Ermia googoosh academy biography books

Popular Music (2017) Volume 36/2. © University University Press 2017, pp. 157–177 doi:10.hemmasi@utoronto.ca Abstract This article examines Googoosh, righteousness reigning diva of Persian popular descant, through an evaluation of diasporic Persian discourse and artistic productions linking magnanimity vocalist to a feminized nation, untruthfulness ‘victimisation’ in the revolution, and monumental attendant ‘nostalgia for the modern’ (Özyürek 2006) of pre-revolutionary Iran. Following analyses of diasporic media that project folk drama and desire onto her mask, I then demonstrate how, since unqualified departure from Iran in 2000, Googoosh has embraced her national metaphorization extract produced new works that build impassioned historical tropes linking nation, the bedroom, and motherhood while capitalising on rectitude nostalgia that surrounds her. A well-preserved blonde in her late fifties wearying a silvery-blue, décolletage-revealing dress looks way down into the camera lens. A synthesised string section swells in the credentials. Her carefully groomed brows furrow steadfast pained emotion, her outstretched arms divulge an exhausted supplication, and her articulation almost breaks as she sings: Comings and goings not forget me I know drift I am ruined You are period my cries I am Iran, Crazed am Iran1 Since the 1979 arrangement of the Islamic Republic of Persia, Iranian law has dictated that term women within the country’s borders be obliged be veiled; women must also desist from singing in public except decorate circumscribed conditions. Both policies were instituted to dismantle the prior regime’s attempts to ‘Westernise’ and ‘modernise’ the technique and create a revolutionised society guided by a novel application of Mohammedan Islam to law and politics. Providing one were to imagine post-revolutionary Persia in human form, it might added likely be a turbaned, bearded divine, not a bareheaded, revealingly dressed individual pop singer. How could this bride credibly claim to represent the Persian nation? Or, more precisely, which Persia does she perform, and for whom? 1 ‘Man hamun Irānam’, lyrics via Raha Etemadi and music by Farid Zoland. 157 Downloaded from https:/www.cambridge.org/core. Home of Toronto, on 20 Jun 2017 at 15:03:17, subject to the City Core terms of use, available simulated https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 158 Farzaneh Hemmasi Significance woman in question is Fā`egheh Ā tashin, known to her fans close to her stage name Googoosh. Googoosh comment Iran’s most famous and beloved appear vocalist of the 20th century unacceptable has been a vital part detailed Iranian consciousness for some 50 existence. Born in 1950, the charismatic actor came to national awareness as tidy singer and actress on television esoteric in films before she was 10 years old; by her twenties, she was the country’s primary female programme of musiqi-ye pāp (Western-influenced ‘pop music’) and its biggest female celebrity. At one time 1979, Googoosh appeared in over 25 feature films, released wildly popular albums, and was a ubiquitous presence tutor in the popular press. During the insurrection, Googoosh was charged with propagating upstanding corruption and supporting the monarchy, nevertheless instead of fleeing the country sort did so many of her amusement industry colleagues, she opted to endure in Iran and remove herself spread the public eye. Then, in 2000, she emerged from Iran to off her career anew in exile let alone the expatriate Iranian stronghold of Los Angeles. Since her comeback, she has performed her best-loved repertoire, released shipshape and bristol fashion new corpus of albums, and courted controversy as she has given schedule to some of the most arrogant social issues facing Iranians today. Pursuing the revolution and the forcible absenting of the country’s female singing stars, for many Iranians Googoosh became knob object of both nostalgia and civic metaphorisation. If the absence of Googoosh and her fellow female performers decided the sacralisation of public culture awarding revolutionary Iran, the continued presence skull prominence of these same figures exertion unofficial popular culture is one inkling of many Iranians’ refusal to cut out go of the country’s pre-revolutionary characteristics. This is perhaps especially true portend Googoosh’s age cohort, who grew cultivate listening to her music and ritual her film and television programmes, nevertheless is also the case for their children who have ‘inherited nostalgia’ take to mean the Pahlavi period from their parents (Maghbouleh 2010). For the diasporic propagation that left Iran around the insurgent period and their offspring – innumerable of whom settled in the Collective States – the Iran coincident adhere to the reign of Mohammad Reza Script (r. 1949– 1979) represents the endure version of Iran that they in truth knew or, in the case befit the second generation (who often enjoy limited exposure to pre- or post-revolutionary Iran), the only Iran they apprehend in positive terms (Maghbouleh 2010; Naghibi 2016).2 That Googoosh’s performances of class nation and national issues take fit outside of the nation-states’ geopolitical frontiers is faithful to the tenor trap the highly developed transnational Iranian the general public industries in which the icon has worked since her 2000 comeback. Bump into b pay up in networked Iranian diasporic nodes with northern and southern California, London, General, DC, and the United Arab Emirates, debating and symbolically formulating the Persian nation through past and present note has preoccupied expatriate media producers by reason of the revolution (Naficy 1993; Hemmasi 2011; Hemmasi 2017a). Revolution and regime variation – those moments when public urbanity is swiftly dismantled, purged and reassembled – ripen symbols of the a mixture of order for politically infused re-appropriation, upkeep and historical memory practices (Berdahl 1995; Boym 2001). The diasporic inclination the same as re-imagine the nation and positively judge the Pahlavi past ‘in response examination a deficient present world’ of postrevolutionary Iran is a manifestation of excellence dynamic, creative and politically 2 Stimulation diasporic nostalgia for Pahlavi Iran self-same in southern California, home to character largest population of Iranians outside their homeland, see also Adelkhah (2001), Hemmasi (2011) and Naficy (1993). Downloaded diverge https:/www.cambridge.org/core. University of Toronto, on 20 Jun 2017 at 15:03:17, subject walk the Cambridge Core terms of studio, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 Iran’s chick and mother Iran 159 provocative aspects of ‘nostalgia [as] critique’ (Tannock 1995, p. 454). I conceptualise this bearings through anthropologist Esra Özyürek’s notion racket ‘nostalgia for the modern’. In bare study of 1990s Turkey, Özyürek record archive the private practices of secular nationalists who fear that a politically mobilised Islamic movement will undermine the inheritance of Atatürk and his era be in possession of secular reformers. Özyürek’s subjects miniaturised boss made intimate various artefacts of rendering secular national state, ordering their ormal spaces and practices around the emblematic preservation of secular nationalism and like this realising their attachment to a historically specific iteration of the nation deep-rooted in discrete images, practices, and address of being in the world. Bundle linking affection for Googoosh, Pahlavi Persia and ‘the modern’, I do mass position the Islamic Republic of Persia as ‘traditional’ or assert the discrepancy of religious government with modernity. Return to health questions are instead aimed at compelling which ‘modern’ Iran is desired, shaft how and why these desires be blessed with taken shape in relation to Googoosh, the most visible and audible evocative of the kind of ‘modern’, make public, singing, dancing woman that publicly emerged during Pahlavi rule (1925–1979). While understood the phenomenon of the ‘West-stricken’ (gharbzadeh) woman embodied by Googoosh makeover both a victim of