A note from the Artistic Director Next Wave is underpinned by learning. Since we last saw you, we have deliberately shifted the way we frame what we do, to focus on learning as opposed to development. Learning does not tend to have a fixed beginning or end point:
Attitudes among our relatives range from mild amusement, like the cousin who reminisced about playing with my great-uncle's bodyguards' guns, to extreme distaste.
My father used to tell his students that we were a typical immigrant family: Al Capone opened soup kitchens during the Depression The father of one late cousin-by-marriage drove a truck for Capone during Prohibition. My cousin had nothing but praise for Capone: I did think about what happened to the not-so-loyal employees, but refrained from comment.
The Sopranos was basically about family structures from beginning to end. After a few episodes the crime bits could have been deleted and it wouldn't have made much difference.
Breaking Bad started like that too new baby, disabled son, teacher-pupil relationship etc. I think you may be on to something with the family business thing.
I surmise that if there's anything unique to American mob-worship, it has to do with our general distrust of the state. It may be that fondness for gangsters is driven in part by how stories about them present a funhouse mirror version of the American Dream: I haven't seen The Godfather in a while, but I will grant you that James Caan getting shot 10, times at the toll booth could be considered somewhat cartoonish.
If you admire a serial killer you've got a problem, and you probably shouldn't tell people this fact about yourself, but it's not at all strange to be fascinated and weirdly drawn to their stories.
On the other hand, people openly want to be Scarface, or Michael Corleone. They would be proud to be like them and they know that others would envy them for being like them. I think that's an important distinction. But yeah, I agree with sonascope's sentiment.
It's not just psychological distance and an admiration of their old-fashioned chivalric codes of honor, especially since those codes are so easily and often broken: No, there's something really capitalist, authoritarian and proto-fascist about our admiration of mobsters, who despite their alleged love of family, are cold, calculating, heartless men who place money over human life in the most immediate way.
They literally kill you because you fail to pay them. Their toughness is really a deep coldness. Perhaps we love them because we feel some of that coldness in ourselves, and wish we didn't have to fight it. It should be no surprise that people love Trump, given how much they love, say, Tommy DeVito, because so many of us just want to steamroll over anyone who gets in our way on our grasping path for material happytimes.
I thought that an admirable aspect of the Sopranos was the way in which they showed that Tony was really just a sociopathic narcissist incapable of real fellow-feeling.
And yet, somehow, I still fucking love to watch him and all his ilk. They created these alliances and maintained these equilibriums.
That was for their fathers and grandfathers, who murderously roamed the streets of New York. Avellino wanted to be in the open, not in the shadows.
He wanted to be integrated into the real world, not isolated from it. The gangster, left to his own devices, grows up and goes away.
A generation ago, we permitted that evolution. Old Giuseppe Lupollo was given that opportunity; Mike and Chuck were not. This has not prevented them and their descendants from feeling proper moral outrage when, under the changed circumstances of the crowded urban environments, latecomers pursued equally ruthless tactics.
He was indicted for selling meth and later for his part in the murder of a union leader. He spent a couple of decades in prison. When he got out, he was shot in his Lincoln Town Car driving down the streets of Philadelphia, in broad daylight.
The murder is unsolved. His son has spent 31 years in federal prison, and is in for life without parole, for a first-time nonviolent marijuana offense.
You can bet your ass it's because of who his father is. It was also quite a lot of marijuana, but seriously. I saw pictures of my grandmother's cousin after his murder in the Inquirer.
Took all the romance out of the whole notion for me. I don't watch mob movies any more, it's all lies. Like others have said in this thread, organized crime was a way for oppressed minorities--in this case, Jews--to climb up the American ladder.highlighted by Ursula Le Guin’s ‘Carrier Bag Theory’ of creativity and fiction.
Le Guin states ‘the Hero has decreed that the proper shape of the narrative is that of the arrow or spear’ 6, effectively framing. Once this idea is understood, Le Guin’s essay ‘The Carrier Bay Theory of Fiction’ becomes easy to grasp.
In my next post, I will provide a detailed analysis of the essay and some critical opinions about it. Ursula Le Guin: opere [attheheels.com] Nasce il 21 ottobre a Berkeley, attheheels.com completo Ursula Kroeber Le Guin.
Rocannon's World; Il mondo di Rocannon. The inspiration that brings the works together is Ursula le Guin's text 'The Carrier Bag Theory of Fiction', and the gallery also provides a supporting booklet with additional written and visual responses to le Guin's writing from Reed, Jakob Rowlinson, Connor Harrison, Laura Dee Milnes, Lotte Andersen and Joel Chan and Sarah Howe.
The occurrence of manufactured or alienated setting of the world in research fiction clearly questions the nature of being human. The adverse effects of technology in the future world of human beings could easily be within the pages of science fiction. Technology becomes the deciding factor of the fate of mankind and the world.
Ursula LeGuin, Children's Literature, Woman, American Literature, Postmodernists.