Friday, December 12, 2014

A00081 - Dollree Mapp, Plaintiff in Mapp v. Ohio





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Police photos of Dollree Mapp in 1957. She resisted a search of her Cleveland home when officers could not produce a warrant. CreditAssociated Press

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On May 23, 1957, three police officers arrived at a house in Cleveland and demanded to enter. They wanted to question a man about a recent bombing and believed he was hiding inside. A woman who lived there, Dollree Mapp, refused to admit them.
It was a small gesture of defiance that led to a landmark United States Supreme Court ruling on the limits of police power.
Ms. Mapp told the officers that she wanted to see a search warrant. They did not produce one. A few hours later, more officers arrived and forced their way into the house. Ms. Mapp called her lawyer and again asked to see a warrant. When one officer held up a piece of paper that he said was a warrant, Ms. Mapp snatched it and stuffed it into her blouse. The officer reached inside her clothing and snatched it back.
The officers handcuffed Ms. Mapp — they called her “belligerent” — and then searched her bedroom, where they paged through a photo album and personal papers. They also searched her young daughter’s room, the kitchen, a dining area and the basement.
They did not find the man they were looking for, but they did find what they said were sexually explicit materials — books and drawings that Ms. Mapp said had belonged to a previous boarder — and they arrested Ms. Mapp.
Four years later, after Ms. Mapp had been sentenced to prison on obscenity charges and after her conviction had been upheld on appeal, the Supreme Court took up the case, ostensibly because of questions it raised about obscenity and the First Amendment.
But when the justices ruled, in June 1961, their decision dwelled, with far more significant consequences, on the role of the Fourth Amendment, which protects against unlawful search and seizure. Prosecutors had never produced the supposed warrant brandished by the Cleveland police or proved that it had existed.
The court ruled, 6 to 3, that Ms. Mapp’s conviction should be thrown out, and that all state courts must suppress evidence gathered through police misconduct in certain kinds of cases.
Even though Ms. Mapp’s name is etched in legal history, she had lived quietly in recent years, and besides a brief notice on a funeral home website, it took more than a month for her death to be reported. She was believed to be 90 or 91 when she died on Oct. 31, in or near Conyers, Ga.
Colorful, sometimes brash, Ms. Mapp was married for a time to Jimmy Bivins, a top-ranked fighter who died in 2012. She was later engaged to Archie Moore, a light-heavyweight champion, whom she sued in 1956 for $750,000, claiming he had assaulted her and had backed out of their marriage plans. (He died in 1998.) The bombing that officers were investigating in 1957 had been at the home of Don King, who would go on to become a famous boxing promoter. Ms. Mapp’s encounter with the police that day would not be her last run-in with the law.
Mapp v. Ohio may not ring as familiar as other cases involving civil rights and civil liberties, but it became a legal touchstone that continues to shape cases and stir debate.
Before the ruling, federal courts were required to suppress evidence gathered illegally. The decision extended the rule — known as the exclusionary rule — to state courts. The change has put continuing pressure on police departments to conduct investigations lawfully and brought increased scrutiny when their actions appear improper. Countless cases have been affected, and sometimes thrown out.
“The state, by admitting evidence unlawfully seized, serves to encourage disobedience to the federal Constitution which it is bound to uphold,” Justice Tom C. Clark wrote in the majority opinion.
Justice Clark wrote that evidence gathered illegally had to be excluded. Other measures to address such conduct had proved “worthless and futile.”
Court decisions in the past quarter-century have made exceptions to the exclusionary rule in certain cases when evidence was gathered improperly — for example, if a law enforcement agency appears to have made the errors in good faith when it followed incorrect legal guidance or relied on incorrect information provided by another agency.
The current chief justice, John G. Roberts Jr., was a lawyer in the Reagan administration in the 1980s and helped it attack the exclusionary rule through litigation, proposed legislation and other means. In 2009, he wrote the majority opinion in Herring v. United States, a 5-to-4 decision that upheld the conviction of Bennie D. Herring after a search led to his arrest on drug and weapons charges based on false information that he was the subject of a warrant.
Some of the rule’s supporters worry that it could be significantly weakened or abolished under the current court. Jeffrey Fisher, a professor at Stanford Law School, said the issue would most likely go before the high court again as Herring is interpreted by lower courts.
“Some are reading Herring broadly,” Mr. Fisher said, “and some narrowly.”
Dollree Mapp was born in 1923 or 1924, according to census records, one of seven children of Samuel and Mary Mapp. She grew up in Forest, Miss. Her first name was spelled several ways in early records, and she was sometimes called Dolly. As an adult, Ms. Mapp gave numerous dates for her birth; public records show a wide range.
Information about her survivors was not immediately available. Her death was confirmed by the funeral home in Conyers that handled her services.
In 1968, Ms. Mapp moved from Cleveland to Queens. Two years later she was charged with possession of narcotics. Convicted in 1971 with a co-defendant, Alan Lyons, she pursued a series of appeals, claiming that the search warrant used in her arrest had been wrongly issued and that the police had targeted her because of her role in Mapp v. Ohio.
The drugs seized in the case were found at an apartment that Mr. Lyons apparently rented from Ms. Mapp. She lived several miles away. The police searched her home and found rent receipts that prosecutors argued established her as having aided and abetted Mr. Lyons. The officer who had applied for the warrant to search Ms. Mapp’s home was later dismissed from the police force after he was determined to have accepted about $3,500 from a narcotics dealer.
Ms. Mapp’s conviction was upheld, and she served time in the New York State Correctional Institution at Bedford Hills. On Dec. 31, 1980, Gov. Hugh Carey commuted her sentence, making her immediately eligible for parole.

