DOCSLIB.ORG

Citizen Volunteers Help Juvenile Court

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

__ ... u.$ ..*_... ep ....i. ~- Barber clips his way through 36 years of haircuts By Peter A. Salinas son's first cut and laughed about "I do a lot of preachmg," he promment Pomter whom he StaN Writer "Sam originally had hIS shop have had theIr haIr tended to for saId "I'm not a mmlster, but I wouldn't IdentIfy. Thirty-six years ago haircuts on the second floor of what is four generations the trauma that ensued Lang. preach m the absence of the "It was a beautIful day and cost a dollar, coffee was a dime a now the NBD buildmg on Mack "JIm was the first barber I ford has envelopes on hand for mmlster II warm," Langford saId. "He was cup and Jim Langford fimshed and RIvard smce 1927," he said came to 36 years dgO," sald DICk collectmg the hall' of first-timers Langford and hIS WIfe Kath. m the chair and really relaxed barber school and began workmg "He later moved to thiS loca- Speer of the Farms, as he had "We're known for OUI cuckoo ryn have two chIldren, Barbara WIth hIS eyes closed. His WIfe m Grosse Pointe tlOn" hIS hall' trimmed I've never clocks alOund here," Langford and TImothy. He likes boatmg walked up to the door and put After spending hIs entire Cd- HIs shop, Jim's Halrcuttmg gone to anyone else and I stIli bald about the wooden clock on (he owns a wooden 18.foot Ly. her finger to her hps for me to reer in the same shop, he retIred and Stylmg Shop, at 359 FIsher, have most of my hall''' the wall that has become an 1m. man Clinker Bul1t), huntmg and keep qUiet She then leaned over last Saturday IS dIrectly across from South's Langford IS well-known and portant part of the shop "It keeps th(> young ones enter. other outdoor actIvIties. He espe. and kISsed hIm I Jumped back, , . "It's the best job in town," football field Langford has sold well-liked throughout the area CIally hkes to hunt bll ds and has because I was the only one m saId the tall, 61-year-old father the busmess to Dave Brown, John Jensen brought m lllS son, tamed We'le on ow thIrd one" owned an English pomter and the shop and I dIdn't want to get of two "Some of the mcest peo- who's been with hIm for 21 MIke, 16 months, for hIS first Langford wIll remdln active Bnttany spamel punched" ple m the world have walked years haIrcut, makmg the .Jensens a He'll be fillmg m on vacatIOns "I go down south and I also HIS reCIpe for a good, healthy through my doors" There are dozens of famIlIes m three-generatIOn famIly of cus- fOl the thl ee bdrbers at the shop, and WIll be devotmg more tIme lIke to hunt up near Lmcoln, head of hair? Langford began workmg for Grosse Pomte that have, for tomers The baby's grandparents Clare and near MIO," he sald Sam Barker in 1952 He bought three generatIOns, gone to Lang- were on hand for the e\ pnt to the ChUlch of ChrIst m East He related a story about a See BARBER, page 17A the shop from hIm m 1957 ford, and several famlhes that Jensen's mother recalled her DetrOIt r.,~: ,Opera benefit 2A Pr:trents talk about hall parties 3A HfJll parties '5no fun worry parents 6A Demonstrating his knock.'em- , . dead technique for for throwing a giant snowball. S-year-old lesse ,~e:t!o;.~~.~~~ 7A Craig scoops up an armload, 'kids or baseball? 8A while Charlie Braun. 7, in the back displays his form. But before , "Choirs in review l0A he could fashion his monster ,PbitPpries 11A snowball. someone else took aim. ~ ~~~;" .. , , '-+;,<1 and lesse. alas. forgot to duck. , ... ; NOTith to do The action took place in the Park ?Wizard of Oz'........12A last week when school was can- >'" ({ ~~... S!1ltool news 14A celled due to snow. More photos of the heaviest snowfall of the sea- Hig6ie House son are on page 13A. : .4J''cbe torn down .....lBA /" Double double 19A h-:~.i ..J1t~b~k.., 2M. ,~. Jj ing uia11Wn 22A i I' 'd 'Oncefior women t",>i>~ ~ /~¥ S owners 23A A ~pecial delivery lB llere's Jeannie 2B Photos b) Sert Fmanlllie 'Phone call from Pavarotti 3B Just another Lent 4B Citizen volunteers help juvenile court Three Norsemen By Nancy Parmenter V I f h .signees 1C Staff Writer 0 unteers rom a vanety of "tay With t e family They at e, under some attack," Basham The commIttee IS gettmg to Volunteers are at the core of a backglOunds serve as advocates Bal samlan Sdld, "m a nutshpII, "aid "It's m danger of losmg the gether a package of alternative South is swept new attempt to Improve the suc fO! the court and as condUIts be. altel natlve" whIch would allow level of revenue from both De and preventIve treatments and off the ice 2C cess rate of the Wayne County tween the court and the com us to keep non-vIOlent offenders tlOlt and the state" lookmg for other sources of fund. What keeps your Juvemle Court. Plagued by the mUnlty Gettmg the \~Old out IS "uccessfully at home We have to AdVISOry commIttee members mg Last year It established a ticker ticking? 