working out of a storefront on Fifth Avenue near 46th 
Street when a client sent his son over with a business proposition one 
afternoon. The son, Charles Evans, had designed a simple skirt with a fly 
front that he thought would find a market among fashion-conscious women. He 
had spent months looking for someone who could create a sample, something he 
could take around to stores to sell. 

"I brought him this skirt and I said, `Can you make it?' " Mr. Evans recalled 
yesterday. Mr. Picone said yes. Mr. Evans was delighted, but he had another 
question. "I asked him when I could come back and take a look at it," he 
said, "and he said, `In the morning, but not before 7.' " 

The two formed a company, Evan- Picone, which produced thousands of skirts 
and eventually women's slacks as well. They were going to name it 
Evans-Picone, but at the last minute decided to drop the "s," reasoning that 
Evan-Picone sounded more like somebody's name. They also dropped the final 
syllable of Mr. Picone's name, which was pronounced in proper Italian style 
as "pi-KOH-nay."

Mr. Picone was an early pioneer of assembly-line garment manufacturing, 
assigning one worker to sew hems, another to add buttons and another to sew 
pocket darts, which were a company innovation that kept pocket seams from 
tearing. The Evan-Picone brand was a success almost immediately, and it 
dominated the sportswear business even after the company was sold to Revlon 
in 1962. 

The company was sold because Mr. Evans wanted a change, he said. He went into 
the real estate business. Mr. Picone remained and bought the company back in 
1966. He sold it again to Palm Beach Inc., where, in 1981, Evan-Picone began 
its first advertising campaign to presell its clothes to working women, who 
Mr. Picone thought were too busy to go through the racks looking for the 
right things to wear. 

He retired in 1983 as chairman and chief executive of Evan-Picone, now part 
of the Jones Apparel Group, but before long he was back in action, 
introducing the MaxMara line, founded by his friend Achille Maramotti, to 
stores in the United States. From 1987 to 1992, Mr. Picone was chairman and 
chief executive of MaxMara USA, where he remained on the board for several 
years after his retirement. 

Mr. Picone, a native of Castronovo, Sicily, entered the garment business when 
he was 7, apprenticed to a local tailor. He left Italy in 1936, when he was 
18, and within three years of arriving in the United States had opened his 
own business making men's trousers. He closed the shop in 1942, when he 
joined the Army, but he was back in business after World War II, stitching up 
slacks on his machine at his shop, MPA Tailors, which soon became a supplier 
of pants for Brooks Brothers. 

He never forgot that early training and could be a tough taskmaster when it 
came to the garments bearing the Evan-Picone name. "He was a difficult boss," 
Mr. Evans recalled, "but an honest, good friend and in the 15 years we were 
in business together, we never had one cross word."

He was soft-spoken, always impeccably dressed and, years after leaving his 
native land, retained his Italian accent. He received several awards from the 
Italian government and the Vatican and sponsored the 1967 Masquerade Ball in 
Venice to benefit artisans there. 

He is survived by his wife, Fannie, of Manhattan; a daughter, Sarina, of 
Manhattan, and a son, Joseph, of Bergamo, Italy; two brothers, Vincent, of 
Orlando, Fla., and Anthony, of Ridgefield, N.J.; and two sisters, Mary 
Celauro and Marianna Pisano, also of Orlando. 

http://www.nytimes.com/2001/06/26/obituaries/26PICO.html
 

The Centre of Modern

It¹s an absolute novelty for Italy. The University Institute of Architecture
in Venice is opening a new Faculty of Design and Art. Beginning in the
2001-2002 academic year, it will propose three courses: a three-year degree
in Industrial Design, a two-year specialization degree in Theatre Science
and Technology, and another two-year specialization in Visual Arts Design
and Production.

The new Faculty should not, at least according to intentions, become some
kind of super-Academy of Fine Arts, although the courses rely heavily on
workshops. Alongside theoretical classes, students will attend laboratories
where they will experience the different techniques of artistic and
conceptual expression. Workshop teachers will include Joseph Kosuth, Giulio
Paolini, Maria Grazia Toderi, Michele De Lucchi, Dominique Pitoiset, Walter
Le Moli, and Pierluigi Pizzi. Daniele Del Giudice, Carlo Majer, Franco
Rella, Pierre Rosenberg, and Hans-Ulrich Obrist will deal with theoretical
classes.

The Faculty materials and buildings are receiving the finishing touches in
the Venice harbour area, in a former nunnery and a neighbouring
ex-warehouse. The number of students will be strictly limited: 100 for
Industrial Design, 50 each for the specializations. The idea is to use
Venice as a great laboratory linked to the Biennale exhibitions of visual
arts, cinema, theatre, and dance. It was no coincidence that the new
Faculty, whose dean is Marco De Michelis, was presented to the public during
the 49th Biennale of Visual Arts.

Marino Folin, rector of the university, explained that, "For our country, a
Faculty dealing with visual arts and theatre is an absolute novelty. These
subjects were always left out of the university. Of course there is the
experience of DAMS [Discipline delle Arti, Musica e Spettacolo ­ Disciplines
of Arts, Music and Entertainment], but it was a part of a Faculty of Letters
and Philosophy. They have a strong historical-critical component, but there
is no designing and no experimenting. That¹s all for Italy. With this new
Faculty, created in an Architecture university, we intend to link
theoretical aspects with laboratory activity. This is the reason for the
presence of artists such as Kosuth, Paolini, and Toderi, and of set
designers such as Pizzi. We want to bring these people inside our
university."

As to accusations of conflict with the Academy of Fine ArtsŠ "There are
many. Set design, or theatre, for instance, only get a course or two in an
academy," says Folin. "We propose two years of specialization. But even in
regards to visual arts, there is a reason for bringing them inside the
university: we intend to give our projects a marked research character.
Artists-teachers will not simply recreate their laboratories. There will be
an attempt at reasoning on design and conception. Moreover, academies lack
the kind of in-depth theoretical courses that universities can offer."
 

John D. Calandra Italian American Institute, Queens College/CUNYpublishes the 
Italian American Review twice a year. 

(RAA: These prefacing remarks are to be attributed to me alone!

Dr. J.V. Scelsa, Director of the Calandra Institute, and Chancellor of Queens 
College /CUNY has been in the forefront of a herculean effort to establish a 
greater presence of Italian American Studies, and has my unqualified 
appreciation and support.

It is regrettable that others at the Institute, spend a disproportionate 
degree of their time on Fascist activities in the U.S., that in comparison to 
the efforts of Italian American Reformists/ Activists/ and Union Leaders was 
trivial.

Neither is the Fascist movement put in perspective, in that in Italy, Fascism 
was created by Mussolini, who as a socialist newspaper editor (Avanti), had 
many members of the Jewish Community in positions of power, was supported by 
ex-servicemen, who justifiably felt betrayed by England and France that 
pressured an ill prepared and reluctant Italy into WWI, and then reneged on 
substantial promises made (Pact of London). Other Italians joined, who feared 
a Communist takeover that disrupted the war effort contributing to serious 
military reversals on the heels of the Riots of 1917, (and later in 1920). 
Italy was then suffering from extensive poverty and unemployment by an 
economy severely damaged by war debt. Mussolini who had been expelled from 
the Socialist Party for his support of the War, sought support from moderate 
and right elements, and offered economic turnaround and a return of national 
dignity. Prosperity and Pride came at the expense of a Corporate State, that 
controlled all infrastructure and apparatus including employers and 
employees. Ten years of Rejuvenation and International Respect started it's 
down hill slide into oblivion with the invasion of Ethiopia in 1935, and 
accelerated with Mussolini's alliances with Hitler.   [Encyclopedia "Il 
Milione" pg 202-207]

It is likewise regrettable that some staff focus more on Italian Folklore, 
than the Italian American Experience in it's full spectrum, national, 
regional, local, including those industries strongly impacted by Italian 
immigrants. "A heritage that has no community recollection of it's past, will 
have no future."

Further, these same staff are antipathetical to I-A Defamation, while Dr. 
Scelsa has been heroic in his efforts.

In this issue of the Review, I found # 3, 7, 16 & 17 especially intriguing. 
You may easily attracted to others.)

CONTENTS

Articles

(1)Onorio Ruotolo and the Leonardo da Vinci Art School
    Lucio Ruotolo.................................1

(2)The Education of an Italian Priest in America: Father Mariano Milanese and
the Holy Rosary Parish of Lawrence, Massachusetts, 1902-1935
    Christopher Sterba............................21

(3)Sicily, the United States, and the 49th State, 1942-1947
Monte S. Finklestein..........................51

(4)Lauro de Bosis Between Italy and America, 1924-1930:
The Making of An Anti-Fascist Mind
    Jean McClure Mudge............................77

(5)Italian Emigration and Literacy:
Catholic Initiatives in Education at the Turn of the XXth Century
    Gianfausto Rosoli.............................99

Book Reviews

(6) Making the Wiseguys Weep: The Jimmy Roselli Story
by David Evanier
Review by Holly Metz.................................125

(7) Immigrants in the Lands of Promise: Italians in Buenos Aires and New York
City, 1870 to 1914
by Samuel L. Baily
Review by Fraser Ottanelli...........................127

(8)The Other Italy: The Literary Canon in Dialect
by Hermann W. Haller
Review by Luigi Bonafini.............................130

(9) Lost Chords: White Musicians and Their Contributions to Jazz, 1915-1945
by Richard M. Sudhalter
Review by George De Stefano..........................133

(10) Under the Rose: A Confession
by Flavia Alaya
Review by Maria Kotsaftis............................137

(11) Framing a Life: A Family Memoir
by Geraldine A. Ferraro
Review by Maria Lisella..............................140

(12) Che Bella Figura! The Power of Performance in an Italian Ladies; 
Club in Chicago
by Gloria Nardini
Review by Valentina Pagliai..........................145

(13) From Home to Hospital: Jewish and Italian American Women and Childbirth,
1920-1940
by Angela D. Danzi
Review by Laura E. Ruberto...........................148

(14) Di qua e di là dall; oceano: Emigrazione e mercati nel Meridione
(1860-1930)
by Andreina De Clementi
Review by Stefano Luconi.............................152

(15) Sal Mineo: His Life, Murder, and Mystery
by H. Paul Jeffers
Review by Vincent P. Cuccia..........................155

(16) Italian American: The Racializing of an Ethnic Identity
by David Richards
Review by Paola Sensi-Isolani........................159

(17) The Italian American Heritage: A Companion to Literature and Arts
by Pellegrino D'Acierno
Review by Anthony Tamburri...........................165

The Italian American Review (IAR) is peer-reviewed journal in the social
sciences published twice a year by the John D. Calandra Italian American
Institute, Queens College/CUNY. The IAR publishes articles in the social
sciences, including history, sociology, anthropology, folklore, political
science and embraces such areas as politics, labor, ethnicity, urban
studies, political thought, and women’s studies. However, The IAR does not
publish poetry, fiction or literary criticism, but will host articles
concerning cultural matters when they deal with the impact of culture on
politics and society.

The Italian American Review publishes book reviews, review essays and an
occasional section of “Notes and Documents.”  Submissions and ideas for
articles or books for possible review should be sent to Professor Philip V.
Cannistraro, c/o John D. Calandra Italian American Institute.  A style sheet
is available.

