The Chicago Syndicate: Al Capone
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Showing posts with label Al Capone. Show all posts
Showing posts with label Al Capone. Show all posts

Monday, May 01, 2017

30 Illegal Years to the Strip: The Untold Stories Of The Gangsters Who Built The Early Las Vegas Strip

30 Illegal Years To The Strip: The Untold Stories Of The Gangsters Who Built The Early Las Vegas Strip.

These are the untold inside stories of Prohibition’s most powerful leaders, and how they later ran elegant, illegal casinos across America, before moving on to build the glamorous Las Vegas Strip gambling resorts.

The seven leaders of the three dominating Prohibition gangs imported the world’s finest liquors on a massive scale. Although they conducted their business in an illegal and dangerous world, these seven espoused traditional business values and rejected the key tools of organized crime - monopoly, violence, and vendetta. This made them the most unlikely gangsters to rise to underworld leadership. But they earned every criminal’s respect, and fate made them the most powerful gangland leaders in American history.

Unbelievably, the most murderous and most psychopathic gang leaders not only admired them but supported them in gangland conflicts. In the mid 1900s, these seven leaders stood up to, and restrained, America’s worst villains. The seven prevented many gangland wars and killings.

The three dominating liquor-importers were the first gangs to work closely together in mutual interest. Joining them was the violent Chicago Capone gang, as they partnered in both illegal and legal businesses during and after Prohibition. They were also close allies in the complexities, treachery, and violence of underworld politics.

Some of these seven leaders became powerful overworld political kingmakers. Allied with them in New York City politics was Arnold Rothstein, the ultimate gambler. His murder is one of several major gangland killings finally solved here.

Great entertainment was a key part of these seven gang leaders’ illegal-casino and Strip-resort showrooms. Their biggest-drawing star was comedian Joe E. Lewis. He set the standards for excellence during the half-century popularity of nightclub and casino showroom entertainment.

The action-packed careers and relationships of the gang leaders, who together would go on to build the Las Vegas Strip, are presented for the first time in this thoroughly documented, in-depth, authentic history of how organized crime developed. It contains 546 source notes, and many addendums that expose the serious fallacies and outright fictions of previous books about early organized crime.

Tuesday, April 25, 2017

Top 10: Gangsters

If you browse around your local video store, you'll notice dozens of films about the Mafia. Witness the popularity of Goodfellas, The Godfather, Casino, and Bugsy. Why have so many films been made about these tough-guy hooligans? Because men have a fascination with gangster culture and organized crime. But who are some of the most notorious gangsters of all time?

To make the list, gangsters must have had a significant impact on the Mob thanks to the way they did business. They must have done most of their business in America, their legacy must have stood the test of time, and they must have had a significant impact on pop culture.

Honorable Mention
Benjamin "Bugsy" Siegel (1906 - 1947)

Benjamin Siegel was born in Brooklyn in 1906 and soon associated himself with fellow Jew Meyer Lansky. After running contract killings for Murder, Inc., Siegel -- who was nicknamed "Bugsy" because of his unpredictable nature -- went in cahoots with Lucky Luciano and his newly organized Syndicate. But killing for Luciano earned him enemies, and in the late '30s, he was forced to escape to Los Angeles, where he had lived glamorously with movie stars.

He then discovered the gambling laws of Nevada. "Borrowing" millions from the Syndicate, he established one of the first casino hotels in Las Vegas, the Flamingo. But the resort was losing money, and when it was discovered in 1947 that he had stolen money from his friends, he was killed.

Featured in: The best portrayals of Siegel are in Warren Beatty's Bugsy  (1991) and The Marrying Man (1991) with Armand Assante.

Number 10
Vincent "The Chin" Gigante (1928 - 2005)
Born in New York in 1928, Vincent Gigante was quite a character. He dropped out of high school in the ninth grade and started boxing, winning 21 of 25 light-heavyweight bouts. By the time he was 17, he had turned to crime to support himself, which resulted in seven arrests before he was 25.

Gigante's first significant act as a gangster and member of the Genovese family was an attempt to kill the powerful Frank Costello, but Gigante's bullet missed the target. Nevertheless, he continued to climb the ranks within New York's Genovese organization, eventually becoming a capo and consigliere in the early '80s.

Then, when Mob boss Tony Salerno was convicted, Gigante became the main man. What makes Gigante so memorable is his 30-year ploy of acting insane. After he successfully averted prison in the late '60s by employing psychiatrists to testify to his insanity, he took it upon himself to continue the act; throughout his career, he was often seen walking around the streets of New York wearing a bathrobe. For this reason, he was nicknamed the "Oddfather" and the "Pajama King." Imprisoned for racketeering, he finally admitted in 2003 that he was not crazy.

Gigante died in prison on December 19, 2005 due to heart complications. The Gigante family and his lawyer, Flora Edwards, filed a federal lawsuit regarding the lack of health care that Vincent received while in prison. Vincent was scheduled for release in 2010.

Featured in: Gigante was a character in the made-for-TV film Bonanno: A Godfather's Story (1999) and served as inspiration for an episode of Law & Order.

Number 9
Albert Anastasia (1903 - 1957)
Born in Tropea, Italy in 1903, Albert Anastasia was still a teenager when he came to America. Involved in the docks operations in Brooklyn, Anastasia was sent to Sing Sing Prison for 18 months for the murder of a longshoreman; the mysterious deaths of witnesses led to his early release. Albert Anastasia (aka "Lord High Executioner" and "Mad Hatter") was known as a killer, a reputation that led Joe Masseria's gang to recruit him. Anastasia was also extremely loyal to Charles "Lucky" Luciano, who had plans to rule America's crime world. Anastasia had no problem betraying Masseria -- by being one of four people sent to kill him in 1931 -- when approached by Lucky Luciano.

At this time, Anastasia started taking on hits for the Murder, Incorporated outfit in New York, and in 1944, he became the leader of the murder squad. Although Anastasia was never prosecuted for any killings, Murder, Inc. was responsible for between 400 and 700 murders. In the '50s, he became the leader of the Luciano family, but Carlo Gambino wanted the job. Though the murder is officially unsolved, many believe that Gambino had Anastasia killed in a barbershop in 1957.

Featured in: Albert Anastasia was a prominent character in Murder, Inc. (1960), a gangster film starring Peter Falk and Howard Smith (as Anastasia), as well as in The Valachi Papers (1972) and Lepke (1975).

Number 8
Joseph Bonanno (1905 - 2002)
Born in 1905, Joe Bonanno grew up in his native Sicily and became an orphan at the age of 15. He left Italy due to the fascist power of the Mussolini regime and made a brief stopover in Cuba before moving to the United States when he was 19. Joe joined the Mafia as a way to prevent Mussolini from taking over Sicily. Nicknamed "Joey Bananas," he joined forces with Salvatore Maranzano. Before Luciano killed him, Maranzano created The Commission, the ruling body over Mafia families in the entire country.

Bonanno stepped up and took over one of these families. He became powerful in New York with cheese factories, clothing businesses and funeral homes, which were a terrific way to dispose of bodies. But plans to eliminate all the rival families turned against him and Bonanno was kidnapped for 19 days until he agreed to retire. In 1965, he initiated the Banana War to settle scores, but he retired for good soon thereafter due to bad health. Never in his life was he convicted of a serious offense.

Featured in: Two cable movies have been made about the crime legend: Love, Honor & Obey: The Last Mafia Marriage (1993) with Ben Gazzara and Bonanno: A Godfather's Story (1999) with Martin Landau.

Number 7
Dutch Schultz (1902 - 1935)
Arthur Flegenheimer, later known as Dutch Schultz, was born in the Bronx in 1902. As a teenager, he held up crap games to impress his boss and mentor, Marcel Poffo. At the age of 17, he did some time at Blackwell's Island (now known as Roosevelt Island) for theft. With prohibition in full swing in the 1920s, he realized that money was in bootlegging. A ruthless man, he would kill whenever his temper flared, which helped keep his competition in line.

He had a part in the founding of the Syndicate, but soon Luciano and Capone became his enemies. In 1933, the law wanted to shut down Schultz, so he went into hiding in New Jersey, which left his New York territory free for a takeover; Luciano seized the opportunity. Schultz made a comeback in 1935, but members of Albert Anastasia's crew killed him in a restaurant men's room before he could do any damage.

