The Chicago Syndicate: Russian Mafia
The Mission Impossible Backpack

Showing posts with label Russian Mafia. Show all posts
Showing posts with label Russian Mafia. Show all posts

Thursday, October 05, 2006

Sopranos Helping al-Qaida?

Friends of mine: Soprano Crime Family

The FBI's top counterterrorism official harbors lots of concerns: weapons of mass destruction, undetected homegrown terrorists and the possibility that old-fashioned mobsters will team up with al-Qaida for the right price.

Though there is no direct evidence yet of organized crime collaborating with terrorists, the first hints of a connection surfaced in a recent undercover FBI operation. Agents stopped a man with alleged mob ties from selling missiles to an informant posing as a terrorist middleman.

Would the Sopranos really help terrorists? The FBI says the high level mobsters have told them for the right price, yes.That case and other factors are heightening concerns about a real-life episode of the Sopranos teaming with Osama bin Laden's followers. "We are continuing to look for a nexus," said Joseph Billy Jr., the FBI's top counterterrorism official. "We are looking at this very aggressively."

The new strategy involves an analysis of nationwide criminal investigations, particularly white collar crime, side by side with intelligence and terrorist activity. "We have developed an ability to look harder and broader in a greatly enhanced way to see if there is any crossover," Billy said in an interview with The Associated Press.

Organized crime syndicates could facilitate money transfers or laundering, human smuggling, identification fraud or explosives and weapons acquisitions, officials said.

The options are many for terrorists groups.

There are the five reputed La Cosa Nostra families in New York, Russian criminal enterprises from Brighton Beach in the New York borough of Brooklyn to Moscow, and the emerging Asian crime syndicates that operate in many Islamic countries with al-Qaida offshoots.

A contract study produced recently for the Pentagon and obtained by the AP warned that the potential for organized crime assisting terrorists is growing. "Although terrorism and organized crime are different phenomena, the important fact is that terrorist and criminal networks overlap and cooperate in some enterprises," the study said. "The phenomenon of the synergy of terrorism and organized crime is growing because similar conditions give rise to both and because terrorists and organized criminals use similar approaches to promote their operations."

The traditional mafia has highly developed networks for acquiring goods and services and money, all for a price.

The mob's potential interest in helping a terrorist has nothing to do with ideology or sympathy but with greed, said Matt Heron, head of New York FBI's organized crime unit. "They will deal with anybody, if they can make a buck," Heron said. "They will sell to a terrorist just as easily as they would sell to an order of Franciscan monks. It's a business relationship to them."

"If the mob has explosives and a terrorist wants them and they have the money, they could become instant friends," he said.

Pat D'Amuro, a retired senior FBI official and now chief executive of Giuliani Security, said a Mafia boss once acknowledged that the mob would help terrorists. "I am aware of a high-level Mafia figure, who was cooperating with authorities, being asked if the Mafia would assist terrorists in smuggling people into Europe through Italy," D'Amuro said. "He said, 'The Mafia will help who ever can pay.'"

Officials said they have no specific evidence that such a relationship has been cemented. But concerns were heightened last year after an Armenian immigrant was arrested in New York for allegedly leading a plot to sell military weapons to an FBI informant posing as a middleman for terrorists.

Arthur Solomonyan had claimed to be able to deliver shoulder-fired missiles from his connection in Russian organized crime to the informant, who claimed to have ties to al-Qaida, federal prosecutors said. Solomonyan and 17 others in New York, Florida and California were charged in the case.

Solomonyan is scheduled for trial this month. His lawyer, Seth Ginsberg, said he plans to "vigorously contest" the charges and call the government's confidential informant to the stand to challenge his motives. The Italian, Russian, and Asian mafia remain active, particularly in New York, even though the government has successfully prosecuted numerous figures in recent years.

In the past three years, well over 100 associates from all five La Cosa Nostra families have been arrested in New York, Heron noted.

While the potential of a gangster-terrorist marriage is on the FBI's radar, homegrown terror cells and weapons of mass destruction are also big concerns for those in the FBI given the job of stopping the next terrorist attack. "We are not only aware that they want to come across the ocean to attack us but they may be physically here developing in our own homeland," Billy said.

The Internet has become the new Afghanistan, allowing terrorist sympathizers to promote their radical ideas and to recruit and train followers right their home computers. That makes it far more difficult for investigators to identify them.

Billy said his biggest concern remains weapons of mass destruction. While Hezbollah and Hamas are more defined terrorist groups, with a territorial focus and a political platform, al-Qaida is more unpredictable. "We know they were trying to acquire it prior to 9/11, bin Laden's own words said that," said Billy. "What makes us think they are still not trying?"

Thanks to Pat Milton

Thursday, September 28, 2006

Why Jack Ruby Killed Lee Harvey Oswald

Friends of ours: Sam Giancana, Joe Civello, Joe Campisi

In March of 1964, 52-year-old Jack Ruby was found guilty of the murder of John F. Kennedy's assassin, Lee Harvey Oswald, and sentenced to die.

For 32 months, since the time he shot Oswald, Ruby had been locked in a windowless cell on the Dallas County Jail's corridor 6-M. A ''suicide watch'' guard looked in on him around the clock – a single exposed light bulb glared over his bed. Several times Ruby would make attempts on his own life.

Ruby could not tell night from day. He read every newspaper he could lay his hands on, eagerly sifting them for his name. He read dozens of books, including Perry Mason novels and the Warren Report, played cards with his guards, did physical exercises – and seemed out of his mind most of the time, according to jail staff.

Ruby was clearly tipping over the edge in his psychosis and paranoia. He rammed his head against the plaster walls and raved over and over about the suffering Jews who were being killed as revenge for his crime. Near the end, Ruby screamed that his prison guards were piping mustard gas into his cell. Later, when his doctors discovered that he was suffering from brain tumors and adenocarcinoma – a cancer that had spread swiftly through most of the cavities, ducts and glands of his body, Ruby accused them of injecting him with the disease – a medical impossibility.

On Oct. 5, 1966 the Texas Criminal Court of Appeals granted Ruby a new trial on the grounds that his statements to Dallas policemen immediately after the shooting should not have been allowed as evidence against him and that the original court should have granted a change of venue to another jurisdiction because a fair trial was all but impossible in Dallas.

By Dec. 5, 1966 Wichita Falls was selected as the new venue for the trial. When the sheriff of Wichita Falls arrived a couple of days later to transfer Ruby to Wichita Falls he noticed that Ruby was ill and refused to take him away. The Dallas jail had been treating him with Pepto-Bismol for a stomach problem. He was taken to Parkland Hospital on Dec. 9, 1966 and the doctors treated him for pneumonia – a day later they realised he had cancer in his liver, brain and lungs, and had probably been suffering from it for 15 months.

Almost from the time he arrived at the hospital, Ruby's condition was considered hopeless. He died on Jan. 3, 1967.

Who Was Jack Ruby?

According to the Warren Commission Report, Ruby was born in 1912 to a Russian immigrant, a quiet, gentle woman who was intimidated by her husband and who spent some months in her later years in an Illinois mental home as a result of her alcoholism. His mother died in an insane asylum in Chicago. His father was a drunk and was treated for psychiatric disorders. A brother and a sister had psychiatric treatment. Ruby and his brothers and sisters spent much of their childhood in a series of foster homes while their parents were separated. By the time Ruby was 8 or 9 years old, he was making money selling shopping bags in the Chicago streets at Christmas time. In his teens he started selling pennants and earned money by parking cars. At age 23 he went to California to sell tip sheets at a racecourse. When that didn't work he sold subscriptions for Hearst newspapers.

Until he was drafted into military service in 1943, he continued with these types of petty jobs. He worked as a union organizer, travelled through the Eastern states selling punchboards, then opened what he called a legitimate mail-order business.

Ruby was inducted into the U.S. Army Air Force on May 21, 1943. He spent most of his service at military bases in the South. Two people who recalled Ruby's military service said he was extremely sensitive to insulting remarks about Jews. Ruby attacked a sergeant who had called him a ''Jew bastard.'' He expressed to some soldiers his high regard for Franklin D. Roosevelt and cried when he was informed of Roosevelt's death in April 1945. Ruby attained the rank of private first class and received the good conduct medal. His character and efficiency ratings were classed as excellent. Following his honorable discharge from the Army Air Force he returned to Chicago. With his sister Eva now residing in Dallas, Ruby moved there, and through her, got involved in the nightclub business there.

In 1952 a Dallas club he ran failed badly and, depressed about it, he went to a Dallas hotel and considered suicide. He changed his mind and decided to re-enter the club business. ''I was doing some things on the side,'' Ruby explained. ''I made a trip to New York to promote a little colored boy who could sing and dance. Then I became a distributor for pizza pie and for some medicine. I built some log cabins for a man named Gimble, but we didn't do well. I took over a private club in 1960 but I didn't make a go of it with all the credits involved so I changed it to the Carousel Club in 1961.'' The Carousel was a sleazy striptease nightclub near the Adolphus and Baker hotels in Dallas.

Ruby's medical history gives some insight into the origins of his mental instability and his impulsive and aggressive behaviour throughout his adult life. The records show a series of head injuries. In 1928 when he was selling tickets outside Soldiers Field in Chicago, two plainclothes policemen beat him on the head with their pistols. In 1941, in some sort of brawl, he suffered a concussion. In 1955, while he was running the Silver Spur nightclub in Dallas, he got in a fight with three customers and a woman ended it by hitting him over the head with a half-gallon jug of wine.

He had a long history of violent, antisocial behavior, and when it was over he wouldn't remember what he had done. A stripper named Penny Dollar, who once worked at Ruby's Carousel Club, testified at Ruby's trial in 1964. She told the jury that she had seen Ruby throw a man downstairs and beat his head repeatedly on the pavement, then rise in bewilderment and say, ''Did I do this? Did I do this''? Ruby's autopsy revealed ''15 brain tumors,'' according to Ruby's lawyer, Joe Tonahill.

Ruby had a habit of carrying a gun and assaulting patrons who wouldn't pay or who bothered women at his clubs. He acquired the nickname ''Sparky'' because of his quick temper. And he loved to play the big shot, bragging of his friends in the Mafia, cultivating friends among the Dallas police, and pestering reporters for publicity. Friends and acquaintances have testified that Ruby wanted to appear as a big shot by dropping names and appearing to be an insider with the Dallas Police.

