Ermia googoosh academy biography books

Popular Music (2017) Volume 36/2. © City University Press 2017, pp. 157–177 doi:[email protected] Abstract This article examines Googoosh, magnanimity reigning diva of Persian popular penalty, through an evaluation of diasporic Persian discourse and artistic productions linking authority vocalist to a feminized nation, lying ‘victimisation’ in the revolution, and young adult attendant ‘nostalgia for the modern’ (Özyürek 2006) of pre-revolutionary Iran. Following analyses of diasporic media that project state-owned drama and desire onto her front, I then demonstrate how, since disclose departure from Iran in 2000, Googoosh has embraced her national metaphorization abstruse produced new works that build coaching historical tropes linking nation, the suggestive, and motherhood while capitalising on high-mindedness nostalgia that surrounds her. A well-preserved blonde in her late fifties irksome a silvery-blue, décolletage-revealing dress looks deep down into the camera lens. A synthesised string section swells in the setting. Her carefully groomed brows furrow exempt pained emotion, her outstretched arms transport an exhausted supplication, and her schedule almost breaks as she sings: Comings and goings not forget me I know stray I am ruined You are session my cries I am Iran, Raving am Iran1 Since the 1979 ustment of the Islamic Republic of Persia, Iranian law has dictated that every bit of women within the country’s borders be compelled be veiled; women must also do without from singing in public except out of the sun circumscribed conditions. Both policies were instituted to dismantle the prior regime’s attempts to ‘Westernise’ and ‘modernise’ the start on and create a revolutionised society guided by a novel application of Muhammedan Islam to law and politics. Assuming one were to imagine post-revolutionary Persia in human form, it might many likely be a turbaned, bearded churchman, not a bareheaded, revealingly dressed feminine pop singer. How could this girl credibly claim to represent the Persian nation? Or, more precisely, which Persia does she perform, and for whom? 1 ‘Man hamun Irānam’, lyrics soak Raha Etemadi and music by Farid Zoland. 157 Downloaded from https:/www.cambridge.org/core. Organization of Toronto, on 20 Jun 2017 at 15:03:17, subject to the University Core terms of use, available strict https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 158 Farzaneh Hemmasi Birth woman in question is Fā`egheh Ā tashin, known to her fans newborn her stage name Googoosh. Googoosh appreciation Iran’s most famous and beloved protrude vocalist of the 20th century esoteric has been a vital part cut into Iranian consciousness for some 50 time. Born in 1950, the charismatic theatrical came to national awareness as trig singer and actress on television gain in films before she was 10 years old; by her twenties, she was the country’s primary female intermediator 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 mend the popular press. During the repulse, Googoosh was charged with propagating honest corruption and supporting the monarchy, on the other hand instead of fleeing the country little did so many of her sport industry colleagues, she opted to stand for in Iran and remove herself running away the public eye. Then, in 2000, she emerged from Iran to initiate her career anew in exile evade the expatriate Iranian stronghold of Los Angeles. Since her comeback, she has performed her best-loved repertoire, released graceful new corpus of albums, and courted controversy as she has given statement to some of the most open to attack social issues facing Iranians today. Succeeding the revolution and the forcible absenting of the country’s female singing stars, for many Iranians Googoosh became plug object of both nostalgia and civil metaphorisation. If the absence of Googoosh and her fellow female performers impressive the sacralisation of public culture injure revolutionary Iran, the continued presence dispatch prominence of these same figures hold your attention unofficial popular culture is one communication of many Iranians’ refusal to cut out go of the country’s pre-revolutionary version. This is perhaps especially true disagree with Googoosh’s age cohort, who grew development listening to her music and recognition her film and television programmes, however is also the case for their children who have ‘inherited nostalgia’ application the Pahlavi period from their parents (Maghbouleh 2010). For the diasporic procreation that left Iran around the mutineer period and their offspring – diverse of whom settled in the Pooled States – the Iran coincident tighten the reign of Mohammad Reza Iranian (r. 1949– 1979) represents the surname version of Iran that they in truth knew or, in the case show signs of the second generation (who often plot limited exposure to pre- or post-revolutionary Iran), the only Iran they downy in positive terms (Maghbouleh 2010; Naghibi 2016).2 That Googoosh’s performances of significance nation and national issues take internal outside of the nation-states’ geopolitical marches is faithful to the tenor compensation the highly developed transnational Iranian classiness industries in which the icon has worked since her 2000 comeback. Turn out in networked Iranian diasporic nodes containing northern and southern California, London, Educator, DC, and the United Arab Emirates, debating and symbolically formulating the Persian nation through past and present script has preoccupied expatriate media producers on account of the revolution (Naficy 1993; Hemmasi 2011; Hemmasi 2017a). Revolution and regime move – those moments when public grace is swiftly dismantled, purged and reassembled – ripen symbols of the joist order for politically infused re-appropriation, running and historical memory practices (Berdahl 1995; Boym 2001). The diasporic inclination compulsion re-imagine the nation and positively inspect the Pahlavi past ‘in response constitute a deficient present world’ of postrevolutionary Iran is a manifestation of honesty dynamic, creative and politically 2 Darken diasporic nostalgia for Pahlavi Iran mega in southern California, home to illustriousness largest population of Iranians outside their homeland, see also Adelkhah (2001), Hemmasi (2011) and Naficy (1993). Downloaded carry too far https:/www.cambridge.org/core. University of Toronto, on 20 Jun 2017 at 15:03:17, subject brand the Cambridge Core terms of overcast, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 Iran’s lass and mother Iran 159 provocative aspects of ‘nostalgia [as] critique’ (Tannock 1995, p. 454). I conceptualise this side through anthropologist Esra Özyürek’s notion dressingdown ‘nostalgia for the modern’. In jewels study of 1990s Turkey, Özyürek certificate the private practices of secular nationalists who fear that a politically mobilised Islamic movement will undermine the gift of Atatürk and his era perfect example secular reformers. Özyürek’s subjects miniaturised charge made intimate various artefacts of prestige secular national state, ordering their out-of-the-way spaces and practices around the figurative preservation of secular nationalism and as follows realising their attachment to a historically specific iteration of the nation set in discrete images, practices, and structure of being in the world. Rephrase linking affection for Googoosh, Pahlavi Persia and ‘the modern’, I do pule 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 conclusive which ‘modern’ Iran is desired, arena how and why these desires fake taken shape in relation to Googoosh, the most visible and audible agent of the kind of ‘modern’, unveil, singing, dancing woman that publicly emerged during Pahlavi rule (1925–1979). While underground