June 11, 2012

One for the Coach: The Vince Lombardi Story

The Immortal Vince
By Niccolò Graffio
“A dictionary is the only place that success comes before work. Hard work is the price we must pay for success. I think you can accomplish anything if you're willing to pay the price.” – Vince Lombardi
Americans love sports!  Though the same could be said truthfully about elsewhere, it is especially true here.  The reasons for this are manifold.  The fact that television, which gave spectator sports to the masses, was invented and first popularized here no doubt played a large part.  Capitalism may have been a Dutch invention but crass Capitalism (which includes sports-oriented consumerism) is a decidedly American one.

Association football, or as it is more commonly known throughout the world, football or soccer, has never quite attracted the crowds here that it has in other countries.  This is no doubt due to the fact it has a lot of competition for the hearts and minds of Americans.  Baseball has been called ‘America’s pastime’ and historically has been thought of as this country’s most popular spectator sport.  It may surprise many, however, to learn the most popular sport in America, in terms of both participants (at the high school and college level) and spectators overall is American football.  Americans like to refer to Association football as ‘soccer’ while reserving the name ‘football’ for its beloved pigskin-kicking sport.

Basketball and ice hockey round out the ‘Big Four’ professional team sports popular here in the states, though changes in demographics are no doubt responsible for fueling the surging popularity of soccer.  If current trends continue, there can be little doubt one day soccer will make up one of the “Big Five”.  

Baseball has been successful as an American export.  It enjoys a large following in countries such as Japan (where it is the leading spectator team sport), Mexico, Canada, the Dominican Republic, Columbia, Panama, South Korea, Taiwan, Venezuela and even Communist-run Cuba.  Canada has one team, the Toronto Blue Jays that is a franchise in Major League Baseball (MLB).  Many immigrants from these countries have wound up playing and distinguishing themselves on MLB teams including designated hitter (and World Series MVP winner) Hideki Matsui of Japan, who helped the New York Yankees crush the snot out of the defending champion Philadelphia Phillies in the 2009 MLB World Series.

While basketball ranks third, behind baseball and football, in terms of popularity of professional sports (per National Basketball Association or NBA viewership), according to the National Sporting Goods Association, more Americans play basketball than any other team sport.

Ice hockey is the only one of the ‘Big Four’ professional team sports not to have originated (in its present form) here in the U.S.  It is actually a Canadian invention, and while it has become very popular here, Canadian players continue to dominate it.  Since the welcome collapse of Communism in Eastern Europe, however, a number of players have flocked to these shores from Eastern and even Northern Europe.  In addition, an increasing number of American players, such as New York Rangers forward Chris Kreider, are showing they can give as well as they can get on the ice.  The Canadians have their work cut out for them.

Despite the global obsession with Association football, American football has likewise found a niche outside of this country’s borders.  American military personnel stationed overseas were in large part responsible for fueling its popularity, and in fact to this day make up a significant portion of the amateur players in other countries.  Germany, Italy, Switzerland, France and Mexico are among the countries that have amateur leagues that are members of the IFAF (International Federation of American Football).  The IFAF serves as an umbrella organization for a number of more region-specific leagues, such as the European Federation of American Football.  The American Football Association of Germany (AFVD) oversees more than 230 German clubs.

As with baseball, though, it is the Japanese who dominate American Football (outside the U.S.).  The Rice Bowl, an event sponsored by the Japanese American Football Association that occurs in Japan every January 3rd, routinely attracts over 60,000 spectators.

Southern Italians have not made much of a mark for themselves in ice hockey and basketball (yet).  With baseball, of course, our people have produced such notables as New York Yankees shortstop Phil Rizzuto and even greats such as the ‘Yankee Clipper’ Joe DiMaggio!   American football would be no different.  In fact, one of our own has risen to the ranks of the iconic in football, a legend in his own right. 
A plaque dedicated to Vince Lombardi in Sheepshead Bay, Brooklyn
Photo by New York Scugnizzo
Vincent Thomas “Vince” Lombardi was born on June 11th, 1913 in Brooklyn, NY to Enrico “Harry” Lombardi and Matilda “Mattie” Izzo.  His father’s parents were immigrants from Salerno in the region of Campania, Italy.  His mother’s parents were from the town of Vietri di Potenza in Basilicata.  Vince grew up in the Sheepshead Bay area of Brooklyn.  His father and uncle ran a successful butcher shop in the Meatpacking District of Manhattan which kept the family clothed and well fed during the Great Depression.

Vince’s parents were both deeply religious Roman Catholics; a fact reflected in his upbringing.  As a youth he was an altar boy at St. Mark’s Catholic Church.  He also helped his father at his butcher shop, but later admitted he didn’t care for it.  It was also during this time he had his first exposure to the game of football, playing with an uncoached football league that operated out of his neighborhood.

