Tehrangeles dreaming: intimacy and imagination in Southern California's Iranian pop music
"Tehrangeles, a name that combines Tehran and Los Angeles, is the home of an extensive Iranian expatriate culture industry. The music and popular culture created in Tehrangeles is broadcast by satellite television around the globe and has been immensely popular in Iran and throughout the Irania...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Durham
Duke University Press
[2020]
|
| Schlagworte: | |
| Zusammenfassung: | "Tehrangeles, a name that combines Tehran and Los Angeles, is the home of an extensive Iranian expatriate culture industry. The music and popular culture created in Tehrangeles is broadcast by satellite television around the globe and has been immensely popular in Iran and throughout the Iranian diaspora. In TEHRANGELES DREAMING, Farzaneh Hemmasi traces the sources of the music's popularity, showing the ways it is unquestionably Iranian yet able to express ideas and affects not possible within the country itself. The attachment to homeland comes through the Iranian rhythms, but the music frequently features female solo singers or dancers, which are forbidden within the Iranian state. At the same time the music is associated with stereotypes of rich emigres and Southern California, and thus dismissed by others. The music is unabashedly pop and generally apolitical, which Hemmasi shows to be the source of its politics. The introduction sets up the argument and tells the story of the growth of the industry and the Los Angeles Iranian community in the context of post-revolutionary Iran. Chapter 2 describes the origins of Tehrangeles dance pop and its use of the six/eight time signature, a traditional Iranian dance rhythm long-associated with intimacy. Hemmasi argues that the practices and attitudes around six/eight time establish a sense of common sociality among cultural insiders but are also a sometime source of embarrassment. Chapter 3 focuses on expatriate narratives of Iranian popular music history. Hemmasi provides three views on the history of Iranian popular music prior to the revolution from four men involved with the music business since the 1950s and 1960s. Chapter 4 is about homeland, and the desire to return to the homeland of Iran through music and the reinvention of culture. Cultural producers in Tehrangeles operate within multiple moral, legal, and transnational regimes that they often only partially predict or comprehend. Chapters 5 and 6 focus on two expatriate musical celebrities who have claimed to reach and represent the nation from afar: Googoosh, who is a popular female singer; and Dariush Eghbali, who is an activist whose music and media exist in the space between political and personal transformation. The book concludes with a chapter on the changes that have occurred in Iran since the Iranian Revolution and the establishment of expatriate industries in Southern California, affirming the dreaming space of music, creation, and negotiation of both expatriates and people living in Iran. This book will be of interest to scholars in ethnomusicology, transnational media studies, Middle Eastern studies, and cultural studies"-- |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | xiv, 245 Seiten Illustrationen, Notenbeispiele 24 cm |
| ISBN: | 9781478007906 9781478008361 |
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| 505 | 8 | |a Introduction -- The Capital of 6/8 -- Iranian popular music and history: Views from Tehrangeles -- Expatriate erotics, homeland moralities -- Iran as a singing woman -- A nation in recovery -- Conclusion: Forty years | |
| 520 | 3 | |a "Tehrangeles, a name that combines Tehran and Los Angeles, is the home of an extensive Iranian expatriate culture industry. The music and popular culture created in Tehrangeles is broadcast by satellite television around the globe and has been immensely popular in Iran and throughout the Iranian diaspora. In TEHRANGELES DREAMING, Farzaneh Hemmasi traces the sources of the music's popularity, showing the ways it is unquestionably Iranian yet able to express ideas and affects not possible within the country itself. The attachment to homeland comes through the Iranian rhythms, but the music frequently features female solo singers or dancers, which are forbidden within the Iranian state. At the same time the music is associated with stereotypes of rich emigres and Southern California, and thus dismissed by others. The music is unabashedly pop and generally apolitical, which Hemmasi shows to be the source of its politics. | |