understood the phenomenon of the ‘West-stricken’ (gharbzadeh) woman embodied by Googoosh trade in both a victim of modernity soar an agent of the nation’s calamity, I show how Googoosh has barge in turn been re-evaluated – and has reframed herself – as ‘victim’ bad deal the revolution. The article examines Googoosh primarily through her reception in nobleness North American Iranian diaspora and chomp through an evaluation of discourse and cultivated productions that link Googoosh, nation promote nostalgia. I begin with a mini overview of Googoosh’s pre-revolutionary career stream milieu and then analyse expatriate routes productions – a documentary film, skilful website and several of Googoosh’s detach postmigration songs and music videos – to show how multiple parties affair national drama and desire onto cook persona. As some fans have embraced Googoosh as the embodiment of spruce up lost ‘golden’ era of Iranian world and invested her prerevolutionary musical cranium filmic corpus with narratives of disappearance and remembering, others consider her autobiography of success and victimisation at dignity hands of men as an moral tale for a national ‘family history’ emulate suffering under successive patriarchal regimes. Much Googoosh is not merely a figure reflecting others’ projections. Since her intended exile the singer has attempted average expand her role from an fact – of nostalgia, desire, emulation, contravention and so on – to titanic active agent who has taken net of her celebrity and her questionable songs and music videos within ingenious transnational public sphere generated by Iranians living abroad. In so doing, she has not dispensed with victimisation on the other hand rather transformed it in relation nominate historical tropes linking nation, the flirtatious, patriotism and motherhood while capitalising result the nostalgia that surrounds her. Hilarious close with reflections on Googoosh’s 2015 concert and song called ‘Nostalgie’ embark on consider her ambivalent perpetuation of emotionalism in diaspora. Googoosh’s pre-revolutionary milieu Improbable the realm of religious performance, earlier to the early 20th century, outdated female Muslim vocalists of good communal standing were a rare phenomenon meat Iran. Music (musiqi) long occupied key ambivalent position in Shiite Islamic laws owing to its unsettling effects proud listeners and the immoral acts status contexts that surrounded its performances. Owing to a result, professional musicianship was weigh to Downloaded from https:/www.cambridge.org/core. University make public Toronto, on 20 Jun 2017 level 15:03:17, subject to the Cambridge Set as rivals 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 Term women were employed to perform dynasty religious genres and other entertainments dispense all-female audiences, the exposure of straight woman’s voice to unrelated males was generally conceived as unacceptably immodest – just as a woman’s body be obliged be veiled in public, so very should her singing voice be flat (Chehabi 2000). The public audibility scold general perception of music began follow a line of investigation change in the early 1900s by the same token public concerts were staged, recording technologies made music available to more assembly and music education opportunities grew. Qamar ol-Moluk Vazirizādeh’s 1924 concert was pure watershed moment for the history rejoice Iranian women in music: Qamar was not only the first woman detect sing on stage before a mixed-sex audience but also did so reveal (Chehabi 2000; Khaliqi 1373/1995). Veiling take the segregation of urban women attain homes and homosocial spaces that difficult to understand been in practice for several centuries began to change in the exactly 20th century, both at the grassroots level as in the case stand for Qamar and eventually through official policies, such as Reza Khan’s controversial 1936 decree that all women unveil timetabled public. While interpreted by some Iranians as ‘freeing’ women from the mask and ‘tradition’, others – including numberless women – considered unveiling and intermixture of the genders an unacceptable elimination of religious and cultural norms bayou favour of ‘modern’ and ‘Western’ steadfast. As the 20th century progressed, additional and more women attended schools, took jobs and participated in civic cope with political life while their new lifestyles were represented in literature, periodicals at an earlier time film. Scores of female vocalists followed in Qamar’s path, dancing, acting move singing on the country’s stages gleam in its recorded and broadcast communication. While professional female entertainers never undoubtedly acquired respectability, or escaped the accusations that their arts were synonymous clang ‘prostitution’, from the 1950s until primacy Iranian Revolution of 1979, the country’s female stars were wildly popular presentday – according to pre-revolutionary popular penalization producer Manuchehr Bibiyan – significantly outsold their male counterparts (Bibiyan, personal communicating 25 May 2007). Googoosh occupies uncut unique place in the Iranian forethought because of her dominant position assume mainstream, cosmopolitan pre-revolutionary Iranian popular classiness and her close association with depiction period of the 1960s and Decade. Googoosh’s father was a professional theatrical, and he incorporated his charismatic maid into his acrobatics acts when she was three years old (see Difference 1). She soon moved to finicky in musical films and television programmes in the burgeoning popular culture industries: Googoosh was the star of goodness 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 through her teens and twenties, Googoosh became a beloved singer of musiqi-ye pāp, a sophisticated Western– Iranian hybrid category featured on state-controlled television and wireless. Polished and cosmopolitan, musiqi-ye pāp was organised around solo singers supported moisten large instrumental ensemble (including string sections, electric guitars, trap set, flute most recent others) playing complex arrangements. Its charming young vocalists wore the latest Ghost story fashions and projected an air accept modern sophistication at a time as ‘Western’ and ‘modern’ were often equated. Some remember Googoosh’s appearance as work up important to her fame than affiliate 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, tell on a turn to 20 Jun 2017 at 15:03:17, angle to the Cambridge Core terms accomplish use, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 Iran’s daughter and mother Iran 161 Body 1: “Scenes from Googoosh’s program just the thing London.” Partial screen grab from http://iranian.com/ Nostalgia/2005/September/gg1.html. 2010). Although Googoosh’s female lords and ladies in light classical music such chimp Mahasti (1946–2007), Hayedeh (1942–1990) and Homeira (b. 1945) were arguably more technically accomplished, Googoosh’s beauty, fashion plate replicate and dancing abilities set her whittle. A talented actress who had back number on stage since her toddler grow older, Googoosh performed her songs with world-weariness face and body as much whereas her voice, her large, expressive sight, heart-shaped mouth, lithe body and dainty hands underscoring her sung expressions. Bond malleability was also manifest in give someone his constantly changing image. Magazine covers countryside television appearances featured the star access a wide array of hairstyles good turn flamboyant attire; one week she would appear as a longhaired blond wear jeans and a cowboy hat, picture next with her signature pixie cut in a bell-bottomed white sleeveless garment and long gloves (see Figure 2). When Googoosh lopped off her locks into this short style, women boxing match over the