You can subscribe to the IAR at the following rates:

Individual $20.00
Institution $40.00
Student    $15.00
Foreign (Air Mail)  $50.00
 

Send a check made out to Queens College/Italian American Review and mail to:

The Italian American Review
Calandra Institute
25 West 43rd Street, 18th floor
New York, NY  10036

tel. (212) 642-2035
fax (212) 642-2030
www.qc.edu/calandra

(1)YOUNG INDUSTRIALISTS MAKE PROPOSAL TO PREMIER 
(2)BRAIN DRAIN CONVENTION SEEKS TO HALT ITALY'S INTELLECTUAL LOSSES

A group of young industrial leaders, the "under 40s", of Italy's Industrial 
Association (Confindustria) met at Santa Maria Ligure to discuss 
globalization and governance.

The outcome of the meeting resulted in some clearly stated proposals 
addressed to the new government, presented by the convention's leader, 
Edoardo Garrone. Mr. Garrone emphasized the ethical obligation of the wealthy 
countries of the world to include the needs of the poorer nations in their 
decision-making. 

He asked Prime Minister Silvio Berlusconi, who is hosting the G8 summit at 
the end of July in Genoa, to propose that the rich countries in the north 
open their markets to products of the poor and developing countries. This 
would stimulate investments and diffuse technology by creating schools, 
hospitals and research.

(RAA Comment: I would hope these Young Industrialists are not forgetting The 
SOUTH of their own country!!!!) 

BRAIN DRAIN CONVENTION SEEKS TO HALT ITALY'S INTELLECTUAL LOSSES

Rome hosted a convention on the causes of Italy's "brain drain," the
phenomenon of people with university degrees seeking research opportunities 
across the nation's borders. Italy loses most of its 4000 Ph.D.s each year to 
Germany, England and the United States, where research opportunities are 
superior and better paying. 

At the convention's conclusion, three main reasons were cited for the flight 
of Italy's brain power. 

First on the list was the general lack of research funds due to the fact that 
Italy spends the least on research and development compared with their 
European neighbors. 

Second, personal recommendation of research-seekers within Italy often 
supercedes professional qualification, a trend dating back to the 1980s. 

Third, the absence of a policy within universities which supports quality 
that makes for a weak competitive intellectual environment.

(RAA Comment: Second, of course is merely a reflection of the tendency of 
appointment and promotion in the US on the basis of  being of the Correct 
Political persuasion , NOT  merit!

Third sounds similar to the U.S., where there seems to be more concern of 
Indoctrination of Political Correctness, and Revisionist History than 
Intellectualism.) 

(1) MILAN'S BOCCONI UNIVERSITY 
RATES SECOND IN THE WORLD 

(2) SEVENTEEN ITALIAN BILLIONAIRES 
ON FORBES TOP 500 LIST 

(3) SARDINIAN FORT EVOKES CARTHAGINIAN WAR

Research published by the Free University of Brussels has indicated that the 
Department of Economics of Milan's Bocconi University is rapidly becoming a 
leader in the non-English speaking world. Several of the department's 
graduates are ranked on the Top 100 list of the world best economists. The 
criteria the Belgian researchers employed were based on writing productivity, 
measured in the number of articles written and the prestigiousness of the 
publications. 

According to a Forbes 500 magazine list of the world's 500 wealthiest people, 
Italy has produced ten new billionaires during last year, setting a record 
and bringing the number of Italy's richest to 17. Prime Minister Silvio 
Berlusconi, Italy's wealthiest man, ranks 29th with personal assets valued at 
over $10.3 billion (24 trillion lire). Leonardo del Vecchio ranks 43rd with 
$6.6 billion (14 trillion lire). The Benetton family occupies the 57th spot 
with $5.5 billion (12 trillion lire) and Gianni Agnelli and his family, 
owners of Fiat, ranked 146th in the world with an estate worth $3.1 billion 
(7 trillion lire). The richest Italian woman is fashion designer Miuccia 
Prada new to the list with a fortune of $1.4 billion (3 trillion lire) ranked 
at 363rd on the list. 

The world's richest women are Alice Walton and Helen Walton of Walmart. The 
American women each have a fortune worth $18.5 billion (44 trillion lire) and 
are tied at tenth on the list. Bill Gates remains the undisputed number one 
wealthiest person in the world with an amassed fortune of $58.7 billion (140 
trillion lire). 

A Sardinia fortress dating back to the fourth century BCE has been excavated 
with the financial support of the National Council for Scientific Research in 
collaboration with Cagliari's cultural office. The Sirai di Carbonia fortress 
was one of several thousand of such fortifications that were built between 
1600 to 500 BCE to defend the island against repeated invasions. Based on the 
material excavated, archaeologists have been able to reconstruct a decisive 
battle between the then resident Phoenicians and the invading Carthaginians 
in the fourth century BCE. The excavation establishes that the contemporary 
town of Sant'Antioco was once the flourishing town of Sulky, a lively center 
of trade in the Mediterranean 
 

THE AMAZING STORY

Credit? to H-ITAM@H-NET.MSU.EDU 
(H-NET List on Italian-American History and Culture)

WARNING!!! This is a severe rebuke of Tonelli. If that will offend you, Delete NOW!

In an attempt to "wet his beak" , "pander" to a segment of the I-A Community 
and resurrect his "sullied and debased" suspect reputation, Tonelli is NOW 
announcing that he is editing an I-A Anthology to be published NEXT year.

This is the same Tonelli, who seizes every opportunity he can to berate and 
label I-A Activists and Reformers as "Whiners and Crybabies".

He is an assistant managing editor. However, at 29, when I was a VP of a top 
5 U.S. Record Company, my associates would refer to those types as "gofers". 

This same Tonelli whose most "notable" contribution to the I-A Community has 
been to merely write a book aggrandizing his extended family, which in his 
usual blatantly braggadocio manner, titled it similarly as "The Amazing 
Tonelli's". 

We called those types "cafones".

I'm not sure that "cafone" is an adequate description. I always understood 
"cafone" to mean a pompous, strutting, self centered, breast beating, self 
promoting, exploitive of the community, ostentatious boor. My dictionary 
however states that "cafone" means peasant, and that would be an insult to 
the commendable hard working stock, that many of our ancestors sprung from.

Can one of our members set me straight on this, and perhaps suggest an 
appropriate single word term? 

Please note further that his Press Release could not miss the opportunity to 
get in a "plug" for the Sopranos. 

One last Note: Bob Masullo's first reaction to this release was:

 <<"Enjoy" and "Tonelli" should never be mentioned in the same sentence.
Now, "retch" and "Tonelli," there's a good match.  His cut-and-paste "book" 
should be about as welcome in IA circles as another invasion of Abyssinia.>>

Remember, send in your suggestions, and the best/outstanding suggestion will 
receive a copy of their choice of the following books:

Moustache Pete is Dead-Gardaphe/Bordighera
The Big Book of Italian American Culture-DiStasi/Sanniti
Heritage-Italian American Style-Radomile/Vincero
Five Centuries of Italian American History-Cappozzola/Five Centuries 
=============================================================
COMING SOON TO CARMELA AND TONY'S COFFEE TABLE
Thursday, June 21 03:03 p.m.

Finally, some Italian-American culture that both Sopranos fans and
(presumably) the American Italian Defense Association (AIDA) can
enjoy. Bill Tonelli, author of The Amazing Story of the Tonelli Family
in America (Addison-Wesley) and assistant managing editor at
Rolling Stone, will edit the first-ever major trade collection of writing
by Italian-Americans, to be published next year by William Morrow's
Mauro DiPreta. (An anthology called The Dream Book: Writings by
Italian-American Women, by Helen Barlini, is available in paperback
from Syracuse University Press.) Tonelli says his anthology will
feature such authors as Don DeLillo, Gay Talese, Camille Paglia, Tom
Perrotta, Nick Tosches, Beverly Donofrio, Richard Russo,
Anthony Giardina, comic Ray Romano and, of course, the lateMario Puzo. 
There will also be a few surprises: Did you know Ed McBain/Evan Hunter 
was born Salvatore Lombino, or that there are at least two world-class haiku 
poets who are Americans of Italian descent? -- PJ Mark
 

Cappo observes: Enough already! The "association" is damaging to I-As. 
Writers extolling Soprano's "reality" haven't a clue, and those who urge us 
"to get over it" would pummel such "wholesale" depictions to their group. 
I-As "collaboraters" try atoning. 

TIME TO RUB OUT TIRED MAFIA-THEMED MOVIES

Crain's Chicago Business
June 18, 2001
By Joe Cappo

I have seen enough episodes of the hit HBO series "The Sopranos" to know that 
it is a very watchable series, well-written and well-acted, a major 
award-winner.

That's why I hate it. It has whetted your appetite for even more Mafia fairy 
tales.

It's no secret that I am Italian-American. My grandparents all came here from 
Sicily about a hundred years ago and settled in an Italian ghetto on the Near 
North Side, where I was born. ...Neither of my grandfathers were Mafia 
hitmen. They worked on the railroad. My father...spent 40 years as a postal 
clerk.

That brings us to me, a guy named Cappo (not my original family name). Since 
Cappo looks a lot like capo, I get a lot of kidding about being a Mafia boss.

"The Sopranos" may be well done, but it's terribly derivative. It's only the 
latest in an endless string of mob dramas like "The Untouchables," 
"Goodfellas," "Analyze This," "The Godfather" 1, 2 and 3 and countless other 
Mafia-themed movies, television commercials, crime novels, etc.

Finally, I have grown tired of this constant depiction of Italian-Americans 
as mobsters and only as mobsters. I am offended by the reaction of many 
members of the media who tell us to "get over it." One of them is David 
Everitt, who, in a column for the Media Life Web site, says: ". . . If you 
don't like it, don't watch it. It's not as if you can't get away from this 
stuff."

The truth is, Mr. Everitt, you can't get away from this stuff. People all 
over the world associate all Italians with the Mafia.

Mr. Everitt proves his point by saying he is Jewish but was not offended by 
"The Apprenticeship of Duddy Kravitz," a 1974 movie about a pushy Jewish 
businessman. Would Mr. Everitt be offended if, since then, there'd been a 
dozen movies, two dozen novels and three long-running television series 
produced about unscrupulous Jewish businessmen? It couldn't happen, of 
course. The Anti-Defamation League would be raising hell about stereotyping. 
And it would be right.

This is not to deny that the Italian Mafia was a vicious and powerful crime 
cartel for many years. But its impact has faded as the old crime bosses have 
died or gone to prison. And yet, we still get the same old Mafia crap, except 
now it's reborn in "The Sopranos" as contemporary suburban-American life. The 
mob boss is seeing a psychiatrist, has a daughter named Meadow and wants his 
son to get into a military academy. And this is realism?

Here is Caryn James writing in the New York Times about the vastly increased 
violence on "The Sopranos" this season: ". . . the series creator, David 
Chase, has done more than escalate the brutality. He has kept the series 
honest, true to the lethal consequences of a mob boss' life. . . . In giving 
new meaning to the phrase brutally honest, this season matched the 
awe-inspiring artistry of the first . . ."

Aside from seeing the whole "Godfather" trilogy, what does Caryn James know 
about any mob boss' life? (Of course, if she is related to a Mafia don, 
please accept my deepest apologies.)