In 1928 he entered the Cathedral College of the Immaculate Conception, a six-year secondary program designed to prepare him for the Catholic priesthood.  However, after four years he decided not to pursue this as a career.  He then enrolled in St. Francis Preparatory high school which at that time was located in Brooklyn (it is now located in Fresh Meadows, Queens).  By this time he had improved enough as a football player that he earned a place on the virtual All-City football team.

The following year he accepted a football scholarship to Fordham University in the Bronx.  In spite of his relatively short size (5’8” tall and 180 lbs.) he demonstrated to his coach that he was a good player.  By the time he reached his senior year, he was placed as the front guard for Fordham football teams’ offensive front line.  It was during this year, in a game against the Pittsburgh Panthers, that he would suffer a serious injury, causing him to lose several teeth, thus giving him his distinctive smile.

He graduated from Fordham University in the spring of 1937.  However, with America still in the throes of the Great Depression there was little in the way of job opportunities, and he didn’t wish to work in his father’s meat cutting business.  A year later his father encouraged him to enroll in Fordham Law School but he dropped out after only one semester.

He explained his wish, instead, to marry his sweetheart, a young woman named Marie Planitz.  Vince’s father, however, was adamant that before his son could marry he had to procure a job in order to support the family.  To assuage his father, he took a job as an assistant coach at St. Cecilia Roman Catholic high school in Englewood, NJ.  The position had been offered to him by the school’s new head coach, Andy Palau.  Palau had been the quarterback (and Vince’s teammate) at Fordham University.  In addition to his coaching duties, Lombardi also taught Latin, chemistry and physics at the school, all for the princely sum of just under $1,000 year. 

When Vince’s girlfriend announced to her father her desire to marry she was informed he did not want her marrying an Italian.  This would not be the first or the last time in his life that Vince Lombardi would be exposed to the rampant and overt anti-Italianism that existed in America back then (and still exists, albeit in a more covert form).  In spite of her father’s protests, Marie married her sweetheart on August 31st, 1940, and according to her later account, almost immediately realized she had made a mistake!

To listen to her, he was obsessed with football!  He spoke of it even on their honeymoon, which he cut short to get back to his coaching job at St. Cecilia’s.  There were also the problems of his authoritarian personality, his perfectionism, and above all…his temper.  Had he chosen a military career path, he might have one day made an excellent general.  Not too long after marrying, Marie would suffer a miscarriage, a devastating event that sent her down a whirlwind path of depression and chronic drinking.  She would eventually give birth to a son, Vincent Harold (Vince Jr.) Lombardi, on April 27th, 1942.  She later gave birth to a daughter, Susan, on February 13th, 1947.

Around the time of Vince Jr.’s birth Andy Palau left his head coaching job at St. Cecilia’s to accept a position at Fordham U.  Lombardi, in turn, took over the head coaching position at St. Cecilia’s.  He would spend the next five years as head coach, drilling his brand of perfectionism into his charges minds and bodies.  Just one year later St. Cecilia’s football team was recognized as the top high school football team in America. 

The year his daughter was born he became the coach of freshman football and basketball teams at his old alma mater, Fordham U.  A year later he was bumped up to assistant coach for Fordham’s varsity football team.

The next year he accepted another assistant coaching position at West Point where he worked as offensive line coach for Earl “Colonel Red” Blaik.  It was here that Lombardi refined his leadership skills as a coach.  Blaik emphasized to Lombardi the importance of execution, something that would become the hallmark of Vince’s style of coaching.  He would remain at West Point for five years with mixed results.  His last two seasons there were unsuccessful due to a cadet cheating scandal that resulted in 95% of the varsity football team being discharged by administrative order.  Years later, when asked what he learned from his experience there, Lombardi stated that Blaik’s decision not to resign taught him the value of perseverance.

Vince Lombardi began his professional NFL career with the New York Giants in 1954, when he accepted a position with them as assistant coach.  The previous year the Giants had finished the season with a dismal 3-9 record.  By the third season, Lombardi, working with the great defensive coordinator Tom Landry, had turned them into a team of championship caliber that defeated the Chicago Bears for the title in 1956.

In spite of this victory, Lombardi chafed at the thought of remaining an assistant coach.  He thus jumped at the chance when offered the twin positions of head coach and general manager with the Green Bay Packers in January, 1959.  Lombardi found the Packers in even worse shape than the Giants!  In the previous season their record was a pathetic 1-1-10 (one win, one tie and 10 losses).  

