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Made In America

The immigration waves of the late 19th century through the early 20th century brought the Italian people to the United States of America en masse for the first time. Just as any other immigrant group, they endured their share of discrimination from the established populous. However, Francesca Sautman describes their status upon arriving in America as "not-fully-white" in her article "Grey Shades, Black Tones" (Sautman 1). What is it that set the early Italian immigrants apart from their Irish or German counterparts? A journalist in the 1890s asked a construction boss, "Is an Italian a white man?" The boss' famous response was, "No sir, an Italian is a Dago" (Jacobson 56). To a degree, a U.S. Senate initially agreed, officially labeling Italians as "nonwhite" (Dottolo). The vast majority of these immigrants hailed from the south of Italy and had dark complexions. Could their olive skin, dark eyes and dark hair be to blame for their reception in "The New World?"

In Martin Scorsese's 1990 film "Goodfellas," the protagonist Henry Hill is being told by his best friend Tommy DeVito about a Jewish girl who will not go on a date with him alone. She insists that Tommy bring a friend, since she is bringing her friend, Karen. Tommy explains to Henry, "She won't go out with me alone." Henry is confused, so Tommy continues, "She won't go out with Italians alone. She's prejudice against Italians!" He then asks, "In this day and age? What is the world coming to? ... A Jew broad prejudice against Italians!" One finds similar racist sentiments in other films about Italian-Americans. In Francis Ford Coppola's 1972 movie "The Godfather," a Jewish movie producer named Jack Woltz refuses to cast Don Corleone's godson Johnny Fontane in his new film. He says to the consigliere Tom Hagen, "I don't care how many dago, guinea, wop, greaseball, goombahs come out of the woodwork!" ensuring him that he will not be muscled.

In contemporary America, Italian-Americans are considered "White" within the delicate racial categorization system that presides over the country. What happened on the way to that place, though? As an individual or group strives for "Whiteness," does a part of their original identity get erased? If the Italians were an "abjectified other," lying somewhere between "White" and "Black," were they forced to make a decision between the two in order to be accepted? If a decision was made, stated or not, how has it molded the Italian-American identity as it exists today?

A terrific place to gain further insight into this question's answer is film. Movies are a form of art and thus speak volumes about the human condition. Several films focus largely on issues of race as it particularly relates to Italian-Americans. One such example is Spike Lee's 1989 film "Do The Right Thing." The film takes place on one city block in Bedford-Stuyvesant, Brooklyn over the span of one, single day. That day happens to be the hottest day of the year, by no coincidence. The audience soon learns that racial tension, and not just the temperature, is at all all-time high, too. All of the block's residents are Black and Puerto Rican, but at the end of the street sits a Korean-run convenient store and "Sal's Famous Pizzeria," owned and operated by Italian-American Salvatore Frangione, his sons Vito and Pino, as well as a local Black resident named Mookie, working under him.

Spike Lee has his audience feel the racially-charged conflict building in the neighborhood in many creative and artistic ways throughout the film. For instance, several characters are seen wearing sports jerseys that feature the names of famous athletes on the back. These athletes represent something beyond the stadium. Spike Lee's character Mookie works for Sal and is shown wearing a vintage Jackie Robinson Brooklyn Dodger's jersey. Robinson made history in 1947 when he became the first Black player in Major League Baseball (Lowen 163).

Next, a Larry Bird Boston Celtics jersey is found being worn by what appears to be the only White resident on the block. He makes his single appearance while accidentally smudging another resident's Michael Jordan Nike sneakers. The owner of the sneakers is known in his neighborhood as "Buggin' Out" and is furious that his pristine, white sneaker now bears an unsightly, black smudge. He and a group of Blacks on the block taunt the White man responsible for the smudge, telling him to "go back to Massachusetts," although he was born and raised in Brooklyn, they find out. At one time in professional American basketball history, Larry Bird and Michael Jordan were intense rivals. In fact, Bird was often referred to as "The Great White Hope" (McCallum). According to Louis Giannetti in his book "Understanding Movies," the jerseys worn by the neighborhood residents, as well as the Nike sneakers, act as metaphors (Giannetti 432). The jerseys serve as displays of the pride reserved for accomplished athletes, especially of one's own race. The shoes are Jordan's signature model, the smudging of which by a man in a Bird jersey is a clever form of commentary by Lee, implying an extension of the aforementioned rivalry. The black smudge existing on a white shoe is an additional subtle detail of Lee's intended to further the audience's awareness of racial friction amounting in the film.