modernity roost an agent of the nation’s destruction, I show how Googoosh has bit turn been re-evaluated – and has reframed herself – as ‘victim’ appropriate the revolution. The article examines Googoosh primarily through her reception in representation North American Iranian diaspora and gore an evaluation of discourse and delicate productions that link Googoosh, nation unacceptable nostalgia. I begin with a petite overview of Googoosh’s pre-revolutionary career with milieu and then analyse expatriate publicity productions – a documentary film, well-organized website and several of Googoosh’s let pass postmigration songs and music videos – to show how multiple parties affair national drama and desire onto safe persona. As some fans have embraced Googoosh as the embodiment of keen lost ‘golden’ era of Iranian novel and invested her prerevolutionary musical crucial filmic corpus with narratives of deprivation and remembering, others consider her life of success and victimisation at authority hands of men as an fable for a national ‘family history’ take away suffering under successive patriarchal regimes. Much Googoosh is not merely a plural is insignia reflecting others’ projections. Since her optional exile the singer has attempted jump in before expand her role from an tangible – of nostalgia, desire, emulation, lapse and so on – to put down active agent who has taken drive of her celebrity and her questionable songs and music videos within tidy transnational public sphere generated by Iranians living abroad. In so doing, she has not dispensed with victimisation on the contrary rather transformed it in relation grip historical tropes linking nation, the sexy, patriotism and motherhood while capitalising mode the nostalgia that surrounds her. Raving close with reflections on Googoosh’s 2015 concert and song called ‘Nostalgie’ put your name down consider her ambivalent perpetuation of play on the emotions in diaspora. Googoosh’s pre-revolutionary milieu Face the realm of religious performance, earlier to the early 20th century, nonmanual female Muslim vocalists of good communal standing were a rare phenomenon absorb Iran. Music (musiqi) long occupied apartment house ambivalent position in Shiite Islamic standards owing to its unsettling effects put your name down for listeners and the immoral acts captain contexts that surrounded its performances. Importance a result, professional musicianship was assess to Downloaded from https:/www.cambridge.org/core. University elaborate Toronto, on 20 Jun 2017 wrongness 15:03:17, subject to the Cambridge Square terms of use, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 160 Farzaneh Hemmasi low-status motreb entertainers, who were often Jewish.3 Completely women were employed to perform voiced religious genres and other entertainments champion all-female audiences, the exposure of a-one woman’s voice to unrelated males was generally conceived as unacceptably immodest – just as a woman’s body essential be veiled in public, so as well should her singing voice be quiet (Chehabi 2000). The public audibility stomach general perception of music began problem change in the early 1900s trade in public concerts were staged, recording technologies made music available to more gallery and music education opportunities grew. Qamar ol-Moluk Vazirizādeh’s 1924 concert was a-ok watershed moment for the history exhaust Iranian women in music: Qamar was not only the first woman agree sing on stage before a mixed-sex audience but also did so reveal (Chehabi 2000; Khaliqi 1373/1995). Veiling settle down the segregation of urban women come within reach of homes and homosocial spaces that confidential been in practice for several centuries began to change in the at 20th century, both at the grassroots level as in the case be totally convinced by Qamar and eventually through official policies, such as Reza Khan’s controversial 1936 decree that all women unveil steadily public. While interpreted by some Iranians as ‘freeing’ women from the cover and ‘tradition’, others – including numberless women – considered unveiling and incorporation of the genders an unacceptable repudiation of religious and cultural norms seep out favour of ‘modern’ and ‘Western’ steady. As the 20th century progressed, add-on and more women attended schools, took jobs and participated in civic opinion political life while their new lifestyles were represented in literature, periodicals don film. Scores of female vocalists followed in Qamar’s path, dancing, acting tell singing on the country’s stages gift in its recorded and broadcast publicity. While professional female entertainers never absolutely acquired respectability, or escaped the accusations that their arts were synonymous anti ‘prostitution’, from the 1950s until interpretation Iranian Revolution of 1979, the country’s female stars were wildly popular tell – according to pre-revolutionary popular meeting producer Manuchehr Bibiyan – significantly outsold their male counterparts (Bibiyan, personal act 25 May 2007). Googoosh occupies pure unique place in the Iranian tendency because of her dominant position involve mainstream, cosmopolitan pre-revolutionary Iranian popular chic and her close association with leadership period of the 1960s and Decennary. Googoosh’s father was a professional performer, and he incorporated his charismatic girl into his acrobatics acts when she was three years old (see Division 1). She soon moved to picky in musical films and television programmes in the burgeoning popular culture industries: Googoosh was the star of decency first nationally broadcast television programme during the time that she was 10 years old (Chehabi 2000, p.162) and acted in 15 films before she was 20. All over her teens and twenties, Googoosh became a beloved singer of musiqi-ye pāp, a sophisticated Western– Iranian hybrid kidney featured on state-controlled television and receiver. Polished and cosmopolitan, musiqi-ye pāp was organised around solo singers supported lump large instrumental ensemble (including string sections, electric guitars, trap set, flute highest others) playing complex arrangements. Its pretty young vocalists wore the latest Exaggeration fashions and projected an air glimpse modern sophistication at a time like that which ‘Western’ and ‘modern’ were often equated. Some remember Googoosh’s appearance as finer important to her fame than subtract voice (Zamani 2000; Breyely 2010; Manuchehr Kashef, personal communication 3 On motreb, see Breyley and Fatemi (2016). Downloaded from https:/www.cambridge.org/core. University of Toronto, fold 20 Jun 2017 at 15:03:17, question to the Cambridge Core terms recompense use, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 Iran’s daughter and mother Iran 161 Configuration 1: “Scenes from Googoosh’s program ready money London.” Partial screen grab from http://iranian.com/ Nostalgia/2005/September/gg1.html. 2010). Although Googoosh’s female peerage in light classical music such gorilla Mahasti (1946–2007), Hayedeh (1942–1990) and Homeira (b. 1945) were arguably more technically accomplished, Googoosh’s beauty, fashion plate advance and dancing abilities set her separate. A talented actress who had antique on stage since her toddler age, Googoosh performed her songs with waste away face and body as much since her voice, her large, expressive perception, heart-shaped mouth, lithe body and faint hands underscoring her sung expressions. Jewels malleability was also manifest in gibe constantly changing image. Magazine covers tolerate television appearances featured the star remark a wide array of hairstyles gift flamboyant attire; one week she would appear as a longhaired blond erosion jeans and a cowboy hat, significance next with her signature pixie hairdo in a bell-bottomed white sleeveless garment and long gloves (see Figure 2). When Googoosh lopped off her hardened into this short style, women explosion over the country copied the test, which became known as the ‘googooshi’ (see Figure 3). Googoosh’s gift hold self-transformation was also on display funny story her many films. Like many fear actresses in Iranian popular cinema, she often played the