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University of Florida Thesis Or Dissertation Formatting VOICES OF A REBELLIOUS GENERATION: CULTURAL AND POLITICAL RESISTANCE IN IRAN’S UNDERGROUND ROCK MUSIC By SHABNAM GOLI A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2014 © 2014 Shabnam Goli I dedicate this thesis to my soul mate, Alireza Pourreza, for his unconditional love and support. I owe this achievement to you. ACKNOWLEDGMENTS Completion of this thesis would not have been possible without the help and support of many people. I thank my committee chair, Dr. Larry Crook, for his continuous guidance and encouragement during these three years. I thank you for believing in me and giving me the possibility for growing intellectually and musically. I am very thankful to my committee member, Dr. Welson Tremura, who devoted numerous hours of endless assistance to my research. I thank you for mentoring me and dedicating your kind help and patience to my work. I also thank my professors at the University of Florida, Dr. Silvio dos Santos, Dr. Jennifer Smith, and Dr. Jennifer Thomas, who taught me how to think and how to prosper in my academic life. Furthermore, I express my sincere gratitude to all the informants who agreed to participate in several hours of online and telephone interviews despite all their difficulties, and generously shared their priceless knowledge and experience with me. I thank Alireza Pourreza, Aldoush Alpanian, Davood Ajir, Ali Baghfar, Maryam Asadi, Mana Neyestani, Arash Sobhani, ElectroqutE band members, Shahyar Kabiri, Hooman Ajdari, Arya Karnafi, Ebrahim Nabavi, and Babak Chaman Ara for all their assistance and support. This thesis is dedicated to all of you. I hope that I have made some progress toward explaining the value of your contributions to Iranian music and society. I am also very grateful to Paran Davari for all her moral support. Finally, I thank my parents who encouraged me to fight for my dreams, respected my decisions and supported me in my musical and academic career during all these years away from home. I would never have succeeded without their love and devotions. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF TABLES ............................................................................................................ 7 LIST OF FIGURES .......................................................................................................... 8 LIST OF EXAMPLES ...................................................................................................... 9 ABSTRACT ................................................................................................................... 10 CHAPTER 1 INTRODUCTION .................................................................................................... 12 Background of the Research .................................................................................. 12 Review of Literature ................................................................................................ 16 Purpose and Significance of the Research ............................................................. 26 Methodology ........................................................................................................... 28 Plan of the Thesis ................................................................................................... 34 Transliteration and Spelling of Farsi Words ............................................................ 36 2 HISTORY OF ROCK............................................................................................... 38 What is Persian Popular Music? ............................................................................. 38 Historical Context of Persian Popular and Rock Music ........................................... 43 Pre-Revolutionary Influential Rock Bands and Musicians ....................................... 51 Black Cats ........................................................................................................ 51 The Rebels ....................................................................................................... 53 Scorpio ............................................................................................................. 55 Farhad Mehrad ................................................................................................. 55 Kourosh Yaghmaie ........................................................................................... 59 Controversies of “The Founder of Persian Rock” and “The God Father of Persian Rock” ................................................................................................ 63 Conclusion .............................................................................................................. 66 3 MUSIC AFTER THE ISLAMIC REVOLUTION ........................................................ 75 Islamic Revolution and Music ................................................................................. 75 Socio-Cultural Impacts of the Islamic Revolution ............................................. 77 Mohammad Khatami: Socio-Cultural Reformation and Relaxation of Regulations ................................................................................................... 84 The Emergence of Underground Music .................................................................. 90 4 THE EXPRESSION OF RESISTANCE IN URM: SIX CASE STUDIES ................ 108 5 The Examination of Socio-cultural and Socio-political Issues ............................... 110 Vehicles for the Expression of Resistance ............................................................ 114 Addressing the Rebellious Nature of URM ........................................................... 116 Let the Music Talk ................................................................................................. 118 The Ways ....................................................................................................... 118 “Shahre man koo?” (where is my city?) ................................................... 120 “Tehran” ................................................................................................... 125 ElectroqutE ..................................................................................................... 129 “Khākestari” (gray) ................................................................................... 132 “Mohreh” (chess piece/ game counter) .................................................... 135 “Ghesse Zir Zamin” (Story of the Underground) by The Ways, Arad Aria, Erwin Khachikian, Arian Nayeinei, and Yas ................................................ 139 Hooman Ajdari ................................................................................................ 145 Conclusion ............................................................................................................ 148 5 CONCLUSION ...................................................................................................... 163 LIST OF REFERENCES ............................................................................................. 172 Discography .......................................................................................................... 180 BIOGRAPHICAL SKETCH .......................................................................................... 182 6 LIST OF TABLES Table page 2-1 “Pop Father of Persia,” Lyrics written by Shahbal Shabpare .............................. 70 2-2 “Gonjeshkak Ashimashi,” Lyrics written by Ahmad Shamloo and Hasan Hatami, Composed by Esfandyar Monfared Zadeh. ........................................... 70 2-3 “Gole Yakh” Lyrics by Mehdi Akhavan Langarudi, Composed by Kourosh Yaghmaie. .......................................................................................................... 71 4-1 “Shahre Man Koo?” Lyrics by Kaveh Afagh and Iman Mohammadi, Composed by Kaveh Afagh, Arranged by The Ways. ...................................... 153 4-2 “Tehran” by the Ways Band, Lyrics and Music by Kaveh Afagh, Arrangement by the Ways. ..................................................................................................... 155 4-3 “Khākestari” Lyrics by Mehrdad, Music by ElectroqutE .................................... 157 4-4 “Mohreh,” Lyrics by Mehrdad, Music by ElectroqutE. ....................................... 158 4-5 “Ghesse Zir Zamin” Lyrics by Kaveh Afagh and Yas, Music by The Ways ....... 160 4-6 “Polis Rāh” Lyrics and Music by Hooman Ajdari. .............................................. 162 7 LIST OF FIGURES Figure page 1-1 Iran’s map depicting major cities including Tehran, Mashhad (second largest city), Tabriz (third largest city), and etc.. ............................................................. 37 2-1 Black Cats performing in Ghasre Shirin Club in 1966. (Farhad Mehrad’s Official Website 2012). ....................................................................................... 72 2-2 Scorpio performing in rock festival in Manzarieh in 1974 (Nabavi 2013). Photo from Ebrahim Nabavi’s old photo collection used with his approval. ........ 72 2-3 The Sinners’ Performance in Amjadieh (Tehran) in 1966. Photo from Ebrahim Nabavi’s old photo collection used with his approval (Nabavi 2013: 155). ..................................................................................................................
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