Wednesday, August 27, 2014

A00055 - Sophie Masloff, First Woman to Serve as Mayor of Pittsburgh

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Sophie Masloff, after casting her vote in 1989. A court clerk for 38 years, she was the first woman to serve as Pittsburgh mayor. CreditBill Levis/Pittsburgh Post-Gazette, via Associated Press
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Sophie Masloff, a Democrat who campaigned with a big black pocketbook, charmed voters with homespun verbal gaffes and from 1988 to ’94 was the first woman and the first Jew to serve as mayor of Pittsburgh, died on Sunday at a hospice in Mount Lebanon, Pa., a suburb of Pittsburgh. She was 96.
Her death was confirmed by Joseph Sabino Mistick, her chief of staff when she was mayor.
Mrs. Masloff, who lived in Pittsburgh all her life, had only a high school education, had worked most of her life as a court clerk and was the 70-year-old president of the City Council when, under the City Charter, she was named interim mayor, succeeding the popular Mayor Richard S. Caliguiri, who died of a rare blood disorder 20 months from the end of his third term.
He was a hard act to follow. In the late 1970s and early ’80s he had led Pittsburgh through wrenching changes: from the death of Big Steel to the birth of a robust, diversified economy, with a new downtown skyline; sharp declines in population and jobs; and a renaissance in education, culture and quality of life.
Mrs. Masloff seemed hopelessly miscast. Her public speaking was unsophisticated; she sometimes wrote words on her hand to jog her memory. She delegated so much authority that aides often had to jump in and answer questions for her at public meetings and news briefings.
But she pledged to continue innovative ventures with the alliance of corporations, universities and civic groups that had reshaped Pittsburgh, and to create more jobs and curtail urban flight. And in a city of 390,000 that still had scores of ethnic working-class neighborhoods and an aging population, her homey Pittsburgh demeanor was a political advantage.
She called herself “an old Jewish grandmother,” and her streetwise Pittsburghese, delivered in a high, nasal rasp, was pitch-perfect: “What? Yunz don’t remember?”
Her malapropisms on visiting rock stars were endearments of a sort. The Who became “the How.” It was “Bruce Bedspring” and “the Dreadful Dead.”
When people called out on the street, they’d say, “Hi, Sophie.” Or, “How ya doin’, Sophie?”
In 1989, after beating five candidates in a primary — virtually assuring her election as mayor in heavily Democratic Pittsburgh — she ran unopposed and won a full four-year term. She soon shed the grandmotherly allusions, which had played into opponents’ criticisms of her managerial skills. But the rhetorical flourishes went on.
“As Henry the Eighth said to each of his wives,” she told audiences too many times, “Don’t worry. I won’t keep you long.”
Once, posing for photographs with a Yugoslav official, she said, “You know, I’ve never been to Czechoslovakia.”
“Madame Mayor,” the indignant statesman intoned, “I’m from Yugoslavia.”
“I know that,” she continued. “But the truth is, I’ve never been to Czechoslovakia.”
Mrs. Masloff vowed to avoid tax increases, threatened to close city accounts unless banks invested more in housing, laid off city workers and fought deficits with budget cuts. Despite protests, she signed a law barring discrimination against gay men and lesbians in housing, jobs and restaurant service.
But by 1993, several high-tech companies and thousands of jobs had moved to suburban industrial parks with more space and lower taxes. There had been long newspaper and transit strikes. Pittsburgh remained livable, with low crime, affordable housing, good schools and a rich cultural scene. But critics said the mayor lacked vision. And what had once been seen as colorful Sophie-speak had begun to rankle voters.
“In some situations, where you have to listen to a lot of boring speeches, I can’t resist the opportunity to say something silly,” she told The New York Times in 1992. “But some people are not too humorous, and lately I’ve come to the place where I limit joking around because it might look like I don’t know any better.”
She did not run again. In a statement on Sunday, the current mayor of Pittsburgh, William Peduto, called Mrs. Masloff “a trailblazer camouflaged in grace and humor” and said she “personified Pittsburgh — she was kind and approachable, but you dared not underestimate her.”
Sophie Friedman was born in Pittsburgh on Dec. 23, 1917, to Louis and Jennie Friedman, immigrants from Romania. Her father, an insurance salesman, died when she was an infant; her mother, who never spoke English, rolled cigars in a factory to support Sophie and two daughters and a son from a previous marriage.
She spoke only Yiddish until she attended public school. After graduating from high school in 1935, she worked as a bookkeeper and secretary.
In 1939 she married Jack Masloff, a security guard, who died in 1991. She is survived by her daughter, Linda Busia, two grandchildren and a great-granddaughter.
In 1938 she became a clerk in the Allegheny County Court of Common Pleas. She worked there for 38 years, eventually becoming assistant chief clerk. She also became a Democratic Party worker, and after 40 years of service was elected to the City Council in 1976. She said her major accomplishment on the Council was bringing cable television to Pittsburgh.
After stepping down as mayor, she attended several Democratic National Conventions, as she had since the ’50s. In an interview with The Pittsburgh Tribune-Review on her 90th birthday in 2007, she recalled the span of her life.
“We were very, very poor, and it was horrible as a child,” she said. “But I came through it — and just think of the great honor I had. What an incredible honor it was for me to be elected mayor of Pittsburgh. My mother, if she were alive, would never have believed what happened to me.”