Thursday, December 11, 2014

A00080 - Mary Ann Mobley, Miss America and Actress

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Mary Ann Mobley was crowned Miss America in 1958 by the previous holder of the title, Marilyn Elaine Van Derbur.CreditAssociated Press
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Mary Ann Mobley, the first Miss America to represent Mississippi and an actress who starred in two films with Elvis Presley, died on Tuesday in Beverly Hills, Calif. She was 77.
The Miss America Organization confirmed her death.
In 1958, the same year she graduated from the University of Mississippi, Ms. Mobley was crowned Miss America 1959. Over four decades, she performed in film, on television and on Broadway, becoming one of the most successful of the pageant’s winners.
She starred with Presley, who also hailed from Mississippi, in the 1965 films “Girl Happy” and “Harum Scarum.” On television, she had roles on “Perry Mason,” “The Love Boat,” “Diff’rent Strokes” and other shows.
Ms. Mobley hosted the Miss America telecast in 1988 with her husband, the actor and television host Gary Collins, who died in 2012.
Ms. Mobley was born in Biloxi, Miss., on Feb. 17, 1937, and grew up in Brandon, Miss. (Most biographical sources incorrectly give her birth year as 1939.) At the Miss America competition, she sang Puccini’s “Un Bel Di” for the talent competition.
In 1962 Ms. Mobley, who had dark hair and big sparkling eyes, performed on Broadway in the musical “Nowhere to Go but Up.” At around the same time, she began working in film and television. She shared the New Star of the Year award at the 1965 Golden Globes with Mia Farrow.
In one memorable scene in “Girl Happy,” she danced with Presley onstage at a club as he sang “Wolf Call.”
She met her husband on the set of the 1966 Jerry Lewis film “Three on a Couch,” in which she appeared. She is survived by their daughter, Clancy Collins White; a stepdaughter, Melissa Collins; a stepson, Guy William Collins; a sister, Sandra Young; and two stepgrandsons.
Ms. Mobley later made documentary films in Cambodia, Ethiopia and Somalia. In a profile on the Miss America website, she said that guerrilla forces once shot at her while she was filming in Mozambique.
“I just pretended it was a movie set and waited for the director to yell cut,” she said.