4C dIfficulty of dealmg WIth the their speCIalty ~et ,real conllol mto the young- went through an Ol'IentatIOn pe tax exempt Wayne County ,Juve. large numbers of abused and de Some of the members \\ere ster s lIfe ThIS means Imposmg nod, slttmg m comi: to momtor nile Court FoundatIOn to funnel 'Ironweed' and 'Having lmquent chIldren on an made surpl'Ised at what they found "I lImIts an~ remforcmg parental eXistIng condItIOns, Bashara donatIOns to programs that prove A Baby' reviewed .....5C quate budget the court m the was appalled at the lack of funds authonty ,>ald The reqUIred onentatlOn workable last two yea;s has tm ned to a to do the job," said one "Juve , The commIttee IS co chaired by gave them some background for "We feel there needs to be a commIttee mle comi IS not even In the com. Grosse Pomter George Basham puttmg fOlih suggestIOns for 1m better system," Basham saId "It puter age" and mclnde., low! IeSldents S provements take" money - and genel ally The court IS an arm of probate Gar~ Splll'l (,( 01 gld Mandich, "The court does a pretty good the needs of the state alld the COlllt. both of whIch are funded RlchalC! Ht.' 1 111ho died last Job With \\hat they have," he county outweigh (tIll' need., of by the county Given Wayne week). "'kp'- 1, (,('I mack, JOdn ""lid 'The commIttee has felt Juvenile COUIt) Thl' Il1l ,- \~ I II t County's austere budget, the Clt G('hl ke and I) "Ii '" VOVdclllOff f1U.,tlatlOns Just as the comi PtJ~~t'~ Izens' AdvI'>ory CommIttee and The 1I1lU tll.ill I "t,lf1ed ,m.! hI' the Juvenile courts need to come Richard A. Wright up WIth '>ome ne\\ \\ay" to solve old problem" for a week or so at a tIme, any By Pat Paholsky As fO!mel Pl eSldmg .Judge Y number of cars fJ am the factory Editor Glady,> BarsamIan saId to the The answer a '64 Rambler And over the yea! ", he ha<; DetrOIt FI ee Pl-e"", "We can no convertIble, a '67 Dodge Charger drIven hiS '>hare langeI do more of the "ame .. and an '82 AMC Concord statIOn "I like all car'i," hp say" But Some of the .lltel natIve pi 0 wagon when pressed, he admIts "If I 1-,'1,1111" mclude mtenslvP PlotM The questIOn What kmd of could have any CdI' m the world tlOn. \\ orkJl e"tltutlOn, lItel dCy car does RIchard A Wright, who I'd probably have a Ford Mm plogram" and youth d't"I"temcc, Wlltes about them for a lIvmg, tang What I really got e;tuck on all effOli'i to gl\E' "on](' structUl(' dnve? was Amcncan mue;c1e cals ilnd contlOl to a young pel "on'<; "I always kmd of liked "As I get older, I llke a little IIfp whJ1p allowmg hIm or her to Nashes," he saId "They're also a bIt of luxury," he adds good buy" Wnght, who has "pent nearly As auto \\'Tlter for The DetrOit 30 years as a wnter, dIdn't m News, Wright gets to te'lt dnve, tend to go mto Journall<;m After Student hIgh school, he went to work for a prmter "I had no partlculal goal and I rescued deCIded to go mto the army I A 12 year old -ev('nth grader wound up m language school" wa" pullrcl from the bottom of He spent a year m Monterey, the PlCrce Middle School pool Callf, studylllg RU""lan The Wednesday ilftel noon, Feb 10, army sent hIm to Germdny and \\de; rrc;u"cltHtpd by the where he \\orked With an mtellI phV"lcal cducatlOn lll~tl uctor geme gatherIng team developmg Accordmg to PI mClpal SU7 pi ogram" for keepmg tl <lck of anne Klrm. the "tllcl( nt wa<; III Ruc;s18n tank unit" tlw pool a" part of !wr ph} "lcal "I thought 'ienously of "taymg educatIOn clel"~ m the army and temg a RU"'iI'ln The "tudf'nt, who wa" un[on .,pecwll'it," hp "aId .,C10lh when .,he \\ "., blollght to It wae; a quantum If'dp fOI thl' the "UI1aC('.
Recommended publications
  • Big Bang – Shout out to the World!

