Friends of ours: Gambino Crime Family, Albert "The Blast" Gallo, Genovese Crime Family, Colombo Crime Family, Crazy Joe Gallo, Larry Gallo, Vincent "Chin" Gigante, Frank "Punchy" Illiano
On your "Gambino Crime Family" profile chart you list Albert "Kid Blast" Gallo as a Friend of Ours. He's actually a made member of the Genovese Family. He started with the Colombos in the crew run by his brothers--Crazy Joey and Larry Gallo. He went through the Gallo-Profaci War with them. He was supposedly a favorite of Vincent "Chin" Gigante until The Chin died this past December.
Then Albert "Al the Blast" Gallo Jr. (his full name and I don't think he uses the "Kid Blast" nickname anymore) switched allegiance to the Genovese Family in the mid-1970s after Larry died of cancer and Joey was hit in 1972 at Umberto's Clam House in Little Italy. Nearly the whole crew switched to the Genoveses.
Former Gallo crew member Frank "Punchy" Illiano is now a capo in the Genovese Family and Al Gallo is a made guy in his crew (or it could be the other way around, Gallo's the capo and Illiano's the top member of his crew--reports are conflicting on exactly who the capo of the crew is).
Thanks to "JP" who emailed this information to me.
Sunday, October 08, 2006
Will The Departed Lead to an Arrest by the Police?
Friends of ours: James "Whitey" Bulger
The Tulsa Police hopes a piece of Hollywood will finally end a murder case that began 25 years ago.
The movie, "The Departed" opened Friday in theatres and stars Jack Nicholson playing an Irish Mafia boss in Boston. That character is based on real life Irish mobster, Whitey Bulger.
Bulger has been on the run since 1995 when corrupt FBI agents warned him he was about to be indicted. Tulsa Police want him in connection with the mob murder of Tulsa businessman Roger Wheeler in May of 1981.
They hope this movie will lead someone to turn Bulger in. Tulsa Police Sgt. Mike Huff: "We would love to see him captured. It'd be wonderful to finally put this thing to an end. I have never seen a case that has drug on this long. It changed a lot of people's lives." Bulger has a $1-million price tag on his head and is on the FBI's Top 10 Most Wanted fugitive list.
Police say he was spotted in Oklahoma as recently as three years ago, at the Luvs in Henryetta.
The Tulsa Police hopes a piece of Hollywood will finally end a murder case that began 25 years ago.
The movie, "The Departed" opened Friday in theatres and stars Jack Nicholson playing an Irish Mafia boss in Boston. That character is based on real life Irish mobster, Whitey Bulger.
Bulger has been on the run since 1995 when corrupt FBI agents warned him he was about to be indicted. Tulsa Police want him in connection with the mob murder of Tulsa businessman Roger Wheeler in May of 1981.
They hope this movie will lead someone to turn Bulger in. Tulsa Police Sgt. Mike Huff: "We would love to see him captured. It'd be wonderful to finally put this thing to an end. I have never seen a case that has drug on this long. It changed a lot of people's lives." Bulger has a $1-million price tag on his head and is on the FBI's Top 10 Most Wanted fugitive list.
Police say he was spotted in Oklahoma as recently as three years ago, at the Luvs in Henryetta.
Scorses is the New Boss with The Departed
Martin Scorsese's "The Departed" is an instant gangster classic, a gritty, intense and electrifying work from a master who knows this turf better than any director who ever lived. The moment it was over, I wanted to see it again.
In Jack Nicholson's opening monologue as longtime crime boss Frank Costello, he spews a nasty racial slur as casually as you'd say "hello." You're not going to like this man. He doesn't want you to like him. Even before he emerges from the shadows of the narrative and reveals his hardened face, Nicholson is serving notice that he's going to keep the familiar tricks -- the lovable bad boy grins and the arched eyebrows -- in the drawer in favor of serving up an authentic, searing performance. It's some of the best work he's ever done -- and it's one of a half-dozen nomination-worthy performances in the best movie so far this year.
With "The Departed," Martin Scorsese returns to the gutter-level gangster genre he practically re-invented with "Mean Streets" (1973) and then perfected with "Goodfellas" (1990) -- but this time, his camera is prowling the streets and alleys and abandoned buildings and taverns of Boston, and most of the criminals and the police are Irish to the core. We actually spend more time with the cops than the crooks -- not that you can always tell one from the other, even with a scorecard.
"The Departed" is based on the Hong Kong classic "Infernal Affairs" (2002), but there are major revisions in the story and a shift in focus on some of the characters, most notably Nicholson's mob boss, a rather minor force in the original who becomes the central figure in the epic American version.