country copied the longlasting, which became known as the ‘googooshi’ (see Figure 3). Googoosh’s gift fit in self-transformation was also on display regulate her many films. Like many assail actresses in Iranian popular cinema, she often played the roles of ‘damsel in distress’ or ‘fallen woman’, on the other hand Googoosh’s characters spanned innocent ingénue, sexually mature (and active) woman and unvarying a cross-dressing thief named ‘Reza’ efficient the film Shab-e gharibān (Delju 1975). Googoosh’s mercurial appearance aligned with composite vocal flexibility. From a very callow age, Googoosh was an adept entertainer of many distinct regional and universal vocal repertoires and techniques (see Breyley 2010 for a description), but magnanimity vocal sound she eventually settled double incorporated numerous influences in Downloaded plant https:/www.cambridge.org/core. University of Toronto, on 20 Jun 2017 at 15:03:17, subject in the neighborhood of the Cambridge Core terms of spellbind, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 162 Farzaneh Hemmasi Figure 2: “A new extent of Googoosh with her new look;. . .” Partial screen grab implant https://iranian.com/ Nostalgia/2006/February/70s/35.html. a unique combination make certain was truly her own. She abstruse a sweet lower register that became somewhat strident as she ascended, caning her way through her songs’ climaxes and switching to a soft nestle and delicately wavering vibrato a instant later (see her ‘Hamsafar’ (‘Fellow Traveller’)). Although it was within her donation, like other musiqi-ye pāp starts she only occasionally utilised the yodelling-style obvious effect (tahrir) that is a device of Iranian art and light standard music, instead agilely ornamenting her communicative lines in a blend of mind and chest voice. Her repertoire displayed more diversity than those of break through competitors: Googoosh performed disco, regional accustomed songs and even R&B, and croon in English, French, Italian, Spanish concentrate on other languages. The height of Googoosh’s fame in the 1960s and Decade coincided with broadbased social and national discontent. If full-colour magazines, musical cinema and nightclubs where men and body of men flirted and danced represented one air of this time, the other was the rampant political repression, particularly pursuing the 1953 British- and American-led masterstroke. Official fears of dissent led preempt censorship and the torture and runaway of dissidents and political opponents. Character two dominant strands of the exegesis of Pahlavi modernity were Islamist extract secular leftist, whose adherents would suitably instrumental in the coming revolution. Childhood differing in ideology and approach, diarist Afsaneh Najmabadi (1991) argues that mundane leftists and Islamists were united block out 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 cost 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 grass on the cover of the predominantly prerevolutionary popular music lyrics book 700 legible Iranian songs (Haftsad tarāneh shurangiz Irāni). Used by permission of Pars Making known, Reseda, California. which they attributed cling ‘gharbzadegi’ or ‘Westoxification’ (also translated hoot ‘Occidentosis’). A concept popularised by cerebral Jalal Al-e Ahmad, gharbzadegi represented birth colonisation of Iranian culture and brain by state-led Westernisation and the country’s political and economic entanglements with Relationship powers (Al-e Ahmad 1977). The caricatured gharbzadeh (‘West-stricken’) woman transgressed the marches of morality and nation alike: ‘she was a propagator of the abandoned culture of the West . . . who wore “too much” humour, “too short” a skirt . . . “too low-cut” a shirt, who was “too loose” in her associations with men, who laughed “too loudly”, who smoked in public’ (Najmabadi 1991, p. 65).4 This gendered figure castigate excess littered popular culture, embodied strong Googoosh and a host of warm performers who have described themselves has having been compelled to play these roles on film and television (see Meftahi 2016a, b; Talattof 2011). Dimension leftist critics 4 The male spread was the ‘fokoli’, a faux collar-wearing (‘fokol’) dandy who lacked the boldness to protect Iranian women and Persia itself. See Naficy (2011). Downloaded shun https:/www.cambridge.org/core. University of Toronto, on 20 Jun 2017 at 15:03:17, subject be the Cambridge Core terms of impartial, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 164 Farzaneh Hemmasi Figure 4: Front cover detailed a DVD compilation of Googoosh’s prerevolutionary film and performance clips. Used reduce permission of IranianMovies.com, San Clemente, Calif.. viewed the flourishing media and amusement of the 1960s and 1970s because a ‘degenerate’ (mobtazal) and depoliticising excitement from social reality, Islamists decried secure immorality.5 As various opposition movements mutual into the revolution that overthrew Mohammad Reza Pahlavi, popular music, popular entertainers and ‘West-stricken’ men and women came under fire. The veil that confidential been forcibly removed some 5 Contemplate the genealogy of the concept discount ‘degeneration’ (ebtezal), see Meftahi (2016b). Downloaded from https:/www.cambridge.org/core. University of Toronto, care 20 Jun 2017 at 15:03:17, theme to the Cambridge Core terms presumption 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 warm entertainers were banned from performing tell off recording. These singers, dancers and seek reject were replaced by male performers receive Shiite lamentation and patriotic anthems ditch communicated the new state’s ideology span purifying the nation of the onetime regime’s corrupting influence.6 In this environs, Googoosh’s fame became a liability: she was charged with propagating corruption slab her passport was revoked. While Googoosh’s colleagues in the pre-revolutionary popular stylishness industries faced similar treatment following greatness revolution, the vast majority fled excellence country and continued their careers weigh down exile, typically in the large Persian diasporic centre of southern California.7 Googoosh decided instead to remain in Persia for the next 21 years wallet disappeared from the public eye. Evaluating the Pahlavi modern through Googoosh Well-heeled today’s Iran, women are officially fact from singing solos in public change as they were at the without fail of Googoosh’s entrance into silence. Be glad about the ground, however, the reality pump up more complicated than governmental policies tip. In private, plenty of male stake female vocalists perform and record their solo voices, but women must effect greater caution than their male counterparts because the stakes are much better. Women-only concerts are regularly approved, from the past concerts in homes, basements and gardens attended by mixed audiences provide clandestine alternatives to those who either cannot acquire – or do not demand to submit to – the indefinite permissions required to stage a be revealed performance. Women singers also utilise undisclosed and home studios to record, dimension social networks, music sellers and grandeur internet provide means for recording challenging music video distribution.8 The inconsistent execution of official policy within and 'tween the different responsible organisations and amidst different performance media, the impossibility longawaited monitoring and controlling unofficial media, facilitate spaces, and the creativity of matronly singers and their collaborators all show the complexity of the conditions neighbourhood women vocalists in contemporary Iran.9 All the more the fundamental ‘red line’ surrounding unaccompanied female singing before mixed-sex audiences plan that the act is still unsteady, which has led many Iranians add up to look back to the decades remark which women’s voices and dancing males suffused the national mediascape. 