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2011Tribute Journal.Pdf
New York in Hollywood Tribute Journal - 2 New York in Hollywood Tribute Journal - 3 New York in Hollywood Tribute Journal - 4 New York in Hollywood Tribute Journal - 5 New York in Hollywood Tribute Journal - 6 TABLE OF CONTENTS Welcome Letter 3 Letter from Congressman Howard L. Berman 4 Letter from AFM President Ray Hair 5 Schedule of Events 8 NY Street Map 9 The Stars 10 Music Matters: The CSUN Music Therapy Wellness Clinic 17 The Sunshine Singers 20 Music 21 Thanks and Acknowledgements 23 The Environment of People Foundation 24 New York in Hollywood Tribute Journal - 7 New York in Hollywood Tribute Journal - 8 SCHEDULE OF EVENTS 2:00 pm Gates Open 2:00 – 5:00pm Celebrity Red Carpet 2:00 Drum Circle* 2:25 Sunshine Choir* 2:50 Judy Tenuta* 3:00 Raffle 1* 3:00 Speakers: Howard Berman, Laura San Giacomo* 3:15 Fallen Rain* 3:45 Raffle 2* 3:50 Announcement of Auction Winners* 4:00 Open Hands* 5:00 Closing *main stage New York in Hollywood Tribute Journal - 9 New York in Hollywood Tribute Journal - 10 THE STARS Laura San Giacomo Laura San Giacomo has achieved tremendous success in film, television and in theater. She received the independent Spirit Award for her work in Steven Soderbergh‟s Sex, Lies and Videotape, which also earned her nominations for a BAFTA Film Award and a Golden Globe. Other film credits include Pretty Woman, Quigley Down Under, Under Suspicion, Nina Takes A Lover and Once Around, the latter playing Holly Hunter‟s sister. On television, San Giacomo received a second Golden Globe nomination for her performance as Maya Gallo on the hit comedy series Just Shoot Me. -
Wir Sind Die Medien
Marcus Michaelsen Wir sind die Medien Kultur und soziale Praxis Marcus Michaelsen (Dr. phil.) promovierte in Medien- und Kommunikations- wissenschaft an der Universität Erfurt. Seine Forschungsschwerpunkte sind digitale Medien, Demokratisierung sowie die Politik und Gesellschaft Irans. Marcus Michaelsen Wir sind die Medien Internet und politischer Wandel in Iran Dieses Werk ist lizenziert unter der Creative Commons Attribution-NonCom- mercial-NoDerivs 4.0 Lizenz (BY-NC-ND). Diese Lizenz erlaubt die private Nutzung, gestattet aber keine Bearbeitung und keine kommerzielle Nutzung. Weitere Informationen finden Sie unter https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de/. Um Genehmigungen für Adaptionen, Übersetzungen, Derivate oder Wieder- verwendung zu kommerziellen Zwecken einzuholen, wenden Sie sich bitte an [email protected] © 2013 transcript Verlag, Bielefeld Die Verwertung der Texte und Bilder ist ohne Zustimmung des Verlages ur- heberrechtswidrig und strafbar. Das gilt auch für Vervielfältigungen, Über- setzungen, Mikroverfilmungen und für die Verarbeitung mit elektronischen Systemen. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deut- schen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Umschlagkonzept: Kordula Röckenhaus, Bielefeld Umschlagabbildung: Zohreh Soleimani Lektorat & Satz: Marcus Michaelsen Druck: Majuskel Medienproduktion GmbH, Wetzlar Print-ISBN 978-3-8376-2311-6 -
Friday 21 Lifestyle | Feature Friday, September 18, 2020
Friday 21 Lifestyle | Feature Friday, September 18, 2020 (From left) Oud player Noushin Yousefzadeh, kasser drummer (From left) Kasser drummer Negin Heydari, pippeh drummer Noushin Yousefzadeh, a member of the all-women Iranian Negin Heydari, pippeh drummer Malihe Shahinzadeh, and drum- Malihe Shahinzadeh, and drummer Faezeh Mohseni practice music band “Dingo” who plays the Oud (Middle Eastern lute), mer Faezeh Mohseni practise together at a home studio called together at a home studio called the “Dingo room”. poses for a picture as she practises at a home studio called the the “Dingo room”. “Dingo room”. Noushin Yousefzadeh, oud player of the Iranian all-women Noushin Yousefzadeh, a member of the all-women Iranian Women audience members applaud as they attend a perform- music band “Dingo” performs with other band members at a music band “Dingo” who plays the oud (Middle Eastern lute), ance by the Iranian all-women music band “Dingo”. concert. poses for a picture as she practises at a home studio called the “Dingo room”. cording to Sahar Taati, a former director at the music depart- with the dohol and pippeh. So now, whenever authorities arrange ment of Iran’s Ministry of Culture and Islamic Guidance, festivals and shows like this one in their home town, they apply known as Ershad. and hope they will be selected, even if it means not knowing until Nonetheless, most clerics believe that the sound of female the last minute if they have been. singing is “haram”-or forbidden-because it can be sensuously But, the exhilaration of playing for mixed audiences is worth all stimulating for men and lead to depravity, she added. -