Featured in: Dustin Hoffman was memorable as Dutch Schultz in Billy Bathgate (1991), but Tim Roth was even better in Hoodlum (1997). Other movies featuring Schultz include Gangster Wars (1981), The Cotton Club (1984) and The Natural (1984).

Number 6
John Gotti (1940 - 2002)
In the wake of the great gangsters who ruled New York, John Gotti had his work cut out for him. Born in Brooklyn in 1940, he was always quick with his fists and it was his life's dream to become a wiseguy. By the age of 16, he had joined a local street gang known as the Fulton-Rockaway Boys. He quickly became their leader, stealing cars and fencing stolen goods. In the '60s, he began associating with Mafia hoods and hijacking trucks. In the early '70s, he became a capo for the Bergin crew, a part of the Gambino family. Extremely ambitious, Gotti started to deal drugs, which was forbidden by family rules.

As a result, Paul Castellano, the Boss, wished to expel Gotti from the organization. In 1985, Gotti and his guys killed Castellano outside a steakhouse and Gotti took over the Gambino family. No matter how many times the authorities tried to indict him for being the most powerful criminal in New York, the charges were always dropped. Because of this -- and the fact that he dressed well and loved media attention -- he was nicknamed "The Dapper Don" and "The Teflon Don." He was finally convicted for murder in 1992 and died of cancer in prison in 2002.

Featured in: He was played by Anthony John Denison in the made-for-TV movie Getting Gotti (1994) and by Armand Assante in the HBO event Gotti (1996). Other TV movies featuring him include Witness to the Mob (1998) with Tom Sizemore and The Big Heist (2001).

Number 5
Meyer Lansky (1902 - 1983)

Born Maier Suchowljansky in Russia to Jewish parents in 1902, Lansky moved to New York when he was 9. He met Charles Luciano when they were just schoolboys. Luciano demanded protection money from Lansky, and when he refused to pay, the two boys fought. Impressed by Lansky's toughness, Luciano befriended the younger boy and the two remained lifelong friends. Lansky also met Bugsy Siegel when he was a teenager, and the three formed a powerful partnership. Lansky and Siegel formed the Bug and Meyer Mob, which became Murder, Inc.

Lansky's primary order of business was money and gambling, and he had operations in Florida, Cuba and New Orleans. He was an investor in Siegel's Las Vegas casino, and he even bought an offshore bank in Switzerland that was used for money laundering. A financial genius, he codeveloped the National Crime Syndicate and the Commission. But business is never personal, and he approved the murder of his best friend Bugsy Siegel when Siegel was unable to produce profits for the Syndicate. Even with a gambling racket in operation across the planet, Lansky never spent a day in jail.

Featured in: Not only did Richard Dreyfuss give a powerful performance in HBO's Lansky (1999), but the character of Hyman Roth in The Godfather, Part II (1974) was loosely based on him as well. The role was also played by Mark Rydell in Havana (1990), Patrick Dempsey in Mobsters (1991) and Ben Kingsley in Bugsy (1991).

Number 4
Frank Costello (1891 - 1973)
Francesco Castiglia was born in 1891 in Italy and moved to the United States with his family when he was 4. He changed his name to Frank Costello when he joined a street gang at age 13. After numerous petty crimes landed him in prison, he became best friends with Charlie Luciano; together, they dealt in bootlegging and gambling. Costello's strength was his position as a link between the Mob and politicians, especially the Democratic Party's Tammany Hall in New York, which enabled him and his associates to pay off certain officials.

Following Luciano's arrest, Costello became the man in charge, and he solidified and expanded the operation during this time. A power struggle between him and Vito Genovese (who served as Underboss) erupted in the '50s, and Vincent Gigante tried to kill Costello. Eventually, Costello grew tired of the gangster life and retired, but not before framing Genovese and Gigante for a drug bust. He died peacefully in 1973.

Featured in: The man was best portrayed by James Andronica in the 1981 miniseries The Gangster Chronicles, by Costas Mandylor in Mobsters (1991), by Carmine Caridi in Bugsy (1991), and by Jack Nicholson in The Departed (2006). (The author is actually incorrect about Jack Nicholson playing the real Frank Costello in The Departed. Only the character name was in common with the real Frank Costello. Nicholson's character was mostly based upon another gangster, Whitey Bulger.)

Number 3
Carlo Gambino (1902 - 1976)
Carlo Gambino came from a family that had been part of the Mafia for centuries in Italy. He started carrying out murders when he was a teenager and became a made guy in 1921 at the age of 19. With Mussolini gaining power, he immigrated to America, where his cousin Paul Castellano lived. He became a thug for different New York families until he joined Lucky Luciano's crew.

After Luciano was extradited in the '40s, Albert Anastasia took over. But Gambino thought it was his time to shine and had Anastasia killed in 1957. He appointed himself Boss of the family and reigned with an iron fist over New York until his natural death in 1976.

Featured in: Al Ruscio played him beautifully in the TNT movie Boss of Bosses(2001). Other "Gambino" appearances include the made-for-TV movies Between Love & Honor (1995), Gotti (1996) and Bonanno: A Godfather's Story (1999).

Number 2
Charlie "Lucky" Luciano (1897 - 1962)

Salvatore Lucania was born in Sicily in 1897, but his family moved to New York nine years later. At a young age, he became a member of the Five Points gang, in which Al Capone also received his education. Five years after establishing an empire based mostly on prostitution, Luciano controlled the racket all over Manhattan. After a failed but brutal attack on his life in 1929, Luciano started planning the National Crime Syndicate, an extension of Salvatore Maranzano's Commission, with Meyer Lansky.

They eliminated the competition, and by 1935, Lucky Luciano was known as the Boss of Bosses -- not just of New York City, but of the whole country. He was arrested and sentenced to 30 to 50 years in 1936, but was let out on parole in 1946 on the condition that he be deported to Italy. He had so much power that U.S. Navy intelligence sought his help when the Allies were set to invade Italy during World War II. He died of a heart attack in 1962.

Featured in: Christian Slater played him in Mobsters (1991), as did Bill Graham in Bugsy (1991) and Anthony LaPaglia in the TV film Lansky (1999).

Number 1
Al Capone (1899 - 1947)
If there ever was a gangster who earned the No. 1 spot, it is Al Capone. Alphonse Capone was born in 1899 to Italian immigrants in Brooklyn, New York, where he got his start in street gangs. He then joined the Five Points gang and became a bouncer. It was during these days that a series of facial wounds earned him the "Scarface" nickname. Capone moved to Chicago in 1919 and quickly moved up the Mafia hierarchy while working for Johnny Torrio (Capone became Torrio's protege).

It was the time of the Prohibition, and Capone ran prostitution, gambling and bootlegging rings. In 1925, at the age of 26, Capone took over after Torrio was wounded in a gang war. Known for his intelligence, flamboyance and love of public attention, Capone was also known to be very violent; his role in the orchestration of the St. Valentine's Day Massacre in 1929, in which key rival gangsters were murdered, proves this. In 1931, Federal Treasury agent Eliot Ness arrested him for tax evasion.

Featured in: Many movies have been made about Capone, but the most famous are probably The St. Valentine's Day Massacre (1967) with Jason Robards, Capone (1975) with Ben Gazzara and The Untouchables (1987) with Robert De Niro.

Thanks to Matthew Simpson

Thursday, April 06, 2017

How Did Chicago became a Cultural Capital of Crime?

The thing outsiders know about Chicago is crime. The mobsters, the street drug gangs, the corrupt operators—these are the most sensationalized aspects of the city. But they are also key factors in its ongoing narrative, the one true Great American Novel that is Chicago. The city with a fiery creation myth grew into a blue-collar metropolis with the help of oily, feudal political machines and assorted local species of crook, leaving a deep, ugly legacy. It is written in our street grid, our transit lines, and our segregated accents, in which one can still hear both the old white ethnic strongholds and the Great Migration. It can be a very beautiful city, especially at night. In those icy parts of winter that have become more rare since I first moved here, the unique nighttime color of Chicago reflects in every direction. The flatness of the landscape and the straightness of the streets bring its divisions into deep focus. I’m proud to show it off. It is a city on the prairie, and therefore a city of the plain, like Sodom and Gomorrah in Genesis.