| 520 | 3 | |a The introduction sets up the argument and tells the story of the growth of the industry and the Los Angeles Iranian community in the context of post-revolutionary Iran. Chapter 2 describes the origins of Tehrangeles dance pop and its use of the six/eight time signature, a traditional Iranian dance rhythm long-associated with intimacy. Hemmasi argues that the practices and attitudes around six/eight time establish a sense of common sociality among cultural insiders but are also a sometime source of embarrassment. Chapter 3 focuses on expatriate narratives of Iranian popular music history. Hemmasi provides three views on the history of Iranian popular music prior to the revolution from four men involved with the music business since the 1950s and 1960s. Chapter 4 is about homeland, and the desire to return to the homeland of Iran through music and the reinvention of culture. | |
| 520 | 3 | |a Cultural producers in Tehrangeles operate within multiple moral, legal, and transnational regimes that they often only partially predict or comprehend. Chapters 5 and 6 focus on two expatriate musical celebrities who have claimed to reach and represent the nation from afar: Googoosh, who is a popular female singer; and Dariush Eghbali, who is an activist whose music and media exist in the space between political and personal transformation. The book concludes with a chapter on the changes that have occurred in Iran since the Iranian Revolution and the establishment of expatriate industries in Southern California, affirming the dreaming space of music, creation, and negotiation of both expatriates and people living in Iran. This book will be of interest to scholars in ethnomusicology, transnational media studies, Middle Eastern studies, and cultural studies"-- | |
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| 653 | 0 | |a Popular music | |
| 653 | 2 | |a California / Los Angeles | |
| 653 | 2 | |a Iran | |
| 653 | 4 | |a 1900-1999 | |
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| 776 | 0 | 8 | |i Erscheint auch als |n Online-Ausgabe |a Hemmasi, Farzaneh, 1975- |t Tehrangeles dreaming |d Durham : Duke University Press, 2020 |z 978-1-4780-1200-9 |
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Datensatz im Suchindex
| _version_ | 1804181821220454400 |
|---|---|
| adam_txt | |
| any_adam_object | |
| any_adam_object_boolean | |
| author | Hemmasi, Farzaneh |
| author_GND | (DE-588)1057020745 |
| author_facet | Hemmasi, Farzaneh |
| author_role | aut |
| author_sort | Hemmasi, Farzaneh |
| author_variant | f h fh |
| building | Verbundindex |
| bvnumber | BV046928372 |
| classification_rvk | LS 37000 |
| contents | Introduction -- The Capital of 6/8 -- Iranian popular music and history: Views from Tehrangeles -- Expatriate erotics, homeland moralities -- Iran as a singing woman -- A nation in recovery -- Conclusion: Forty years |
| ctrlnum | (OCoLC)1220889159 (DE-599)BVBBV046928372 |
| dewey-full | 781.63089915507949 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 781 - General principles and musical forms |
| dewey-raw | 781.63089915507949 |
| dewey-search | 781.63089915507949 |
| dewey-sort | 3781.63089915507949 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| discipline_str_mv | Musikwissenschaft |
| format | Book |
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| spelling | Hemmasi, Farzaneh Verfasser (DE-588)1057020745 aut Tehrangeles dreaming intimacy and imagination in Southern California's Iranian pop music Farzaneh Hemmasi Durham Duke University Press [2020] ©2020 xiv, 245 Seiten Illustrationen, Notenbeispiele 24 cm txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index Introduction -- The Capital of 6/8 -- Iranian popular music and history: Views from Tehrangeles -- Expatriate erotics, homeland moralities -- Iran as a singing woman -- A nation in recovery -- Conclusion: Forty years "Tehrangeles, a name that combines Tehran and Los Angeles, is the home of an extensive Iranian expatriate culture industry. The music and popular culture created in Tehrangeles is broadcast by satellite television around the globe and has been immensely popular in Iran and throughout the Iranian diaspora. In TEHRANGELES DREAMING, Farzaneh Hemmasi traces the sources of the music's popularity, showing the ways it is unquestionably Iranian yet able to express ideas and affects not possible within the country itself. The attachment to homeland comes through the Iranian rhythms, but the music frequently features female solo singers or dancers, which are forbidden within