Saturday, December 6, 2014

A00079 - Leslie Feinberg, Writer and Transgender Activist

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A self-portrait of Leslie Feinberg in the West Village in 2011. CreditLeslie Feinberg
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Leslie Feinberg, a writer and activist whose 1993 novel, “Stone Butch Blues,” is considered a landmark in the contemporary literature of gender complexity, died on Nov. 15 at her home in Syracuse. She was 65.
Her death was confirmed by her spouse, Minnie Bruce Pratt, who said in a statement that the cause was “complications from multiple tick-borne co-infections, including Lyme disease.”
Feinberg, who resisted being called Ms. or any other gender-specific honorific, wrote fiercely and furiously on behalf of those she saw as oppressed because of their sexual, ethnic, racial or other identities. A longtime member of theWorkers World Party, a Marxist-Leninist group, and a prolific journalist for its newspaper, she wrote a 120-part series, from 2004 to 2008, explicating the role of socialism in the history of gender politics.
Feinberg was an advocate for minorities and for the poor, as well as for gay men and lesbians and others who identified as transgender — an umbrella term, distinct from transsexual, that describes people whose life experience straddles the line between male and female and between masculine and feminine.
She herself was biologically a woman but presented outwardly as male — and sometimes passed as a man for reasons of safety, a friend, Julie Enszer, said in an interview. Feinberg, in referring to herself, used the pronouns ze (for she) and hir (for her), though she often said pronoun usage was frequently a matter of context.
“I am female-bodied, I am a butch lesbian, a transgender lesbian — referring to me as ‘she/her’ is appropriate, particularly in a non-trans setting in which referring to me as ‘he’ would appear to resolve the social contradiction between my birth sex and gender expression and render my transgender expression invisible,” she explained in a 2006 interview with Camp, a publication in Kansas City, Mo., aimed at gay, lesbian, bisexual and transgender people and their supporters.
“I like the gender neutral pronoun ‘ze/hir,’ ” she continued, “because it makes it impossible to hold on to gender/sex/sexuality assumptions about a person you’re about to meet or you’ve just met. And in an all trans setting, referring to me as ‘he/him’ honors my gender expression in the same way that referring to my sister drag queens as ‘she/her’ does.”
Feinberg’s books included two nonfiction studies of gender issues, “Transgender Warriors: Making History From Joan of Arc to Dennis Rodman” and “Trans Liberation: Beyond Pink or Blue,” and a second novel, “Drag King.”
But her best-known and most influential work was “Stone Butch Blues,” a coming-of-age novel, drawn at least partly from her own life, about a young person, born female, who grows into adulthood at odds with her own family and comes to grips with her complicated, unconventional sexual and gender identity at a time when practicing a so-called alternative lifestyle invited stigma, open discrimination and, in many settings, menacing opprobrium.
“They cuffed my hands so tight I almost cried out,” the protagonist, Jess Goldberg, writes in a letter to a former lover, describing a night the police raided a club they were in together. “Then the cop unzipped his pants real slow, with a smirk on his face, and ordered me down on my knees. First I thought to myself, I can’t! Then I said out loud to myself and to you and to him, I won’t! I never told you this before but something changed inside of me at that moment. I learned the difference between what I can’t do and what I refuse to do.”
Leslie Feinberg was born on Sept. 1, 1949, in Kansas City and grew up in Buffalo. Her family was hostile to her sexuality and gender expression, and she left home as a teenager, rejecting them as well.
According to a biographical statement supplied by her spouse, Feinberg earned a living mostly in temporary low-wage jobs, including washing dishes, working in a book bindery, cleaning out ship cargo holds and interpreting sign language.
In addition to writing, she pursued many causes as an activist. In 1974, she organized a march against racism in Boston after white supremacists had attacked blacks there. She helped rally support for AIDS patients and those at risk in the early days of the disease. A longtime advocate for women’s reproductive rights, she returned to Buffalo to work for that cause in 1998, after an abortion provider, Dr. Barnett Slepian, was murdered in his home near there.
In addition to Pratt, a poet and an activist, Feinberg is survived by “an extended family of choice,” according to the statement provided by her spouse. She “identified as an antiracist white, working-class, secular Jewish, transgender, lesbian, female revolutionary communist,” the statement said.
In an essay after Feinberg’s death, Shauna Miller, a writer and editor who contributes to The Atlantic, wrote on the magazine’s website that “Stone Butch Blues” was “the heartbreaking holy grail of butch perspective,” a book that was instrumental in her coming to terms with her own sexual and gender identity. The novel, which has been translated into several languages including Chinese and Slovenian, “changed queer history,” she wrote.
“It changed trans history. It changed dyke history. And how it did that was by honestly telling a brutally real, beautifully vulnerable and messy personal story of a butch lesbian.”