Nicholson's Frank Costello is a 70-year-old career criminal who rules his turf with all the subtlety of a lion in the wild. With his unkempt hair flying every which way and his mad eyes darting about, Costello grabs what he wants with both hands and stomps his enemies with bloody glee. Whether he's singing an Irish tune with an exaggerated, self-mocking accent, harassing a pedophile priest in a restaurant, sitting in an opera box with two dates whose combined ages don't match his, or meeting with an informant in a porn theater, Costello is the dominating force in the room, lapping up every moment while there's still time.
When Frank asks one tavern patron about his mother's health, the man says, "She's on her way out."
"We all are," says Frank, as he begins to make his exit. "Act accordingly."
It's a giant and sometimes funny performance, but Nicholson isn't clowning around or vying for our affections a la his villainous work in "Batman" or "The Witches of Eastwick." He's a man and he's a monster, albeit a very entertaining one.
Scorsese has cinematically adopted Leonardo DiCaprio, who follows his fine work in "Gangs of New York" and "The Aviator" with the best performance of his career as Billy Costigan, a smart hothead who tries to escape his criminal family ties by joining the Massachusetts State Police Department's Special Investigations Unit, which is obsessed with bringing down Costello and his crew. Matt Damon plays Colin Sullivan, an equally promising recruit who fast-tracks his way through the department -- but even as Sullivan gets assigned to the elite unit tracking Costello, he's working his second cell phone every step of the way, letting the mobster know exactly where the investigation stands. Sullivan isn't a good cop gone crooked --he's a plant who was handpicked as a teenager by Costello to join the force as the ultimate mole. This guy is an informant a dozen years in the making.
In the meantime, Costigan washes out of the force, gets convicted of a crime, does some jail time and winds up hanging around with his idiot drug dealer of a cousin -- but that's all by design as well. Only two men on the force -- a Notre Dame-loving captain (Martin Sheen) and his foul-mouthed second-in-command (Mark Wahlberg) -- know that Costigan in fact has never left the force and has been tabbed to infiltrate Costello's crew.
Never have cell phones played such an integral part in a crime thriller, with Costigan and Sullivan text-messaging and calling their respective bosses with key bits of information, even as both units try to flush out the rat in their midst. (There is a moment late in the film when they have their own cell phone "meeting," and nothing is said, and yet everything is said. The tension is almost unbearable.) But when you spend a year pretending to be a gangster, or for that matter a hard-charging cop, how much of it begins to rub off? Damon and DiCaprio are so skilled at portraying moral ambiguity, and Scorsese is so adept at keeping these stories racing along until their inevitable collision, that there were times when it was difficult to remember who was the good guy and who was the real crook. It's a house of mirrors, but one never feels manipulated.
Complicating matters is Vera Farmiga's Madolyn, a psychiatrist who seems like she needs her own time with a therapist. She's dating Sullivan (whom she believes to be a good cop) and counseling Costigan, to whom she is also attracted. Each man feels as if he's closest to being himself when he's talking to Madolyn, but neither is telling her the truth. Everybody in "The Departed" is a professional liar, with the possible exception of Sheen's Captain Queenan and Alec Baldwin's Captain Ellerby, a hilariously intense veteran whose gut bulges against his sweat-stained dress shirt as he rails about his hatred for Costello.
Scorsese is an original artist, but "The Departed" contains all sorts of touches and echoes of other films, from "True Romance" to "The Third Man." A number of signature Scorsese moves come into play as well, from the sublime use of 1970s rock-soundtrack staples such as "Gimme Shelter" and "Comfortably Numb" to the pervasive Roman Catholic imagery in scene after scene, to the shocking jolts of violence that somehow feel more real than the gunplay and bloodshed in just about any other gangster movie.
"The Departed" is about men who live in a world of casual violence, whose workdays routinely include battering skulls or attending funerals. It is funny, shocking and brutal, and it's filled with brilliant performances, with some of our best actors sinking their teeth into a great screenplay from William Monahan. Scorsese reinforces his reputation as one of the greatest living directors. He may get his sixth Oscar nomination and he might even win, but does it matter? Along with "Goodfellas," this is one of the best gangster movies in film history, whether or not there's ever a gold trophy attached to it.