Rather than be discouraged, he took this as a challenge he felt he could surmount.  The Packers soon learned Vince Lombardi’s brutal reputation as a coach was well-deserved.  He put his players through punishing training regimens that bordered on inhumane…but they quickly produced results!  His first season with the new team ended with them notching up a 7-5 record.  In recognition of his feat the NFL named him Coach of the Year.

The following year the Packers, under Lombardi’s iron discipline, won the NFL Western Conference for the first time in 16 years!  He then took the team against Philadelphia Eagles in the 1960 NFL Championship game, suffering the only Championship loss of his career as head coach of the Packers.  After the game was over he berated the team for allowing the Eagles to stop them just a few yards from the goal line and a victory.  He told them, “This will never happen again.  You will never lose another championship.”

Like his parents, Vince Lombardi was deeply religious.  His zeal for Catholicism, plus his ability to lead his team to victory, earned him the moniker “the Pope” from the Packers.  His firsthand experience with the ethnic bigotry suffered by so many of our people in this country likewise left a deep emotional scar, and throughout his tenure with the Packers he maintained a zero-tolerance policy for prejudice of any kind.

Like so many other heroes, he had feet of clay.  In his case this was manifested by his temper.  In truth, he was aware of this and prayed often for help in controlling it.  Nevertheless, it remained a point of contention in a tumultuous marriage.

Like so many others of his generation, he was stubborn and lackadaisical when it came to his health.  Plagued by digestive problems, he ignored his doctor who suggested he get a proctoscopic exam…that would cost him dearly!  On June 24th, 1970 he was admitted to Georgetown University Hospital in Washington, DC complaining of severe intestinal distress.  Tests revealed he had an aggressive colo-rectal cancer.  Subsequent tests a few weeks later revealed the cancer was terminal.  

Lombardi received numerous friends, family and fans at his bedside.  President Richard Nixon himself called Lombardi and told him America was behind him.  Despite the outpouring of support, on September 3rd, 1970 Vince Lombardi, head coach of the Green Bay Packers, died of cancer.

His funeral was held four days later in St. Patrick’s Cathedral in New York City with approximately 1,500 in attendance.  

During his tenure with the Green Bay Packers they won five NFL Championships and two Super Bowls, making him one of the greatest head coaches in NFL history.  This is reflected in the fact the NFL Super Bowl trophy is named in his honor.  Even after his death his name and legendary persona have remained in the popular culture.

Back in 1973 actor Ernest Borgnine portrayed Lombardi in a one-hour ABC TV movie entitled “Legend in Granite”.  In 2010 actor Dan Lauria portrayed him at the Circle in the Square Theatre on Broadway in a play called, appropriately enough, Lombardi.  It co-starred actress Judith Light as his wife Marie.  

His legacy to the game of American football, plus the lessons he left us for leading a successful life, lesson that include pride, perseverance and devotion, have certainly earned this man a place among the Titans of our people. 

Further reading:
1) David Maraniss: When Pride Still Mattered: A Life of Vince Lombardi: Simon & Schuster, 2000
2) Vince Lombardi: What It Takes to Be #1: Vince Lombardi on Leadership:  McGraw-Hill, 2003 

June 8, 2012

Earthquake Relief for Northern Italy

ITALIAN AMERICAN MUSEUM INITIATES FUNDRAISING EFFORTS FOR PAIR OF DEVASTATING EARTHQUAKES IN ITALY

The Italian American Museum announced today that it will begin immediately accepting monetary donations to assist the relief effort for the dual earthquakes that struck Italy’s Emilia-Romagna region on May 20 and 29.  While not as devastating as the 6.3 2009 quake that occurred in the Abruzzi region that killed more than 300 people, the most recent earthquakes caused 26 fatalities, numerous injuries, massive damage to historically significant art and architecture, and left thousands without a home.

The first quake’s epicenter was situated about 22 miles north of the regional capital of Bologna, and was reportedly the worst tremor to hit the area since the 1300’s. The second’s epicenter was in the province of Modena, about 22 miles to the northwest of Bologna.

Working with its representative in Italy, Umberto Mucci, the Museum has formally requested that any funds it raises be earmarked for repair or reconstruction of a specific historic work of art or architecture in the devastated zones. The determination is expected to be made by the Minister of Culture.

Madonna di Pietranico
Photo by New York Scugnizzo
In 2009, the Museum raised $110,000 which funded the restoration of the iconic sculpture of the Madonna di Pietranico, which was heavily damaged in the Abruzzo quake.  As a gesture of gratitude, the local community and the Italian government arranged for the restored statue to be sent to America, where it was displayed at the Italian American Museum for one month.

“Given the success of our fundraising for Abruzzo, we decided to initiate a similar effort for the residents of Emilia-Romagna,” said Italian American Museum president Dr. Joseph V. Scelsa. “We think people are more inclined to donate when they know funds will be dedicated to a specific restoration project.”

