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A LEGAL VICTORY IN PHILADELPHIA

Court Orders That The Columbus Statue Cannot Be Removed Until Legal Pleas Exhausted

“Defendants are prohibited from removing or otherwise altering the Christopher Columbus statue…” From what had been a terrible setback two days prior came a stunning victory today for Philadelphia Italians and their legal team, led by George Bochetto. In Friends of Marconi Plaza, et al, versus City of Philadelphia, the Court of Common Pleas ruled in favor of the Italians' emergency motion to stop Mayor Jim Kenney from removing the Columbus statue at Marconi Plaza, pending legal appeals. The ruling came today on September 17 “This should serve to provide protection for many, many months to come, perhaps more than a year,” said Bochetto. “By the way, I am very optimistic we will win the appeal. “ Just two days ago, on September 15, the prospects looked grim for Philadelphia Italians when Judge Patrick ruled against their injunction to stop the statue’s removal. Barbara Capozzi, a lawyer and real estate professional in Philadelphia, working with Bochetto and others, issued an “alert” via email and social media. “Everyone should know that the Kenney administration may choose to seize upon this order and try to immediately tear down the Statue," she said. "We will do everything legally we can, but as of now there is no stay." She claimed, "Since our appeal with L&I Review Board is still pending, we believe it would be illegal for the Kenney administration to tear down the statue until our appeal rights are exhausted, but they will try to take the opposite position." Capozzi then announced to all Philadelphia Italians, especially those in the area of Marconi Plaza and south side to please "be on the alert - we will need to get a crowd - without weapons - to the statue - the minute we hear of any action" at the site. Today, however, came a reversal of fortune for Mayor Kenny and a ray of needed hope for the Italians. The statue remains - for now - where it has been since 1982, inside Marconi Plaza, the western half of the park at Broad and 20th street in Philadelphia. Albeit covered in plywood and out of public view, the statue was sculpted by Emanuele Caroni and first unveiled in 1876 in Philadelphia to commemorate the country’s centennial. The motion to stay gives more time for Bochetto to push forward his case that the City Trusts, not the mayor and city council, should decide the statue’s fate. Editor’s Note: If you would like to help George Bochetto and Friends of Marconi Plaza in their continuing legal battle to retain the Columbus statue in Philadelphia, please send donations made payable to George Bochetto at 1524 Locust Street, Philadelphia, Pennsylvania 19102. AUTHOR & SOCIAL ACTIVIST LUCIA MANN TAKES ON EL SALVADOR

Her Latest Novel is “The Little Breadwinner: War and Survival in the Salvadoran Heartland”

“Fluent in Spanish, I traveled to El Salvador in the late 80s to uncover the ‘truth’ about the United States government's involvement in this ‘dirty’ war”



It is hard for a person to get more worldly than Lucia Mann. The journalist-turned-activist-turned-novelist has traveled to the farthest reaches of the globe. She likes dangerous places. Where life is cheap is where Lucia wants to go. Her Sicilian blood makes her curious. She is an adventurer, no doubt. But that’s not what moves here. Lucia is a person with an intrinsic emotional attachment to the less fortunate. The poor. The desperate. The hurt. She wants to help. She seeks to bring the struggles of the world’s victims to today’s readers. Her latest novel, “The Little Breadwinner: War and Survival in The Salvadoran Heartland” is set in the Latin American country long acquainted with one human crisis after another. She took a break from writing to talk with PRIMO about her latest work. What attracts you to writing about the victims of society? This novel and all my other published books are passionately focused on the less fortunate, victims of dreadful wrongdoings: human rights violations. This novel takes place in El Salvador in 1980 to 1992; a time when you were there. What led you to El Salvador and how did the country change you? Fluent in Spanish, I traveled to El Salvador in the late 80s to uncover the "truth" about the United States government's involvement in this "dirty" war. It was my personal interactions with a couple of rebel fighters and several impoverished, downtrodden Salvadorans that inspired my latest book; which has taken many years in the making. What is like today in El Salvador? Have things improved? Tragically life has not improved in El Salvador. As a matter of fact, it is far worse since the civil war ended. Today, this Latin American country remains in the grip of fierce gang violence. My concern is that many Salvadorans are facing a death sentence. At least 138 out of the 111,000 people deported to El Salvador from the United States in recent years were subsequently murdered - that comes as the Trump administration makes it harder for Central Americans to seek refuge in the United States. It is a shameful reminder of the Trump administration's xenophobic policy of denying protection to vulnerable human beings fleeing a certain death sentence in this homeland. Your books have taken readers to different parts of the world. What do you find common with countries such as El Salvador and others in which you've worked and visited? Blatant human rights violations that have no justice. In my humble opinion, compassionate humanity does not exist in impoverished third-world countries. Although you cover important topics of social and political importance, your novels contain their fair share of suspense and adventure. Do you see yourself more of a social activist or storyteller? I would like to describe myself as an activist and a storyteller: the voice of "stifled" voices of human suffering which I will continue to expose for as long I live. Editor’s Note: You can purchase Lucia Mann’s newest novel, “The Little Breadwinner,” by logging on to: Amazon NYC FILM FESTIVAL ITALIAN ENTRIES

The 58 Annual New York Film Festival Begins September 17 and Ends October 11

Italian and Italian American Filmmakers Are Represented with Five Films The 58th annual New York Film Festival kicks off September 17 with an array of new feature films and documentaries from around the world. A host of countries are represented, from the United States to Taiwan and everywhere in between. Italy has two films that will be shown, along with three new features from Italian American filmmakers. In the past, most films were shown inside Lincoln Center and nearby movie theaters and other venues in Midtown Manhattan. Because of Covid-19, however, festival organizers have had to reimagine how people can see this year’s films. Screenings will be virtual with filmgoers streaming the film of their choice direct from the festival web site. Another option is to see some of the films on massive screens at makeshift drive-in theaters in the Bronx, Queens and Brooklyn. The dates of the festival will be from September 17 through October 11. A key sponsor is Campari. The following films are offered by Italians and Italian Americans. NOTTURNO

Gianfranco Rosi is a filmmaker synonymous with Italian documentaries. His last film was the Oscar-nominated documentary “Fire at Sea,” presented at the New York Film Festival four years ago, winner of the Golden Bear at the Berlin Film Festival. Rosi returns with an immersive work of nonfiction. Shot over the course of three years along the borders of Iraq, Kurdistan, Syria, and Lebanon, “Notturno” (Nocturne) is a nighttime ramble through a region of the world rocked and shattered by catastrophe and violence. With spellbinding visual compositions and heartrending attention paid to the plight of those who have been living through the rise of ISIS in the vacuum created by the U.S. invasion and withdrawal by Presidents Bush and Obama, Rosi leads the viewer through a play rehearsal in a psychiatric ward; on the quiet journeys of snipers, soldiers, and fishermen; and to a classroom where children relate harrowing testimonies of atrocities they’ve witnessed. In these border worlds, people go about their lives while constantly haunted by a pervasive existential threat; Rosi’s extraordinary film is a reminder that people carry on, every day, even under the darkest circumstances. Showtime is Tuesday, October 6 8:00 PM. THE TRUFFLE HUNTERS

This engaging and beautifully filmed documentary immerses the viewer in the forests of Northern Italy, where dogs, accompanied by their elderly, often irascible human owners, scraping by on modest means, seek the precious white Alba truffle. Among the most coveted delicacies in the culinary world, this pricey fungus only makes its way to the plates of wealthy restaurant patrons thanks to the olfactory skills of these heroic canines. A depiction of both a ritualistic, outmoded way of life and the wild economic disparity of a situation that can lead to acts of greed and cruelty, “The Truffle Hunters” is revelatory, earthy, and altogether humane. A Sony Pictures Classics release. Showtime is Monday, October 5, 8 PM. ON THE ROCKS

The latest from Sofia Coppola. Approaching 40 and plagued by writer’s block, New York author and married mother-of-two Laura (Rashida Jones) has become suspicious that her career-driven husband (Marlon Wayans) may be having an affair with a coworker. When her caddish, bon vivant father (Bill Murray) drops back into her life, he encourages her growing speculation, and the two embark on a mission to uncover the truth, which reignites Laura’s alternating adoration and resentment of the older man who taught her everything—for better and for worse. Oscar-winner Sofia Coppola returns with a lighthearted but poignantly personal comedy about aging, marriage, and the tenuous bond between parents and grown children, set in a finely observed Manhattan dream world. An Apple/A24 release. Tuesday, September 22, 8 PM. HER SOCIALIST SMILE

A documentary by John Gianvito. For nearly two decades, John Gianvito has been carving out a unique space in American cinema with passion projects of expansive shape and political ambition, including “The Mad Songs of Fernanda Hussein,” a documentary-fiction inquiry into the human toll of the Gulf War. In his new film, Gianvito meditates on a particular moment in early 20th century history: when Helen Keller began speaking out passionately on behalf of progressive causes. Beginning in 1913, when, at age 32, Keller gave her first public talk before a general audience, “Her Socialist Smile” is constructed of onscreen text taken from Keller’s speeches, impressionistic images of nature, and newly recorded voiceover by poet Carolyn Forché. The film is a rousing reminder that Keller’s undaunted activism for labor rights, pacifism, and women’s suffrage was philosophically inseparable from her battles for the rights of the disabled. Showtimes, Monday, September 21 thru Saturday, September 26, 2020. SLOW MACHINE

The thriller genre is exploded and reassembled in Joe DeNardo and Paul Felten’s funny and alluring work on paranoia, surveillance, and performance. Featuring an intriguingly eclectic cast (including the experimental theater performers Stephanie Hayes and Scott Shepherd, the musician Eleanor Friedberger, and Chloë Sevigny), “Slow Machine” follows an actress (Hayes) whose intimate relationship with a shadowy NYPD-affiliated operative ends abruptly and disastrously, leading her to hide out in a country house otherwise occupied by a band preparing their new record. But la vie bohemienne proves almost as anxious and tense as life in the city… Deftly lensed in 16mm and unfurling as a digressive, tantalizingly off-kilter mystery, “Slow Machine” is a fascinating work pitched at the intersection of American independent cinema and the avant-garde theater of Richard Foreman and the Wooster Group. Showtime is Thursday, October 8, 8PM. Editor’s Note: The above photographs depict scenes in order of the listed films. For more information on this year’s festival, please log on to https://www.filmlinc.org/nyff2020/ Op-Ed