For a time in the 1850s, there were so many problems with drainage that it became a swamp and had to raise itself up on jackscrews. So really, a Chicagoan has their pick of origin stories. The curse of the so-called Second City is that it lends itself effortlessly to symbolism and especially to metaphor, to the point that you start to believe that it just might be one. I’ve lived here longer now than I have anywhere else, and I have come to love this aspect of the city. When Chicagoans speak—whether they are true locals or transplants like myself, who have come to its ways through prolonged exposure—they speak its complicated history. This is the diverse Southern-inflected sound of black Chicago, the “Chi-cah-go” and “Chi-caw-go” pronunciations that classify white accents, and that perfect formulation of terse Midwesternese, the stranded “with,” as in the classic “You wanna come with?” They say “jagoff” is a Pittsburgh word, but Chicago owns it.

Really, there are many Chicagos, bound almost psychically. It is better maybe to try to grasp it in terms of its architecture—which is really one of the most beautiful things about it—and planning. For instance, Chicago is the alley capital of the world. There are about 1,900 miles of alleyways running through almost every block of the city, regulated to a minimum width of 16 feet, some much wider. The alley is part of day-to-day life in Chicago: It’s where we take our shortcuts and bring our trash. It’s why Chicago doesn’t smell as bad as other big cities. It lacks that note of garbage that gives New York streets their character. The kind of buildings we call two- or three-flats, whether brick, frame, or Indiana limestone (called “greystone” locally), will often have a gangway, a passage that lets you cut from the sidewalk to the alley. My favorites are the ones that dip under a protruding oriel. And most of the apartments in those two- and three-flats will have two doors, one in the front and one in the rear. It’s a city of backstreets and backdoors.

Chicago crime is a unique phenomenon. In broad statistics, it is not that dangerous a place; the rates of burglary and theft are low for an American city, and many of its neighborhoods experience negligible violent crime. This is a common defense tactic for Chicagoans, especially white Chicagoans—the “well, not my Chicago” plea. But this is as much a fantasy as the Trumpian burning of the quote-unquote “inner city.” Chicago crime inspires fascination because it is entrenched and so specific, so troublingly connected to a diverse city that otherwise eludes broad social generalizations. One fact about Chicago is that it has more nicknames in common circulation than any other place in this country, all of them kind of tacky: the Windy City, the Second City, Chi-Town and its pun variations, the City Of Big Shoulders. There are many others, too. Defining the spirit of Chicago is a bad parlor game. The nice parts of it are very nice, but for more than 90 years, it has been world-famous as a place where people get gunned down in the street. Throughout its history runs a succession of criminal boom industries: gambling, policy, liquor, crack, heroin.

The criminal conglomerates of Prohibition and the small sets of the West Side’s Heroin Highway are part of one uninterrupted story, though unwittingly. The story is the city. It goes back to the 1870s and the reign of “Big Mike” McDonald as the king of Chicago’s gambling underworld. It goes through generations of increasingly more effective political machines and increasingly larger criminal syndicates, colluding in political and commercial networks that made the street gangs seem like the inevitable result of a complicated equation. Let us assume a few things here as starting points: that the city and its underworlds have existed for a long time in a relationship that is more complex than host and parasite; that political and criminal groups in the city, however big or small, play variations on a similar game involving the flow and direction of movement; and that the city is itself a crossroads, its entire story defined by lines of interstate transit, be it the Illinois Central Railroad that transported half a million black job-seekers from the South during the Great Migration, or the Sinaloa Cartel network from which most of the cocaine and heroin of its current drug economy is believed to originate.

For Chicago, there is no artistic or cultural history without its social history, no social history without its political history, and no political history without crime. The mob is a staple of our tourist kitsch industry: the Al Capone T-shirt and the Untouchables bus tour, right up there with Mike Ditka’s hairspray, the goddamn Blues Brothers, and that casserole we call a deep-dish pizza. But the mob was always corny, even at its scariest. For decades, it was almost everywhere. I’ll give you an example: The Russian bathhouse immortalized by Saul Bellow in Humboldt’s Gift was actually a mob hangout. It was still owned by an Outfit family in the years that I lived across from it on Division Street, one of the more darkly perfect street names in Chicago.

Michael Mann’s 1981 debut feature, Thief (Special Director's Edition), is to my mind the best Chicago crime film set after Prohibition and one of the great artistic interpretations of the city’s nocturnal character. It was made in the last years that Chicago nights glowed bluish-green, before the city had completed the changeover from mercury vapor lighting to the sodium vapor lamps that produce its present honey-bronze haze. Much as alleyways have both a practical and a mystical relationship to the city’s networks of crime, so it is possible to chart eras of criminality through the history of its public lighting. Crime is a largely nocturnal activity, after all, as are most of the vices on which the city’s criminal syndicates were built. In the Prohibition and Great Depression golden age of Chicago crime, most of the streets were still gas-lit and very dim. This was the fabled era of the Tommy Gun mobsters, but also of the bank-robbing outlaw, embodied by the Chicago-based Dillinger Gang, the subject of Mann’s underappreciated crime epic Public Enemies. Mercury vapor arrived in the mid-1950s, along with Richard J. Daley’s Democratic political machine and the solidification of the Chicago Outfit, the white mob, which in those years finally murdered and intimidated its way into the territory of the city’s forgotten black crime syndicates. The most recognizable type of streetlight in Chicago was introduced in this era. It’s a bucket-shaped design unique to the city, called the General Electric Crimefighter.

Thief is not a film about the Outfit, but it features an Outfit operative as a character, played by the avuncular stage veteran Robert Prosky. You have probably seen a picture of Al Capone. Chances are it’s the glamour shot with his head turned and the cigar stuffed in his cheek and the size 6 7/8 cream-white Borsalino on his little head. This is the most flattering picture of Capone. As a young man, he had the pudgy face and baggy eyes of a fortysomething bank manager. He was 26 when he inherited Johnny Torrio’s criminal empire and was out of power by the age of 33. But in movies and TV, he is always played by older actors, trimmer or more barrel-chested, always tougher-looking than the real man: Rod Steiger in Al Capone; Neville Brand, Robert De Niro, and William Forsythe in successive versions of The Untouchables; Jason Robards in The St. Valentine’s Day Massacre; Stephen Graham on Boardwalk Empire. But there were never any handsome gangsters. They were all funny-looking, and with the exception of the flashy Capone years, they dressed like shit.

The Outfit was the successor to Capone’s organization, and in that era of mercury vapor lighting, when the tint of the night suggested an extended twilight, their look was Sansabelt, grandpa glasses, and starched short sleeves. Mann grew up in the long-gone Jewish quarter of the Humboldt Park neighborhood, as did Saul Bellow a generation earlier, and he is one of the few to try to capture this banal, used-car-salesman aspect of the Chicago mob. To me, he is one of the geniuses of the genre; in all of his crime films, there is a complex dialogue between authenticity and archetype. His favorite type of verisimilitude is the kind that directly contradicts expectations. In Thief, for instance, the safe-cracker played by James Caan—the first of the single-minded professionals that would become Mann’s contribution to the mythology of the crime genre—doesn’t press the resonator of a stethoscope against a door and listen to the tumblers; he uses an industrial oxygen lance, lent to Mann by an actual Chicago-area burglar. And while Prosky’s role might seem like a case of casting against type, if you look at pictures of Outfit bosses from the time, that’s what they all looked like.But here’s the thing: The imagery Mann subverts with this more realistic portrayal—and uses to formulate his own mythology—is also Chicagoan in origin. It was Chicago that birthed both the gangster picture and the notion of street criminal chic, and it really took until The Godfather for there to be a major American film that took its cues from the clannish organized crime culture of the East Coast. Even the great New York gangster movies that came before The Godfather, like Raoul Walsh’s The Roaring Twenties and Budd Boetticher’s The Rise And Fall Of Legs Diamond, are based on an archetype born of the Second City. Most film historians will tell you that there are two definitive early gangster films: Underworld, directed in 1927 by Josef Von Sternberg, and Howard Hawks’ insurmountable 1932 Scarface. Both are set in Chicago, as were almost all early American gangster movies—Little Caesar, The Public Enemy, the whole lot. The gritty city stuck in the imagination of ’30s Hollywood much in the same way as Paris and Vienna did, less a real-world setting than a genre in and of itself. Films about criminal gangs go back to the early 1900s, but they depict their bad guys mostly as ragged, unshaven goons in flat caps. The seductive criminals of the silent era are swindlers and masterminds. The idea that coarse, murderous thugs could be flamboyant, magnetic, and sexy—that comes from the Chicago of Al Capone and John Dillinger.

