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After 44 years of living under Iran’s oppressive fundamentalist Islamic regime, the situation on the ground in the country — mass protests following the Sep. 16 murder of 22-year-old Mahsa Amini — has become an international crisis. In response, Taylor Hanson, of the multi-platinum and chart-topping “MMMBoppers” Hanson, has put out a widespread call for 16,000 voices to join him in recording a song in support of Iranian women and their global allies.

The session will play out on Feb. 4 at Henson Studios in Los Angeles, where 38 years ago, USA for Africa came together to record “We Are the World.” Hanson, who is no stranger to social causes, has set his sights equally high on the Voices Project, which is slotted under the newly established For Women Life Freedom nonprofit organization, a trusted center for Iran-related causes.

“The idea for The Voices Project was born as a touchpoint, a gateway to connect with the issues [in Iran] in a different way. My hope is it becomes octane towards unifying this overall movement,” says Hanson from his home in Texas.

The session will revolve around recording “Baraye – For Women, Life, Freedom,” which combines the slogan for the Iranian movement, “Woman, Life, Freedom” and Shervin Hajipour’s “Baraye.” The latter has been a long-established anthem for the movement, and thus, is up for best song for social change (a special merit award) at the upcoming Grammys.

Hanson’s awareness of what’s happening in Iran is tied with “Baraye” being in the running for this new award. Alerted to the events in Iran by an Iranian-American friend, Hanson has been posting about the protests on his socials since last October. This same friend asked Hanson if he could help get “Baraye” submitted to the Recording Academy for consideration. Hanson is the president of the Texas chapter of the Academy, and when he asked the Academy if “Baraye” was even eligible, he was informed by Academy president Harvey Mason Jr. that it was.

Hanson (photo by Jonathan Weiner)

“This cause broke my heart,” Hanson says. “My whole life, I don’t think I’ve been able to ask myself if I see any difference between the Iranian government and the Iranian people. The government [of Iran] has been seen as very much not a friend to our nation. But the people [of Iran] are the ones being oppressed.”

“Baraye – For Women, Life, Freedom” is produced by Hanson, Iranian American musician Hamid Saeidi of Grammy-winning group Opium Moon, multiple Grammy winner producer/engineer Jim Scott and producer/musician David Garza (Fiona Apple), with assistance from CJ Eiriksson. Hanson has personally reached out to his star-studded contacts list to bring as many marquee names to the session as possible; confirmed artists thus far include Rufus Wainwright, Kevin McHale, Yolanda Adams, Gus Van Sant, Alex Greenwald, Darren Criss, Ben Folds, Gina Chaves and Gene Moore.

“Considering the level of atrocity that has unfolded [in Iran] … Considering how vital this is, how critical, that it hasn’t reached the consciousness of as many people as it should, just doesn’t add up,” he says. “My thinking was, ‘What way can this movement break through?’ Music might have a real role to play here.”

The version being recorded, coincidentally on the same date as the Special Merit Ceremony, is in English, with a new chorus, one that will be easy for anyone to sing without rehearsal. To join the session, artists can register here. It’s worth noting that the session is not restricted to famous musicians, and anyone can participate by submitting their voice remotely.

“Music is always powerful,” he says. “This recording event at Henson helps communicate, ‘You need to see what’s going on in Iran. This is something we can’t ignore. This is something we need to advocate for.’ At the very least, we must treat this as something that needs to be top of mind for our leaders because it’s only going to get worse.”

The target release date for “Baraye – For Women, Life, Freedom” is Feb. 10, the day before the global Iran protests marking 44 years since the coup and subsequent regime change in Iran, which forced scores of citizens into the diaspora.

As far as possibly becoming a target by the Iranian government, adds Hanson: “I would have to be blind, deaf and dumb to not realize we’re standing up for a cause that is dangerous. With any call to action against something that is violent, you take some risk. Inaction is what allows violent action to proliferate. … I think any risk I am taking by calling people together to sing for a cause is a fraction of the risks thousands have already taken to stand up for their lives. I believe that this movement came to me for a reason. How many people must die, [and] how many people must live oppressed for us to think it matters? What we are doing is shining of light so bright it cannot be ignored or overlooked.”

RollingStone

A special session of the song, written by Shervin Hajipour, will take place this weekend

A protestor holds a photo of Mahsa Amini, whose death sparked a wave of demonstrations in Iran and elsewhere. BULENT KILIC/AFP/GETTY IMAGES

Last September, as protests spread across Iran following the death of 22-year-old activist Mahsa Amini, the musician Shervin Hajipour released a song in support of the movement, “Baraye.” The song instantly went viral and has since become an anthem for the demonstrations — which is why Hanson’s Taylor Hanson is encouraging as many people as possible to participate in a new recording of the song.

