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The most interesting of the classic movie genres to me are the indigenous ones: the Western, which was born on the Frontier, the Gangster Film, which originated in the East Coast cities, and the Musical, which was spawned by Broadway. They remind me of jazz: they allowed for endless, increasingly complex, sometimes perverse variations. When these variations were played by the masters, they reflected the changing times; they gave you fascinating insights into American culture and the American psyche.
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Martin Scorsese (A Personal Journey With Martin Scorsese Through American Movies)
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… the Nazis, without admitting it, learned as much from American gangster organizations as their propaganda, admittedly, learned from American business publicity.
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Hannah Arendt (The Origins of Totalitarianism)
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[Author's Note:] When I was sixteen, two of my cousins were brutally raped by four strangers and thrown off a bridge in St. Louis, Missouri. My brother was beaten and also forced off the bridge. I wrote about that horrible crime in my first book, my memoir, A Rip in Heaven. Because that crime and the subsequent writing of the book were both formative experience in my life, I became a person who is always, automatically, more interested in stories about victims than perpetrators. I'm interested in characters who suffer inconceivable hardship, in people who manage to triumph over extraordinary trauma. Characters like Lydia and Soledad. I'm less interested in the violent, macho stories of gangsters and law enforcement. Or in any case, I think the world has enough stories like those. Some fiction set in the world of the cartels and narcotraficantes is compelling and important - I read much of it during my early research. Those novels provide readers with an understanding of the origins of the some of the violence to our south. But the depiction of that violence can feed into some of the worst stereotypes about Mexico. So I saw an opening for a novel that would press a little more intimately into those stories, to imagine people on the flip side of that prevailing narrative. Regular people like me. How would I manage if I lived in a place that began to collapse around me? If my children were in danger, how far would I go to save them? I wanted to write about women, whose stories are often overlooked.
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Jeanine Cummins (American Dirt)
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The truth is, it is the younger inexperience gangsters who often cut down the older original gangsters. The best way for this young thug to prove himself to others, is to simply cut down an established gangster.
Thus, this cruel cycle of senseless violence repeats itself, with the younger being more vicious and rootless than his predecessor. It’s the dog, who kills the lion, and once he has killed the lion, he’s no longer a dog; he’s now a lion himself.
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Drexel Deal (The Fight of My Life is Wrapped Up in My Father (The Fight of My Life is Wrapped in My Father Book 1))
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As regards the social apparatus of repression and coercion, the government, there cannot be any question of freedom. Government is essentially the negation of liberty. It is the recourse to violence or threat of violence in order to make all people obey the orders of the government, whether they like it or not. As far as the government’s jurisdiction extends, there is coercion, not freedom. Government is a necessary institution, the means to make the social system of cooperation work smoothly without being disturbed by violent acts on the part of gangsters whether of domestic or of foreign origin. Government is not, as some people like to say, a necessary evil; it is not an evil, but a means, the only means available to make peaceful human coexistence possible. But it is the opposite of liberty. It is beating, imprisoning, hanging. Whatever a government does it is ultimately supported by the actions of armed constables.
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Ludwig von Mises (Liberty And Property)
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You leave that life out there,” he said, motioning to the street. “You cross the threshold of your home and that’s it. Don’t bring any of that into your home. Ever.
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Frank Lucas (Original Gangster: My Life as NYC's Biggest Baddest Drugs Baron)
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The Russian Revolution is a radical change in history. The abolition of private property has created a new world. You may like it or detest it, but it’s new. Hitler’s socialism was a sham to get a mob of gangsters into power. He’s frozen the German economy just as it was, smashed the labor unions, lengthened the working hours, cut the pay, and kept all the old rich crowd on top, the Krupps and Thyssens, the men who gave him the money to run for office. The big Nazis live like barons, like sultans. The concentration camps are for anybody who still wants the socialist part of National Socialism."
[...]
"I’m sorry. I’m impressed with Hitler’s ability to use socialist prattle when necessary, and then discard it. He uses doctrines as he uses money, to get things done. They’re expendable. He uses racism because that’s the pure distillate of German romantic egotism, just as Lenin used utopian Marxism because it appealed to Russia’s messianic streak. Hitler means to hammer out a united Europe.... He understands them, and he may just succeed. A unified Europe must come. The medieval jigsaw of nations is obsolete. The balance of power is dangerous foolishness in the industrial age. It must all be thrown out. Somebody has to be ruthless enough to do it, since the peoples with their ancient hatreds will never do it themselves. It’s only Napoleon’s original vision, but he was a century ahead of his time.
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Herman Wouk (The Winds of War (The Henry Family, #1))
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I will gather up a lifetime of things unsaid, write them down, and then offer them all to be lit up for security and burned. All at once.
And then I can watch the whole thing turn to ash. The whole damn thing.
Light the match, and watch it burn.
What a loaded bonfire that would be though, if this gets burned when I finish filling up the whole book.
What a cleansing experience that will be!
If flames could speak, what a story they would tell.
