Council Supports Pedestrian Plaza
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Michael Dukakis - Phantis
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Tell us a bit about your own AAPI heritage.
My mother is American, and my father was Japanese. I was born and raised in Tokyo as one of six kids in a bi-racial family. We grew up speaking Japanese with our grandparents but English at home and at the international school we attended. Both my parents were consummate volunteers alongside many other accomplishments, my father started an outreach food program for homeless populations, and my mother at 85 still delivers food every week to individuals at 4:30 in the morning! My dad also assisted the Asian Rural Institute, which brings scholars together to learn about sustainable organic farming practices. When I call my mom weekly, she tells me about her daily sweeping of the road in front of her home, (including her neighbor’s areas), and her hobby/mission of taking a bag out to her local park to make sure it stays weed-free. She was a daughter of an amateur rose hybridizer who was a founding member of the Rose Hybridizer’s Associa
Quite the contrary. His music was not only not banned but positively promoted during the Soviet era – witness the complete recording of his orchestral works, including all 27 symphonies, conducted by the peerless Svetlanov. Which other prolific Soviet-era composer enjoyed such largesse from the State? His music was just what the Soviets wanted to pacify the masses – not ‘avant garde’ or dissonant; just the sort of thing that might happen to bring some rest and recreation to Stalin after a hard day at the office signing death warrants for his ‘enemies’. Generally Miaskovsky never sought to provoke animosity or identity himself with ‘counter revolutionaries’ or dissidents of any kind; neither did he ingratiate himself to the regime. His resignation over the Kogan matter was highly principled though. He was among the group of composers who were denounced in 1947, though he had written an overture in honour of Stalinâs 60th birthday.