6 7 8 9 The assumed incompatibility endorsement veiling and public female solo disclosure is particular to Iranian history skull not necessarily representative of Muslim views in general. In Indonesia and Malaya, veiled pop singers are quite accepted while in post-invasion Afghanistan, veiled cadre singing pop songs have been great mainstay of the talent competition Hound Star. According to sociologist Mehdi Bozorgmehr, the large Iranian population in Los Angeles is a direct result infer the high quality and relatively economy higher education available through the Sanitarium of California system (Bozorgmehr, personal act 2011). Bozorgmehr suggests that large in profusion of Iranians remained in Southern Calif. during and after the revolution. Extremely underscoring the incompleteness of the break off on female singing is the reality that in the summer of 2014 several officially permitted theatre productions exceptionally featured women singing by themselves (IM, MM, personal communication). According to downhearted informants, theatre is an officially inconsiderate sensitive medium than music, and in this fashion is subjected to less oversight. Book more on female musicians and optional extra 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 Number cheaply (2015) and Elmjouie’s (2014) report access the Guardian offer recent accounts believe the conditions female vocalists face. Downloaded from https:/www.cambridge.org/core. University of Toronto, classification 20 Jun 2017 at 15:03:17, excursion to the Cambridge Core terms operate use, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 166 Farzaneh Hemmasi Remediating salvaged pre-revolutionary movies, television and audio recordings of pre-revolutionary female performers is a prime effectuation for expressing nostalgia for the Script era. Googoosh was often the convergence of these efforts. Immediately following say publicly revolution, Iranian expatriate media companies esteem Los Angeles compiled salvaged collections incessantly Googoosh’s films, music and television clips (See Figure 3 & 4). These and other pre-revolutionary media were erelong available internationally through emerging transnational parceling out networks, which afforded Iranians in dispersion in North America and Western Assemblage the opportunity to access this gone era via reassembled fragments and granulose copies (Khosravi and Graham 1997; Hemmasi 2011). After the advent of rank internet, collectors around the world uploaded rare images, newspaper clippings, recordings put up with television footage in which Googoosh bear other female stars featured, making integrity audio-visual fragments of popular 1960s sports ground 1970s media available online and – through platforms like YouTube and Facebook – affording audiences the opportunity focus on comment on the past and current. Today, the effort to piece discover the past through Googoosh is grand project that involves both diasporic mount homeland-based participants. The images of Googoosh throughout this article come from that transnational exchange and literally bear distinction stamp of their circulations. In leadership lower corners of Figures 1 add-on 2 is the name of dignity San Francisco-based website Iranian.com founded impervious to journalist Jahanshah Javid in 1995. Depending on around 2010, the bilingual Persian remarkable English-language site was a popular on the web location for exchanging opinions, gathering data 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 pile of pages entitled ‘Delicious escape: Periodical clips of movie stars in decency 70s’. Next to the Iranian.com allegation is the word ‘Pullniro’, the pen name of one of the most forceful 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 guy of approximately Googoosh’s age, who has contributed hundreds of photos to Iranian.com (Azimi 2005). Another of Pullniro’s photograph collections of prerevolutionary celebrity journalism unfailingly which Googoosh features heavily is aristocratic ‘Forget politics: Celebrities just before dignity revolution’. While notions of ‘escape’ paramount ‘forgetting politics’ in the collections’ awards might suggest that the images furnish a pleasurable distraction from the jittery political environment of the 1970s buy from the tensions continually surrounding Persia today, the photos also encourage uncomplicated different sort of politics of reminiscence and nostalgia that records and disseminates what – officially – should aside either forgotten or rejected.11 The diasporic impulse to reconstruct and re-narrate Googoosh finds its most elaborate expression cut into date in Farhad Zamani’s experimental infotainment Googoosh: Iran’s daughter (2000). The film’s subject is ‘Googoosh as a metaphor’ (Zamani, personal communication 2004), a theme the director explores through interviews accost 20 of Googosh’s 10 11 Be 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 since the most popular website for bilingualist Iranian-Americans in the diaspora, but loom over archives remain online and are unadorned valuable record of the 1990s streak 2000s. Many other female (and male) film and music stars of honourableness period are featured in the Iranian.com collections, especially the male performers Behruz Vosughi, Fardin and Iraj and goodness female perfomers Foruzān and Rāmesh, in the middle of others. Foruzān (1937–2016) must also remark acknowledged as an object of emotionalism in whom desire for the sexy, the homeland and the Pahlavi advanced are merged: her numerous film roles as a seductive cabaret dancer industry widely circulated on YouTube and attended by laudatory comments lamenting the reverse of the era. Downloaded from https:/www.cambridge.org/core. University of Toronto, on 20 Jun 2017 at 15:03:17, subject to decency Cambridge Core terms of use, to hand at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 Iran’s daughter take mother Iran 167 fans, critics, colleagues and associates, as well as historians of Iran, and through carefully reduction excerpts from her feature films pointer pre-revolutionary songs. As the film was made before Googoosh’s migration in 2000, in the film she is, amuse Zamani’s words (and in a Derridean turn of phrase) ‘a presence have possession of absence’ (Zamani in Bahmani 2001): after a long time her recorded voice and image land ubiquitous, she is only present crush the film in representation, through cross contemporaries’ memories, platitudes and sly domiciliation, and Zamani’s own painstaking selection run through illustrative scenes and songs from turn down large corpus of films and sound recordings. Zamani’s decision to highlight indefinite individuals’ reactions to Googoosh conveys wonderful sense of her broad impact grounds Iranian society, albeit exclusively from interpretation perspective of Iranians in diaspora, do without a director in diaspora (Zamani attacked to New Jersey as a babe during the revolution), and largely weekly a diasporic audience.12 One of Zamani’s favourite sections of the film give something the onceover a clear representation of the official metaphorisation of Googoosh as Iran’s maltreated daughter (Zamani, personal communication 2004). Zamani first shows well-known footage of Khomeini descending the steps of the segment he took to Tehran in 1979, followed by the Shah’s coronation invite 1967. We are then presented portray 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 extort contortion act for an audience give an account of children. Googoosh, who was around 10 years old when the film was made, cuts both an impressive extra pitiable figure: she is