Tuesday, December 2, 2014

A00078 - Sabah, Prolific Star in Arab World Entertainment






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Sabah in 2004.CreditKhaled El-Fiqi/European Pressphoto Agency

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Sabah, a prolific and provocative Lebanese singer and actress whose fame in the Arab world endured for six decades, died on Wednesday in Beirut. She was 87.
Her death was announced by the National News Agency of Lebanon.
She was known by a single name — Sabah means “morning” in Arabic — but little about her was understated. She recorded 50 albums, appeared in nearly 100 films, married at least seven times and underwent an undetermined number of cosmetic surgeries.
Her hair had its own narrative — morphing from brown and basic when she emerged in the 1940s to blond and big, impervious to the elements, fashion or the conservative mores of the Middle East.
Her real name was Jeanette Gergis Al-Feghali, but she took her stage name as a teenager in 1940s, when she began appearing in films by the Egyptian director Henry Barakat. She went on to become a draw for decades. Among her better-known works are “How Can I Forget You?” (1956), “The Street of Love” (1959) and “Laila Baka Feha al Qamar” (1980).
Although she was Lebanese, many of her films were made with Egyptian production companies, and her stardom spanned much of the Middle East. In 2010, when she received a lifetime achievement award at the Dubai International Film Festival, Abdulhamid Juma, the festival chairman, described Sabah as “a bridge” between Lebanon and Egypt. This week, Ramzi Jreij, Lebanon’s information minister, said Sabah “was an Arab artist that invaded every Arab country, especially Egypt.”
While her films were mostly seen by Arab audiences, Sabah appeared around the world as a singer, performing Arab pop songs and also Arab classical and folk music. She specialized in mawwal, a slow, a cappella form of singing. In 1956, she appeared in the United States for the first time in concerts in Boston, Detroit and New York, where she sang at the St. George Hotel in Brooklyn.
“She practices in her suite on a high floor in the Navarro Hotel on Central Park South,” Meyer Berger wrote in The New York Times that year. “Other hotel guests pause in the corridor, entranced by the melodies.”
She was born into a Christian family on Nov. 9, 1927, in a village outside Beirut. Her father abused her and took some of the money she earned early in her acting career, according to the National News Agency of Lebanon.
“She married early to leave her father’s overbearing financial control,” the agency said. It also said that Sabah’s brother “killed her mother because he believed she was seeing someone outside marriage.”
Information about survivors was not immediately available.
Sabah was married at least seven times, though some sources say 10. One of her husbands was Anwar Mansy, a prominent Egyptian violinist. Another was Joe Hammoud, an official in the Lebanese government. The marriage she seemed to treasure the most was the shortest, to the Egyptian film star Rushdy Abaza. They were married in the late 1960s for three days.
She told an interviewer several years ago that Mr. Abaza was the true love of her life and that their marriage was so brief because it turned out that he was married to another woman at the time, the belly dancer Samia Gamal.
“When I see him in a film,” Sabah said, “he’s so real and I feel that he’ll come out of the screen any second to be with me.”

