Parisa manoto1 biography of william

Iranian singer and actress (born 1950)

Faegheh Atashin (Persian: فائقه آتشین; born 5 May 1950), known professionally as Googoosh (Persian: گوگوش, Persian:[guːˈguːʃ]), is an Iranian singer and former actress. Regarded as a pop icon, she is one of the most popular and prolific entertainers in Iran, and her career has spanned over six decades. Googoosh has enjoyed significant popularity since the beginning of her career, ultimately becoming a cultural icon inside Iran and abroad.

She is mainly known for her contributions to Iranian pop music, but she also starred in a variety of Persian movies from the 1950s to the 1970s. She achieved the pinnacle of her fame and success towards the end of the 1970s. In the 1970s, Googoosh was widely emulated by Iranian women, as they copied her clothing (miniskirts) and her short haircut (known as the "Googooshi"). Following the Iranian Revolution in 1979, she remained in Tehran until 2000 and did not perform again during that period due to the ban on female singers. Young

Introduction

It was a beautiful evening. The light of the sun is extremely vivid in the fall in Tehran, the architect recalls. At sunset on October 16, 1971, Mohammad Reza Shah, holding the arm of the 78 year-old Haile Selassie, the Emperor of Ethiopia, arrived with his guests composed of the heads of states participating in the celebrations of the 2500 th anniversary of the founding of the Persian Empire by Cyrus the Great for the inauguration of the Shahyad Aryamehr Monument. As the Shah of Iran walked towards the monument that was to represent modern Tehran during his reign, he observed the diminutive, youthful figure of Hossein Amanat isolated from the crowd. The Shah beckoned the architect of the monument to come forward as he and his guests gathered under the arch of the monument before proceeding towards the museum located underneath the building. Standing under the monument that bore his name, Mohammad Reza Shah looked at the audience of assembled guests and declared, full of pride, "It is this young man here who has designed this building!" 1 Less than nine years later, with Iran engulfed in the revolutionary events of 1979, the Shah would catch one last glimpse of the Shahyad Aryamehr from the window of his Boeing 707 while leaving for his exile, never to return. This was the monument that memorialized his efforts to build what he considered a modern Iranian nation, a monument that stood out among the architectural extravagances and theatrical spectacles which had marked the celebrations and the commemoration of Cyrus the Great and his successors in Tehran. The Shah lost to the revolutionaries, the Pahlavi legacy gave way to the Islamic Republic, and Amanat's Shahyad was refashioned as the symbolic monument of the revolution, and renamed Azadi (Freedom).

In his memoires, Sir Anthony Parsons recalls: "Wonderfully situated at the foot of the