The following article was penned by the editor of www.zirzamin.se. Zirzamin has become a hub for Iranian musicians to find reasons to continue with their work despite limitations that exist within the country for public performances. The word "zirzamin" means underground and it has come to signify the type of music practiced in homes. That it exudes a sense of rebellion is often misleading.

Today we can't view hip-hop and rap music as only an Afro-American phenomenon. It has become a global culture for affiliations and reworking local youth identity everywhere. The origins of rap and hip-hop are usually ascribed to the Bronx in New York and to DJs of the mid '70s, but its roots are as culturally, eclectically, and idiosyncratically wide ranging as they are deep.

In 2003 I wrote a review on an Iranian rapper called DEEV ("Monster"). I may have been too hard on him but what I was trying to point out, at that juncture, was that our rap music hadn't matured nearly as much as our rock/alternative.

Things have changed, however, and today a different landscape stretches before us. The Iranian society is more open in many ways, and, with that, the young generation is asserting its presence more forcefully. Today, I see the whole hip-hop situation in a different light. For example, I'm not sure if our rock music has produced any groundbreaking movement as compared to the rap music scene in these past few years. In comparison to rock music, our rap music -- even if it has not created a pure Persian hip-hop subculture yet -- has clearly succeeded to charm youngsters that follow the personas and norms of koche bazaar (street) music, which is exactly where the roots of hip-hop are to be found. This new and popular movement represents the culture of the new generation, the dreams and problems facing urban youth in every society, the Iranian society being no exception.

I am not saying that this musical wave in Iran is capable of affecting a cultural shift, not at all. In fact, it isn't bringing a new awareness to the society. It is only a new vehicle for expression of alienation of the Iranian youth against the dominant culture, and that's why it cannot produce that sort of change, not yet anyhow. But it has the potential of bringing forth a viable subculture that is more forthright than its predecessors.

Persian hip-hop, which mostly takes the form of rap, is finding new shapes and forms everyday. That's why, to get a sense of its innovation, progression, and musical substance, it is becoming increasingly necessary to review its development both culturally and intellectually, which will also help it develop and create its own subculture -- one that is original, and not only intended for a particular age group.

The way I see it, there are four different groups of rap musicians that are active in this music scene:

1/ Rappers or rap groups that have adopted the brutal and aggressive features of Gangsta Rap style. I call them "street rappers" because they all dig into the street language to find their voice, with its apparent espousal of urban ugliness. Sometimes it celebrates an aggressive, male, macho sexuality. And this is why I have some difficulty accepting this whole genre. Part of me is in a way excited to hear this kind of music and lyrics that has always been a taboo in our culture, but I cannot accept the popularization and glorification of drugs or sexual-objectification of women.

The question is: "What do we want from Art?" I think what we want is freedom. The personal and individual desires of the artist (the musician) seeks to create a three-dimensional world that represents her existential reality in time and space, and exhibits his talents, which, at the end, will help us understand our own selves and our environment. Art is not about what we prefer to hear or see. It is about who the artist is and how he/she sees thinks. Meanwhile, let's not lose sight of good-and-bad or right-and-wrong. As humans, we may all feel free to express ourselves, but we, as the public, or as consumers, also have the right, and, as adults, the responsibility, to choose between right-and-wrong.

In this hard-core section, the most influential musicians are: Zedbazi, Pishro, Tohi, Eblis, Hich Kas.

Hich Kas is without a doubt the most original hip-hop artist in Iran. I believe he has incorporated our street culture into his music without copying much from Afro-American artists. His lyrics, his sound, his beats, and his voice blend into a creative form of expression, which also reflects his way of life. He is one of the pioneers of "street rap," but he is also aware of his responsibilities as a role model for his mostly young audience. He is surely the closest of all artists to the heartbeat of our streets. He is the uncompromising voice of a forgotten generation.

2/ The second cluster of our rappers comprises a much more conservative and conscientious bunch and clearly represents moral values that are usually socially aware. Some of them are: Emziper, HaarNick, Truth Spirit, and Salome. They reach out to a wider audience, and are intellectually able to become a positive, optimistic voice for their generation, with the distinct potential to affect and alter inferior cultural values and norms.

3/ Then there are rappers interested in taking advantage of commercial and popular aspects of hip-hop. They generally use a much more mainstream, pop sound that doesn't attempt to go beyond entertainment. Two of these are Shahkar Bineshpajooh and Fa Territory.

4/ And, finally, there are rappers who live outside of Iran. They lead their own musical existence, mostly independently of what goes on inside Iran. And these are some of the brilliant Iranian MCs in this group: Erfan, Daad, Prynce.P, Persian Prince, Farez and Deev.

I believe rap music is an appropriate medium of expression for the alienation of a generation who feels stuck in a situation that is influencing their everyday life. Rap has the power and directness to describe and talk about collective as well as personal concerns. Should it make connection with a wider audience, it can bring about needed social change.