Word: italian-american
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Tricarico has been researching Guidos for over 20 years and has put out academic papers with titles such as "Youth Culture, Ethnic Choice, and the Identity Politics of Guido," "Guido: Fashioning An Italian-American Youth Style," and "Dressing Up Italian Americans For The Youth Spectacle: What Difference Does Guido Perform...
Many clamor to differ. Andre DiMino, president of UNICO, the national Italian-American service organization, objects to the term, whether it's self-described or not. He told the New Jersey Star-Ledger: "It's a derogatory comment. It's a pejorative word to depict an uncool Italian who tries to act cool." But is it a generational pejorative? Do younger Americans of Italian descent have a different relationship to the G word? According to Donald Tricarico, a sociology professor at City University of New York/Queensborough, "Guido is a slur, but Italian kids have embraced it just as black kids...
Most people on the east coast easily recognize the word as a slur against Italian-American men of a certain class and swagger - and there was MTV just letting it rip. As the ramp up to the show continued, Italian-American anti-defamation groups started their drumbeat and the commercial was tweaked ever so slightly: the word "Guido" was replaced with "roommates" - which is more generally the premised cast of the reality show. But that was not the last we heard of Guido, well, because it's all over the show. Indeed, in the first episode of Jersey Shore...
...Later joined the predecessor to the Drug Enforcement Agency, the Bureau of Narcotics, after being told they needed Italian-American agents to pursue members of the Mafia. Stayed with the agency for 32 years and worked around the world, retiring as head of the DEA's Arizona office...
...start of the modern era was particularly good for Italian and American cinema: Italian films took home the award four times straight, from 1966 to 1972, and twice again in 1977-78. Italian-American heavyweights Martin Scorsese (Taxi Driver, 1976) and Francis Ford Coppola (Apocalypse Now, 1979) took the glory for the U.S. and even Bob Fosse joined in at the start of the 1980s with All That Jazz. But critics would snipe that truly great films (and directors) were being overlooked: there would be no Cannes love for Rainer Werner Fassbinder (Ali: Fear Eats the Soul),Werner Herzog (Every...