COLUMBUS: A HERO

Christopher Columbus, The Greatest Hero of the Fifteenth & Sixteenth Centuries (as Revealed by the Primary Historical Sources)

“Christopher Columbus stands for everything they stand against.” By Robert Cutrone Have you ever -- even once -- asked yourself where this current, fashionable narrative came from, that Christopher Columbus was a racist, rapist, murderer, slave-driver and genocidal maniac? Have you ever looked into finding out the answer to that question? A good chance exists that your answer to one, if not both of those questions, is a resounding "no." That is precisely what the Columbus detractors are banking on in perpetuating their false narrative against him. As an attorney, historian and professional researcher, I have asked myself that question and have looked into it, on a deep, methodical and scholarly level. In fact, I was enlisted to do so by THE Philadelphia City Council when they received a petition from a local member of the bar to eliminate the municipal holiday of Christopher Columbus Day -- as over 60 U.S. cities had already done. He shall remain anonymous in this article -- let's call him "Mr. Coarse." But suffice it to say he has characterized himself in a local news-outlet interview as a "Socialist ideolog[ue]" and "aveng[er of his] enslaved ancestors" who, oddly, is admittedly "scared sh**less of statues." In that same interview, he also expressed his opinion that "[t]here are no 'good cops'" and revealed that those who know him understandably may be "surprised to know" his secret: "I don't hate all white people" (See Phillymag.com "News and Opinion" article of August 35, 2018, entitled "One of Us" by Victor Fiorillo). The splenetic "Mr. Coarse" buttressed his polemic petition with the usual lies about Christopher Columbus being a racist, rapist, genocidal maniac, et cetera. He purported to support those lies with the usual hackneyed hack-job and out-of-context pseudo-quotes of Columbus's own writings. The reader is undoubtedly familiar with these pseudo-quotes: those so carefully crafted with strategic use of ellipses to twist portions of Columbus's own correspondences to create the false impression that he means the exact opposite of what he actually said, and that are plastered ubiquitously across the Big-Tech-controlled internet. At the request of City Council to investigate the calumnious claims of "Mr. Coarse," I reread the primary historical sources, this time in their original 15th century Spanish. These included the seminal, three-volume “Historia de las Indias” (History of the [West] Indies) by Friar Bartolomé de las Casas, who was appointed by both the Crown of Spain and the Church as "Protector of the Indians." De las Casas's account, written contemporaneously with the Spanish settlement of the West Indies -- and, importantly, very critically of his own countrymen's violent and anti-Christian deeds in that endeavor -- is the closest account in existence to having been recorded by the indigenes themselves. I also read the epistolary account of Columbus's Second Voyage written by Dr. Diego Chanca, effectively the surgeon general of the West Indies, and Columbus's own journals, which have been publicly available in English for nearly two centuries. All of the primary sources dovetailed in one important regard: They show, unequivocally and irrefutably, that Christopher Columbus was none of the epithets with which his detractors repeatedly characterize him. Rather, in addition to his well-known feat of bringing to light to the rest of the world the existence of the Americas and its inhabitants, Christopher Columbus actively fought against the rampant racism, rape, murder, enslavement and genocide committed by his arch-nemeses, the Spanish hidalgos (low, landed nobles). Consequently, Christopher Columbus became the first civil rights activist of the Americas and the founder of Western Culture in the New World, making him, beyond cavil, the greatest hero of the 15th and 16th centuries. This is precisely why Columbus's detractors -- a sinister axis of cultural majoritarians that includes radical leftists, post-modernists, neo-Marxists and globalists -- hate him; because Christopher Columbus stands for everything they stand against. That is, he was a devout Roman Catholic who valued and successfully fought for the welfare of all human lives; brought the existence of the Americas to the rest of the planet; and established the "trinity" of Western Culture in the Americas: (1) Judeo-Christian ethics and morals; (2) Greco-Roman democracy and law; and (3) the benefits of self-sovereignty, which in turn include civil rights, personal responsibility and the demos of capital. “The Philadelphia Inquirer,” in this spirit of cultural majoritarianism, has recently and repeatedly attempted several journalistic kill-shots at Christopher Columbus. As my own name surfaced as a local expert in the history of Columbus and his voyages, the Inquirer attempted the same at me, claiming that no historians supported my characterization of Columbus as the greatest hero of the post-medieval era and first civil rights activist of the Americas. The Inquirer was wrong, of course, and seems to have quietly removed the article from the internet without a formal retraction or apology. To add insult to injury, my multiple correspondences to Inquirer Managing Editor of the Op-Ed section, Sandra Shea, requesting to provide a historically-accurate counter-narrative, were repeatedly ignored by her. Yet, anyone who has actually read the primary sources -- not the internet's reimagining of them -- concurs with my characterization. For instance, Stanford Professor Emeritus Carol Delaney, who left her tenured university position to dedicate 10 years of her life to travel the world in the study of Columbus artifacts in order to write her book “Columbus and the Quest for Jerusalem” -- and who is truly an unparalleled world-expert on Christopher Columbus -- agrees that all the tired calumny repeatedly levied against him is simply a collection of lies. "[H]e's been terribly maligned," she wrote of Columbus, by revisionists who are "blaming [him] for things he didn't do." And that, dear reader, is the reason for this exposé. In the months to come, I, with the help of Broad + Liberty, will continue bring you a series of articles about Christopher Columbus to put to rest these lies of the cultural majoritarians. Following this introduction, my first substantive article on the man will chronicle Columbus's birth and early life, putting a real, human face on the near-mythical historical figure Columbus has become. The subsequent articles will detail his First, Second, Third and Fourth Voyages; the world-changing events they spawned; his lifelong and tireless civil rights activism on behalf of the indigenes of the New World; and his continued efforts to his dying day as their champion. Should you honor me by continuing to the end of this series, it will conclude with an account of the civil rights legacy his life and efforts spawned through those that proudly modeled themselves after "the illustrious Genoese" Christopher Columbus, the first civil rights activist of the Americas, our first Founding Father and the greatest hero of the 15th and 16th centuries. Covid Chronicles

CORONAVIRUS CASES INCREASED IN SUMMER IN ITALY

The Government Faces Criticism from Opposition Parties

- Will schools reopen?

- The City of Florence Seeks to Help Restaurants

- No Tickets for Puccini Opera By Deirdre Pirro This is the end of the sixteenth week of still partial lockdown in Florence.



Like in other parts of Europe, contagion rates are increasing again in Italy. This is because people returning from vacations outside the country have been infected and so swabs have now been ordered at most major airports and are available voluntarily at ports and stations. The other reason is that young people seem to believe they are immune simply because they are young and so, despite warnings, continue to assemble in large gatherings in the pizza parlors or discotheques, often unmasked. As of 17th August, the government has shut down all indoor and outdoor discotheques, night clubs and dance halls. Furthermore, face masks are obligatory between 6 pm and 6 am in outdoor areas that are open to the public such as in the piazzas, on the streets, or at the seaside where people gather. In the past months, Sardinia which had been relatively free from the coronavirus is now experiencing a sharp rise in positive cases due to the recent influx of summer vacationers. This week, the major political hot potato is whether Italian schools will be able to open again on 14th September, the beginning of the scholastic year throughout most of the country. This is a real acid test for the Italian government and it is well aware that if it botches this one, its popularity and electoral chances will plummet. Meanwhile, the opposition is calling for the Minister of Education Lucia Azzolini of the 5 Star Movement to resign. They say she has done too little, too late to ensure that schools will open in safety. Major issues needed to be solved and, as yet, there is little evidence that they have been. These included whether pupils needed to be masked during class and whether their temperatures should be taken on entry into the school buildings or, as the government wants, at home before they leave for school with all the uncertainties that would cause. Public transport is another huge problem because of the distancing required and the number of students who use buses, trains, or trams to get to and from school. Last but not least, individual desks will be needed that are well spaced between them whereas, in pre-Covid times, students sat in pairs at their desks. Mystery surrounds the 11 companies that have been awarded the contracts to manufacture these new desks prompting the president of the Confindustria, the influential association of Italian industries, to say that there was “a kind of state secret around a public tender.” You can't help but wonder why. Furthermore, many school buildings in Italy, a large number of which were built before 1947, are old, cramped and in bad repair. Added to all this, one of the largest teachers' unions has estimated there is shortfall of 85,000 teachers. Also, contingency plans have been made should there be an outbreak of the virus in any of the schools. Critics of the government decry “a topography of absurdity.” Perhaps, this is why Prime Minister Conte has been strangely absent from on our television screens lately. I think he socially distancing himself! A political revolution also took place in mid-August when the 5 Star Movement, which has governed in two very different coalitions since 2018, called upon its membership to vote on two key issues on Rousseau, its controversial on-line platform. The first was to modify the Movement's regulation to allow municipal candidates to stand for a third mandate and second, that they could do so in alliance with traditional parties, both previously prohibited under its original charter. The rumor is that this is to allow Virginia Raggi to run again as Rome's mayor, despite many Romans considering her to be among the worse first citizens the city has ever had. These results caused a rumpus with traditionalists within the Movement while the opposition brands the Movement with sacrificing its ideology to become a traditional party simply intent on maintaining its hold on power and privileges. With hordes of illegal immigrants continuing to arrive in Sicily, according to its governor, Nello Musumeci, the island has been turned into a kind of concentration camp for squalid contagion hotspots euphemistically called “welcome centers.” A gentleman in the finest Sicilian tradition, Musumeci has locked swords with the central government because the situation is at breaking point. He accuses it of being uncooperative and of trying to label a serious health crisis as a racist issue. He wants all these hotspots closed down and the immigrants sent to better places. Should the government fail to act, which is more than likely, his only alternative will be to go before the courts. In the meantime, these people are living in appalling conditions exposed to risks far greater than the ones they left behind them. The island of Lampedusa is in a similar situation. In desperation, the mayor announced that the whole island would go on a general strike if the government does not take action. Here, in Florence, in an attempt to help businesses and encourage shopping and eating out, the city council has allowed greater traffic access to the historic center from 4 pm until midnight Monday through Friday and has made about 1,500 low-cost parking spots available until 30th September. Craving entertainment, I thought I would attend the annual New Generation Festival in Florence. Because of the Covid-19 lockdown, the festival was aptly renamed the ReGeneration Festival. Lasting four days, from August 26 to 29, it was held in the city’s magnificent Boboli Gardens and free to the public. The program included opera, orchestral music, jazz, and classical chamber music for 500 socially distanced spectators each evening. I desperately tried to book a seat to see Rossini's opera La Cenerentola, to open and close the festival. I failed on both counts. I must have been Number 501. My only consolation was to sit out on my terrace in the evening and watch the 1981 La Scala production of it on YouTube. I can only hope I'll have better luck next year... Stay healthy and safe... Deirdre Editor’s Note: Photographs include the Arno River on a bright, sunny day; the statue “The Rape of the Sabine Women,” by Giambologna and located in the Loggia della Signoria in Florence; the Fountain of Neptune by Bartolomeo Ammannati and located in the Piazza della Signoria; and the statue of “Perseus with the Head of Medusa,” by Benvenuto Cellini and located in the Loggia dei Lanzi in Florence. Game Changer