For the current effort, the Museum has partnered with the Coalition of Italian American Associations, an umbrella group representing 140 Italian American community organizations. While each will appeal to its members to donate, the Museum will serve as the central receiving point for all donations, including those from the general public.

DONATIONS CAN BE MADE IN ONE OF TWO WAYS:

• By checks made out to "Italian American Museum Earthquake Relief Fund.”

Checks can be dropped off or mailed to the Museum, located at 155 Mulberry St. (corner of Grand St.), New York, NY 10013.  

The Italian American Museum is open Monday through Friday for group tours by appointment, and on Saturdays and Sundays to the general public from 12 noon to 6 pm. For more information, call 212-965-9000 or visit www.italianamericanmuseum.org.

Founded in 2001, the Italian American Museum is dedicated to exploring the rich cultural heritage of Italy and Italian Americans by presenting the individual and collective struggles and achievements of Italians and their heirs to the American way of life. The Museum received its provisional charter from the New York State Board of Regents on June 12, 2001 and is a 501 (c)(3) organization.

155 MULBERRY STREET, NEW YORK, NY 10013
212-965-9000

Reprinted from the Italian American Museum press release

June 5, 2012

La Mattanza and the Price of Progress

La Mattanza 
Photo courtesy of Theresa Maggio
By Lucian

I’ve always been fascinated by European traditions and am amazed at how much there is to discover. That so much is unknown to so many is disturbing, because many traditions have existed for over a thousand years. In a world where “progress” has become a buzzword used by the powerful to justify globalization and cultural leveling, the preservation of our history, culture and identity must be proactive to succeed. 

I had long known intellectually of the spiritual connection between Southern Italian culture and the sea, but in America it is no longer felt as strongly as it once was. During the Second World War the fishing boats of many Italian-Americans were confiscated, both for the war effort and as a general precaution against their being used to aid the Axis powers. Many Italians were legally restricted from working in the fishing industry. Unfortunately even those who were not restricted were often denied work because of their ancestry. The businesses and livelihoods of many of these families were ruined, and culturally the Italian presence in the fishing industry was diminished, although there were, and still are, many Italians serving with distinction in the U.S. Navy.

After discussing the sea’s past significance in our culture and mythology, my good friend asked me to read a book called Mattanza, the Ancient Sicilian Ritual of Bluefin Tuna Fishing. It was something wonderful that I’m always looking for; a surviving tradition that has been practiced by our ancestors for centuries. 

Written by Theresa Maggio, the book reintroduced me to the important historical role that bluefin fishing, and the sea, has for all Mediterranean peoples. It is the source of much of my knowledge on the topic, and acted as a good starting point for further research. Ms. Maggio’s work is informative about a variety of interesting areas such as archaeology, history and social customs, and is a good read that I would recommend to anyone. Perhaps the only part that I disagreed with was a quote from one of the people she knew claiming that Sicily had Arab origins (ignoring several thousand years of prior history). The ethnic stock of the Sicilian people is, for the most part, a fusion between the indigenous tribes (such as the Sicels, Sicans and Elymians) and the numerous Greek colonists of Magna Graecia. However, I must readily concede that there is an Arab influence that can be seen in the language, architecture and customs of Sicily. Like other parts of Europe, the island has been a notorious battleground and been influenced by many of the cultures occupying it over the centuries. The Carthaginians, Romans, Byzantines, Arabs, Normans, Swabians (Germans), French, Spaniards, etc. have all left their mark.

Mattanza means slaughter, from Spanish matare, “to kill.” It is the specific act of harvesting the bluefin tuna, but the maze of physical nets is referred to as a tonnara. The first tonnara on the island of Favignana is associated with the Arab occupation, although other sources claim it is older. There may have been earlier bluefin harvesting in that area, because those locations were prosperous and known to be targets for Muslim pirates. The island was also a military strategic point, so in all probability would have been targeted for that reason alone. 

In Favingnana the leader of the fishermen and coordinator of the tonnara is called the Rais (pronounced RAH-ees), a word of Arabic origins. However, bluefin tuna fishing in the Mediterranean was ancient before the Saracen conquests. A cave painting in Levanzo, an island three miles north of Favignana, shows hunters and their prey. The four thousand year old sepia-ink paintings clearly depict a tuna among the animals. The ancient Greeks even had a verb that meant “to watch for tuna.”
La Grotta del Genovese, Levanzo 
Photos courtesy of grottadelgenovese.it
Setting up the nets of the tonnara is as much an art as a science, and for over a thousand years changed very little. In 1829 Vincenzo Florio brought some new ideas to the process at Favignana that resulted in record catches. Even with the changes, the bulk of the tradition remained the same. In the spring the framework, floats and anchors for a maze of nets is set up with chambers to guide the tuna into the harvesting place, which, in the various languages of the Mediterranean, is always referred to as The Chamber of Death. The tonnara cannot be set too close to the shore, or it will catch too few tuna. If it is set too far out to sea where there are more tuna the currents will tear it apart. The Rais must be experienced and talented to set it properly. The Mattanza season usually ends on June 13th, the feast day of Saint Anthony.