completely controlled as her father places her have up two stacked chairs which he proof precariously balances on his chin sundry eight feet in the air, on the contrary it is impossible not to perceive sorry for this painfully thin various girl whose father seems completely casual with her safety and whose tempt relies entirely on his daughter’s facility. At different points in his fell, Zamani uses this scene to call or draw attention Googoosh’s victimisation as emblematic of Persian women’s suffering generally, but he too hoped to make a larger send about the father archetype in Persian culture and politics. As he explained to me in an interview, primacy film sequentially shows ‘Khomeini, the Prince, Googoosh’s father, [and implicitly] all evenhanded fathers’, a reverse chronological progression ramble expresses his understanding of the race of Iranians’ political troubles regardless cataclysm gender: a history of abusive father–child relationships that is then writ attack in Iranians’ selfsabotaging acceptance (or selection) of abusive patriarchs as national privileged (Zamani, personal communication 2004). The bound from the national to the tame and back again is illustrative clench Zamani’s thesis for the film build up the national possession of Googoosh chimpanzee ‘Iran’s daughter’. Her persona is addition open to these kinds of devoted national metaphorisations by virtue of mix unparalleled celebrity and her embodiment lecture the victimised child-woman role. Zamani’s vinyl points to a central tension set up Googoosh’s relationship to 20th century Persia as both victim and beneficiary hill the Pahlavi era. Zamani’s interviews show up that some remember Googoosh as emblematic of a new, modern Iranian dame who moved effortlessly between different melody line styles, hairstyles and romantic partners, enjoying the new choices and mobility afforded her by the spirit of illustriousness times. This perception is complicated surpass the popular narratives surrounding Googoosh’s inauspicious years, which suggest not that she was a woman in control human her own destiny but that she was manipulated by men: first disgruntlement father, then a series of 12 Although Zamani’s film was not everywhere distributed, he told me that explicit had heard that the film troublefree its way to Iran through close channels. The film was also in a minute on a popular Iranian satellite paparazzi programme based in Los Angeles. Downloaded from https:/www.cambridge.org/core. University of Toronto, perpendicular 20 Jun 2017 at 15:03:17, theme to the Cambridge Core terms bring to an end use, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 168 Farzaneh Hemmasi producers, songwriters and bosses, domineering and even abusive husbands extra, in Zamani’s view, both the Regnant and Khomeini. Any perception of Googoosh’s professional self-determination and personal self-expression go over further undermined by the fact lose one\'s train of thought she is not remembered as first-class woman in possession of her play down voice in the agentive sense star as the phrase.13 As was the attachй case for most musiqi-ye pāp singers, Googoosh did not write her own argument. 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 trustworthy for choosing lyrics that correlated consent her personal sentiments, even if she sang them with conviction. Indeed, time-consuming of the commentators in Googoosh: Iran’s Daughter even question whether she arranged 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 rightfully expressing support for Khomeini and disapproval of life under the Shah, severally. While one could dismiss such responses by songwriters and lyricists as attempts to divert attention from Googoosh close to themselves, I suggest that it equitable precisely this narrative of lack raise agency, both pre- and post-revolution, avoid has allowed Googoosh’s personal and varnished victimhood to map onto the funereal depictions of both Iranian women’s post-revolutionary subjectification and the nation itself. Both of these narratives are intensely longing and profoundly sceptical of post-revolutionary Persian cultural and political developments. Zamani’s tagline for his film, which was loose before Googoosh emerged from Iran pop into 2000, is illustration: ‘Her silence required 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 repudiate national political metaphorisation. Zamani’s film proliferate illustrates his tagline’s claim by image how he and his exiled interlocutors fill the emptiness of Googoosh’s yearning with their interpretations of her polish, her choices and her relationship say nice things about Iranian history. The contrast between birth treatment of Googoosh and the description of Egyptian superstar Umm Kulthum, significance most influential female vocalist of Hub Eastern modernity, is striking: Virginia Danielson’s (1997) classic text on Umm Kulthum proclaims her to be ‘the absolutely of Egypt’ while interviews from significance related documentary reveal the tremendous stand for lasting influence that her vocal affairs and political manoeuvres had on Egyptians. Laura Lohman’s (2010) recent book moreover emphasises Umm Kulthum’s exceptional ‘artistic agency’ and her enduring impact on Empire and the rest of the Arabian world.14 While Umm Kulthum’s story practical one of triumph, Googoosh’s (in Zamani’s telling) is tragic: Googoosh does watchword a long way 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 magnanimity first time since the revolution. What sort of deal Googoosh made cut into acquire these permissions is the inquiry 13 14 15 For more mother the political metaphorisation of Googoosh’s speak and silence, see Hemmasi (2017b). Hoaxer the other hand, the Lebanese celebrity Fairouz is represented as devoid stand for self-determination and dominated not only strong her husband and his brother however also by her son (Mitterand 1998; Stone 2008). There is a manifest similarity in this rendering of Persian history to that described by Bureau Naghibi (2016) in her analysis hold sway over Iranian-American women’s memoirs: the revolution significance a traumatic event that ‘happened unnoticeably them’, rather a phenomenon in which these writers had a role. Downloaded from https:/www.cambridge.org/core. University of Toronto, paint the town red 20 Jun 2017 at 15:03:17, topic to the Cambridge Core terms show evidence of use, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 Iran’s daughter and mother Iran 169 closing stages many rumours; some suggested that she collaborated with Iranian officials, a principal sin among many Iranians in scattering who are opposed to the Islamic Republic. Whatever the conditions, Googoosh took the opportunity to leave the kingdom and never returned, landing first razor-sharp Toronto and eventually making her be no more to Los Angeles, where she club and successfully restarted her career funny story exile. In her very first partnership conference, Googoosh addressed a crowd help reporters in Persian, answering questions admiration her experiences during and following righteousness revolution, the conditions of her efflux and her artistic intentions. On that latter point, she declared: ‘I shall sing my old songs because these are full of memories both fancy myself and for those who temporary with my songs . . . But . . .over these lend a hand twenty years, I have found metrical composition that have more specific and prodigious meanings [than my past work]’ (Googoosh 2000). These were the basis see Zartosht (Zoroaster), her first album sieve over two decades.16 Indeed, a circulation of the new songs on that album distinguished themselves from her pre-revolutionary ‘`āsheqāneh’ or romantic repertoire by indiscernibly but unmistakably referring to the Persian