Tuesday, August 26, 2014

A00054 - Simin Behbahani, The Lioness of Iran






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Simin Behbahani at a peace conference in Tehran in 2007. CreditMorteza Nikoubazl/Reuters
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Simin Behbahani, a prizewinning poet known as “the lioness of Iran” for using her verse as a means of courageous social protest, died on Tuesday in Tehran. She was 87.
Her death was announced by the Iranian Republic News agency, the country’s official information service.
Ms. Behbahani wrote more than 600 poems, collected in 20 books, on subjects as diverse as earthquakes, revolution, war, poverty, prostitution, freedom of speech and her own plastic surgery. In poems and public speeches, she confronted Iran’s religious authorities, challenging them on practices like the stoning of women who commit adultery.
“She became the voice of the Iranian people,” Farzaneh Milani, a University of Virginia professor who translated many of her poems into English, said in an interview on Thursday. “She was the elegant voice of dissent, of conscience, of nonviolence, of refusal to be ideological.”
In 2006, the Iranian authorities shut down an opposition newspaper for printing one of her works. In 2010, when she was 82 and nearly blind, she was barred from boarding a Paris-bound plane and interrogated through the night regarding poems she had written about Iran’s 2009 elections, which were considered fraudulent by government opponents.
“Stop this extravagance, this reckless throwing of my country to the wind,” she wrote in “Stop Throwing My Country to the Wind.” The poem ended:
You may wish to have me burned, or decide to stone me
But in your hand match or stone will lose their power to harm me.
In a 2011 video message to the Iranian people in celebration of the Persian New Year, President Obama said Ms. Behbahani’s “words have moved the world” and quoted a poem she wrote in 1982, “My Country, I Will Build You Again”: “Old I may be, but given the chance, I will learn.”
Fittingly, it was poetry that brought her parents together.
Her mother, Fakhr-e Ozma Arghun, had sent a poem she wrote to a magazine edited by Abbas Khalili, a translator and poet himself. He liked the poem and was surprised to find it had been written by a woman. He said he wanted to marry the poet, whom he had not yet met.
He did marry her, but three days after their wedding he was arrested and exiled for articles that offended the ruling Pahlavi dynasty. He did not see his daughter — born Siminbar Khalili on July 20, 1927, in Tehran — until she was 14 months old, and did not see her again until she was 11.
In the meantime, the girl’s parents divorced. Simin’s mother raised her to love literature and, when Simin was 14, sent a poem Simin had written to a literary journal, which published it. In 1951, Ms. Behbahani published her first book of poems.
One of her first innovations was with the ghazal, a sonnetlike Persian poetic form. It had traditionally been written from the perspective of a male lover admiring a woman, but Ms. Behbahani made the woman the protagonist. She later used the ghazal form to write about all manner of subjects, including the Iran-Iraq war. She also used her skill in writing about love to compose lyrics for popular songs.
Ms. Behbahani studied to be a midwife before pursuing a law degree, which she earned but never used. She taught high school — physics and chemistry, then literature — for more than 20 years.
Among the many literary awards she won was, in 2013, the Janus Pannonius Poetry Prize from the Hungarian PEN Club, which carries a 50,000-euro prize and is sometimes called the Nobel Prize for poetry. She was twice nominated for the Nobel Prize in Literature.
Ms. Behbahani’s first marriage, to Hassan Behbahani, ended in divorce. Her second marriage, to Manuchehr Koushyar, ended with his death in 1984. She is survived by her sons, Ali and Hossein Behbahani; her daughter, Omid Behbahani; and several grandchildren.
Jahan News, a hard-line Iranian website, once characterized Ms. Behbahani’s writing as treasonous, saying, “Her poetry, with its slanderous and scandalous way of addressing Iranians, only serves to make Iran’s enemies happy.”
But Ms. Behbahani viewed herself as patriotic, insisting her impassioned writings and public statements were intended only to make Iran better. The poem President Obama quoted began:
My Country, I will build you again,
If need be, with bricks made from my life
I will build columns to support your roof
If need be, with my bones.