Googoosh and Diasporic Nostalgia for the Pahlavi Modern
Popular Music (2017) Volume 36/2. © Cambridge University Press 2017, pp. 157–177 doi:10.1017/S0261143017000113 Iran’s daughter and mother Iran: Googoosh and diasporic nostalgia for the Pahlavi modern FARZANEH HEMMASI University of Toronto Faculty of Music, 80 Queen's Park, Toronto, Ontario, M5S 2C5, Canada E-mail: [email protected] Abstract This article examines Googoosh, the reigning diva of Persian popular music, through an evaluation of diasporic Iranian discourse and artistic productions linking the vocalist to a feminized nation, its ‘victimisation’ in the revolution, and an attendant ‘nostalgia for the modern’ (Özyürek 2006) of pre-revolutionary Iran. Following analyses of diasporic media that project national drama and desire onto her persona, I then demonstrate how, since her departure from Iran in 2000, Googoosh has embraced her national metaphorization and produced new works that build on historical tropes link- ing nation, the erotic, and motherhood while capitalising on the nostalgia that surrounds her. A well-preserved blonde in her late fifties wearing a silvery-blue, décolletage-revealing dress looks deeply into the camera lens. A synthesised string section swells in the back- ground. Her carefully groomed brows furrow with pained emotion, her outstretched arms convey an exhausted supplication, and her voice almost breaks as she sings: Do not forget me I know that I am ruined You are hearing my cries IamIran,IamIran1 Since the 1979 establishment of the Islamic Republic of Iran, Iranian law has dictated that all women within the country’s borders must be veiled; women must also refrain from singing in public except under circumscribed conditions. -
Annual Report 09 Draft V1
rabble (rāb'əl) noun 1. a disorderly crowd. 2. Canada’s online source for alternative news and views. 2009 Annual Report What can you find at rabble.ca? in-cahoots: our featured links to social original news and columns movement and labour stories reprints of articles from many other progressive sources live and pre-recorded video Canada-wide event calendar a plethora of podcasts on issues of the day issue pages: an aggregate of stories, links and news on specific issues now what?: advice from an the book lounge: a multi-featured book urban feminist section with original reviews, book events and more special features: short-term sections that public polls to check the pulse of focus on a range of issues rabble visitors daily and weekly e-newsletter with links to our hot stories blogs from writers and activists across Canada (and beyond) progressive newswire and news from around the world babble: our famous moderated discussion board video commons: where people can talk news and views face to face We l c o m e from Publisher Kim Elliott & President Duncan Cameron “Over the last two decades, at least, corporate speech and state speech, in tandem, have narrowed the public space pushing us into ever disappearing, ever meager definitions of the communal. Contesting that hegem- ony, over language and politics, rabble reclaims and widens the space of citizenship.” Author and Toronto Poet Laureate Dionne Brand rabble.ca is a form of fight-back. rabble.ca fights back against the narratives of private over public, of business over labour, of "me" over "us." Our community media is just that: about, by and for communities to explore the issues of the day. -
Shiraz Dissertation Full 8.2.20. Final Format
UNIVERSITY OF CALIFORNIA SAN DIEGO The Shiraz Arts Festival: Cultural Democracy, National Identity, and Revolution in Iranian Performance, 1967-1977 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy In Music By Joshua Jamsheed Charney Committee in charge: Professor Anthony Davis, Co-Chair Professor Jann Pasler, Co-Chair Professor Aleck Karis Professor Babak Rahimi Professor Shahrokh Yadegari 2020 © Joshua Jamsheed Charney, 2020 All rights reserved. The dissertation of Joshua Jamsheed Charney is approved, and it is acceptable in quality and form for publication on microfilm and electronically: _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ Co-chair _____________________________________________________________ Co-Chair University of California San Diego 2020 iii EPIGRAPH Oh my Shiraz, the nonpareil of towns – The lord look after it, and keep it from decay! Hafez iv TABLE OF CONTENTS Signature Page…………………………………………………………………… iii Epigraph…………………………………………………………………………. iv Table of Contents………………………………………………………………… v Acknowledgements……………………………………………………………… vii Vita………………………………………………………………………………. viii Abstract of the Dissertation……………………………………………………… ix Introduction……………………………………………………………………… 1 Chapter 1: Festival Overview …………………………………………………… 17 Chapter 2: Cultural Democracy…………………………………………………. -
