City Research Online City, University of London Institutional Repository Citation: Nooshin, L. (2005). 'Subversion and Countersubversion: Power, Control and Meaning in the New Iranian Pop Music. In: Randall, A. J. (Ed.), Music, power, and politics. (pp. 231-272). USA: Psychology Press. ISBN 0415943647 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/4772/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/
[email protected] RT3647_C13_231-272 8/13/04 1:10 PM Page 231 CHAPTER 13 Subversion and Countersubversion: Power, Control, and Meaning in the New Iranian Pop Music Laudan Nooshin INTRODUCTION On May 23, 1997, a few weeks after Labour’s historic election victory in Britain, another historic election—presidential this time—took place in Iran just as the country’s Revolution was coming of age. Standing on a platform of greater openness internally and reestablishing Iran’s international rela- tions, Hojjatoleslam Mohammad Khatami was swept to power with an over- whelming mandate that gave a real indication of the extent of public support for change.1 Since 1997, Khatami has initiated a number of reforms in which the most far-reaching have been in the cultural domain.