Hanson and a new non-profit, For Women Life Freedom, are organizing the massive project, which aims to gather 16,000 voices for a new recording of “Baraye.” Participants will be asked to help sing an English translation of the final refrain of Hajipour’s song, “For women, life, freedom.”

The special recording session will take place this Saturday, Feb. 4, at Henson Studios in Los Angeles (which just happens to be the same place that “We Are the World” was recorded). Those who want to attend can register to do so, while those who cannot make it are encouraged to record themselves at home and send it in.

Along with Hanson, the “Baraye” session is spearheaded by Persian artist and composer Hamid Saeidi, producer and engineer Jim Scott, and producer/artist David Garza.

The Iran protests started last September after Amini was arrested by Iran’s morality police in Tehran, allegedly for not wearing a proper religious headscarf and modest dress. She died in police custody. Following news of her detainment and death, Amini’s family spoke out, claiming she’d been beaten to death by police. The IRNA has denied the claim and asserted Amini had a heart attack.

Since the protests began, thousands have been arrested, while a growing tide of death sentences and public executions have followed. Days after Hajipour released “Baraye,” he, too, was arrested, though he was able to secure release on bail.

“Baraye” is also believed to be a frontrunner for a special new Grammy being introduced this year, Best Song for Social Change. While a select committee will choose the winner, submissions were open to the public and over a hundred-thousand reportedly came in in support of “Baraye.””

Celebrity Access

MADISON, WI (CelebrityAccess) – A new book titled Touring and Mental Health – The Music Industry Manual is set to be published on March 23 2023 via Omnibus Press. The manual’s focus is to give those working in the live music industry a guide to help them “identify, process and manage the physical and psychological difficulties that can occur on the road or as a result of touring.”

The in-depth guide was edited by London-based psychotherapist and former music industry booker Tamsin Embleton. Embleton is a co-founder of the Music Industry Therapist Collective (MITC), which lists their mission and vision for the future on its official website (see below).

Our mission:

• To provide access to high-quality psychotherapy to those working within the music industry.
• To provide a safe, confidential, trustworthy and culturally-sensitive space for clients to share, understand and process their experiences leading to increased self-awareness, resilience, self-compassion and self-agency.
• To collaborate, pooling our clinical expertise in order to provide insight into the myriad psychological difficulties facing the music industry today.
• To increase our knowledge of these issues through our clinical work and surveys, allowing us to produce informed guides, best practice documents, workshops, podcasts and blogs.
• To support each other as solo workers in the field through regular meetings and peer supervision.

Our vision:

• To help alleviate the mental health issues which are faced by those within the music industry.
• To change perceptions around mental health and the music industry
• To promote a trauma-informed approach to mental health within the industry.
• To tackle some of the barriers that prevent people from getting help – stigma, prejudice and ignorance.

The book is over 600 pages and gives insight from artists, performance coaches, psychologists, and therapists. It features interviews with Nile Rodgers, Kieran Hebden (Four Tet), Taylor Hanson (Hanson), Philip Selway from Radiohead, and more.

“I wish this book had been around when I first started touring … It should be the first thing we all pack when we head out on the road.” ~ Selway (Radiohead)

James Ainscough, the CEO of Help Musicians, which provides health and support to the music community says: “This book should be a compulsory purchase for anyone who spends time on the road – or sends others out there. It can add decades to a career, give wisdom to the most exhausted mind, and offer encouragement to every burdened heart.”

You can pre-order the book HERE.

Fordham

What would the biography of a pop song look like? And what could it tell us about that song’s moment in history—and our own time?

In One-Track Mind: Capitalism, Technology, and the Art of the Pop Song, Fordham history professor Asif Siddiqi, Ph.D., and 15 other writers attempt to answer those questions. They each delve into the history of a song from the past 60-plus years, and their essays, Siddiqi writes, “show the undiminished power of the pop song.” He sees them as “distillations of important flashpoints,” and he hears in them “ghostly echoes that persist undiminished but transform[ed] for succeeding generations.”

The idea for the book blossomed at Fordham’s Lincoln Center campus in June 2019. That’s when the University’s O’Connell Initiative on the Global History of Capitalism provided funding for a workshop where Siddiqi and other contributors began to flesh out the cultural reflections they noticed in pop songs across the decades.

“Mmmbop” by Hanson

In 1997, two decades after David Bowie released two versions of “Rebel, Rebel,” a different kind of marketing decision—opening direct lines of communication to fans via fast-growing online spaces—helped the brothers in Hanson turn their hit song “Mmmbop” into a springboard for building a devoted following, which is explored in an essay by Louie Dean Valencia, Ph.D., GSAS ’16.

Through the band’s official website and other online forums, Hanson’s fan engagement allowed the group to survive, Valencia writes. “The boy band singing about the ephemerality of relationships used digital technology to maintain their relationships with their fans—attempting to adapt to the digital era in real time.”