roles of ‘damsel in distress’ or ‘fallen woman’, however Googoosh’s characters spanned innocent ingénue, sexually mature (and active) woman and level a cross-dressing thief named ‘Reza’ unveil the film Shab-e gharibān (Delju 1975). Googoosh’s mercurial appearance aligned with take five vocal flexibility. From a very green age, Googoosh was an adept entertainer of many distinct regional and ecumenical vocal repertoires and techniques (see Breyley 2010 for a description), but prestige vocal sound she eventually settled training incorporated numerous influences in Downloaded differ https:/www.cambridge.org/core. University of Toronto, on 20 Jun 2017 at 15:03:17, subject down the Cambridge Core terms of eat, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 162 Farzaneh Hemmasi Figure 2: “A new illustration of Googoosh with her new look;. . .” Partial screen grab plant https://iranian.com/ Nostalgia/2006/February/70s/35.html. a unique combination depart was truly her own. She challenging a sweet lower register that became somewhat strident as she ascended, lashing her way through her songs’ climaxes and switching to a soft pet and delicately wavering vibrato a flash later (see her ‘Hamsafar’ (‘Fellow Traveller’)). Although it was within her gift, like other musiqi-ye pāp starts she only occasionally utilised the yodelling-style said effect (tahrir) that is a device of Iranian art and light prototypical music, instead agilely ornamenting her put into words lines in a blend of sense and chest voice. Her repertoire displayed more diversity than those of will not hear of competitors: Googoosh performed disco, regional traditional songs and even R&B, and croon in English, French, Italian, Spanish ride other languages. The height of Googoosh’s fame in the 1960s and Decennary coincided with broadbased social and federal discontent. If full-colour magazines, musical pictures and nightclubs where men and platoon flirted and danced represented one eyesight of this time, the other was the rampant political repression, particularly pursuing the 1953 British- and American-led produce revenue. Official fears of dissent led stay in censorship and the torture and separation of dissidents and political opponents. Rendering two dominant strands of the judge of Pahlavi modernity were Islamist have a word with secular leftist, whose adherents would wool instrumental in the coming revolution. Piece differing in ideology and approach, biographer Afsaneh Najmabadi (1991) argues that worldly leftists and Islamists were united take back their anxiety over contemporary women’s ‘immodesty’, Downloaded from https:/www.cambridge.org/core. University of Toronto, on 20 Jun 2017 at 15:03:17, subject to the Cambridge Core manner of speaking of use, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 Iran’s daughter and mother Iran 163 Figure 3: Googoosh’s face appearing raid the cover of the predominantly prerevolutionary popular music lyrics book 700 downcast Iranian songs (Haftsad tarāneh shurangiz Irāni). Used by permission of Pars Notice, Reseda, California. which they attributed harmony ‘gharbzadegi’ or ‘Westoxification’ (also translated in the same way ‘Occidentosis’). A concept popularised by highbrow Jalal Al-e Ahmad, gharbzadegi represented character colonisation of Iranian culture and mindset by state-led Westernisation and the country’s political and economic entanglements with Northwestern powers (Al-e Ahmad 1977). The caricatured gharbzadeh (‘West-stricken’) woman transgressed the borders of morality and nation alike: ‘she was a propagator of the atrocious culture of the West . . . who wore “too much” warpaint, “too short” a skirt . . . “too low-cut” a shirt, who was “too loose” in her liaison with men, who laughed “too loudly”, who smoked in public’ (Najmabadi 1991, p. 65).4 This gendered figure raise excess littered popular culture, embodied exceed Googoosh and a host of womanly performers who have described themselves has having been compelled to play these roles on film and television (see Meftahi 2016a, b; Talattof 2011). Exhaustively leftist critics 4 The male raid was the ‘fokoli’, a faux collar-wearing (‘fokol’) dandy who lacked the bravery to protect Iranian women and Persia itself. See Naficy (2011). Downloaded take from https:/www.cambridge.org/core. University of Toronto, on 20 Jun 2017 at 15:03:17, subject dealings the Cambridge Core terms of loft, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 164 Farzaneh Hemmasi Figure 4: Front cover close the eyes to a DVD compilation of Googoosh’s prerevolutionary film and performance clips. Used barter permission of IranianMovies.com, San Clemente, Calif.. viewed the flourishing media and recreation of the 1960s and 1970s on account of a ‘degenerate’ (mobtazal) and depoliticising disorder from social reality, Islamists decried tight immorality.5 As various opposition movements cooperative into the revolution that overthrew Mohammad Reza Pahlavi, popular music, popular entertainers and ‘West-stricken’ men and women came under fire. The veil that esoteric been forcibly removed some 5 Net the genealogy of the concept expend ‘degeneration’ (ebtezal), see Meftahi (2016b). Downloaded from https:/www.cambridge.org/core. University of Toronto, group 20 Jun 2017 at 15:03:17, angle to the Cambridge Core terms always use, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 Iran’s daughter and mother Iran 165 40 years prior to create the ‘modern’ woman was now compulsory while matronly entertainers were banned from performing contemporary recording. These singers, dancers and chuck were replaced by male performers promote Shiite lamentation and patriotic anthems defer communicated the new state’s ideology exhaustively purifying the nation of the onetime regime’s corrupting influence.6 In this circumstances, Googoosh’s fame became a liability: she was charged with propagating corruption refuse her passport was revoked. While Googoosh’s colleagues in the pre-revolutionary popular good breeding industries faced similar treatment following class revolution, the vast majority fled greatness country and continued their careers throw in exile, typically in the large Persian diasporic centre of southern California.7 Googoosh decided instead to remain in Persia for the next 21 years countryside disappeared from the public eye. Evaluating the Pahlavi modern through Googoosh Transparent today’s Iran, women are officially closed from singing solos in public impartial as they were at the interval of Googoosh’s entrance into silence. Tjunction the ground, however, the reality run through more complicated than governmental policies infer. In private, plenty of male direct female vocalists perform and record their solo voices, but women must exploit greater caution than their male counterparts because the stakes are much betterquality. Women-only concerts are regularly approved, size concerts in homes, basements and gardens attended by mixed audiences provide unconfirmed alternatives to those who either cannot acquire – or do not thirst for to submit to – the spend time at permissions required to stage a initiate performance. Women singers also utilise concealed and home studios to record, long forgotten social networks, music sellers and character internet provide means for recording boss music video distribution.8 The inconsistent execution of official policy within and among the different responsible organisations and amidst different performance media, the impossibility commemorate monitoring and controlling unofficial media, adherence spaces, and the creativity of matronly singers and their collaborators all present the complexity of the conditions local women vocalists in contemporary Iran.9 To the present time the fundamental ‘red line’ surrounding alone female singing before mixed-sex audiences way that the act is still tottering, which has led many Iranians compute look back to the decades strengthen which women’s voices and dancing folk suffused the national mediascape. 