The problem with most Italian-Americans is that they are too easy-going. 
There has been very little protest about — and media attention on — this 
relentless bashing. Certainly nothing to compare with the outrage expressed
by American Indians and others over sports teams called "Warriors" or 
"Braves."

I realize that many Italian-Americans are involved in writing, directing or 
acting in mobster productions. Scorsese, DeNiro,

Pacino, Coppola, Gandolfini and others have made fortunes while adding to 
this demeaning stereotype of Italian-Americans.

To them, I say: It's time you goodfellas paid back. Before you make yet 
another mob movie, why don't you produce a work in which Italian-Americans 
are involved in something other than crime — like music, business, art, 
sports, science, politics, literature . . . even movies? In other words, do 
something different for a change.

Joe Cappo's e-mail address is jcappo@crain.com. If your message is intended 
as a letter to the editor, include your name, address and telephone number 
for verification purposes only.
 

Pisa's leaning tower opened to much fanfare on Saturday, the 17-
inch lift giving one of Italy's best-known monuments 300 year 
reprieve from tumbling over. The tower, however, probably won't 
reopen for tourists until November 2001 until restoration trappings 
(metal braces and fences) are removed. A custodian at the bell 
tower told zoomata that reservations will be obligatory, but as yet 
there is no reservation system. "Just ring us back in the fall," was 
the reply. "We should know something by then." We will... 

http://www.kwart.kataweb.it/kwart/kwa_documentari4.shtml#pisa
Video documentary on the restoration

*Source: Corriere della Sera, 16/6/01
 

Of particular interest to all Italian American Scholars, and those who are 
strong proponents of the promotion of Italian Studies Programs, and as 
anticipated, and previously advised, this is a report of the ACTUAL 
introduction of the Legislation.

In the political world, a legislator often first makes the ANNOUNCEMENT of 
their intention to introduce a bill, and THEN determines what the reaction of 
their colleagues are, and how many co authors they can recruit. If the 
response is positive enough, they proceed with the INTRODUCTION.

In other cases, if the response is tepid, but they are willing to try to 
arouse sufficient 
voter "grass root" support, they will proceed anyway.

In either case, support to DiGaetano Bill's is critical. Consider joining his 
team.
Yes, you will be solicited for contributions, and if you can, that would be 
appropriate.
If it isn't within your budget, you can be helpful in other ways. 

DIGAETANO INTRODUCES MEASURE ESTABLISHING ITALIAN-AMERICAN COMMISSION

Majority Leader Paul DiGaetano today introduced legislation that would create 
the New Jersey Commission on Italian and Americans of Italian Heritage, 
Culture and Education. The bill, A-3693, would appropriate $350,000 for the 
new 21-member commission.

The commission would advise public and private schools on the incorporation 
of Italian-American culture and social contributions into the curriculum. A 
comprehensive guide would be made available to educators detailing 
Italian-American heritage exhibits and resources throughout the state.

The commission also would compile a roster of individual volunteers willing 
to share their knowledge and experiences in classrooms, as well as through 
seminars and workshops. The volunteers would represent vast segments of the 
Italian-American population.

"More than 5.4 million Italians emigrated to the United States between 1820 
and 1991," said DiGaetano, R-Essex, Bergen, Passaic. "Today, more than 2 
million citizens of New Jersey are of Italian descent, representing nearly 
one-quarter of our population.

"Italian-Americans have made invaluable contributions to New Jersey," 
DiGaetano said. "From industry to the arts, Italian-American influence is 
evident.

"Hollywood and the media are very quick to apply negative stereotypes to 
Italian-Americans, but do very little to portray the culture in a positive 
light," said DiGaetano. "As a proud Italian-American myself, I find this 
trend very disheartening and troublesome."

"If children receive all their information about Italian-Americans through 
television, the culture will eventually be considered nothing more than an 
entire people consisting of buffoons and mobsters," added DiGaetano. "It's 
unfair, and this preconceived notion couldn't be further from the truth.

"My bill would help correct negative stereotyping of Italian-Americans," 
DiGaetano said. "By presenting students with true, factual information 
regarding the Italian-American culture and its heritage, we hope to erase the 
negative image projected by the entertainment industry and the media."

Join the Paul DiGaetano E-Team! 
Visit us at  <A HREF="http://pauldigaetano2001.com/">Paul DiGaetano 2001</A> 
 http://pauldigaetano2001.com/
Join, contribute and tell your friends. Your help is needed today!

DONT'T GIVE RACIST SOPRANOS ADORING COVERAGE
Re: Softer side of TV Mob boss: Uncle Junior records a CD, June 11

The Ottawa Citizen
Sunday 17 June 2001

I was very disappointed to see that the Citizen and Tony Lofaro wasted space
and a journalist's writing talent giving yet more newspaper coverage and
attention to The Sopranos. As if the series needs more positive media
attention. 

What the coverage lacks is fair exposure of the continuing protest against
this racist show. It is interesting that very few articles are dedicated to
the damage this program has already done and will undoubtedly continue to do
here in Canada, as BCE-CTV once again silences those voices of protest.

It is not the "critically acclaimed" series you report. It is a controversial and 
offensive show. But HBO and BCE-CTV have loads of money to market this bigotry.

Actor Dominic Chianese has proven only one thing, that the mobster mystique
sells. Whatever music career he thinks he is nurturing will always be
overshadowed by the "fame" of his mobster role.

If he really loved his grandchildren, he would set a better example and
refuse to slander his own heritage and sell his soul for money.

I trust I will see extensive coverage of the Italian Festival artists,
activities and performers now underway in Ottawa. They and their art, more
than Mr. Chianese and his music career, deserve your paper's space and
attention. 

Francesca L'Orfano,
Toronto 
 

Prof. J. Mancuso Reviews Paul Paolicelli

Paul Paolicelli (2000) reconnects to his Italian American ethnic identity. At 
the time of the beginning of his reconnection, Paolicelli was of the news 
director for the NBC television affiliate in Houston, Texas. Paolicelli
reports two incidents that spurred his reconnection. At one point, he 
happened to be in the city of San Francisco during an earthquake. He gave 
himself the assignment of doing an on-camera report of the earthquake. The 
CEO of the parent company sent the executive of the Houston affiliate a note; 
"that new Italian reporter ain't bad." 

Shortly thereafter, Paolicelli was invited to to a reception for the Italian 
Premier, Giulio Andreotti. The reception was hosted by the Houston 
Italian-AmericanCultural Society. The woman from the organization told 
Paolicelli that she was trying to invite all the "prominent Italians" from 
the Houston area. When he attempted to explain that he was not Italian, that 
he was American, the woman proceeded to ask whether not his name was of 
Italian origin. Paolicelli responded that his grandparents had come to the 
United States from Italy. The woman proceeded to insist that that being the 
case Paolicelli would be considered to be an Italian.

"I didn't so much mind, it was just that I didn't know much about being 
Italian. My family was as American as you could get; raised in the suburbs, 
been a Cub and Boy Scout, played in Little League, the beneficiary of 
excellent public schools, and was a veteran of the U.S. Army. Italian, 
especially at this time my life, just wasn't a ready or often-used adjective 
when I was describing myself." 

These incidents occurred at a crucial time the Paolicelli's life. He was past 
age 40. His connections to his Italian American family in Pittsburgh, PA, had 
dwindled into the memories. His dream of having children remained an 
unfulfilled dream. He had recently undergone a divorce. He had money in the 
bank - money that he had saved with the intention of providing an education 
for the children that he never had. He decided to put the money into a bank 
account, to go to Italy, and to "get back to something spiritually 
important." 

Paolicelli's spiritually important task involved his becoming more familiar 
with the story of the man for whom Paul had been named -- a man that Paul had 
never known. Paul Paolicelli's grandfather, Francesco Paolo Paolicelli had 
immigrated to New York City's Greenwich Village then moved to Clarion, PA. 
Paolo was killed in a steel mill accident when Paul's father was nine years 
old.

Paul's grandfather slipped and fell on a railroad track. The vehicle moving 
down the track severed his legs from his body. A friend who cradled Paul's 
dying grandfather in his arms heard  him repeat over and over, "poveri figli 
mie,' poveri figli mie';" - "my poor kids, my poor kids."

 The phrase hung in my imagination. I wanted to know more about this man for 
whom I was named - more than just the sad scene at the end of his life. I 
wanted to know about the beginning. I wanted to know this man."

Paolicelli took some Italian lessons; and, in 1991, he found an apartment in 
Rome.

In Italy, Paolicelli readily absorbed the tremendous amount of data that 
allowed him to comprehend Italy, the Italians, and Italian-Americans with 
insights that would be acquired by very few descendants of the 
Italy-to-The-United-States venturers. Additionally, he traveled to and 
explored the villages from which his grandparents had emigrated. His accounts 
of these explorations should stimulate any descendants of l'avventura to 
undertake similar explorations. 

Paolicelli's insights allowed him to spell out the framework into which he 
could fit his experiences:

"In America, the [Second World] war ended many of the ties to Italy. Because 
of the war the people in America changed. Their attitudes and their outlooks 
were thoroughly American now. A new generation took over - a generation born 
in the United States, whose primary definition of themselves would be simply 
'American.' The birthplaces of their grandparents would become only distant 
curiosities."

"For those first-generation Americans, Europe had become an embarrassment. 
The new third generation, those of us from the noisy, self-centered, postwar 
group called baby boomers, were far more interested in being the envied and 
victorious Americans than in identifying with any of the war's losers.

Paolicelli vowed to overcome the mistaken abandonment of interest in the 
heritage of the participants in l'avventura" 

Paolicelli, among other assets that allowed him to overcome that abandonment, 
had the advantages of having Luigi for a mentor, who had familiarity with 
American ways, and was bi-lingual, who facilitated Paolicelli's navigation 
through the social and bureaucratic networks of Rome and South Italy (hence 
the title, subtitled: A Grandson's Determined Quest to Comprehend Italy and 
the Italians.) 

Paolicelli discovered the ways in which Roman dance halls differed markedly 
from the dance halls in The USA. In Rome, few of the dancers drank alcoholic 
beverages. Popular ballads represented sons singing to a mother, inviting her 
to go dancing. Whole families sat at little tables and took turns dancing 
with each other. 

Paocelli learned about the ways in which the attitudes of Italians toward 
mendicanti differ radically from the attitudes of Americans. 

Stewart, an Australian who begged in Rome reported, "Italy's the best," he 
said. "People here don't look down their nose at you. I was always being 
hassled in England. One night in Germany a policeman broke my arm with his 
club because I didn't move fast enough. I was drunk and couldn't move very 
fast, so the bastard hit me. The Italian police leave you alone or take you 
to a hospital."

"They are god's children, " Luigi said at one point. "And it could be you or 
me if things were just slightly different in our lives."

Of course, as most visitors to Italy have proclaimed, Paolicelli found 
Italian food to be remarkable. He found it hard to believe that food with 
which he was familiar in the USA took on entirely different texture and taste 
qualities in the kitchens of Italy. A picnic of homemade foods became a 
sublime feast." 

He learned about the tremendous contributions that the Italian immigrants had 
made to American society, while contributing significantly to the well-being 
of Southern Italy. 