Many friends spoke of Ruby's yearning for class. He wanted a clean image for his clubs and always thought he would eventually own a ''high class joint.'' Ruby's efforts to attain class were frequently humorous. He was a Mr. Malaprop in his use of language, once telling one of his girlfriends ''You make me feel very irascible,'' or ''It's been a lovely precarious evening.''

Conspiracy advocates have often alleged that Ruby may have been homosexual but there is no evidence to support their claims. The rumors may have started because Ruby was a bachelor and he shared an apartment with his friend, George Senator.

Ruby had a long-standing relationship with Alice Reaves Nichols, who helped him manage his club. When asked why they hadn't married Ruby told a friend she had too much ''class'' for him. Nichols said she never seriously considered marrying Ruby because he had a gambling habit. Ruby also had intimate relationships with a number of women who worked for him but they were only fleeting affairs as he was enamoured with Alice.

Ruby's nightclub dancers spoke of his frequent acts of kindness, giving them money when they got into debt and paying their children's medical bills. Many of his staff thought Ruby was a kind and generous person but he was also a man who displayed frequent outbursts of anger towards his staff. Afterwards, he was invariably remorseful but instead of apologizing he would leave the club and return with food snacks as a way of saying sorry. He had a hands-on approach to the running of his clubs and whenever a dispute with patrons arose he would angrily confront whoever had been responsible, sometimes beating up a customer who got out of hand. Yet he had strong feelings for the underdog, frequently buying a meal for people who were down on their luck. And he was also an emotional man often reacting violently to any slights about the Jewish faith.

Rabbi Silverman, who had known Ruby for 10 years, said that one day in 1963 Ruby suddenly appeared on his doorstep with half a dozen dogs. Ruby was crying and said that he was unmarried but, pointing to one dog, described it as ''his wife.'' He then pointed to the other dogs and described them as ''his children.'' According to Rabbi Silverman, Ruby was sobbing and crying and seemed to be ''a very emotional, unstable, erratic man.''

At the moment President Kennedy was assassinated, on Friday afternoon, Nov. 22, 1963, Ruby had been at the offices of the Dallas Morning News, placing advertisements for his two clubs, The Carousel and Vegas, that would appear in the newspaper. When word reached the building that Kennedy had been shot Ruby was clearly upset at the news.

The next evening Ruby visited his sister, Eva Grant. They talked about the assassination and Ruby's feelings came pouring out. He was remorseful of what the assassination had done to Dallas and of how the Jews had lost a great friend in the President. Ruby was highly strung and obviously disturbed. Later that evening he went to the Dallas police station and observed Oswald's midnight press conference. Ruby was enraged that Oswald was smirking at the police officers who surrounded the alleged assassin. Close friends who met Ruby that evening spoke of Ruby's anger, revulsion and hatred for Oswald. At his last stop that night, at the Southland Hotel's coffee shop, he told his friend George Senator of his anger at an anti-Kennedy advertisement which had been placed in Friday's Dallas Morning News. He was especially upset because the advertisement had been placed by someone who had a ''Jewish sounding name'' which he believed would bring discredit on the Jews.

Ruby slept until 9 a.m. Sunday morning. He watched television for a while and then made breakfast. When he left the apartment at 11 a.m. he took his pet dachshund with him. Into his jacket pocket he slipped his .38 caliber revolver. Ruby usually carried the weapon in his car or, if he was holding cash receipts from the clubs, in his jacket. Bob Larkin, a doorman at Ruby's Carousel nightclub said, ''He carried a lot of money....that's why he kept a gun in the bank bag...whenever he was carrying money he kept his piece handy.''

Ruby drove downtown past the Texas School Book Depository and parked his car not far from his destination, the Western Union Telegraph office where he was to telegraph some money for one of his dancers. He left his dog Sheba in the car, a telling act that would later convince a number of Ruby's friends the nightclub owner had not planned on killing Oswald. At 11:17 a.m. the Western Union clerk gave Ruby a receipt for his money order. Ruby walked out the door and headed down Main Street toward the police station. He was four minutes away from his historic role in the tragic events of that weekend – the slaying of the president's alleged assassin before a television audience of millions.

Dets. L.C Graves and James Leavelle led Oswald to the basement of the Dallas Police Department. As they were going down in the lift Leavelle said to Oswald, ''If anybody shoots at you I hope they're as good a shot as you are.'' Leavelle was handcuffed to Oswald's right arm and Graves held his other arm.

The armoured car that was to take Oswald to the County Jail could not manoeuvre down into the basement so a police car was assigned for the job. As Oswald came through the swing doors Ruby had just positioned himself in a group of television and newspaper reporters. Camera lights flashed and blinded the detectives and police officers who were guarding the basement. As Oswald was escorted out the swing doors to the basement garage, 10 to 15 feet away from the escort car, Ruby angled himself directly in front of Oswald's path. Ruby then rushed forward and fired a single shot into Oswald's abdomen, the bullet striking vital organs. Leavelle grabbed Ruby by the shoulder and pushed down on him. Graves had the hammer of the pistol locked with his thumb while Ruby was trying to pull the trigger again. Dets. L.D Montgomery and ‘Blackie' Harrison grabbed Ruby from the back and got him to the ground. Ruby responded with ''I'm Jack Ruby. You all know me.'' As he was taken to a third- floor interrogation room, Ruby said, ''I hope I killed the son of a bitch. It will save you guys a lot of trouble.''

After Ruby was subdued Oswald was carried back into the jail office and given artificial respiration. The ambulance arrived in a matter of minutes and Oswald was taken to Parkland Hospital. One of his escorts, Det. Billy Combest, said Oswald made a ''definite clenched-fist salute'' during the journey to the hospital. Oswald was pronounced dead at Parkland Hospital at 1:07 p.m., about an hour and a half after he was shot.

Ruby and the Mob

It was Ruby's relationships with unsavoury mob-linked characters throughout his life that led to a great deal of speculation that he was controlled by organized crime. The Warren Commission's investigation into his background failed to dispel this notion because the commission – which basically relied on hundreds of FBI interviews of Ruby's known associates – did not fully investigate his alleged Mafia connections and his trips to Cuba.

One of the most intriguing questions surrounding Oswald's assassin concerned Ruby's 1959 trip to Cuba. The 1976-1979 House Select Committee on Assassinations (HSCA) investigation determined that he had made at least three trips to Havana that summer and that he had visited a safe deposit box in Dallas in the meantime.

However, the trips had nothing to do with the Mafia. As Ruby's lawyer Melvin Belli explained, ''It came out in one of our earliest interviews that he had tried to arrange some sort of deal with Cuba soon after Fidel Castro overthrew the Batista regime. But that, Ruby would insist, was when Castro was considered something of a hero in the United States. Now Castro was considered a Russian-supported Communist, and Ruby was mortified to think that anyone might get the wrong impression of the deal. ‘When Castro first came in he was considered a hero,' Ruby said, ‘and I thought maybe I could make a deal in selling jeeps to Cuba. He was still a hero at the time; his brother was the first one to turn. Steve Allen and Jack Parr (television entertainers) and Jake Arvey's son were all interested then in making deals with him. I had been associated with a very high type of person, but a gambler, Mack Willie, who ran a club in Cuba, so I went there for eight or 10 days.' People would say he had planned to give guns to Cuba, Ruby fretted; they would think he wasn't a good American. He insisted that we telephone all over the place to try to set the record straight on this, although I got the impression, frankly, that the deal had been primarily the figment of his imagination.''

That same year, according to the HSCA, the FBI contacted Ruby eight times trying to recruit him as an informant. But J. Edgar Hoover, head of the F.B.I., withheld the information from the Warren Commission. Later it was disclosed that Ruby, because of his advantageous position as a Dallas nightclub owner, had given FBI agent Charles Flynn information about thefts and similar offenses in the Dallas area. In November of 1959 Flynn recommended that no further attempt be made to develop Ruby as a PCI, (potential criminal informant), since his information was useless. Ruby had been trying to dish the dirt on his nightclub competitors.

Hugh Aynesworth, a Times Herald reporter who knew Ruby well, said, ''In 1959 the FBI tried eight times to recruit Jack Ruby. They wanted him as an informer on drugs, gambling, and organized crime, but every time they contacted him, Ruby tried to get his competitors in trouble. 'Ol' Abe over at the Colony Club is cheating on his income tax.... Ol' Barney at the Theatre Lounge is selling booze after hours.' After a while the FBI gave up on the idea.''

As the years passed following Ruby's death, discoveries about his activities provided more material for sensationalist speculation by conspiracy advocates. During the 1970s the public learned that the CIA failed to disclose a report that Ruby may have visited Santos Trafficante, mob boss of Florida, during the time Trafficante was in a Cuban jail. The HSCA later investigated these reports but did not place any credence upon them.

Ruby's telephone records have been the subject of numerous investigations and some conspiracists have alleged they provide proof of Mafia involvement in the assassination of President Kennedy. While it is true that Ruby made many telephone calls to his underworld contacts in the months before the Kennedy assassination, the calls had nothing to do with any arrangements to kill the President. There is no evidence the calls were conspiratorial in nature. In fact the calls centered around the fact that Ruby had wanted assistance from the strippers' labor union to dissuade rival clubs from using amateur talent.

Furthermore, since most of the calls were made before the President's trip to Dallas was even announced, much less before the motorcade route was set. Journalist Seth Kantor speculated that Ruby borrowed money from the mob and that the mob later called in the debt by asking him to silence Oswald. Kantor, however, provides no proof of his allegations.

Conspiracy advocates rightly point to Ruby's association with Dallas mob bosses Joe Civello and Joe Campisi as evidence that Ruby was mob-linked but they fail to put the connection in the right context. Ruby's world consisted of nightclubs and socializing with people who were in the same business. As the McClellan Committee recognized in the 1950's, no city in the United States was immune to Mafia control of off-track betting, gambling, and nightclub entertainment. It was the milieu in which Ruby operated. Ruby also entertained many Dallas police officers at his club. None of them testified to any sinister connection with the Dallas bosses. One police officer, Joe Cody, said that Ruby was often seen with Joe and Sam Campisi because they were part of Ruby's social scene. Ruby ate at the Egyptian Lounge and Cody often joined Ruby and the Campisi brothers. Cody said there were no criminal reasons for the meetings.