Thanks to Richard Roeper
Scorsese's World
Director Martin Scorsese practically invented the gutter-level gangster film:
'MEAN STREETS'
Not so much a gangster movie as a perceptive, sympathetic, finally tragic story about how it is to grow up in a gangster environment. Johnny Boy is played by Robert De Niro and it's a marvelous performance, filled with urgency and restless desperation. (R, 1974) **** Roger Ebert
'GOODFELLAS'
A masterful examination of guilt, greed and violence in the American Mafia, "Goodfellas" tells the real-life story of Henry Hill (Ray Liotta), a mobster who lusted after the recognition and status he could find as a professional criminal, but who was never really top material. (R, 1990) **** Ebert
In Jack Nicholson's opening monologue as longtime crime boss Frank Costello, he spews a nasty racial slur as casually as you'd say "hello." You're not going to like this man. He doesn't want you to like him. Even before he emerges from the shadows of the narrative and reveals his hardened face, Nicholson is serving notice that he's going to keep the familiar tricks -- the lovable bad boy grins and the arched eyebrows -- in the drawer in favor of serving up an authentic, searing performance. It's some of the best work he's ever done -- and it's one of a half-dozen nomination-worthy performances in the best movie so far this year.
With "The Departed," Martin Scorsese returns to the gutter-level gangster genre he practically re-invented with "Mean Streets" (1973) and then perfected with "Goodfellas" (1990) -- but this time, his camera is prowling the streets and alleys and abandoned buildings and taverns of Boston, and most of the criminals and the police are Irish to the core. We actually spend more time with the cops than the crooks -- not that you can always tell one from the other, even with a scorecard.
"The Departed" is based on the Hong Kong classic "Infernal Affairs" (2002), but there are major revisions in the story and a shift in focus on some of the characters, most notably Nicholson's mob boss, a rather minor force in the original who becomes the central figure in the epic American version.
Nicholson's Frank Costello is a 70-year-old career criminal who rules his turf with all the subtlety of a lion in the wild. With his unkempt hair flying every which way and his mad eyes darting about, Costello grabs what he wants with both hands and stomps his enemies with bloody glee. Whether he's singing an Irish tune with an exaggerated, self-mocking accent, harassing a pedophile priest in a restaurant, sitting in an opera box with two dates whose combined ages don't match his, or meeting with an informant in a porn theater, Costello is the dominating force in the room, lapping up every moment while there's still time.
When Frank asks one tavern patron about his mother's health, the man says, "She's on her way out."
"We all are," says Frank, as he begins to make his exit. "Act accordingly."
It's a giant and sometimes funny performance, but Nicholson isn't clowning around or vying for our affections a la his villainous work in "Batman" or "The Witches of Eastwick." He's a man and he's a monster, albeit a very entertaining one.
Scorsese has cinematically adopted Leonardo DiCaprio, who follows his fine work in "Gangs of New York" and "The Aviator" with the best performance of his career as Billy Costigan, a smart hothead who tries to escape his criminal family ties by joining the Massachusetts State Police Department's Special Investigations Unit, which is obsessed with bringing down Costello and his crew. Matt Damon plays Colin Sullivan, an equally promising recruit who fast-tracks his way through the department -- but even as Sullivan gets assigned to the elite unit tracking Costello, he's working his second cell phone every step of the way, letting the mobster know exactly where the investigation stands. Sullivan isn't a good cop gone crooked --he's a plant who was handpicked as a teenager by Costello to join the force as the ultimate mole. This guy is an informant a dozen years in the making.
In the meantime, Costigan washes out of the force, gets convicted of a crime, does some jail time and winds up hanging around with his idiot drug dealer of a cousin -- but that's all by design as well. Only two men on the force -- a Notre Dame-loving captain (Martin Sheen) and his foul-mouthed second-in-command (Mark Wahlberg) -- know that Costigan in fact has never left the force and has been tabbed to infiltrate Costello's crew.
Never have cell phones played such an integral part in a crime thriller, with Costigan and Sullivan text-messaging and calling their respective bosses with key bits of information, even as both units try to flush out the rat in their midst. (There is a moment late in the film when they have their own cell phone "meeting," and nothing is said, and yet everything is said. The tension is almost unbearable.) But when you spend a year pretending to be a gangster, or for that matter a hard-charging cop, how much of it begins to rub off? Damon and DiCaprio are so skilled at portraying moral ambiguity, and Scorsese is so adept at keeping these stories racing along until their inevitable collision, that there were times when it was difficult to remember who was the good guy and who was the real crook. It's a house of mirrors, but one never feels manipulated.
Complicating matters is Vera Farmiga's Madolyn, a psychiatrist who seems like she needs her own time with a therapist. She's dating Sullivan (whom she believes to be a good cop) and counseling Costigan, to whom she is also attracted. Each man feels as if he's closest to being himself when he's talking to Madolyn, but neither is telling her the truth. Everybody in "The Departed" is a professional liar, with the possible exception of Sheen's Captain Queenan and Alec Baldwin's Captain Ellerby, a hilariously intense veteran whose gut bulges against his sweat-stained dress shirt as he rails about his hatred for Costello.