Paolicelli learned about the fabled self-sufficiency of the Southern Italian 
contadini - the same self sufficiency that allowed those who had emigrated to 
The USA to save very high portions of the meager earnings that they garnered 
from their low-paying jobs.

He learned that even at the rest stops on the autostrada the snack bars 
"rival the best Italian-American restaurants. The traveler is offered a 
complete array of food, ranging from prepared hot meals to cold sandwiches, 
packaged meats, all sorts of sausages, huge mounds of cheeses, fresh breads, 
pastries . . . ." etc. 

At the same time, Paolicelli learned about the problems that stem from the 
elitism of the northern Italians, and how that elitism had rubbed off on to 
Italian-Americans - those Italian Americans who go to great lengths to claim 
that their families originated in northern Italy or had been impoverished 
nobility who had fled to America.

Paolicelli began to become aware of the conditions, beyond poverty, that 
preceded l'avventura.

Thus, Paolicelli had first-hand introduction to the utter ineptitude of the 
governments that had dominated Southern Italy and Sicily - particularly that 
of the notorious Bourbon dynasty that had ruled Italy from 1734 until 
Garibaldi's invasion of their kingdom in 1860. 

In tracing his family's genealogy, Paolicelli reported that his grandfather, 
two other brothers, and a sister had emigrated to The USA, he told that the 
three brothers had died in rapid succession shortly after their arrival in 
their new country. 

The listener responded: "Those poor people . . . . All the heartbreak, the 
suffering they went through." "Yes, it was difficult for their children," 
replied Paolicelli.

"I was thinking more so of their parents. The children, after all, had a 
future. But the future for your great grandparents was their children. 
Imagine to send three boys off to America and to lose them all so quickly and
forever."

Here, Paolicelli developed an insight that few descendants of l'avventura can 
develop. How difficult it is to imagine the emotional scene of parents 
parting from their loved, adult children. How difficult it is to imagine
their efforts to hold back the thought that they would never again see those 
children. How easy it is to imagine the shock, the grief, and the despair 
that would follow having received a message that one of those loved ones had 
died during an epidemic, or that a son had been killed in a mine or mill 
accident, or that he had died of following years of suffering from 
anthracosilicosis or abestositis, or that a daughter had died during 
childbirth, or that she had been killed in a raging mill fire. 

"Why had I never thought about this?" asked Paolicelli.

". . . . I felt a closeness with Francesco I knew would always be there. "And 
respect for a man I never knew in life."

Paolicelli now understood the full impact and significance of the frequently 
used Italian phrase that guided the parent-child relations of many Italian 
and Italian-American parents - ti voglio bene: I want you well.

"It was sacrifice, after all, that made all our American lives so much 
better. It was Francesco's sacrifice and ambition, Pietro DePasquale' 
self-assuredness and determination, it was all of them having the desire, the 
youth, the sheer guts to get up and go; to find America and to define it for 
us. To forge a home there, despite their lack of language skill or formal 
education. To be willing to leave their parents and families and to establish 
new ones across the ocean."
 

For me, you made several important observations in your column, "Amos, Andy, and Tony Soprano".

First, you stated, " we watched "Amos 'n' Andy" ...because ...we were so starved for black images on the tube that we would have watched somebody read from a telephone book, as long as the actor was black."

Italian Americans likewise are so "STARVED" for images to remind them of their heritage/cultural identity, that they will watch practically ANYTHING, that fills that "void", some even to the extent of tolerating extreme negative stereotyping."

Secondly, you say "Hollywood loves stereotypes, but none, more than the Italian mobster. Every major ethnic and racial group has had a criminal class, but you would hardly know it from watching American movies or TV."

Yes, the degree to which Mass Media equates Italian Americans with Mobsters is overwhelmingly obscene, with nary a positive image. 

Lastly however, I would like to quibble with your statement: "It's entertainment. It's a fantasy. Don't confuse it with reality." 

Thank you if you were attempting to remind the public not to be misled by the distorted stereotype. If so, it is a nice gesture. 

Nevertheless, your admonition to not be "confused" is too simplistic.

I'm sure that you recognize that TV/Film has an insidious and almost imperceptible influence on people's perceptions of other groups.

To merely warn people not to be "confused" is naive.

Allow me to refer you to the 36 page Report issued by the nonpartisan, nonprofit "Council for Excellence in Government". 

That Report "credited NBC's 'The West Wing" with almost single-handedly changing government's negative television face during the past two seasons." 

It also sadly pointed out that in the same Survey it conducted "Teachers came in dead last--courtesy of some questionable behavior by characters on the Fox high school drama 'Boston Public."

Certainly very few of the people in that Survey took you seriously. That alone should give you sufficient cause to reconsider your position.

If you want a more logical, intellectual recitation, I am going to for the sake of argument assume that you did not mean that ALL Entertainment is Fantasy. Otherwise I would have to discount "Pearl Harbor", "Schindler's List", and "Roots"! 

What you would probably prefer to say is that on TV, and in Film, it's a thin and blurry line in regard to Entertainment, as to what is Fantasy, and what is Reality. 

Consider, starting with DOCUMENTARIES, they have a perspective, not 
necessarily the truth/reality. DOCU-DRAMAS take great "literary license" to the point that no one knows what degree of truth/reality/fantasy is involved. DRAMA  takes some truth/reality of the human predicament and exaggerates/fantasizes it.COMEDY takes a bit of truth/reality and caricatures/fantasizes it. 

It is a difficult enough task for the audience to "filter" through this "Entertainment" and make such sophisticated discernments, without it having to also "ignore" cleverly disguised derogation and debasement, as in the case of the "Sopranos".

The "Sopranos' and the continuum of Mob Movies is a prime example of Italian Americans being one of the last groups to be subject to "permissible bigotry". 

Would you condone a return to the treatment of your community 30 years ago? Then why would you condone such  treatment of mine today?

Respectfully,
Richard A. Annotico
4267 Marina City Drive Suite 1008 
Marina Del Rey, CA    90292

Telephone: 310-306-9060
Facsimile:  310-306-5848
Email :       trimtantre@aol.com

IMAGE BOOST FROM "WEST WING"
Los Angeles Times, Calender Section, Page F2
Morning Report, By Lee Margulies
Wednesday, June 6, 2001 

Television, which for years has depicted government and elected officials as self-serving, corrupt buffoons, has changed its tune, according to a study released Tuesday showing that the prime-time portrayal of officialdom is more positive "from the local firehouse to the White House." 

The research, commissioned by the nonpartisan, nonprofit Council for Excellence in Government in Washington, credited NBC's "The West Wing" with almost single-handedly changing government's negative television face during the past two seasons. 

After analyzing 162 episodes from government-related shows on NBC, ABC, CBS and Fox, elected officials ranked 12th on the list of 14 occupations with the worst television images (the group was 14th in a similar study conducted in 1999).

Teachers came in dead last--courtesy of some questionable behavior by characters on the Fox high school drama "Boston Public."

This article is extracted from a 2 page Executive Summary and a 36 page Report available at http://www.excelgov.org.

Due to the ardent efforts of the members of  IAOV (Manny Alfano), and La Dolce Vita (Francesca L'Orfano), Columnist Clarence Page has changed his tune.

Three of his newest observations seemed particularly important.

(1) Blacks then, like Italian Americans now, being so "STARVED" for images to remind them of their heritage/cultural identity, that they will watch practically ANYTHING, that fills that "void", regardless how negative.

(2) Hollywood loves stereotypes, but none, more than the Italian mobster. Every major ethnic and racial group has had a criminal class, but you would hardly know it from watching American movies or TV. 

(3) Unfortunately he still "buys into" the Myth that "It's entertainment. It's a fantasy. Don't confuse it with reality." It might be his attempt to chide the public not to "fall" for the distorted stereotype. If so, it is a nice gesture, but an "false one". He needs further "education". 

By Clarence Page
Chicago Tribune
June 10, 2001 

WASHINGTON Some Italian-American organizations and politicians are outraged over the award-winning HBO hoodlum hit, "The Sopranos." I understand how they feel even though I am a big fan of the show. I enjoyed "Amos 'n' Andy," too.

"Amos 'n' Andy" was a popular TV sitcom in the 1950s with an all-black cast. It was taken off the air under protests from civil-rights organizations. Blacks families like mine thought the show was often buffoonish, sexist and in bad taste. We also watched it every week.

Sure, the show didn't offer the most dignified images of black life. Still, it was not lacking in charm and talent. The writing, acting and directing were excellent. Many African-Americans of my generation remember it fondly, even if they won't always say it in racially mixed company.

Sure, why not? Compared to some of the buffoonish comedies that feature 
all-black casts on TV today, including some of the stand-up comedy and sitcom reruns on BET, the black-oriented cable network, "Amos 'n' Andy" looks downright sophisticated.

But we watched "Amos 'n' Andy" in my childhood not because it was the best show that featured black people but because it was the only show that did. In my house, we were so starved for black images on the tube that we would have watched somebody read from a telephone book, as long as the actor was black.

Which brings me to my real objection to "Amos 'n' Andy" and "The Sopranos." It has nothing to do with the quality of writing, acting or directing. My objection is to the lack of diversity on television and other entertainment media about ethnic community life.

Hollywood loves other stereotypes, but none, it seems, more than the Italian mobster. Every major ethnic and racial group has had a criminal class of bad apples at one time or another in their history in America, but you would hardly know it from watching American movies or TV.

Such "profiling" of Italian Americans outrages Rep. Marge Roukema (R-N.J.). Roukema, the granddaughter of Italian immigrants, is asking her fellow House members to sign onto a resolution that denounces "The Sopranos" for "unfair stereotyping."

Earlier a Chicago-based organization called the American Italian Defense Association filed suit against Time Warner under a unique section of the Illinois Constitution, claiming the show negatively stereotypes Italian-Americans.

The "Sopranos" also received a vigorous thumbs-down from the National Italian American Foundation, which recently held a panel discussion in Washington titled "The Sopranos & Other Stereotypes: How Harmful are They?"

How harmful? Very harmful in the view of panelists like Elizabeth Messina, a Fordham University psychologist. She cited surveys that indicate an Italian surname still can penalize a political candidate by a substantial margin of votes.

Even so, some leading Italian-American politicians like Sen. Robert 
Torricelli (D-N.J.) and New York City Mayor Rudolph Giuliani call themselves fans of "The Sopranos." It's only a show, these two men seem to be saying; we should never confuse it with reality.

Even so, we all have to be reminded sometimes of how durable and pervasive ethnic stereotypes can be, even in an era that has seen notable success by many Italian-Americans in the public and private sectors. Since the 1970s, we have seen Italian-surnamed leaders like Ella Grasso become governor of Connecticut, Pete Domenici become a senator from New Mexico, Antonin Scalia become a Supreme Court justice and New York Gov. Mario Cuomo and Rep. Geraldine Ferraro become national figures to be reckoned with.

In the private sector, there have been so many corporate chiefs of Italian ancestry like Lee Iacocca of Ford and Chrysler and Yale President A. Bartlett Giamatti, who later became commissioner of baseball, "that no one bothered to count," writes political author and commentator Michael Barone in his new book, "The New Americans: How the Melting Pot Can Work Again."

In the 1990 census, those who identified themselves as having Italian ancestry had household incomes and mean family incomes 17 percent above the national average and were nearly 50 percent more likely to have college degrees.