They say that the original bonfires were the burning up of bones. Bad bones. Bad people. Enemies. Turning bones to ash. And it was the burning up of curses and all things bad as well. God knows we have had and still have enemies, and even curses. Real ones.
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Suzy Valtsioti (Mallias The Greek Gangster the story of a card cheat)
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Fresno Bulldogs: This gang is one of the few California Hispanic gangs not to claim allegiance to the Surenos or Nortenos. Latin Kings: This Chicago-based group consists of more than 160 cliques in 30 states and has as many as 35,000 members. Mara Salvatrucha (or M.S. 13): This violent Hispanic organization has origins in El Salvador. It has roughly 8,000 members in the United States and another 20,000 outside the United States. Bloods: With its roots in Los Angeles, this African American street gang exists in 123 cities and 33 states. Crips: Also founded in Los Angeles, this African American gang exists in 40 states and has 30,000 to 35,000 members. Gangster Disciples: This Chicago-based African American gang is active in at least 31 states and has more than 25,000 members. Vice Lord Nation: This Chicago-based African American gang has around 30,000 members in 28 states.
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Steven Briggs (Criminology For Dummies)
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Burns knew then that his ass was grass. He’d arrested the wrong man. As they originally thought, Lloyd was the one behind everything and they would have to let Trigga go once again. “Okay,
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Leo Sullivan (Keisha & Trigga 3: A Gangster Love Story (Keisha & Trigga: A Gangster Love Story))
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Making her debut in 1947, Black Canary was the archetype of the new Film Noir era heroine. Originally, Black Canary was a mysterious female vigilante, who played the role of criminal in order to infiltrate the underworld and bring its gangsters to justice. A gorgeous blonde in a low cut black swimsuit, bolero jacket and fishnet tights, Black Canary was actually Dinah Drake, a florist who wore her black hair tied in a bun, and sensible, high-necked blouses. When trouble brewed, Dinah slipped into her fishnets and pinned on a blonde wig to become the gutsy, karate chopping Black Canary. But Dinah had another incentive to lead a secret life. A roguishly handsome private detective named Larry Lance became a frequent customer in Dinah’s florist shop. He had a knack for getting into trouble, and Dinah would usually end up switching into her Black Canary guise to rescue him.
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Mike Madrid (The Supergirls: Fashion, Feminism, Fantasy, and the History of Comic Book Heroines)
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We can see American English downtown in any city in the States. We would look up a block of “apartments” to a “penthouse,” be deluged by the “mass media,” go into a “chain store,” breakfast on “cornflakes,” avoid the “hot dog,” see the “commuters” walking under strips of “neon,” not “jaywalking,” which would be “moronic,” but if they were “executives” or “go-getters” (not “yes-men” or “fat cats”), they would be after “big business,” though unlikely to have much to do with an “assembly line” or a “closed shop.” There’s likely to be a “traffic jam,” so no “speeding,” certainly no space for “joy-riding” and the more “underpasses” the better. And of course in any downtown city we would be surrounded by a high forest of “skyscrapers.” “Skyscraper” started life as an English naval term — a high light sail to catch the breeze in calm conditions. It was the name of the Derby winner in 1788, after which tall houses became generally called skyscrapers. Later it was a kind of hat, then slang for a very tall person. The word arrived in America as a baseball term, meaning a ball hit high in the air. Now its world meaning is very tall building, as typified by those in American cities. Then you could go into a “hotel” (originally French for a large private house) and find a “lobby” (adopted from English), find the “desk clerk” and the “bell boy,” nod to the “hat-check girl” as you go to the “elevator.” Turn on the television, flick it all about and you’re bound to find some “gangsters” with their “floozies” in their “glad rags.” In your bedroom, where the English would have “bedclothes,” the Americans have “covers”; instead of a “dressing gown” you’ll find a “bathrobe,” “drapes” rather than “curtains,” a “closet” not a “wardrobe,” and in the bathroom a “tub” with a “faucet” and not a “bath” with a “tap.
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Melvyn Bragg (The Adventure of English: The Biography of a Language)
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Strawberry Cheesecake Streusel Muffins Streusel Topping 3 tablespoons White Sugar 3 tablespoons Dark Brown Sugar ½ cup + 3 tablespoons Flour Pinch Coarse Kosher Salt 5 tablespoons butter, melted Cream Cheese Filling 4 ounces cream cheese ⅓ cup white sugar 2 teaspoons beaten egg 1 tsp vanilla extract Muffin Batter 2 cups all purpose flour ½ cup granulated sugar 2 tsp baking powder ½ tsp salt 1 egg ¼ cup canola oil 1 cup whole milk (original recipe used ¾ cup) 1 tsp vanilla extract 1½ cups strawberries, cut into small pieces Instructions cont… Preheat oven to 400. Line a muffin tin with cupcake liners and spray each liner with non-stick spray. Set aside. To make the streusel topping, mix together sugars, flour and salt. Drizzle warm butter over mixture and toss with fork to form pea size pieces. Set aside. To make cream cheese filling, beat cream cheese, sugar, egg and vanilla extract together with an electric mixer in a medium bowl until smooth. Set aside. To make the muffins. Whisk flour, sugar baking powder and salt in a medium bowl. In a separate bowl, whisk the egg, oil, milk and vanilla extract. Add the dry ingredients into the milk mixture. Stir until just incorporated. Do not over mix or you will get a tough muffin. Fold in the strawberries. Scoop a heaping tablespoon of the muffin batter into each cupcake liner. Add a heaping tablespoon of the cream cheese filling. Add another heaping tablespoon on batter onto of the cream cheese filling. I was able to fill the muffin tins full. Sprinkle the streusel topping on the tops. Bake for 25 minutes. Allow to cool in muffin tin for 10 minutes. Remove and chow down.