Back at "Sal's Famous Pizzeria," it is soon learned that Pino has little tolerance for the residents of Bed-Stuy whom he serves everyday. He tells his brother Vito, "Mookie is not to be trusted. No mulignan can be trusted. The first time you turn your back, boom, a knife right here!" Mookie later questions him about his favorite athlete, musician and actor. His attitude towards Blacks is puzzling considering his answer. Pino's favorite basketball player is Magic Johnson, his favorite actor is Eddie Murphy and his favorite musician is Prince. Despite his constant use of the word "nigger," Mookie points out to Pino that "all of [his] favorite people are 'niggers.'" Pino does not have much to say about this, except a desperate attempt to justify himself by claiming that Murphy, Prince and Johnson are "more than black... not really black" and that "it's different."

It is at this point in "Do The Right Thing" that this writer wonders to himself how one could feel such a deep loathing for the Blacks who support his family's pizzeria, yet hold Blacks who are celebrities in such high regard. Suddenly, Mookie utters the accusation, "Pino, I think secretly that you wish you were black." Pino laughs off the allegation. Does Pino wish he was black? In the past, how have Italians been racially defined in America? As previously stated, a U.S. Senate initially defined them as "nonwhite." As time passed, they continued to occupy what Jacobson calls a "racial middle ground within the otherwise unforgiving caste system of white-over-black" in "Whiteness of A Different Color: European Immigrants and the Alchemy of Race" (Jacobson 57).

However, this overly simplified system of racial categorization eventually gave these "in-between people" the privilege to chose "Whiteness." Sautman says Italians have "[bought] into 'whiteness' as opposed to being inflected towards or into 'blackness.'" (Sautman 2). How does a group's attitude change under a new racial label? Sautman notes that in the Southern United States, Louisiana in particular, Italians "lived, worked side by wide with Blacks, and also fraternized and intermarried with them..." (Sautman 4).

One sees quite a different Italian-American when examining Pino, a resident of Brooklyn, New York. He has completely embraced the "White" label and feels tremendous animosity towards Blacks. Still, as Mookie asks, does Pino wish he was black? If there lies any meaning in the subtleties of clothing in "Do The Right Thing," then one can discern a great deal about how Pino feels regarding his race. Sal, Pino and Vito make their first appearance in the film as they arrive to open the pizzeria. Pino is seen dressed in all black standing outside of the pizzeria where he tells his father that "he detests [the restaurant] like a sickness." However, before starting work, he changes into white pants and takes his black shirt off, revealing a white undershirt. This transformation from black to white clothing displays Pino's attempt at maintaining "a tilt toward whiteness on the melatonin scale" (Dottolo). Here, Lee hints that Pino does not feel fully White, although that does not automatically classify him as Black.

As the film progresses, racial uneasiness continues to build. "Buggin' Out" decides to boycott "Sal's Famous Pizzeria" because its "Wall of Fame" exclusively features Italian-Americans. "We want Malcolm X, Angela Davis, Michael Jordan!" he demands of Sal. By the films end, the audience senses an inevitable eruption on the horizon. One evening, just before closing, a group of Mookie's friends beg Sal to stay open to serve them one last pie. To their joy, he agrees, but ends up asking their friend "Radio Raheem" to turn his boombox off while inside of his restaurant. When "Raheem" refuses, a fight breaks out between the young, Black residents and Sal and his sons. The conflict leads to the suffocation of "Raheem" by two White police officers, which then leads to the violent destruction of "Sal's Famous Pizzeria." Sal watches in horror as his life's work is destroyed, shocked that Mookie, his own employee, made the first move against the pizzeria by throwing a garbage can through the front window. The mob, comprised of Blacks and Puerto Ricans from the block, turns to the Korean convenient store. In order to save themselves and their business, the owners declare, in broken English, "I no White, I no White, I'm Black, I'm Black!"

"I no White." By this, one can mean, "I am Black" or "I am Native American." However, in which context do the Korean convenient store owner use it? It is clear that "White" is less of a specific ethnic or racial label but instead represents the established populous at whom the Bed-Stuy residents are enraged. It is the populous whom has met each new language and skin color to reach its shores with contempt. In contemporary America, one is no longer limited to the title of White or Black. There exists now "Latinos," "Asians" and "Pacific Islanders." One must wonder, if Italian immigrants were to make their first appearance in the United State of America tomorrow, under which category would they now fall? Now that not being "White" does not necessarily negate a group to being "Black," perhaps the U.S. Census would include a "Race Box" for "Mediterranean?"

Spike Lee was inspired to create "Do The Right Thing" after several hate crimes erupted in his native Brooklyn, New York. One incident, which took place outside of a pizzeria, bears striking resemblance to the riot at the end of Lee's film. The attack against Yusef Hawkins and the attack against Michael Griffith, Cedric Sandiford, Curtis Sylvester and Timothy Grimes were perpetrated mostly by Italian-Americans (Hagopian). Why were a disproportionate number of the guilty party of Italian descent? Are these particular residents of Italian neighborhoods in the close quarters of New York City acting on subconscious desires to more clearly define themselves as "White?" Perhaps the dissatisfaction of being classified as an ambiguous race just a century earlier is embedded deep in these peoples' psyche and, being "sold on 'whiteness,'" it is only natural for them to express their share of racially charged hate towards Blacks.