"After eight decades in America, Italian-Americans became thoroughly interwoven into the fabric of American life by the 1970s," Barone, the grandson of Italian immigrants on his father's side, told me. "The melting pot still works, even if it has a lot of lumps in the mix sometimes."

Yes, it does. It is quite an exciting epic tale. Unfortunately, you're not likely to see much of it on "The Sopranos." It's entertainment. It's a fantasy. Don't confuse it with reality.
----------
E-mail: cptime@aol.com

Chicago Tribune | News - Columnists - Clarence Page
http://www.chicagotribune.com/news/columnists/page/
 
 

John Baldessari Goes Digital 
Los Angeles Times
Monday, June 11, 2001 

    It's a still life--that is, until you move it. 

    That's the unusual nature of L.A. artist John Baldessari's first digital online project: "Still Life: Choosing and Arranging," inaugurating the Museum of Contemporary Art's new digital gallery, which launches today at http://www.moca.org. 

    The work, commissioned by MOCA as the first in a series of online artists' projects, is an interactive experiment that gives visitors to the museum's Web site the chance to co-create a work of contemporary art with Baldessari. 

    Your mission, should you choose to accept it, is to select objects from the lower of two shelves on your computer screen and arrange them on the upper shelf. Baldessari, a prominent figure in the Conceptual art movement, is noted for his use of photography, text and "found images." 

    The images on the bottom shelf represent "a selection of everyday objects from Baldessari's studio," according to MOCA's press office. They include a can of chicken broth and a chicken leg; a tube of toothpaste; a padlock; a glass of water containing a leaf; a glass swan; a pink pig (or maybe a dog, hard to say); and what appears to be a small extraterrestrial--suggesting that "everyday" may be somewhat different in Baldessari's studio than in the average home. 

    Over the next several months, new objects will appear, extending the shelf life of the museum project. 

John Baldessari Goes Digital
http://www.latimes.com/print/calendar/20010611/t000048573.html
 

DANCE OF THE GIGLIO
Third Annual Festival in Massapequa, Long Island
 

Imagine 125 men carrying a five-ton, five-story, hand-sculpted tower and a 
12-piece brass band– on their shoulders – and dancing it – in Massapequa, 
Long Island before a jubilant crowd of thousands in tempo to joyous Italian 
Folk songs! 

The Long Island Giglio Association proudly invites people of all ages and 
cultures throughout the greater NY Metropolitan Area to the Sunrise Mall in 
Massapequa, L.I. to experience this remarkable ritual known as “The Dance of 
the Giglio” (pronounced Jill-yo). 

A Roman Catholic Bishop, San Paolino di Nola and his heroic act of sacrifice 
in the year 409 A.D. inspired this tradition.The 2001 Long Island festival 
will feature carnival rides and games, delicious Italian and ethnic foods, 
and entertainment-nightly. 

In celebration of its Third Annual Festa de Giglio (Feast of the Lily), the 
Long Island Giglio Association has designed a spectacular four-day festival,
which will begin on Thursday, June 21st and end with the breathtaking “Dance 
of the Giglio” on Sunday, June 24 at 1 P.M. sharp.

On Friday evening June 22 starting at 7 P.M. the oldies group Risky Business 
and a Fireworks display will light up the evening air. Saturday night June 23 
will spotlight the musical talents of Bob Hansen & Friends.  On Sunday, June 
24, at 6 P.M., immediately following the breathtaking four-hour “Dance of the 
Giglio”, the musical soundsof Juke Box Saturday Night will serenade the 
crowd. A final Fireworks Spectacular at 9:30 will prove to be a rousing 
climax to the Third Annual Long Island Festa de Giglio celebration. The net 
proceeds from this year's feast will be donated to VARIETY - The Children's 
Charity. Variety’s reigning President and famous radio personality, Cousin 
Bruce Morrow is scheduled to appear at the feast and will be promoting this 
glorious festival on his nationally renowned weekly radio show on WCBS FM 
101.1.

Since the dawn of the 20th Century this moving 65-foot high monument to 
faith, folk-art and family has also been danced in celebration in Williamsburg 
Brooklyn, EastHarlem, Astoria Queens, the Bronx, Cliffside Park, New Jersey 
and now on Long Island.  In 1999, following in the footsteps of their ancestors, 
a devoted group of second to fifth generationdescendants of Italy formed the 
Long Island Giglio Association. Their mission was to bring the Dance of the 
Giglio feast tradition to Long Island, pay homage to San Paolino and the feast 
tradition’s legacy in Nola, Italy and America.

People who are unable to make it on June 24, or are interest in this 
remarkable 1,600-year-oldstory can experience the thrill of the spectacle in 
the film “Heaven Touches Brooklyn in July” airing  Sunday, July 1at 10 P.M. 
and on Saturday July 7 at 4 P.M., WLIW21 New York PublicTelevision. Produced 
and directed by award-winning filmmaker, Tony De Nonno,and narrated by actors 
John Turturro and Michael Badalucco of  “The Practice,” this documentary 
celebrates the origins and evolution of this rite over 1,600 years, including 
footage ofthe 1999 Long Island Dance of the Giglio feast.

For more information about theLong Island Giglio Association or the 2001 Dance 
of the Giglio Celebration,visit our website at 
http://www.giglio-usa.org/">www.giglio-usa.org 
or call Anthony Casalino at 631-595-1578.
 

C-Span Panel Discussion

My apologies for not reminding you yesterday, of my earlier notice that
Last Night (Saturday 6/2) C-Span was televising the Panel Discussion
sponsored by NIAF that occurred in New York May 15.

NIAF is to be commended for not only sponsoring the Panel, but
particularly for having it televised. (since wisdom dispensed in a vacuum,
is a treasure unable to be appreciated)

The panelists were: Camille Paglia, James Wolcott (Vanity Fair), Bill
Tonelli (Rolling Stone), Dr. Joe Scelsa, Dr. Elizabeth Messina
(a psychologist) and Ted Grippo of AIDA.

In my humble opinion, Scelsa, Messina, and Paglia were Brilliant!
Grippo in his assigned roll of explaining the AIDA suit was Excellent.

I missed Walcott, and Tonelli was....an embarrassment to himself and
the program. I defy anyone to recite any statement that Tonelli made,
that made any sense, except that he did say numerous times, to his
credit, that he may be wrong in his opinion.

Dr. Scelsa very effectively cited the disasterous effect and examples
of I-A Negative Sterotyping in the educational system, (both student
and faculty), in the political arena, and in the business and employment
fields, as a result of other peoples negative image of Italian Americans
created by the Media.

Dr. Messina, as a Psychologist was very convincing in her explanation
and illustrations of the ravaging effect that I-A Negative Stereotyping
had on young Italian American's self esteem, and the all too frequent
pronounced self destructive effect it had many I-A youth, and the
otherwise more subtle life-long corrosive effect it had the remaining.

Camille Paglia was as usual, most forthright in unequivocally
condemning the Media, for not only it's indifference to the racial/ethnic
assault on Italian Americans, but the Media's apparent intentional
complicity in that assault.

Paglia further castigated the Media for it's Hypocrisy in being justifiably
empathic to other racial/ethnic profiling, and blind to the Media's
pervasive despoiling of the Italian American community and it's culture.

During the following Question Period, a number of members of the
audience participated, some did us proud.

However, One man droned on inconclusively and embarrassingly.

Another, an attorney, inappropriately raised the "red herrings" of free
speech and government censorship. This attorney incredulously was
apparently unaware that defamation is not a protected form of free
speech, and showed little concern for the revilement the I-A
community was being subjected to, rivaled by none.

This "officer of justice" was also oblivious to the fact that the Italian
American Community was not looking for censorship, but "self restraint"
by the Media. The SAME restraint the Media shows toward other groups.

Unfortunately, the Panel was suprised by this question, and was able
to give only a partially satisfactory answer.

The third audience member was a respected writer who naively felt that
the community was spending too much time on fighting defamation,
and should spend more time getting his books published and made into
movies, not recognizing that the community, like some actors has been
virtually "typecast", and that the ONLY Italian stories in the minds of the
Film and TV chieftains... are Mafia stories.

Again, on the Whole, it was a Great Leap Forward.

Not only several outstanding Panelists, but a pouring forth of an
abbondanza of "pearls of wisdom".

Also encouraging was the comment of an audience member who
echoed my sentiments so strongly that I could hardly keep my seat.
I paraphrase what he said: It gave him hope to see the Major Italian
American Organizations "working together", recognizing the strength
in Unity, and that it took the 'Sopranos' to do it!

Thanks to:ladolcevita_italianinelmondo@yahoogroups.com

BUREAUCRATS DANCE AROUND 'THE SOPRANOS'
UNSPEAKABLE TRUTHS

Globe and Mail
Saturday, June 2, 2001
By Heather Mallick

The traffic court for private broadcasters has just cleared CTV of the
charge of having done a vile, snakey thing last fall -- running the first
series of The Sopranos on a mainstream TV network where gentlefolk don't
expect to encounter swollen skin and fightin' words.

I have their report in front of me. Given that the Canadian Broadcast
Standards Council has previously been asked to rule on a Jerry Springer
interview with someone who regularly vomits on his partner during sex and a
WWF segment in which an elderly female wrestler feigns giving birth to a
greased hand, no wonder the authors in this case are shy. They provide only
first initial and surname -- I will just call them Mark and Mavis....

The secrecy is odd. So, too, is the entire notion of tearful, uncomprehending
inadequates being invited to torment Sopranos creator David Chase ... The
actor and novelist Stephen Fry..., calls this "being dictated to by the
disordered." Burn their complaints unread, he recommended, but kind-hearted
Mark and Mavis decided against this.

So they issued a 13-page report exonerating The Sopranos of all charges,
saying a) the coarse language etc. is "relevant" to the story; b) the
violence can be excused because the mobsters don't enjoy inflicting it; and,
c) the mobsters mistreat women, yes, but at home, they celebrate "family
values."

I hate to be a nitpicker, but --

a) The whole point of swearing is that it is gratuitous; if it were necessary,
it wouldn't be swearing, would it?

b) What is the look on Tony Soprano's face as he runs over a man and kicks
the bone protruding from his shattered leg, if not pure glee?

And, c) At home, these men humiliate their wives and daughters with the ease
that comes from a lifetime of practice.

But literal-minded Mark and Mavis can't say that. If they do, they might
have to punish CTV for running The Sopranos,which they can't because even
they know it was a brave act. Every episode reveals human truths. The
problem is that they are unspeakable truths in any other forum.

You can't say the unsayable in an official report to the Canadian public.
"Mobsters like to curse, garrotte people and make your daughters strip for a
living. Got that?" The panel had to lie...

In 1981, David Hare wrote a musical called The Knife (about transsexuals)
... was macerated by the critics... (and) was left with the powerful feeling
that he had broken a taboo, but couldn't figure out which one.

It was explained to him that yes, you can write about a guy who chops his
willy off and yes, you can put it to music. But there's one orthodoxy you
can't violate: At the end, he/she can't lose his girlfriend. She still has
to be "there" for him.

Given that Hare's play was already implausible, he refused to make it
ludicrous. Years later, he wrote bitterly that the "official piety," the
American insistence on a happy ending, is endemic, patrolled and positively
Soviet...an unspeakable truth.