*****

Sabah (Arabicصباح‎; born Jeanette Gergis Al-Feghali, 10 November 1927 – 26 November 2014) was a Lebanesesinger and actress. Considered a "Diva of Music" in the Arab World, (the same title often given to Oum KalthoumWarda Al-Jazairia and Fairuz), she released over 50 albums and acted in 98 movies as well as over 20 stage plays. She had a reported 3,500 songs in her repertoire. She was one among [1] the first Arabic singer to perform at Olympia in Paris,Carnegie Hall in New York, and Piccadilly Theatre in London and Sydney Opera House in Sydney. She was considered one of the four Lebanese icons along with FairuzWadih El Safi and Zaki Nassif and was nicknamed "Empress of the Lebanese Song" (Arabicإمبراطورة الأغنية اللبنانية‎) for it.Sabah, known locally as “Al-Sabbouha” was born in Bdadoun, Lebanon. Her father was severe towards her, even beating her sometimes. When she started making a small amount of money out of her movies, he used to take it away from her. She married early to leave her father’s overbearing financial control. Her brother killed her mother because he believed she was seeing someone outside marriage.She began singing and acting in the 1940s in Egyptian movies when Egyptian filmmaker Henry Barakat recognised her talent. Her first featured film was “El Alb Laho Wahed” produced by Asia Dagher. Although a Lebanese national, the majority of her films were co-produced with or focused on Egypt. She starred with many famous actors, such as Abdel Halim Hafez, Kamal El Chenawi, Ahmad Mazhar, Rushdy Abaza and Hussein Fahmy.

Career[edit]

She released her first song in 1940, aged just 13. The singer soon caught the eye of Egyptian film producer Asia Dagher, who immediately signed her for three films. The first of these, El-Qalb Louh Wahid (The Heart Has Its Reasons), made her a star - and she was known by her character's name - Sabah, which is Arabic for morning - ever after. But she also acquired several affectionate nicknames, including "Shahroura", Arabic for "singing bird", and "Sabbouha," a diminutive of Sabah. Among her most popular films were Soft Hands (1964), Ataba Square (1959) and The Second Man (1960), in which she played a cabaret singer who vows to avenge her brother's death at the hands of a smuggling ring. In her parallel music career, she recorded more than 3,000 songs, working with a string of legendary Egyptian composers, including the late Mohammed Abdul-Wahhab. She specialised in a Lebanese folk tradition called the mawal, and her most famous songs included Zay el-Assal (Your Love is Like Honey on my Heart) and Akhadou el-Reeh (They Took the Wind). The star held Egyptian, Jordanian and US citizenship as well as Lebanese, and continued to perform and make television appearances into her 80s.

Personal life[edit]

At home, she was humorously mocked for refusing to leave the limelight, as well as her garish outfits and use of cosmetic surgery. But she was unabashed: "I'm proud that I'm a village girl but I had a lot of ambition," she said in 2008. "She broke so many taboos. I don't know if she was even aware of it," said Chady Maalouf, head of programming at Voice of Lebanon radio. "She was the example of a star, she was totally complete in her appearance, behaviour and voice. She shocked people all the time." Sabah released over 50 albums and acted in 98 films during her career. She married nine times, most most notably to Egyptian actor Roshdi Abaza and Lebanese author-director Wassim Tabbara. Her last marriage, to Lebanese artist Fadi Lubnan, lasted 17 years. She had two children, Dr Sabah Shammas and actress Howayda Mansy, both of whom live in the United States.

Biography[edit]

Al Shahrourah,[2] a TV drama based on her life, aired during Ramadan 2011. She was portrayed by actress/singer Carole Samaha.
According to Lebanese Media Magazine Al Mawed and contrary to popular belief, Sabah was not married to her hairdresser Joseph Gharib.[3]

Awards[edit]

Sabah received many awards during her lengthy career. Recent examples include:
  • Lifetime Achievement Award from the Dubai International Film Festival.[4]
  • Honoured by the Egyptian Cinema in Cairo.[5]
  • Honoured in Beirut with a statue.[5]

Selected filmography[edit]

  • Iyam El Loulou written by Karim Abou Chakra (As well as Nousi Nousi a play written and directed by Karim Abou Chakra)
  • Kanat Ayyam (1970)
  • Nar el shawk (1970)
  • Mawal (1966)
  • El Aydi el naema (1963) aka Soft Hands
  • El Motamarreda (1963)
  • Jaoz marti (1961)
  • El Rajul el thani (1960)
  • El Ataba el khadra (1959)
  • Sharia el hub (1958)
  • Salem al habaieb (1958)
  • Izhay ansak (1956)
  • Wahabtak hayati (1956)
  • Khatafa mirati (1954)
  • Lahn hubi (1953)
  • Zalamuni el habaieb (1953)
  • Khadaini abi (1951)
  • Ana Satuta (1950)
  • Sabah el khare (1948)
  • Albi wa saifi(1947)
  • lubnani fi al gamiaa (1947)