It was inevitable that Ruby would associate with characters who could be linked in some way with the underworld. But it is illogical to assume mob involvement in Ruby's actions that tragic weekend. The evidence indicates otherwise. ''It is so ludicrous to believe that Ruby was part of the mob,'' Tony Zoppi, a close friend of Ruby's, told author Gerald Posner (Case Closed 1993). ''The conspiracy theorists want to believe everybody but those who really knew him. People in Dallas, in those circles, knew Ruby was a snitch. The word on the street was that you couldn't trust him because he was telling the cops everything. He was a real talker, a fellow who would talk your ear off if he had the chance. You have to be crazy to think anyone would have trusted Ruby to be part of the mob. He couldn't keep a secret for five minutes. He was just a hanger on, somebody who would have liked some of the action but was never going to get any.''

Former Dallas Assistant D.A. Bill Alexander said, ''It's hard to believe…that I, who prosecuted Ruby for killing Oswald, am almost in the position of defending his honor. Ruby was not in the Mafia. He was not a gangster. We knew who the criminals were in Dallas back then, and to say Ruby was part of organized crime is just bullshit. There's no way he was connected. It's guilt by association, that A knew B, and Ruby knew B back in 1950, so he must have known A, and that must be the link to the conspiracy. It's crap written by people who don't know the facts.''

Conspiracy advocates have alleged that Ruby had been involved in the nightclub business in Chicago and was sent to Dallas by the Chicago Mafia. However, many years later Ruby's brother Earl said, ''That's absolutely false. I worked with Jack during that time, and he never had anything to do with nightclubs in Chicago. When you were actually there and know what went on, it drives you crazy to hear charges like that, which are just completely wrong.''

Bill Roemer, the FBI agent in charge of investigating the Chicago Mafia in the 1960's, agrees. ''Ruby was absolutely nothing in terms of the Chicago mob,'' Roemer said. ''We had thousands of hours of tape recordings of the top mobsters in Chicago, including Sam Giancana (the Chicago godfather), and Ruby just didn't exist as far as they were concerned. We talked to every hoodlum in Chicago after the assassination and some of the top guys in the mob, my informants, I had a close relationship with them – they didn't know who Ruby was. He was not a front for them in Dallas.''

Roemer knew how the Mafia operated. He arrested many members of the Mafia and bugged the Armory Lounge, Giancana's headquarters. Roemer was convinced that if the Mafia hired anyone for a hit they would choose someone who had a track record of killing and who would remain ''tight lipped.'' None of these traits applied to Ruby.

Ruby certainly knew many people who had police records. ''It was the nature of his business,'' said Bill Alexander. ''Running those types of nightclubs, he came across plenty of unsavory characters. The police had a pretty good idea of what happened at Ruby's club, and there was no dope and he certainly didn't allow any of the girls to do anything illegal from the club, because that would have cost him his license. Ruby was a small time operator on the fringe of everything, but he never crossed over to breaking the law big time.''

Jack Ruby and the Conspiracy Theorists

Despite attempts by conspiracy writers to prove Ruby was part of a conspiracy to kill JFK, there are compelling and persuasive reasons that Ruby was acting alone when he shot Oswald. Despite some claims to the contrary, there is no evidence to suggest Ruby had been hired by the Mafia to silence Oswald. Allegations that Ruby acquiesced to the Mafia's demands because he knew he had cancer have made the rounds for years – and continue to do so – but are spurious.

There are no medical records, or statements from his brothers and sister to say that Ruby knew he had cancer prior to killing Oswald. Ruby certainly never claimed he had cancer prior to killing Oswald. It would not be until 1966 that Ruby, suffering from paranoia and delusions would claim that he was being injected with cancer cells. The doctors at Parkland Hospital, who began treating Ruby for cancer in December of 1966, estimated he'd had the disease for only the last 15 months.

Mark Lane in his conspiracy book Rush to Judgement (1966), Oliver Stone in his movie J.F.K. (1991), and Henry Hurt in his book Reasonable Doubt (1986) examined Ruby's 1964 testimony to the Warren Commission and concluded it indicated Ruby's involvement in a conspiracy.

After Ruby had been convicted of Oswald's murder and sentenced to death, Warren Commission members Earl Warren and Gerald Ford questioned him at the Dallas jail. For many months there had been rumors that Ruby was a hit man whose job had been to silence Oswald. According to Lane and Stone, Ruby seemed eager to disclose his part in a conspiracy. According to Lane, ''Ruby made it plain that if the commission took him from the Dallas jail and permitted him to testify in Washington, he could tell more there; it was impossible for him to tell the whole truth so long as he was in the jail in Dallas... (Ruby said) 'I would like to request that I go to Washington and... take all the tests that I have to take. It is very important...Gentlemen, unless you get me to Washington, you can't get a fair shake out of me.''

However, it is clear from Ruby's Warren Commission testimony that he simply wanted to inform the commissioners of a conspiracy to murder Jews. Earl Warren, the commission's chairman said, ''I went down and took Jack Ruby's testimony myself – he wouldn't talk to anybody but me. And he wanted the FBI to give him a lie detector test, and I think the FBI did, and he cleared it all right. I was satisfied myself that he didn't know Oswald, never had heard of him. But the fellow was clearly delusional when I talked to him. He took me aside and he said, 'Hear those voices, hear those voices'? He thought they were Jewish children and Jewish women who were being put to death in the building there.'' He told Warren, Gerald Ford and others, ''I am as innocent regarding any conspiracy as any of you gentlemen in the room.'' Ruby was actually begging the commission to take him back to Washington so that he could take a polygraph examination and prove that he was telling the truth when he denied any role in a conspiracy.

After his arrest, Ruby had been diagnosed as a ''psychotic depressive.'' His testimony to the Warren Commission indicates that he believed he was a victim of a political conspiracy by right-wing forces in Dallas. He suggested that the John Birch Society was spreading the falsehood that he, a Jew, was implicated in the President's death in order to create anti-Jewish hysteria. ''The Jewish people are being exterminated at this moment,'' Ruby insisted. ''Consequently, a whole new form of government is going to take over our country…No subversive organization gave me any idea. No underworld person made any effort to contact me. It all happened one Sunday morning...If you don't get me back to Washington tonight to give me a chance to prove to the President that I am not guilty, then you will see the most tragic thing that will ever happen...All I want is a lie detector test…All I want to do is tell the truth, and that is all. There was no conspiracy.''

A letter Ruby sent to his brother Earl clearly reveals Ruby's mental state. Ruby wrote, ''You must believe what I've been telling you for the past two and a half years. If you only would have believed me all along you would have found some way to check out what I said. You would have saved Israel, but now they are doomed, because they think the U.S. are for them, but they are wrong because (President) Johnson wants to see them slaughtered and tortured. Egypt is making believe they are an ally of Russia, that is only to fool Russia and the U.S. It's too late now to do anything, and we are all doomed. They are torturing children here. If you only would believe what I'm telling you...Earl, they are going to torture you to death, and you will witness your own family being put to death. Forgive me for all this terrible tragedy I've caused. I know you won't listen to me Earl, but if you go to a public phone booth, they may be watching you, pretend that you are going to a department store or a movie, and then give them the slip…''

Another primary claim the conspiracy theorists make is that the Dallas police conspired with Ruby to take out Oswald. Oswald was scheduled to be transferred from the city jail in the police station to the county jail at 10 a.m. on Sunday, Nov. 24th. Before the transfer of Oswald to the county jail, the alleged assassin was due a further interrogation by Captain Will Fritz and representatives of the Secret Service and FBI. Oswald's interrogation on Sunday morning lasted longer than originally planned because Postal Inspector Harry D. Holmes arrived. Holmes had helped the FBI trace the money order that Oswald used to buy the Mannlicher-Carcano rifle. Holmes had also helped the FBI trace the ownership of the post-office box number to which Oswald's rifle and pistol were sent.

The arrival of Holmes delayed the transfer of Oswald. In his testimony to the Warren Commission Holmes said, ''I actually started to church with my wife. I got to church and I said, 'You get out, I am going down to see if I can do something for Captain Fritz. I imagine he is as sleepy as I am.' So I drove directly on down to the police station and walked in, and as I did, Captain Fritz motioned to me and said, 'We are getting ready to have a last interrogation with Oswald before we transfer him to the county jail. Would you like to join us?' I said I would.''

Secret Service agents and an FBI agent interrogated Oswald after Fritz. Unexpectedly, Fritz then turned to Holmes and asked whether he wanted to interrogate Oswald. Holmes accepted. It was for this reason the interrogation continued for another half hour or so.

Ruby shot Oswald approximately five minutes after Ruby left the Western Union office. If Inspector Holmes had continued on to church with his wife that morning, the length of interrogation would have been shortened and Jack Ruby would never have had the opportunity to kill Oswald. David Scheim in his book Contract On America (1988), ignores this vital piece of evidence surrounding the transfer of Oswald. Scheim took part of Ruby's testimony out of context in order to present evidence that Ruby had had assistance in the murder of Oswald: ''Who else could have timed it so perfectly by seconds. If it were timed that way, then someone in the police department is guilty of giving the information as to when Lee Harvey Oswald was coming down.'' Exactly the same conspiratorial statement, taken out of it's proper context, was used 10 years later by Noel Twyman in his book Bloody Treason (1997).

This ''conspiratorial'' statement contradicts Ruby's actual testimony. What Ruby really said was, ''…but I know in my right mind, because I know my motive for doing it, and certainly to gain publicity to take a chance of being mortally wounded, as I said before, and who else could have timed it so perfectly by seconds. If it were timed that way, then someone in the police department is guilty of giving the information as to when Lee Harvey Oswald was coming down. I never made a statement. I never inquired from the television man what time is Lee Harvey Oswald coming down. Because really a man in his right mind would never ask that question. I never made the statement ‘I wanted to get three more off. Someone had to do it. You wouldn't do it.' I never made those statements...Anything I said was with emotional feeling of I didn't want Mrs. Kennedy to come back to trial.''