*****

Simin Behbahāni[1] (Persianسیمین بهبهانی‎‎; 20 June 1927 – 19 August 2014) was a prominent Iranian poet, activist and translator. She was Iran's national poet and an icon of the modern Persian poetry, Iranian intelligentsia and literati who affectionately refer to her as the lioness of Iran.[2] She was nominated twice for the Nobel Prize in literature, and has "received many literary accolades around the world."[3]

Biography[edit]


Board of Governors of Association of Patriotic Women, Tehran, 1922
Simin Behbahani, whose real name was Simin Khalili (Persianسیمین خلیلی‎)[4] (سيمين خليلی), was the daughter of Abbās Khalili (عباس خلیلی), poet, writer and Editor of the Eghdām (Action) newspaper,[5] and Fakhr-e Ozmā Arghun (فخرعظمی ارغون), poet and teacher of the French language.[6] Abbās Khalili (1893–1971) wrote poetry in both Persian and Arabicand translated some 1100 verses of Ferdowsi's Shahnameh into Arabic.[7] Fakhr-e Ozmā Arghun (1898–1966) was one of the progressive women of her time and a member of Kānun-e Nesvān-e Vatan'khāh (Association of Patriotic Women) between 1925 and 1929. In addition to her membership of Hezb-e Democrāt (Democratic Party) and Kānun-e Zanān(Women's Association), she was for a time (1932) Editor of the Āyandeh-ye Iran (Future of Iran) newspaper. She taught French at the secondary schools NāmusDār ol-Mo'allemāt and No'bāvegān in Tehran.[8]
Simin Behbahani started writing poetry at twelve and published her first poem at the age of fourteen. She used the "Char Pareh" style of Nima Yooshij and subsequently turned to ghazal. Behbahani contributed to a historic development by adding theatrical subjects and daily events and conversations to poetry using the ghazal style of poetry. She has expanded the range of the traditional Persian verse forms and has produced some of the most significant works of the Persian literature in the 20th century.
She was President of The Iranian Writers' Association and was nominated for the Nobel Prize in Literature in 1999 and 2002.
In early March 2010 she could not leave the country due to official prohibitions. As she was about to board a plane to Paris, police detained her and interrogated her "all night long". She was released but without her passport. Her English translator (Farzaneh Milani) expressed surprise at the arrest as detention as Behbahani was then 82 and nearly blind. "We all thought that she was untouchable."[3]

Death[edit]

Behbahani was hospitalized in Tehran on 6 August 2014. She remained in a coma from 6 August until her death 19 August 2014. She died in Tehran's Pars Hospital and she was 87. Her funeral was held on 22 August in Vahdat Hall and her body was buried at Behesht-e Zahra.