ATTORNEY GEORGE BOCHETTO CLAIMS MAYOR HAS NO JURISDICTION TO REMOVE THE COLUMBUS STATUE IN PHILADELPHIA

The Columbus Statue at Marconi Plaza was Gifted in Trust

“…it would certainly appear that the City Trusts has the authority…” George Bochetto has done a remarkable job as the pro bono lawyer representing the Friends of Marconi Plaza. He continues an extraordinary legal effort to stop the removal of the Columbus statue by Mayor Jim Kenney in Philadelphia. Bochetto has done enormous research to make his case. He went back to when the statue was unveiled in 1876 and beyond; more than 150 years ago to a law that officially established the City Trusts in Philadelphia. The attorney, a founding partner of the law firm Bochetto/Lentz, has come away convinced that Mayor Jim Kenny and the respective city arts and history commissions have no jurisdiction in the current matter. Rather, it is the City Trusts, not the mayor or city council, who must maintain the Columbus statue for public viewing. As such, the plywood boards that now hide the statue must be taken down immediately. In a letter submitted today to Joseph P. Bilson, executive director of City Trusts in Philadelphia, Bochetto stated that the organization comprising some 115 non-profit trusts must immediately take over management of the Columbus statue. That the original intention of those who gave the statue to Philadelphia was for the City Trusts, not the mayor and city council, to oversee and manage the large sculpture. “By way of my new-found knowledge and familiarity with the Statue,” Bochetto writes, “and the documents accompanying its donation, it has come to my attention that the Statue was gifted to the City of Philadelphia in 1876 and left in trust to be publicly displayed.” Public trusts, also known as “Sundry Trusts,” were first introduced in 1739, some 37 years prior to the Revolutionary War. These non-profits were put in place to ensure the survival of clinics, schools, parades and other endeavors. After the Civil War, a law was passed in Philadelphia detailing the rights and responsibilities of public trusts, renamed as City Trusts. Bochetto reviewed the original writing of the law from 1869. He writes, “that the City Trusts may unilaterally extend its purview to adopt the (Columbus) Statue and from thereon manage and care for it in accordance with the intentions of the benefactors.” The Christopher Columbus Monument Association officially gave the statue of Columbus to Philadelphia on October 12, 1876. According to Bochetto, “The intentions…can be easily gleaned from letters and records dating back to the 1800s that have been preserved by the City.” He highlights a letter dated September 28, 1876 by Nunzio Finelli, president of the Christopher Columbus Monument Association, who invited “the Philadelphia Fairmont Park Commission to join the Statue unveiling ceremony and accept the gift on behalf of the City.” Preserved for historical research by the city archives are many old letters and other documents. Bochetto reviewed dozens of written correspondences, some of which date back 150 years. “It would certainly appear that the City Trusts has the authority to extend its governance over the Christopher Columbus Statue at Marconi Plaza and take on the control and management responsibilities of the Statue to ensure the intentions of the benefactors are followed,” Bochetto says in his letter to Bilson. “Accordingly, may I respectfully request the information related to the process involved with expanding the City Trusts’ purview to include the Christopher Columbus Statue at Marconi Plaza.” With City Trusts in charge of the Columbus Statue for purposes of public viewing, it seems highly unlikely that the statue is to be removed any time soon. Editor’s Note: Pictured is attorney George Bochetto, the statue of Columbus at Marconi Plaza and what it looks like today boarded up by the city. If you would like to help George Bochetto and Friends of Marconi Plaza in their continuing legal battle to retain the Columbus statue in Philadelphia, please send donations made payable to George Bochetto at 1524 Locust Street, Philadelphia, Pennsylvania 19102. COLUMBUS IS A POSITIVE ROLE MODEL

Look to Columbus When Following One’s Dreams

“If we stop and truly look at history, we will see that Christopher Columbus is deserving of our gratitude…” By Frances Uzzi “You’ll never make it.” “Don’t bother trying.” “Forget it.”

These are tough words to hear at any age; but ones we have all heard one time or another in our lives. Perhaps this why from the time we are kids we are taught to believe in the opposite: to persevere, not give up and work to accomplish our goals. One person in history that exemplified these ideals was Christopher Columbus; but unfortunately in today’s world his memory and importance are being diminished. This is why, as a proud Italian American, I felt compelled to write this article.

All around our country beautiful statues of Christopher Columbus are violently being torn down, as streets and city landmarks are being renamed to remove any “Columbus” identification. If we stop and truly look at history, we will see that Christopher Columbus is deserving of our gratitude, and someone who can serve as a positive example both now and for generations to come. When Christopher Columbus first made his plans to sail West across the Atlantic known in the late 1400s, he was turned down by many people and countries, and no doubt heard some of those “you’ll never make it” messages. He did not give up, however, and eventually set sail on those three famous ships we all know today. These important values of perseverance and hard work are the same we instill and reinforce in our children today. The notion of following our dreams is the very fabric of American life. Just like Columbus, we may encounter bumps along the way; but if we follow through we will come out on the other end.

Columbus was indeed the first person to discover a sailing route from Europe to the Americas, and this remains one of the great feats for all time. His landing in the Americas was a turning point in history, and one that allowed for a connection between continents and peoples that did not exist before. His expeditions and discoveries led to what is now known as the “Columbian Exchange,” where everything from animals to food was exchanged between the “Old World” of Europe, Africa, and Asia and the “New World” of the Americas. This exchange forever altered the course of history, and nations all around the globe were introduced to new goods, people, and ideas.

We often hear today of the negative way Columbus and other Europeans treated the native people in the new lands they discovered, and there is no doubt some truth to this. However, we must not rewrite history and negate all that Columbus accomplished. Certain customs and behaviors acceptable in the 1400s and early 1500s we would most certainly not find acceptable today. It is crucial for anyone looking into history and deciding how they view Columbus (or any historical figure) to look at the norms and customs of the time period. Again, just like on our own journey, mistakes can be made, but that doesn’t mean we should dismiss everything else we have accomplished.

As we approach the Italian heritage month of October and the holiday, I look forward, as always, to celebrate Columbus Day in America. I hope this article inspires people towards a greater understanding about the importance of Christopher Columbus so more of the wonderful statues and cities in his honor will continue to stand. I also hope this article serves as a source of pride and reinforcement for all Italian Americans; that we should be proud of our heritage, and happy to celebrate such an important person in history. Editor’s Note: The writer resides in New Jersey. Pictured is a lithograph made in 1993 by John Duillio titled “Christopher Columbus and Queen Isabella.” The artwork was a gift from the National Italian American Foundation to the Smithsonian American Art Museum, where it can be seen today in Washington, D.C. Full of surprises and well-organized, this museum will rev the motors of car lovers. Few know about Rome's Museum of Italian Police Cars, but it’s a fascinating way to step inside Italy’s police and motoring history. PRIMO Magazine didn’t even have to commit a crime to check out the wheels of Italy’s finest. COOL COP CARS, ALL’ITALIANA

PRIMO Visits the Museum of Italian Police Cars in Rome

“I’m completely transfixed by a very cool Alfa Romeo 1900 police car.” Text and photos: Jesper Storgaard Jensen













Shots are fired, bullets rip through the air. The cop car’s siren howls and its hypnotic, swirling strobes flash the only light on this pitch-black night. With a screech of tires on asphalt, the police arrive on the scene. The officers jump out, hollering wildly. Oscar-worthy drama, surely. But it’s just my imagination at play.

I’m completely transfixed by a very cool Alfa Romeo 1900 police car. No, I’m not in the back of it on the way to the slammer. I’m in Rome's Museo delle Auto della Polizia di Stato (Museum of Italian Police Cars) and gazing upon this 1950s vintage wonder. The shiny black vehicle was highly advanced at the time with bulletproof glass and its spotlight that could be oriented to light up sections of the street. Take a good look, close your eyes, and then step into your own old-fashioned gangster movie.

"Check out the small iron curtains in front of the tires that blocked the bullets fired by criminals,” police officer Franco Tommaso points out to me. “You can also see that there’s a retractable roof. From here, the officers could pop up and fire off shots during car chases. This Alfa Romeo was used by Italian police forces from 1958 through the 1960s, and it was actually able to reach speeds of up to 180 km/h, (50 mph) which was really something at the time.”

It’s hard to tear yourself away from this beauty; of which only about 17,000 were produced from 1950 until 1958. The car’s perfect curves are hypnotizing. Cruising through Italian history

I am just three kilometres outside of Rome's historic centre in the Tor Marancia neighborhood. From 1959 until 2006, this was the site of Rome’s main fairgrounds. Photographic fairs, cat and dog shows, bridal shows and many other events took place in the large pavilions.