Ritualistic prayers to the saints are common. There are songs and chants asking for safety and a bountiful catch. In Favignana one song (Gnazu) asks God to bless the Rais and his musciara (lead boat) and curses the “Turkish dogs” who raided the tuna and kidnapped fishermen in those waters. Another song “Lina, Lina” was bawdy and sounded like something my father’s Navy mates might have sung. Even so, most of the singing has religious overtones. They even bring statues of the saints out to sea with them. Theresa Maggio did a wonderful job of bringing these images to life in her narrative.

There can be several Mattanzas in a season, the number depending on the volume of fish. The tonnatori (tuna fishermen) count the fish swimming in the nets and when ready the Rais declares a Mattanza to harvest them from the Chamber of Death. The tuna average around 150 kilos and some are over 8 feet long. There can be hundreds of them in a single harvest. Teams haul the giant tuna out of the water and wrestle with them while they are slaughtered.

Tourists sometimes describe it as beautiful and sometimes they call it horrible or cruel. They’re right; it is both beautiful and horrible, as is nature and life itself. All hunting or fishing can be considered cruel from certain perspectives, but meat and fish have always been food to humans and still are to most people on the planet. The differences between the Mattanza and the large commercial operations are often about volume, economics, and ecological impact, but another important aspect is spiritual. 

When Theresa Maggio asked one of the fishermen how it felt to kill a giant tuna with his bare hands while it struggled to escape or if he had any sympathy for the fish, tonnaroto Clemente Ventrone had an interesting response:
“You do it because it is survival. You do it to live. Or you don’t choose this life. You become a banker. It’s not for the violence. It’s not something I do for pleasure, or to please others. It’s survival.” (Mattanza, by Theresa Maggio, p127)
The tonnatori look their prey in the eyes before killing them, they match their strength against the animal in a struggle that is intimate and ends in death. There is no hiding from the brutal reality of the kill or the blood that covers them afterward. They hunt the tuna, but they respect the tuna. For the tonnatori the tuna are not just a commodity, they represent sustenance, and for well over a thousand years their deaths meant life for our people.

Unfortunately, as the rest of the world’s population increases and technology advances, the large commercial fishing operations race to keep up with the demand. They have become so effective in their harvesting that it has noticeably impacted the ocean’s ecology in several ways. The average size and numbers of bluefin tuna shrink every year. A few people protest the tonnaras in light of the declining fish populations, but the few remaining tonnaras are not the problem, they catch so few tuna compared to the modern ships that their impact on the environment is negligible. Many tuna also escape the nets of the traditional fishermen, in stark contrast to the vast nets of commercial ships that harvest almost everything in their path then waste what they weren’t fishing for.
Bluefin Tuna
Japan is one of the world’s largest consumer of tuna. Until relatively recently, the tonnara in Favignana sold all its tuna to the Japanese and could not have operated without the Japanese freezer ships waiting in the distance. Demand for tuna is so high that in America some sushi bars substitute a cheaper fish called escloar instead of tuna, which can be unhealthy and has made people ill.

Global markets and new technologies have rapidly altered the world. The fading practice of fishing with tonnaras has been compared to the sacred hunting rituals of the American Plains Indians being eliminated by the European’s technology. Hundreds of buffalo could be killed quickly by only a few men with their new weapons, forever altering the lives and culture of the Native Americans. Some claim that the disappearance of our own traditions is the inevitable price of progress.

People today speak of progress as if it were an end unto itself, but the meaning of the word simply means movement toward a goal or final condition, and that goal is subjective, depending on who you are speaking to. Some proponents of cultural leveling feel that progress means the elimination of ethnic and cultural differences, and they cheerfully speak of the inevitable disappearance of our people and culture as if it would make all the world’s problems go away. An honest look at the rest of the world clearly shows that this would not be the case, but that doesn’t seem to deter them. On the other hand you have people that believe that profit is more important than anything else. They claim that the depletion of the world’s resources is inevitable and part of the cycle of civilization, and they continue to profit and accelerate the process while gambling that the resources will not run out within their lifetimes; and they call that progress. I am not alone in thinking that progress toward these ends is progress we can do without.