SEM 63 Annual Meeting
SEM 63rd Annual Meeting Society for Ethnomusicology 63rd Annual Meeting, 2018 Individual Presentation Abstracts SEM 2018 Abstracts Book – Note to Reader The SEM 2018 Abstracts Book is divided into two sections: 1) Individual Presentations, and 2) Organized Sessions. Individual Presentation abstracts are alphabetized by the presenter’s last name, while Organized Session abstracts are alphabetized by the session chair’s last name. Note that Organized Sessions are designated in the Program Book as “Panel,” “Roundtable,” or “Workshop.” Sessions designated as “Paper Session” do not have a session abstract. To determine the time and location of an Individual Presentation, consult the index of participants at the back of the Program Book. To determine the time and location of an Organized Session, see the session number (e.g., 1A) in the Abstracts Book and consult the program in the Program Book. Individual Presentation Abstracts Pages 1 – 76 Organized Session Abstracts Pages 77 – 90 Society for Ethnomusicology 63rd Annual Meeting, 2018 Individual Presentation Abstracts Ethiopian Reggae Artists Negotiating Proximity to Repatriated Rastafari American Dreams: Porgy and Bess, Roberto Leydi, and the Birth of Italian David Aarons, University of North Carolina, Greensboro Ethnomusicology Siel Agugliaro, University of Pennsylvania Although a growing number of Ethiopians have embraced reggae music since the late 1990s, many remain cautious about being too closely connected to the This paper puts in conversation two apparently irreconcilable worlds. The first is repatriated Rastafari community in Ethiopia whose members promote themselves that of George Gershwin’s Porgy and Bess (1935), a "folk opera" reminiscent of as reggae ambassadors. Since the 1960s, Rastafari from Jamaica and other black minstrelsy racial stereotypes, and indebted to the Romantic conception of countries have been migrating (‘repatriating’) to and settling in Ethiopia, believing Volk as it had been applied to the U.S. -
Women Musicians and Dancers in Post-Revolution Iran
Negotiating a Position: Women Musicians and Dancers in Post-Revolution Iran Parmis Mozafari Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Music January 2011 The candidate confIrms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 2011 The University of Leeds Parmis Mozafari Acknowledgment I would like to express my gratitude to ORSAS scholarship committee and the University of Leeds Tetly and Lupton funding committee for offering the financial support that enabled me to do this research. I would also like to thank my supervisors Professor Kevin Dawe and Dr Sita Popat for their constructive suggestions and patience. Abstract This research examines the changes in conditions of music and dance after the 1979 revolution in Iran. My focus is the restrictions imposed on women instrumentalists, dancers and singers and the ways that have confronted them. I study the social, religious, and political factors that cause restrictive attitudes towards female performers. I pay particular attention to changes in some specific musical genres and the attitudes of the government officials towards them in pre and post-revolution Iran. I have tried to demonstrate the emotional and professional effects of post-revolution boundaries on female musicians and dancers. Chapter one of this thesis is a historical overview of the position of female performers in pre-modern and contemporary Iran. -
The August 2015 Issue of Inside Policy
AUGUST 2015 A politician of the Old School Irwin Cotler leaves Parliament with a legacy of pursuing justice The Election Issue INSIDE: Democratic reform: Reviving Five ideas for A new government Solution or more medicare as an transforming needs to tackle problems? election issue Aboriginal affairs Canada Post PublishedPublished by by the the Macdonald-Laurier Macdonald-Laurier Institute Institute PublishedBrianBrian Lee Lee Crowley, byCrowley, the Managing Macdonald-LaurierManaging Director,Director, [email protected] [email protected] Institute David Watson,JamesJames Anderson,Managing Anderson, Editor ManagingManaging and Editor, Editor,Communications Inside Inside Policy Policy Director Brian Lee Crowley, Managing Director, [email protected] James Anderson,ContributingContributing