Other unspeakable truths?...

That 30 per cent of all people are mentally ill and the rest of us have
periodic attacks.

And that everyone who watches The Sopranos secretly wishes they were
Italian; no matter how pathetic you are, an Italian family will be
passionately interested in you at all times, and this is more appealing than
you'll admit.

"I loathe and despise almost every second of network television," Chase has
said, calling it "pandering, cheerleading family-entertainment shit" and
"propaganda for the corporate state." That's an unspeakable truth.

That The Sopranos is a worthy series, not profane and only reluctantly
violent, now that's an official piety. It suits my purposes and yours,...

But it's still a great big whacking lie, and at some level, I find that
unspeakable.

hmallick@globeandmail.ca
http://www.globeandmail.com/

Thanks to: Italian_American_One_Voice@yahoogroups.com

Three Reviews are very briefly excerpted below.
Only the first seems to be available in complete form via URL, and is noted.
I would be pleased to send the complete articles to anyone requesting
=====================================================
(1)STOP IT, YOU'RE KILLING ME! -
HIT-OR-MISS FLICK TURNS THIS MOB BOSS INTO A MAID MAN

(2)'BOSS' DODGES MOB'S BASIC DARKNESS

(3)MOB MENTALITY EXCELLENCE HELPS EASE A VIEWERS 'SOPRANO" GUILT
=====================================================
(1)STOP IT, YOU'RE KILLING ME! - HIT-OR-MISS FLICK
TURNS THIS MOB BOSS INTO A MAID MAN
New York Post, 05/31/2001
Linda Stasi
"Boss of Bosses" ,Sunday at 8 on TNT
--------
If you are looking for a laugh-out-loud good time, then "Boss of Bosses" is
for you.

No, it's not supposed to be a comedy, but it's so bad that the only benefit
of watching it is to have a good chuckle. And laugh you will - especially if
you are: a) from New York, b) have ever met an Italian - American , and c)
have ever had a conversation with any human of any nationality.
Anyway, this is the story of mob boss Paul Castellano (played by Chazz
Palminteri) who was gunned down in front of Spark's Steak House way back
when.....

This, my friend, is what happens when people with names like Cunningham,
Little, Patterson, O'Brien and Kurins get together to write about Italian -
Americans . They turn us into idiotic house pets.

Where's a good Mafia hit man when you need someone to shoot holes through a
script?

http://www.nypostonline.com/tv/053101a.htm</A>
=========================================
(2)'BOSS' DODGES MOB'S BASIC DARKNESS

The Baton Rouge Advocate, Danny Heitman, 05/31/2001

Filmmakers usually tell stories about the mafia as a way of talking about
something else. "The Godfather" was about many things, but it proved most
compelling in its treatment of the immigrant experience in
turn-of-the-century America.

"The Sopranos," HBO's widely acclaimed mob series, is basically a
dysfunctional family saga in a bad suit.

And like its predecessors, TNT's "Boss of Bosses" (Sunday night at 7) uses
the
mob as a convenient symbol for larger universal themes...

True enough, "Boss of Bosses" serves up the obligatory share of wise guy
pathologies gang warfare, open intimidation, guys getting whacked. But for
the most part, the Castellano that emerges seems sympathetic a sensitive
soul simply misunderstood by his times...
=========================================
(3)MOB MENTALITY EXCELLENCE HELPS EASE
A VIEWERS 'SOPRANO" GUILT
Star-Tribune Newspaper/ Mpls.-St. Paul, by Noel Holston, 05/27/2001

Maybe Dr. Melfi can fit me into her schedule. If not, maybe she can
recommend another shrink. I could use some help. I'm conflicted. Still.
Three seasons into "The Sopranos " and I'm not over the misgivings I have
about spending quality time with a bunch of vicious, low-life creeps and
their parasitical wives and girlfriends.

Some devoted fans of the HBO gangster series have complained that it went
overboard on the old ultra-violence during its just-ended 13- episode cycle.
I had to laugh at their indignation. "The Sopranos " suddenly too violent?
That's like being shocked, shocked to discover that Playboy has pictorials
along with its literary treasures, or that stock-car racing can be fatal.

Anthony Soprano, the series' protagonist (please, let's not dishonor the
term "hero" by using it too casually), was revealed to be a bully, a cheat
and a merciless assassin within the first few episodes. So what if he
suffers from anxiety attacks and an inability to control his spoiled teenage
children, just like millions of other 40-year-old suburban family men? So
what if he has a nice smile? He's a thug. I wouldn't want him in my home. I
wouldn't want him in my neighborhood.......
 
 

In a recent post, I called attention to an article about Professor Joseph
Tusiani that has appeared in the Spring, 2001, number of the NIAF
publication, THE AMBASSADOR.

Emeritus Professor James Mancuso, a frequent commentator on the constant
negative portrayals of Italian-Americans, contributed an article in the same
number of THE AMBASSADOR.

Professor Mancuso's article briefly recounts the inspiring life history of
Henry Di Spirito, an accomplished sculptor.

Di Spirito arrived in The USA, in 1921, when he was 23 years old.  In
Italy, he had learned the trade of stone mason, so that when he settled in
Utica, New York, he readily found employment.  He also had developed some
skills in the art of painting.  When the Great Depression hit the Mohawk
Valley he found work on an art project.

From 1941 to 1943 he attended evening art classes at Utica's famed
Munson-Williams-Proctor.  At that point he began to work in clay and stone.

Using stones that he retrieved from thecreek beds in which he avidly pursued
his passion for fishing, Di Spirito became more and more adept at sculpting.
Area galleries and critics began to notice Di Spirito's creations, and he was
given the opportunity to show his work.

Two of his shows were mounted in Colgate University's Lawrence Hall -
a building whose walls he helped to erect shortly after he had
arrived in The USA. When Di Spirito retired from his work as a stone mason,
he was given studio and the position of artist in residence at Utica
College. Following on a chain of awards and other celebrations of his work,
Syracuse University conferred a doctorate of humane letters on Di Spirito
during the 1989 commencement at Utica College.

Di Spirito's long, productive, and illustrious life ended when he died in
1995, at age 96. His three daughters, Dolores, Theresa, and Loretta now act
as stewards of his legacy, fondly remembering him as a dedicated father who
was equally dedicated to his art.

Reading Mancuso's brief article about Henry DiSpirito reminds us that there
are thousands of similar stories about the  people who were direct heirs to
the Italy-to-The-USA immigration. How do we assure that those stories are
recorded and disseminated?
 
 

From Italy-Net.News

[RAA Preface:Why should Moretti should have to defend himself  for
"supposedly" criticizing Hollywood?]

Film director Nanni Moretti was visibly move during an interview in Los
Angeles.
The interview was conducted before the start of the first ever retrospective
to be shown in the United States of his work.

The event, organized by Cinecitta' Holding, was not only emotional for the
Italian director, but also for critics who had to hold back tears after a
special preview of Mr. Moretti's new film, The Son's Room, recent winner 
of the Donatello Award and the Golden Palm at Cannes.

Mr. Moretti, in response to questions made about past comments, denied that
he is antipathetic toward Hollywood-produced movies. "It's not true that I
have a confrontational relationship with American films," Mr. Moretti said.
 
 

REGIS PHILBIN, SAM DONALDSON, HILLARY CLINTON 
JOIN SONS OF ITALY FOUNDATION TO CELEBRATE 
ITALIAN AMERICAN ACHIEVEMENTS IN EDUCATION

Washington, D.C., June 1, 2001 - A who’s who list of more than 900 of
Washington’s and the country’s most prominent corporate, union, and
political leaders gathered at the National Building Museum Thursday, May 24,
to indulge in world-class Banfi wines, a performance from Italian-American
tenor Michael Amante, and a special awards ceremony honoring Regis Philbin
and ULLICO Inc. and Banfi Vintners executives.

The audience of the Sons of Italy Foundation’s (SIF) 13th Annual National
Education & Leadership Awards (NELA) Gala, the foundation’s most important
fund-raising and public affairs event, included Sens. Hillary Rodham Clinton
and Pennsylvania’s Rick Santorum, numerous other members of congress, former
vice-presidential candidate Geraldine Ferraro, AFL-CIO president John
Sweeney, Democratic National Committee Chairman Terry McAuliffe, fashion
tycoon Massimo Ferragamo, Italian Ambassador Ferdinando Salleo, actors Tony
Lo Bianco and Connie Stevens and White House Senior Adviser to the President
Karl Rove, to name a few.

The order of the evening was a celebration of Italian culture and
recognition of successful Italian-Americans in academics, business, and
philanthropy.

Master of Ceremonies and ABC television anchor Sam Donaldson emphasized the
foundation’s focus on acknowledging the positive accomplishments of
Italian-Americans and supporting education.

“You’ve done a great deal for America and a great deal for all of us,”
Donaldson said. “I work in a business founded by Marconi; tonight we are all
Italian.”

Senior Adviser to the President Karl Rove stopped by the gala to address the
audience and stressed the most important positive contribution of the Sons
of Italy Foundation.

“I would not have made it through school had I not been given a scholarship
that paid my tuition and…books, so I know that the kind of opportunity you
provide these young people is the kind of opportunity that I enjoyed because
someone cared enough to give me a scholarship…” Rove praised the SIF for
being the first national organization to publicly support President Bush’s
education reform plan.

A gracious Philbin, who received the foundation’s first Lifetime Achievement
Award, announced he had met a young woman in his studio audience that day
who had received a scholarship from the SIF and said she could not have
completed her college education without it.

 “I told her I would tell all of you that story tonight because it touched
me very much. It shows you where your scholarships have gone and how much
they have helped people,” he said. “That’s what I love about this
organization - the fact that you have contributed so much to the education
of our young people and helped them so much.”

Philbin, whose father is Irish and mother is Italian, is no stranger to the
SIF, having served as master of ceremonies for the NELA Gala in 1997 and
1998.

ULLICO Inc. Chairman, President, and CEO Robert Georgine was on hand to
accept the foundation’s fifth Humanitarian Award. Georgine has been a pillar
in the labor community for more than 30 years, serving in numerous
leadership roles with ULLICO, the Building and Construction Trades
Department (BCTD) of the AFL-CIO, and the Lathers International Union, where
he held his first national leadership position. As a leader in the American
labor movement, he initiated vast improvements in benefits for union
workers, founding the National Coordinating Committee for Multi-employer
Plans, which works to improve retirement, health coverage, and
apprenticeship and training programs of the BCTD and other unions, and the
Center to Protect Workers Rights, which serves as an educational, research,
and advocacy organization.

John Mariani Jr., chairman of Banfi Vintners/Castello Banfi, the leading
U.S. wine importer, was presented the foundation’s National Education &
Leadership Award. Under John Jr.’s leadership the company, a family business
founded in 1919 by John Mariani Sr., has grown into a multi-million dollar
estate and a noted philanthropic organization through its Banfi Foundation
which supports numerous philanthropic organizations including the SIF,
Catholic Relief Services, and universities. Among his credits, Mariani
pioneered a major change in the American wine business by introducing
Lambrusco to the U.S. market. It quickly became, and remains, the nation’s
leading wine import.

