Articles by: Gabrielle Pati

  • Life & People

    Don’t go to Howard Beach if You’re…Images of Italian Americans vs the Real History

    Mention the word “mafia” to any Italian American in New York and a few typical responses will resound from them. The Godfather theme song might resonate in their throats, or outer borough neighborhoods like Howard Beach and Belmont might be referred to as centers of mafia. Few people will cite a legitimate fact about the mafia and its history in New York, much less know about Joe Petrosino, who was the first Italian American police lieutenant and fought the Black Hand in New York.
     

    It is not shocking how little Italian Americans as know about historical figures of their own ancestry, like Joe Petrosino, who represents positive aspects of our culture and heritage. I am one of the many Italian Americans who lacked knowledge of Joe Petrosino. One reason for this ignorance is the profound grip that the popular media has on our perception of heritage and identity. Often it is the media that provides youth with an idea of who they are, what their culture is supposed to be like, and what roles to fulfill if they are to assimilate into the bulk of their own ethic group. We learn from movies and television what to emulate, at least when we are impressionable children growing up in a big city like New York.
     

    I grew up in Ozone Park, an Italian American neighborhood in Queens. The

    reputation of my neighborhood and Howard Beach (one mile away) as being centers of mafia activity had a huge influence on the youth growing up there. My peers and I were exposed to ‘typical’ depictions of Italian Americans. The boys were supposed to be masculine, tough, and underhanded. As for the girls: submissive, perky and pretty, and ditsy were the traits to attain. I saw guys act tough and quote lines from Goodfellas all the time. The girls who did not conform to the ditsy and pretty expectation, as presented in films and on TV, were often shunned and mocked by the males.
     

     Looking back on my childhood, I see what a profound effect the media had on the Italian American peers I grew up with in south Queens, and how many of my friends tried to conform to the ‘guido’ stereotypes. I remember one time riding my bike to Howard Beach and being made fun of because I had a ‘boy’s haircut’ at the time. Even though I am an Italian American, can speak Italian and have a strong connection with my heritage, I do not fit into the ‘tan and blond’ mold that so many Howard Beach girls comprise. Therefore, I was an outsider.
     

     Sure, we may love pasta and our families; some stereotypes hold validity. Yet we should know the truth about our own heritage and defeat ignorant stereotypes before they spread further. We can do this by learning about real Italian Americans in history, like Joe Petrosino. In addition, we can reject the negative images that the media portrays, and chose to define ourselves as individuals.
     

    Teaching future generations of Italian Americans about heroes like Joe Petrosino contributes to the positive image of Italian Americans. Yes, John Gotti and his associates did operate in Howard Beach, and hate crimes have been committed there. This does not mean everyone living in the vicinity is a bigot, nor should kids growing up in these areas strive to be ‘wise guys.’ One of my best friends is African American and refuses to ever step foot in Howard Beach for fear of being beaten up. This exemplifies the negative images of Italian Americans that dominate pop culture and need to be put to an end.
     

    The exhibit on Joe Petrosino shows us that there are figures in Italian American history who fought for justice, worked hard and honestly, and strove to make New York a decent city. The facts show that nowadays many Italian Americans are educated professionals that earn honest livings. If Italian American parents use education as a tool to defeat ignorance, we can resume control of our own identities and prove the media wrong. As far as reconstructing a positive image of Howard Beach, we have a long way to go.
  • Life & People

    I-TEXSTYLE. One Tenacious Business: "The Première Vision Preview New York". Why is Italian Fashion forever changed?

    Despite claims that the economy was collapsing, Fifth Avenue during summer 2009 was as beautiful as ever. People strolled past the Armani and Prada stores in the blazing sun. Tourists posed for photos in front of Versace and Fendi. Display windows, stylishly arranged by creative minds, were vibrant and full of life. One has to look deeply into the behind the scenes world of fashion to detect signs of an economic crisis.

     Though the fashion industry has indeed been hit hard by the wane of consumer shopping during recent months, the moda italiana sector has its head above water. In fact, the economic crisis is prompting fashion ownders and designers to be even more innovative and adopt strategic approaches in order to keep afloat and surpass the competition.