Last Years And Death[edit]

Until 2009, she performed both in concert and on television, including such programs as Star Academy (the Arabic equivalent of the United Kingdom’s Fame Academy), where she sang her new single onstage opposite a line of mannequins displaying costumes from several of her early films and musicals. In the 1990s, she and her former husband Fadi Lubnan (Kuntar) made a documentary about her life.She also developed a close collaboration with singer Rola Saad in remaking some of her old hits, such as “Yana Yana”. The accompanying video, in which Sabah is shown as “the notorious diva” to whom her younger colleague pays tribute, has received wide play on Arabic music channels. Sabah was hosted on Akher Man Yalam on 31 May 2010.In the 2011 edition of the famous Beiteddine Art Festival, a show retracing the incredible journey of Sabah as a singer and movie star was performed. In the title role Ruwaida Attieh, shared the stage with more than 40 singers & dancers.After selling her building in the early 2000s, she moved to “Hotel Comfort” in Hazmieh, Beirut. She lived in “Hotel Brazilia” next to her old hotel. She suffered from many illnesses due to several Thrombus in her brain. This caused her to lose control of her left hand and foot. However she did not lose her memories, but she suffered from a diminished ability to concentrate.Al Shahrourah, a TV drama based on her life aired during Ramadan 2011. She was portrayed by actress/singer Carole Samaha.Sabah’s reaction was mostly positive towards the series and was happy that it was a success. However, she had some comments about inaccuracies, such as the depiction of her father as wearing the traditional Lebanese costumes. Sabah’s professional success did not seem to mirror her personal life.In recent years, Sabah, who was humorously mocked for her - at least - nine marriages, experienced financial difficulties. Constant rumors involving Sabah’s death have been circulating in the past decade because of her advanced age. She has been described as “The artist who would not die”. However, Sabah was saddened by those rumors, saying :”Am I bothering them while i’m still alive ?”. On the topic of death, she said: “I’ve lived enough”. Sabah died on November 26, 2014 at the age of 87 in "Hotel Brazilia" for unspecified illness arround 3 a.m . Clauda Akl, the daughter of her sister Lamia said that Sabah wished before dying that people will dance Dabke in her funeral, to not feel sad and to keep listening to her songs.

Funeral: Sunday 30 November, 2014[edit]

Hundreds of friends, family and fans packed into Beirut church face downtown "Saint Georges" Sunday 30 November 2014 four days after her death to say farewell to the famed Lebanese singer, actress and entertainer Sabah.The daylong proceedings took on a festive air as the crowds celebrated the taboo-breaking six-decade career of Sabah, who died Wednesday 26 Novemver 2014 at the age of 87. A military brass band played in the street outside St. George Cathedral in downtown Beirut, where fans clapped and sang their favorite Sabah songs.Earlier, a troupe of dancers in traditional dress performed to the diva's music played from loudspeakers."I will call it celebration not a funeral," said Lebanese actress Ward El-Khal. "We feel today that we came here to share her feelings and to remember her. We will miss her."For the funeral Mass, Sabah's flag-draped coffin stood near the altar with a giant picture of the singer as a young woman with peroxide-blond hair. After the service, mourners carried the casket aloft — with people clapping, throwing flowers and reaching out to touch it and the photograph — outside to a waiting hearse. Sabah's body was carried through many towns to the church where she was buried.

*****

Sabah - obituary

Sabah was a Lebanese singer who perfected sentimental ballads and melodramatic movies but not the art of marriage

