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Each of us is a book waiting to be written, and that book, if written, results in a person explained.
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Thomas M. Cirignano (The Constant Outsider: Memoirs of a South Boston Mechanic)
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Tell him, Cosa Nostra says, HELLAO!
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Waheed Ibne Musa (Johnny Fracture)
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Outside Milan, the couple visits the gas station where Italian dictator Benito Mussolini and his mistress were hanged by an angry mob.
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Bill O'Reilly (Killing the SS: The Hunt for the Worst War Criminals in History)
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Some things never change for Italians: their love of art, architecture, opera, pasta, and cutting people's balls off when they misbehave.
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Louis Ferrante (Mob Rules: What the Mafia Can Teach the Legitimate Businessman)
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For those of you that truly believe there's no such thing as the mafiya, I would be more than happy to sell you your own fast lane on the Belt Parkway, you know, so you can avoid the rush hour commute. The mafiya is real as a heart attack and, contrary to popular consensus, has been steadily growing in power since its inception in the 1920s. Italian organized crime just doesn't operate out in the open anymore, former mayor Rudy made sure of that.
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Gary Govich (Career Criminal: My Life in the Russian Mob Until the Day I Died)
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I didn’t know anything about “made men” back then. That’s a special status in the alleged mob where you go through a ceremony and after that you are then untouchable. Nobody can whack you without approval. You get extra respect wherever you go. You are part of the “in” crowd, the inner circle. It only applies to Italians. Later on I got so close to Russell that I was higher up than a made man. Russell even said that to me. He said, “Nobody can ever touch you because you are with me.” I can still feel him gripping my cheek with that strong grip of his and telling me, “You should have been an Italian.” If
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Charles Brandt ("I Heard You Paint Houses", Updated Edition: Frank "The Irishman" Sheeran & Closing the Case on Jimmy Hoffa)
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Each generation identifies with a small group of people said to have lived lives exemplifying the vices and virtues of that generation. If one were to choose a trial lawyer whose life reflected the unique characteristics of America’s “Wild West” of a criminal justice system in the latter half of the Twentieth Century, that person likely would be my father.
New York City of the 1960s until the turn of the 21st century was the world’s epicenter of organized and white-collar crime. During those four decades, the most feared mafia chiefs, assassins, counterfeiters, Orthodox Jewish money launderers, defrocked politicians of every stripe, and Arab bankers arriving in the dead of night in their private jets, sought the counsel of one man: my father, Jimmy La Rossa.
Once a Kennedy-era prosecutor, Brooklyn-born Jimmy La Rossa became one of the greatest criminal trial lawyers of his day. He was the one man who knew where all of the bodies were buried, and everyone knew it. It seemed incomprehensible that Jimmy would one day just disappear from New York. Forever.
After stealing my dying father from New York Presbyterian Hospital to a waiting Medevac jet, the La Rossa Boys, as we became known, spent the next five years in a place where few would look for two diehard New Yorkers: a coastal town in the South Bay of Los Angeles, aptly named Manhattan Beach.
While I cooked him his favorite Italian dishes and kept him alive using the most advanced medical equipment and drugs, my father and I documented our notorious and cinematic life together as equal parts biography and memoir.
This is our story.
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James M. LaRossa Jr. (Last of the Gladiators: A Memoir of Love, Redemption, and the Mob)
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Colin. Just the name made Alessandro’s gut burn. He knew the man wanted his wife, even if Brianna was too blind to see it. The moron had been cuckolded by the paragon of supposed virtue, his wife Carrie and now he had finally opened his eyes and seen what Alessandro had known all along. Brianna put every other woman in New York to shame. No woman could come near her beauty, her passion, her fire. Colin had tossed her aside for the angelic Carrie and now he was changing his mind. Oh no you don’t, you miserable fucker. “Her friend indeed,” Bernardo drawled, his Italian accent thick with unmistakable implication. “Dat’s da truth. He no make her cry all da time.” That was directed at Alessandro, with small dark accusatory eyes. “He nice.” Alessandro couldn’t look at those eyes without feeling a sickening pang of guilt. She’s mine! He wanted to scream. Mine! Mine! Mine! “Oh yes. Very nice. He was very nice when he held her at the cemetery and very nice when he was dancing with her at Adresca.” That made Alessandro’s head lift in surprise. “Oh yes, my boy. She’s been there, cleaning up the rubble and word is that she’s working on re-opening it. Her friend Colin has been quite helpful in that endeavour.” “I don’ like how you say dat,” Will said scowling. “Really young William, I only speak the truth,” Bernardo taunted. Alessandro’s mind was racing. NO! Not Colin. He could not let that imbecile take Brianna away from him. He’d have to be eliminated somehow. Alessandro began to plot all the different ways he could ensure that Colin Neally stayed away from his wife, permanently. They all involved grisly, violent methods. He could not be allowed to win Brianna.
