From the perspective of Fairclough critical discourse analysis, discourse analysis should focus on the following: 1) features of text language (text); 2) processes related to text production and consumption (discourse practice); 3) and the broader social practice to which that communication event belongs (social practice). With such a view, HIP HOP music is studied and the discourse of protest is analyzed. A brief reference is made to the history of the origin and mission of HIP HOP and that HIP HOP is an artistic answer to social problems, and then Fairclough's approach is used here in three levels of description, interpretation and explanation at the level of describing the meaning of HIP HOP and music theory. It has been identified and at the level of interpretation of the three intertextual components of HIP HOP music, namely postmodern sonnet, jazz and critical music and critical realism, and at the level of explanation, the relationsHIP between HIP HOP music with society and power has been identified and tried during analysis. Critical discourse in HIP HOP music, the framework of Fairclough analysis, should be worked on properly, and in the end, HIP HOP music in Iran is discussed and its relationsHIP with power is determined.

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.

Nassim-e Shomal and Ali Akbar Saber are among the first poets who wrote poetry for children by using child-like language. In Nassim-e Shomal's Divan thirty-three poems and in HOP HOP Nameh twenty-three poems are considered as children’s poetry. The two poets' language is simple, devoid of literary embellishments, and suitable for the comprehension of children. The two poets have used the masnavi poetic form. They both have used narratives in which the animals are heroes and anti-heroes in most cases thus making subjective topics objective. The use of personification and fable is more frequent in Nassim-e Shomal's poetry than in Saber's; however, both of them use symbols equally. Nassim-e Shomal has often a direct way of getting his message across while Saber does it indirectly.