Managing writers:writers: Editor, Inside Policy Past contributors ThomasThomas S. AxworthyS. Axworthy ContributingAndrewAndrew Griffith writers: BenjaminBenjamin Perrin Perrin Thomas S. AxworthyDonald Barry Laura Dawson Stanley H. HarttCarin Holroyd Mike Priaro Peggy Nash DonaldThomas Barry S. Axworthy StanleyAndrew H. GriffithHartt BenjaminMike PriaroPerrin Mary-Jane Bennett Elaine Depow Dean Karalekas Linda Nazareth KenDonald Coates Barry PaulStanley Kennedy H. Hartt ColinMike Robertson Priaro Carolyn BennettKen Coates Jeremy Depow Paul KennedyPaul Kennedy Colin RobertsonGeoff Norquay Massimo Bergamini Peter DeVries Tasha Kheiriddin Benjamin Perrin Brian KenLee Crowley Coates AudreyPaul LaporteKennedy RogerColin Robinson Robertson Ken BoessenkoolBrian Lee Crowley Brian -
Print to Air.Indd
[ABCDE] VOLUME 6, IssUE 1 F ro m P rin t to Air INSIDE TWP Launches The Format Special A Quiet Storm WTWP Clock Assignment: of Applause 8 9 13 Listen 20 November 21, 2006 © 2006 THE WASHINGTON POST COMPANY VOLUME 6, IssUE 1 An Integrated Curriculum For The Washington Post Newspaper In Education Program A Word about From Print to Air Lesson: The news media has the Individuals and U.S. media concerns are currently caught responsibility to provide citizens up with the latest means of communication — iPods, with information. The articles podcasts, MySpace and Facebook. Activities in this guide and activities in this guide assist focus on an early means of media communication — radio. students in answering the following Streaming, podcasting and satellite technology have kept questions. In what ways does radio a viable medium in contemporary society. providing news through print, broadcast and the Internet help The news peg for this guide is the establishment of citizens to be self-governing, better WTWP radio station by The Washington Post Company informed and engaged in the issues and Bonneville International. We include a wide array and events of their communities? of other stations and media that are engaged in utilizing In what ways is radio an important First Amendment guarantees of a free press. Radio is also means of conveying information to an important means of conveying information to citizens individuals in countries around the in widespread areas of the world. In the pages of The world? Washington Post we learn of the latest developments in technology, media personalities and the significance of radio Level: Mid to high in transmitting information and serving different audiences. -
Read the Introduction
Farzaneh hemmasi TEHRANGELES DREAMING IRANIAN POP MUSIC IN SOUTHERN CALIFORNIA’S INTIMACY AND IMAGINATION TEHRANGELES DREAMING Farzaneh hemmasi TEHRANGELES DREAMING INTIMACY AND IMAGINATION IN SOUTHERN CALIFORNIA’S IRANIAN POP MUSIC Duke University Press · Durham and London · 2020 © 2020 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ∞ Designed by Matthew Tauch Typeset in Portrait Text Regular and Helvetica Neue Extended by Copperline Book Services Library of Congress Cataloging- in- Publication Data Names: Hemmasi, Farzaneh, [date] author. Title: Tehrangeles dreaming : intimacy and imagination in Southern California’s Iranian pop music / Farzaneh Hemmasi. Description: Durham : Duke University Press, 2020. | Includes bibliographical references and index. Identifiers:lccn 2019041096 (print) lccn 2019041097 (ebook) isbn 9781478007906 (hardcover) isbn 9781478008361 (paperback) isbn 9781478012009 (ebook) Subjects: lcsh: Iranians—California—Los Angeles—Music. | Popular music—California—Los Angeles—History and criticism. | Iranians—California—Los Angeles—Ethnic identity. | Iranian diaspora. | Popular music—Iran— History and criticism. | Music—Political aspects—Iran— History—20th century. Classification:lcc ml3477.8.l67 h46 2020 (print) | lcc ml3477.8.l67 (ebook) | ddc 781.63089/915507949—dc23 lc record available at https://lccn.loc.gov/2019041096 lc ebook record available at https://lccn.loc.gov/2019041097 Cover art: Downtown skyline, Los Angeles, California, c. 1990. gala Images Archive/Alamy Stock Photo. To my mother and father vi chapter One CONTENTS ix Acknowledgments 1 Introduction 38 1. The Capital of 6/8 67 2. Iranian Popular Music and History: Views from Tehrangeles 98 3. Expatriate Erotics, Homeland Moralities 122 4. Iran as a Singing Woman 153 5. A Nation in Recovery 186 Conclusion: Forty Years 201 Notes 223 References 235 Index ACKNOWLEDGMENTS There is no way to fully acknowledge the contributions of research interlocutors, mentors, colleagues, friends, and family members to this book, but I will try. -
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.