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E. Jamie (The Betrayal (Blood Vows, #2))
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because mob figures often serve as scapegoats for the government and quickly become everyone’s favorite bad guys. This country has a long tradition of bias against Italian-Americans, and we love making villains out of individuals who are linked to organized crime. Defendants accused of such ties are almost always discriminated against, almost always assumed to be guilty. In America, if your last name ends in a vowel, you’re immediately suspect.
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David Langum (William M. Kunstler: The Most Hated Lawyer in America)
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Bruce wears a gold watch and Italian glove-leather loafers. Not only is he in high school, he’s also a mob kingpin.
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Robin Hardwick (If You Lived Here, You'd Be Perfect By Now: The Unofficial Guide to Sweet Valley High)
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commandant. late 17th century: from French commandant, or Italian or Spanish commandante, all from late Latin commandare ‘to command’ (see COMMAND). command-driven adj. [COMPUTING] (of a program or computer) operated by means of commands keyed in by the user or issued by another program or computer. command economy n. another term for PLANNED ECONOMY. commandeer v. [with obj.] officially take possession or control of (something), especially for military purposes: a nearby house had been commandeered by the army. take possession of (something) by force: the truck was commandeered by a mob. [with obj. and infinitive] enlist (someone) to help in a task: he commandeered the men to find a table. early 19th century: from Afrikaans kommandeer, from Dutch commanderen, from French commander ‘to command’ (see COMMAND).
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Angus Stevenson (Oxford Dictionary of English)
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The Irish Mob, the Italian Mafia, the Polish Braterstwo, the Russian Bratva—they’re all warring for control of Chicago, as they have been for generations.
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Sophie Lark (Stolen Heir (Brutal Birthright, #2))
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Cade was the brother to one of the most powerful Italian mob bosses in the world, and his hacking skills made him potentially even more dangerous. Yet, no one, not even an Armanelli, could make them back down when it came to their baby sisters.
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Shain Rose (Corrupted Chaos)
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We Italians will kill you,” a John Gotti associate once warned a potential snitch over a government wire. “But the Russians are crazy—they’ll kill your whole family.
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Robert I. Friedman (Red Mafiya: How the Russian Mob Has Invaded America)
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Their work ethic and strong arms and backs were sought to build a rapidly growing America, but Italian workers were often both underpaid and resented by other Americans looking for jobs. At the turn of the century, a public notice printed in New York City newspapers offered the following pay for laborers at the Croton Reservoir in Westchester County, New York: Common labor, White $1.30–$1.50 a day Common labor, Colored $1.25–$1.40 a day Common labor, Italian $1.15–$1.25 a day On March 14, 1891, an angry mob had stormed a jail in New Orleans, pulled out nine Italian men accused of murdering the chief of police, grabbed two more off the street, and hanged them all, the largest mass lynching in American history. Another five Italians were lynched in New Orleans eight years later. Between 1880 and 1920, at least 50 Italians were lynched, and during his Memorial Day speech in St. Louis in 1917, former President Teddy Roosevelt insisted that all immigrants must speak English and become “Americans,” not people with hyphenated identities like Italian-Americans.
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Jon Pessah (Yogi: A Life Behind the Mask)
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A society like the Italian, the very disorder of which renders the action of the State useless and ridiculous, is not without its charm and helps us to grasp this political truth: the principal task of the State today is to justify its own existence. To do so, it has to annihilate society's capacity to survive by itself. Surreptitiously undermining all forms of spontaneous regulation, deregulating, desocializing, breaking down the traditional mechanisms of bodies and antibodies, in order to substitute its artificial mechanisms - such is the strategy of a State locked in a subtle struggle with society - exactly like medicine, which lives off the destruction of natural defences and their replacement by artificial ones.