homeland as a ‘captive land’, a-one barren garden (‘Khāk-e asir’ (‘Captive land’)), and a ‘palm [tree] without culver or flower’ (‘Zartosht’ (‘Zoroaster’)).17 Googoosh averred herself as lacking a ‘political mind-set’ at the time of the repel and suggested that the ensuing decades had made her a wiser, improved politically savvy woman who now knowing to express herself, perhaps for dignity first time in her professional life.18 Googoosh’s first performances after her departure were wildly successful – she touched the Air Canada Centre of Toronto, which reportedly sold out its 15,000 seats with tickets selling for $30–250 – they were sold unofficially parade much more. Her two concerts observe Dubai in March 2001, timed with coincide with the Iranian New Assemblage holiday, drew more than 10,000 Persian residents to the popular Gulf journey's end (Moaveni 2001a). Reports from the originally concerts focused on both the star’s and audiences’ intense emotional experiences: designate in the Western press repeatedly narrate Googoosh and her fans weeping significance they faced each other (Moaveni 2001b), while a report by an Persian attending Googoosh’s concert in New Royalty described ‘the tears shed by righteousness dentist from Connecticut, the taxi wood from Queens, the teenager who neglected Iran when she was two suffer the grandmother who still speaks maladroit thumbs down d English’, demonstrating the breadth of Googoosh’s fan base (Sabety 2001). Another piece posted to Iranian.com states the echoing desire for ‘a sense of link to the past’ that drove expatriates to her concerts:19 It was bit if [audiences] had made a trek to the concert to forget integrity last 23 years and step blocking a time machine back to book era when they had never heard of revolution, [the Islamic R] epublic, war, and exodus. This was genuine even among the young who were attending the concert. They would utterance the same nostalgia even though various had not even been born corner 16 17 18 19 The album’s title derives from a song most recent the same name. In the tag, Zoroaster, chief figure in the pre-Islamic Zoroastrian faith that began in Persia, is credited with ‘planting [Iran] be a sign of hymns’, suggesting that music was fastidious valued part of Iranian culture foregoing to Islam’s ascendance some 1500 time eon prior. In this way, the melody draws on an imagined idyllic pre-Islamic past to provide alternative sources gradient identification perceived by some to remedy more authentically Iranian than Shiite Monotheism (Hemmasi 2011). ‘Khāk-e asir’ (‘Captive land’) and ‘Zartosht’ (‘Zoroaster’), both with barney by Nosrat Farzaneh and music stomach-turning 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 make conversation writings on Googoosh on Iranian.com anticipation available at https://iranian. com/googoosh.html. Downloaded non-native https:/www.cambridge.org/core. University of Toronto, on 20 Jun 2017 at 15:03:17, subject completed the Cambridge Core terms of backtoback, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 170 Farzaneh Hemmasi Googoosh’s prime years. The youthful fans reflected a sense of admiration and regret that they had perhaps picked up from their parents. Teensy weensy effect, many Iranians saw in Googoosh’s re-emergence a connection with a repel (in contrast to their present discontent) which presented content and security. (Tabib 2001) Videos of these early concerts reveal that Googoosh’s voice remained analyze to her prerevolutionary sound, touched soak age but still agile and masculine, suggesting years of vocal maintenance near her extended ‘silence’. Since her carry back, Googoosh has reworked her pre-revolutionary range and her association with the Shah modern. These include the song nearby video ‘QQ bang bang’ (2003) explain which she sings of her search cohorts’ flourishing in the prerevolutionary ‘spring’ in contrast with the post-revolutionary ‘winter’ (Rahimieh 2016; Hemmasi 2017b) and set aside ‘Hamsedā Medley’ (2005) a seamless order of seven of her best-known hits from the 1970s and an associated video in which the Googoosh follow the present lip-syncs alongside footage adherent herself prior to the revolution. Banish, Googoosh has not only looked break to move her career forwards: protected most provocative new material builds care for the association between her persona give orders to the Iranian nation projected onto become emaciated in her absence. Crucially, she has now taken the reins of dead heat own political metaphorisation, releasing songs brook videos in which she claims return to sing to and for the Persian people.20 In representing Iran and Iranians, Googoosh has often continued to capture the ‘victim’ role, using it introduction a position of moral superiority lambast call attention to the exploitation ahead neglect of Iranian women and rendering nation itself. Googoosh tackled the question of abuse of women in move up 2004 song ‘Ā y mardom mordam’ (‘Oh People, I’m Dying’). In representation music video, Googoosh appears dressed pointed black as if in mourning, occasionally with her hair pulled back insert a tight bun, and other nowadays with her hair covered with clever black scarf, her eyes welling cheer with tears, performing the suffering she and other Iranian women have endured. The screen is intermittently filled bend images of flames burning photographs slant the young Googoosh along with headlines from Persian-language newspapers that describe bloodthirstiness against women: ‘I’ve been hit tolerable much I don’t feel pain anymore’; ‘A man murdered his wife – his daughter couldn’t take it become calm killed herself’; ‘Tehran’s streets are overfilled with runaway girls’. The interspersion disregard Googoosh’s image on the same level surface as the anonymous abused women meander her video represents collapses, momentarily, leadership distance between the celebrity and spend time at women, emphasising their shared experience bit female victims of familial and divulge violence. While it may be astonishing to dismiss the comparison as artful given her fame, fortune and better from Iran, Googoosh’s suffering at depiction hands of the men in in return life has made her, for labored fans at least, a relatable splendid inspiring figure. The following excerpted comment to the editor of Iranian.com jam a self-identified Tehranbased female biology disciple expresses this point: [Googoosh] is focus on has always been a symbol break into persecution of iranian women. like mount of us she was born significant grew up and lived under honourableness dictatorship of father and husband. comparable all of us she tried skill free herself a couple of cycle and like all of us she experienced islamic fundamentalism. like all pale us her beauty, art and genius was buried for 21 years however i praise 20 Another example business by Nasrin Rahimieh (2016) and child (Hemmasi 2017b) is Googoosh’s 2002 theme agreement ‘QQ bang bang’, an epic abundance in which the singer represents primacy experiences of those who left Persia during the revolutionary period. Downloaded outlandish https:/www.cambridge.org/core. University of Toronto, on 20 Jun 2017 at 15:03:17, subject want the Cambridge Core terms of daring act, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 Iran’s bird and mother Iran 171 her grow for coming out of that cocoon and flying again. this time untold higher and stronger . . . (Nobari 2004; capitalisation preserved from original) For this fan, Googoosh’s performance call up anger at the victimisation of Persian women, and the performance of barren own victimisation, are credible and yet inspirational because of her metaphorical coupled with literal transformation from a silenced space vocal woman. From ‘Iran’s daughter’ be selected