Change may be inevitable, but the way things change doesn’t have to be. Question motivations and look deeper into the possibilities. You may find alternatives. You may even find hope.

In 1997 the lease for the tonnara at Favignana expired and was not renewed. Gioacchino Cataldo developed a cooperative with the other fisherman and continued the tonnara with a deal that split the profits with the owners. After this he was elected Rais. An agreement was made with Eurofish to buy the tuna. The tradition was intentionally promoted for its tourist value to help keep it alive. The new cooperative was fittingly called La Mattanza. Through the actions of the fishermen themselves, the tradition continues. Some of the sources that I referenced stated that since then there were some years the Mattanza was not performed due to the lack of tuna; although large commercial harvesting has not stopped. 

There are those who wonder why this is important, they ask: “Why bother to preserve our traditions?” One of the answers is: because they are ours. To let them die is to allow part of ourselves to die. So many of our people today feel hollow, and seek to fill that emptiness by exploring the esoteric traditions and philosophies of other peoples. Seeking to understand the traditions of others can be a positive thing, but keep in mind how precious they are to the people who keep them. Parallels to those traditions can be found in our own culture, so perhaps what our people are so desperately seeking can be found in our own past. If we admire others for passionately preserving their cultures, then we should follow their example and preserve our own.

References:

Mattanza, The Ancient Sicilian Ritual of Bluefin Tuna Fishing by Theresa Maggio, ISBN 0 73 82.0269 X (hc.)

Una Storia Segreta, The Secret History of Italian-American Evacuation and Internment During World War II by Lawrence DiStasi, ISBN 1-890771-40-6 (pbk.)

A History of Sicily by M.I. Finley, Denis Mack Smith and Christopher Duggan, ISBN 0-670-81725-2

Mattanza, Best of Sicily Magazine

May 28, 2012

A Look at NYC's Feast of Sant'Antonio da Padova

Viva Sant'Antonio!
The Feast is organized by the Society of Saint Anthony of Giovinazzo, Inc. The celebration will continue through Sunday, June 3rd. There will be a second procession on Saturday, June 2nd at 7:00 PM. 
This year's Queen of the Festival, Mina Desantis
These adorable little angels stole the show
Young maidens exiting Most Precious Blood Church
The procession made its way through the streets of Little Italy
A close-up of a member's medallion
The confraternity's standard
Most Precious Blood Church
109 Mulberry Street, NYC
(Between Broome St. and Spring St.) 
Proceeds to benefit Children's Brain Tumor Foundation, Most Precious Blood Church, Saint Jude Hospital, Alzheimer Foundations, Red Cross USA, Memorial Sloan-Kettering Cancer Foundation, Coolies Anemia Foundation Inc., St. Anthony of Padova Church, Leukemia Foundations, St. Rocco Society and Public School #6.


Photos by New York Scugnizzo, Saturday, May 26

May 24, 2012

Who’s Happier than Me?: The Biography of Eduardo De Filippo

“Eduardo”
By Niccolò Graffio
"What can one be but frivolous about serious things? Without frivolity they are simply too tremendous." – G.K. Chesterton (as quoted in Gilbert Keith Chesterton by Maisie Ward; Sheed & Ward, 2005)
The process of centralizing the film industry in Italy, begun by the proponents of the Risorgimento almost from the time of that industry’s creation and expedited by the Fascists, virtually snuffed out the embryonic film companies that had sprung up in places like Naples and Sicily.  That and the advent of sound film (along with its vastly increased costs) insured that only films produced in the movie studios of Rome or Northern Italy would ever see the light of day.

The cultural hegemony of the Padanians succeeded in relegating the local cultures of Southern Italy into second, no, third class status!  This was due to the fact Northerners regarded the art, music, languages and cuisines of their newly acquired peons in the south as being inferior to even that of non-Italian Europeans.

What it could not succeed in doing, though, was extinguishing the inner spark that drove the creation of these unique expressions of ethnicity.  This was because that spark was due just as much to innate factors as it was to upbringing.  As has been commented on by a number of people including our adversaries like the early 20th century American nativist Madison Grant, our natural inclinations are to aspire to intellectual achievements, especially in the arts.  One would therefore expect to see Southern Italians achieve distinction in painting, sculpture, music, etc. and one certainly does.

Thus, it is no small wonder that even under the stifling, bigoted atmosphere of the Risorgimento and phony epoch of pan-Italianism that followed it, some of our people would still somehow find a way to rise above the restrictions imposed upon us by our northern conquerors to use our God-given talents as best we could under the circumstances.  Southern Italians, who could not for the most part operate film companies, could nonetheless become actors, playwrights, directors, producers, etc. In fact a careful examination of the history of Italian cinema shows an unmistakably large contribution by Southerners.