In Rome, Niccolini manages to counter the obsessive fear of terrorism with a cultural revival. To the Romans who no longer dare go out in the evenings he offers festivals, performances, poetry galas. He brings culture down into the street. He combats the terrorist festival with the cultural, advertising festival. He will be criticized for wasteful expenditure, but the only way to fight terrorism is not to create 'solid' institutions, but to put upon the stage a culture that is as sacrificial, eccentric, and ephemeral as the terrorist acts themselves. One festival against the other. If terrorism is a sort of murderous advertising campaign which keeps our imagination on tenterhooks, it can be countered only by a piece of even more effective advertising.
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Jean Baudrillard (Cool Memories)
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The March of Time) CBS chief William S. Paley and Time publisher Henry R. Luce were conspicuously present. Few in the assembled party liked the show, but plans continued for its premiere, which took place on a partial CBS hookup a month later. Luce remained uneasy over the show’s bellicose nature: it sounded like a midway event, with barkers and hustlers hawking the news. It seemed to fly in the face of journalistic integrity, causing many Time editors to remain skeptical even when it quickly caught on with critics and the public. The March of Time was a success whether Luce liked it or not. It was nothing if not an attention-grabber. Its sound was like an authentic Movietone newsreel, with shouting mobs, riveting sound effects, and music that conveyed the merciless, relentless pace of time. Through this vivid audio potpourri, listeners would “see” the rise of Hitler, the trial of Bruno Richard Hauptmann, the abdication of Edward VIII, the controversy over the New Deal, the Italian conquest of Ethiopia, and the tragedy of the Spanish Civil War. Many listeners were convinced that they were hearing the voices of real newsmakers on the scene, and some wondered aloud how it was done.
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John Dunning (On the Air: The Encyclopedia of Old-Time Radio)
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While the Italian mob’s heyday in Cleveland was during the sixties and seventies, Youngstown remained an epicenter for decades longer, featuring constant FBI attention as well as the occasional car bombing or sniper takedown of a major player. During one attempt to pay off the town’s mayor, a priest was involved as a money handler. Ties run deep in Youngstown,
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Michael Koryta (The Silent Hour (Lincoln Perry, #4))
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Italians were confined to the district by a combination of illiteracy and the constant tribute demanded by their wayward countrymen. It was a ghetto ruled by the Black Hand, a criminal organization with roots in Sicily. And though the mobsters carried black-handled revolvers as they conducted business in the neighborhood, the name Black Hand originated in the old country. Mob activity flourished during that era. A train of organized corruption ran from Cleveland to Canton to Steubenville. Cherry Street was the center of the Canton action, an avenue where racketeering joints and roving prostitutes vied for the same souls as St. Anthony’s Catholic Church.
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Raymond Arroyo (Mother Angelica: The Remarkable Story of a Nun, Her Nerve, and a Network of Miracles)
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Roosevelt was contemptuous of races and nations he considered inferior. When a mob in New Orleans lynched a number of Italian immigrants, Roosevelt thought the United States should offer the Italian government some remuneration, but privately he wrote his sister that he thought the lynching was “rather a good thing” and told her he had said as much at a dinner with “various dago diplomats … all wrought up by the lynching.
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Howard Zinn (A People's History of the United States)
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The Mob loved Sinatra not just because he was Italian-American, but because he had crossed over into a nether world in which they could never belong. And he got there because he could do something few people in the world could do as well, and no one in the same way: he could sing.
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Nancy Jo Sales (The Bling Ring : How a Gang of Fame-Obsessed Teens Ripped Off Hollywood and Shocked the World)
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A curious factor in the name circulation period was that I was never called in to confirm the heritage of my biological father. La Cosa Nostra only inducts Italians, and stepsons don’t count. For all they knew, Louis Grillo could have been Irish, Jewish, or Greek and changed his name. Normally, a recruit would have been scrutinized on that subject, but I was never called in to explain. It was thought that someone must have known that Grillo was Italian or that perhaps my father had cleared the matter.
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Michael Franzese (Blood Covenant: The Story of the "Mafia Prince" Who Publicly Quit the Mob and Lived)
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What are you saying? That all Italians are meant to be in the mob?” “Uh, no,” the guy said, backtracking. “Because that’s racist, Phil.
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Navessa Allen (Lights Out)