Both Underworld and Scarface were based on stories by Ben Hecht, though the latter was nominally adapted from a forgotten pulp novel of the time. Before he became one of the greatest screenwriters in the history of Hollywood, Hecht was a Chicago Daily News crime reporter, an experience he would draw on many times—most famously in The Front Page, one of several collaborations with his crime-desk colleague Charles MacArthur, subsequently reworked as His Girl Friday. Hecht was one of a number of literary men who worked in the Chicago dailies of the 1920s (the poet Carl Sandburg was also at the Chicago Daily News at the time), and the best of a tradition of newspapermen who treated the job of columnist as though it made them prose-poet laureate of Chicago. A reader of modernist and symbolist literature, he was also involved in the Little Review, the Chicago literary magazine famous as the first publisher of James Joyce’s Ulysses, which was originally serialized over several years in its pages. In Underworld, released at a time when Joyce’s landmark novel was still banned as obscene in the United States, there is a villainous Irish gangster named Buck Mulligan, after the central character of the first chapter of Ulysses—a fact that I’ve always found amusing.

The classic, Hecht-ian gangster drew on the public’s morbid fascination with Chicago crime to create something almost modernist—this wanton criminal as an epic figure in an expressively metaphorical cityscape. This is true of Scarface, a masterpiece that was the work of a number of remarkable talents, not just Hawks and Hecht. One of the many memorable things about Scarface is the use of signage as commentary and ironic counterpoint: the famous “The World Is Yours” travel ad (carried over in Brian De Palma’s loose 1983 remake); the body lying under the crossed shadow of a signboard that reads “Undertakers”; the lit-up marquee of the club called “Paradise No. 2.” The Godfather would refashion the gangster as a creature of family and loyalty, but in his original conception, he was a creature of the city. Scarface’s Capone-inspired title character doesn’t rise to power in the middle of nowhere, but in a darkly comic metropolis that seems to empower and mock him in equal measure. In other words, he rises to power in Chicago.

It should be pointed out that almost all Chicago-set Hollywood films produced from the late 1920s to the 1970s are about mobsters, crime, or corruption. We’re talking Nicholas Ray’s Party Girl, assorted half-remembered noirs, various versions of the Roxie Hart story (including one written by Ben Hecht), the premise of Some Like It Hot. Of these, only Arthur Penn’s Mickey One, the film that first attempted to apply a French New Wave sensibility to home-grown pulp, did any substantial filming here, capturing both its decrepit alleys and its modernist architecture in stark black-and-white. It was only in the 1980s that the city became a popular filming location. Perhaps Thief seems definitive because it represents a point of merger—between the mythology of the city and its reality, which already seems fairly stylized.


The great musical legacy of Chicago is the modernization and urbanization of the blues, a rural sound that was electrified by the city and laid the groundwork for most popular music that has come since. One important but underappreciated figure in its development was Kokomo Arnold, who played a rapid bottleneck-slide-guitar blues in a style that still sounds rock ’n’ roll. It is said that he came to Chicago as a bootlegger in the 1920s, but was forced to rely on his musical talents for a living after the end of Prohibition, trading one business of handling bottles for another. However, when it comes to stories about bluesmen, one can never be sure. Arnold’s recording of “Old Original Kokomo Blues” was reworked by the Delta bluesman Robert Johnson into “Sweet Home Chicago,” now the de facto anthem of the city. “Sweet Home Chicago” isn’t actually about Chicago. It uses the name of the city figuratively. It has to be the most singable place name in American English: Chi-ca-go, those three syllables, each ending in a different vowel sound. It lends itself to varied interpretation.

More so than any place in America and perhaps even the world, Chicago was founded on the idea of a city; before it had developed a cultural life of its own, it was a word, a notion, and a destination, ballooning over the second half of the 19th century from a smallish midland settlement into what was then the fifth largest city in the world. It is a place that inspires ideals—from the Wobblies to the aesthetic of Afrofuturism, the Hull House to the tradition of philosophizing architects embodied by Louis Sullivan, Daniel Burnham, and Frank Lloyd Wright. But how much of Chicago’s idealistic streak is a reaction to its cynical pragmatism? For as long as it has deserved to be called a city, Chicago has had problems with disenfranchisement, corruption, and crime—problems that seem like they were almost designed into the city. I’ll point out here that in his Whitman-esque poem “Chicago,” which is the source of the nickname “the City Of Big Shoulders,” Carl Sandburg also writes: “Yes, it is true I have seen the gunman kill and go free to kill again.” And this is the definitive celebration of the city.

It was Nelson Algren who mastered the art of making Chicago’s seediness sound like an exotic quality. He is best known for his novel The Man With The Golden Arm, which is set on that same mythologized stretch of Division Street that was home to Saul Bellow’s Russian bathhouse. Here, I’ll point out that Otto Preminger’s well-known 1955 film adaptation, starring Frank Sinatra as a heroin-addicted jazz drummer, was co-written by an uncredited Hecht, because everything somehow intersects in the novel of Chicago. It opens with a prowling long take down an evocative soundstage street that bears only a faint resemblance to the real city. It’s a Chicago of the imagination, but so are most. In his essay “Chicago: City On The Make,” published two years after The Man With The Golden Arm, Algren gave the city one of its most famous panegyrics: “Like loving a woman with a broken nose, you may well find lovelier lovelies. But never a lovely so real.” Like so many Chicago transplants who came here in the mid-2000s to lead a quasi-bohemian existence, I have this passage memorized. But it did not occur to me until many years later to ask who broke the woman’s nose.
Iceberg Slim on the cover of his 1976 spoken-word album, Reflections.

The fact is that, while the crime and corruption provide links between Chicago’s countless neighborhoods, their effects have always been graded by skin color. I know of no black writer of the same periods who wrote of Chicago crime as a sign of its resilient spirit, as Sandburg did, or as an Algren-esque existential quality, the proof of its hustle—not even Iceberg Slim, who was second only to Ben Hecht in developing and popularizing the mythology of the street criminal. Slim—who was born Robert Maupin, but took Robert Beck as his legal name in middle age—had been a dapper pimp in the black underworld of Chicago and the upper Midwest in the 1940s and 1950s, until a breakdown in the Cook County Jail led him to retire. He had been known as Cavanaugh Slim. It was while working as an exterminator in Los Angeles that he wrote his autobiographical novel Pimp: The Story Of My Life, a bestseller that would come to define the voice of gritty urban pulp. Along with his subsequent crime novels and the follow-up memoir The Naked Soul Of Iceberg Slim: Robert Beck’s Real Story, it would exert a profound aesthetic and thematic influence on gangsta rap, blaxploitation films and black variations on noir (Bill Duke’s Deep Cover, for example), and the prose of a vast array of fiction writers, most notably Donald Goines and Irvine Welsh.

Slim was a complicated figure. Like Chester Himes, the godfather of black noir, and Ed Jones, the most powerful black kingpin of Slim’s early years in Chicago, he had a go at a respectable college education before lapsing into crime—though, admittedly, he already had a lengthy rap sheet by the time he arrived at Tuskegee, where he was a student around the same time as Ralph Ellison. As a prose writer, he was ecstatic and contradictory, the king of mixed metaphors, capable of lucidly deconstructing the misogyny and self-loathing of his criminal past one moment and juicing readers with lurid sexual exploits the next. Like Hecht, he sculpted the seductive aspect of Chicago crime—but in place of the classic gangster film’s anti-social pizzazz, what he presented was a cool, toughened nihilism. Perhaps Slim came to believe his own legend. After he found recognition as a writer, he adopted the public image of a wocka-wocka mid-1970s pimp, though his own heyday had been in the days of boogie-woogie and parted hair.

