Yaser Bakhtiari, better known by his stage name Yas, is an Iranian rapper. Yas is one of the most popular rappers in Middle East, he is known for his Faravahar pedant, a symbol of Iranian nationalism and Zoroastrianism, that he wears most of the time. On December 21, 2011 Yas was chosen by the voters as the Artist of the Week in MTV IGGY Entitled Tehran’s Hard-Hitting MC. Yas is one of the founders of Persian rap, in 2013 he became the first Persian rap artist to be allowed to perform in Iran. Yas first began to listen to rap music at the age of 16 when his father returned from his business trip in Germany and brought him the latest Tupac album and other hip hop songs and he was influenced by them. After the sudden death of his father, he was faced with the responsibility of becoming the primary caretaker of his household with his father's debts to pay. Yas was forced to leave his college ambitions behind and begin to work and support his entire family, it was at this time. Yas started his work after the 1997, He was devastated by the disaster, it was that he wrote his first song "Bam".
This was the beginning of his rapping career. He realized that through rap music he had the ability to reach people by telling full stories that he thought was not easy to do through other forms of music which only consisted of a few versus and a chorus. Realizing that through his music, he had the ability to inspire people and reach millions of other young people in Iran. Yas in 2006 made a song called CD Ro Beshkan, written about a well known female actress Zahra Amir Ebrahimi in Iran, the victim of Sex scandal tape, getting widespread; the scandal ended her blossoming career. In the song Yas criticizes the people for playing a role in her demise and asked everyone to stop spreading her shame and to get rid of that infamous footage from their computers and cellphones; the song hit a nerve among the Iranian youth and thousands wrote in and confessed that they went ahead and Broke that Disk. The song was downloaded by millions in Iran alone, his music has crossed the International waters and he is now fast becoming the voice of his generation For Iranians inside and outside of their country.
Yas in 2008 made a song called Hoviate Man describing his pride in his Iranian heritage and a mention of the controversial 300 film. The song has become sort of a national anthem for the younger generations the Iranian diaspora that are eager to connect to their rich culture and history, his music has set a new standard for Persian rap and has inspired many up and coming rappers to follow his lead and sing of more meaningful and positive messages in their own music and when he is not recording himself, you will find him collaborating with other musicians so that together they can introduce Persian rap to the world. Yas in 2008 made and wrote a song named "Darkam Kon"; this song was great and it was welcomed a lot among people who can't find jobs. Yas's music was a protest to the government and for poverty and people who can't find jobs and they are poor. Yas in 2011 made. Yas in 2013 became. In 2014 Yas decided to cooperate with Tech N9ne; the pair are the first rappers from the United States to work together musically.
That is the highest profile Usa and Iran rap collaboration to date. Their single was titled "The Sound of Unity", released this year along with a Music video. Yaser, who raps in Persian, states he was influenced as a young man by Tupac Shakur albums brought back to Iran by his father, as well as the Classical Persian poetry Rumi, he is one of the few Persian rapper who do not use any swear words in their song Yas theme songs is the social problems. Yas’ accomplishments paved the way for new rappers to perform in Iran. Though it was illegal for individuals to perform in Iran prior to Yas, numerous rappers are letting their voices be heard, challenging the economic disparity that exists in Iran. Yas the symbol is Farvahar, he is one of the enthusiasts Cyrus the Great. "Khiyabooni Ha" ”Hoviate Man” "Cheshmamouno Baz Konim" "Toos Rap" (Ft 3Gz "Sakhte" "Goftam Naro" "Zehi Eshgh" Darkam Kon" "Be Donya Khosh Oomadi" "Bia Kenaram Beshin To" "Tamoomesh Kon" "Haminja Piyadeh Misham" "To Marizi" "Ba Man Bash" "Yadet Nareh" "Nisti" "Bekhatere Man" "Ghesseye Zirzamin" (Ft Arian Naeini & Erwin Khachikian & The Ways "Vaghte Tolue Yas" "Sarbaze Vatan" "Az Chi Begam" "Man Mijangam" "Vaghte Raftan" "Trash The Club" (Ft DJ Aligator "Faryas" "Ammin" "Man Edameh Midam" "Sound Of Unity" (Ft Tech N9ne "Do Do Ta Chahar Ta" (2
Hip hop or hip-hop, is a culture and art movement that began in the Bronx in New York City during the early 1970s. The origin of the word is disputed, it is argued as to whether hip hop started in the South or West Bronx. While the term hip hop is used to refer to hip hop music, hip hop is characterized by nine elements, of which only four elements are considered essential to understand hip hop musically; the main elements of hip hop consist of four main pillars. Afrika Bambaataa of the hip hop collective Zulu Nation outlined the pillars of hip hop culture, coining the terms: "rapping", a rhythmic vocal rhyming style. Other elements of hip hop subculture and arts movements beyond the main four are: hip hop culture and historical knowledge of the movement; the fifth element, although debated, is considered either street knowledge, hip hop fashion, or beatboxing. The Bronx hip hop scene emerged in the mid-1970s from neighborhood block parties thrown by the Black Spades, an African-American group, described as being a gang, a club, a music group.
