Behind every good man is a good woman. But what lies behind every bad man? Gangsters' Wives tells the side of the story you didn't know--what it's like to live with Britain's most lawless men, from the women who married them. Devoted mum-of-three Judy Marks was imprisoned alongside her husband, notorious drug smuggler Howard Marks; while Flanagan, the first ever Page Three girl, found herself splashed across the papers as the fiancee of legendary East End villain Reggie Kray. Jenny Pinto, wife of gangster Dave Courtney, has given the police keys to their house to stop them breaking down the front door. In ten funny, moving, searingly honest first-person accounts, Gangsters' Wives tells you all you ever wanted to know about the lives and loves of the women who are, quite literally, married to the mob.

All Ebooks in This SeriesThe Men Behind Mob Wives: Sammy "The Bull" Gravano (Father of Karen Gravano)The Men Behind Mob Wives: Anthony "TG" Graziano (Father of Renee Graziano)The Men Behind Mob Wives: Salvatore "Sally Dogs" Lombardi (Uncle of Angela "Big Ang" Raiola)The Men Behind Mob Wives: Joseph Ferragamo, Louis Facciolo and Bruno Facciolo (Ex-husband, Father and Uncle of Carla Facciolo)The Men Behind Mob Wives: Benjamin "Lefty Guns" Ruggiero (Grandfather of Ramona Rizzo)The Men Behind Mob Wives: Lee D'Avanzo (Husband of Drita D'Avanzo)The Men Behind Mob Wives: Hector "Junior" Pagan (Ex-Husband of Renee Graziano)The Men Behind Mob Wives: Salvatore "Sally Dogs" Lombardi (Uncle of Angela "Big Ang" Raiola)The Men Behind Chicago Mob Wives: Frank "The German" Schweihs (Father of Nora Schweihs)The Men Behind Chicago Mob Wives: John A. "Big John" Fecarotta (Uncle of Renee Fecarotta)

Widely acclaimed as America's greatest living film director, Martin Scorsese is also, some argue, the pre-eminent Italian American artist. Although he has treated various subjects in over three decades, his most sustained filmmaking and the core of his achievement consists of five films on Italian American subjects - Who's That Knocking at My Door?, Mean Streets, Raging Bull, GoodFellas, and Casino - as well as the documentary Italianamerican. In Gangster Priest Robert Casillo examines these films in the context of the society, religion, culture, and history of Southern Italy, from which the majority of Italian Americans, including Scorsese, derive. Casillo argues that these films cannot be fully appreciated either thematically or formally without understanding the various facets of Italian American ethnicity, as well as the nature of Italian American cinema and the difficulties facing assimilating third-generation artists. Forming a unified whole, Scorsese's Italian American films offer what Casillo views as a prolonged meditation on the immigrant experience, the relationship between Italian America and Southern Italy, the conflicts between the ethnic generations, and the formation and development of Italian American ethnicity (and thus identity) on American soil through the generations. Raised as a Catholic and deeply imbued with Catholic values, Scorsese also deals with certain forms of Southern Italian vernacular religion, which have left their imprint not only on Scorsese himself but also on the spiritually tormented characters of his Italian American films. Casillo also shows how Scorsese interrogates the Southern Italian code of masculine honour in his exploration of the Italian American underworld or Mafia, and through his implicitly Catholic optic, discloses its thoroughgoing and longstanding opposition to Christianity. Bringing a wealth of scholarship and insight into Scorsese's work, Casillo's study will captivate readers interested in the director's magisterial artistry, the rich social history of Southern Italy, Italian American ethnicity, and the sociology and history of the Mafia in both Sicily and the United States.

The authors examine the role played by political communications in a variety of media in defining and shaping identity in China, Hong Kong, Taiwan and amongst overseas Chinese.

The iconic photo of Bonnie Parker—cigar clenched in jaw, pistol in hand—says it all: America loves its bad girls. Now Mary Elizabeth Strunk tells us why. Wanted Women is a startling look at the lives—and legends—of ten female outlaws who gained notoriety during the tumultuous decades that bracketed the tenure of FBI director J. Edgar Hoover. Strunk looks at real-life events and fictional portrayals to decipher what our obsession with these women says about shifting gender roles, evolving law-enforcement practices, and American cultural attitudes in general. These women's stories reveal what it takes-and what it has meant--to be a high-profile female lawbreaker in America. Strunk introduces us to Kathryn "Mrs. Machine Gun" Kelly, Ma Barker, and Bonnie Parker from the 1930s, and, from the 1970s, we meet heiress-turned-revolutionary Patty Hearst, five other women of the Symbionese Liberation Army, and Black Panther Assata Shakur. All saw themselves as struggling against an oppressive legal system. All became "wanted" criminals and would play a part in shaping Hoover's legacy. And all spent enormous amounts of energy attempting to manipulate public opinion in their favor. Strunk argues that each woman's public persona was to some degree invented by Hoover, who saw outlaw women as an alarming threat to public morality. He went after them with a vengeance, but in many ways his obsession only added to their reputations. Strunk shows how Hoover's repeated use of popular culture to publicize the threat of violent women initially succeeded in strengthening his FBI, but his approach became a liability by the time law enforcement was pitted against the women outlaws of the 1970s. The book chronicles the careers of these infamous outlaws both in the real world and in popular culture—film, ads, true-crime stories, autobiographies—as well as Hoover's own forays into filmmaking. It boasts 27 compelling images of movie stills, wanted posters, and other ephemera that have been assembled nowhere else, including rarely reproduced SLA artifacts. Strunk's book is the first study to define the narrow "formula" necessary for a woman to cross over from criminal to outlaw. Hitting on key notes of American culture from Black and gender studies to cinematic and legal history, Wanted Women sets a new benchmark for how we view women and crime as it contributes fresh insights into twentieth-century social history.