In typical Sons of Italy Foundation style, however, the stars of the evening
clearly were the 13 recipients of the foundation’s National Leadership Grant
scholarships, who attended the gala to receive their awards. Michael
Albanese, Point Pleasant, N.J.; Nathan Irace Burke, East Hartford, Conn.;
Jason Della Rosa, East Providence, R.I.; Dianna Lea Di Iorio, Long Grove,
Ill.; Nicole Di Lello, Congers, N.Y.; Nicole Gerardo, Austin, Texas; Kristen
Teresa Hanisch, Cambridge, Mass.; Mikayla Rose Patella, Snohomish, Wash.;
David Vincent Salvo, Kennett Square, Pa.; Marcella Spera, Hershey, Pa.;
Angela Sposato, Philadelphia, Pa.; James Terry, Noblesville, Ind.; and Ryan
Vandersypen, Alexandria, La., all received scholarships ranging from $4,000
to $10,000 for their academic merits and community service.

The NELA Gala regularly attracts corporate and nonprofit CEOs; members of
congress; cabinet members; dignitaries; leading celebrities such as Stevens,
SIF Spokesperson Lo Bianco, Tony Bennett, Tommy Lasorda, Larry King, Joely
Fisher, Frank Sinatra Jr., Vic Damone, Cindy Williams, Isaac Hayes and
fitness guru Denise Austin; members of the Italian-American community; and
the president of the United States. Proceeds from the gala benefit various
educational, health and medical charities, cultural preservation, disaster
relief and other special projects, to which the SIF has contributed
approximately $74 million since its inception in 1959.

Foremost in the SIF’s charitable efforts is its National Leadership Grant
Competition (NLGC). Each year hundreds of Italian-American students compete
for scholarship awards ranging from $4,000 to $15,000. The SIF and its state
and local affiliates have awarded more than $33 million in scholarships
since 1968. The SIF has contributed an additional $41 million to other
philanthropic causes, including the Alzheimer’s Association, the Cooley’s
Anemia Foundation, the SLE (Lupus) Foundation, Inc., the Children’s Inn at
NIH, the March of Dimes, the Garibaldi-Meucci Museum, earthquake relief in
Assisi and Mexico, and the National Law Enforcement Officers Memorial.

Contact:
Diane E. Crespy
OSIA
219 E St., NE
Washington, DC 20002
(202) 547-2900, phone
(202) 547-0121, fax
dcrespy@osia.org
www.osia.org

For more information on the Sons of Italy Foundation, please contact
202-547-2900, 202-546-8168 (fax), or sif@osia.org. Also visit the Sons of
Italy Foundation online at http://www.osia.org.
 

YOU CAN HOME AGAIN : IMMIGRANTS  WHO WENT BACK
by Donna Przecha
May 10, 2001

Perhaps I am naive, but I always thought the immigration story ended with a
person coming to the United States and never returning.

Who Left and Who Stayed?

Statistics by nationality are quite striking. According to a report in 1908
comparing the departures in 1908 with the arrivals of 1907, 61% of the
Southern Italians returned home. Croatians and Slovenians (59.8%), Slovaks
(56.1%) and Hungarians (48.7%) also had high return rates. The lowest rate,
5.1%, belonged to the Jews (categorized as "Hebrews"). This is understandable
since they fled the pogroms to save their lives and had nowhere to return.
Surprisingly, when you think of all the nostalgic songs about their homeland,
the Irish rarely went back — only 6.3%. Others with a low return rate were
Czechs (7.8%), English (10.4%) and Scandinavians (10.9%). In the middle range
were Germans (15.5%), Serbs and Bulgarians (21.9%), Finns (23.3%), Poles
(33.9%) and Northern Italians (37.8%). Interestingly enough, the Irish and
the Swedish were also groups with a very high percentage of woman immigrants.

Women had less incentive to return because they usually enjoyed greater
freedom in America than they did at home. For example, in most countries, an
unmarried woman — even one independent enough to travel alone to America, get
a job and send money back home — was expected to live in her father's house
until she married. Also, many decided that the working conditions were more
favorable in America than they were at home. Swedish and Irish women, for
instance, often went into domestic service (an occupation available only to
single women). They often found that they were much more comfortable living
as a servant in a wealthy home than they would be living on a family farm
where they performed backbreaking work from dawn to dusk.

Immigrants who returned to their native countries after arriving in America
often did so temporarily (like my grandparents did) but others returned home
to live permanently. Historians, genealogists and government officials are
generally more interested in those coming to the U.S. than those leaving, so
information on return immigration is hard to find. And, since the US didn't
start keeping records on departing passengers until 1908, there are not a lot
of reliable statistics. Even those official numbers are less than accurate
because they often indicate only that a person is leaving the US without
mentioning whether the departure is permanent or just for a visit home. They
also don't indicate if the trip is the first arrival/departure to/from the US
or if the traveler made multiple trips.

This lack of detailed record-keeping has the potential to throw your research
off-track if you aren't careful. For example, someone who permanently
immigrated to America but made four trips home would show up in immigration
records five times. On the other hand, return migration also has the
potential to help you solve some mysteries. Sometimes you'll find an ancestor
listed in records for a ship passage that doesn't fit with previous research.
Keep in mind that this may simply be record of a second passage to America. A
young man, for example, may have come to America alone the first time, then
returned home to marry, and then entered the US a second time with his bride
to settle down.

Who Returned?

As many as one in three American immigrants may have returned to their home
country either for a visit or to live there permanently.

We have more statistics relating to the huge migrations of the late 19th and
early 20th centuries. Although statistics on departing passengers were not
kept until 1908, figures that have been developed by scholars reveal some
interesting patterns. Several believe that, overall, as many as one in three
American immigrants returned to their home country. In some years there was
one departure for every two arrivals. (However, as stated above this does not
mean the person was leaving permanently or that he had not made other trips.)
During the depression of the 1930s there were actually more people leaving
the US than entering.

Women had less incentive to return to their native country because they
usually enjoyed greater freedom in America.

Why Did They Return?

Birds of Passage

The reasons for returning home are as complex as the human mind. Some
returned in what they considered triumph whereas others went home in defeat.
Some never intended to stay in America permanently. We may think that "guest
workers" who come for temporary work are a recent phenomena but they are not.
The Italians were accustomed to moving about Europe in search of temporary
work and many came to the United States with that in mind. They wanted to
work for a season or two and make enough money to buy a farm back home. They
never intended to stay. These short-timers were sometimes known as "birds of
passage" and were often resented by Americans.

Reasons for returning home range from nostalgia and retirement to
disappointment and economic depression.

Retirement

Even those who stayed in America many years may have retired to the homeland.
With a small savings they could live well and be looked upon with respect by
the villagers since they had lived in America. Many, especially Italians,
wanted to return home to die so they could be buried in the family
churchyard. Often the elderly parents would return home but their descendants
stayed in America.

The Marriage Market

Since the dowry was very much alive in many parts of Europe and emigration
had reduced the number of eligible males, many women came to the United
States to earn some money to improve their position in the marriage market.
Marriage was very much an economic arrangement between two families and a
woman's social position, physical comfort and standing in the community for
the rest of her life depended on having enough assets to be considered a
desirable match by a young man's family. If she could work for two or three
years, she could return home in a much better bargaining position.

Nostalgia

For some the American dream just didn't work out. They got discouraged and
went back. However, many of these people found that their memories of home
had been viewed through rose colored glasses and they were equally unhappy
with their old problems. They had become more American than they realized and
found there was a lot of good to be said of their new country. Some of these
people eventually immigrated to America a second time.
   Some found America too diverse. They missed the familiar atmosphere where
people spoke the same language, and conformed to the same standards.

Economic Depression and Family Obligations

A countrywide economic depression also caused many to return. Problems with
the family left behind was also another reason for returning, but this would
probably only be temporary. Some women had to return to take care of a sick
parent. When they left the US they may not have known whether they would stay
permanently in the old country or return to the US

Diversity or Chaos?

Some found America too diverse. They liked the familiar rules and setting
where people spoke the same language, attended the same church and conformed
to the same standards. They also hated seeing their children growing up as
foreigners to them. However, trying to return these children to the old
customs was usually a losing battle. The children either stayed in the U. S.
when the parents returned or they came back as soon as they were of age. More
affluent immigrants might have felt that America had no culture and preferred
the refinements of the old world. As with those whose return was driven by
nostalgia, these people also often found there was much to admire about the
new world with its energy and freedom.

Unwilling Emigrants

In England the local authorities were responsible for taking care of the
poor. In some cases they decided the best solution for the indigent was a one
way ticket to America. Since these people were unwilling emigrants in the
first place, they might return home as soon as they had earned enough money
to pay their passage.

No Pioneer Spirit

Some immigrants just did not have the personality required to uproot their
lives and settle in an entirely new, and sometimes hostile, environment. It
wouldn't have mattered where they went. They were simply unhappy outside of
their familiar setting.

If you find out that your ancestors left America, you should take a moment
to consider the reasons for going home.

How This Affects Genealogy

It is interesting to keep all of these possibilities in mind when you find
records of your ancestors in passenger lists. Was this their first trip to
America or were they returning from visiting family in their homeland? If you
find out that your ancestors left America, you should take a moment to
consider the reasons for going home. Were they "birds of passage" or did they
simply miss their comfortable surroundings? Just as most people like to
imagine the reasons for their ancestors' immigration to America, it is
equally interesting to imagine their reasons for returning home.

http://www.genealogy.com/96_donna.html?Welcome=991253207
 
 

AMERICAN ITALIAN CULTURAL ROUNDTABLE HONORS
HELEN BAROLINI and FRED GARDAPHE

The American Italian Cultural Roundtable holds its 13th Annual
Celebration and Awards Luncheon at noon on Sunday, June 10th at the
Ristorante Antonio, 140 West 13th Street in Manhattan. This year the
Roundtable honors author Helen Barolini for her contribution to
Italian-American letters, and Professor Fred Gardaphe for his contribution to
Italian-American studies.

Helen Barolini is an award-winning, author whose fiction and non-fiction
has created a bridge between the United States, her homeland, and Italy, the
ancestral land where she lived much of her married life to the late Italian
poet and journalist Antonio Barolini. Awarded a writing grant from the
National Endowment for the Arts for her first novel, Umbertina, additionally
her short stories and essays have appeared in literary journals, collections,
and anthologies. She has been cited in the series Best American Essays for
1991, 1993, and 1999 and her essay, "How I Learned to Speak Italian" is among
The Best American Essays 1998. She is the author of seven books and over
fifty stories and essays that have appeared in literary reviews, anthologies,
and collection. Barolini received an American Book Award and other honors: a
writing residency at the Rockefeller Foundation's Bellagio Center on Lake
Como in Italy, and the MELUS 2000 Lifetime Achievement Award. With The Dream
Book recently re-issued by Syracuse University Press, all of Helen Barolini's
books are now in print.

Dr. Fred Gardaphe directs the Italian-American Studies Program at the
State University of New York at StonyBrook. He earned his M.A. in English at
the University of Chicago and his Ph.D. in Literature at the University of
Illinois at Chicago. He taught English and Educational Studies at Columbia
College in Chicago. At Columbia he created and taught writing, literature
courses and courses in Italian/American film and literature from 1978-1998.
He is Associate Editor of Fra Noi, an Italian American monthly newspaper,
Editor of the Series in Italian American Studies at SUNY Press, and
co-founding co-Editor of Voices in Italian Americana, a literary journal and
cultural review. He is past President of the American Italian Historical
Association (1996-2000), and served as Vice President of the Italian Cultural
Center in Stone Park, IL from1992-1998. His edited books include: New Chicago
Stories, Italian American Ways, and From the Margin: Writings in Italian
Americana.