Works[edit]

  • The Broken Lute [Seh-tar-e Shekasteh, 1951]
  • Footprint [Ja-ye Pa, 1954]
  • Chandelier [Chelcheragh, 1955]
  • Marble [Marmar 1961]
  • Resurrection [Rastakhiz, 1971]
  • A Line of Speed and Fire [Khatti ze Sor'at va Atash, 1980]
  • Arzhan Plain [Dasht-e Arzhan, 1983]
  • Paper Dress [Kaghazin Jameh, 1992]
  • A Window of freedom [Yek Daricheh Azadi, 1995]
  • Collected Poems [Tehran 2003]
  • Maybe It's the Messiah [Shayad ke Masihast, Tehran 2003] Selected Poems, translated by Ismail Salami
  • A Cup of Sin, Selected poems, translated by Farzaneh Milani and Kaveh Safa

Awards and honours[edit]

  • 1998 Human Rights Watch Hellman-Hammet Grant
  • 1999 Carl von Ossietzky Medal
  • 2006 Norwegian Authors' Union Freedom of Expression Prize
  • 2009 mtvU Poet Laureate[9]
  • 2013 Janus Pannonius Poetry Prize[10]

*****

Simin Behbahāni (Persian: سیمین بهبهانی‎‎) (June 20, 1927 – August 19, 2014) was a prominent Iranian poet, activist and translator. She was Iran's national poet and an icon of the modern Persian poetry, Iranian intelligentsia and literati who affectionately refer to her as the lioness of Iran.  She was nominated twice for the Nobel Prize in literature, and received many literary accolades from around the world.

Simin Behbahani, whose real name was Simin Khalili (Persian: سیمین خلیلی‎) (سيمين خليلی), was the daughter of Abbās Khalili (عباس خلیلی), poet, writer and editor of the Eghdām (Action) newspaper, and Fakhr-e Ozmā Arghun (فخرعظمی ارغون), poet and teacher of the French language. Abbās Khalili (1893–1971) wrote poetry in both Persian and Arabic and translated some 1100 verses of Ferdowsi's Shahnameh into Arabic. Fakhr-e Ozmā Arghun (1898–1966) was one of the progressive women of her time and a member of Kānun-e Nesvān-e Vatan'khāh (Association of Patriotic Women) between 1925 and 1929. In addition to her membership in Hezb-e Democrāt (Democratic Party) and Kānun-e Zanān (Women's Association), she was, for a time (1932), editor of the Āyandeh-ye Iran (Future of Iran) newspaper. She taught French at the secondary schools Nāmus, Dār ol-Mo'allemāt and No'bāvegān in Tehran.

Simin Behbahani started writing poetry at twelve and published her first poem at the age of fourteen. She used the "Char Pareh" style of Nima Yooshij and subsequently turned to ghazal.  Behbahani contributed to a historic development by adding theatrical subjects and daily events and conversations to poetry using the ghazal style of poetry. She expanded the range of the traditional Persian verse forms and produced some of the most significant works of the Persian literature in the 20th century.

Behbahani was President of The Iranian Writers' Association and was nominated for the Nobel Prize in Literature in 1999 and 2002.

In early March 2010, Behbahani prohibited from leaving the country due to official prohibitions. As she was about to board a plane to Paris, police detained her and interrogated her "all night long". She was released but without her passport. 

Behbahani was hospitalized in Tehran on August 6, 2014. She remained in a coma from August 6 until her death August 19, 2014. She died in Tehran's Pars Hospital. Her funeral was held on August 22 in Vahdat Hall and her body was buried at Behesht-e Zahra. 