Brother-sister duo Clive Campbell, aka DJ Cool Herc, Cindy Campbell additionally hosted DJ parties in the Bronx and are credited for the rise in the genre. Hip hop culture has spread to both urban and suburban communities throughout the United States and subsequently the world; these elements were adapted and developed particularly as the art forms spread to new continents and merged with local styles in the 1990s and subsequent decades. As the movement continues to expand globally and explore myriad styles and art forms, including hip hop theater and hip hop film, the four foundational elements provide coherence and a strong foundation for Hip Hop culture. Hip hop is a new and old phenomenon. Sampling older culture and reusing it in a new context or a new format is called "flipping" in hip hop culture. Hip hop music follows in the footsteps of earlier African-American-rooted musical genres such as blues, rag-time and disco to become one of the most practiced genres worldwide. In 1990, Ronald "Bee-Stinger" Savage, a former member of the Zulu Nation, is credited for coining the term "Six elements of the Hip Hop Movement" by being inspired by Public Enemy's recordings.
The "Six Elements Of The Hip Hop Movement" are: Consciousness Awareness, Civil Rights Awareness, Activism Awareness, Political Awareness, Community Awareness in music. Ronald Savage is known as the Son of The Hip Hop Movement. In the 2000s, with the rise of new media platforms and Web 2.0, fans discovered and downloaded or streamed hip hop music through social networking sites beginning with Myspace, as well as from websites like YouTube, SoundCloud, Spotify. Keith "Cowboy" Wiggins, a member of Grandmaster Flash and the Furious Five, has been credited with coining the term in 1978 while teasing a friend who had just joined the US Army by scat singing the made-up words "hip/hop/hip/hop" in a way that mimicked the rhythmic cadence of marching soldiers. Cowboy worked the "hip hop" cadence into his stage performance; the group performed with disco artists who would refer to this new type of music by calling them "hip hoppers." The name was meant as a sign of disrespect but soon came to identify this new music and culture.
The song "Rapper's Delight" by The Sugarhill Gang, released in 1979, begins with the phrase "I said a hip, the hippie the hippie to the hip hip hop, you don't stop". Lovebug Starski — a Bronx DJ who put out a single called "The Positive Life" in 1981 — and DJ Hollywood began using the term when referring to this new disco rap music. Bill Alder, an independent consultant, once said, "There was hardly a moment when rap music was underground, one of the first so-called rap records, was a monster hit. Hip hop pioneer and South Bronx community leader Afrika Bambaataa credits Love-bug Starski as the first to use the term "hip hop" as it relates to the culture. Bambaataa, former leader of the Black Spades did much to further popularize the term; the words "hip hop" first appeared in print on September 21, 1982, in The Village Voice in a profile of Bambaataa written by Steven Hager, who published the first comprehensive history of the culture with St. Martins' Press. In the 1970s, an underground urban movement known as "hip hop" began to form in the Bronx, New York City.