Some conspiracists have alleged that the Dallas police allowed Ruby to enter the Dallas police basement through an unlocked door instead of entering by a ramp. However, they ignore an important witness who actually saw Ruby descend the ramp. The witness was an ex-Dallas police officer named Napoleon Daniels. Daniels, a college educated African-American had been a member of the segregated Dallas police force who had left prior to the assassination. Daniels had observed Ruby descend the ramp when the police officer guarding the entrance, Roy Vaughn, was distracted by a car trying to manoeuvre into the basement entrance. Vaughn had to walk into the middle of the street to divert the car. Daniels thought the man entering the basement was a police detective and did not tell Vaughn. He did, however, notice a bulge at the person's waist that he believed to be a holstered handgun. The Dallas police tried to discredit Daniel's testimony possibly because he was black but also because his testimony revealed the incompetence of the Dallas Police Department.

Another authoritative source has gone on record as late as March 1997 which confirms that Ruby, in the confusion that surrounded the police station that Sunday morning, did not have any assistance in entering the basement. Paul McCaghren, a retired police lieutenant who was not present at the time but later investigated the shooting of Oswald, said that Ruby's access to the basement was just lucky timing on his part. He said that in hindsight things should have been done differently but it was a situation that had never occurred before.

According to the report filed by the Dallas Police Department investigating Oswald's shooting, an armored truck was to be used to transport Oswald to the county jail from the city jail. According to the report, police decided that, ''an unmarked police car would be better from the standpoint of both speed and deception...Such a car, bearing Oswald, should follow the armored truck.'' But the police lieutenant driving the squad car was forced to go the wrong way on a ramp at police headquarters to pull in front of the armored car because the exit was blocked. Another police officer, guarding the area, the report said, was surprised when the lieutenant pulled in and blasted his car horn to hold the pedestrian traffic. McCaghren said this is when Ruby slipped into the basement, went immediately down the ramp and shot Oswald.

Jim Ewell, a former reporter with the Dallas Morning News, maintains that the idea that the Dallas Police Department had a hand in assisting Ruby is not true and that Dallas Police Department officials would have done things differently in the transfer of Oswald but top city officials over-ruled them. He believes the police would have made the media stand in the street had they been given their way. The city officials wanted to make sure the world knew that Oswald was not being mistreated. Furthermore, during the transfer of Oswald, many officers were blinded by the high intensity television lights which accounted for the fact that Ruby was able to move among them without being challenged.

Conspiracy advocates raise all kinds of similar conspiratorial questions about Ruby in their attempts to prove he was part of a plot. As David Belin first noted (Full Disclosure, 1988), nearly every conspiracy theorist ignores the testimony of Ruby's rabbi, Hillel Silverman. Rabbi Silverman had visited Ruby in prison frequently. Rabbi Silverman is convinced Ruby was not part of a conspiracy. According to Silverman, at his first meeting with Ruby on the day after the shooting of Oswald, Ruby told him that, ''Had I intended to kill him (at a press conference on the Friday evening), I could have pulled my trigger on the spot, because the gun was in my pocket.'' And the truth of Ruby's explanation is confirmed by Lonnie Hudkins, a newspaper reporter, in an interview with BBC ''Timewatch'' researchers. ''I asked him if he was packing a pistol at that midnight press conference,'' Hudkins said, ''and he said 'Yes'. I asked him, 'Why didn't you plug him then?' and he said 'I was frightened of hitting one of you guys.' ''

These circumstances are vital to an understanding of Ruby's actions because the time to shoot Oswald would have been the Friday night press conference. It was pure coincidence that Ruby had an opportunity to kill Oswald on the Sunday morning.

The final words by Ruby about the allegations that federal agents or the Dallas police were instrumental in allowing Ruby to enter the basement of Dallas Police Headquarters were uttered shortly before he died. Ruby made a deathbed statement using a tape recorder, secreted in an attach̩ case, which was smuggled into his hospital room by his brother, Earl Ruby. Ruby was questioned by his lawyers. The tape recording was later incorporated in an L.P. record entitled ''The Controversy'' (1967). The interview lasted 12 minutes but was edited down to three minutes for the recording. Ruby said that it was pure chance in meeting Oswald at the Dallas police headquarters, ''The ironic part of this is I had made an illegal turn behind a bus to the parking lot. Had I gone the way I was supposed to go, straight down Main Street, I would never have met this fate, because the difference in meeting this fate was 30 seconds one way or the other...All I did is walk down there, down to the bottom of the ramp and that's when the incident happened Рat the bottom of the ramp.'' In the final recording of Ruby's voice he was asked if he knew the time Oswald was supposed to have been moved, Ruby replied ''He was supposed to be moved at 10'o'clock.'' Ruby explained he always carried a gun because he often had large sums of money.

Furthermore, it is logical to assume that no conspiracy could profit by silencing Oswald in a public fashion. There would be no point in eliminating one suspect while simultaneously handing the police another. And, if it were Oswald's intention to ''talk,'' he could have done so in the two days he was incarcerated in the Dallas Police Station.

Ruby denied that he knew Oswald and said Oswald had never been in his club. Rumors that Ruby and Oswald knew each other have been repeated over and over again since the time that Ruby shot Oswald. Many Conspiracy advocates have stated flatly that Oswald recognized Ruby just before Ruby pulled the trigger in the Dallas police basement.

The Warren Report investigated numerous specific allegations that Ruby knew Oswald but found none which merited credence. Although it would be impossible to investigate all of these ''sightings'' – which are uncorroborated and unsubstantiated – a clue why they arose in the first place may be gleaned from the commission's investigation of one particular sighting. The Warren Commission stated, ''The testimony of a few witnesses who claim to have seen Ruby with a person who they feel may have been Oswald warrants further comment. One such witness, Robert K. Patterson, a Dallas electronics salesman, has stated that on Nov. 1, 1963, Ruby, accompanied by a man who resembled Oswald, purchased some equipment at his business establishment. However, Patterson did not claim positively that the man he saw was Oswald, and two of his associates who were also present at the time could not state that the man was Oswald. Other evidence indicates that Ruby's companion was Larry Crafard.''

The Warren Commission concluded that Crafard, sometime in late October or early November, accompanied Ruby to an electronics store in connection with the purchase of electronic equipment.

Furthermore, Oswald's wife Marina never believed that Oswald and Ruby would have associated with each other, ''How could Lee have known Ruby?...He didn't drink, he didn't smoke, he didn't go to nightclubs and, besides, he was sitting home with me all the time.''

Ruby's True Motives

On the evening of JFK's assassination, Ruby met one of his dancers, Kay Coleman, and her boyfriend Harry Olsen, a Dallas policeman. They talked for an hour and Olsen told Ruby, ''They should cut this guy (Oswald) inch by inch into ribbons.'' Ruby agreed and cursed Oswald. This may have been the beginning of Ruby's plan to kill Oswald. Ruby never mentioned the conversation until after his trial knowing it would be evidence of premeditation.

According to Rabbi Silverman, Ruby had seen a television broadcast on the Saturday morning in which a rabbi had been speaking about President Kennedy and the assassination. The next morning, Nov. 24, Ruby read in the newspaper that Jacqueline Kennedy might have to come to Dallas to testify at Oswald's trial. Ruby's rabbi was convinced of the sincerity of Ruby's explanation that he had killed Oswald because he was emotionally distraught over JFK's murder.

Melvin Belli, who became Ruby's lawyer after he shot Oswald, wrote, ''There was one weird trait. Unfailingly, at the mention of a member of President Kennedy's family, tears would start to course down his cheeks. It could even be a casual mention – later we tested his reaction by saying things like, 'Too bad Jack Kennedy won't be able to see the Giant's play' -- and the tears would just flow out of there. It was too spontaneous to be an act. I am convinced of the sincerity of this affection...''

Ruby's sister, Eva Grant, has testified to the emotional turmoil Ruby was experiencing the weekend of the assassination. ''He was sick to his stomach...and went into the bathroom...He looked terrible…He looked pretty bad...I can't explain it to you. He looked too broken, a broken man already. He did make the remark, 'I never felt so bad in all my life even when Ma and Pa died...someone tore my heart out.' ''

Cecil Hamlin, a long-time friend of Ruby's, said Ruby was ''very emotional...very broken up.'' Buddy Raymon, a comedian, remembered that when Ruby telephoned him, ''He was crying and carrying on, ‘What do you think of a character like that killing the president'? Ruby had asked him. George Senator said it was the ''...first time I ever saw tears in his eyes.''

After the assassination Ruby had visited his synagogue and cried. His brother Hyman said, ''They didn't believe a guy like Jack would ever cry. Jack never cried in his life. He was not that kind of guy to cry.''

Ruby described his actions that fateful Sunday morning, ''...I don't know what bug got a hold of me. I don't know what it is, but I am going to tell the truth word for word. I am taking a pill called Preludin. It is a harmless pill. And it is very easy to get in the drugstore. It isn't a highly prescribed pill. I use it for dieting. I don't partake of that much food. I think that was a stimulus to give me an emotional feeling that suddenly I felt, which was so stupid, that I wanted to show my love for our faith, being of the Jewish faith, and I never used the term and I don't want to go into that – suddenly the feeling, the emotional feeling came within me that someone owed this debt to our beloved President to save (Jackie Kennedy) the ordeal of coming back (for Oswald's trial). I don't know why that came through my mind.''

James Leavelle, the homicide detective who was handcuffed to Oswald when he was shot and who also transferred Ruby to the county jail, said that he asked Ruby why he shot Oswald and his answer was, ''I wanted to be a hero. It looks like I fucked things up.'' Leavelle also said, ''Ruby told me an interesting thing when I was a patrolman which didn't make any sense to me at the time, but it did after. He told me, 'I'd like to see two police officers sometime in a death struggle about to lose their lives, and I could jump in there and save them and be a hero.'''