The literary works of Simin Behbahani includes the following:
  • The Broken Lute [Seh-tar-e Shekasteh, 1951]
  • Footprint [Ja-ye Pa, 1954]
  • Chandelier [Chelcheragh, 1955]
  • Marble [Marmar 1961]
  • Resurrection [Rastakhiz, 1971]
  • A Line of Speed and Fire [Khatti ze Sor'at va Atash, 1980]
  • Arzhan Plain [Dasht-e Arzhan, 1983]
  • Paper Dress [Kaghazin Jameh, 1992]
  • A Window of Freedom [Yek Daricheh Azadi, 1995]
  • Collected Poems [Tehran 2003]
  • Maybe It's the Messiah [Shayad ke Masihast, Tehran 2003] Selected Poems, translated by Ismail Salami
  • A Cup of Sin, Selected poems, translated by Farzaneh Milani and Kaveh Safa

Monday, August 25, 2014

A00053 - Licia Albanese, Exalted Soprano

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Licia Albanese in the early 1950s. She sang more than 400 times at the Metropolitan Opera in New York. CreditJ. Abresch/Metropolitan Opera Archives
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Licia Albanese, an Italian-born soprano whose veneration by audiences worldwide was copious even by the standards of operatic adulation, died on Friday at her home in Manhattan. She was 105.
Her son, Joseph Gimma, confirmed her death.
After making her debut in Europe in the 1930s, Miss Albanese (her name is pronounced LEECH-ya al-buh-NAY-zay) went on to become one of the most admired sopranos of the mid-20th century. She had a long association with the Metropolitan Opera in New York, where she sang more than 400 times from 1940 to 1966.
Miss Albanese was what is called a lirico-spinto soprano, with a voice suited both for lyric roles and for somewhat weightier fare. A Puccini specialist, she was known in particular for the title role in “Madama Butterfly,” a part she sang more than 300 times. Her other notable Puccini roles included Mimi in “La Bohème,” the title part in “Tosca” and Liù in “Turandot.”
She was also famous as Violetta in Verdi’s “La Traviata,” singing the role nearly 90 times with the Met, a company record to this day. Writing in The New York Herald Tribune in December 1942, the composer and critic Virgil Thomson reviewed Miss Albanese’s first Violetta:
“She used her limpid voice, her delicate person and her excellent musicianship to equal effect in creating the character,” he wrote, adding, “I use the word ‘create’ for her achievement because that is what she really did.”
By virtue of longevity, Miss Albanese was very likely the last singer of her generation to have been considered a prima donna assoluta — a prima donna so exalted that she exceeds nearly all others in esteem.
Her voice was not large, nor, in the opinion of critics, was it unusually beautiful. But what her lower register may have lacked in luster, her soaring top range, with its silvery sheen, more than made up for.
Miss Albanese onstage was a sight to behold. Known for her sensitive dramatic interpretations, her nuanced physical gesture, her pinpoint diction in a number of languages and the passionate intensity she brought to singing and acting, she seemed to inhabit her characters — in particular Puccini’s doomed, fragile heroines — more fully than almost any other singer.
Her deep preparation for her roles included, for the consumptives Mimi and Violetta, visiting a tuberculosis ward — no small risk for one whose livelihood depended on breath.
Rehearsing Cio-Cio-San, the tragic heroine of “Madama Butterfly,” she realized that Puccini had not left sufficient pause in the music so that the character might easily take off her shoes before entering a house, in the traditional Japanese manner. Miss Albanese took her stage shoes home with her, slipping them off again and again until she could do it with all due speed.
She was said to have a special talent for mortality. As the “International Dictionary of Opera” said:
“Nowhere was Albanese’s mastery of her art more palpable than during the moments that required her to ‘expire’ onstage, something she invariably accomplished with the most exquisite expressivity, whether called upon to demonstrate a gradual, quiet fading away (Mimi, ‘La Bohème’); a final feverish outburst (Violetta, ‘La Traviata’); an intense losing battle to cheat death (Manon Lescaut); or an act of unbearable poignancy such as the suicide of Butterfly.”
This approach to the art of sung drama won Miss Albanese rapturous adoration. She spent her prime awash in bouquets at curtain calls, as audience members chanted her name in unison. A coterie of her most hard-core admirers spent years traveling from city to city like camp followers just to hear her perform.