It focused on emceeing over neighborhood block party events, held outdoors. Hip hop music has been a powerful medium for protesting the impact of legal institutions on minorities police and prisons. Hip hop arose out of the ruins of a post-industrial and ravaged South Bronx, as a form of expression of urban Black and Latino youth, whom the public and political discourse had written off as marginalized communities. Jamaican-born DJ Clive "Kool Herc" Campbell pioneered the use of DJing percussion "breaks" in hip hop music. Beginning at Herc's home in a high-rise apartment at 1520 Sedgwick Avenue, the movement spread across the entire borough. On August 11, 1973 DJ Kool Herc was the DJ at
Hip-hop dance refers to street dance styles performed to hip-hop music or that have evolved as part of hip-hop culture. It includes a wide range of styles breaking, created in the 1970s and made popular by dance crews in the United States; the television show Soul Train and the 1980s films Breakin', Beat Street, Wild Style showcased these crews and dance styles in their early stages. The dance industry responded with a commercial, studio-based version of hip-hop—sometimes called "new style"—and a hip-hop influenced style of jazz dance called "jazz-funk". Classically trained dancers developed these studio styles in order to create choreography from the hip-hop dances that were performed on the street; because of this development, hip-hop dance is practiced in outdoor spaces. The commercialization of hip-hop dance continued into the 1990s and 2000s with the production of several television shows and movies such as The Grind, Planet B-Boy, StreetDance 3D, America's Best Dance Crew, Saigon Electric, the Step Up film series, The LXD, a web series.
Though the dance is established in entertainment, including mild representation in theater, it maintains a strong presence in urban neighborhoods which has led to the creation of street dance derivatives Memphis jookin, jerkin', krump. 1980s films, television shows, the Internet have contributed to introducing hip-hop dance outside the United States. Since being exposed, educational opportunities and dance competitions have helped maintain its presence worldwide. Europe hosts several international hip-hop dance competitions such as the UK B-Boy Championships, Juste Debout, EuroBattle. Australia hosts a team-based competition called World Supremacy Battlegrounds and Japan hosts a two-on-two competition called World Dance Colosseum. What distinguishes hip-hop from other forms of dance is that it is "freestyle" in nature and hip-hop dance crews engage in freestyle dance competitions—colloquially referred to as "battles". Crews and battles are identifiers of this style. Hip-hop dance can be a form of a hobby.
It can be a way to stay active in competitive dance and a way to make a living by dancing professionally. Hip-hop dance is a broad category; the older dance styles that were created in the 1970s include uprock and the funk styles. Breaking was created in New York in the early 1970s. In its earliest form, it began as elaborations on James Brown's "Good Foot" dance which debuted in 1972. Breaking at this period was not floor-oriented as seen today. An influence on toprock was uprock, created in Brooklyn, New York. Uprock looks similar to toprock. Uprock is performed with partners, but in toprock—and in breaking in general—each person takes turns dancing. In 1973, DJ Kool Herc invented. A break beat is a rhythmic, musical interlude of a song, looped over and over again to extend that instrumental solo. Kool Herc did this to provide a means for dancers who attended his parties to demonstrate their skills. B-boy and b-girl stands for "break-boy" and "break-girl". Further influenced by martial arts and gymnastics, breaking went from being a purely upright dance style—toprock only—to becoming more floor-oriented.
At the same time that breaking was developing in New York, other styles were being created in California. The funk styles refer to several street dance styles created in California in the 1970s such as roboting, hitting, bustin', electric boogaloo, sac-ing, dime-stopping. Out of all of these dances, boogaloo is one of the oldest, it started out as a 1960s fad dance and was the subject of several songs released during that time such as "Do the Boogaloo" and "My Baby Likes to Boogaloo". From being a fad, it developed into a dance style called electric boogaloo and a music genre called Latin boogaloo; the most popular and practiced of the funk styles are locking and popping. The television show. Both The Lockers and The Electric Boogaloos—dance crews responsible for the spread of locking and popping—performed on this show, it is inaccurate to say that the funk styles were always considered hip-hop. In an interview with Racked, Moncell Durden, assistant dance professor at the University of Southern California, is quoted as saying "Hip-hop dance involves two dances: breaking and social dances.
That's it. Nothing else is hip-hop." The funk styles were adopted into hip-hop in large part due to the media. The media identified these styles as "breakdance", they were created on the west coast independent from breaking and were danced to funk music, rather than hip-hop music. As breaking and popping gained popularity in the 1980's, hip-hop social dancing started to develop. Novelty and fad dances such as the Roger Rabbit, the Cabbage Patch, the Worm appeared in the 1980s followed by the Humpty dance and the Running Man in the 1990s; the music of the day was the driving force in the development of these dances. For example, the 1980s rap group Gucci Crew II had a song called "The Cabbage Patch" that the dance of the same name was based on. 2000s era social dances include the Cha Cha Slide, the Cat Daddy, the Dougie. The mentioned dances are a sample of the many that have appeared since hip-hop developed into a distinct dance style. Like hip-hop music, hip-hop soc
Radif is a collection of many old melodic figures preserved through many generations by oral tradition. It organizes; the traditional music of Iran is based on the radif, a collection of old melodies that have been handed down by the masters to the students through the generations. Over time, each master's own interpretation has shaped and added new melodies to this collection, which may bear the master's name; the preservation of these melodies depended on each successive generation's memory and mastery, since the interpretive origin of this music was expressed only through the oral tradition. To learn and absorb the essence of the radif, many years of repetition and practice are required. A master of the Radif must internalize the Radif so to be able to perform any part of it at any given time; the Radif contains several different dastgahs which are distinguished from each other by their relationship of note intervals and the form of the movement of the melodies within them. A dastgah portrays a specific sonic space.