    Big Bang – Shout out to the World!

    Big Bang – Shout Out To The World! (English Translation) [2009] Shout out to the World: TOP “I came here because of that string of hope. Where do I stand now? I ask myself this but even I don’t have a specific answer yet. During the process where I search for my other self, all my worries will fade away because I must find the person who will lend his shoulders to me.” ~TOP Name: Choi Seung-hyun Date of Birth: November 4, 1987 Skills: Rap, Writing lyrics, Beatbox *Starred in the KBS Drama, ‘I am Sam’ The power to awaken a soul, sometimes it takes pain to be re-born. [~ Pt.One~] -I once wanted to be a lyric poet that composed and recited verses.- I became mesmerized with ‘Hip-Hop’ music when I was in Grade 5. I went crazy for this type of music because I listened to it all day and carefully noted all the rap lyrics. If we have to talk about Hip-Hop music, I have to briefly talk about the roots of American Hip-Hop. When I first started listening to Hip-Hop, it was divided up into East Coast and West Coast in America. Wu Tang Clan and Notorius B.I.G. represented the East Coast (New York) scene and they focused largely on the rap and the lyrics, while representing the West Coast (LA) was 2Pac who focused more on the melody. Although at that time in Korea and from my memory, more people listened to West Coast hip hop but I was more into the East Coast style.
  • An Analysis of the Korean Pop Industry, Seven-Year Statute, and Talent Agencies Act of California

    An Analysis of the Korean Pop Industry, Seven-Year Statute, and Talent Agencies Act of California

    UCLA UCLA Entertainment Law Review Title Discovering the Full Potential of the 360 Deal: An Analysis of the Korean Pop Industry, Seven-Year Statute, and Talent Agencies Act of California Permalink https://escholarship.org/uc/item/88z2z7wm Journal UCLA Entertainment Law Review, 20(2) ISSN 1073-2896 Author Tsai, Patricia Publication Date 2013 DOI 10.5070/LR8202027172 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Discovering the Full Potential of the 360 Deal: An Analysis of the Korean Pop Industry, Seven-Year Statute, and Tal- ent Agencies Act of California Patricia Tsai* The 360 deal has been an attractive option for music labels in the United States to gain traction in the faltering music industry, but po- tential legal obstacles may hinder the incentive to enter into the deals both for the label andfor the artist. Labels entering into 360 deals may find themselves liablefor violating the Seven-Year Statute or the Talent Agencies Act (TAA). With 360 agreements becoming more popular, labels should turn to an existing music industry that has dealt with the potentiallegal problems of 360 dealsfor years. The Korean pop industry, commonly called "K-pop, " has taken advantage of a 360-deal-like model for many years, and as a conse- quence, many Korean labels have experienced the potential legal prob- lems that American labels may face. Particularly,the legal problems faced by S.M Entertainment, a talent agency and music label giant in South Korea, as a result of their contract with TVXQ, a popular and hugely successful boy band,reveal exactly the type ofpotential liability faced by American music labels.
  • A Feminist Political Economy of the Korean Popular Music Industry

