AbstractAmong the seven arts of the world, "music" is known as the first art. Music has become a popular media and cultural commodity in today's world. "rap" music as a media tool of "hip-hop" subculture is a type of underground music. The problem of the current research is the genealogy of conflicts in Persian rap. In other words, what themes are there in the lyrics of this style of rap? Is this style, as some believe, emerged in order to warm up and introduce rap music, or is there another reason other than making this music attractive, which deserves to be addressed. The present article has tried to observe and analyze 22 pieces of "Dis" and "Dis Back" songs of Persian rap, which is a kind of musical conflict between two artists, and achieve the analysis of their theme networks. The current article finally reached 11 descriptive codes from 204 descriptive codes, which were merged into two comprehensive codes of "difference of insight" and "authoritarianism". Therefore, it can be concluded that the difference of views in the labels, people and their type of rap style including mainstream, underground, political rap and gangsta rap has caused some of these tensions and conflicts. Therefore, it is simplistic to reduce these conflicts only to "authoritarianism".

The rap music, as one of the latest forms of music, has met with considerable success from different segments of the society, especially the youth. Iran has not been an exception to this global trend, and the consumption of this music is common among Iranian youth. This consumption will certainly be accompanied by levels of impact on the lifestyle of the listeners. A review of rap music shows that, despite its low musical value, it has become an important capacity for addressing the most important social issues, including urbanization. The aim of this article the studying of Tehran that consturcted by the farsi rap music. The main question of this research is “, how does the farsi rap music represents Tehran? ”, To answer this question using purposive sampling, 11 songs were selected with the most attrctive for audiences and with the subject of Tehran and trying to use the method of thematic analysis, the most original constucted themes of Tehran is identified in these types of music. The findings show that the main theme of Tehran is constructed as “, Anti-Utopia City”,with features such as economic divide, commodification, sense of presidency, dirty city, Tehran Terra, city of thieves, lawless Tehran.

From the perspective of Cultural Studies, in popular culture, dialogue between upper-classes cultures and lower-classes cultures result semantic conflicts and struggles. In this article we have been studied Iranian-Persian rap to recognize the discourses and struggles between discourses in this music. We used LacLau and Mouffe’s discourse analysis and recognized 9 discourses; we also identified moments and master signifiers in each discourse. Although rap music discourse is a marginal discourse in Iran, but in this discourse some (sub-) discourses are mainstream and others are marginalized. Analysis of results showed that the existing struggles between the discourses of Iranian-Persian rap music, is mixed of gender-based, class-based, moral-based, political-based, religious-based, traditional/modern, and more conflicts.

Nowadays, "music" is an influential medium and a culturally consumable commodity. Music creates effective and lasting spiritual and psychological effects due to the auditory attractions and psychological incitation. In recent years, "rap" music, as a media instrument of the "hip hop" subculture, has attracted many fans, who act in contradiction with the dominant culture of societies or the relationship between two is comprising tension, and in this sense, it is called "underground music". This type of music tries to excite and attract the most ordinary people of the society with the most street words(slangs). This type of media has different types in its texts and hypertexts and provides different functions for its listeners. This article tries to answer this question: "What are the media functions of Persian underground rap music in the 80s and 90s? With what themes does it promote itself? To get the answer, we used the qualitative method of theme analysis, and the lyrics of the four famous rap singers (UnderGround) in the last 20 years, which were about 92 songs and 6574 words, were coded and analyzed. We conclude that the functional themes of these texts are more about awareness, information, unconscious and conscious transmission of culture, sense of community and social cohesion.

