In Mean Streets Scorsese uses music to support the conflict and duality within the characters involved in the story. The second generation of rising hoods following the still gently prevalent influence of the Mastachio Petes removed from power years before they were born. Men who didn’t trust anyone who didn’t come from the old country. Men who might never have learned to speak English. Men who limited their criminal activities within familiar territory. Their neighbors were their victims. Men who existed in a world without mass media.
The next generation would be different. Expanding their crimes far beyond their neighborhoods. Embracing and involving themselves with non-italian popular culture, but they still kept their activities and allegiances close to the vest. Obedience and loyalty being principle tenets in their alliances.
In a sense what we see in Mean Streets is the beginnings of the breakdown in the tribalism that had been essential to successes of the Mafia of previous years. This Means Streets generation is not wealthy, but neither are they quite so poor or removed from larger society as those who came before them. They’re less insular than their predecessors. They struggle with long-established feelings of racism and xenophobia. They're more willing to recognize their desire for women of other faiths and ethnicities. While their elders watch black and white reruns on television in the comfort of their homes, the boys prefer to watch technicolor horror movies and exploitation flicks in dilapidated midtown movie houses.
In keeping with the changing awarenesses of their generation, along with the Italian opera and popular music they hear at home and throughout their neighborhood, they embrace popular music made by other people outside their world — Rock and Roll, Doo-Wop, Soul Music, etc.
They’re struggling to be like, yet unlike, their elders.
"Your thinking is untidy, like most so-called thinking today." (Murder, My Sweet)
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