    A Feminist Political Economy of the Korean Popular Music Industry

    A Feminist Political Economy of the Korean Popular Music Industry by Hyejin Jo M.A., Hankuk University of Foreign Studies, 2016 B.A., Hankuk University of Foreign Studies, 2013 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the School of Communication Faculty of Communication, Art and Technology © Hyejin Jo 2019 SIMON FRASER UNIVERSITY Summer 2019 Copyright in this work rests with the author. Please ensure that any reproduction or re-use is done in accordance with the relevant national copyright legislation. Approval Name: Hyejin Jo Degree: Master of Arts Title: A Feminist Political Economy of the Korean Popular Music Industry Examining Committee: Chair: Daniel Ahadi Lecturer Dal Yong Jin Senior Supervisor Professor Martin Laba Supervisor Associate Professor Ju Oak Kim External Examiner Assistant Professor Department of Psychology and Communication College of Arts and Sciences at Texas A&M International University Date Defended/Approved: July 12, 2019 ii Abstract Gender disparity is an emerging issue in contemporary South Korea. Despite the significant increase in gendered concerns, there has been a lack of discussion on gender inequality problems in the Korean popular music industry. For this reason, this thesis aims to investigate gender inequalities and power relations embedded in the male-dominated Korean popular music industry by analyzing the texts, images and music of Korean girl groups through the lens of a feminist political economy. In doing so, this study utilizes textual analysis in order to examine how gendered hierarchy and patriarchal power, acting as industrial practices, exploit Korean girl groups in the Korean popular music industry.
  • Juvenile Protection and Sexual Objectification: Analysis of the Performance Frame in Korean Music Television Broadcasts1

    Juvenile Protection and Sexual Objectification: Analysis of the Performance Frame in Korean Music Television Broadcasts1

    ACTA KOR ANA VOL. 16, NO. 2, DECEMBER 2013: 329–365 JUVENILE PROTECTION AND SEXUAL OBJECTIFICATION: ANALYSIS OF THE PERFORMANCE FRAME IN KOREAN 1 MUSIC TELEVISION BROADCASTS By CEDARBOUGH T. SAEJI2 The wide-spread sexual objectification of women in Korean popular music performance subconsciously teaches men and boys that women and girls are sexual objects that exist to please them. Simultaneously sexual objectification disempowers girls and women by emphasizing superficial beauty. Although many decisions related to K- pop choreography, costumes, or lyrics may be attributed to music management companies, this article analyzes how music television programs Inkigayo (Seoul Broadcasting System) and Music Core (Munhwa Broadcasting Company) contribute to the sexual objectification of women through the ways that emcees frame performances and the ways the camera draws attention to sexualized body parts. In August 2012 racy performances by the girl group Kara raised public debate and spurred calls for amendments to the Juvenile Protection Law. At that time commentary focused on the impact of sexually provocative performances on young people. The law places responsibility for monitoring content onto the content producers and broadcasters, yet frame analysis of Kara’s performances, compared with performances in early 2013, demonstrated that neither Inkigayo nor Music Core had changed the sexually objectifying performance frame on their shows. The final version of the revised law, 1 This research was supported by Hankuk University of Foreign Studies Research Fund of 2013. 2 Author’s Note: Thank you to the editor and enormously helpful anonymous reviewers at Acta Koreana as well as friends and colleagues with whom I discussed aspects of this paper: my gratitude to Logan Clark, Timothy Gitzen, Meredith Perry, Jungwon Kim, Jisoo Hyun, Thea Suh, Go Gwanyeong, and the audience for my presentation at the 2013 International Association for the Study of Popular Music conference.
  • Public Enemy Turns 25 Era

    Public Enemy Turns 25 Era

    “Don’t Worry, Flavor- Vision Ain’t Blurry” IT ALMOst DIDN’T HAPPEN. Chuck D was an increasingly dense collection of sonic arguably remains a high-water They Even Had It On The News already 26 when Def Jam’s Rick Rubin alarms that would become their trademark. mark for rap music. Made during first heard the taped single “Public Each track combined a staggering number what is regarded as the golden age Enemy No. 1” by Chuck D and Spectrum of samples—beats, grooves, sound effects of hip-hop, when clearing samples VOL. PE25 ROOSEVELT, LONG ISLAND, 1987-2012 NO $ELL OUT City. So when Rubin called to sign him, and piercing sound bites that infused the was not as heavily monitored, The Chuck told the hip-hop label maestro that music with as much urgency as the lyrics. Bomb Squad created a massive he was too old, noting that the recently Encouraged by Rubin, other Def Jam collage of sound that reached BROTHERS signed LL Cool J was only 16, and that he artists had found success combining rap beyond the scope of pop music and SHIT HITS was instead considering his options as a and rock; PE took it further, sampling into the avant garde. Chuck’s raps GONNA WORK graphic designer. But after six months of and collaborating with heavy-metal were increasingly political, taking a The hip-hop group, Public Enemy. relentless attempts by Rubin (and despite acts like Slayer and eventually Anthrax. sharp bead on society’s ills, racism THE FAN! IT OUT the ambivalence of Rubin’s partner at Def Tracks like “Louder than a Bomb” and and the self-inflicted wounds of the African Black the next year.
  • Alicia Keys, Click Here