Sabah posing on a film set in Alexandria
Sabah posing on a film set in Alexandria Photo: AFP/GETTY
Sabah, who has died aged 87, was a Lebanese singer who recorded more than 50 albums, acted in some 80 films, had 3,500 songs in her repertoire and was reported to have been married nine times; her stage name – meaning “Morning” – hinted at her fondness for a new dawn.
Along with the singers Fairuz and Wadih El Safi, and the composer Zaki Nassif, she was one of a quartet of Lebanese musical icons who were said to embody “joie de vivre à la Libanaise”. Sabah was considered daring and provocative, and she tested the boundaries of what was acceptable for a woman in the conservative Arab world. Although a Maronite Christian, she gained a popularity that transcended religious boundaries, even during the civil war of 1975–90.
As a singer she delivered joyful ballads such as Zay al Asal (“Your love is like honey”), Akhadou el-Reeh (“They took the wind”) and Habibet Oumaha (“Her mother’s love”). Her musical milieu was melodramatic and her personal life was riven by tragedy: her father was violent and controlling and her mother was murdered by Sabah’s brother (who suspected her of having an affair).
Sabah overcame these traumas to become the first Arabic singer to perform at the Carnegie Hall in New York, the Piccadilly Theatre in London and the Sydney Opera House.
Along the way she gained a reputation for being something of a diva. A glamorous performer, she was frequently compared to Cher and Madonna. There was great interest in her colourful private life and rumours swirled around her. One of her husbands was said to have divorced her over the length of her skirt; the Arab press expressed their shock when, in her seventies, she had a romance with a young winner of the Mr Lebanon contest; and a persistent rumour had it that she was secretly married to her hairdresser.
She was born Jeanette Gergis al-Feghali on November 10 1927 in Bdadoun, Lebanon, into a Maronite Christian family. As the third daughter of Gergis Feghali, who longed to father a boy, she claimed to have grown up scorned and neglected. “One day I was crying because they forgot to feed me,” she confided in an interview in 2012, “and one of my uncles told my parents that I had a beautiful voice when I sobbed.”
She released her first song in 1940, aged 13. The Cairo-based Lebanese filmmaker Assia Dagher signed her up and brought her to Egypt where she was given a three-film deal. “I’m proud that I’m a village girl,” Sabah recalled in 2008, “but I had a lot of ambition.” At first the Egyptian critics were far from friendly. However, after adopting the name Sabah, lifted from the character she played in her first Egyptian film, she gradually won over the public, appearing in movs alongside prominent Egyptian actors such as Anwar Wagdi and Salah Zoulfiqar.
Sabah on a film set in Giza, south of Cairo, in the 1950s (AFP/GETTY)
Another co-star was the matinée idol Rushdy Abaza, a notorious charmer who became her husband in 1977. They were divorced within the year. “I managed to win Rushdy’s heart and marry him at a time when he was coveted by all the women,” said Sabah. “I was the one who asked for a divorce because Rushdy was often too pompous and incapable of separating his public and private lives.”
Her success and longevity were partly due to her savvy choices in collaborators; she teamed up with some of the Arab world’s leading composers, including the Egyptians Baligh Hamdy and Sayyed Mekkawi, and Assi Rahbani of Lebanon.
Sabah in the mid 1940s with the Egyptian film star Anwar Wagdi during shooting in Cairo (AFP/GETTY)
Her films were distinctly hokey. Their titles testify to her affection for the swoon and swagger of romantic sagas and crime dramas: My Heart and My Sword (1947), The Express Train of Love (1947), My Father Deceived Me (1951), He Stole My Wife (1954). In The Second Man (1960) she played a cabaret singer who sets out to avenge her brother’s death. Perhaps understandably, familial strife was a recurring theme. She never transferred her success to Hollywood, but worked consistently in the Arabic film industry through the 1940s, 1950s and 1960s.
As she aged, Sabah’s flamboyant outfits, dyed blonde hair and surgically altered features invited mockery. Yet she remained a huge celebrity in Lebanon even after her retreat from public life. She spent her final years living quietly in the Brazilia Suites Hotel in the Beirut suburb of Hazmieh.
Sabah at an official function in Beirut in the 1990s (AFP/GETTY)
Sabah is thought to have been married nine times. As well as Abaza, her husbands included Wassim Tabbara, Ahmed Farag, Anwar Mansy, Nagib Shammas and Baligh Hamdy. Her last marriage, to the artist Fadi Lubnan, lasted 17 years.
She is survived by a daughter by Mansy and a daughter by Shammas.
“You want me to tell you what my secret is?” she said in 2012. “The secret that no one knows is that I am reconciled with myself and I worked very hard to be different.”
Sabah, born November 10 1927, died November 26 2014