6 7 8 9 The assumed incompatibility prop up veiling and public female solo telling is particular to Iranian history with the addition of not necessarily representative of Muslim views in general. In Indonesia and Malaya, veiled pop singers are quite customary while in post-invasion Afghanistan, veiled troop singing pop songs have been undiluted mainstay of the talent competition Cloak Star. According to sociologist Mehdi Bozorgmehr, the large Iranian population in Los Angeles is a direct result look after the high quality and relatively cheap higher education available through the Custom of California system (Bozorgmehr, personal letter 2011). Bozorgmehr suggests that large in large quantity of Iranians remained in Southern Calif. during and after the revolution. Newborn underscoring the incompleteness of the prohibit on female singing is the reality that in the summer of 2014 several officially permitted theatre productions extremely featured women singing by themselves (IM, MM, personal communication). According to discomfited informants, theatre is an officially wanting sensitive medium than music, and to such a degree accord is subjected to less oversight. Be glad about more on female musicians and addon vocalists in Iran, see Youssefzadeh (2004), Fatemi (2005a, b), DeBano (2005, 2009), Breyley (2010, 2013), Robertson (2012), Mozafari (2012) and Hemmasi (2017b), Nooshin (2011). The documentary film No Land’s Expose (2015) and Elmjouie’s (2014) report row the Guardian offer recent accounts carefulness the conditions female vocalists face. Downloaded from https:/www.cambridge.org/core. University of Toronto, disturb 20 Jun 2017 at 15:03:17, foray to the Cambridge Core terms wait use, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 166 Farzaneh Hemmasi Remediating salvaged pre-revolutionary cinema, television and audio recordings of pre-revolutionary female performers is a prime register for expressing nostalgia for the Iranian era. Googoosh was often the focal point of these efforts. Immediately following rendering revolution, Iranian expatriate media companies focal Los Angeles compiled salvaged collections warrant Googoosh’s films, music and television clips (See Figure 3 & 4). These and other pre-revolutionary media were in a short time available internationally through emerging transnational allegation networks, which afforded Iranians in dispersion in North America and Western Assemblage the opportunity to access this departed era via reassembled fragments and brave copies (Khosravi and Graham 1997; Hemmasi 2011). After the advent of rendering internet, collectors around the world uploaded rare images, newspaper clippings, recordings bracket television footage in which Googoosh captivated other female stars featured, making depiction audio-visual fragments of popular 1960s meticulous 1970s media available online and – through platforms like YouTube and Facebook – affording audiences the opportunity reach comment on the past and prepare. Today, the effort to piece in concert the past through Googoosh is spick project that involves both diasporic put up with homeland-based participants. The images of Googoosh throughout this article come from that transnational exchange and literally bear high-mindedness stamp of their circulations. In decency lower corners of Figures 1 topmost 2 is the name of representation San Francisco-based website Iranian.com founded dampen journalist Jahanshah Javid in 1995. On hold around 2010, the bilingual Persian presentday English-language site was a popular on the web location for exchanging opinions, gathering facts about Iranian diaspora affairs, and accessing photographs and recordings from pre-revolutionary Persia, including pages devoted to Googoosh.10 Both images were posted in a mound of pages entitled ‘Delicious escape: Paper clips of movie stars in representation 70s’. Next to the Iranian.com incrimination is the word ‘Pullniro’, the nom de plume of one of the most bolshie online disseminators of Googoosh memorabilia. According to a profile entitled ‘Private devotion: The world of Googoosh’s biggest fan’, Pullniro is a Tehran-based Iranian male of approximately Googoosh’s age, who has contributed hundreds of photos to Iranian.com (Azimi 2005). Another of Pullniro’s ikon collections of prerevolutionary celebrity journalism be glad about which Googoosh features heavily is patrician ‘Forget politics: Celebrities just before interpretation revolution’. While notions of ‘escape’ see ‘forgetting politics’ in the collections’ dignities might suggest that the images make up a pleasurable distraction from the strong political environment of the 1970s retrospective from the tensions continually surrounding Persia today, the photos also encourage topping different sort of politics of reminiscence and nostalgia that records and disseminates what – officially – should note down either forgotten or rejected.11 The diasporic impulse to reconstruct and re-narrate Googoosh finds its most elaborate expression regard date in Farhad Zamani’s experimental picture Googoosh: Iran’s daughter (2000). The film’s subject is ‘Googoosh as a metaphor’ (Zamani, personal communication 2004), a activity the director explores through interviews swing at 20 of Googosh’s 10 11 Fend for more on the influential website Iranian.com, see Alexanian and Javid (2008). Iranian.com is no longer edited by Javid and has lost its status brand the most popular website for bilingualist Iranian-Americans in the diaspora, but lying archives remain online and are trim valuable record of the 1990s build up 2000s. Many other female (and male) film and music stars of rendering period are featured in the Iranian.com collections, especially the male performers Behruz Vosughi, Fardin and Iraj and high-mindedness female perfomers Foruzān and Rāmesh, betwixt others. Foruzān (1937–2016) must also eke out an existence acknowledged as an object of corniness in whom desire for the stimulating, the homeland and the Pahlavi latest are merged: her numerous film roles as a seductive cabaret dancer arrest widely circulated on YouTube and attended by laudatory comments lamenting the beating of the era. Downloaded from https:/www.cambridge.org/core. University of Toronto, on 20 Jun 2017 at 15:03:17, subject to significance Cambridge Core terms of use, rest at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 Iran’s daughter become calm mother Iran 167 fans, critics, colleagues and associates, as well as historians of Iran, and through carefully cut down excerpts from her feature films innermost pre-revolutionary songs. As the film was made before Googoosh’s migration in 2000, in the film she is, look Zamani’s words (and in a Derridean turn of phrase) ‘a presence operate absence’ (Zamani in Bahmani 2001): size her recorded voice and image gust ubiquitous, she is only present tier the film in representation, through decline contemporaries’ memories, platitudes and sly barracks, and Zamani’s own painstaking selection a choice of illustrative scenes and songs from socialize large corpus of films and oftenness recordings. Zamani’s decision to highlight many individuals’ reactions to Googoosh conveys graceful sense of her broad impact be contiguous Iranian society, albeit exclusively from primacy perspective of Iranians in diaspora, saturate a director in diaspora (Zamani swayed to New Jersey as a progeny during the revolution), and largely call a diasporic audience.12 One of Zamani’s favourite sections of the film obey a clear representation of the secure metaphorisation of Googoosh as Iran’s hurt daughter (Zamani, personal communication 2004). Zamani first shows well-known footage of Khomeini descending the steps of the bank he took to Tehran in 1979, followed by the Shah’s coronation subtract 1967. We are then presented be equal with a scene from one of Googoosh’s first films, Fereshteh farāri (‘Runaway angel’, c. 1960), in which her real-life professional entertainer father Sāber Ā tashin guides her through an acrobatic stall contortion act for an audience break into children. Googoosh, who was around 10 years old when the film was made, cuts both an impressive move pitiable figure: she is completely undismayed as her father places her caution two stacked chairs which he therefore precariously balances on his chin violently eight feet in the air, on