Word: italianize
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Dates: during 1970-1979
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Mean Streets--This is the film that made Martin Scorsese. A rough, startling, excellent glimpse of the lives of a couple of small-time Italian hoods in the Bronx. Robert de Niro sparkles as Johnny Boy, the idiotic, irresponsible galoot who drags his nominally smarter buddy, Harvey Keitel, into some big trouble. This film catches the pulse of The City better than almost any other film of the '70s. A must...
...trials we knew in Stalin's day" (see box). In Israel, where attacks on Soviet Jews are perceived as a family tragedy, Premier Menachem Begin said that Shcharansky's "only sin was that he wanted to join his people in Israel." In Italy, a statement issued by Italian Communist Party Chief Enrico Berlinguer proclaimed: "Convictions for crimes of opinion cannot be tolerated...
...ladder onto Ford's new crash-padded dashboard, the egg would not break. He was wrong. Until last week, that was one of the very few times that lacocca came close to having egg on his face. After 32 years with Ford, the plain-spoken son of an Italian immigrant was a Horatio Alger-hero on wheels, a paradigm of upward automobility. Yet unlike others who have risen through the sober, polyester-clad ranks of America's most important industry, lacocca is perpetually outspoken, fashionably dressed in European worsteds and as obviously at ease in a barroom throbbing...
Giorgio Laurent!, 33, worked for his Italian family's thriving manufacturing concern in Milan before deciding that his future lay in the U.S. With his German-born wife Iris, Countess zu Dohna-Lauck, 28, he moved to New York in 1974 and started a real estate investment concern that grossed nearly $10 million last year and may double that sum this year. Most of his business is with fellow Europeans. Laurenti's scholarly partner, Roberto Riva, 38, was born in Peru of Italian ancestry, earned his degrees in Italy, owned a prosperous oil trading company in Houston...
Borrowed from a Lombard farm by an Italian artist named Antonio Paradiso, the beast, a massive bull named Pinco, stood ruminating in a corral in front of the Italian pavilion. The other half of Paradiso's artwork was a mucca finta, a fake cow, a four-wheeled chassis draped in a cowskin. It was to be wheeled into the pen, the deceived bull would mount it, and the results-as the Biennale catalogue noted, with the usual clarity of Italian art criticism-would touch "the central core of the present evolutionary-involutionary crisis." Finding the proposed event "degrading" (degrading...