Is it just coincidence Italy’s most awarded actress (according to 2009 Guinness World Records) is the legendary Napoletana Sophia Loren?  Likewise, famed film producer Agostino “Dino” De Laurentiis was born in the province of Naples.  As mentioned in a previous article, Italy’s earliest and most prolific female film director, Elvira Notari, was Neapolitan.  Noted ‘Italian’ film director Giuseppe Tornatore (of Cinema Paradiso and Baaria fame) was born and raised in Sicily as was Nobel Prize-winning dramatist Luigi Pirandello.  

Those of our people born outside Italy do just as well if not better than their brethren who remain.  Francis Ford Coppola, arguably the most innovative and influential Hollywood filmmaker of our time, can trace his ancestry back to the regions of Campania and Basilicata.  The list goes on.

Though Italy has produced a large body of film works, surprisingly little of it has reached these shores.  This is no doubt due in large part to the language barrier (quick- name five German movies you’ve seen!).  Dubbing and subtitling are not cheap; neither are all the licensing requirements involved.  Film distributors want to be reasonably assured they will get a nice return on their investment.  As an unabashed proponent of free enterprise Capitalism I can hardly blame them.  

It is because of this, however, that many of the finer works created by our people in Italy never made it to America.  Making a good film is no guarantee it will do well at the box office.  If you want to see proof, just read the history of the critically acclaimed film The Buddy Holly Story starring Gary Busey.

As you no doubt have guessed by now, the subject of this biographical article is someone who was intimately involved with Italian cinema.  Actor, playwright and screenwriter as well as a published author and poet, in his lifetime he was hailed as one of the leading figures in Italy’s film industry.  Sadly, few people in America have ever heard of him!  It is time to right that injustice.

Eduardo De Filippo was born on May 24th, 1900 in the city of Naples.  According to reliable sources, he was the product of an incestuous union.  His father, Eduardo Scarpetta, a renowned actor and playwright himself, had seduced his own niece, Luisa De Filippo.  Luisa worked as a seamstress and costumier.  When the boy was born it was decided (no doubt by the father) that since Eduardo Sr. already had legitimate offspring, the lad would take his mother’s surname.

In spite of the stigmata of illegitimacy and incest surrounding his birth, Scarpetta provided for his son and ‘took him under his wing’.  Young Eduardo made his theatrical debut in 1904, playing a Japanese child in the operetta Geisha at the Teatro Valle in Rome.   Two years later the boy officially began his apprenticeship in the theatre.

Years later in an interview De Filippo would explain his rather bizarre tutelage.  “My father decided that the way to write for the theater was to learn the mechanics of playwriting and to do that you had to copy other plays.  He put me in a room for three or four hours a day just to copy out drama.  I should add mostly his own plays.”

By the time he reached the age of 14 he was working in Naples as a professional actor in the theater company of his half-brother Vincenzo Scarpetta.  In 1931 he achieved his first big success as a playwright with the production of his play Natale in Casa Cupiello (It: Christmas at the Cupiello’s).  

By this time, however, Eduardo was chafing under his father, whom he felt was too restrictive.  Though he was now a professional success, his private life was miserable.  In addition, his marriage to an American, Dorothy Pennington, was failing.  He decided to end his marriage and his collaboration with his father and half-brother Vincenzo.

A year later he formed his own company with his brother Peppino and their sister Titina.  The company was called La Compagnia Teatro Umoristico di Filippo.  It was an artistic success!  The actors toured all over Italy playing to rave reviews by critics and sold out performances in theaters.  Their main genre was comedy.  As a result of the success of this company, leading man Eduardo De Filippo would rise to such a level of fame and respect in the entertainment industry he would receive the ultimate honor – being referred to by colleagues and fans alike simply as “Eduardo”.

Eduardo’s popularity would protect him during the Fascist years from the wrath of Benito Mussolini – whom he hated.

Totò 

Peppino would remain with the company until 1944, departing after becoming embroiled in a controversy with his brother.  He went on to collaborate on a number of film projects with the legendary Neapolitan/Sicilian actor, comedian, writer, singer and songwriter Totò.  In addition, Peppino worked with famed film director and scriptwriter Federico Fellini.  Titina would remain with the company until the early 1950’s.  Like her brothers, she would rack up an impressive list of movies in her filmography.  Like Eduardo, she was also a playwright.

At the end of World War II he wrote and produced the play Napoli Milionaria (It: Naples Millionaire).  The play received rave reviews and was a box office success.  Five years later Eduardo would co-produce a film with Dino De Laurentiis based on this play called Side Street Story that was entered into the 1951 Cannes Film Festival. 

