Reverberations of Dissent: Identity and Expression in Iran's Illegal Music Scene

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Introduction Chapter One. A Political Overview: From King to Clergy - Like father, like son? The Pahlavi dynasty and its downfall - The new constitution, contradictions and conflicts of interest - Repression and resistance: 30 years of two steps forward a
Conclusion Chapter Two. Music in Iran: From Pop to Pariah - Musical monarchies and poetic politics - A history of pop music in Iran -
Conclusion Chapter Three. Music and Islam - Pop music and illegality in the Islamic Republic of Iran - In the shadows of an Islamised pop industry - 'Illusions' of grandeur and rock's rebirth in the Islamic Republic -
Conclusion Chapter Four. Boulevard of Virtual Dreams: TehranAvenue's Online Music Festival - TAMF: History and goals of the festival - TAMF86, a free radical? - Participating and observing Chapter Five. Inventing Identity through Significant Songs: Case S
Conclusion Chapter Six. Smoggy + City
Dirty Rock? -
Introduction - Orchestrations of identity: composing the 'self' in terms of local and global ideas about 'Iranian-ness' - 'Environmental determinism' -
Conclusion Chapter Seven. 'I Am an Original Iranian Man': Inventing Inventive Identities in Tehran's Unofficial Rock Music - Writing the wrongs: challenging stereotypes in stereo sound - Self-confidences: team aesthetic in an 'each to their own society' -
Conclusion Chapter Eight: 127 and Hypernova Abandon the 'Axis of Evil' for 'The Great Satan' - Small steps towards a giant leap: Tour preparations and problems - 'Khal Punk' vs. 'Through the Chaos': A comparative analysis of the musical and lyrical conten
Conclusion Chapter Nine. The 2009 Presidential Elections and Potential Futures for Unofficial Rock Music in Iran - A brief history of presidential elections in the Islamic Republic of Iran - Setting the foundations for change: pre-election hype inside and
Conclusion Reference List
Index

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Beneath the ever-changing and unstable political climate of Iran lies a rich youth culture centered around rock music. Reaching beyond a social, historical and political overview of music, Bronwen Robertson looks deeper and seeks to decipher how members of the underground scene invent and express different versions of ‘being Iranian,' through the production and distribution of their music. Robertson spent a year undercover in Tehran conducting research and interviews within this complex and fascinating culture.

While the author explores each individual's relationship to their music, she also demonstrates how the underground scene as a whole becomes an expression of collective and anti-authoritarian identities. Robertson discusses concepts ranging from inspiration and ingenuity to the notion of being ‘global,' and how these musicians perceive their political and artistic impact. This illuminating work demonstrates that rock music, a global genre, gains significance as it is performed in a local context, disrupting pre-conceived notions of what it means to be ‘Iranian.'

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