This paper seeks a semantic explanation of the resistance music in Iran and attempts to analyze the general structural specificities surrounding resistance music in Iran, The methodological consideration of launching this study includes critical discourse analysis of Van Dijik and the application of explorative methods in order to reveal major concepts of resistance engraved in lyrics of the products marked as resistance music. Another methodological consideration includes a comparative analysis of the music products in pre- and post-revolutionary Iran so that we could indicate the changes that the Resistance music has gone through during five decades starting from 1960.This paper contributes to the body of knowledge in areas such as media and cultural studies, sociology of art, and Iranian cultural studies. It is related to sociology of art because the arguments consider local specificities to have been contributing to the generic production of Iranian resistance music. Meanwhile, the paper pays attention to untold mysteries of Iranian cultural studies. At the same time, it pays attention to everyday life in Iran, something that makes the paper fall in the category of general cultural studies.With this introductory point we can claim that this paper uses a multidisciplinary study is to address the problematic of resistance music in contemporary Iran. The paper claims it has revealed some aspects of Iranian society including Persian rap and its differences with Iranian rap that have been neglected by academic works.In order to study resistance music, we have compared productions of resistance music both in pre and post-revolutionary periods.The final results of our analysis indicate that the requirement of each historical period of time affects the texture of the dominant music. Prior to 1979 revolution, as the political situation did not provide an open atmosphere for expression of genuine Iranian art, the artistic activities including production of music took the resistance orientation. Although we do not intend to mystify the musical production of resistance music, resistance music was the dominant and attractive area in the production of music. Two decades of 1960s and 1970s are now known as the golden age of Iranian music, not only because music was leading it but also because the number and variety of musical production and singers of all genres. In the 1970s, however, it was the resistance music that attracted the young generation.The post-revolutionary period, however, was if a different type both in terms of the collapse of the old world order and in terms of change of desires and aspirations of human being sat the local and global level. Although the texture of resistance in pre-revolutionary period was mostly political, in the post-revolutionary it changed into a multidimensional texture. First of all, the period between 1979 and 1988 was different, as Iran was experiencing the Iraqi imposed war on Iran. There was not much musical production in this period that could be marked as resistance music except what was produced abroad which expressed resentment against war. There were some other fractions of Iranian exiles that produced resistance music, but they were not much welcomed by the Iranian audience.There was also the period between 1988 and 1997 that was marked as a period of transition from war mood to construction mood. It was the post 1988 period that gradually turned the musical production into a period of stable and steady situation suitable for production of new resistance music. The post 1997 came with socio-cultural, political, economic, and demographic changes. As a result, when we started studying resistance music in 2007 and 2008, we realized that politics constructs only a part of the everyday life of new generations. Generations’ gap and gender gap had brought about new desires in Iranian young people, which could be tracked in their musical production and musical desires. Therefore, this study indicates that the new wave of resistance music uses various pop and rap music genres to express cultural resistance as opposed to political resistance that was so prominent in the 1970s.

In this research, we try to analyze the formation of audience in rap-e-Farsi. But, we focus on the cybernetic aspect of audience’s presence. For this reason, we interviewed with seven rappers, one producer and a manager of one of the most popular rap page in Instagram. This is a qualitative method with the strategy of grounded theory. Then, we coded data and sorted themes by NVivo. Finally, we achieved a map of relations in which audience is as an informed subject, juridical subject, distributive subject, legitimizing subject and creator of informed society. This map defines the process of construction of rap-e-Farsi audience in cyberspace.

Shortly after gulf war (G.W) thousands of war veterans referred with sign and symptoms of an unknown disease called G.W illness. Despite multiple studies undertaken by several non-governmental and governmental centers this illness remains unclassified and can not be coded by international classification of disease (I.C.D). The etiology has not been found and the illness appears to be multifactorial and basically related to use of depleted uranium (D.U) weapons, chemical warfare (C.W) and biological agents. This article reviews this illness and the adverse effects of D.U and B.c.W agents in the G.W battlefields.

Easy access to social media enables users to express their opinions and ideology about various topics like news, videos, and personalities freely, without any fear, and often in an offensive manner. It is a vital task to detect comments with offensive language on social media platforms and relies on a complete and comprehensive tagged dataset. Therefore, in this paper, we introduce and make publicly available PerBOLD, a new Persian comment dataset collected from Instagram as a popular platform among Iranian. We follow a two-level manual annotation process in order to determine whether a comment has offensive language or not and fine-grained tags of different types of offensive language. Furthermore, we present some interesting aspects of data and analysis them.

