Underground, overground: Rock music and youth discourses in Iran

  title={Underground, overground: Rock music and youth discourses in Iran},
  author={Laudan Nooshin},
  journal={Iranian Studies},
  pages={463 - 494}
  • L. Nooshin
  • Published 1 September 2005
  • Political Science
  • Iranian Studies
The Tehran basement (zir-e zamin) is an interesting phenomenon. A standard feature of the ubiquitous apartment blocks that were built from the 1960s onwards and became one of the most prominent signs of modernity in the rapidly expanding city, the basement is rooted in traditional architectural designs in which the space below ground offered seclusion as well as coolness in summer and warmth in winter. Nowadays, the basement serves many purposes. More often than not a parking area, it also… 

Approaching the Underground

This article aims to shed light on how and why the underground urban metal scene in Bangladesh came into existence, and why it takes the forms it takes in this post-colonial country. Consistent with

Experimental electronic sound as playful articulation of a compromised sociality in Iran

ABSTRACT A host of ambient music pieces produced in Iran appeared on social media around 2010. Against all odds, these works started to gradually form a small ‘scene’ in the Iranian capital until

Reinventing Ruhowzi

In the last few years, Tehran’s arts culture has seen the re-emergence of a thriving theater scene, including experimentation with various performance practices that were restricted in public

Understanding Iran Through Music: A New Approach

  • Ann E. Lucas
  • Political Science
    Middle East Studies Association Bulletin
  • 2006
Within the realm of Iranian studies, music remains mostly outside the purview of larger social and political discussions of the region. At first glance this may seem appropriate, since even musicians

In a box: a narrative of a/n (under)grounded Iranian musician

ABSTRACT Due to years of precarious sociopolitical circumstances before and after the 1979 revolution, Iranian youth developed an acute sense of music making and learning unique to their locales,

Mala Bizta Sochal Klu: underground, alternative and commercial in Havana hip hop

  • G. Baker
  • Political Science
    Popular Music
  • 2012
Abstract The terms underground, alternative and commercial are widely used in discussions of popular music scenes in Havana and around the world. In Cuba, the words alternative and underground are

Intimating Dissent: Popular Song, Poetry, and Politics in Pre-Revolutionary Iran

T interrelation of popular music with state and citizen politics is well documented in the Islamic Republic of Iran. For nearly two decades following the Iranian Revolution of 1978–79, popular music

The devil's prayers: Metal music in Iran

Metal music is a highly misunderstood style of music that is dismissed and demonized all over the world; even in the US and Europe where it originated it is still vilified and viewed as an

Reframing the ‘Arab Winter’: the importance of sleep and a quiet atmosphere after ‘defeated’ revolutions

ABSTRACT This article offers an alternative approach to the study of atmosphere by examining the relative absence of Egyptian independent music following the military’s return to power in 2014. It

Tehran’s Epistemic Heterotopia: Resisting Music Education

Abstract:In this article, by providing a reading of three songs related to Tehran, created by three Iranian rock musicians, Behzad Khaivchi, Behzad Omrani, and Raam, I investigate a particular form



Structural Impediments of the Civil Society Project in Iran: National and Global Dimensions

The origins of the “civil society” concept can be traced to the nineteenth century European political thought. But in the last two decades the concept has been revived in an eclectic and non-critical

Civil Society in Iran

Civil society and the public sphere are based on historically specific moral discourse. Social movements such as the women's movement emerge out of the internal contradictions of the dominant moral

Jamming Jams

    Reading Lolita, 268. Detailed discussion of the connections between civil society discourse and music lies outside the scope of this article (but see Nooshin

    • Nafisi draws similar parallels with literature, specifically concerning what she calls the "multivocality" of Jane Austen's Pride and Prejudice
    • 1995

    Indeed, this can be convenient for musicians seeking authorization, who can point to the harmless neutrality of their lyrics in songs where the primary challenge has shifted into the musical domain

      Civil Society and Democratisation During Khatami's First Term

      • Global Dialogue
      • 2001