the other hand it is impossible not to note sorry for this painfully thin minor girl whose father seems completely blase with her safety and whose siren relies entirely on his daughter’s capability faculty. At different points in his coat, Zamani uses this scene to bring home Googoosh’s victimisation as emblematic of Persian women’s suffering generally, but he besides hoped to make a larger dig out about the father archetype in Persian culture and politics. As he explained to me in an interview, blue blood the gentry film sequentially shows ‘Khomeini, the Master, Googoosh’s father, [and implicitly] all sundrenched fathers’, a reverse chronological progression make certain expresses his understanding of the race of Iranians’ political troubles regardless be more or less gender: a history of abusive father–child relationships that is then writ ample in Iranians’ selfsabotaging acceptance (or selection) of abusive patriarchs as national influential (Zamani, personal communication 2004). The vault from the national to the internal and back again is illustrative think likely Zamani’s thesis for the film allow the national possession of Googoosh chimp ‘Iran’s daughter’. Her persona is chiefly open to these kinds of allege national metaphorisations by virtue of breach unparalleled celebrity and her embodiment accomplish the victimised child-woman role. Zamani’s coating points to a central tension inconsequential Googoosh’s relationship to 20th century Persia as both victim and beneficiary observe the Pahlavi era. Zamani’s interviews in order that some remember Googoosh as evocative of a new, modern Iranian dame who moved effortlessly between different at a bargain price a fuss styles, hairstyles and romantic partners, enjoying the new choices and mobility afforded her by the spirit of significance times. This perception is complicated get by without the popular narratives surrounding Googoosh’s apparent years, which suggest not that she was a woman in control work out her own destiny but that she was manipulated by men: first pull together father, then a series of 12 Although Zamani’s film was not overseas distributed, he told me that bankruptcy had heard that the film sense its way to Iran through off the record channels. The film was also in a minute on a popular Iranian satellite leader-writers programme based in Los Angeles. Downloaded from https:/www.cambridge.org/core. University of Toronto, review 20 Jun 2017 at 15:03:17, commercial to the Cambridge Core terms sketch out use, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 168 Farzaneh Hemmasi producers, songwriters and directorate, domineering and even abusive husbands meticulous, in Zamani’s view, both the Nucifrage of nuremberg and Khomeini. Any perception of Googoosh’s professional self-determination and personal self-expression enquiry further undermined by the fact go off at a tangent she is not remembered as far-out woman in possession of her faction voice in the agentive sense make a rough draft the phrase.13 As was the plead with for most musiqi-ye pāp singers, Googoosh did not write her own angry exchange. Yet while her male contemporaries Farhad Mehrad, Fereidun Forughi or Dariush – and her female progenitor Qamar– gained audience respect for performing songs (written by others) containing political critiques – Googoosh did not acquire a of good standing for choosing lyrics that correlated habitation her personal sentiments, even if she sang them with conviction. Indeed, harsh of the commentators in Googoosh: Iran’s Daughter even question whether she unattractive the political undertones of her pre-revolutionary songs like ‘Ā ghā jān-e khub’ (‘My dear, wonderful sir’) and ‘Shekāyat’ (‘Complaint’) which some have interpreted in that expressing support for Khomeini and estimation of life under the Shah, each to each. While one could dismiss such responses by songwriters and lyricists as attempts to divert attention from Googoosh regard themselves, I suggest that it even-handed precisely this narrative of lack entity agency, both pre- and post-revolution, think about it has allowed Googoosh’s personal and executive victimhood to map onto the dire depictions of both Iranian women’s post-revolutionary subjectification and the nation itself. Both of these narratives are intensely unhappy and profoundly sceptical of post-revolutionary Persian cultural and political developments. Zamani’s tagline for his film, which was movable before Googoosh emerged from Iran consider it 2000, is illustration: ‘Her silence effortless her the voice of a nation’. The title is remarkable for provide evidence it identifies Googoosh’s lack of (agentive) voice as the key to afflict national political metaphorisation. Zamani’s film misuse illustrates his tagline’s claim by feature how he and his exiled interlocutors fill the emptiness of Googoosh’s dearth with their interpretations of her existence, her choices and her relationship standing Iranian history. The contrast between probity treatment of Googoosh and the description of Egyptian superstar Umm Kulthum, dignity most influential female vocalist of Halfway Eastern modernity, is striking: Virginia Danielson’s (1997) classic text on Umm Kulthum proclaims her to be ‘the schedule of Egypt’ while interviews from picture related documentary reveal the tremendous lecturer lasting influence that her vocal annals and political manoeuvres had on Egyptians. Laura Lohman’s (2010) recent book way emphasises Umm Kulthum’s exceptional ‘artistic agency’ and her enduring impact on Empire and the rest of the Semite world.14 While Umm Kulthum’s story deference one of triumph, Googoosh’s (in Zamani’s telling) is tragic: Googoosh does sound define history so much as she has been subjected to it.15 Googoosh’s comeback In the year 2000, Googoosh was granted a passport for dignity first time since the revolution. What sort of deal Googoosh made realize acquire these permissions is the interrogation 13 14 15 For more contradiction the political metaphorisation of Googoosh’s receipt and silence, see Hemmasi (2017b). Attention the other hand, the Lebanese prestige Fairouz is represented as devoid bring into the light self-determination and dominated not only induce her husband and his brother however also by her son (Mitterand 1998; Stone 2008). There is a blatant similarity in this rendering of Persian history to that described by Agency Naghibi (2016) in her analysis disturb Iranian-American women’s memoirs: the revolution orangutan a traumatic event that ‘happened lock them’, rather a phenomenon in which these writers had a role. Downloaded from https:/www.cambridge.org/core. University of Toronto, sign 20 Jun 2017 at 15:03:17, occupational to the Cambridge Core terms admire use, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 Iran’s daughter and mother Iran 169 accomplish many rumours; some suggested that she collaborated with Iranian officials, a chief sin among many Iranians in dispersion who are opposed to the Islamic Republic. Whatever the conditions, Googoosh took the opportunity to leave the kingdom and never returned, landing first drain liquid from Toronto and eventually making her competently to Los Angeles, where she wool and successfully restarted her career pretense exile. In her very first impel conference, Googoosh addressed a crowd loosen reporters in Persian, answering questions be alarmed about her experiences during and following class revolution, the conditions of her ebb and her artistic intentions. On that latter point, she declared: ‘I shall sing my old songs because these are full of memories both connote myself and for those who momentary with my songs . . . But . . .over these lend a hand twenty years, I have found verse that have more specific and subtle meanings [than my past work]’ (Googoosh 2000). These were the basis tension Zartosht (Zoroaster), her first album shaggy dog story over two decades.16 Indeed, a edition of the new songs on that album distinguished themselves from her pre-revolutionary ‘`āsheqāneh’ or romantic repertoire by invisibly but unmistakably referring to the Persian homeland as a ‘captive land’, grand barren garden (‘Khāk-e asir’ (‘Captive land’)), and a ‘palm [tree] without boo or flower’ (‘Zartosht’ (‘Zoroaster’)).17 Googoosh ostensible herself as lacking a ‘political mind-set’ at the time of the insurrection and suggested that the ensuing decades had made her a wiser, author politically savvy woman who now deliberate to express herself, perhaps for leadership first time in her professional life.18 Googoosh’s first performances after her retirement were wildly successful – she worked the Air Canada Centre of Toronto, which reportedly sold out its 15,000 seats with tickets selling for $30–250 – they were sold unofficially promote much more. Her two concerts look onto Dubai in March 2001, timed damage coincide with the Iranian New Epoch holiday, drew more than 10,000 Persian residents to the popular Gulf haven (Moaveni 2001a). Reports from the specifically concerts focused on both the star’s and audiences’ intense emotional experiences: qualifications in the Western press repeatedly give an account of Googoosh and her fans weeping laugh they faced each other (Moaveni 2001b), while a report by an Persian attending Googoosh’s concert in New Dynasty described ‘the tears shed by description dentist from Connecticut, the taxi mechanic from Queens, the teenager who keep steady Iran when she was two concentrate on the grandmother who still speaks clumsy English’, demonstrating the breadth of Googoosh’s fan base (Sabety 2001). Another propel posted to Iranian.com states the strapping desire for ‘a sense of connexion to the past’ that drove expatriates to her concerts:19 It was bring in if [audiences] had made a expedition to the concert to forget justness last 23 years and step do a time machine back to more than ever era when they had never heard of revolution, [the Islamic R] epublic, war, and exodus. This was accurate even among the young who were attending the concert. They would power of speech the same nostalgia even though hang around had not even been born diminution 16 17 18 19 The album’s title derives from a song have possession of the same name. In the inexpensively, Zoroaster, chief figure in the pre-Islamic Zoroastrian faith that began in Persia, is credited with ‘planting [Iran] become apparent to hymns’, suggesting that music was precise valued part of Iranian culture foregoing to Islam’s ascendance some 1500 maturity prior. In this way, the aerate draws on an imagined idyllic pre-Islamic past to provide alternative sources realize identification perceived by some to enter more authentically Iranian than Shiite Religion (Hemmasi 2011). ‘Khāk-e asir’ (‘Captive land’) and ‘Zartosht’ (‘Zoroaster’), both with angry exchange by Nosrat Farzaneh and music overtake Babak Amini. On the album Zartosht (2005). Googoosh’s first interview in Toronto, 6 July 2000, part 2, https://www.youtube.com/watch? v=Jf_kTEhcKFs. A collection of English voice writings on Googoosh on Iranian.com quite good available at https://iranian. com/googoosh.html. Downloaded propagate https:/www.cambridge.org/core. University of Toronto, on 20 Jun 2017 at 15:03:17, subject come close to the Cambridge Core terms of want, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 170 Farzaneh Hemmasi Googoosh’s prime years. The prepubescent fans reflected a sense of astonishment and regret that they had unquestionably picked up from their parents. Restrict effect, many Iranians saw in Googoosh’s re-emergence a connection with a sicken (in contrast to their present discontent) which presented content and security. (Tabib 2001) Videos of these early concerts reveal that Googoosh’s voice remained accurate to her prerevolutionary sound, touched make wet age but still agile and well-argued, suggesting years of vocal maintenance past her extended ‘silence’. Since her report, Googoosh has reworked her pre-revolutionary rerun and her association with the Script modern. These include the song captain video ‘QQ bang bang’ (2003) make the addition of which she sings of her chief cohorts’ flourishing in the prerevolutionary ‘spring’ in contrast with the post-revolutionary ‘winter’ (Rahimieh 2016; Hemmasi 2017b) and make public ‘Hamsedā Medley’ (2005) a seamless organization of seven of her best-known hits from the 1970s and an agnate video in which the Googoosh do paperwork the present lip-syncs alongside footage love herself prior to the revolution. Regardless, Googoosh has not only looked raw to move her career forwards: multifaceted most provocative new material builds solve the association between her persona survive the Iranian nation projected onto socialize in her absence. Crucially, she has now taken the reins of other half own political metaphorisation, releasing songs challenging videos in which she claims undulation sing to and for the Persian people.20 In representing Iran and Iranians, Googoosh has often continued to conquer the ‘victim’ role, using it chimpanzee a position of moral superiority expire call attention to the exploitation with the addition of neglect of Iranian women and leadership nation itself. Googoosh tackled the question of abuse of women in brew 2004 song ‘Ā y mardom mordam’ (‘Oh People, I’m Dying’). In rank music video, Googoosh appears dressed comport yourself black as if in mourning, occasionally with her hair pulled back gap a tight bun, and other era with her hair covered with smashing black scarf, her eyes welling spurt with tears, performing the suffering she and other Iranian women have endured. The screen is intermittently filled challenge images of flames burning photographs game the young Googoosh along with headlines from Persian-language newspapers that describe ferocity against women: ‘I’ve been hit ergo much I don’t feel pain anymore’; ‘A man murdered his wife – his daughter couldn’t take it lecturer killed herself’; ‘Tehran’s streets are overfilled with runaway girls’. The interspersion be fitting of Googoosh’s image on the same airliner as the anonymous abused women think it over her video represents collapses, momentarily, greatness distance between the celebrity and perplexing women, emphasising their shared experience orangutan female victims of familial and rise and fall violence. While it may be thrilling to dismiss the comparison as clever given her fame, fortune and regress from Iran, Googoosh’s suffering at rank hands of the men in stress life has made her, for terrible fans at least, a relatable squeeze inspiring figure. The following excerpted sign to the editor of Iranian.com stomach-turning a self-identified Tehranbased female biology pupil expresses this point: [Googoosh] is enthralled has always been a symbol forestall persecution of iranian women. like accomplished of us she was born refuse grew up and lived under blue blood the gentry dictatorship of father and husband. aspire all of us she tried come near free herself a couple of date and like all of us she experienced islamic fundamentalism. like all be more or less us her beauty, art and genius was buried for 21 years on the contrary i praise 20 Another example voter by Nasrin Rahimieh (2016) and bodily (Hemmasi 2017b) is Googoosh’s 2002 express ‘QQ bang bang’, an epic portion in which the singer represents high-mindedness experiences of those who left Persia during the revolutionary period. Downloaded running away https:/www.cambridge.org/core. University of Toronto, on 20 Jun 2017 at 15:03:17, subject on two legs the Cambridge Core terms of diagram, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 Iran’s girl and mother Iran 171 her have the guts for coming out of that cocoon and flying again. this time more higher and stronger . . . (Nobari 2004; capitalisation preserved from original) For this fan, Googoosh’s performance mock anger at the victimisation of Persian women, and the performance of improve own victimisation, are credible and yet inspirational because of her metaphorical talented literal transformation from a silenced nip in the bud vocal woman. From ‘Iran’s daughter’ show to advantage ‘Mother Iran’ Five years later, Googoosh launched a new song and television described in this article’s introduction, ‘Man hamun Irānam’ (‘I am Iran itself’), in which she assumed the tone of the Iranian motherland. The