Indulge me now and take a moment to listen to “County Jail Blues,” a 1941 B-side by the Chicago blues pianist Big Maceo Merriweather. It’s an ageless song, and, in my opinion, one of the great overlooked blues recordings of the 1940s. The guitarist is Tampa Red, who played a gold-plated steel-body guitar that sounds remarkably like an electric. In its ideal form, blues is not glamorous music.

The cultural legacy of Chicago crime is really two stories, but they are intertwined. The first is a story of myths, plucked from the streets and alleys of the city and fermented in the popular imagination. The second is a complex narrative of devil’s bargains between art, business, political machinery, and crime. It stretches from the brothels of the early 20th century to the super-sized media conglomerates of the present day. Let me relate one small part of it.

The first black millionaires in America were probably policy kings, most likely in that densely populated area of the South Side that was then known as the Black Belt. Policy was an illegal lottery in which winning numbers were drawn from policy wheels (often rigged), which in Chicago bore such names as the Airplane, the Kentucky Derby, and the Prince Albert. It was a huge enterprise, with each wheel having its own drops, runners, and policy writers—not to mention a whole sub-industry of numerologists and hucksters who called themselves “policy professors” and hawked dream-based winning formulae in the ad pages of the Chicago Defender. If you want to try to get a sense of the spirit of the time, take a listen to “Four Eleven Forty-Four,” by Papa Charlie Jackson, the sardonic, banjo-playing chronicler of life in Chicago’s black neighborhoods in the 1920s and the first commercially successful self-accompanied blues musician; the title is the prototypical number combination, or gig, and a byword for policy itself.

The great policy kings are mostly forgotten now: Policy Sam, Mushmouth Johnson, Teenan Jones, Ed Jones (no relation) and his brothers, Dan Jackson, Teddy Roe. But their influence on the economic and political life of the city can’t be overstated. For the first half of the 20th century, the white powers that be considered them essential to the black vote in Chicago. When it comes to this city’s history, one should probably always think cynically and feudally: a community where the largest local employer, voter registration effort, charity, and source of capital is a single criminal racket is a corrupt administrator’s dream. Political machines gave policy kings leeway to keep them in power. During their reign, the center of black nightlife in Chicago was a section of the Bronzeville neighborhood known as “The Stroll.” How perfect is that, in a city where control is synonymous with directing movement?

The 1920s and ’30s were Chicago’s heyday as a center of jazz talent and innovation. One of the most important clubs of this era was the Grand Terrace, known in its early years as the Sunset Cafe. The building—originally a garage, and until recently a hardware store—still stands on 35th Street. This was where Louis Armstrong became a star with a teenage Cab Calloway as his master of ceremonies, where Nat King Cole got his first break, and where the trailblazing pianist and bandleader Earl “Fatha” Hines had his 12-year residency, playing a piano bought for him by Al Capone. In the ’30s, the Grand Terrace had its own national radio show, broadcast live every night. Policy kings owned many popular clubs on The Stroll, including Palm Tavern (owned by Genial Jim Knight) and the Elite No. 2 (owned by Teenan Jones), which I’m almost certain inspired the similarly comical name of Scarface’s Paradise No. 2. But the most lucrative and glamorous spots were integrated black-and-tan clubs like the Grand Terrace and the Plantation, which was located across the street. Both were controlled by the Capone organization through Jewish associates.


Unlike the Outfit that succeeded him, Capone made a point of leaving the black syndicates alone. There were many reasons for this, including the fact that the mob and the policy kings were both colluding with the Republican political machine headed by Mayor William H. Thompson, a flagrantly corrupt figure who believed that the one true enemy of America was the British crown. But the one that matters here is the mob’s intended audience. The Grand Terrace attracted many wealthy black customers, from bona fide celebrities to local crime lords (Icerberg Slim’s mentor, “Baby” Bell, spent there lavishly), but it was designed to draw in white money. Anyone who wanted to make a career in Chicago had to play the mob’s segregated circuit. The white jazzmen (including such talents-in-training as Gene Krupa and Benny Goodman) mostly played whites-only venues, while the black jazzmen played black-and-tan clubs, where white musicians could sit and play if they wanted. The privilege did not go the other way around.

Thus, the mob invisibly controlled the direction of musical influence, as it did so many other things that may seem intangible. Its monopoly on early Chicago jazz had many consequences, one of which was an eventual exodus of talent, beginning with the great cornetist King Oliver, who led the band at the Plantation Café. Oliver was a true tragic figure; he gradually lost his teeth and the ability to play to severe gum disease, ended up working as a janitor in a pool hall, and died broke in a rooming house. In the mythology of jazz, his downfall into obscurity and fatal poverty is all the result of his refusal to take a lowball offer for a regular gig at the Cotton Club, which instead catapulted Duke Ellington to stardom. This is the thing to remember: Much of the formative 1930s period of jazz, a music with deep black roots, happened on terms set by white criminals. After the black-and-tan clubs went out of fashion toward the end of the 1930s, the Chicago mob got into coin-operated jukeboxes. Thankfully, they never developed an interest in blues.

Regardless of age or gender, Chicago will turn you into an old man giving directions. Every story reminds of another story, and a story of something that used to be there—because it’s really all one story. After the Outfit took control of policy and bolita, a similar numbers game popular in the city’s Latino neighborhoods, they became absorbed into the gambling and vice empire of the Rush Street crew, whose day-to-day manager went daily to Saul Bellow’s beloved Russian bathhouse on Division Street. The Grand Terrace, having finally gone out of business, became the headquarters of the Democratic congressman William L. Dawson. He was the black sub-boss of Chicago’s political machine, and, in theory, the most powerful black politician of the 1950s. He didn’t redecorate the Grand Terrace. It still had its big neon sign (with a smaller sign with his name added) and its Jazz Age murals and private upstairs clubrooms. The last regular bandleader at the Grand Terrace had been the jazz iconoclast Sun Ra, who was then just developing his sci-fi aesthetic in Chicago.

Dawson’s position within the political machine was a feudal lordship; it was dependent on his ability to bring out black voters en masse. The political machine, in turn, depended on segregation and on interchanges with the underworld. The link between the Outfit’s earlier inroads on The Stroll and the Democratic political machine’s command of the post-war black voting block was made literal and blatant by the continued use of the Grand Terrace. There, Dawson’s landlord was Joe Glaser, the manager of Louis Armstrong and Billie Holiday and a longtime Outfit man. Glaser, who had an early history of walking away from sexual-assault charges, had been a boxing promoter who specialized in fixing fights for the mob and then a manager of black-and-tan clubs. After the repeal of Prohibition destroyed the Outfit’s stranglehold over Chicago liquor, he would rob delivery trucks to stock the bar of the Grand Terrace.

The management company Glaser created—and willed to the Outfit lawyer and power broker Sidney Korshak, unbeknownst to Armstrong—was funded by a loan from Jules Stein, an ophthalmologist, former bar mitzvah musician, and jazz booker for the Chicago mob circuit. Stein’s booking company was MCA, which started with speakeasies and black-and-tan clubs and became the largest talent agency in the world by the end of 1930s, all while being effectively controlled by the Capone organization. It acquired Universal Pictures, and expanded beyond talent management into film, television, music, and publishing. It kept its ties to the Outfit and carried over the city’s culture of patronage to Hollywood, where it encouraged the political ambitions of its client Ronald Reagan. At the start of this century, it merged with Vivendi to create NBCUniversal and Universal Music Group. This is the story of the Outfit controlling who worked in one building in Chicago. It’s a big city. There are many buildings.


If you are ever in Chicago, consider taking a drive through the city at night. Let the car rattle on the badly pockmarked streets. Your eyes will adjust to the amber sear of the General Electric Crimefighters and to that other feature of Chicago nighttimes, the blue flash of a police camera box. There are thousands mounted around the city. Turn down an alley and think of the fact that even in the earliest plat of Chicago, dating to the 1830s, there were plans for alleyways. Park the car, get out, and study how the dimensions and alignment of the streets and sidewalks affect your movements. Don’t think of crime as troglofauna, pale and eyeless, evolving in the dank corners of the city. In Chicago, crime moves, often along currents defined by earlier forms of crime. It’s structural.