    Alicia Keys, Click Here

    Begin Reading Table of Contents About the Authors Copyright Page Thank you for buying this Flatiron Books ebook. To receive special offers, bonus content, and info on new releases and other great reads, sign up for our newsletters. Or visit us online at us.macmillan.com/newslettersignup For email updates on Alicia Keys, click here. For email updates on Michelle Burford, click here. The author and publisher have provided this e-book to you for your personal use only. You may not make this e-book publicly available in any way. Copyright infringement is against the law. If you believe the copy of this e-book you are reading infringes on the author’s copyright, please notify the publisher at: us.macmillanusa.com/piracy. This book is dedicated to the journey, and all the people who are walking with me on it … past, present, and future. You have all helped me to become more myself and I am deeply grateful. FIRST WORD The moment in between what you once were, and who you are now becoming, is where the dance of life really takes place. —Barbara De Angelis, spiritual teacher I am seven. My mom and I are side by side in the back seat of a yellow taxi, making our way up Eleventh Avenue in Manhattan on a dead-cold day in December. We hardly ever take cabs. They’re a luxury for a single parent and part-time actress. But on this afternoon, maybe because Mom has just finished an audition near my school, PS 116 on East Thirty-third Street, or maybe because it’s so freezing we can see our breath, she picks me up.

  • Catching the K-Pop Wave: Globality in the Production, Distribution, and Consumption of South Korean Popular Music Sarah Leung

    Vassar College Digital Window @ Vassar Senior Capstone Projects 2012 Catching the K-Pop Wave: Globality in the Production, Distribution, and Consumption of South Korean Popular Music Sarah Leung Follow this and additional works at: http://digitalwindow.vassar.edu/senior_capstone Part of the Film and Media Studies Commons Recommended Citation Leung, Sarah, "Catching the K-Pop Wave: Globality in the Production, Distribution, and Consumption of South Korean Popular Music" (2012). Senior Capstone Projects. 149. http://digitalwindow.vassar.edu/senior_capstone/149 This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. Catching the K-Pop Wave: Globality in the Production, Distribution, and Consumption of South Korean Popular Music Sarah Leung Media Studies Senior Thesis Thesis Adviser: Tarik Elseewi April 20, 2012 Chapter List: I. Going with the Flow: K-Pop and the Hallyu Wave…….…………………………………2 1. Introduction…………………………………………………..……………………2 2. So What is K-Pop? Local vs. Global Identities……………...…………….…….10 II. Making the Band: K-Pop Production………………….…….…….….….………………25 1. The Importance of Image……………………………………………..………….25 2. Idol Recruitment, Training, and Maintenance………………………….…..……28 III. Around the World: Patterns of K-Pop Consumption…………….….….…….………….34 1. Where is K-Pop being Consumed? …………………….….…………………….34 2. Interculture, Transnational Identity, and Resistance……...……………….……..42 IV. Crazed! The “Pop” in K-Pop………………………………………………………….…48 1. H.O.T.? Issues of Gender and Sexuality in K-Pop’s Appeal……..…..………….48 2. Fan Culture and Media Convergence………………...……………………….…69 V. Conclusions……………………………………………..………………………….…….77 Bibliography…………………………………………………………………………………85 Leung 1 I.
  • The Ingham County News