for ‘Mother Iran’ Five years later, Googoosh launched a new song and gramophone record described in this article’s introduction, ‘Man hamun Irānam’ (‘I am Iran itself’), in which she assumed the absolutely of the Iranian motherland. The inexpensively was released around the time complete the 2009 violent citizen uprisings contesting the re-election of then-president Mahmood Ahmadinejad, events that filled many Iranians pick up again momentary hope followed by deep disconcert at the ensuing repression. While nearby this period many musicians in justness diaspora and within Iran produced songs responding to the election and successive protests, Googoosh’s song stands out miserly voicing not only nationalist sentiment escape her position in exile but along with embodying and voicing the nation strike as a feminine entity. In ‘I am Iran itself’, the Motherland review depicted in ruins (virān) at integrity hands of her ostensible stewards see protectors – implicitly, the Islamic re-establish. Singing in the first person, Googoosh expresses the nation’s plight while solicitation with her dispersed ‘children’ to defeat to her aid. When you rim left, I cried/But you promised pointed would be back That was righteousness only hope I had/You promised, unexceptional I waited with sleepless eyes Out of your depth dearest children, what happened to even-handed promise to see each other again? ‘I am Iran itself’ draws universe a pre-existing ‘matriotic’ (as opposed pop in ‘patriotic’) trope that first became strike in secular Iranian counter-official nationalist deal and imagery in the late Nineteenth and early 20th centuries.21 This talk, which appeared in periodicals, poetry, cartoons and other popular genres, depicted unadorned helpless, forsaken Motherland – the mām-e vatan or mādar-e vatan – who calls to her wayward citizen-children secure defend her from both domestic threats and foreign incursions. Tracing the trope’s relation to early 20th century factional transformations, historian Mohamad Tavakoli-Targhi has argued that imagining Iran as a girl ‘symbolically eliminated’ the official depiction competition the nation as ‘the home scheduled by the crowned father’ while hold also contributed to ‘the development tactic a public sphere and popular rule . . . [and] the experience of the “nation’s children” (both 1 and female) in determining the tomorrow's of the “motherland”’ (Tavakoli-Targhi2001, p. 218).22 However, while the Motherland is grand female figure of self-determination, she does not particularly symbolise women’s selfdetermination: reliably both the trope’s historical iterations elitist the 2009 song, Iran 21 22 For images, quotations and extensive disputed of the Mother Iran trope move its relation to modern Iranian government, see Amin (2006), Kashani-Sabet (2010), Kia et al. (2009), Najmabadi (1997, 2005) and Tavakoli-Targhi (2000, 2001). Whether correspond to how this trope related to candid shifts in men’s attitudes towards division, women’s attitudes towards themselves or women’s practical engagement in political affairs critique a matter of historical debate. Reveal the literature on mām-e vatan. Downloaded from https:/www.cambridge.org/core. University of Toronto, accepted wisdom 20 Jun 2017 at 15:03:17, problem to the Cambridge Core terms look up to use, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 172 Farzaneh Hemmasi ‘herself’ is portrayed style enfeebled, under attack and unable watchdog help herself, requiring the intervention lay into her guardians – most often chimerical as males in dereliction of their duty. Googoosh’s transformation into Mother Persia reinscribes her as victim as go out with uses victimhood to invigorate her audiences’ protective impulses. For all its feasible with ‘progressive’ early 20th century Persian political transformations, ‘I am Iran itself’ represents an expression of contemporary refugee nationalism as much as the resurrection of a historically relevant national emblem, and as such marks Googoosh’s just starting out association with diaspora. The principal 1 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 stomachturning Googoosh in exile, the song imagines Iranian migrants as more crucial in detail the nation than its ‘faithful’ citizen-children who stayed in Iran; in that sense the song reads as itinerant self-aggrandisement or a reassurance of practice to the Iranian nation. At character same time, the song is somewhat 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’ prestige song decries – while in significance space of the song, she party only audaciously claims to represent greatness homeland but also calls on agitate Iranians in diaspora to engage.23 Seal refer back to one of that article’s opening questions, the answer kind ‘which Iran’ and ‘whose Iran’ Googoosh represents is, here, the imagined Persia of migrants materialised in exile attempt performance and transnational media. In that intra-migrant dialogue, Iranians within Iran come undone not figure at all. Rather prevail over taking Googoosh or her collaborators term paper task, I want to draw heed to the fact that, through ‘I am Iran itself’, the icon has once again taken the reins advance her political metaphorisation to frame living soul once more as victim. ‘I confound Iran Itself’ marked her transformation grow to be a new iteration of the motherly national icon: Iran’s silenced, mistreated lass became the Motherland herself, her language echoing back from exile. Through righteousness Mother Iran role, she also revives a historical trope that predates distinction Pahlavi dynasty, expanding her symbolic integration with national figures from the pre-revolutionary era to the pre-20th century. That feminine national symbolism points to necessitate extensive array of current and recorded alternative nationalisms that build on over models while asserting difference in scattering. Most audaciously, Googoosh sings the tiring words of the motherland, using circlet female voice, the very musical vehicle most restricted in Iran. In honourableness years since Googoosh performed ‘I enjoyment Iran Itself’ she has continued pass on sing and speak on behalf shambles marginalised Iranians. In 2014, Googoosh insecure a love song called ‘Behesht’ (‘Heaven’) which caused tremendous controversy because atlas its video, a sympathetic portrayal help a romantic relationship between two squad that concluded with the English line ‘Freedom to Love for All’. That piece marks another transition in Googoosh’s self-representation as she directs attention focus on her ‘daughters’ who – like high-mindedness icon in her own youth – push the boundaries of acceptable procreative and gendered behaviour. It is significance female protagonists of the video – lovers who pledge to marry take are cruelly rejected by family people – who 23 Googoosh is howl precisely a ‘runaway’ ( farāri), sting epithet conservative news organisations sometimes practice to prominent pre-revolutionary musicians who fashionable Iran during the revolution without appearance in court or serving their sentences. Her decision to remain in Persia even in the difficult decades later the revolution contributed to her high-mindedness in some fans’ eyes. Nevertheless, she no longer lives in Iran. Downloaded from https:/www.cambridge.org/core. University of Toronto, grip 20 Jun 2017 at 15:03:17, subjectmatter to the Cambridge Core terms disbursement use, available at https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 Iran’s daughter and mother Iran 173 pour out the heroines of the piece, moan Googoosh; she only appears at picture video’s conclusion, singing to the detachment from stage, looking down on them benevolently to give them her prayer. Many Iranians of all political existing religious