Introduction rap music is a new style of music that has become famous as popular music and in the last half century in the world, despite the feeling of danger and the opposition of a significant part of sociologists, it has made significant progress and achieved world fame. This music is known as the voice of opposition and protest, and concepts such as violence and misogyny are considered to be its characteristics, which has attracted the attention of the music industry in the process of its birth and growthand according to Adorno, it is standardized and incidentally added to its anti-feminist content.This music changes artistically  the social norms and in conflict with the common culture of the societies, it creates an opposing discourse and encourages young people to speak and behave against the norms.Paying attention to the significant and important educational and cultural role that women have in human societies, on the one hand, the resistance of societies against the invasion of capitalist culture, and on the other hand, preserving the values ​​and norms of local culture that has a history of thousands of years, sensitivity to the consequences of growth and It doubles the development of this type of music.It is simplistic to think that music industry just for more profitꓹhas put misogynist content on its headlines.Therefore, preserving the national and cultural identity of pluralistic global societies requires recognizing and providing an effective and timely solution to face it.One of the most famous Persian rap singers, whose songs have attracted many young people, is Tataloo. He has created a new discourse in the literature of her fans and the societywith his songs and words, which is not in line with the accepted norms of the society.Among them, we can mention Tataloo's anti-feminist discussion, and according to his own words, in 20 years, the text of his songs will be written in textbooks.It should be noted that in our society, there is nosingle conceptual definition of misogyny, and people belonging to various subcultures in all parts of the country, from one city to another, from one neighborhood to another, and even from one family to another family has its own definition of misogyny.For example, while cutting off a girl's head by the men of the family is condemned by many peopleꓹSome support it under the title of male zeal.Both views belong to the members of the same society and both groups have Iranian nationality.But the misogyny of the music industry is a concept more than existing misogynyand it has other goals, the result of which is the destruction of the value and reputation of women in the societyꓹher objectification as a consumer and consumer of the products of the capitalist systemꓹinstitutionalizing insult and disrespect to womenand it is to make them submit that is clearly seen in the content of the singer's music, her words and her lifestyle.The 13th of November 2017ꓹInstagram announced that it has blocked Amir Tataloo's user account. Because Tataloo had written insulting sentences against women in the days before that.Instagram wrote that the security of its users is the most important responsibility of this company.After this event, he continues his activity on Instagram with new user accounts and he is still in contact with his fans on various social networks.    Research backgroundDifferent researches have been done about rap music in Iran, and our intention here is not to express all the work done, but to present the backgrounds that are more in line with the topic of this article. Reza Samim and Hamed Taheri Kia (2017) in their article titled "Visualization of Persian rap in virtual space (Instagram case study)", have analyzed the images of rappers' and audience's Instagram pages that by using the process of posting andreposting images with the help of Instagram,Persian rap has become a subject for thinking and discussion by producing news along with information circulation.In another article entitled "Explaining the subjectivity process of Persian rap audience in virtual space", Reza Samim and Hamed Kia (2015) ꓹThey have interviewed 7rappers and a producer, using a qualitative approach and grounded theoryꓹfinally, Persian rap audience with features:They have identified an informed subject, a judging subject, a replicating subject, a legitimizing subject, and a constructive society. Masoud Taghiabadi and Hamid Taghiabadi (2021) in the article "Spreadinggender hatred online in social networks (Case study: misogyny of Iranian Twitter users) "ꓹby using the discourse analysis method, the tweets of Iranian users with the topic of misogyny and misogyny have been analyzed and they found that Twitter was unable to manage the space and the male/female duality, as another, has become more intense in it.An article titled "Study of Content Analysis of Attitudes towards Women in Persian rap Music" by Halime Enayatand others (2013) was conducted by using the content analysis of several rappers' songsin which the majority of the songs have a misogynistic approach and some have an empowering and informative aspect and a critical view of women's issues. Kanani and others (2014) in an article titled "Gender Identity and rap Music: Content Analysis of Femininity and