Most of the area is now abandoned, but a small part has been transformed into the Museum of Italian Police Cars, which opened in 2004. Here an itinerary will guide you through more than a half century of Italian history told through about 60 different police vehicles.

One of Italy's most famous car brands, Alfa Romeo, is omnipresent since the Alfa Romeo company was the official supplier to the Italian police forces until 2000. On display, you'll find one of the most popular models, the Alfa Romeo Giulia Super 1600 with its characteristic greenish-grey colour. "This Alfa Romeo model was one of the most widely used police cars for decades. It might not seem so intimidating, but criminals at the time were frightened by the sight of one. So much, that they often used the same model car for fleeing. It even has a synchronized gear shift. Porsche later bought the patent for that gear mechanism,” says Tommaso, proudly.

Modern cars are displayed alongside historic models, the perfect mix that holds visitors’ attention. Right after a present-day Smart police car, you'll be able to swoon over the elegant De Tomaso Deauville, one of only about 240 produced from 1971 to 1988. It was the state car of Sandro Pertini, Italy's president from 1978 until 1985.

Some of the more fascinating cars in this collection are those that show how much times have changed. An example is the Fiat 618, a minibus used for transporting small groups of police officers. In service in the 1930s and 1940s, the minibus weighed more than two tons and reached a moped-rivaling top speed of just 65 km/h (40 mph). Some models came with holes along the sides, a sort of mobile battlement allowing officers to fire off their rifles from the safe confines of the minibus.

You’ll be blissfully blindsided by the large number of shiny, reddish-purple cars. In the 1950s, this was the color of choice of Italian police cars. Here you'll find the imposing Jeep Willys. "This jeep was used by the US army during the Second World War,” Tommaso explains. Traditionally drab green, the vehicles received an extreme makeover becoming bright red and a new purpose. “When these vehicles arrived in Italy, they were used in an unusual way. Using the vehicles, the Italian riot police would circle around big crowds until the crowd dispersed. This way, there was no physical contact between police forces and protesters.”

We shouldn't forget, however, that very often the police move on only two wheels. The museum has an array of police bicycles and motorcycles. One of the finest is the classic Moto Guzzi Falcine 500, first launched in the 1950s and in production for two decades. Reaching a top speed of 120 km/h (75 mph), it was high tech for the times and was used on Italian highways for two decades. The birth of a mythical man and his machine

Police officer Armando Spatafora was nothing short of legendary among his colleagues and those infatuated with Italian police history. Spatafora was known for some spectacular police operations undertaken in his equally legendary Ferrari 250 GT/E police car, the only Ferrari ever used by the Italian police forces.

"Both Spatafora and his car have become famous among Italian police officers,” says Tommaso, as we approach this iconic car. "Spatafora was extremely passionate about his work. He was also renowned for his courage. When the Ferrari 250 GT/E was assigned to him, both the man and the car became myths. This 1962 Ferrari is the only one of its kind in the world. If you were to sell it, it would go for around 1.5 million euro ($1.7 million),” Tommaso says. By the way, it’s not for sale. And car lovers with a few million or not can see it for the modest price of a museum ticket.

One of the museum’s walls is decorated with a 1970 quote by Fiat founder Giovanni Agnelli: "At a certain point Italy needed a car market, but we certainly did not lack in enthusiasm.” Even though almost 50 years have passed since Agnelli uttered this phrase, enthusiasm for Italian cars is still very much intact and proudly on display at the Museum of Italian Police Cars. Museo delle Auto della Polizia di Stato

Via dell'Arcadia 20 Rome

Open Monday to Saturday from 9.30 - 18.30

Entrance price: 3 euro

https://www.poliziadistato.it/articolo/un-museo-per-le-auto-della-polizia Editor’s Note: The museum was temporarily closed due to covid-19 but has now reopened in 2020. ROSA & MEO: A LOVE STORY

The Cappa Family Produces An Award Winning Olive Oil

“Over time, grapes were replaced with additional olive trees…” By Nicholas A. Chiominto, Jr.







This love story begins in the southern Italian village of Cori, located in the Lepini mountains in the region of Lazio. My Grandfather’s niece, Rosa Moroni met Mariano (Meo) Cappa, fell in love at an early age, married and raised a family.

Like most Italians in the early 1900’s, Rosa and Mariano were poor. At the time, Mariano worked as a farmhand for a land owner who appreciated Mariano’s positive work ethic. As the landowner grew older, and since he liked Mariano, he offered to sell him seven acres of his land. Being resourceful, and out of necessity, Rosa and Meo developed the land into a farm. They raised some animals; but the main focus was olives, grapes, fruit trees, and a large vegetable garden. This farm helped sustain the Cappa family for many years.

Over time, grapes were replaced with additional olive trees, bringing the total number from 49 Itrana cultivar trees to 500. Depending on the year and weather, the 500 trees yielded between 2,000 and 3,000 liters of olive oil. The olive oil was distributed between the Moroni and Cappa families for their personal use throughout the year.

As Rosa and Meo aged, their daughter Giovanna, and grandson Catullo began working on the farm. Eventually, Giovanna and Catullo took over the annual olive harvest and olive oil production. It is backbreaking manual work. I know firsthand because I helped with the olive harvest a couple of times. While it is hard work, watching the olives being pressed into olive oil and tasting the finished product is very rewarding.

Fast forward to today. While Rosa and Meo are no longer with us, and Giovanna has limited her involvement in the farm, Catullo now has almost complete control over the olive harvest and olive oil production.

When I mention a love story, it is not only about the love between Rosa and Meo, but the love and passion Catullo has for the land, the olive trees and olive oil production. In honor and memory of his grandparents, Catullo began producing his own olive oil brand called Rosa & Meo. This quality extra virgin olive oil has won numerous awards in competitions throughout Italy. Several articles have been written about Catullo and his extra virgin olive oil including; the Italian food and wine magazine Gambero Rosso’s 2019 Oli D’Italia edition. Rosa & Mio olive oil scored in the 90 to 100-point range.

Catullo is a small batch producer. He only produces a limited number of bottles each year to sell. The olive oil is sold locally in and around Cori. In addition, through friends in Denmark, Catullo and his oil were introduced to olive oil buyers and restaurants in Copenhagen where he has developed a cult following. Catullo, a certified olive oil taster and expert, does not produce his olive oil for the money. He does it out of love. His love for Rosa and Meo and his desire to keep their memory alive. Editor’s Note: You can view how Rosa and Meo produce their olive oil on their Facebook page at https://www.facebook.com/watch/rosaetmeo/ WHO ARE WE TO JUDGE COLUMBUS?

Historic Figures Should Not Be Appraised by the Evolving Code of Ethics of Future Generations

- Monuments and statues are symbolic inspirations for reflection. By Vincent Arena



The men and women hellbent on the removal of monuments shouldn't be judged in the years to come. Likewise, they themselves should refrain from casting judgment on figures of yesteryears. If anyone is to be branded revolutionaries, rebels, anarchist or political agitators, let the people grasping the iron be an impanelment of their peers, attuned to the vast assortment of the day's ideologies. What I write today isn't to sway the judgment I call upon, but simply to recite an individual’s perspective. I come from a society where individualism and freedom to voice one's opinion was celebrated. Not a place where the volume of one's word's is meant to outweigh its content and drown out opposition. The First Amendment granted us this fundamental right, and I impel the people to take advantage of it before it's pulled from beneath our feet. I don’t view our monuments as solely honorific, but multi-purposed. When I had learned of the suffering of past generations, whether it were a byproduct of racial, ethnic, economic or gender inequality, I viewed it with appreciation. I didn’t contemptuously disregard them or question their existence. How could I? It was in those pieces of history that I was able to fully grasp the progress we had made. Our past is what we learn and grow from. To erase it places us at risk of unwittingly repeating it. A large part of the pride I carry as an Italian American isn’t in the accomplishments of my forebears but in the hardships they have endured and all that was overcome. We have suffered the largest recorded lynching in American history. Dealt with derogatory and debasing stereotypes from the moment the first shiploads of southern Italians arrived stateside. We have felt social injustices and marched for civil rights. We were share croppers and day laborers working amidst harrowing conditions. Yet we persevered to become contributors of the arts, culture and physical structure of our adopted land. The struggle built character. To better understand I’d like to delve deeper into our past to pay further homage to our ancestors. Our affiliation with the glory of Rome made us feel capable. To this day we stare wide-eyed at the Colosseum. We don't speak of the disenfranchised gladiators and call for an immediate teardown of each and every reminder of the ancient world. Religion, too, has been a notable cause of continuous bloodshed. Though if we were to dwell on the losses we would forget the countless lives those same religious beliefs have saved. When does it all end? When is enough enough? When do we recognize that our history is what created the strength and fortitude that gradually integrated into our DNA. Without remembering our past, our future would have been a plateaued existence. Monuments and statues are symbolic inspirations for reflection. To denounce an historic figure, for example, such as Christopher Columbus, is an unfair attack on the foundation of this great nation. When five centuries have passed, we are no longer in position to properly gauge or interpret a man’s thoughts or actions, let alone hold him accountable to the opposing standards of today. This age of insecurity, self-hatred and over dramatized cries of victimization is ravaging this country. I believe it is our duty to set an example by letting our voices be heard. Editor’s Note: Mr. Arena is a freelance writer. The photograph depicts the statue of Christopher Columbus lifted by crane on June 24, 2020 and removed from Wooster Square Park in New Haven, Connecticut. The statue was donated by the United Italian Societies and first erected in 1892, and later recast in bronze in 1955. The city has placed the statue in storage. IN DEFENSE OF COLUMBUS

The Writer, a Native of Pittsburgh, Asks, “Where is the Outrage?”