Scorsese is an original artist, but "The Departed" contains all sorts of touches and echoes of other films, from "True Romance" to "The Third Man." A number of signature Scorsese moves come into play as well, from the sublime use of 1970s rock-soundtrack staples such as "Gimme Shelter" and "Comfortably Numb" to the pervasive Roman Catholic imagery in scene after scene, to the shocking jolts of violence that somehow feel more real than the gunplay and bloodshed in just about any other gangster movie.
"The Departed" is about men who live in a world of casual violence, whose workdays routinely include battering skulls or attending funerals. It is funny, shocking and brutal, and it's filled with brilliant performances, with some of our best actors sinking their teeth into a great screenplay from William Monahan. Scorsese reinforces his reputation as one of the greatest living directors. He may get his sixth Oscar nomination and he might even win, but does it matter? Along with "Goodfellas," this is one of the best gangster movies in film history, whether or not there's ever a gold trophy attached to it.
Thanks to Richard Roeper
Scorsese's World
Director Martin Scorsese practically invented the gutter-level gangster film:
'MEAN STREETS'
Not so much a gangster movie as a perceptive, sympathetic, finally tragic story about how it is to grow up in a gangster environment. Johnny Boy is played by Robert De Niro and it's a marvelous performance, filled with urgency and restless desperation. (R, 1974) **** Roger Ebert
'GOODFELLAS'
A masterful examination of guilt, greed and violence in the American Mafia, "Goodfellas" tells the real-life story of Henry Hill (Ray Liotta), a mobster who lusted after the recognition and status he could find as a professional criminal, but who was never really top material. (R, 1990) **** Ebert
David Ayer to Direct a "Mafia Cop"
Friends of ours: Gambino Crime Family
Friends of mine: Louis Eppolito, Stephen Caracappa
David Ayer ("Harsh Times") has signed on to rewrite and direct "Mafia Cop" for Mandalay and Universal Pictures reports the trades.
The true-life story centers on highly decorated police officers Louis Eppolito and Stephen Caracappa who participated in eight murders (three mafia-sponsored), two attempted murders, one murder conspiracy, money laundering, obstruction of justice and drug distribution from 1986 to 1990.
Eppolito and Caracappa were arrested in 2005 after retiring from police work. Eppolito's father was a member of Gotham's Gambino crime family and before his arrest, Eppolito tried his hand in acting in such films as "GoodFellas," "Bullets Over Broadway" and "Predator 2".
Ayer also wrote "Training Day" and the "Wild Bunch" remake "Cartel" which he is attached to direct. Dan Gordon penned the first draft of the 'Cop' screenplay.
Friends of mine: Louis Eppolito, Stephen Caracappa
David Ayer ("Harsh Times") has signed on to rewrite and direct "Mafia Cop" for Mandalay and Universal Pictures reports the trades.
The true-life story centers on highly decorated police officers Louis Eppolito and Stephen Caracappa who participated in eight murders (three mafia-sponsored), two attempted murders, one murder conspiracy, money laundering, obstruction of justice and drug distribution from 1986 to 1990.
Eppolito and Caracappa were arrested in 2005 after retiring from police work. Eppolito's father was a member of Gotham's Gambino crime family and before his arrest, Eppolito tried his hand in acting in such films as "GoodFellas," "Bullets Over Broadway" and "Predator 2".
Ayer also wrote "Training Day" and the "Wild Bunch" remake "Cartel" which he is attached to direct. Dan Gordon penned the first draft of the 'Cop' screenplay.
Friday, October 06, 2006
Taste of Mob Life at Little Italy in New York
Friends of ours: Soprano Crime Family, Corleone Crime Family, Tony Soprano, Vito Corleone, Al Capone, Charles "Lucky" Luciano, "Crazy Joe" Gallo, Mickey Cohen, John "Dapper Don" Gotti, John "Junior Gotti
Once home to New York's huge immigrant Italian population and a hot-bed of mafia activity, Little Italy still draws crowds fascinated by mob life.
Now a popular tourist destination, there is little in Little Italy to back its violent history and visitors are unlikely to encounter anything more unusual than the smell of fresh garlic wafting from family-owned restaurants. But a recent exhibition, "Made In America, the Mob's Greatest Hits," gave fans of fictional mobsters Tony Soprano and Vito Corleone a taste of what the community used to be like with curator Artie Nash in talks to take the show elsewhere.