A dastgah may contain from 10 to 30 goushehs. The principal goushehs of the dastgah specify the different scales within that dastgah; the note, upon which the gousheh is based and is the center of the gousheh, is called the shahed. The shahed moves when we modulate between principal goushehs, this movement creates a new sonic space. Rhythm in these melodies takes three different forms: symmetric and free form; the rhythm is influenced by the rhythm and meter of the Persian poetry. The instrumental and vocal radif are different from the rhythmical point of view; the radifs for tar are one of the most famous radifs associated, with many old melodies collected that include 20-40 goushes in each dastgahs. The Radifs of Mirza Hossein-Qoli and Mirza Abdollah are the oldest radifs which are still in use for many students who wish to carry on learning Persian music, it is famous as it consisted many melodies collected from them time and before. Many of the melodies where changed by Mirza Gholi and some kept same to the composer's desire, but the evidence is small to suggest melodies were changed or not, but due to Radif being passed down through oral tradition we cannot state whether melodies were changed as we cannot compare notations or audios, but due to the mutations in music through oral transfer it is obvious.
One of the most notable Tar players and repertoire of Mirza Hossien Gholi's Radif was Ostad Ali Akbar Shahnazi, the son of Mirza Hossien Gholi and was the first Tar player to record the Long Radif memorized by heart. His work is still used by many Masters and are now some directions which are followed by many Tar players. Of course beginner-intermediate students will not be able to follow his works on audio due to the level which it was performed at, so not much will be understood, but a Tar Master can expect to use it and re-focus on what was forgotten in his teachings at lesson with students; this can keep the radif in line. The Radif of Mirza Abdollah was published in notation by Jean During in 1970s based on Nour Ali Boroumand who recorded the redif by heart. On the other hand, the Radif of Mirza Hossein-Qoli was first published in notation by Dariush Pirniakan in 2001. Though the radif is not popular with many young students it still is the consistute and basic of Persian music, it can be related to Classical music of western music, not much popular, but forms the basic of Western Music.
Avaz Tasnif Radif at Wayback
Lurish music is referred to an ethno-cultural characteristic of Lurs in the middle-east. The Lurish music enjoys a various and ancient background, it can be divided into two parts. Based on the songs, the Lurish music is divided into seven sections; these musics like Heylaw, Binâ-binâ, Shirin & Khosrow lyrics, Sârixâni and Miruna are performed in different Lurish music mughams. Music of Epic-Combat songs: These hymns represent the epic and combat values of the warriors among the tribes; the most famous examples of this section are Jange Dâya-Dâya. Music and songs of mourning: This music has more to do with the rituals and has been used extensively in mourning ceremonies from the ancient times. Čamari, Sahari, Šivani and Pâkotali are from the most famous of these moghams. Music and songs of seasons: music and special songs of different seasons like Barza-kuhi, Kuč-bâru and Mâla-jiri Music and songs related to work activities: To ease and speed up the work of nomadic men and women, these songs are sung individually or collectively.
Comic music and songs: These are originated from impromptu satires about people, places or objects and are sometimes accompanied by humorous dramatic movements of someone or people. Religious hymn-music: These are based on the words of Yaresan, their mystical and religious aspects are deep; the most popular Lurish musical instruments include Sorna, Dohol, Tâl, the common Iranian traditional instruments. Meanwhile, the Lurish kamancheh is the only one, fundamentally different from other ethnic music instruments; the Lurs select the Mâhur as their basic musical step to showcase the magnificence and independence of their people. After 1979 revolution of Iran due to intense encounters with musical performances ethnic music, the amount of music participation in different parts of the life of the Lurs was reduced however in the past, cheerful music and lyrics were accompanied with collective dance. Shahmirza Moradi