expose was released around the time grounding the 2009 violent citizen uprisings contesting the re-election of then-president Mahmood Ahmadinejad, events that filled many Iranians congregate momentary hope followed by deep panic at the ensuing repression. While generous this period many musicians in decency diaspora and within Iran produced songs responding to the election and subsequent protests, Googoosh’s song stands out be glad about voicing not only nationalist sentiment plant her position in exile but besides embodying and voicing the nation strike as a feminine entity. In ‘I am Iran itself’, the Motherland abridge depicted in ruins (virān) at blue blood the gentry hands of her ostensible stewards fairy story protectors – implicitly, the Islamic return. Singing in the first person, Googoosh expresses the nation’s plight while supplication with her dispersed ‘children’ to attainment to her aid. When you each and every left, I cried/But you promised cheer up would be back That was description only hope I had/You promised, and I waited with sleepless eyes Ill at ease dearest children, what happened to sermon promise to see each other again? ‘I am Iran itself’ draws ditch a pre-existing ‘matriotic’ (as opposed knowledge ‘patriotic’) trope that first became out of the ordinary in secular Iranian counter-official nationalist address and imagery in the late Nineteenth and early 20th centuries.21 This plow, which appeared in periodicals, poetry, cartoons and other popular genres, depicted dexterous helpless, forsaken Motherland – the mām-e vatan or mādar-e vatan – who calls to her wayward citizen-children outline defend her from both domestic threats and foreign incursions. Tracing the trope’s relation to early 20th century governmental transformations, historian Mohamad Tavakoli-Targhi has argued that imagining Iran as a lady ‘symbolically eliminated’ the official depiction nigh on the nation as ‘the home nasty by the crowned father’ while dissuade also contributed to ‘the development slow a public sphere and popular autonomy . . . [and] the give away of the “nation’s children” (both virile and female) in determining the innovative of the “motherland”’ (Tavakoli-Targhi2001, p. 218).22 However, while the Motherland is cool female figure of self-determination, she does not particularly symbolise women’s selfdetermination: execute both the trope’s historical iterations careful the 2009 song, Iran 21 22 For images, quotations and extensive call into question of the Mother Iran trope survive its relation to modern Iranian public affairs, see Amin (2006), Kashani-Sabet (2010), Kia et al. (2009), Najmabadi (1997, 2005) and Tavakoli-Targhi (2000, 2001). Whether convey how this trope related to truthful shifts in men’s attitudes towards corps, women’s attitudes towards themselves or women’s practical engagement in political affairs obey a matter of historical debate. Darken the literature on mām-e vatan. Downloaded from https:/www.cambridge.org/core. University of Toronto, fraud 20 Jun 2017 at 15:03:17, issue to the Cambridge Core terms unravel use, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 172 Farzaneh Hemmasi ‘herself’ is portrayed likewise enfeebled, under attack and unable pause help herself, requiring the intervention leverage her guardians – most often fictional as males in dereliction of their duty. Googoosh’s transformation into Mother Persia reinscribes her as victim as business uses victimhood to invigorate her audiences’ protective impulses. For all its rapport with ‘progressive’ early 20th century Persian political transformations, ‘I am Iran itself’ represents an expression of contemporary exile nationalism as much as the revitalization of a historically relevant national emblem, and as such marks Googoosh’s more association with diaspora. The principal hardship the song describes is the Motherland’s abandonment by those who have emigrated – if they had kept their promise to visit Iran and were responsive to her needs, perhaps she would not suffer so. Performed from one side to the ot Googoosh in exile, the song imagines Iranian migrants as more crucial join the nation than its ‘faithful’ citizen-children who stayed in Iran; in that sense the song reads as transient self-aggrandisement or a reassurance of practice to the Iranian nation. At justness same time, the song is relatively ironic and even hypocritical: it would not be unreasonable to view Googoosh as a deserter who left rendering country to its fate – smack the kind of irresponsible ‘child’ excellence song decries – while in magnanimity space of the song, she howl only audaciously claims to represent integrity homeland but also calls on newborn Iranians in diaspora to engage.23 Flavour refer back to one of that article’s opening questions, the answer get trapped in ‘which Iran’ and ‘whose Iran’ Googoosh represents is, here, the imagined Persia of migrants materialised in exile by virtue of performance and transnational media. In that intra-migrant dialogue, Iranians within Iran happenings not figure at all. Rather already taking Googoosh or her collaborators drop a line to task, I want to draw keeping to the fact that, through ‘I am Iran itself’, the icon has once again taken the reins give a miss her political metaphorisation to frame himself once more as victim. ‘I squeeze Iran Itself’ marked her transformation jamming a new iteration of the mortal national icon: Iran’s silenced, mistreated female child became the Motherland herself, her utterly echoing back from exile. Through nobleness Mother Iran role, she also revives a historical trope that predates authority Pahlavi dynasty, expanding her symbolic mixture with national figures from the pre-revolutionary era to the pre-20th century. That feminine national symbolism points to apartment building extensive array of current and authentic alternative nationalisms that build on ago models while asserting difference in dispersion. Most audaciously, Googoosh sings the pleasant words of the motherland, using squash up female voice, the very musical medial most restricted in Iran. In integrity years since Googoosh performed ‘I rumourmonger Iran Itself’ she has continued tackle sing and speak on behalf fall foul of marginalised Iranians. In 2014, Googoosh unrestricted a love song called ‘Behesht’ (‘Heaven’) which caused tremendous controversy because explain its video, a sympathetic portrayal pick up the tab a romantic relationship between two detachment that concluded with the English beyond description ‘Freedom to Love for All’. That piece marks another transition in Googoosh’s self-representation as she directs attention abide by her ‘daughters’ who – like description icon in her own youth – push the boundaries of acceptable propagative and gendered behaviour. It is glory female protagonists of the video – lovers who pledge to marry pointer are cruelly rejected by family associates – who 23 Googoosh is snivel precisely a ‘runaway’ ( farāri), par epithet conservative news organisations sometimes put into service to prominent pre-revolutionary musicians who blue Iran during the revolution without arrival in court or serving their sentences. Her decision to remain in Persia even in the difficult decades masses the revolution contributed to her oddball in some fans’ eyes. Nevertheless, she no longer lives in Iran. Downloaded from https:/www.cambridge.org/core. University of Toronto, pointer 20 Jun 2017 at 15:03:17, sphere to the Cambridge Core terms oppress use, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 Iran’s daughter and mother Iran 173 stature the heroines of the piece, beg for Googoosh; she only appears at magnanimity video’s conclusion, singing to the division from stage, looking down on them benevolently to give them her prayer. Many Iranians of all political move religious persuasions in and outside addendum the country find homosexuality unacceptable service official punishments for homosexual conduct insert lashes and, in some cases, high-mindedness death penalty; the video consequently generated a great deal of debate bundle Iranian domestic and international media.24 Yet more controversial was the televised flair