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Sapphire Knight (Gangster (Chicago Crew))
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The idea that people act freely upon the world has been part of our common understanding for a very long time. In Book III of his Nichomachian Ethics, Aristotle provides a lengthy analysis of the differences between actions that are “counter-voluntary,” voluntary, or made “by decision.” 6 According to Aristotle, counter-voluntary action happens by force or ignorance and evokes sympathy or pity in the observer. If a gangster kidnapped your family and
threatened to kill them unless you steal money from your employer, complying would be a counter-voluntary action by force. Counter-voluntary action by ignorance is something you do voluntarily but produces a regrettable effect, such as attacking your son because you mistake him for an intruder. Similarly, in Aristotle’s view, acts done in anger are counter-voluntary.
In contrast, voluntary behavior has its origin within the person and is neither ignorant nor driven by strong emotion. In Aristotle’s view, animals and children are capable of voluntary action, but not decision. Furthermore, impulsive action is voluntary but does not involve decision in Aristotle’s sense. Only mature adults who act after reasoned deliberation are capable of voluntary action with decision.
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Stuart Vyse (The Power of Delusion: The Irrational Psychology of Superstition, Ritualism, and Overoptimism (Chinese Edition))
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Because Jail number 4 had people like Jaswinder Singh alias Jassa, who considered himself to be the real boss of Tihar. He would flaunt the numerous murder cases against him and took pride in his gangster cred. Originally from Delhi, he had committed so many murders that punishment for another was not a deterrent for him and so everyone, including me, was fearful of him. Actually fearful was an understatement. The judge in Jassa’s case was so terrified about his safety, he refused to give any order in the case. He simply recused himself. And he wasn’t the only judge to do so. Jassa would openly threaten us all – I had two clear choices, either be scared of him or to make him toe the line.
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Sunil Gupta (Black Warrant: Confessions of a Tihar Jailer)
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The most important thing in business is honesty, integrity, hardwork... family... never forgetting where we came from.
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Frank Lucas
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Vietnam was originally a matriarchy and, in 111 B.C. China tried to integrate it into the Han Empire, the first resistance leaders were women. A female military commander who managed, for a time, to successfully oppose the Chinese occupation of Vietnam, famously exhorted her troops: 'I'd like to ride storms, kill sharks in the open sea, drive out the aggressors, reconquer the country, undo the ties of serfdom, and never bend my back to be the concubine of whatever man.' Such heroines became iconic symbols of Vietnamese patriotism.
The Chinese ruled Vietnam for one thousand five hundred years, imposing Confucian principles of male superiority. This provoked a deep divide between the north of the country, strongly influenced by China, and the south which kept alive the more relaxed culture of feminine sensuality. The nation's struggle for independence, finally won in 1428, was shaped by women's struggles for liberation from (Chinese) patriarchy.
The whore was a distinct image of South Vietnam during two decades of the Vietnam War until the communist North's victory in 1975. Saigon — now Ho Chi Minh City — the 'Paris of the East' was dominated by corrupt politicians, army officers and gangsters who enjoyed and profited from prostitution rackets. After Communists seized power, a decade of severe repression followed, then an increasingly flagrant resurrection from prostitution in the late 1980s in reaction to poverty and austerity and austerity under communism.
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Mekong Moe (The Vietnam whore)
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1941, historian Lawrence Wroth wrote eloquently of the “harassed individual with ink-stained fingers, half craftsman, half man of letters, who in dim and cluttered shops in all the considerable towns of the continent was fighting the battles of the Nation long before most of his fellow citizens realized that a war was in progress or that a Nation was being born.
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William Oldfield (Inspector Oldfield and the Black Hand Society: America's Original Gangsters and the U.S. Postal Detective Who Brought Them to Justice)
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In its initial character, the gangster film is simply one example of the movies' constant tendency to create fixed dramatic patterns that can be repeated indefinitely with a reasonable expectation of profit.
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Robert Warshow (The Immediate Experience: Movies, Comics, Theatre, and Other Aspects of Popular Culture)
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The Gangster Squad, as it is called, was originally formed in 1946 as a response to criminals from back East coming west to shake down local restaurants. The owners of famous L.A. eateries like Mocambo and Brown
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Bill O'Reilly (Killing the Mob: The Fight Against Organized Crime in America (Bill O'Reilly's Killing Series))