Given that they have brought Chicago its most sensationalized coverage since the days of Al Capone, it seems interesting that there have been no real fiction films about the street gangs. Spike Lee’s Chi-Raq doesn’t count. Its portrayal of Chicago’s gangland is pure fantasy, influenced by the mythology of gangsta rap—which is to say, indirectly indebted to Iceberg Slim. Even in fiction, the city can’t escape the myths it inspires. You could say that about drill, our distinctive midtempo flavor of nihilistic trap rap. Drill tends to be oversimplified as the authentic sound of modern Chicago crime, which is how it sells itself, existing as it does in a complicated relationship with the histories and ongoing conflicts of Chicago’s drug gangs, grouped in the increasingly meaningless six-pointed-star Folk and five-pointed-star People alliances.

Really, drill is internet music. It owes its local significance, popularity, and very existence to limitless digital space and social media. Drill is the dizzying, exhaustive braggadocio of Montana Of 300’s “Holy Ghost”; the squishy nausea of Lil Durk’s “Glock Up”; and the hammering of Chief Keef’s “I Don’t Like”; but it is also a thousand guys who can’t rap boasting about the same shit over $50 beats while hustling for Instagram followers and YouTube views. Quality drill albums are nonexistent, and consistent drill mixtapes are rare as hen’s teeth; the ratio of filler to killer is notoriously poor. The mise-en-scène is remarkably consistent from video to video: guns; unimpressive cars; alleys, gangways, and iron gates; ugly weather; those hideous kitchen cabinets that seem to have been installed in every Chicago apartment, regardless of neighborhood. But cheapness and a lack of inspiration are part of the authenticity factor, because drill is immediate. It’s also on the outs, having never crossed over the way that the Savemoney scene made famous by Chance The Rapper and Vic Mensa has.

Nowadays, Chicago crime is defined by the street sets, mostly black or Latino, related by business and varying adherence to the mythology of the gang, prone to violent infighting and splintering. What makes this underworld special is that most of its artistic record is self-produced. These are the patch-sewn cardigans and calling cards of the old-school 1970s street gangs; the outsider literature of the Gangster Disciples’ manuals, more cultish than criminal; the hieroglyphic symbolism of the gang tags that cover Chicago’s alley-facing garage doors; meandering amateur movies in which people pretend to shoot each other with real guns; drill. Despite the early ambitions of the Vice Lords and the Latin Kings organizations, the street gangs have only ever been politically useful as bogeymen. By most estimates, there are around 100,000 street gang members in Chicago, divided into about 60 organizations that are in turn split into about 700 groups. Not every Chicago gang is a violent criminal enterprise, but the majority of murders in Chicago are gang-related, and most of them go unsolved.

There is nothing transgressive about our gangs. Chicago is a place where one can always map the relationship between the criminal and the city. It taught the world that the street criminal could be a charismatic figure and inspired a mythic bestiary of genre archetypes: the terse Mann-ian professional facing obsolescence; the mobster gunning for the throne of the city; the nihilist pimp who knows it’s all part of the game; the folk-hero bank-robber shot by lawmen in the back; the corrupt and colorful wheeler-dealer. But the street gangs can’t be understood on those terms. To an outsider, their public beefs can sound like the sectarian conflicts of a post-apocalyptic religion; witness the bloody feud between the Bang Bang Gang Terror Dome subset of the Black P. Stones and the New Money Killaward subset of the Gangster Disciples, which in 2015 caught the attention of a city otherwise desensitized to the idea of gangland murders.
Screenshot: Candyman

The ongoing social tragedy of murder in Chicago isn’t that there are so many (there are a lot, but it’s never ranked among the top American cities in that respect), but that they are so similar, the same m.o. repeated over and over again. It can reach the point where you almost trick yourself into thinking of the urban gangland as an organism or serial-killer hive mind. But it isn’t. The foibles of the street gangs are very human. And, though we don’t like do admit it, they are relatable.

The French novelist Jean-Patrick Manchette liked to call crime fiction “the great moral literature of our time,” a statement I sometimes find myself agreeing with. There is no more efficient way of putting a character in a moral and existential crisis than a crime, and it is a dark truth of every developed society that, regardless of circumstances, we are all capable of committing a heinous crime. The question of why some do while most don’t directly addresses an important piece of the human puzzle. But in this chapter of the ongoing story of sin in Chicago—the story as told in film, in music, in the media—crime has become a setting, a fact of the neighborhoods, not a question of personalities. No documentary about the day-to-day lives of street gangs (and there are a lot of them, made mostly for TV) has had the wider appeal of Steve James’ Hoop Dreams or The Interrupters—though, of course, none of them are as well made. This is a net positive.But let me posit something that may seem counterintuitive. It isn’t a plea for a return to romanticized crime, though I do think that the forbidden lure of the illegal and immoral can be subverted in powerful ways; it’s something many of the great crime narratives do. But I do think that the art that most cogently addresses crime—whether as a real-world social issue or as an existential state—is art about criminals, because it puts its audience in a compromised spot. There is something of a moral duty to resist the othering of crime. When we begin to think of gangs exclusively as a social phenomenon, instead of as people in groups, we dehumanize not just the gangs, but the people they exploit and victimize, a category that includes the gangs themselves.

One of the more often cited example of this is the 1992 horror film Candyman, which places a supernatural threat within the crime-infested projects. (If you have the time, I recommend watching our short video documentary on the film.) It’s set in Cabrini-Green, which was then the most notorious housing project in Chicago; it was also the home of one of the subjects of Hoop Dreams, the setting of the ’70s sitcom Good Times, and the subject of several documentaries of its own. Candyman is a film that raises some interesting ideas early on, but waffles on them. In the end, it falls back on that all-too-popular image of the urban gangland as a monster, a variant of what one might call the second curse of Chicago—the idea of the city itself as an abstract threat. But it’s always people. Cabrini-Green is gone now, long demolished. In Chicago, it was symbolic of controlled disenfranchisement: a 15,000-person enclave of poverty in an affluent area. The street that ran directly down the middle of the complex—well, you can probably already guess this one. It was Division.

Thanks to Ignatiy Vishnevetsky.

Tuesday, March 28, 2017

Only Yesterday: An Informal History of the 1920s

Hailed by the Washington Post as “the one account of America in the 1920s against which all others must be measured,” Frederick Lewis Allen’s extraordinary social history takes readers back to a time of flappers and speakeasies, the first radio, unparalleled prosperity — and cataclysmic economic decline

Beginning November 11, 1918, when President Woodrow Wilson declared the end of World War I in a letter to the American public, and continuing through his defeat, Prohibition, the Big Red Scare, the rise of women’s hem lines, and the stock market crash of 1929, Only Yesterday: An Informal History of the 1920s, published just two years after the crash, chronicles a decade like no other. Allen, who witnessed firsthand the events he describes, makes the reader feel like part of history as it unfolds.

This bestselling, enduring account brings to life towering historical personages including J. Pierpont Morgan, Henry Ford, Sigmund Freud, Albert Einstein, Al Capone, Babe Ruth, and Jack Dempsey. Allen provides insightful, in-depth analyses of President Warren G. Harding’s oil scandal, the growth of the auto industry, the decline of the family farm, and the long bull market of the late twenties. Peppering his narrative with actual stock quotes and breaking financial news, Allen tracks the major economic trends of the decade and explores the underlying causes of the crash. From the trial of Nicola Sacco and Bartolomeo Vanzetti to the inventions, crazes, and revolutions of the day, this timeless work will continue to be savored for generations to come.

Monday, March 13, 2017

Top 10 Most Wanted True-Crime Movies

We've called in some of the usual suspects and a few ringers to put together a lineup of the top 10 true-crime movies (although the names may have been changed to protect the innocent).