Columbus is worthy of praise and monuments

- “Let us not allow the bad to conquer the good by denying our rightful history.” By Joseph T. Ferruzza In light of the recent events in Maryland, Ohio, Kentucky and Massachusetts, the question has to be asked, “Where is the outrage?” The anarchists, insurrectionists, and history revisionists have all desecrated or torn down statues of Christopher Columbus. Instead of constantly hearing the voices of the anarchist and insurrectionist mobs, why is there no competing voices of historical knowledge and reason raised in our hero’s defense? The following message is more relevant now than ever before. In defense of Christopher Columbus: The Spreading of Catholicism. Christopher Columbus’ devotion to God and His Church is without question. He was, without a doubt, the driving force behind the rooting of the Roman Catholic Church in the New World. The Courage of His Convictions. Columbus knew the world was a globe with unfathomable opportunities. This courage to tackle the unknown, against all odds, is comparable to America’s early pioneers and today’s astronauts. His Steadfastness to Overcome Obstacles. In spite of all odds such as a lack of financing, ridicule, mutiny and persecution, Columbus never wavered in his belief in God and his mission of destiny. Great Men and Their Flaws. The history of the world is rife with men and women we cite as great and pay homage with statues and monuments. To suggest that the depiction of a historical figure such as Columbus should be removed from public view because of what some believe are his flaws, can only be viewed as an attempt to re-write history. To deny our history is a crime against our fellow men and women and those who follow us. I believe all good Americans sympathize with the plight of racial injustice. However, we should be very careful to not join forces with those who never lose an opportunity to ride on the backs of the oppressed and move forward with their ultimate goals to bring this country down. We should not to join forces with those who attack our liberty and those who profess the ideologies that have been tossed on the scrap heap of history such as Socialism, Communism and Fascism. Even one of God’s favorites - King David - one of history’s most celebrated leaders, had very serious flaws that often plague ordinary men. We are all human, after all. Hopefully, our good deeds outweigh the bad. Let us not allow the bad to conquer the good by denying our rightful history. Editor’s Note: The writer is the former president of the Pittsburgh chapter of the Knights of Columbus and a member of the Sons and Daughters of Italy in America, Frank Ricco Lodge #731. The photograph shows the Columbus statue in Schenley Park, Pittsburgh. Erected in 1958, the bronze statue and granite pedestal was made by Frank Vittor, an Italian immigrant who sculpted this and other masterful works in the city and elsewhere in the Midwest. Recently, the arts commission of Pittsburgh held a public hearing on the removal of the statue. Covid Chronicles

CORONAVIRUS CASES SLIGHTLY RISE IN ITALY

Is Another Lockdown to Come?

- Trains resume to full capacity in Italy

- United States decides not to impose tariffs on Italian wine

- Feast Day of San Lorenzo and Liberation Day in Florence



By Deirdre Pirro This is the end of the fifteenth week of now partial lockdown in Florence. There has been an unwelcome increase of cases of contagion in the last week or so and we have been told another lockdown is “inevitable” if this continues. Most of these cases have been provoked by people returning from vacations in places where Covid-19 restrictions are laxer. The Italian Ministry of Health has made testing mandatory for travelers returning to Italy in the last 14 days from Croatia, Greece, Malta and Spain. This week began – yes, you guessed it – with yet another Prime Minister's decree, this time imaginatively called, the August decree. In passing the 115-article decree, the government had to make a budgetary slippage of 25 million euro. In it, the regulations about social distancing, wearing masks in closed space and the prohibition on people assembling, the no-spectators at football matches rule and the continued monitoring of discotheques were confirmed. Rail transport was in chaos for 48 hours when it was announced that trains would resume full capacity travel when this was almost immediately revoked by the Health and Transport Ministers. Other main provisions provide for an extension of the redundancy fund and a stop to dismissals. This latter provision was criticized because it may cause future social havoc as it appears more welfare than a stimulus measure. Some tax relief and assistance for companies were conceded and yet again, another series of bonuses were provided, if you ever manage to navigate the paperwork required, for things like babysitters, bicycles, restaurants and holidays. A few days ago, the prime minister and six of his ministers were advised, based on the presentation of numerous complaints from various parts of the country, that they are under investigation for the way they handled the initial stages of the coronavirus emergency. However, the Public Prosecutor's Office has indicated it believes these accusations are unfounded and the case will probably be archived. Because the constant flow of illegal immigrants continues, Prime Minister Conte finally broke his silence on the subject and stated that Italy could not “tolerate” that these people illegally enter the county, thereby undermining the sacrifices we have made in combating Covid-19, especially when they attempt and often succeed in escaping without undergoing health examinations, as has been occurring. Trouble is, he made no mention of how this non-tolerance policy will be implemented. Scandal hit the Italian Parliament when a newspaper revealed that five parliamentarians had applied to INPS, the national social security institute, for the 600 euro (later raised to 1,000 euro) a month bonus (another one!) aimed to assist struggling self-employed workers and those with a VAT code during the crisis. Although this was not illegal because the provision had been so badly drafted, it was considered morally and ethically wrong because senators are paid approximately 14,600 euro a month while those in the lower house receive about 13,900 euro. Three of these individuals received payment but their names are still a mystery because INPS uses the excuse that the privacy laws prevent them from disclosing them. What we do know is that two are from the Lega party and one from the 5 Star Movement. Evidence has yet to emerge how many elected representatives at regional and municipal levels have made similar applications. The effect this will have on the constitutional referendum of 20th and 21st September 2020 asking Italians if they wish to decrease the numbers of parliamentarians or not will be interesting. In Tuscany this week, wine produces heaved a huge collective sigh of relief. Thankfully, the U.S. government has announced it will not impose an additional tariff on Italian wine. This is important because the American market is fundamental for the Tuscan wine industry representing, for example, 35 percent of exports of Brunello di Montalcino and 20 percent of Vino Nobile di Montepulciano. Here, in Florence, August is the traditional month when many Florentines take their annual summer vacation, but this year because of the pandemic many, like us, opted to stay at home. This meant we were able to enjoy the special events the city offers at this time every year. The first, on 10th August, was the Feast Day of San Lorenzo when, in the evening, we all gazed skywards to watch the Perseids meteor shower of falling stars, called San Lorenzo's tears, and made a wish. But, there was no historic court parade through town nor the usual street party in the San Lorenzo quarter of town near the basilica which is always accompanied by music, dancing, free lasagna and watermelon. Hopefully, next year... On August 11th, it was the anniversary of the liberation of Florence in 1944 from Nazi and Fascist soldiers who occupied the city during World War II. At dawn on that morning 76 years ago, the Martinella bell called the Florentines out onto the streets to fight and the “battle of Florence” began. It continued until September when the last German troops left the city, opening the way for the Allied forces to advance. The bell rang again this year from the Torre di Arnolfo of Palazzo Vecchio as it does every year, but now in commemoration and celebration. Stay healthy and safe... Deirdre Editor’s Note: Deirdre Pirro writes for PRIMO and provides new and original translations of excerpted works from English to Italian. She has written two books, now on sale through PRIMO. The first is “Italian Sketches - The Faces of Modern Italy,” a book about the most influential Italians in the arts, science and statecraft this past century. The second is “Politica e Prosa” a new book of translations in collaboration with PRIMO’s publisher and editor Truby Chiaviello. If interested, please log on to our Books Page here. ITALIAN CULINARY EDUCATION SUFFERS UNDER CORONAVIRUS RESTRICTIONS

Gruppo Italiano Seeks Ways to Help Italian Chefs and Restaurant Managers of the Future

What can schools do when human interaction - a key part of education - is now banned by government?



Pictured, clockwise, Dr. Joyce Brown, Fabio Parasecoli, Lisa Sasson, Gianfranco Sorrentino, Andrea Sinigaglia and Rick Smilow