The exhibition housed in a small museum in Little Italy, featured a collection of original photographs and arrest warrants of some of the most notorious Mafiosos, including Al Capone and Charles "Lucky" Luciano. Luciano was the Italian-U.S. mobster behind the explosion in the international heroin trade on whom the character of Vito Corleone in "The Godfather" was loosely based.
Nash, curator of the exhibition, spent the best part of 15 years putting the collection together piece by piece, from both police department sources and from the estates of some of the most famous figures in organized crime. "I am mainly fascinated by the relationship that the American public have had with organized crime. It really has, over the last 75 years, permeated our popular culture to such a great degree," Nash told Reuters.
The mob enjoyed its hey-day during the backbreaking years of the Great Depression and Prohibition in the 1920's and 30's, when gangs all over the country carved out an existence in bootlegging, drug-dealing, blackmail and racketeering.
New York and Chicago were home to some of the most active branches of the mob and violent rivalries between different Mafia "families" often resulted in bloodshed.
Hollywood and the media have contributed in large part to glamorizing the life of the mobster, often depicted as fiercely loyal foot soldiers who struggled to protect their families.
The exhibit has attracted a wide variety of visitors, including students, high-ranking police officers, and even some current crime figures, Nash said.
Actor Leonardo Di Caprio even took a tour of the collection to check out the real "Gangs of New York," the 2002 Martin Scorsese film in which he played a gangster in the blood-soaked turf wars set in the 19th century in the notorious "Five Points" slum in what is now downtown Manhattan.
Popular items include a fedora worn by "Crazy Joe" Gallo, a ruthless Brooklyn-born killer, the day he was shot on Mulberry Street and a collection of silk pajamas from the lavish wardrobe of diminutive dapper Los Angeles don, Mickey Cohen.
The collection also features a series of gruesome photos of the victims of "Murder Inc," a crime organization that carried out hundreds of hits on behalf of the Mafia in the 1920's.
Public interest in the Mafia has been revived in recent years by hit TV drama "The Sopranos" and real-life events such as the trial of accused mob boss John Gotti, son of the late John J. Gotti, former head of New York's Gambino family.
Once home to New York's huge immigrant Italian population and a hot-bed of mafia activity, Little Italy still draws crowds fascinated by mob life.
Now a popular tourist destination, there is little in Little Italy to back its violent history and visitors are unlikely to encounter anything more unusual than the smell of fresh garlic wafting from family-owned restaurants. But a recent exhibition, "Made In America, the Mob's Greatest Hits," gave fans of fictional mobsters Tony Soprano and Vito Corleone a taste of what the community used to be like with curator Artie Nash in talks to take the show elsewhere.
The exhibition housed in a small museum in Little Italy, featured a collection of original photographs and arrest warrants of some of the most notorious Mafiosos, including Al Capone and Charles "Lucky" Luciano. Luciano was the Italian-U.S. mobster behind the explosion in the international heroin trade on whom the character of Vito Corleone in "The Godfather" was loosely based.
Nash, curator of the exhibition, spent the best part of 15 years putting the collection together piece by piece, from both police department sources and from the estates of some of the most famous figures in organized crime. "I am mainly fascinated by the relationship that the American public have had with organized crime. It really has, over the last 75 years, permeated our popular culture to such a great degree," Nash told Reuters.
The mob enjoyed its hey-day during the backbreaking years of the Great Depression and Prohibition in the 1920's and 30's, when gangs all over the country carved out an existence in bootlegging, drug-dealing, blackmail and racketeering.
New York and Chicago were home to some of the most active branches of the mob and violent rivalries between different Mafia "families" often resulted in bloodshed.
Hollywood and the media have contributed in large part to glamorizing the life of the mobster, often depicted as fiercely loyal foot soldiers who struggled to protect their families.
The exhibit has attracted a wide variety of visitors, including students, high-ranking police officers, and even some current crime figures, Nash said.
Actor Leonardo Di Caprio even took a tour of the collection to check out the real "Gangs of New York," the 2002 Martin Scorsese film in which he played a gangster in the blood-soaked turf wars set in the 19th century in the notorious "Five Points" slum in what is now downtown Manhattan.
Popular items include a fedora worn by "Crazy Joe" Gallo, a ruthless Brooklyn-born killer, the day he was shot on Mulberry Street and a collection of silk pajamas from the lavish wardrobe of diminutive dapper Los Angeles don, Mickey Cohen.
The collection also features a series of gruesome photos of the victims of "Murder Inc," a crime organization that carried out hundreds of hits on behalf of the Mafia in the 1920's.
Public interest in the Mafia has been revived in recent years by hit TV drama "The Sopranos" and real-life events such as the trial of accused mob boss John Gotti, son of the late John J. Gotti, former head of New York's Gambino family.
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