    The 19th edition of the PREMIÈRE VISION PREVIEW NEW YORK was held on July 15 and 16, 2009 and was held at the Altman Building in Chelsea. Anyone in

    the Italian fashion business acknowledges the power of this event; it is the most important liaison between the Italian fashion industry and the United States. This exhibition provides the opportunity for companies to

    review each other and present themselves on a commercial level to American

    consumers and companies.
     

    The participating companies from Italy were the most abundant in show and relevant, in terms of trendsetting for the next season. I-TEXSTYLE, a group organized by the Italian Trade Commission, was dedicated to presenting the foremost fabrics and styles of Italian collections for Winter 2010. In total 27 Italian companies exhibited, with an astounding number (12) of them coming from Lombardy, the fashion capital of Italy.
     

    Due to the economic crisis, less vendors than usual were present at this year’s PREMIÈRE. There are typically over one hundred exhibitors, the 97 companies this year signaled the major cutbacks that companies are forgoing.
     

    Despite it all, Italian ingenuity showed itself in diverse styles, fabrics, and also strategies by which fashion moguls achieve goals.

    Some designers/owners believe the key to surviving the crisis is studying consumer trends. According to Angelo Uslenghi, Trends Committee Coordinator and Forecaster at Milano Unica, companies need to be more “marketing oriented,” and essentially curtail its line to the desires of its clients. Once a company assesses what is selling, it can focus in on that product or line and expand it. Luca Breschi, Vice Direttore di Generale Olmetex, agrees that companies need to focus on research that will promote work on products aimed to draw consumers’ attention. 
     

    Aniello Musella, director of the Italian Trade Commission, notes that Italian companies have invested a lot of research into new methods of working with materials and designs. He emphasizes that this economic crisis has been an opportunity for innovation. Pier Luigi Loro Piana, President of Milano Unica, says that the Italian fashion sector aims to maintain a stable level in the second part of 2009, with the prospect of that 2010 being a more optimistic year.
     

    Many Italian fashion experts have been debating the idea of lowering prices. Michele Vigano`, CEO of Seterie Argenti , believes that lowering prices is an inadequate philosophy for the fashion business. Corrado Pedroni of Pizval has also decided not to lower prices due to the temporary nature of the crisis. With lower prices in Italian fashion arrives an obvious downgrade of quality in products that are supposed to be the ideal the fashion industry.
     

    Apparently, the commitment to quality design is a primary priority for most experienced top dogs in the Italian fashion industry.  Companies want to keep their costumers happy, whether they are the upper echelon that typically frequents Fifth Avenue, or anyone that they take fashion seriously. The industry also thrives on crowds of tourists who are flock to Fifth Avenue, often seeking memorabilia of the Italian fashion mecca in NY. To lower prices and quality would degrade a large aspect of the moda italiana. Finding out what consumers are seeking and purchasing, and then incorporating those trends into the production stream, is critical for Italian companies. 
     

    Each season Italian companies flaunt their designs and innovations. Some of the new trends in this season include using colors inspired from nature: deep reds and yellows, earth tones, green grass after rain. Designers are using various shades of gray and silver, imperfect geometric patterns and fur. The flow of creativity in Italian fashion runs wild, and products are sure to push consumers’ buttons.

    What it boils down to for most companies: do your homework, in the most business oriented sense. Companies must study the markets to understand what the consumers want and envision wearing. This is the key to surviving the crisis that will, with any luck, taper off with the start of 2010. Consumers: you seem to have the upper hand in this challenging moment in Italian fashion, because production of merchandise is curtailed to your demand.