Ruby told Assistant D.A. Bill Alexander, ''Well, you guys couldn't do it. Someone had to do it. That son of a bitch killed my President.'' Leavelle's reasoning for Ruby's actions are confirmed by many of Ruby's friends who believed the nightclub owner shot Oswald to become a hero. And Ruby, in the days after the shooting believed he would soon be out of jail and running his nightclubs as usual, according to Ruby's bartender, Andrew Armstrong, who visited Ruby regularly in jail to report on the club's affairs. ''In the beginning,'' Joe Tonahill said, ''Ruby considered himself a hero. He thought he had done a great service for the community. When the mayor, Earle Cabell, testified that the act brought great disgrace to Dallas, Jack started going downhill very fast. He got more nervous by the day. When they brought in the death penalty, he cracked. Ten days later he rammed his head into a cell wall. Then he tried to kill himself with an electric light socket. Then he tried to hang himself with sheets.''

In interviews conducted by authors Ovid Demaris and Gary Wills, Armstrong and many of Ruby's friends and acquaintances had little doubt as to what went through Ruby's mind at the time he decided to shoot Oswald. ''At the club, after the first shock,'' said Carousel Club drummer Bill Willis, ''we all said, 'Well, it figures. Jack thought while he was downtown he might as well kill Oswald too.'' Max Rudberg, a Ruby friend said, ''Well, everyone was saying the sonvabitch needs killing, and Jack was anxious to please...he was bound to poke his head in and see what was happening. Wherever there was a crowd, he couldn't possibly pass it by.'' Milton Joseph, a local jeweller and friend of Ruby's, had no doubt that Ruby killed Oswald to be in the limelight.

Contrary to the claims of conspiracy writers, Ruby died telling the truth. There is no credible evidence he was part of a conspiracy. Ruby murdered Oswald for personal reasons – he wanted to show that ''Jews had guts''; he felt emotionally distraught about the Kennedys, and he wanted to fulfil his life long dream of becoming a real hero.

Ruby was a small time wheeler-dealer who could never have been a participant in a complex conspiracy. No one, least of all the Mafia, would have trusted such an incompetent small timer to play a leading role in an elaborate and secretive plot. Most people who knew Jack Ruby agree.

Thanks to Mel Ayton.
Mel Ayton is the author of "The JFK Assassination: Dispelling The Myths" (Woodfield Publishing 2002) and "Questions Of Controversy: The Kennedy Brothers" (University of Sunderland Press 2001). His latest book, "A Racial Crime – James Earl Ray And The Murder Of Dr Martin Luther King Jr.", was published in the United States by ArcheBooks in February 2005. In 2003 he acted as the historical adviser for the BBC's television documentary "The Kennedy Dynasty" broadcast in November of that year. He has written articles for Ireland's leading history magazine History Ireland, David Horowitz's Frontpage magazine and History News Network.

Saturday, March 11, 2006

American Metaphor

Bada bing! 'The Sopranos' is back for its sixth and final season. But what does it say about family, about women, about the Italian-American identity? And how did it become the biggest phenomenon on television?

NEARLY two years since its last new episode aired on HBO in June of 2004, the dark, startling, multiaward-winning series The Sopranos will return to cable television this Sunday (March 12, 9pm) for what the show's creator and mainstay, David Chase, says will be its final season of 20 episodes. A dozen will air this spring, with a coda of eight more beginning in January of 2007.

Although getting information on the upcoming season has been almost as difficult as locating bin Laden (though, unlike HBO, at least bin Laden sends out preview tapes), rumors and sources close to the show (I communicated with someone who has seen the opening four episodes) indicate that a major "hit" takes place in the season opener and that bloodshed between one of New York's major five mob families and the rogue northern Jersey-based Sopranos gang flows freely during the new first four installments.

All of the series' major surviving characters are back for the final run—at least at the beginning: the show's lead and center of gravity, Tony Soprano (James Gandolfini), his enabling wife, Carmela (Edie Falco), his nephew and heir apparent, Christopher Moltisanti (Michael Imperioli), Tony's psychiatrist, Dr. Jennifer Melfi (Lorraine Bracco), and his aging albeit sly uncle, Corrado "Junior" Soprano (Dominic Chianese).

Tony's two kids are back, too, of course: his ever-blooming daughter, Meadow, (Jamie-Lynn Sigler) and his sullen, petulant son, Anthony Jr., or "A.J." (Robert Iler). Their respective passages through adolescence over the past seven years have been truly something to behold—both painful and enchanting at the same time—and their simple biological transformation has added an element of veritas to the show that no story line ever could.

Rounding out la famiglia Soprano, both through blood and by oath, in the final run are Tony's consiglieri Silvio Dante (Steven Van Zandt), capo Paulie "Walnuts" Gualtieri (Tony Sirico), the dignified New York crime boss, Johnny "Sack" Sacramoni (Vincent Curatola), now sitting in an orange jumpsuit in the federal pen, and his volatile underling, Phil Leotardo (Frank Vincent), filling in for him with a vengeance on the mean streets of the Eastern seaboard.

It takes more than a scorecard to follow the action on the Sopranos (there have been 65 episodes to date over the past five seasons, going back to 1999), and for the newly initiated or just casual observer who wants to get into the swing of things, HBO provides plenty of background information on both character relationships and plotline at HBO.com. And all five seasons are now available in DVD.

Season 5 culminated in a vortex of violence, with Tony whacking his cousin Tony Blundetto (played brilliantly by Steve Buscemi), and Silvio brutally taking out Christopher's girlfriend Adriana (played with equal brilliance by Drea de Matteo in an extremely limiting role), who had been turned over by the feds.

That's not to mention an escalating series of murders between the New York and Jersey families, with Leotardo seeking revenge against Tony. That conflict promises to be central to the new season and at the heart of the show's epilogue. The inside word I got is that Paulie Walnuts and Tony's son, A.J, are at the center of this early drama.


Growing Up Soprano: Tony Soprano, as played by James Gandolfini, combines the fathering genius of Homer Simpson with the insane anger issues of Ralph Kramden. Is this the American father?

The new season begins just about a year after we last saw the family, with Tony escaping the feds and Johnny Sack on his way to prison. Tony and Carmela are apparently reconciled, though the terms of their cease-fire are cloudy at best.

Unlike in past series openings, however, there's not a new antagonist brought in to serve as Tony's season-long foil. The plotline turns inward. There's been plenty of shit left on the table during the first five seasons, and the characters go at each other trying to put it all back neatly in place. Murder becomes the mode de jour for finding order amid the social entropy.

There's also every indication that Chase is taking the show's physical violence—of which there has always been plenty—to astonishing new heights, while at the same time focusing more on the individuality of the show's major characters separate from their respective broods.

I also have learned that the theme of the concluding season is drawn from a prose fragment by the late junkie Beat writer William S. Burroughs, about the Egyptian belief that we have seven souls. A passage from the fragment, set to music, serves as an epigram to the first episode: "Number six is Khaibit, the Shadow, Memory, your whole past conditioning from this and other lives ..."

So no one seems to be quite happy with their plight at the beginning of Season 6 (welcome to the new millennium, baby); indeed, everybody in the show—and I do mean everybody—has an acute case of agita, nearly all of whom blame Tony for their fate in la vita.

Except, of course, the anxiety-riddled Tony himself, who blames everyone else. There are rivers of underlying psychological themes to The Sopranos, and three of them are denial, rationalization and projection of responsibility.

I, for one, have never taken the show's often gratuitous violence too seriously; there's a slightly cartoonish quality to it all (and to some of the made guys for that matter, most notably Paulie and Silvio, with the dolled-up hairdos).

I'm sorry, but the talking-fish scene after Tony and his boys bump off longtime pal and confidant "Big" Pussy Bompensiero (played by the much missed Vincent Pastore) in Season 2 took away the edge—and tragic horror—of Pussy's hit. This was dark dramatic comedy at its best.

If The Sopranos gets back to the complexities of its characters in Season 6 rather than focusing on the free-flowing sausa marinella across the screen, it will be all for the better.

After the series gained force in its opening season with its precise focus on character development, particularly around Tony and the complex relationships with the women in his life (most notably his mother, his wife, his shrink and his mistress), it lost its way during the second season by getting sucked into its own stereotypes, only to find its way again, if in bits and spurts, during the last three seasons.

Chase, a Stanford film school grad from the '70s who was raised in an Italian-American family in New Jersey (his family's real name is DeCesare), wrote and directed many of the initial episodes (while, amazingly, executive-producing all the way through) and has continued to guide the writing and the overall arc of the plotline to its conclusion.

Chase admittedly has been captivated by mob movies since his childhood. "The Mob provides an essential set of contradictions in Tony Soprano's character," Chase said in a 2001 interview. "It also gives you the possibility of danger and then hours of non-danger. And it gives you a world that is something allegedly private and secret."

In the end, Chase, like Tony, will be the point guy responsible for the show's concluding triumph or failure.

With such an evaluation in mind, I think that it is fair to claim that no American television show—not even All in the Family in the 1970s—has captured the American consciousness and mind-set for such a sustained period as has The Sopranos. And make no mistake about it, The Sopranos is rooted, and rooted deeply, in television's half-century portrayal of the dysfunctional American family.

Contrary to the perception of most American television critics, who have attributed much of the show's artistic success to its cinematic lineage, there is, in fact, a good deal of The Honeymooners, The Flintstones and, perhaps even more, The Simpsons ingrained in Chase's portrait of the American family than there is of the Godfather trilogy or other great American mob films. It's a soap opera writ large.

Certainly, the character of Tony—so often henpecked and repeatedly challenged by his kids and underlings, while confused and irritated by life's minutiae—resembles Ralph Kramden or Fred Flintstone far more than he does Vito, Sonny or Michael Corleone.

Tony is bumbling, clumsy and, at times, inarticulate. And he kills lots of people. He is the ultimate anti-hero. He makes silly, even stupid, jokes that he laughs at, gets cute with his therapist and even awkwardly tries to seduce her.

He is vulnerable in ways that no mob boss has ever been portrayed in American dramatic film, and it's there, in that vulnerability, that the audience can actually identify with Tony and even like his character, relate to it and embrace it, in ways that we never could with other filmic dons. He is an American everyman—good and evil wrapped into one.