Masculinity in Persian rap Songs", identified three types of gender identity by analyzing the content of 80 songs.Also, in an article by Ronald Weitzer and Charis E. Kubrin (2009) entitled "Misogyny in rap Music: A Content Analysis of Popularity and Meanings", using a content analysis of 403 songs by 31 singers, misogynistic themes: Derogatory naming and shaming Women have identified sexual objectification of women, mistrust of women, legitimization of violence against women, celebration of prostitution and degradation.Another article titled "Representation of social problems of society in Iranian social rap music (case study; text of Yas songs)" by Azam Rawdrad and Sahar Faeghi (2014) has been done by analyzing the content of 23 songs downloaded by Yas. The article "narratives of masculinity in rap music and the challenge of hegemonic masculinity" written by Masoud Kosari and Mohammad Mahdi Moulaii (2013) is also a narrative analysis and they have extracted 14 narratives of masculinity from Persian rap music.Abdullah Bichranlou and Sondos Mohammadi Nosudi (2021) in the article "From star to celebrity, the role of social media in the development of Tataloo's popularity and fandom"ꓹand the axes of realism, breaking taboos, two-way interaction with fans, promotion of a lifestyle and self-branding have been achieved.In another article, Ali Ragheb and Hassan Ighani (2022) analyzed the content of 10 songs under the title "Independent popular music and dominant culture, social subject in the themes of Amir Hossein Maqsoodlou's works in the 1990s".Also, Farid Azizi and Hamid Azizi (2022) in the article "Recording and analyzing the role of Iranian pop and rap music stars in the identification and socialization of Iranian teenage fans in the Instagram social network (case study: Amir Hossein Tataloo and Seyed Hossein Mousavi (nicknamed Tohi )",qualitative approach of virtual ethnography on the Instagram network and found that showing private life, addressing fans with the title "Tataliti", using ugly and unusual words and deviant actions; Tataloo's media tricks have been to attract fans.Psychological and emotional needs are one of the most important causes of rap music and young people's interest in rap style extends to the singer himself and leads to following the actions and words of the popular singer in the long run.As seen, the format of the conducted researches have analyzed the content of rap lyrics, among them, a handful of researches have focused on tataloo and some have reviewed this music on social networks, or had face-to-face or virtual interviews with some rappers, which does not include the interview with Tataloo. Such researches have addressed the views of rap music producers.Only the last article deals with the effect of Tataloo's poems on the fans (consumers), which was an interview with the fans in the virtual space but the current research has investigated the effect of Tataloo songs on the fans or consumers of this music directly by using in-depth face-to-face interviews with them. Research MethodologyThe research has been done using anti-positivism-qualitative approach and grounded theory techniqueꓹ data analysis was done by adopting Strauss and Corbin interpretive analysis method and open, axial and selective coding process (Mohammadpour, 2018).In grounded theory method, data analysis is done through various coding.In this method, three types of coding are used: open, axial and selective coding. The first step is open coding, which includes data analysis, comparison, and categorization.In axial coding, it is important to describe the relationships between categories and subcategories.In selective coding, the foundations of the construction of the grounded theory are obtained based on the relationship of multiple categories with the main and central category.In order to avoid errors and biases in data analysis, Gliser proposed three methods of continuous comparison, complete saturation and connection with the central category for contextual theorists (Rabbani, Abbaszadeh, 2018).The current research used non-probability and purposeful snowball samplingꓹ The way to select each sample was that first interview started with one of the informants who was also a Tataliti and then she would introduce the next tataliti that she knew to the researcher, and the sampling continued until theoretical saturation. The selected samples were Tataloo fan girls living in Tehran.After conducting 10 interviews, theoretical saturation was achieved. Triangulation was used to increase validity and reliability which includes: data triangulationꓹ investigator triangulationꓹ theoretical triangulation.The reliability of the findings was obtained by observing the principles of in-depth interviews, complete recording of narratives and word-for-word implementation of the interviews.Discussion & conclusionsThe purpose of this research was to determine the reasons for the popularity of anti-feminist singer's songs among young girls.One of the findings of this research is the concept of local hegemonic masculinity from the causal conditions of this articleWhich is in line with the findings of Kubrin and Weitzer (2009) and Kosari and Molaii (2013) and is also true for Tataloo. Local hegemonic masculinity