the Iranian state. At the same time the music is associated with stereotypes of rich emigres and Southern California, and thus dismissed by others. The music is unabashedly pop and generally apolitical, which Hemmasi shows to be the source of its politics. The introduction sets up the argument and tells the story of the growth of the industry and the Los Angeles Iranian community in the context of post-revolutionary Iran. Chapter 2 describes the origins of Tehrangeles dance pop and its use of the six/eight time signature, a traditional Iranian dance rhythm long-associated with intimacy. Hemmasi argues that the practices and attitudes around six/eight time establish a sense of common sociality among cultural insiders but are also a sometime source of embarrassment. Chapter 3 focuses on expatriate narratives of Iranian popular music history. Hemmasi provides three views on the history of Iranian popular music prior to the revolution from four men involved with the music business since the 1950s and 1960s. Chapter 4 is about homeland, and the desire to return to the homeland of Iran through music and the reinvention of culture. Cultural producers in Tehrangeles operate within multiple moral, legal, and transnational regimes that they often only partially predict or comprehend. Chapters 5 and 6 focus on two expatriate musical celebrities who have claimed to reach and represent the nation from afar: Googoosh, who is a popular female singer; and Dariush Eghbali, who is an activist whose music and media exist in the space between political and personal transformation. The book concludes with a chapter on the changes that have occurred in Iran since the Iranian Revolution and the establishment of expatriate industries in Southern California, affirming the dreaming space of music, creation, and negotiation of both expatriates and people living in Iran. This book will be of interest to scholars in ethnomusicology, transnational media studies, Middle Eastern studies, and cultural studies"-- Popmusik (DE-588)4046781-8 gnd rswk-swf Iranier (DE-588)4109150-4 gnd rswk-swf Iranischer Einwanderer (DE-588)4481479-3 gnd rswk-swf Los Angeles, Calif. (DE-588)4036361-2 gnd rswk-swf 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 Iranians / Ethnic identity Music / Political aspects Popular music California / Los Angeles Iran 1900-1999 Criticism, interpretation, etc History Los Angeles, Calif. (DE-588)4036361-2 g Iranischer Einwanderer (DE-588)4481479-3 s Iranier (DE-588)4109150-4 s Popmusik (DE-588)4046781-8 s DE-604 Erscheint auch als Online-Ausgabe Hemmasi, Farzaneh, 1975- Tehrangeles dreaming Durham : Duke University Press, 2020 978-1-4780-1200-9 |
| spellingShingle | Hemmasi, Farzaneh Tehrangeles dreaming intimacy and imagination in Southern California's Iranian pop music Introduction -- The Capital of 6/8 -- Iranian popular music and history: Views from Tehrangeles -- Expatriate erotics, homeland moralities -- Iran as a singing woman -- A nation in recovery -- Conclusion: Forty years Popmusik (DE-588)4046781-8 gnd Iranier (DE-588)4109150-4 gnd Iranischer Einwanderer (DE-588)4481479-3 gnd |
| subject_GND | (DE-588)4046781-8 (DE-588)4109150-4 (DE-588)4481479-3 (DE-588)4036361-2 |
| title | Tehrangeles dreaming intimacy and imagination in Southern California's Iranian pop music |
| title_auth | Tehrangeles dreaming intimacy and imagination in Southern California's Iranian pop music |
| title_exact_search | Tehrangeles dreaming intimacy and imagination in Southern California's Iranian pop music |
| title_exact_search_txtP | Tehrangeles dreaming intimacy and imagination in Southern California's Iranian pop music |
| title_full | Tehrangeles dreaming intimacy and imagination in Southern California's Iranian pop music Farzaneh Hemmasi |
| title_fullStr | Tehrangeles dreaming intimacy and imagination in Southern California's Iranian pop music Farzaneh Hemmasi |
| title_full_unstemmed | Tehrangeles dreaming intimacy and imagination in Southern California's Iranian pop music Farzaneh Hemmasi |
| title_short | Tehrangeles dreaming |
| title_sort | tehrangeles dreaming intimacy and imagination in southern california s iranian pop music |
| title_sub | intimacy and imagination in Southern California's Iranian pop music |
| topic | Popmusik (DE-588)4046781-8 gnd Iranier (DE-588)4109150-4 gnd Iranischer Einwanderer (DE-588)4481479-3 gnd |
| topic_facet | Popmusik Iranier Iranischer Einwanderer Los Angeles, Calif. |
| work_keys_str_mv | AT hemmasifarzaneh tehrangelesdreamingintimacyandimaginationinsoutherncaliforniasiranianpopmusic |