I should confess at this point that I have had conflicted feelings, over the past seven years, toward the show. I was raised, through my mother's side, in a fourth-generation Italian-American fishing family on the West Coast, one with loose connections to crime families in both Chicago and New York (and later Los Angeles and San Francisco) that stretch back to the rum-running days of Prohibition. I grew up knowing how the mob worked and to respect it from a distance.

Even with that background context, I have been offended at times, as have some of my family members, by the ways in which Americans of Italian descent have been portrayed in gangster films in general, dating back to the early '30s (with the likes of Little Caesar and Scarface) on through to the present-day Sopranos.

Celebrated author and cultural critic Camille Paglia recently skewered The Sopranos on these very grounds. "They all act like Joey Buttafuoco. It's a travesty," she declared. "It is a debased characterization of Italians." But as I recently explained to a very close cousin of mine who doesn't watch The Sopranos because of such feelings, one of the reasons I'm attracted to the show is because I miss (and miss desperately at that) so much of the Italian-based culture that is portrayed in the show.

From the food to the music (I love those little dabs of Sinatra and Dean Martin, and even more, Bob Dylan imitating Dean Martin) to Roman Catholic ritual to men publicly embracing each other to the bonds that are demanded in a close-knit family structure—that which constitutes stereotypical Italian-American behavior in so much of cinema and television—is exactly what I loved and cherished during the early decades of my life. And long for so much today.

That said, there can be no doubt that Italianess—that which is perceived to have Italian roots, both good and bad, in American culture—is what attracts so many Americans (along with audiences worldwide) to such depictions. And this is even more true with The Sopranos, where so many of the portrayals are over-the-top.

Italians, in this cultural vernacular, are spontaneous, romantic, sensual, impulsive—all traits that have been suppressed by modern Wonder Bread American culture. To be Italian is liberating, if only vicariously, through the silver screen or, now, the plasma. Italians have yet to be incorporated into cultural sensibilities of "whiteness;" they remain on the margins of the mainstream, ethnic and unassimilated.

That said, I understand why the Italian-American Defamation League has been so strongly critical of The Sopranos, and they are absolutely correct that no such series would ever be allowed to wallow in such vicious and archaic stereotypes against another American ethnic group (save African Americans, of course, who are traditionally depicted as criminals and welfare schleps, including, I should note despicably, in The Sopranos.)

Both the best and worst of these Italian-American depictions take place in a beautiful yet emotionally chilling and artistically disturbing scene at the climax of Season 3, during the wake of Jackie Aprile Jr., (the son of Tony's former boss and the ex-lover of his daughter, Meadow).

Tony's uncle Junior, ever edging toward the outskirts of senility, breaks into a beautiful rendition of the Italian ballad "Curore Ingrata" ("Ungrateful Heart") amid the food and wine and trivial conversation in a corner of the room. He is encouraged by those assembled to embrace center stage, and they break into tears as he continues the song. As did I. But not Meadow, nor her younger sibling and cousins now four-generations removed from immigration and well stirred into the melting pot. They all giggle snidely as an inebriated Meadow, angered by the fate of being a mobster's daughter (though loving the perks) and sensing (accurately) that her father might have had something to do with Jackie's death, begins pelting her great uncle with bread from the table.

When Tony realizes that his daughter is the perpetrator of the assault, he goes to confront her, only to be further disrespected by his daughter, singing the banal words of Britney Spears' "Oops I Did It Again," her Ivy League pretensions and postures oozing from her smirk. But she knows trouble is coming and she dashes out the door.

This I can tell you. If one my siblings or cousins had ever disrespected an elder of ours like that in such a situation, there would have been a close-fisted response to the males, and an open-handed slap to the females. I can envision no other scenario. But that was two generations ago. Tony follows Meadow to the sidewalk, where she yells at him, "This is such bullshit," and stumbles across the street, nearly getting hit by a car in her escape.

Tony can only watch. Despite his power and his position, his agency is severely limited, and the chasm at that moment between Tony and his daughter, and between Tony and the generation that will succeed him, cannot be bridged.

It is a devastating realization for Tony.


The Feminine Mystique: 'The Sopranos' has often been accused of misogyny, especially in the third season, which featured extreme violence against women, including the rape of a central character.

No small amount of ink has been spilled assessing the portrayal of women in the show. And much of it focused on the first two seasons' relationship between Tony and his cold-hearted and poisonous mother, Livia, played to the freezing point by the late Nancy Marchand.

My family was full of Italian matriarchs, and I was raised by women from the first three generations (my great-grandmother, grandmother, aunts and mother), and I never encountered that level of bitterness or evil in any of them. Nor did I during the time I spent in exile, living in my family's hometown in Italy, where, in a social phenomenon called mamismo, something like 60 percent of the Italian male population live within three miles of their mothers.

As such, Livia's portrayal seemed exceedingly foreign to me, a ravaging exception to my personal experience of the Italian-American matriarchy.

That is not to say I haven't seen such behavior; I have. But to me it was so antithetical to the norm that I found its centrality in The Sopranos' opening two seasons patently offensive: We're talking the deep spaces of the cold storage unit here, beyond where they freeze the pork.

Chase has publicly acknowledged in several interviews that the portrayal of Livia was based on his own mother. "My mother was so downbeat, so relentlessly pessimistic," he noted, "and that, in Livia, all [came] from her."

In the pilot for the series (Episode 1), Tony declares: "My dad was tough, he ran his own crew. A guy like that, ... and my mother wore him down to a little nub. He was a squeakin' gerbil when he died."

Chase was obviously working out some dark family issues with that dialogue.

So be it. The relationship apparently fascinated much of America; it didn't me. In fact, it was one of the early turn-offs to the show.

Of course, in the absence of his mother (Marchand was ill for much of the first two seasons with lung cancer and died after filming the second), Tony's relationship with his wife, Carmela, assumed center stage. Once again, while many writers have viewed the growth and transition of Carmela in feminist terms, I find her character often weak and enabling, and astonishingly hypocritical. Most importantly, unlike Tony, she has little agency of her own.

Carmela, too, visited a shrink, and he told her candidly to leave Tony and his criminal ways. "One thing you can never say," he implored her coldly, "is that you haven't been told."

When she throws Tony out at the end of Season 4, she seems, finally, to be taking her destiny into her own hands. But when push comes to shove—when she has to decide between the material pleasures and safeguards provided by Tony and the mob vs. the unknown of life on her own—she chooses the former, in what is nothing less than a quid pro quid arrangement. If that's liberating, then we're all in trouble. Carmela is the ultimate Material Girl.

And then there is Dr. Jennifer Melfi, played brilliantly by the veteran New York actress Lorraine Bracco, who would seem to be the show's most independent woman. She is bright, intelligent, thoughtful and sensitive, but when it comes to Tony, she is duplicitous about her own attractions to him and, ultimately, cannot let him go as a patient.

She wears short skirts that she's constantly tugging at during her sessions with Tony, showing off her legs in a manner cinematically reminiscent of Sharon Stone in Basic Instinct or Anne Bancroft in The Graduate. At a base level, Melfi understands the power and attraction of Tony's life in the mob, and she is drawn to it like a moth to a flame.

I know many women who like The Sopranos—my wife included—but come a long way, baby, we have not.

In an interesting essay for Salon titled "Is The Sopranos a Chick Show?", Rebecca Traister conceded the show's feminist and "empowering" limitations, but pointed out that many of the issues addressed in the show, most often through Carmela, are those avoided by popular drama: "the trade-offs between fidelity and cold cash, Catholic guilt over divorce, stifled professional and sexual desires, a biting jealousy that threatens to overtake her happiness for her daughter on the brink of a much happier life than she will ever know."

That's all true. And The Sopranos has dealt with these and other issues of modern-day family life on an exceptionally high and rigorously nuanced plane. The series is, in Traister's words, "engrossing, and confusing, and genuine." With that I concur.

Yet when Carmela confronts Tony on his continuing indiscretions, Tony sends back a zinger that has no answers; it pierces the facade of the unstated trade-off in their marriage: "Yeah, 'cause what you really want is a little Hyundai and a simple gold heart on the chain."

It's the most devastating hit he delivers in the entire series.

In the end, portrayals of violence, family, organized crime, Italian-Americans, New Age parenting, the educational system, navigating adolescence, designer drugs, gender roles, Xanax and Prozac, et al., are not what ultimately captivates us about The Sopranos. They are all wrapped up under the larger rubric of American culture—and the American polity—as we stagger into the New Millennium.

Chase's vision is on a scale that is grand and epic. He is casting about for the American character, the American way of life, on a level comparable to that of Alexis de Tocqueville in his marvelous 19th-century study, Democracy in America. The Sopranos is as big as that.

It's a long way from the Jersey Shore to San Jose, but there are many ways in which The Sopranos resonates with the boom-and-bust years of the Silicon Valley economy. And local politics as well.

I couldn't help but think of Tony—who lines the pockets of politicians up and down the Jersey shore—when the whole garbage deal scandal oozed out of City Hall last year. Remember, Tony's listed occupation is as a "waste management consultant." But it goes farther than that. Virtually every character in The Sopranos is after the quick and easy buck. Everyone wants to be a millionaire, but no one wants to put in the time. Even Tony's newly emigrated Russian housekeeper steals from him—cutlery and gourmet capers from the pantry. "They have so much," she rationalizes.

The Sopranos is about greed and avarice and materialism and gluttony and unbridled ambition, all with no moral compass but the id. The Enron and Savings & Loan scandals and the hit on the World Trade Center and the war in Iraq are all backdrop plots to The Sopranos.

The Sopranos is about the American Dream turned inside out. And, of course, that's what did in the real Mafia. During the 1950s and '60s, the major mob families moved into drugs, particularly heroin, with their high profit margins and low overhead, and when busted, the lower end mobsters chose to squeal rather than doing the 10 to 15 years that came with a federal drug rap. And squeal they did, to the point where the Five Families of New York and the unsanctioned gangs of New Jersey have been essentially decimated.

The Sopranos are loosely based on a couple of Northern Jersey families, the DeCalvacantes and the Boiardos. They are not unknown to me. During the initial season of The Sopranos, in 1999, the feds actually wiretapped the real mobsters speaking about the TV show.

"Hey, what's this fucking thing Sopranos?," one of them asks. "What are they? ... Is this supposed to be us?"