inspires rap music.In the causal conditions that exist local hegemonic masculinity in the society, the intensity and weakness of patriarchy in each city and neighborhood is different from other regions of the countryꓹmen have a higher status than womenꓹ in the workplaces, they receive more salary and income than women.Their physical strength is admired and women are generally portrayed as the second sex with gender stereotypes. Also, the lack of female rappers in the field findings wasproposed in support of Kubrin and Weitzer's (2009) theory.In the field where the singer turned to drugs and alcohol and he expresses his difficult lived experience from his own language and reflects it in his words and poemsꓹ Tataloo's fans have reached the phase of listening to his songs to the phase of imitating his beliefs, actions and words.In other words, the listening audience has become an imitative audience of his favorite singerꓹas a result of this imitation, girls also consider misogyny in the society as normal.Fans ignore the gay singer's wife on the pretext of drug and alcohol use.On the other hand, the role of the music industry in pressuring rappers to produce misogynistic lyrics cannot be ignoredꓹbecause the music industry rejects and marginalizes the singer who violates this principleꓹ also, the lack of training in the relationship with the opposite sex in the traditional society has fueled it as an intervening conditionꓹ by using anti-feminist lyrics and words, such as calling girls new-faced and using them as tools, Tataloo helps to reproduce the power and supremacy of men and the inferiority of women in societyand he fuels the trend of gender discrimination and misogyny in the society's culture.Although some fans have criticized the media coverage of New Faces in cyberspace,but in general, fans have accepted the singer's sexual abuse of girls by not forcing them to become new faces.depth interviews with the girls, shows that the acceptance of the girls was out of necessity and submissionbecause if it led to happiness, its consequence would not appear in the form of despair towards the future and tendency to nihilism.Nihilism, from the findings of this research, is in line with the findings of Kubrin (2005), Bichranlou, Mohammadi (2021), Azizi, Azizi (2022). Therefore, it is suggested that by revisiting the formation process of this phenomenon and applying calculated changes,the destructive factor turned despair into hope.Neglecting the unfulfilled needs of girls in the society has created a big vacuum that Tataloo has been able to fill the existing vacuum more effectively by using the powerful tool of art. Therefore, without taking into account the needs of girls and being flexible to their demands, it is not possible to prevent the occurrence of the acceptance of anti-feminist songs and avoid its harmful consequences.The researches reviewed about Tataloo have been mostly concerned with analyzing the theme of the poems and understanding the reader's views and none of them have paid attention to the misogynistic feature of the songs and have not investigated it as a problemwhile this research has dealt with the misogynist aspect of the songs.Also, unlike other researches, the researcher went to the listeners of the songs and narrated the views of Tataloo music fans directly from their own words.In other words, the understanding of the meanings, views, experiences and perceptions of the girls was obtained from their own point of view and using face-to-face interviews, and not from the point of view of the researcher or even the rapper.The theory of the research has been data-oriented, using in-depth study on Tataloo samples, in the natural environment and from the perspective of fans who listen to Tataloo music. Among the ways of distinguishing the method of this research from the researches that have been done, we can mention the following: live experience in real conditions, without disturbing the scene and collecting data in a non-interventional way, long contact with fan girls and continuous observation and review and data collection. He pointed out different temporal and spatial angles and discovered new categories.

In recent years, some by-products such as crumb rubber (CR) and reclaimed asphalt pavement (rap) have been used to save money, protect the environment and extend the life of asphalt pavements. Resilient modulus is one of the most important index and property of material for predicting material reaction under repeated or moving load. Also, it is important variable in pavement design methods. In this laboratory research, influence of CR and rap on indirect tensile strength (ITS) and resilient modulus of hot mix asphalt (HMA) mixtures was investigated. In this research, aggregate gradation #5 (Iran Code #234), ambient crumb rubber (40 mesh), three rubber content (0%, 10% and 20% bitumen weight), four rap content (0%, 20%, 40% and 60% mix weight) and one penetration grade virgin binder (85/100)was used. The results indicated that, as the rap content increases, ITS and resilient modulus values decreases and rutting resistance increase while, addition of CR in bitumen of mixtures leads to decrease in ITS and resilient modulus values and increase rutting resistance of mixtures.