    The Ingham County News

    Springport Bindery Spl"ingport, Mich. WARMER VCJrmor Thursday and Friday; 1 ' cooler over week end Volume 105, No. 50 3 Sections, 26 Pages December 9, 1964 10~ per copy Voters EXCEPT FOR THE MORTGAGE To Decide College New Jail Is Ours Ingham county officially ded. Ingham county voters will go to visitors took advantage of the rector of the state department "In those days segregation icated Its new $1,750,000 jail ot the polls next Tuesday to decide open house Saturday and 8,000 of corrections, prisioners was Impossible", he 1f Ingham county shall establish at 630 N. Cedar street In Mason attended on Sunday, Runyon read communications Saturday afternoon, added. "Youths were thrown 1n a county Community college by Another open house is planned from 3 persons who regretted with hardened criminals, drunks The cledicatlon ceremony was taking over the present Lansinr: for the coming wee]( end on the inability to attend the ded­ were incarcerated w 1t h mur­ community college and operatln!: an impressive one. It was con. Saturday and Sunday, December ication. They were Congressman derers," It as a county faclllty, ~ ducted In the chapel of the jail 12 and 13 from 1 to 6 p.m. Charles E. Chamberlain of the before an audience of approlCI. Much of this, he said, was due The question before thr voter; Taking part in the. derlkation 6th congress lonal district of to lack of public Interest. But is Qivided into 3 sect!l,ns, alp mately 225 persons, ceremony were representatives Michigan; J, W, McGinnis, federal Among those attending were in recent years the public has of which must pass If the college of 3 religious faiths -- Protes­ jail inspector from Chillicothe, become Interested in its jails and state and city police offlclills Is to become a reality.
  • My Song Is My Power: Postcolonial South Korean Popular

    My Song Is My Power: Postcolonial South Korean Popular

    MY SONG IS MY POWER: POSTCOLONIAL SOUTH KOREAN POPULAR MUSIC by JARRYN HA Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy Department of Music CASE WESTERN RESERVE UNIVERSITY May 2018 ii CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of Jarryn Ha candidate for the degree of Doctor of Philosophy.* Committee Chair Robert Walser Committee Member Francesca Brittan Committee Member William Deal Committee Member Susan McClary Date of Defense March 26, 2018 * We also certify that written approval has been obtained for any proprietary material contained therein. iii Table of Contents • List of Tables iv • List of Figures v • Acknowledgments vii • Abstract ix • Introduction 1 1. “Love, Goodbyes, and Tears, All in Four Beats”: The Birth and Develop- ment of Tŭrotŭ, a Twentieth-Century Korean Popular Song Genre 13 2. Decadent Ruckus, Celebratory Anthems: A History of Korean Rock Bands and Their Music 50 3. “My Song”: Korean Singer-Songwriter Music, the Veneration of Originality, and Musical Assertions of Sociopolitical Agency 89 4. Girls’ Generation: Idol Vocal Groups’ Performance of Adolescent Femininities and “Broken Virtuosity” 128 5. Riding the Airwaves in the Age of the Korean Wave: South Korean Popular Music in the Context of Television 166 • Bibliography 204 iv List of Tables • Table 1.1: The event schedule for the first annual Gwangjingyo Bridge Festival, 26 August 2017 46 • Table 5.1: A summary of artists featured in Sketchbook and Music Bank (both KBS-2TV), aired during the week of 15 June 2015 170 v List of Figures • Fig.
  • Revolutionary Desires: Women, Communism, and Feminism in India/ Ania Loomba

    Revolutionary Desires: Women, Communism, and Feminism in India/ Ania Loomba

    REVOLUTIONARY DESIRES Revolutionary Desires examines the lives and subjectivities of militant-nationalist and communist women in India from the late 1920s, shortly after the communist movement took root, to the 1960s, when it fractured. This close study demonstrates how India’s revolutionary women shaped a new female – and in some cases feminist – political subject in the twentiethcentury,incollaborationandcon- testation with Indian nationalist, liberal-feminist, and European left-wing models of womanhood. Through a wide range of writings by, and about, revolutionary and communist women, including memoirs, autobiographies, novels, party documents, and inter- views, Ania Loomba traces the experiences of these women, showing how they were constrained by, but also questioned, the gendered norms of Indian political culture. A collection of carefully restored photographs is dispersed throughout the book, helping to evoke the texture of these women’s political experiences, both public and private. Revolutionary Desires is an original and important intervention into a neglected area of leftist and feminist politics in India by a major voice in feminist studies. Ania Loomba is the Catherine Bryson Professor of English at the University of Pennsylvania. She has published widely on early modern literature, histories of race and colonialism, postcolonial studies, feminist theory, and contemporary Indian literature and culture. Her publications include Colonialism/Postcolonialism (2005) and Shakespeare, Race, and Colonialism (2002), as well as the edited collections Post- colonial Studies and Beyond (2005), South Asian Feminisms (2012), and Rethinking Feminism in Early Modern Studies (2016). ‘In this inimitable feminist history of Indian women rebels and revolutionaries, Ania Loomba turns her well-trained eye on a shamefully under-written history of radical political desire in all its gendered forms.