A year after the end of World War II he wrote and produced the first of his major plays, Filumena Maturana.  He had intended this play to be a tribute to his sister, Titina, a famous thespian in her own right.  She took the title role in the play’s first production in Naples.  The play opened to a lukewarm reception by both critics and theater-goers alike.  Titina saved the play by following her own instincts and playing the part the way she saw fit.  Her performance became so linked to the play that for many years afterwards critics and fans alike affectionately referred to as Filumena.

18 years later Carlo Ponti would produce a memorable film based on this play starring the great Neapolitan actress Sophia Loren (who was also his wife) called Matrimonio all’italiana (It: Marriage Italian-style).

It has been said “You can take the boy out of the country but you can’t take the country out of the boy.”  In Eduardo’s case the “country” was his beloved Naples.  It was never far from him emotionally, even when it was in terms of distance.  Having grown up in the city, he saw both the best and worst aspects of it firsthand, and both made their way into his plays.  As with film director Elvira Notari before him, what made his characters so memorable was the simple fact they were real!  People could easily identify with them because they saw so much of themselves in them.  In addition, and unlike his “Italian” contemporaries, he insisted on writing his plays in the Neapolitan language.

It was this, his refusal to deny his Neapolitan heritage, more than anything else that made him so great!  He not only embraced it, he exulted in it!  It was this refusal to “Italianize” himself, plus his wild popularity with the Italian public that made him the vanguard of the cultural renaissance that was to come in Southern Italy.  Like the Neapolitan scholars of old, he not only wrote in the language but translated other great works (including William Shakespeare’s The Tempest) into it.

Sadly, it was his habit of writing in Neapolitan that no doubt contributes to the fact his plays are virtually never performed here in America.  If plays written in Italian get short shrift, how does one expect those written in Neapolitan, a language even most Italians don’t speak, to fare better?  Translators are hard to come by.  Then again, let us not forget the decidedly American prejudice against all things Southern Italian.   Thanks to generations of inculcation by a geographically feebleminded educational system, Americans, if they know anything at all about Naples, usually think of it as just a slum.  Try to explain to people about all the culture and history in the place and you’ll usually get indifference at best.

In 1974 Eduardo required open heart surgery; those close to him said it did nothing to slow him down.  In 1981, in recognition of his cultural contributions, he was appointed a life senator of the Italian Republic.  He died on October 31st, 1984.  Though he has been dead almost 28 years he remains a major literary figure in Italy.

Further reading:
• Maria Tucci: Eduardo De Filippo: Four Plays; Smith and Kraus, 2002

May 21, 2012

Napoli Win Coppa!

I'm sure by now this is old news, but I was too busy celebrating with friends to post something sooner. Yesterday (Sunday, May 20th) Napoli defeated Juventus 2-0 in the Coppa Italia Final (Italian Cup), winning the club their first silverware in 22 years. (In 1990 they won the Italian Super Cup)

In front of a packed and raucous Stadio Olimpico in Rome, Napoli took on reigning League champions Juventus for the coveted trophy. Having just won their 28th Scudetto, the Turin powerhouse were looking to win the double and complete their incredible undefeated season. Napoli haven't won the Coppa Italia since 1987.

Not surprisingly, Napoli's celebrated "three tenors" would play an important part in the outcome. Partenopei took the lead in the 63rd minute after Edison "El Matador" Cavani hit the back of the net in a perfectly executed spot kick. The penalty was awarded after Ezequiel Lavezzi was fouled in the box by Juve goalkeeper, Marco Storari. Marek Hamsik sealed the deal with a clinical strike in the 83rd minute, finishing off a patented Napoli counter attack. 

Unfortunately, the hard fought contest was marred in the final moments when (former Napoli) hitman Fabio Quagliarella was sent off with a straight red card for elbowing Napoli defender Salvatore Aronica in the face.

The victory was a fantastic finish to an entertaining campaign, which saw Napoli make it to the Champions League's Round of Sixteen (sadly losing to tournament winners Chelsea) and finish in (admittedly disappointing) fifth place in Serie A, thus failing to qualify for Champions League again next season.

Forza Napoli!  
Elsewhere

First the bad news: U.S. Lecce were condemned to relegation after a regrettable season. The Salentini finished third from bottom.

The good news: Pescara Calcio return to top-flight football, joining fellow Southerners Palermo, Napoli and Catania in the 2012/13 Serie A campaign. With their impressive 3-1 away victory over Sampdoria on Sunday (May 20th) the Biancazzurri secured promotion from Serie B, earning them the right to play against Italy's elite clubs. Not since 1992/93 has the squad from the Abrruzzo graced Serie A with their presence, and we welcome them back. Congratulations and good luck Pescara.

Avanti Sud!