An award-winning Scandinavian novel of one woman’s struggle to pull herself and her daughter from the grasp of a criminal past. “A literary tour de force” (Mystery Scene). A celebrated bestseller in Sweden, and the winner of the prestigious Per Olov Enquist Literary Prize, The White City is an arresting story of betrayal and empowerment as a criminal’s girlfriend is left behind to pick up the pieces of her imploded existence. Karin knew what she was getting herself into when she fell for John, a high-flying wheeler-dealer. But she never imagined things would turn out like this: John is gone and the coke-filled parties, seemingly endless flow of money, and high social status have been replaced by cut telephone lines, cut heat, and cut cash. All that remains of Karin’s former life is the mansion he bought for her—and his daughter, the child Karin once swore she would never bring into their dangerous world. Now she is on her own with baby Dream. As the authorities zero in on organized crime, John’s shady legacy is catching up with her. Over the course of a few days, Karin is forced to take drastic measures to claim what she considers rightfully hers . . . “The ghostly Scandinavian setting and [protagonist] Karin’s closely narrated sense of impending doom . . . make Swedish star Ramqvist’s English-language debut an atmospheric and suspenseful read.” —Booklist

In 1940 and 1941 a group of ruthless gangsters from Brooklyn’s Brownsville neighborhood became the focus of media frenzy when they—dubbed “Murder Inc.,” by New York World-Telegram reporter Harry Feeney—were tried for murder. It is estimated that collectively they killed hundreds of people during a reign of terror that lasted from 1931 to 1940. As the trial played out to a packed courtroom, shocked spectators gasped at the outrageous revelations made by gang leader Abe “Kid Twist” Reles and his pack of criminal accomplices. News of the trial proliferated throughout the country; at times it received more newspaper coverage than the unabated war being waged overseas. The heinous crimes attributed to Murder, Inc., included not only murder and torture but also auto theft, burglary, assaults, robberies, fencing stolen goods, distribution of illegal drugs, and just about any “illegal activity from which a revenue could be derived.” When the trial finally came to a stunning unresolved conclusion in November 1941, newspapers generated record headlines. Once the trial was over, tales of the Murder, Inc., gang became legendary, spawning countless books and memoirs and providing inspiration for the Hollywood gangster-movie genre. These men were fearsome brutes with an astonishing ability to wield power. People were fascinated by the “gangster” figure, which had become a symbol for moral evil and contempt and whose popularity showed no signs of abating. As both a study in criminal behavior and a cultural fascination that continues to permeate modern society, the reverberations of “Murder, Inc.” are profound, including references in contemporary mass media. The Murder, Inc., story is as much a tale of morality as it is a gangster history, and Murder, Inc., and the Moral Life by Robert Whalen meshes both topics clearly and meticulously, relating the gangster phenomenon to modern moral theory. Each chapter covers an aspect of the Murder, Inc., case and reflects on its ethical elements and consequences. Whalen delves into the background of the criminals involved, their motives, and the violent death that surrounded them; New York City’s immigrant gang culture and its role as “Gangster City”; fiery politicians Fiorello La Guardia and Thomas E. Dewey and the choices they made to clean up the city; and the role of the gangster in popular culture and how it relates to “real life.” Whalen puts a fresh spin on the two topics, providing a vivid narrative with both historical and moral perspective.

Based on a true story, the action starts in 1949 in Brownsville, NY. Harry’s head is in the toilet. He is a lawyer who doesn’t practice. Natty, his daughter, wonders why. The family is desperately poor. Rose, Harry’s wife, is a nurse, vain flirtatious and preoccupied with Abby, her crazy daughter. Natty is repeatedly left with unusual relatives in Cleveland, Ohio where Bob Firestone her uncle, a union organizer and racketeer is in trouble with the law. Bob has connections to Murder, Incorporated headquartered down the street from the family in Brownsville. Abby is desperate to live a life of her own, away from her overbearing mother. Natty falls in love with a boxer turned soldier turned artist. Rose has a succession of marriages to men who worship but cannot abide her. How does this family survive poverty, love, criminal connections and madness?

The mafia has always fascinated filmmakers and television producers. Al Capone, Salvatore Giuliano, Lucky Luciano, Ciro Di Marzio, Roberto Saviano, Don Vito and Michael Corleone, and Tony Soprano are some of the historical and fictional figures that contribute to the myth of the Italian and Italian-American mafias perpetuated onscreen. This collection looks at mafia movies and television over time and across cultures, from the early classics to the Godfather trilogy and contemporary Italian films and television series. The only comprehensive collection of its type, Mafia Movies treats over fifty films and TV shows created since 1906, while introducing Italian and Italian-American mafia history and culture. The second edition includes new original essays on essential films and TV shows that have emerged since the publication of the first edition, such as Boardwalk Empire and Mob Wives, as well as a new roundtable section on Italy's "other" mafias in film and television, written as a collaborative essay by more than ten scholars. The edition also introduces a new section called "Double Takes" that elaborates on some of the most popular mafia films and TV shows (e.g. The Godfather and The Sopranos) organized around themes such as adaptation, gender and politics, urban spaces, and performance and stardom.

The insightful essays in this book shine a new light on the roles of women within criminal networks, roles that in reality are often less traditional than researchers used to think. The book seeks to answer questions from a wide range of academic disciplines and traces the portrait of women tied to organized crime in Italy and around the world. The book offers up accounts of mafia women, and also tales of severe abuse and violence against women.