The hostility between Blacks and Italian-Americans in New York City is also a major focus in Robert De Niro's 1993 movie "A Bronx Tale." The protagonist, Calogero Anello, and his friends taunt the Blacks who ride through their neighborhood on buses and cars, claiming, "These niggers have some balls comin' in our neighborhood!" However, Calogero finds himself with a far less racist disposition than those around him. When discussing with his father, who claims "[he is] not prejudice," a Black girl from school he wants to date, he inquires him, "What's the matter? [You] can't find any White girls?" While Calogero is evolving past the racial boundaries that have somehow been inherently imposed upon him, his father has completely identified himself as White, adopting all of the attitudes that go along with that title. Unfortunately, the rest of the South Fordham section of The Bronx that they call home feels the same and by the film's end, all of Calogero's friends die brutally after the racial spite between them and the Blacks reaches its tipping point.

So, how is it that other ethnic groups co-exist while others do not? In "Do The Right Thing," there are Puerto Ricans living among the Blacks. In fact, Mookie is dating a Puerto Rican girl named Tina. The two even have a child. From personal experience, this writer guarantees that such a relationship is far more acceptable among Black Brooklynites than Italian. The attitudes in the films mentioned here, as well as the hate crimes noted in Brooklyn, are testaments to that. What reason is there for this?

A romantic relationship between an Italian and a Puerto Rican is the source of a fair amount of family debate in David Chase's cable television series "The Sopranos." In season 6, North New Jersey Mafia boss Tony Sopranos's Son A.J. finds himself in a serious relationship with Blanca, whom is a Puerto Rican immigrant. His parents are initially very displeased, even wondering to themselves, "Who knows, she may be Dominican?" They are later appeased upon learning she is "at least a Catholic." Later in the series, he confesses to his therapist that the vast difference in class between his family and Blanca's instills feelings of guilt. Interestingly, Only a generation or two prior, "The Sopranos," as well as other Italian-Americans, was in Blanca's position. A.J.'s therapist tries to draw a connection between his guilt over Blanca with the beating of a Black boy at school in which he participated. His response is a quick and sharp defense, "She's not black!" He then continues, "I mean, she's pretty tan." In this situation, one observes an undeniable distance between Italian-Americans and so-called "Latinos." Further, A.J.'s denial regarding Blanca's "Blackness" hints that he is able to see outside of the rigid "Black/White" paradigm initially but is somehow taken back to it after a little bit of thought.

Although only Puerto Ricans and other Spanish speaking peoples are referred to as "Latinos," Italy is the birthplace of the Latin language and the famous Italian actor Rudolph Valentino nicknamed "The Latin Lover" in America (Ramírez 76). In "Do The Right Thing," Sal, Pino and Vito, descendants of Southern Italians, are linguistically and culturally closer to the Puerto Ricans on the block than the White police officers who kill "Radio Raheem." In fact, the two groups even share similar physical features, like darker complexions. Yet, the Puerto Ricans on the block were as much a part of the mob that destroyed the pizzeria as were the Blacks. It is as if their rejection into the "White race" has lead them to simply identify as "Black" instead. This being established, what causes Italian-Americans as a group to identify more with Whites, whose ancestors were probably Pilgrims, than Puerto Ricans or South Americans? Certainly, this trend can be directly attributed to the "Black/White" ultimatum they were given. In "The Sopranos" and "Do The Right Thing," it as if the Italians hold the belief, "We earned our Whiteness, something they'll never do. They might as well be Black." Choosing the former of these two extremes leaves Italians part of the group that sees too narrowly to acknowledge themselves and others as unique. Sadly, this leaves the Italians in denial of a part of their own culture and identity.

It is time for old "Black/White" paradigm to be disassembled and replaced by a mindset that allows for a true understanding of the many diverse people of the world and their cultures. Like other people of power and privilege, the Whites in the United States of America have a history of oppression towards minority ethnic groups, Italian immigrants certainly included. Further, it is wrong for those trying to live out the "American Dream" to be faced with the struggle of attaining "Whiteness," which, once attained, leaves no room for the diversity that makes the world a beautiful place to live. No individual or group is locked down by his forefather's crimes and so it is time for all people residing in "The Land of the Free" to walk hand-in-hand down a new path, regardless of their classification under any racial system, new or old. This new outlook would be one that every man, woman and child of this great nation can proudly say was "Made in America."