Let us salute Gruppo Italiano! The non-profit organization, with a mission to promote authentic Italian food and wine, is trying to a find a way forward in this pandemic desert; but it’s not easy. Restaurateurs face ruin. There are just too many government restrictions to overcome. And for what? To alleviate the danger of a virus with a 99 percent survival rate. Everyone wants to have fun. Everyone wants to go out. Except today’s government class. Were they ever joyful? More laws, more measures, more decrees, more mandates. Basta! Gruppo Italiano conceived Italian Table Talks. They used to meet in person. Cocktails were served afterward. They convened a series of talks on the latest issues and trends concerning Italian food and wine. Top figures in the Italian culinary arts share views and opinions. Topics ranged from the love of Italian grains to what defines “authentic” Italian food. Then came March and contagion. The focus changed. One word: Survival. How restaurants and eateries could stay afloat. The worst of government seeks to mitigate the effects of coronavirus. Everyone is adversely affected, including education. The title for the video linked session, on Monday, August 23, was “Class Dismissed: Reimagining Culinary Institutes and Food Studies.” The event was moderated by Fabio Parasecoli, professor of Food Studies in the Nutrition and Food Studies Department at New York University. Guests included Dr. Joyce Brown, president of the Fashion Institute of Technology, Lisa Sasson, Associate Dean of Global Affairs and Experiential Learning and a clinical professor at New York University’s Department of Nutrition and Food Studies, Rick Smilow, CEO of the Institute of Culinary Education and, from Italy, Andrea Sinigaglia, general manager of ALMA, The International School of Italian Cuisine. The current president of Gruppo Italiano, Gianfranco Sorrentino, began the webinar. Managing Partner of Il Gattopardo Group, a conglomerate of Italian restaurants in New York and elsewhere, he opened the session declaring that, “1 billion students worldwide have been affected by Covid-19.” Sorrentino is Neapolitan and, as such, lives for the human touch. The idea of a virtual world is especially frustrating for him and other Italians. He said, “As many students, parents and teachers are discovering, there is a human need for face-to-face interaction. One of the reasons we go to restaurants: To dine and to see other people.” He turned the meeting over to Fabio Parasecoli to moderate. A unique scholar, Parasecoli seeks to bridge the gap between gastronomy and political science. He published several books on the topic. He conveyed a theme for the webinar. “We don’t know what will happen to school and school programs,” he said. “Culinary schools, now operating, will be different in the future. What kind of skills to teach our students with this disruption in the food system?” Asked to comment about the state of education was Dr. Joyce Brown, president of the Fashion Institute of Technology (FIT) in New York. Although the name signifies an exclusive education on apparel design and clothing, FIT also teaches the fine arts, illustration and technical design. Seeking to manage a university of nearly 8,000 undergraduate students in a time of pandemic is challenging and perplexing. “There has been a confluence of events and a need for quick decision,” she said. “Many people look to institutions for answers. Yet, those answers are not available because the ground has shifted so much since the pandemic.” Dr. Brown admitted to upheaval in the fashion industry prior to coronavirus. “Before the pandemic,” she said, “the retail industry was in trouble. According to polls, 65 percent of American families will spend less on apparel. The luxury market will shrink. We need new models and a different set of expectations.” She is committed to the school’s mission. “In spite of pandemic,” she said, “institutions have to retain focus and respond to the needs of students and industry.” When asked if the pandemic has affected food and nutrition classes at NYU, Lisa Sasson pivoted. She addressed the recent riots and demonstrations that came about after the death of George Floyd by police officers in Minneapolis. “BLM (Black Lives Matter) has made us aware of critical issues,” she said. “Curriculum will be enhanced to include food advocacy, food justice and food equality. Food is more than just eating; its about taking care of the environment” and other social issues. She said, “Most people suffering Covid have pre-existing conditions,” and we need to focus more on nutrition to help them and others in society build a tolerance to diseases and infections. Rick Smilow was asked about the morale of students at his culinary institute. He answered, “I have not heard many careers changed for students. Their goals are still in place.” Classes at the culinary institute begin this week. “Most students want to come back,” he said. “We are doing all things higher education is supposed to do. We couldn’t teach cooking online but we can teach restaurant management on line.” As for the spread of the disease, Mr. Smilow said, “We have seen, thus far, zero indication that our students are getting coronavirus in school or bringing it to the school.” Andrea Sinigaglia joined late in the webinar because of technical difficulties. When coronavirus came to Italy, he said, schools were “forced to close all programs and undergo strict sanitary protocol. Local governments decided what schools could open and what schools could not.” Many students were from outside of Italy. He said, “Foreign students are not coming. All foreign students returned home.” Parasecoli asked his guests about virtual learning. What are schools doing when human interaction - a key part of education - is now banned by government? Dr. Brown said that FIT has invested more money in new technology to make education fully remote in the foreseeable future. Lisa Sasson shared her experience in creating a virtual class that took students on a culinary journey through Italy. “Food is a lens to better understand Italy,” she said. “The Mediterranean diet is the focus. Everything had to be interactive. We had two culinary classes structured to feel like an in-person experience. Virtually, the teacher could look at the students’ dishes and provide feedback. We visited Italian farms and wineries in real time. We were able to introduce the owners to students.” As to whether or not schools can retain a full faculty in a time of pandemic, Dr. Brown said, “We are public and not a tuition model. We are supported by the state and city. We are not sure how the pandemic will impact our budget. Enrollment issues are probably not answerable today. Students have not yet made their financial commitment. Until they pay their actual tuition, there is no way to tell.” Smilow said, “If we can remain open, we can have classes.” He commended the Payment Protection Plan that provided low interest loans and grants to businesses and non-profits. “PPP was very helpful. One of the few government programs that worked like intended,” he said. Sorrentino then finished the webinar. He said, “This is about the future of our country and the future of our children.” He originally wanted the discussion to include his two children, ages 11 and 17. They had to learn virtually as did most kids in the country. However, in summertime, he said, “They sleep until 3 p.m.” Editor’s Note: You can learn more about Gruppo Italiano and their upcoming webinars and events at www.gruppo-italiano.com HOSPITALITY JUSTICE WARRIOR

Chef Vincent Tropepe: Advocate and Italian American

- Fighting coronavirus restrictions for restaurants in NYC

- Aggressively cross-examining city inspectors By Vanessa Altamaura



When I decided to write this article, I wanted to highlight a very specific culinary professional. After a long search, I found the person to profile. He is like a perfectly executed dish at a Michelin restaurant. He has worked in top tier New York City restaurants such as the 21 Club, The Rainbow Room, SD26 and Mr. K’s, to name a few. His long list of celebrity clientele includes Luciano Pavarotti, Muhammad Ali, Billy Crystal and four U.S. presidents, two of which he served aboard Air Force One. He is also a multi-certified chef and gold medalist. To strike the balance of what I was looking for I wanted a culinary professional who knew about the business end of the industry. He is also a restaurant business advocate, representing restaurants throughout New York City. He is considered a premier expert on restaurant and food regulations. As if all of this wasn’t enough, he is also a published author with a 21016 release titled, “In My Whites: A Matter of Culinary Perspective” that sold over 29,000 copies. He toured the country making 54 appearances in only 17 weeks.“Who is he?” He’s Chef Vincent Tropepe from New York City. Chef Tropepe’s strong Italian roots come from Naples and Calabria. He was raised in the Bensonhurst section of Brooklyn, New York. His influences include the matriarchs of his family such as his mother, grandmother, aunts and great aunts. Tropepe was always drawn to the kitchen. “I could have become anything, really,” he says. “I was an excellent student, but I became a chef because I associated food and dinners with people being in high spirits.” The restaurant industry has become increasingly co-mingled with politics. Back in 2013, New York Mayor Michael Bloomberg adapted, from California, the Letter Grading system for city restaurants. Tropepe’s cell phone started “ringing off the hook.” He had already done a lot of consulting in California and was familiar with the process that began there. He was soon going to city tribunal offices at the request of restaurant owners. “There has always been, from the very beginning, inconsistencies with the way city inspectors and investigators inspect restaurants,” Tropepe said. “It is a biased and broken system and the city chooses not to fix it. Most things in life, either personally or professionally, comes down to money. These inspections continue to be done incorrectly because when a docket number is issued they are prima facie cases. The cities don’t want to fix them because they bring in a lot of money.” Tropepe is a no-nonsense Brooklyn boy inside and outside the kitchen. He is in total control like a conductor of an orchestra. His presence is immediately felt when he walks in to a room. He is known for asking tough questions that nobody wants to answer on the record. He is ruthless in his cross examination and is aggressive in the pursuit of justice for the hospitality industry. Many inspectors refuse to appear without counsel when Tropepe chooses to cross-examine them. Sometimes, they do not appear at all, in light of the chef’s persistence. Many issues have plagued the hospitality industry; worse among them, by far, is COVID-19. The pandemic has paralyzed the restaurant industry. Social distancing has been mandated to slow the spread of the virus. With restaurants having been forced to close at the start of the virus, Tropepe points out that no rental relief was put in place for businesses. “Carefully watching,” Tropepe is waiting to hear if the city is going to assist with rental relief. “I give Secretary Mnuchin a lot of credit for his work on the Payroll Protection Plan (PPP) to assist small businesses and I think the secretary is a good guy, but this system did not help everyone,” Tropepe said. “Being realistic, I know that when money is issued from the Small Business Administration, it will come with a long list of eligibility requirements. And with dealing and distributing hundreds of millions of dollars it should, but we have to understand that many businesses, prior to the pandemic, were in fine shape until now.” The National Restaurant Association (NRA) is lobbying for The Restaurant Act, asking the government for $120 Billion to be given to restaurants. “That is fantastic,” said Tropepe, “but that too I’m sure will come with prerequisites. Here’s the million dollar question, What happens to the businesses who were doing great before all this and for whatever reason are not eligible for any assistance?” And in fact Tropepe is right, there is no universal relief. It’s the reason why he authored the Restaurant Rental Relief proposal sent to his city and state government in New York. “The reason why this is a great proposal is that it helps everyone and it is not asking for any money from the government,” Tropepe said. His approach is simple: As restaurant occupancy goes up, the percentage of rent relief goes down. At the time of this article, New York City is in Stage Four of reopening, but still no occupancy is being allowed indoors. Tropepe’s proposal calls for a 50 percent rent reduction with 25 percent occupancy. Lease holders can get a 35 percent deduction from their rent and so on. When occupancy is back to full capacity leaseholders will have to pay the agreed upon rent in their lease. “If we are reopening in phases, as it should be, elected officials need to take into consideration the impact this has on businesses, especially the restaurant industry were we do not make three hundred percent profit on a steak,” Tropepe said. Some states are seeing dramatic spikes in coronavirus infections. This may cause a reinstatement of stay-at-home orders as their state’s health care system and hospitals get overwhelmed. In an effort to offer relief to restaurants, the New York City Department of Transportation (DOT) allowed nearly 7,000 restaurants to serve food outdoors on sidewalks and in the street; the length of the store front and the depth of one car. Many small business owners immediately registered and started building structures, according to the codes set forth by the DOT. Some spent thousands of dollars to use this lifeline to save their businesses. A few owners went as far as to hire professional contractors to build the street seating structures to code. After the DOT released these regulations and people spent money, in some cases money they did not have, the DOT then changed some of the regulations. When the DOT sent out inspectors, restaurants were threatened with closures. Some received fines and others a 24 hour notice to fix the structures according to code. Once again, Chef Tropepe was on it! After speaking to restaurant owners and getting many calls, Tropepe did some further digging and it did not take long to realize this issue is a wide spread problem. His office released a statement on what is going on. A letter of correspondence was immediately issued and sent certified mail to DOT Commissioner Maria Theres Domgiuez and Polly Trottenberg’s office, as well as to Governor Cuomo, Mayor de Blasio and members of the New York City Council. “It is my experience in speaking to many politicians throughout the years, that they are not educated on the challenges of different industries,” Tropepe said. “This does not make them bad people or even bad leaders, it just makes them unaware. It needs to be understood that a one-size fits all approach to legislation does not work. I often say that the restaurant business is not like any other industry…and that’s because it’s not. It takes a certain breed to work 18 hours a day, go home smelling like shrimp at 4 a.m., just to do it all over again. Representing restaurants was something I fell into, not something I premeditated on doing. I can tell you what kept me doing it…the blatant corruption I saw from inspectors, supervisors and judges. That’s why I took on more and more cases to make sure that restaurants received the justice they deserved.” As I researched restaurant closures and street seating regulations, this is not solely a New York City issue – this is a national issue. Many mayors have reached out to Tropepe’s team to discuss proposals he set forth to assist the industry at large. Being the premier authority on the subject, Tropepe said, “If they want me to go there I will be on a plane.” Writing this particular piece has been very rewarding for me professionally and personally. I reviewed so many chefs and their business advocacy and none of them focused on hospitality justice like Chef Vincent Tropepe. Tropepe’s desire for justice stems back from his early years. The entire industry is in debt to people like Chef Tropepe, but his body of work is far more substantial then others that I saw. I am willing to go on the line and call Chef Tropepe The Godfather of Hospitality Justice. Covid Chronicles

PRIME MINISTER CONTE SCORES 209 BILLION FROM THE EU

Yet, Not Immediately; Italy Will Receive Loans and Grants...in 2021!