    Each day we make choices about what we put on our bodies.  Buying designer clothing does not coincide with most people’s top priorities. One thing to consider is that when look good we tend to feel even better. On occasion, a well made and beautiful piece of designer clothing can brighten up someone’s wardrobe and outlook. It’s alright to treat ourselves to a gorgeous dress or suit that will last for years because of its quality. Plus it feels gratifying to walk into a designer shop and out with a chic bundle of Italian beauty.   
  • Life & People

    Vendetta in New York: Terranova Uncovers History and the Old World

    Dennis Loiacono, co-writer of the upcoming play Terranova, was doing family history when he stumbled upon archival articles about Josefina Terranova, a young 16-year-old Sicilian girl who was put on trial in 1906 New York for murdering her abusive aunt and uncle. He was drawn into the tumultuous true story of an impoverished immigrant girl who signifies so much about what life was like for Italians in the United States in the early twentieth century, when they poured into New York harbor by the masses. Many of them transported ancient customs that

    conflicted with the American way of life they encountered. The play Terrvanova presents a girl who is both typical and extraordinary, submissive yet ultimately aggressive in her call for justice.

    Young Josefina is given to her relatives to be brought up, since her mother is too poor to care for her, and her father is deceased. She finds a world of violence and incest in the home of her aunt and uncle, who force her to work in a brothel and have no qualms exploiting her in appalling ways. Josefina's world seems to brighten up when her aunt and uncle arranged her marriage, one tradition of her Old World Sicilian culture. The solace Josefina finds her in marriage is short lived, and the archaic notion of the vendetta from her Sicilian roots is carried out in a brutal yet arguably justifiable act.
     
    Dennis's experience growing up with a grandfather who was an immigrant from Sicily partially inspired him to co-write Terranova with his cousin Pamela Monk. They intend to show Terranova's audience what countless people endured in order to assimilate into American environments. Discrimination and poverty commonly confronted immigrants, and the strongest conquered these facets of life. Watching his older family members retain some Italian cultural aspects and acquire American lifestyles taught Dennis about the rocky road to assimilation that many stumbled upon to achieve success and eventually feel a sense of belonging.

    Josefina is a villain for some and a heroine for others. Yet her strength and will to live are undeniable, and the documented attention to her trial from Italian immigrants across the American landscape suggests that her fate represented a greater fate for young women of her time.

    The themes of Terranova are manifold and heart wrenching. One feels sympathy for the abused Josefina who has limited to no say in how the course of her life unfolds—until the day she commits murder. In the eyes of Americans, she is a killer who must be severely punished with her life. Yet the act of violence that ensues in Terranova may be condonable from the viewpoint of Old World tradition. In the Sicilian culture in which Josefina was born and raised, one's reputation is immeasurably important: when a woman's reputation is spoiled, she is worth nothing. For Josefina, her admittance into a new family meant safety and her only prospect for a new life. Her aunt and uncle robbed her of many things, but Josefina would not allow her reputation to die without revenge. This is the Old v. New World conflict that Terranova poses to viewers. How can we justify the murder of two people by placing the fault on the Sicilian vendetta, and when that tradition of retaliation sparks murder in America, what is to be done?
     
    In 1906 women had few basic rights, and for Josefina to be on trial probably meant imminent death. A hotshot New York lawyer takes her defense, and through his efforts, the real story is set loose in a dramatic sequence of courtroom testimony. People faint as the horror and shame are released in words as Josefina explains how and why she takes her vendetta. Another aspect of the Old World portrayed in Terranova is religion and its role in the lives of Italian immigrants. Josefina's claim that she heard the voice of God telling her to murder her relatives may not validate her deed to Americans; but in Sicily, is this a credible excuse?

    A notable theme that writers Dennis Loiacono and his cousin Pamela Monk explore in Terranova is how immigrants and following generations change. It is natural to give up aspects of a culture and replace them with new ones adopted from one's immediate surroundings. Perhaps it is even advantageous to abandon to the wayside those archaic traditions of the Old World: the obsession with honor, pride and fulfilling the vendetta that would restore reputation through the enemy's downfall.  Through their work Dennis Loiacono and Pamela Monk hope the audience will acknowledge that "we must remember where we cam from" and bear witness to the struggle of one girl who battles so much to survive.

    Terranova will be playing at The Lafayette Street Theatre, 45 Bleecker Street (at Lafayette), Sunday August 16th through Thursday August 27th.
    Written by Pamela Monk and Dennis Loiacono
    Directed by Theresa Gambacorta

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