In the end, the DeValcantes and the Boiardos and what was left of the families who weren't dead or in prison were left to petty crimes, like hustling cigarettes and running Viagra and or turning out fake "vintage" comic books. It has not been a pretty, or particularly fabled, denouement.

"Lately, I'm gettin' the feelin' that I came in at the end," Tony lamented in Season 1 about this era of mob history. "The best is over."

We'll see if the same holds true about the remarkable television series that bears his family's name.

Thanks to Geoffrey Dunn

Thursday, March 09, 2006

In Break From Code, Gotti Women Soak Up Trial Spotlight

Friends of ours: Junior Gotti, John Gotti, Michael "Mikey Scars" DiLeonardo, Joseph D'Angelo, Gambino Crime Family
Friends of mine: Toni Marie Ricci

Call it the Soprano effect. To spectators at John A. Gotti's racketeering trial, it often seems as if life were imitating television, and that the airing of every intimate detail of the fictional mobster Tony Soprano's life has broken down a social code that once prevented real-life mobsters from exposing their private lives and peccadilloes, from girlfriends to illegitimate children, in public.

One of the prosecutors, Joon Kim, has led two turncoat mobsters, Michael DiLeonardo and Joseph D'Angelo, through recitations of their lives from blood oath to murder, with the calm, hypnotic manner of a psychoanalyst interrogating a patient. But it is probably the assertive presence of the Gotti women in United States District Court in Manhattan that has marked the biggest departure from Mafia tradition. "Women have always been considered an inferior element in the Mafia," says Selwyn Raab, a retired New York Times reporter who chronicled the lives of the Gottis in his book "Five Families: The Rise, Decline and Resurgence of America's Most Powerful Mafia Empires." "They are not supposed to intrude, not supposed to be involved in any way. One: to protect them. And two: that's the culture; that's the code."

Mr. Gotti's mother, Victoria, has attended every day of her son's trial since it began two weeks ago, and offered a window into the changing social mores of the mob.

Fifty, even 20 years ago, in the era depicted by the classic Godfather movies, Mafia wives and daughters were to be neither seen nor heard. But Mr. Gotti's trial has become more of a soap opera than the soaps, in which the Gotti women — led by Mr. Gotti's mother, but also joined by his sisters, Victoria and Angel, a niece named Victoria after her grandmother, and even the ex-wife of a Gambino captain — have played a central role.

Though the presence of Mafia wives at trials has not been unheard of in recent years, Mr. Raab said, Mrs. Gotti — the widow of John J. Gotti, celebrated as the Dapper Don and the Teflon Don before spending the last years of his life locked up in a maximum security penitentiary — never attended any of her husband's major trials. "He had four trials after he became boss, and she was never there," Mr. Raab said. Partly, he noted, that was because "they were on the outs," and she did not visit him in prison, either.

In this trial, however, which enters its third week today, the Gotti women have waged a public relations war for Mr. Gotti, speaking on his behalf outside of court, while he has focused on what goes on in the courtroom.

Every day, his mother and sister Angel have occupied center aisle seats in the second row, which is reserved for family members (both conventional relatives and the Cosa Nostra kind). Mr. Gotti's more flamboyant sister, Victoria, has appeared most days in the afternoon, drawing stares from tourists both because she resembles Donatella Versace, with hip-length blond tresses and flashy clothes, and because she is recognized as a novelist and hostess of the reality-TV show "Growing Up Gotti." (Mr. Gotti's wife, Kim, who is pregnant with their sixth child, has not attended.)

Lawyers said that in a trial that is something of a morality play, even Mr. Gotti's churchgoing could have an impact on the perception of the jury, since this jury includes several observant Catholics: On Ash Wednesday, five of the 16 jurors, including alternates, arrived in court for the morning session with their foreheads marked with black smudges. Mr. Gotti returned from lunch with ashes on his forehead.

On a recent day, a federal prosecutor led an F.B.I. agent through the list of people who visited Mr. Gotti while he was in prison. As the prosecutor ticked off the names, one by one, the agent identified them each as an "associate" of the Gambino crime family, qualifying a couple by adding "and lifelong friend."

The judge called a break, and Mr. Gotti's mother called to his lawyer, Charles Carnesi: "Hey, Charles. Did you tell them that I am an associate, and my daughter, too, and my granddaughter?"

It was a typically acerbic reaction for Mrs. Gotti, whose comments are not always appreciated. "Mom, please, I got this under control," Mr. Gotti protested another time.

The racketeering charges against Mr. Gotti are so diffuse that much of the court battle has focused not on the charges but on his private life. Besides, the charges against him — loan-sharking, extortion and kidnapping — are not nearly as serious as the murder charges that the two star prosecution witnesses have confessed to as part of their cooperation agreement with the government. In his defense, Mr. Gotti says he left the mob life years ago, when he realized how much it could hurt his wife and children.

The Gotti family has been particularly angered by testimony from Mr. DiLeonardo, the turncoat Gambino captain who said that Mr. Gotti dated a woman named Mindy during his marriage and that his father had a secret second family and a daughter out of wedlock.

Three days after Mr. DiLeonardo's testimony, the Gotti family called in reinforcements. John J. Gotti's oldest granddaughter, Victoria Gotti Albano, 18, arrived at the courthouse, saying, "We always stick together." Wearing a large necklace spelling out the word "princess," which she said her grandfather had given her, she sat between her mother, Angel, and grandmother for the rest of the week. Ms. Albano, a freshman at U.C.L.A., said she wanted to become a lawyer to avenge the wrongs she said the government had inflicted on her family. Her grandmother volunteered that the teenager's role model was Ron Kuby, a civil rights lawyer. Mrs. Gotti, who is, in the traditional mold, a Queens homemaker, is supportive of her granddaughter's career goals, even confiding in the hallway outside the courtroom that the idea of being called "Ms." Gotti appealed to her. "She's liberated," Mr. Raab said, not sounding 100 percent convinced.

The more traditional "Married to the Mob" role in this courtroom drama has been played by Mr. DiLeonardo's ex-wife, Toni Marie Ricci, who appeared as a defense witness to testify on the distress that her husband's infidelity caused her and their teenage son, Michael. Asked by prosecutors last week whether she knew that her ex-husband, her father, brother, uncle and cousin were all associated with the Gambino crime family, she replied that she was "just a housewife and mother" who did not concern herself with such things.

If Mrs. Gotti doesn't always adhere to type, Mr. Raab said, that may be because her ancestry is Russian on her mother's side. Her mixed antecedents were a problem when it came time for her son to be inducted into the Mafia, Mr. Raab said, because Mafia rules required both parents of a "made" member to be of Italian descent. The senior Gotti solved the problem by changing the rule to require patrilineal descent only, Mr. Raab said.

Mrs. Gotti seemed more outraged by what she saw as the prosecution's sanctimonious attitude than by the suggestion that her husband had had affairs, a rumor that, after all, had been alluded to in books and whispered by government agents. If the government was going to prosecute womanizers, she said, "we should hang all our presidents."

It was another remark worthy of a Soprano, although Mrs. Gotti was coy when asked whether she ever watched the show. "I really would love to because I think it's an entertaining program," she said. "But if there's a really good movie on, or "20-20," or something on the Discovery Channel, I would rather watch that."

Thanks to Anemona Hartocollis

Tuesday, March 07, 2006

Real Dons Steal Sopranos Limelight

Friends of ours: John "Junior" Gotti, Vinny "Gorgeous" Basciano, Michael "Mikey Scars" DiLeonardo, Bonanno Crime Family, Lucchese Crime Family, John "Dapper Don" Gotti, Joseph Massino
Friends of mine: Louis Eppolito, Stephen Caracappa, Soprano Crime Family


While the acclaimed TV series bows out, New Yorkers are gripped by the drama of three real-life Mafia-linked trials

The final series of The Sopranos will go out on American TV a week today, beginning the last chapter of its epic chronicle of the lives, loves and murders of the nation's most famous Mob family. But one part of America does not have to wait with bated breath: New York. After all, who needs Tony Soprano and his fictional travails when real mafiosi such as John 'Junior' Gotti, Vinny 'Gorgeous' Basciano and Mikey 'Scars' DiLeonardo stalk the front pages.

In a throwback to the Mob's long-lost heyday, New York has gone Mafia-mad in the past week. No fewer than three high-profile trials are dominating the tabloid press and local TV stations, uncovering a mobster world of hitmen, assassinations and police corruption that even Tony Soprano's scriptwriters would have hesitated to invent.

Top of the heap is the dramatic trial of Gotti, alleged head of the Gambino crime family, whose father was known as the Dapper Don for his sharp suits and high profile on the social scene. Now the junior Gotti faces racketeering charges, including the kidnapping and attempted murder of Curtis Sliwa, a radio host and founder of the Guardian Angels crime-fighting volunteers. Another case involves Basciano, charged with killing one Mob associate and plotting the death of two others. He is alleged to be acting head of the Bonanno crime family. The third prosecution, set to start within weeks, has been called the 'Mafia cops' trial. It involves allegations that two top policemen, Louis Eppolito and Stephen Caracappa, worked as hitmen for the Lucchese crime family.

But it is the Gotti trial - with its mix of Mob glamour and death - that has grabbed attention. 'They can still draw a crowd,' said Jerry Capeci, who has written six books on the Mafia. Given the alleged crimes, that is no surprise. In one gripping piece of recent testimony Sliwa told how a gang killer tried to 'whack' him by shooting him in a taxi with its windows and doors rigged so they would not open. As he was travelling to work in Greenwich Village, a man suddenly popped up in the front seat, said 'Take this' and began shooting at him. Sliwa, bleeding from gunshot wounds that left him in hospital for two weeks, escaped by climbing through a broken car window as the taxi zig-zagged down the street.

In another of the trial's 'highlights', one witness, DiLeonardo, revealed that the late Dapper Don had fathered a child by a woman living on Staten Island. That triggered the sort of tabloid frenzy among gossip writers and paparazzi usually associated with Hollywood stars. The child was found to be a 19-year-old dental student. 'I feel bad for my daughter. It's 2006. We want to move on,' said her mother, Shannon Connelly.