- Illegal immigrants from Tunisia are rich; woman brings with her a poodle

- Andrea Bocelli disavows Covid-19 restrictions

- Iron wolves in the Piazza Piatti By Deirdre Pirro



This is the end of the 14th week of now partial lockdown in Florence.



We still need to take care and wear mask. Hotspots are beginning to crop up again in various parts of Italy, especially among young people who insist on meeting in large groups for the so-called weekend “movida.” There is a wonderful word in Italian: “gongolare”; which means, “to gloat.” It conjures up images, in my mind, of Jack, who jumps out of his box and bounces his way on a spring, beaming with pleasure. That is precisely the impression Prime Minister Giuseppe Conte gave at the conclusion of the summit of the Council of Europe in Brussels. After five days of hard diplomatic negotiations, the 27 European leaders finally reached a deal on the €750 billion Recovery Fund on July 21. This post-coronavirus emergency fund will give out €390 billion of grants and €360 billion of low-interest loans to EU member states. Italy is one of the biggest beneficiaries. Italy will, in fact, will receive €208.8 billion: €81.4 billion in grants and €127.4 billion in loans. This is said to be the equivalent to about 28 percent of the total fund. This money, Conte announced, will “change the face of the country.” He basked in the glory of personal success and a sure sinecure for his political survival. Indeed, the result is noteworthy; but it should be remembered that powerful nations like Germany and France have no interest in letting Italy go under. Instead, the opposition parties believe that these funds will arrive too late. The first installment will not come until 2021, when many industries and businesses will have already closed. They claim the fund, which is only money on paper, is really a series of loans and, in the end, a ripoff.



On July 29, the prime minister announced that he had extended the state of emergency for the coronavirus until October 15, 2020. This means he has super powers to happily continue govern by decrees, totally bypassing or even ignoring parliament. The opposition strongly inveighed against this, declaring that Italy is the only country in Europe to prolong the emergency phase. This fell on deaf ears because the government was already busy making over 300 appointments to key positions, strategically placing “friends of friends,” with no discussion before parliament. And they call this democracy! On a similar tack, it emerged on August 1 that the PM has put a gag order on the release of the meeting’s minutes of his Technical and Scientific Task Force. The inevitable result is a lack of transparency and the question: “what is he trying to hide?” In the last weeks, the problem of illegal immigrants arriving in small boats and inflatable craft from North Africa, particularly from Tunisia and Algeria, has created a serious emergency. Lampedusa is their first port of call. The small island is at breaking point. In the night of July 31, some 250 people in eight boats landed on its shores. The center, where they are held for health checks and processing, now has over 900 people massed together; when the usual capacity is 250. A never-seen-before scene occurred last week when a small boat arrived from Tunisia carrying a handful of migrants; all were well-dressed and seemingly rich; with one of the women clutching her well-manicured poodle! Foreign Affairs Minister Luigi Di Maio wants foreign aid destined for Tunisia to be cut unless it blockades the exodus. The problem is that Tunisia is in a present state of chaos. To add to the confusion, taking what seems a contrary stance within the same government, Minister of the Interior Luciana Lamorgese proposes an aid package. She wants to help Tunisia with economic aid to encourage a halt to departures. The prime minister is silent on the subject. Recently, the governor of the Lombardy region, Attilio Fontana, has found himself in the eye of the cyclone. A member of the right-wing Lega party, currently in opposition, he is being investigated for fraud. A public procurement related to the supply of lab coats were found and never delivered from the headquarters of Dama, the company owned by Andrea Dini, his brother-in-law; as well as 10 percent by his wife. Of these, 50,000 were supposed to be destined for purchase by the Lombardy region at a higher than market price. Meanwhile, to avoid the accusation of conflict of interests, this has somehow turned into a donation. In his defense before the Regional Council, Fontana, who has refused to resign and who has faced a mammoth task combating the virus in Lombardy, said he knew nothing of the proposed purchase. When he found out, he asked his brother-in-law to make the donation. Since then, it has emerged that Fontana inherited 5 million euro from his mother and has trust accounts left by his parents in the Bahamas. He denies tax evasion. Stay tuned... Much loved tenor, Andrea Bocelli, has also had his problems this week. He has had to apologize for the comments he made at a conference at the Italian Senate. He appeared to negate the importance of the restrictions imposed by Covid-19 such as lockdown and social distancing. Despite this, according to social media sites, his “misunderstood” remarks have lost him some fans.



One of Tuscany’s most important activities, wine-making, has been badly hit by the pandemic. However, it has just now received important and innovative financial assistance. Massimo Ferragamo, a major producer of Brunello, received a million euro funding from the Bpm Bank for his vineyard in Castiglion del Bosco. The collateral for the loan was the bulk wine aging in the vats in the winery. This is a first for this kind of subsidy in Italy. Here, in Florence, we are in the grip of a heat wave; but it didn't stop me going to see the prowling 100 wolf statues by the Chinese artist, Liu Ruowang. They sculptures will remain in Piazza Pitti and Pizza SS Annuziata until 2nd November. Promoted by the City of Florence and the Gallerie degli Uffizi, this fierce pack of wolves, each cast in iron and weighing in at 280 kilograms makes you reflect on the delicate balance between nature and humankind in these uncertain times.



Stay healthy and safe... Deirdre Editor’s Note: Deirdre Pirro writes for PRIMO and provides new and original translations of excerpted works from English to Italian. She has written two books, now on sale through PRIMO. The first is “Italian Sketches - The Faces of Modern Italy,” a book about the most influential Italians in the arts, science and statecraft this past century. The second is “Politica e Prosa” a new book of translations in collaboration with PRIMO’s publisher and editor Truby Chiaviello. If interested, please log on to our Books Page here. CLAUDIO D’AGOSTINO LOOKS BACK WITH PRIDE ON HIS SCULPTURE OF JOHN LEWIS

The Bronze Bust of the Late Civil Rights Leader and Congressman was Completed in 2005

Located Today in The Cannon Office Building on Capitol Hill

“I was afraid to touch his head…”

The bronze sculpture of John Lewis. The unveiling in 2005 had both Claudio and his mother in attendance with the late congressman.

The sculptor at work producing a clay model of the subject. Sculptor and artist Claudio D’Agostino is defined by diversity. He has captured in bronze the rich, powerful and influential. There is a bust he did in the 1990s of Jack Valenti, former confidant and adviser to President Lyndon B. Johnson, not to mention one of the most powerful figures in Hollywood and the Italian American community. Valenti served as president for many years of the Motion Picture Association of America and was a principal figure in the National Italian American Foundation. Claudio also created a bust of John D. Spreckels, an obscure figure, but, nevertheless, very important. Spreckels, in essence, made San Diego. He developed what had been a fisherman’s village in the late 1800s into what eventually became California’s second largest city today. Claudio has done a bas relief of Celine Dione, numerous drawings (he’s fond of clowns), a porcelain flower centerpiece for former President Bill Clinton and First Lady Hillary Clinton, a stunning display for the United States Marine Corps and many more.

Although a plethora of sculpture and paintings are to his credit, Claudio considers his bronze bust of Representative John Lewis to be his most significant, especially in light of the passing of the congressman on July 17, 2020.

Lewis remains a hero to many in the civil rights movement. He was the youngest to speak at the March on Washington on August 28, 1963. Convened at the Lincoln Memorial, Dr. Martin Luther King, Jr. was the highlight of the event when he made his “I Have a Dream” speech.

Two years later, Lewis led marchers over the Edmund Pettus Bridge in Selma, Alabama. The purpose was to take their complaint of voter disenfranchisement to the state capital, Montgomery. Midway, however, Alabama state troopers and county posssemen used tear gas to blind them, horses to trample them and nightsticks to beat them. Lewis suffered a fractured skull and lost consciousness after getting struck with a club by a state trooper.

The violence was captured on national television on Sunday, March 7, 1965. Americans watched in horror as one network, ABC, cut into their movie of the week, “Judgment at Nuremberg,” with footage the assault. From then on, the confrontation was termed, “Bloody Sunday.”

A little more than a decade later, in 1986, Lewis was elected to Congress as representative of Georgia’s fifth district. The Democratic primary is what made news. He ran against Julian Bond, another icon of civil rights. The results were a plurality for Bond and a runoff ensued. The contest surprised many for its divisiveness. Lewis ran ads that suggested Bond had once used cocaine. Most voters in the predominantly black district favored Bond. Yet, the liberal establishment endorsed Lewis. Thanks to minority of white voters, he scored an upset victory over Bond, 52 to 48 percent. The election divided the African American community in Atlanta. Lewis went on to win the primary and general election. He remained in Congress until his death, at age 80, after diagnosed with pancreatic cancer.

In 2004, Claudio saw Lewis on television and was moved by his biography and work in civil rights. He wrote a letter asking to sculpt him. Lewis mailed his reply to Claudio, “Thank you for your kind letter. I would be delighted to have you sculpt a likeness of me.” Although, he had never met Claudio or either of his parents, Lewis closed, “Please say hello to your mother.”

Claudio went to Washington (with his mother) to measure the subject. The dimensions of Lewis’s head, facial features, shoulders and chest were recorded. Back in Palm Springs, Claudio first sculpted the figure in clay for several molds made from wax, plaster and, finally, bronze. The unveiling was made in 2005 at a ceremony inside the Cannon House Office Building on Capitol Hill, where the statue remains today.

Claudio is especially proud to have captured the likeness of Lewis for posterity. In reference to the late congressman, he said to the Desert Sun, “I think especially now that he’s gone, we need to be reminded (about his work).”