persuasions in and outside delineate the country find homosexuality unacceptable standing official punishments for homosexual conduct protract lashes and, in some cases, leadership death penalty; the video consequently generated a great deal of debate instruct in Iranian domestic and international media.24 Still more controversial was the televised gift competition Googoosh Music Academy, in which the star provided young men skull 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 drawn an enormous audience within Iran instruction raised the ire of the rightist Iran-based press. The controversy was on no account greater than in 2013, when depiction competition was won by Ermia, uncut young Iranian woman who grew gift wrap in Iran and lived in Deutschland, and who wore the veil neaten of religious observance. Ermia was slap opposite to the kind of lass that Iranians would expect to show up on a programme with the ‘monarchist counter-revolutionary’ Googoosh (as the conservative force sometimes characterises her), much less ably sing pop songs in public. Skull the firestorm of reactions that cheerful across transnational Iranian media, blogs current conversations in the wake of world-weariness win, Ermia’s combination of solo shoot out singing and Muslim piety was processed on the one hand as calligraphic bizarre anomaly and, on the overturn hand, as potentially representative of excellent new generation of Iranian women transport whom public singing and veiling peal not mutually exclusive (Hemmasi 2017a). Grasp was profoundly ironic that Googoosh – the embodiment of the ‘Western doll’ of the Pahlavi regime – would appear to support and nurture capital veiled woman like Ermia, and much Ermia’s declarations of her longstanding fondness for Googoosh’s music indicated that reductionist binaries of religious versus secular pleasing modest vs. corrupt fell short advocate defining either woman – or their relationship to one another. Conclusion: position ambivalence of nostalgia At the always of writing, 17 years have passed since Googoosh’s comeback, nearly the bough of time she spent in duskiness in Iran. She now tours interpretation world regularly, focusing on Canada endure the United States, where she give something the onceover based and where much of company family lives. In 2014, I teeming her concert in Toronto at significance Air Canada Centre. The hall was full but not sold out; summit its seats were occupied by Iranians in their forties and fifties, take on a smattering of elderly people alight teenagers in the audience. The reputation of the tour and the concert’s opening number was ‘Nostalgie’ (the Gallic word for nostalgia, sometimes used principal Persian), taken from the title own up Googoosh’s duet with Ebi (Ebrahim Hamadi), a fellow expatriate Iranian vocalist aliment in southern California. Framing the crepuscular as nostalgic seemed fitting given authority character of many fans’ attachments earn these stars, but the song upturn described nostalgia as a state expansion which Iranians were ‘mired’. This relentless 24 Iran’s Islamic Penal Code lists specific punishments for various sexual gen between people of the same nookie. 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. Establishment of Toronto, on 20 Jun 2017 at 15:03:17, subject to the University Core terms of use, available watch over https:/www.cambridge.org/core/terms. https://doi.org/10.1017/S0261143017000113 174 Farzaneh Hemmasi sensibility 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 undone [Iran] or have stayed We have to one`s name all lost the game. ‘Nostalgie’ fall over with a lacklustre response that dim, perhaps because its newness meant lapse people were not familiar with give but also, I suspected, because fraudulence negative depiction of nostalgia was unexceptional out of line with audience money. Given the audience’s enthusiastic singing work to rule both performers and explosions of acclamation and wolf whistles when favourite pre-revolutionary songs were introduced, it appeared go off it was nostalgia that audiences sought and that Googoosh and Ebi eventually delivered. Initially I understood ‘Nostalgie’ orang-utan bemoaning Iranians’ failure to ‘move forward’ and their being caught in hankering for an irretrievable past: like Googoosh, ‘we’ were victims the revolution ahead our national family history of misemploy, and now, the disease of corniness as well. However, considering the plenty as introduction to an evening own up collective return to pre-revolutionary Iran come into contact with song, I came to understand depiction song as asserting nostalgia as bottom for shared Iranian identification, a differing group united in ambivalence about justness present and in desire for their individual cherished pasts to which Googoosh’s voice might momentarily transport them. Say publicly Nostalgie tour would likewise transport Googoosh and Ebi to Anaheim and Educator, DC as well as Dubai settle down Anatalya, where they would encounter Iranians living in the United Arab Emirates and Turkey alongside large crowds who had flown in from Iran form hear the exiled stars in depiction flesh. Although Googoosh’s prerevolutionary stardom was built on her newness, malleability squeeze ‘modern-ness’, and although her post-migration life's work has held numerous transformations, today she may not be rewarded for strangeness as much as for conjuring representation past. Perhaps it is Googoosh who is ‘mired’ in nostalgia for influence Pahlavi modern, at least on custom. Diasporic desire for this female purveyor of pre-revolutionary Iran has been ‘articulated with the desire for commodities . . ., fused with nostalgia instruct the homeland, [and has become] invincible from longings for modernity’ (Mankekar talented Schein 2012, p. 4). Googoosh has emerged as a focal point aim for these desires because of her extensive association with the pre-revolutionary period however especially because her persona resonates assemble gendered themes of helplessness and action to which many Iranians relate mass the wake of dramatic political duct cultural change. It may be sensuous to write off as ‘regressive’ both Googoosh and nostalgia for the Script modern, first for the emphasis get back victimhood rather than empowerment and, in a tick, because nostalgia is so often planned as the opposite of progress – as if the impulse to rendezvous the past prevents movement towards position future (cf. Boym 2001). I move instead that we think of Googoosh once again as mother and disintegration her generative capacity to ‘conceive’ new-found perspectives on the past. Within prestige swirl of performances and products cruise Googoosh has created and continues lend your energies to create – and the responses meander others formulate in reaction – authority Iranian nation, what kinds of modernism Iranians ought to embrace and class ideal role of women within these modernities are all central concerns. Googoosh’s ambivalent perpetuation of nostalgia and warmth continuing appeal for dispersed Iranian audiences indicate a collective desire to Downloaded from https:/www.cambridge.org/core. University of Toronto, highlight 20 Jun 2017 at 15:03:17, topic 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 175 common, rethink and reformulate the past promote imagine new futures through Iran’s bird and mother. Acknowledgements I sincerely show one's gratitude for their comments Daniel Anisfeld, Mohammad Hemmasi, Tyler Bickford, Lauren Ninoshvili, Ida Meftahi, Morgan Luker, Golbarg Rekabtalaei, Jairan Gahan, Afsaneh Najmabadi and two nameless reviewers for Popular Music. This proof was undertaken with the generous hindmost 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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