Yet she was no diva, by all accounts displaying little of the personal affectation that can come with the territory.
“Diva? Hah! I was never a diva,” Miss Albanese told The San Francisco Chronicle in 2004. “Only God makes a diva. No, just call me a plain singer with lots of expression.”
Because she knew better than to attempt heavy works, like Wagner, which can erode the voice over time, Miss Albanese was able to keep singing well into old age. Long after her official retirement, she was heard for decades on every Met opening night at Lincoln Center, her voice ringing ceremonially out from her box with “The Star-Spangled Banner,” including an impeccable high B flat.
In 1985, Miss Albanese sang the role of the aging diva Heidi Schiller in a highly regarded concert version of Stephen Sondheim’s musical “Follies” with the New York Philharmonic. That production, which also starred Carol Burnett, Barbara Cook, Elaine Stritch and Mandy Patinkin, is available in a live recording.
Her many other recordings include a celebrated “La Bohème,” made in 1946 to commemorate the opera’s 50th anniversary, under the baton of Arturo Toscanini, a frequent collaborator.
Miss Albanese also collaborated with some of the most eminent male singers of her time, whose names evoke a grand bygone era. Among them were Jan Peerce, with whom she partnered many times at the Met, and Ezio Pinza, a notorious trickster who made one of her swan songs even more difficult than normal:
“I remember a ‘Bohème’ broadcast when I kept smelling something terrible in the final scene, where I was dying,” Miss Albanese told The New York Times in 1989. “I kept singing, but in between I would whisper to everyone, ‘My God, what is that smell?’ And finally at the end, Pinza pulled a herring out from under my pillow.”
Felicia Albanese was born in Bari, in southern Italy, on July 23, 1909. She began singing as a girl, becoming a pupil of Giuseppina Baldassarre-Tedeschi, a noted Butterfly in her day.
Miss Albanese made her debut unexpectedly in 1934, at the Teatro Lirico in Milan. At a performance of “Madama Butterfly” at which she was understudying the title role, the soprano became ill during Act I. Miss Albanese was hustled onstage for Act II.
A great success, she went on to appear at La Scala, Covent Garden and other European houses.
She left Italy for New York in 1939 and the next year, on Feb. 9, made her Met debut as Cio-Cio-San. Reviewing her performance in The Times, Olin Downes wrote:
“She sounded the note of tragedy and made it the more poignant by the constant light and shade of her dramatic interpretation. There was a real simplicity and contagious emotion in it, and everything was so thoughtfully proportioned that climaxes had never to be forced or passion torn to tatters to make it carry across the footlights.”
At the Met, Miss Albanese’s other roles included Susanna in Mozart’s “Marriage of Figaro,” Micaela in Bizet’s “Carmen,” Marguerite in Gounod’s “Faust” and Desdemona in Verdi’s “Otello.” She was also a mainstay at the San Francisco Opera, where she sang for many years.
Miss Albanese, who became a United States citizen in the 1940s, received the National Medal of Arts from President Bill Clinton in 1995.
In retirement, Miss Albanese gave master classes around the world. In 1974 she and her husband, Joseph A. Gimma, established the Licia Albanese-Puccini Foundation, which aids up-and-coming singers.
Mr. Gimma, a Wall Street broker and a former chairman of the New York State Racing Commission whom Miss Albanese married in 1945, died in 1990. Besides her son, her survivors include two grandchildren and three great-grandchildren.
In September 1966, when the Metropolitan Opera moved from its storied old home at 39th Street and Broadway to its new one at Lincoln Center, Miss Albanese did not come along: She had left the company shortly before in a dispute with the Met’s imperious general manager, Rudolf Bing, who she felt was underusing her.
The previous April, she had sung Cio-Cio-San’s aria “Un Bel Di” at the farewell gala at the old Met. At aria’s end, she knelt, kissed her hand and touched it to the stage.
After the opera house was torn down, The Times reported in 1997, Miss Albanese could be seen on some fine days standing amid the rubble, dressed, as if in mourning weeds, in her Butterfly kimono.