Claudio was born in Canada and moved to the United States with his parents. He lived in San Diego for a time before relocating to Palm Springs, where he lives and works today. His mother is from Cosenza, Calabria and his father is from Minturno in the Lazio region.

Claudio learned on his own how to draw, paint and sculpt. He declares on his web site: “Although I have always loved art, I am a self taught artist. I have met other artists and they have inspired me. I had to learn a lot on my own and investing in ones self is a good feeling.”

Claudio credits Italy for his creative development. Again from his web site: “My first love was drawing and painting, then I was inspired by sculpture when I had opportunities to see the master sculptors of Italy when I was in my teens. Then I knew this was normal and why I was born to create and inspire others as well.”

Claudio remembers speaking with Lewis about civil rights in the Deep South. The sculptor saw a remnant of a blow Lewis suffered so many decades ago. A faded scar was apparent from a deep gash brought on by a nightstick. Claudio said, “I was afraid to touch his head due to the fact all the ignorant white Alabama state troopers hit him over the head, almost killing him. So, that was the biggest challenge for me.”

The sculpture of Lewis is nothing short of masterful. Claudio captures the detailed attributes of the subject’s face and upper body. More than that, the statue conveys the inner strength and resolve of Lewis who suffered both physically and emotionally for the rights of the oppressed and destitute. One sees the sensitivity of a figure, a native son of the South, who sought progressive change.

Caludio hopes to produce several recasts of his sculpture of Lewis for donations to public libraries in Georgia and elsewhere. Editor’s Note: You can view the portfolio of Claudio D’Agostino at https://claudiodagostino.com/ INTERVIEW WITH AUTHOR AND POET ANNA CITRINO

“A Space Between” Conveys the Saga of a Calabrian Family in San Francisco…by Way of Poetry

San Francisco was a far different place in the early 1900s

The Bay of Naples as Inspiration You dedicate "A Space Between" to your husband. Tell us about where in Italy he is from and also your ethnic background. Are you Italian? My husband, Michael Citrino, was born in San Mateo, California, in the San Francisco Bay area and grew up in San Carlos. His father’s parents were from Italy. His father’s mother was from San Lucido on Calabria’s western coast, and his grandfather was born in Amantea, slightly south of San Lucido. The immigrant story is a huge part of America’s story. Though my connection to Italian heritage is through my husband’s family, writing A Space Between helped me to understand more of my husband’s Italian heritage and history, as well as to better understand some of America’s history. In writing the book and delving into the specific situations, occupations and events, I gained a greater understanding of the larger story of Italian Americans—what it was like in Italy before Italian immigrants left and the complicated experiences and events after they arrived, many things my husband wasn’t aware of himself, though he is an Italian American. ”A Space Between" begins with the Italian immigrant experience from Calabria to San Francisco. You spent many years traveling and working overseas as an English teacher. How did your work and travel experience prepare you for this book. I wrote the first poem in response to a piece of music, “Faure’s Après un rêve.” Listening to the solo reminded me of when my husband and I sat one evening, looking out across Naples Bay as a boat pulled across the horizon into the sunset. The scene made me think of how it would have felt for his grandparents departing Italy, leaving behind family members and everything they knew. What an enormous risk it was to leave. Their decision changed not only their lives but the future of all their descendants. From that point on, their lives were lived in the space between two worlds–the one they were born into, and the one they adopted in the United States.



While abroad, I felt simultaneously at home and a stranger. Living in another culture is a wonderful way to gain insight into other people’s felt experience of the world—other ways of thinking, living, and being. I loved learning about cultures in the various places where I lived. I enjoyed exploring each country. Nevertheless, I was guest. I understood I was an outsider. I feel this way now, although the United States is my home country. I had lived outside America for over two and a half decades, and so I now sense a life in a space between worlds. The many cultures where I lived are now a part of me. This simultaneous sense of belonging and yet not belonging helped me to enter into the emotional space of imagining what it might feel like to be a newcomer to America. I could imagine being a person who didn’t understand the language or understanding the culture. That takes time to acquire. While writing the book I found myself often translating experiences I encountered into what my characters might have felt or thought. I’ve traveled to various regions in Italy numerous times. I visited the towns where my husband’s grandparents lived. We once stayed in a bed and breakfast that was on the same street in San Lucido where his grandmother once lived. Walking through Italian villages, noticing the textures and colors, the geography and plants of the area, the sounds, the layout of cities, talking with and observing people were all helpful in creating the feeling and tone of the narrative. Writing takes time and the process is engaging. Having taught, read, and commented on other people’s writing for years as an English teacher gave me an understanding of narrative structure and poetry. What also proved helpful was having a few readers willing to read what I wrote and give me feedback, similar to what I asked my students to do over my years of teaching. ”A Space Between" is a unique work. This is an epic tale of Italians in America. Yet, your choice of prose is poetry. Why poetry? Poetry and essays are the two forms I write in, so it felt natural for me to write the book in poetic form. When I first began writing poems, I didn’t know I would be telling a longer narrative reaching across time. I was simply following my interest in stepping inside the characters’ experiences. I wanted to understand various perspectives and wrote the pieces in different characters’ voices. I knew it would be challenging to create a voice of someone from a different time, a different culture and little to no formal education. I very much wanted to be sensitive to the culture, showing respect, and worked to present things as realistically as I could. Recognizing my voice wouldn’t be the actual voice of my characters, I aimed to write what the characters in the poems might have felt, thought or wanted to have said regarding their experiences if they were to speak about them. From reading, I learned immigrants of the time from southern Italy tended to be private and keep things within the family. Telling their personal feelings and stories to the public would have been unlikely, and the personal stories and feelings would probably not have been shared or written down. I felt deeply drawn to telling the story of everyday people because they were representative of many people’s family stories. Many of the grandchildren and great grandchildren of Italian immigrants from the last century long to hear their ancestors’ story, and it deserves to be remembered. Poetry is a condensed language requiring specific and precise word choices in carefully chosen order to convey a message with impact. A poet chooses to tell only the essential moments, bringing together a constellation of images and sounds into a distilled language so that everything is purposeful. The broad swaths of history can be focused into essentials and key moments that tell the bigger story to carry emotional impact. You really capture the Italian immigrant experience in San Francisco. At the turn of the century, this was a city far different than its high-tech modern reputation today. Tell us a little about the city then and how well or badly Italian immigrants were treated. Italian immigrants in California were productive people. People today recognize names like Jacuzzi, Gallo, Ghirardelli, and Amadeo Giannini; names of Italian immigrants who started industries in California. Italians in San Francisco didn’t have the same level of challenges as people faced on the East Coast. The Spanish had previously colonized the area, setting up missions along the coast. There was already a Catholic presence in the area and greater acceptance and understanding of Italians and others who came from Catholic countries. Much of the racism in California at the time was directed more toward Asians. This being said, southern Italians were seen as different from northern Italians, and while there was a Sicilian immigrant community in California, the majority of Italian immigrants to California were from Italy’s north. They spoke different dialects from each other. There were very few Italians in California before the time of the gold rush in California. Because those that arrived experienced discrimination, they found it more profitable and beneficial to create businesses. As the Italian population in San Francisco increased, Italians were perceived more as a threat. Labor unions generally didn’t accept Italians and they were seen as taking away jobs from others and were viewed as strike breakers. Newspaper reports pitted Northern Italians against Southern Italians. They painted a picture of Southern Italians as superstitious and less civilized. Because Italians would work for low pay, there was less prejudice against them if they left San Francisco and moved to smaller towns elsewhere in California to start new businesses. San Francisco had Italian newspapers and opera and dance companies. Italian immigrants played an important role in several industries such as fishing, lumber, agriculture and those industries dependent on agriculture such as the canning. In 1909, the Del Monte company was the largest vegetable canning facility in the world. During WWII, 90 Italian American Californians were put in internment camps. 10,000 people of Italian ancestry were forcefully relocated and 50,000 in California were required to register as an “enemy alien.” They had to get their registration booklet stamped every week. Enemy aliens weren’t allowed to travel more than five miles from their homes and were required to observe a curfew. Because the government kept information about “enemy aliens” classified, only fairly recently have people learned how people of Italian descent were treated during WWII. How did this book change you? How do you feel about the Italian experience after writing "A Space Between." The history of Italian Americans is absolutely engaging. I wanted to understand as best I could what it was like to be the particular Italian immigrants who are the characters in A Space Between and worked to find the words to best name their experiences. In searching to find, sense, hear, visualize and name the moments that defined and embodied the world the grandparents loved and left, as well as the new world they found, an entire world opened to me that was previously hidden. Whole histories were unveiled that I never knew before. The lives of our ancestors are the seeds of our own lives. Rising from the loam, the choice they made is the perfume of life now lived as a result the journey they took. Writing the book opened my eyes to see parts of the American story I was previously minimally aware of, the effects of prohibition, government corruption in early California history, why Italians left their home country, reasons why the family was so important, how they were treated as an inferior group of people, the numerous and ongoing significant contributions they made to American culture. Their story both inspires and humbles me.



What's next on your agenda. Do you plan to continue writing sagas in poetic verse? My husband and I were serious scuba divers for two and a half decades. I’m currently working on a poetry manuscript about scuba diving. Also, I’ve had in mind for some time to write a story in poetry inspired by my great aunt who was born in the late 1800s. She worked as a laundress, could rope a cow, and outlived five husbands. I want to connect her story to the lore associated with the topaz birthstone, and to step inside the time period in order to see how she might have perceived the world. I’m looking forward to the new insights that writing will unfold. Editor’s Note: You can learn more about the author and purchase her book “A Space Between” at https://annacitrino.com/ Covid Chronicles

Week 14

ITALY SEEKS TO STIMULATE THE ECONOMY

Will the Prime Minister and Members of Parliament Keep Their Promises?

- Italy gets ready to commemorate Dante in 2021

- A visit to Lake Iseo

- Lunch with girlfriends in Florence By Deirdre Pirro This is the 14th week of a partial lockdown in Florence.



We still need to take care, wear a mask and sometimes gloves as the coronavirus is still out and about, creating new and unexpected hotspots. On 11th July, t