*****
Sabah (Arabic: صباح‎; born Jeanette Gergis Al-Feghali) (b. November 10,1927 – d. November 26, 2014) was a Lebanese singer and actress. Considered a "Diva of Music" in the Arab World, (the same title often given to Oum Kalthoum, Warda Al-Jazairia and Fairuz), she released over 50 albums and acted in 98 movies as well as over 20 stage plays. She had a reported 3,500 songs in her repertoire. She was one of the first Arabic singers to perform at Olympia in Paris, Carnegie Hall in New York, Piccadilly Theatre in London and the Sydney Opera House in Sydney. She was considered one of the four Lebanese icons along with Fairus, Wadih El Safi and Zaki Nassif and was nicknamed "Empress of the Lebanese Song" (Arabic: إمبراطورة الأغنية اللبنانية‎) for it.  Sabah, known locally as “Al-Sabbouha” was born in Bdadoun, Lebanon. Her father was severe towards her, even beating her sometimes. When she started making a small amount of money out of her movies, he used to take it away from her. She married early to leave her father’s overbearing financial control. Her brother killed her mother because he believed she was seeing someone outside marriage.  She began singing and acting in the 1940s in Egyptian movies when Egyptian filmmaker Henry Barakat recognized her talent. Her first featured film was El-Qalb Louh Wahid (El Alb Laho Wahed) produced by Asia Dagher. Although a Lebanese national, the majority of her films were co-produced with or focused on Egypt. She starred with many famous actors, such as Abdel Halim Hafez, Kamal El Chenawi, Ahmad Mazhar, Rushdy Abaza and Hussein Fahmy.
She released her first song in 1940 at just 13 years of age. The singer soon caught the eye of Egyptian film producer Asia Dagher, who immediately signed her for three films. The first of these, El-Qalb Louh Wahid (The Heart Has Its Reasons), made her a star - and she was known by her character's name - Sabah, which is Arabic for morning - thereafter.  She also acquired several other affectionate nicknames, including "Shahroura", Arabic for "singing bird", and "Sabbouha," a diminutive of Sabah. Among her most popular films were Soft Hands (1964), Ataba Square (1959) and The Second Man (1960), in which she played a cabaret singer who vows to avenge her brother's death at the hands of a smuggling ring. In her parallel music career, she recorded more than 3,000 songs, working with a string of legendary Egyptian composers, including the late Mohammed Abdul-Wahhab. She specialized in a Lebanese folk tradition called the mawal, and her most famous songs included Zay el-Assal (Your Love is Like Honey on my Heart) and Akhadou el-Reeh (They Took the Wind). The star held Egyptian, Jordanian and United States citizenship as well as Lebanese, and continued to perform and make television appearances into her 80s.
Sabah released over 50 albums and acted in 98 films during her career. She married nine times, most most notably to Egyptian actor Roshdi Abaza  (Rushdy Abaza) and Lebanese author-director Wassim Tabbara. Her last marriage, to Lebanese artist Fadi Lubnan, lasted 17 years. She had two children, Dr. Sabah Shammas and actress Howayda Mansy, both of whom live in the United States.
  • Iyam El Loulou written by Karim Abou Chakra (As well as Nousi Nousi a play written and directed by Karim Abou Chakra)
  • Kanat Ayyam (1970)
  • Nar el shawk (1970)
  • Mawal (1966)
  • El Aydi el naema (1963) aka Soft Hands
  • El Motamarreda (1963)
  • Jaoz marti (1961)
  • El Rajul el thani (1960)
  • El Ataba el khadra (1959)
  • Sharia el hub (1958)
  • Salem al habaieb (1958)
  • Izhay ansak (1956)
  • Wahabtak hayati (1956)
  • Khatafa mirati (1954)
  • Lahn hubi (1953)
  • Zalamuni el habaieb (1953)
  • Khadaini abi (1951)
  • Ana Satuta (1950)
  • Sabah el khare (1948)
  • Albi wa saifi(1947)
  • lubnani fi al gamiaa (1947)