10. "St. Valentines Day Massacre" (1967)

Perhaps no criminal has ever been featured in more pop culture than Al Capone. From 1932's "Scarface" to Brian DePalma's 1987 adaptation of "The Untouchables," the prohibition-era Chicago gangster has become a pop icon. While those two movies are mostly apocryphal, "The St. Valentine's Day Massacre" is based on an actual February 14, 1929, strike by Capone against rival gangster Bugs Moran's crew. The tall, thin Jason Robards may not look like Capone the way Robert De Niro does in "The Untouchables," and George Segal (playing a mob enforcer) couldn't be menacing in any context, but B-movie auteur Roger Corman's stylish direction makes this one of the more memorable mob movies (look for a cameo by the young Jack Nicholson).


9. "Monster" (2003)

Arguments will rage forever as to whether the Florida prostitute-turned-serial killer Aileen Wuornos was a victimized vigilante or a pure psychopath, but few can deny the power of Charlize Theron's Oscar-winning portrayal in this 2003 film. Yes, Theron gained 30 pounds and wore hideous false teeth to obscure her natural beauty, but to reduce her transformation to mere physicality is unfair. Theron manages to make Wuornos simultaneously sympathetic and terrifying. You find yourself hoping she'll get her life together even though the film's tragic end is a foregone conclusion.


8. "Reversal of Fortune" (1990)

Our tabloid culture's perverse fascination with crime takes on an air of Schadenfreude when it occurs in high society. "Reversal of Fortune" tells the true story of socialite Claus Von Bülow's attempt to overturn a conviction for attempted murder of his wife Sunny by insulin overdose. Glenn Close plays Sunny, both in flashbacks and in a voiceover narration from her vegetative comatose state. Jeremy Irons is at his icy best as the vindicated (but perhaps guilty?) Claus in a role that won him a Best Actor Oscar.


7. "The French Connection" (1971)

Gene Hackman plays "Popeye" Doyle, a New York City police detective obsessed with capturing a French heroin smuggler in this thriller, based on an actual Turkey-France-United States drug-trafficking scheme that exploded in the 1960s. William Friedkin directed this nail-biter, one of those great, gritty '70s flicks that's painted in a dozen shades of gray. The film won Oscars for Best Picture, Actor, Screenplay and Editing and contains what many still consider the greatest car-chase scene in film history (as well as an achingly ambiguous ending that would never fly today).


6. "Heavenly Creatures" (1994)

Years before he brought to life orcs and giant apes, director Peter Jackson tackled another kind of monster in the real-life story of two 1950s New Zealand girls who murder the mother who forbids them to see each other when their close friendship becomes too obsessive. In her first film role, Kate Winslet plays the daughter who takes a brick to her mother's head — 45 times. Jackson, following up his gore-fest horror film "Braindead," crafts a movie that's part Merchant Ivory, part Martin Scorsese.



5. "Dog Day Afternoon" (1975)

Sidney Lumet directs Al Pacino in arguably his best role as Sonny Wortzik, a man who attempts to rob a bank to pay for his lover's sex-change operation, only to have everything go wrong on a sweltering New York summer day. As a police standoff drags on for 14 hours, the throng of onlookers begins to root for Sonny as a champion of the oppressed. While it sounds like this is one of those "based on a true story" flicks that plays fast and loose with the details for dramatic impact, it actually hews very closely to the actual events of the robbery.




4. "Rope" (1948) and "Compulsion" (1959)

The Leopold & Loeb murder case was one of the most notorious crimes of the early 20th century. In 1924, two wealthy law students kidnapped and killed a 14-year-old neighbor merely to prove their professed Nietzschean superiority. Their subsequent trial (during which it was revealed they were lovers) caused a media frenzy, and the story inspired dozens of works of fiction. While Alfred Hitchcock's "Rope" is merely inspired by the events (turning the killers into two Manhattan students who strangle a friend right before a dinner party), it's a riveting portrait of narcissism. Hitch (no stranger to sublimated urges) paints almost every character (not just the killers) with black swaths of self-absorption, forcing the audience to consider the ease with which we all say we'd like to kill someone for the mildest infraction. "Compulsion" (which changes the names of the actual parties while mostly sticking to the details) is concerned more with the trial, with Orson Welles playing the stand-in for defense attorney Clarence Darrow. The movie has an oddly anachronistic style, never quite evoking the time period, but it is buoyed by some fine performances. More permissive times would allow 1992's "Swoon," which was more about the relationship between the two killers.

3. "All the President's Men" (1976All the President's Men)

It had been not quite two years since Richard Nixon resigned as president of the United States in the wake of the Watergate scandal when the film version of the book by Carl Bernstein and Bob Woodward hit theaters, so the wounds on the nation were still fresh. Dustin Hoffman and Robert Redford play the fledgling Washington Post reporters who uncover the connection between the White House and the break-in at the Democratic National Committee. As intricate as the story itself, the film still manages to be the most exciting "talking head" thriller you've ever seen.



2. "Henry: Portrait of a Serial Killer" (1986)

At least in films, it used to be easy to spot the bad guys: They wore black, sported furrowed brow and sinister moustache, perhaps scarred by some past altercation. But "Henry: Portrait of a Serial Killer" presented a new kind of terror — an otherwise normal guy who just liked to murder. Based on the confessions of Henry Lee Lucas, this brutally visceral film (directed by John McNaughton) has earned cult status over the years. Michael Rooker plays Henry alongside Tom Towles as his white-trash killin' partner Otis. The movie is made only slightly less disturbing by the revelation that the majority of the hundreds of murders to which Lucas confessed never occurred.



1. "In Cold Blood" (1967)

Truman Capote's groundbreaking 1965 book about the brutal slaying of a rural Kansas family was adapted into this chilling film two years later by Richard Brooks. The film opens by showing the parallel lives of the simple, God-fearing Clutters and Perry Smith and Dick Hickcock (Robert Blake and Scott Wilson), two hard-luck drifters who hear that there's a small fortune hidden on the Clutters' farm. The movie then cuts to the day after the murders — following the search for the killers, their capture, trial and execution — with the sad, maddening details of the pointless massacre told via flashback near the end of the film. The semi-documentary style of the movie combined with the stark black-and-white cinematography and understated performances by the cast add a harrowing air of authenticity to the film (and of course, recent events in the life of Blake have given "In Cold Blood" an ironic undercurrent that only adds to its true-crime résumé).

Of course, the term "true-crime movie" is usually an oxymoron. Dramatic license or studio legal departments almost always force alterations of the facts. Arthur Penn's "Bonnie and Clyde" (1967) may be one of film's most celebrated crime dramas, but it's hardly an accurate depiction of the notorious Depression-era, bank-robbing duo.

So please don't track us down and shoot us if some of the films on this list fall slightly short of documentary. Although that would make a great movie ...

Thanks to Karl Heitmueller.

Sunday, February 12, 2017

Son of Scarface: A Memoir by the Grandson of Al Capone

Thirteen is a difficult age for anyone. But imagine if your beloved dad drops dead in your arms, leaving you at the mercy of your abusive mother. Then, a few months later, you learn from a phone conversation with your father's best friend that Dad was the son of Al Capone.

Not exactly a "Happy Days" childhood for Chris W. Knight. News that he was a generation removed from the most notorious crime boss in the annals of American history hit him like a St. Valentine's Day special delivery from his grandpa. But he was able to overcome all the trauma and unhappiness to earn an MBA and find success in real estate.

For two decades, the lifelong New Jersey resident wondered whether the tale of his lineage was true -- essentially that Capone had fathered Bill Knight with a woman other than his wife, then somehow hid his identity and had others bring him up. Then Chris Knight decided to find out. Son of Scarface: A Memoir by the Grandson of Al Capone recounts his efforts to trace his roots to the criminal mastermind who in the Roaring Twenties was the uncrowned king of Cicero, then Chicago.

Q. How sure are you at this point that it's true that you are Scarface Al's grandson?

A. One hundred percent, without a doubt. This kind of thing you just don't make up. For me, my dad died in my arms and told me before he died that he had another identity as a child, that he couldn't talk about it but if he did it would make my head spin. He told me about the house in Florida where he spent some of his childhood.

Q. Would you be disappointed if you were somehow presented with proof positive that you were not related?

A. I would have to seriously take into consideration how they came to that conclusion, and I would only believe it if they took the DNA straight from his body right out of the ground and spliced the DNA right in front of me. Anybody can swipe anything when it comes to DNA.