Singer-guitarist Enrico Granafei provides entertainment for Sunday's
Luncheon. A multilingual singer, he regularly performs in Italy, Canada and
the USA. He plays and sings traditional and contemporary Italian folk music.
His recordings include Jazz, Bossa Nova and Neapolitan folk songs.

In 1984 the late Dr. Michael R. Cioffi and Angela Marrantino founded the
American Italian Cultural Roundtable, Inc. as a not for profit cultural and
educational organization to promote an appreciation and understanding of
Italian and Italian American culture in the tri-state area. The Roundtable
motto is: "Understanding Through Culture." In 1986, Fordham University began
sponsorship of the AICR, with Dr. Joseph Perricone as liaison. Topics
include: literature, art, drama, music, dance, fashion, science and History.
Formats include: panel discussions, lectures, exhibits, presentations and
performances in collaboration with colleges, universities and other
educational and cultural institutions. Dr. Richard Sorrentino currently
serves as President and Angela Marrantino as Chair of the Board.

For further information about attending the Luncheon or joining the
Roundtable, contact Richard Sorrentino (732) 229-5977 or Angela Marrantino
(212) 243-3293.
 

Thanks to :ladolcevita_italianinelmondo@yahoogroups.com

Posted at http://ilpostinocanada.com/

Volume 1, Number 8 - May 2001

LOOKING FROM SIGNAL HILL INTO THE NEXT MILLENIUM
MARCONI'S 100th ANNIVERSARY IS HONOURED

by Laura D¹Amelio

On Dec. 12, 1901, Guglielmo Marconi, a man born in Bologna, Italy, stood
atop Signal Hill in Nfld, Canada and received the first signal to be
transmitted across the Atlantic Ocean.  The beacon was originating from
Cornwall, England and the event was to become a starting point for the
advancement of telecommunication for the next 50 years. Marconi¹s
progression with his experiments would lead to breakthroughs in
communications both in radio and broadcasting and in navigation systems.
It would affect everyday lives of citizens and connect  the world in ways
never thought possible.

The Embassy of Italy recognized the historic importance of Marconi on April
25th as Mario Boffo, acting Italian ambassador to Canada, told the invitees
to a dinner at the Ambassador¹s residence of the events planned in Marconi¹s
honour. Marconi¹s achievements as an Italian working in Canada have been a
special interest to the Italian Embassy.  Boffo emphasized the importance of
Italy and Canada working in cooperation in high technology to continue
Marconi¹s vision and outlined the steps that have already been taken to
achieve this goal.

Through Marconi celebrations, the Embassy would like to convey three
specific messages to both Canadian and Italian citizens.  The first is that
Italy has a tradition of science and technology and is not just a country of
artists and writers.  Italian scientists such as Galileo, Volta and Fermi
dispel the notion that Italy¹s role in innovation is anything less than
significant.

 ³Marconi was not an isolated case, but the expression of a culture,² says
Boffo in explaining the second message they wish to communicate: Italy is
not the backwards country it is often portrayed to be.  Italy has
contributed to the advancement and modernization of humankind and will
continue to do so.

The third message lies in the events themselves.  The commemorative projects
are based on the notion that relations between Canada and Italy have always
had a technological element from the beginning.  The voyage of Caboto is
cited as an example.  For the celebrations and commemorative projects the
Embassy is working with representatives from Heritage Canada for the
philosophy of the celebrations and the Industry Canada for the industrial
and technological aspects of the initiatives.

The government of Newfoundland is also getting involved in the event by
organizing  a conference for Italian and Canadian telecommunication
specialists in September. The Wireless Vision Congress will gather experts
in telecommunications in St. John¹s, from Sept. 26 to 28.  The goal of the
conference, according to promotional literature for the event, is to ³look
beyond the day to day  to the vision of what the world will become² with
advancements in telecommunications.  Congress Chair John Kelly has insisted
that this is not a trade show but a ³thinkers¹ congress.²

Interactive sessions between panelists and delegates who develop new
technology and those who actually use it will hopefully create an  exchange
ideas.  Also issues to be discussed with cover protection of cultural
identity and diversity, overcoming distance in rural and remote areas, and
sea-to-sky possibilities. Speakers at the conference will include Jean
Monty, chairman and chief executive officer for BCE Inc., Frank Plastina,
president of Wireless Internet at Nortel Networks and Brian Tobin, Minister
of Industry.

All these events were spurred by the positive results of an Italy-Canada
Investment Forum which took place in February as well as a Memorandum of
Understanding agreed to and signed by the two countries in Ottawa.  In the
Memorandum the ministries of Foreign Affairs and Trade for both countries
agreed to such things as an exchange and comparison of information on
international business practices, information technology, interdepartmental
coordinating and exploring forms of cooperation.

Eventually the groups will meet to discuss these subjects and incorporate
private sector expertise to establish a Canada-Italy Business Sector. While
using the celebration of this historic anniversary as an opportunity to
foster and extend business relations between the two countries, Boffo made
it clear that they must also send a message to the citizens, both Canadian
and Italian and get them involved.

Canadian telecommunication experts can now also take advantage of the year¹s
festivities through the Guglielmo Maroni scholarship established by the
Italian government.  This scholarship allows Canadian researchers and
specialists in telecommunications undertake advanced studies in Italy.  The
Italian Embassy hopes that this will promote the development of contacts
while sending the message that Italy has the ability to train more than
artists and musicians. ³We expect that Canada will soon establish a similar
scholarship for Italian Citizens, thereby doubling the results of this
program,² says Boffo.

Through the three-fold message Boffo laid out, the embassy hopes to change
the stereotypes often associated with Italy.  Boffo said that it is
important to banish the traditional cultural view of Italy, which ³suffers
from an excess of tradition and folklore, it is often too regional and
focused on the past.² With this image in the minds of Canadians and young
Italian-Canadians, it would be hard to get them interested in what Italy has
to offer.  To see Italy as a progressive and advanced country, rather than a
backwards, traditional nation, will draw researchers, investors and tourists
to a country prepared to take the world stage.

More importantly however, Boffo said this must be done ³in the interest of
Italians in Canada, who can once again make their heritage interesting to
their children.²  Perhaps Marconi¹s work will do more than keep
communication alive in the end, but will help to maintain a culture through
his innovation and spirit. For more information on the Wireless Vision
Congress, you can visit www.wirelessvision.nf.ca.  For information about the
100th anniversary commemorate events in Newfoundland and Labrador go to
www.gov.nf.ca/marconi.

The Guglielmo Marconi Scholarship, 2001-2002

Guglielmo Marconi received many honours and several honorary degrees for his
work in telecommunications. In 1909 he was awarded the Nobel Prize for
Physics for the development of wireless telegraphy, he sent as delegate to
the peace conference in Paris of 1919, was nominated to the Italian senate
in 1929 and chosen president of the Royal Italian Academy (1930).

Now Canadian researchers can receive the honour of working in the name of
Marconi to continue his dream. Inspired by the work of Marconi, the Italian
government is offering a nine month scholarship to Canadian citizens wishing
to pursue research and internship programs in Italy in the field of
telecommunications. Post-graduate students, professionals, teachers and
specialists in this field who meet the necessary requirements will be
selected and start their program in November.  Knowledge of Italian is
mandatory unless applicants have applied for self-directed research or the
course or research they are doing is held in their language.

The monthly stipend is 1,200,000 lira, however the scholarship does not
cover airfare and room and board.  The deadline for applications is June 15,
2001.  For more information, contact the Embassy of Italy, Cultural Office,
(613) 232-2401 or visit www.italyincanada.com.
 

Thanks to:  ladolcevita_italianinelmondo@yahoogroups.com

 May 27- June 3

ITALY'S GOLDEN MOMENT

All of Italy applauded the recent news that its beloved director, Nanni
Moretti, had won the coveted Palme d¹Or award at the 54th Cannes film
festival.

Cannes¹ 10-person jury, led by actress and director Liv Ullman confirmed
Moretti¹s ranking as one of Italy¹s contemporary filmmakers when they chose
The Son¹s Room, a sensitive tale about a family devastated by the death of a
son. Moretti¹s winning film was a labour of love for the filmmaker who also
wrote and starred in the movie. It was the latest ­and perhaps most
important ­ accolade the director has received to date about his emotional
drama which has already received three Italian Oscars (David di Donatello)
following its release in Italy.

Well-known for his Dear Diary (1994), Moretti has been critized in the past
for often marring his softly humorous films with narcissistic voyeurism.
Nominated for the top prize three times before, the auteur this time around
pushed the right buttons when he created a film that was a restrained,
sensitive movie of loss.

"I¹m very happy when I¹m told that this film is very hard and very gentle at
the same time,¹¹ Moretti told a media conference after the prize ceremony.
He added that he had been at his home in Rome when he received a call last
Friday to come to Cannes for the closing ceremony ­ but he hadn¹t dared
believe it was to receive the Palme d¹Or. "Often in Cannes, there is no
relation between the reaction by audiences and the jury¹s decision,¹¹
Moretti said.

Moretti beat Austrian director Michael Haneke¹s controversial film about
voyeurism and masochism, The Piano Teacher, which picked up three prizes,
including best actress for Isabelle Huppert.

While newspaper critics had lauded Moretti and tipped him to win, the
director, never thought he would win. "Often there is no causal relationship
between what the public likes and what the jury likes, so the fact that
people said I was a favorite didn¹t reassure me in the least," he told
reporters after the victory ceremony.

It is no wonder all of Italy is applauding the director¹s magnificent feat ­
it is the first time the country has won the coveted prize in 23 years.
Moretti¹s film, which received a six-minute standing ovation at the
festival,was immediately praised in newspapers all over Italy.
"Nanni Moretti has won, Italian cinema has won," declared a front-page
editorial in Rome daily La Repubblica. "It is a victory for all those in
Italy who share Moretti's love for culture, intelligence, zeal and
intellectual honesty."

"Long live Moretti," announced Milan's Corriere della Sera. "Simplicity and
profundity, sincerity and artistic maturity are what have made The Son¹s
Room a point of reference in modern cinematography," wrote one of Italy¹s
foremost film critics Tullio Kezich on the front page of Corriere.
"This is resounding confirmation that the big screen can be a mirror on life
... touching everyone¹s conscience."

"La Stanza del Figlio (The Son¹s Room) is a beautiful, serious, moving and
admired film," wrote La Stampa, adding that it perfectly reflected the
intellect of the man who made it.

http://www.tandemnews.com/italy.html
Corriere Canadese http://www.corriere.com/
 

AIDA vs HBO

Bill Dal Cerro, among who among other important positions in the I-A
battle against Defamation, is an officer of AIDA, and reports that:

 Last week, HBO's lawyers filed a Motion to Dismiss; (I'm assuming that
the Motion is based on an accompanying Motion for Summary Judgment)

However, AIDA is now compiling an Answer, stating why the case should
go to trail (using statistics, poll results, media and court examples of
defamation, etc.)  May take another month. Stay tuned!)