The Gotti trial has been so highly publicised that tourists have been flocking to the Manhattan court for a dose of the real Sopranos. But all the court cases have exposed crimes that are hard to romanticise. Prosecutors say Basciano blasted one rival with a 12-gauge shotgun. The attack on Sliwa left him needing a colostomy bag after one bullet went through his intestines. There are drug rings, extortion, bribery and cold, hard killings: all revealed in sordid detail.

Yet the real story is that these cases have all been brought simultaneously, dealing what remains of the Mafia in New York a potentially fatal blow. The FBI and police have so successfully infiltrated the gangs over the past two decades that the Mob is a shadow of its former self. Many of the witnesses are turncoats from the highest levels of an organisation once thought impenetrable. The main evidence against Basciano comes from conversations taped by former don Joseph Massino, the first head of a Mafia family to wear a wire and betray his associates. Gotti's lawyer has used this as a defence, saying his client was born into the Mob family but wanted to leave due to the huge degree of betrayal. 'He saw a life where his father went to jail for the rest of his life, died locked away from his family, based on the testimony of a serial killer who was supposed to be his closest associate. He saw the treachery first hand,' said Charles Carnesi.

When it comes to the old values of silence and loyalty, it is other ethnic gangs in New York, such as the Russians and the Chinese Triads, who are far more of a criminal threat. Neighbourhoods dominated by Russians and Chinese are full of new immigrants vulnerable to gangs; meanwhile the Italians have moved to Long Island or New Jersey.

Yet despite the decline in the Mafia's power, it still dominates the headlines more than any other form of organised crime. That is far more to do with the media and Hollywood than reality. For the American love affair with the Mafia is one based on the entertainment industry.

Before the Gotti trial began last month the once-feared family's name had been best known recently for a tawdry reality TV show starring Gotti Junior's sister, Victoria, called Growing Up Gotti. It has been a steady decline from the Oscar-winning art of the Godfather movies to the high-class soap opera of The Sopranos and finally to reality television.

Tony Soprano would recognise that as a rule of the fictional gangsters: No one lives forever, everyone gets whacked in the end. Even, perhaps, the Mafia itself.

Thanks to Paul Harris

Thursday, April 28, 2005

Mob better watch out: Best mayor is getting mad

Today, readers reflect on the big news about the FBI's Operation Family Secrets investigation, which led to the indictment of several Outfit bosses and the closing of 18 previously unsolved mob killings.

Hey, John, the Outfit is in serious trouble now. Forget about the U.S. attorney and the indictments. Know who's mad at them? The mayor. The mayor's mad at the hoods and the mob. He says they run drugs and everything else and he's really, really mad at the mob. Wow, are they in trouble! When Mayor Daley starts fighting them, look out. T.P.


Dear T.P. -- Jeepers, you are a sarcastic Chicago resident. Are there more of you? It's just another reason why he's the best mayor in the cosmos. I'm calling TIME Magazine right now, mister!

I feel prompted to write you after reading your April, 26, 2005, column ("Mob charges tell a story, but more isn't told"). When you discussed how the Chicago Outfit's survival has been dependent upon help provided by crooked politicians, judges and cops, it reminded me of a book I read as a teenager, CAPTIVE CITY CHICAGO IN CHAINS. Have you read this work? Can you recommend any other books that cover this topic? I've been fascinated by this subject matter since I was a teenager. Thanks. P.P.


Dear P.P. -- When I first started covering Chicago politics in 1980The Outfit, someone lent me a worn paperback copy of Demaris' "Captive City," which fascinated me by detailing the incredible web of political connections between civic leaders, politicians and the Outfit. It was so good that, naturally, I stole it. It is the best book on the subject I've ever read. If you'd like to read more about the mob and politics, I'd recommend reading this newspaper and also "The Outfit" by Gus Russo. (Appropriately enough, a friend gave me Russo's book while we were having a drink on Rush Street.) Also, the William Brashler book The Don about Sam "Momo" Giancana, and Mafia Princess: Growing Up in Sam Giancana's Family by Giancana's daughter, Antoinette, who makes a great pasta sauce. And, the Web site of the Laborers International Union of North America (http://www.laborers.org/.) has plenty of information. If anyone can recommend other books on the Outfit, please share them with me and I promise to steal them too.

John, my son-in-law gave me the book "The Outfit" for Christmas. I was enjoying it but had to take a break because suddenly, everything I saw was "connected." I was stunned to realize that the Outfit probably provided the bottles of milk I drank in elementary school. I started looking over my shoulder; the Outfit seemed to dominate my thinking; and every businessperson, waiter, delivery guy looked like they were part of it. I would mutter "mob connections" in unlikely places. My family became concerned that I had developed some kind of mob dementia. They would laugh, but I would nod knowingly, like some old crone in Sicily. J.H.


I had a similar experience recently. A friend mentioned the great philanthropic family, the Annenbergs, and I said they started as tough guys in Chicago's old newspaper circulation wars, under the tutelage of Paul "The Waiter" Ricca. The friend looked at me as if I was crazy. I just smiled, knowingly.

It's commendable that they round up all these old mob guys. I'm sure they've all done something one time or another. But it's Godfather 4. What are they going to do, put them in the retirement home? How about the drug gangs, Chinese mob, Russian and Ukrainian mobs, the black gangs. What about the sex offenders? They just grabbed another one. But they put a monitor on Martha Stewart's ankle, so we feel safe at night. So they're going to put these mob guys in the senior citizen home? Big deal. B.D.


You're not the first American of Italian descent to have such feelings about the mob story. Another is my wife. When I asked her, she said: "So I'm the token angry Sicilian in the column, the one who's angry about how these criminals reflect on us? They're criminals, but we all look bad." I don't think the indictment of Joe Lombardo makes Italians look bad. It makes Lombardo look bad. But I also think that because Italians are now considered white, which wasn't always the case in the U.S., writers take more liberties with the Outfit than we do with the equally ridiculous behavior of the black and Latino gangs.

Bill Dal Cerro, of the Italic Institute of America, is someone always on the lookout for anti-Italian images in the media. He just wrote me a letter saying it was important to focus not only on the gangsters, but also on those public officials--crooked politicians, judges, cops--who've allowed the Outfit to prosper in Chicago and suburbs.

"We hope you can pursue this line of logic," Dal Cerro wrote. "It is uncharted territory. You are going to get hell for it because it challenges the notion that `organized crime' is somehow an `alien' [read: Italian] thing which pollutes the pristine veneer of an `uncorrupt' nation. As my Uncle Louie used to say, `@#$$% {circ} &*!'"

Thanks to John Kass


Monday, May 15, 2000

Will Vladimir Putin Take on The Mob?

An oil executive is gunned down with a rocket-propelled grenade in rush-hour traffic. A city-council member is indicted for running a murder-for-hire ring. Another gets his head blown off by a car bomb. Thugs beat an anti-corruption crusader with rubber truncheons. And organized crime is so pervasive that it gets its hooks into people even after they're dead: the local cemetery business is reputedly controlled by a ruthless gang led by a local "businessman" called "Kostya the Grave."

St. Petersburg, the elegant city of Pushkin and the Winter Palace, is today the capital of Kalashnikov Capitalism, a place where the "rule of law" gets trumped by an older principle: might makes right. It's also the birthplace of the just-inaugurated president of Russia, Vladimir V. Putin. Elected in part because of his promise to impose "a dictatorship of the rule of law," Putin could find no better place to start than the town where he first made his political reputation as deputy mayor. In Russia's most esthetically graceful city, the lines between commerce, politics and organized crime are about as thin as the cross hairs on a sniper's rifle. Since 1997 alone, according to law-enforcement statistics, there have been more than 200 contract murders carried out in St. Petersburg. Most of them remain unsolved.

Putin's initial moves against this culture of violence have not been promising. When he succeeded Boris Yeltsin at the end of last year, Putin seemed intent on ousting St. Petersburg's powerful governor, Vladimir Yakovlev. Yakovlev's critics--including a former local chief of police--claim he has ties to an organized-crime gang that is now the real power in town, having gained control of profitable local businesses like oil distribution on Yakovlev's watch. The governor has repeatedly denied the charge.

A couple of months ago Putin was talking tough about Yakovlev. At the February funeral for his old boss, the liberal St. Petersburg governor Anatoly Sobchak, a tearful Putin suggested that Sobchak died "as a result of persecution" from his political enemies. It was a clear reference to Yakovlev. Rumors flew that Putin would put the Kremlin's muscle behind popular former prime minister Sergei Stepashin to challenge Yakovlev in the governor's election next Sunday. Instead, for reasons that are not clear, Putin unexpectedly endorsed a political lightweight, a woman named Valentina Matviyenko.

Then, last month, Putin apparently decided that there would be no political war with Yakovlev at all. He forced Matviyenko to withdraw and clandestinely met with Yakovlev. Political sources in St. Petersburg assume Yakovlev offered a straightforward deal: loyalty to the Kremlin in exchange for a free ride when Yakovlev stands for re-election.

This week Putin will finally start to appoint his own people to positions of power. Many of them--his security-service chief, for one--will be from St. Petersburg. These are people who consider themselves graduates of the "good" St. Petersburg, the birthplace of the democracy movement in the late '80s that eventually brought down the Soviet Union. All, Putin included, worked for Sobchak.

In truth, Sobchak himself was no saint--he left the country in 1997 amid corruption charges, which he denied. But Yakovlev doesn't do a lot to counter the impression that forces loyal to him can play rough. One city-council member complained of corruption in Yakovlev's health-care bureaucracy. Assailants wielding rubber truncheons broke his nose, ribs and skull, but took no money or valuables. In October last year, Viktor Novosyolov, a powerful city-council member and onetime Yakovlev ally, was killed when a bomb placed on his car roof decapitated him. The victim was reputed to have organized-crime ties, but had broken with Yakovlev. According to several city-council members, Novosyolov had compromising material on Yakovlev that he was ready to make public.

It's far from clear what game Vladimir Putin is playing in St. Petersburg. Some suggest that, in return for withdrawing his opposition to Yakovlev's election, Putin asked him for help in getting the local "businessmen" to lay down their arms. Perhaps. But the only way to tell will be if the number of customers for Kostya the Grave finally begins to go down.

Thanks to Brain Whitmore

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