Q. Are there any developments since the book was published concerning the Capone lineage?

A. The book's been out a month and a half. I just finished doing the launch in Florida [at Al's vacation home]. The word is out. I've had two conversations with a grandson of my father's brother, Albert Francis, a k a Sonny. His family's been supportive. He said he saw a lot in my story and in me, that there is a strong connection. He's deciding whether to submit to a DNA test. He told me that as long as I didn't reveal his real identity or where he lived, he wouldn't shoot me [laughs].

Q. Do you see any irony in the fact that your father was the son of such a notorious man, yet your mother was the parent who was emotionally and physically abusive toward you and your sister?

A. That's something that I was thinking, that my mom is probably on the same level as Al Capone. Sometimes I wonder if she has syphilis [the disease that killed Al and may have been passed on to both Sonny and Bill] because she's very irrational. I can see why it's said that people marry someone who reminds them of their parents. it is ironic to see my mother's behavior is a mirror image of Al's.

Q. Is it difficult to admit the Capone heritage?

A. He's definitely a legend in American history. The bad side of Capone was that he was one of America's most notorious mob bosses. But I think my grandfather was also a kind and generous person to a lot of families. He ran soup kitchens during the Depression. People say that if you knew him, he would try to help you.

Q. Has your relationship with your mother been affected by your quest?

A. This past Christmas I forced myself to go and visit my mom, and even though she has her moments of irrationalness, she can be serious. She hasn't read the book, but she thought it would be good if I could put a positive twist on it and develop the theme of telling people to use courage and use the pain of my childhood to move forward to continue the search to reconnect with my father.

Q. You mention a "gay chromosome" and speculate that Al himself may have been gay, as you are. How has that theory been received?

A. In speaking with a few historians and reading up on Al and looking at myself, I realized that I am very similar to Al, not only in looks but in attitude and friendliness and the generous side of me. A few historians have said there were rumors that he was bisexual or gay. I heard he had a very soft voice like me. He always surrounded himself with 20 very handsome bodyguards. He never lived with his wife, so the thought had crossed my mind that there could have been a gay gene there.

Thanks to Jeff Johnson

Friday, January 27, 2017

Gangsters & Grifters: Classic Crime Photos from the @ChicagoTribune

Created from the Chicago Tribune's vast archives, Gangsters & Grifters: Classic Crime Photos from the Chicago Tribune, is a collection of photographs featuring infamous criminals, small-time bandits, hoodlums, and more at shocking crime scenes. These vintage glass-plate and acetate negatives were taken from the early 1900s through the 1950s, and they have been largely unseen for generations. That is because most have never been published, only having been witnessed by the photographers and police in the moments after an arrest, crime, or even murder. Included are graphic crime scenes, raw evidence, and depictions of searing emotions, captured on film during a time when photographers were given unprecedented access alongside police. Some photographs resemble film noir movie stills. Some are cartoonish. All feature real people, real drama, and real crimes. Accompanying information about each is included wherever possible, often with archived news stories.

Gangsters & Grifters: Classic Crime Photos from the Chicago Tribune, is a powerful, visually stunning look back into the dark story of Chicago's nefarious crime underworld. These fascinating, surprising, and entrancing photos reveal still-unsolved murder mysteries and portraits of notorious gang overlords like John Dillinger and Al Capone. This is a must-have for photography buffs, history lovers, and anyone curious about the seedy underbelly of early 20th-century Chicago.

Thursday, November 17, 2016

Flashback: Prison Release of Betty Loren-Maltese Awakens Organized Crime Mystique of Cicero

Prohibition was the law of the land when Al Capone took over Cicero in 1924, muscling his way in with gun-toting hoodlums on Election Day. And many residents were happy to hear his beer wagons rumbling through the streets en route to speakeasies.

More than 80 years later, this sleepy-looking suburb of blue-collar bungalows and strip malls a few miles west of Chicago still hasn't shaken its reputation for mob influence, political scandal and corruption, even as leaders insist they've put it behind them.

"The organized crime mystique _ that's the reason for our image," says town spokesman Ray Hanania, insisting President Larry Dominick has "taken politics out of town government" since taking office in 2005. The story of Cicero and the mob, he said, is "a great story and it's easy to write but it's unfair."

Critics, though, say corruption still hangs thick in the air.

About a week ago, former town President Betty Loren-Maltese returned to Chicago after 6 1/2 years in prison for fleecing taxpayers of more than $12 million in a mob-related insurance scam. The money paid for an island golf course in Wisconsin, a horse farm and a summer home for reputed mob boss Mike Spano, who went to prison along with Loren-Maltese.

Loren-Maltese was boosted into politics by her late husband, former Cicero town assessor Frank "Baldy" Maltese, who was indicted on corruption charges in the early 1990s along with Rocco Infelice, reputed one-time boss of the Cicero mob. Maltese pleaded guilty to conspiracy in 1993 but died of cancer before going to prison. Infelice died behind bars.

No sooner had the once-jovial Loren-Maltese _ sporting her trademark flamboyant hairdo but grim and silent behind large dark glasses _ arrived Monday to start a four-month term in a halfway house, than news surfaced that she and her elderly mother were receiving health insurance benefits from the very town fund that Loren-Maltese was convicted of looting.

Hanania said Loren-Maltese received the benefits under a law she "rammed through" while still in office that provides coverage to all Cicero elected officials for life, and her mother got insurance for serving on the police and fire commission for 10 years.

By Tuesday, officials in the town of about 85,000 decided her mother wasn't entitled to the coverage because she never held elective office, and terminated it. But that wasn't the only problem, critics say. Dominick, a hefty ex-cop who served on the Cicero force for years, also has found jobs for a number of his relatives on the town payroll, including a son who works as the human resources director.

"I think they haven't really changed since the Al Capone era in their approach to government and politics and civic decency," says Andy Shaw, head of Chicago's Better Government Association. "This is the town that time forgot."

Not that some things haven't changed.

Scantily clad prostitutes no longer saunter in the neon haze outside the mob-connected strip joints that flourished along Cicero Avenue in the 1950s and 1960s. Gone are the no-name prize fighters who once slugged it out in a little arena in a cloud of colored smoke and flickering strobe lights.

"The place was crawling with vice and gambling," said John Binder, author of "The Chicago Outfit," a history of the city's organized crime family. "It was the same story in some other little suburbs where the mob could get its hooks in, but Cicero was sort of the crown jewel, maybe because of its location close to Chicago and because Capone pushed his way in there."

Now it all seems comparatively tame. Almost.

In February 2003, a massive pipe bomb erupted on a quiet street in Berwyn, a neighboring suburb. The explosion blew away the front of a company that distributed the video poker machines that federal prosecutors say were used for illegal gambling throughout Chicago and its suburbs.

Prosecutors said it was organized crime's way of delivering the message that horning in on its monopoly on video poker machines was dangerous _ and at the time, the biggest distributor of the machines in the western suburbs was based in Cicero.

It was owned by Michael Marcello, whose brother, James Marcello, went to prison for life following the 2007 Operation Family Secrets trial, the biggest mob case in Chicago in decades. Michael Marcello also went to prison after pleading guilty to racketeering and other offenses for running a gambling business and paying the government's star witness in the Family Secrets case, Nicholas Calabrese, to keep mum.

Then in 2008, Cicero jewelry store owner Mark Polchan and Samuel Volpendesto, a tiny, white-bearded, 86-year-old former manager of a Cicero strip joint, were indicted on charges of blowing up the Berwyn video poker company.

Last year, the charges against the two men became part of a larger, racketeering indictment that added five other defendants, including a Cicero police officer. All have pleaded not guilty and are awaiting trial in September.

Originally reported by Mike Robinson on 2/21/10.

Wednesday, October 26, 2016

Al Capone: Chicago's King of Crime

Al Capone: Chicago's King of Crime.

Crime writer Nate Hendley examines the life and crimes of Al Capone, the world’s most famous gangster, during his brief reign over corrupt, Prohibition-era Chicago.

A fresh, personal look at this iconic figure.

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