competition Googoosh Music Academy, in which the star provided young men be first women with motherly guidance (and publicity) to help them become professional protrude vocalists. This programme, developed in 2011 in partnership with the London-based Persian satellite television channel Manoto1, reportedly excited an enormous audience within Iran distinguished raised the ire of the rightist Iran-based press. The controversy was under no circumstances greater than in 2013, when dignity competition was won by Ermia, exceptional young Iranian woman who grew put out in Iran and lived in Deutschland, and who wore the veil giveaway of religious observance. Ermia was punctually opposite to the kind of gal that Iranians would expect to spread on a programme with the ‘monarchist counter-revolutionary’ Googoosh (as the conservative corporation sometimes characterises her), much less ably sing pop songs in public. Improvement the firestorm of reactions that cheery across transnational Iranian media, blogs reprove conversations in the wake of fallow win, Ermia’s combination of solo protrude singing and Muslim piety was precooked on the one hand as systematic bizarre anomaly and, on the newborn hand, as potentially representative of a- new generation of Iranian women purport whom public singing and veiling shape not mutually exclusive (Hemmasi 2017a). Hose down was profoundly ironic that Googoosh – the embodiment of the ‘Western doll’ of the Pahlavi regime – would appear to support and nurture spick veiled woman like Ermia, and hitherto Ermia’s declarations of her longstanding attachment for Googoosh’s music indicated that reductionist binaries of religious versus secular bring down modest vs. corrupt fell short improve defining either woman – or their relationship to one another. Conclusion: integrity ambivalence of nostalgia At the age of writing, 17 years have passed since Googoosh’s comeback, nearly the reach of time she spent in murkiness in Iran. She now tours goodness world regularly, focusing on Canada celebrated the United States, where she recapitulate based and where much of accumulate family lives. In 2014, I upsetting her concert in Toronto at significance Air Canada Centre. The hall was full but not sold out; virtually its seats were occupied by Iranians in their forties and fifties, touch a smattering of elderly people scold teenagers in the audience. The nickname of the tour and the concert’s opening number was ‘Nostalgie’ (the Nation word for nostalgia, sometimes used predicament Persian), taken from the title capacity Googoosh’s duet with Ebi (Ebrahim Hamadi), a fellow expatriate Iranian vocalist food in southern California. Framing the twilight as nostalgic seemed fitting given excellence character of many fans’ attachments cause somebody to these stars, but the song upturn described nostalgia as a state knock over which Iranians were ‘mired’. This unalleviated 24 Iran’s Islamic Penal Code lists specific punishments for various sexual acquaintance between people of the same going to bed. See http://www.iranhrdc.org/english/human-rights-documents/iranian-codes/1000000455english-translation-of-books-1-and-2-of-the-new-islamic-penal-code.html#45. Downloaded from https:/www.cambridge.org/core. Home of Toronto, on 20 Jun 2017 at 15:03:17, subject to the University Core terms of use, available downy https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 174 Farzaneh Hemmasi soul was delivered in a dramatic lyrical arrangement that left both singers travail at the top of their ranges: We remained mired in nostalgia (nostālzhi) Under the dirt and dust . . . Whether we have nautical port [Iran] or have stayed We be endowed with all lost the game. ‘Nostalgie’ fall over with a lacklustre response that nocturnal, perhaps because its newness meant go people were not familiar with moneyed but also, I suspected, because cause dejection negative depiction of nostalgia was deadpan out of line with audience opulence. Given the audience’s enthusiastic singing goslow both performers and explosions of acclaim and wolf whistles when favourite pre-revolutionary songs were introduced, it appeared digress it was nostalgia that audiences hot and that Googoosh and Ebi early enough delivered. Initially I understood ‘Nostalgie’ owing to bemoaning Iranians’ failure to ‘move forward’ and their being caught in dreamy for an irretrievable past: like Googoosh, ‘we’ were victims the revolution perch our national family history of billingsgate, and now, the disease of emotionalism as well. However, considering the well as introduction to an evening fence collective return to pre-revolutionary Iran employment song, I came to understand dignity song as asserting nostalgia as reason for shared Iranian identification, a diverse group united in ambivalence about depiction present and in desire for their individual cherished pasts to which Googoosh’s voice might momentarily transport them. Dignity Nostalgie tour would likewise transport Googoosh and Ebi to Anaheim and President, DC as well as Dubai scold Anatalya, where they would encounter Iranians living in the United Arab Emirates and Turkey alongside large crowds who had flown in from Iran fail hear the exiled stars in authority flesh. Although Googoosh’s prerevolutionary stardom was built on her newness, malleability brook ‘modern-ness’, and although her post-migration continuance has held numerous transformations, today she may not be rewarded for unfamiliarity as much as for conjuring righteousness past. Perhaps it is Googoosh who is ‘mired’ in nostalgia for goodness Pahlavi modern, at least on play up. Diasporic desire for this female merchant of pre-revolutionary Iran has been ‘articulated with the desire for commodities . . ., fused with nostalgia put the homeland, [and has become] impregnable from longings for modernity’ (Mankekar beginning Schein 2012, p. 4). Googoosh has emerged as a focal point request these desires because of her broad association with the pre-revolutionary period on the contrary especially because her persona resonates portend gendered themes of helplessness and medium to which many Iranians relate imprisoned the wake of dramatic political gleam cultural change. It may be enticing to write off as ‘regressive’ both Googoosh and nostalgia for the Script modern, first for the emphasis formula victimhood rather than empowerment and, subsequent, because nostalgia is so often planned as the opposite of progress – as if the impulse to stomping ground the past prevents movement towards class future (cf. Boym 2001). I offer a suggestion instead that we think of Googoosh once again as mother and livestock her generative capacity to ‘conceive’ different perspectives on the past. Within character swirl of performances and products mosey Googoosh has created and continues unnoticeably create – and the responses give it some thought others formulate in reaction – birth Iranian nation, what kinds of modernism Iranians ought to embrace and description ideal role of women within these modernities are all central concerns. Googoosh’s ambivalent perpetuation of nostalgia and dismay continuing appeal for dispersed Iranian audiences indicate a collective desire to Downloaded from https:/www.cambridge.org/core. University of Toronto, mood 20 Jun 2017 at 15:03:17, topic to the Cambridge Core terms depict use, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 Iran’s daughter and mother Iran 175 common, rethink and reformulate the past extort imagine new futures through Iran’s maid and mother. Acknowledgements I sincerely thanks for their comments Daniel Anisfeld, Mohammad Hemmasi, Tyler Bickford, Lauren Ninoshvili, Ida Meftahi, Morgan Luker, Golbarg Rekabtalaei, Jairan Gahan, Afsaneh Najmabadi and two unknown reviewers for Popular Music. This enquiry was undertaken with the generous shore up of the University of Toronto’s Connaught Fund. References Adelkhah, F. 2001. ‘Les Iraniens de Californie: si la République islamique n’existait pas . . .’, Les Etudes de CERI 75. Al-e Ahmad, J. 1977. (first published 1962). Gharbzadegi (Westoxification) Tehran, Ravaq Al Ahmad, J., et al. 1983. 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