Dr Dolan’s book details the intimate lives of four Iranian women, their struggle with drugs and the daily grind they faced in their personal lives. Surprisingly, Iran responded well to its AIDS crisis but forgot to include female drug users. While Dr Dolan delivered training to Iranian prison doctors, she met women who were addicted to drugs and were desperately in need of treatment. With her health professional colleagues in Iran, she set out to establish the first drug treatment clinic for women. She was granted access to areas and people not normally afforded to outsiders. One of the most interesting aspect of the clinic was the safe room that allowed women to remove their hejabs, smoke cigarettes and reveal their life stories. Working at the clinic challenged assumptions Dr Dolan had of Iran and its people. She came away with insights that are rare even in the world of international development.

Dr Dolan's book details the intimate lives of four Iranian women, their struggle with drugs and the daily grind they faced in their personal lives.

Dr Dolan's book details the intimate lives of four Iranian women, their struggle with drugs and the daily grind they faced in their personal lives.

More than two decades after their parents rose up against the Shah's excesses, increasing numbers of young Iranians are risking jail at the hands of religious paramilitaries roughly their own age, for things their counterparts in the West take for granted: wearing makeup, slow dancing at parties, holding hands with members of the opposite sex. Every day anxious parents queue at courthouses to bail out sons and daughters who have been detained for 'moral crimes'. Kaveh Basmenji, who spent his own youth amidst the turbulence of the Islamic Revolution, argues that Iran's youth are in near-open revolt for want of greater freedoms, in furious defiance of the mullahs and their brand of sombre religiosity. Through candid interviews with young people, and in a careful assessment of Iran today (including a special chapter on the implications of the recent election to the presidency of hardliner Mahmoud Ahmadinejad), Basmenji gets to the heart of the matter: What do Iran's youth want, and how far are their elders prepared to go to accommodate them? 'A detailed insider's view of Iran's recent history and its impact on the new generation that is both entertaining and thought provoking.' Jordan Times 'Fascinating and highly readable ... with his vivid style and eye for detail, [Basmenji] takes the reader right inside Iranian society.' Saudi Gazette 'An accurate account of Iranian society, history and culture...easy to read, and full of enlightening commentaries on personalities, events and trends.' Middle East Journal

Creating an accurate picture of daily life in Iran is a difficult endeavor. Due to strict religious and moral codes, even photographing a woman inside her home without a scarf covering her head is all but impossible. Evidence of the censure of media in Iran has always been visible to Western nations, and has been brought to the forefront in the wake of the recent elections held there. But, Tehran has a drug problem. On the streets, in back alleys, and in small, crumbling, low-cost apartments, Iranian crack addicts are finding their fix in steadily rising numbers. The crack-a term used to describe many types of crystallized narcotics-currently flooding the streets of Tehran is different from that found in the West in a significant way: the "black crack" in Iran is made from heroin, not cocaine. Intent on documenting the plight of these masses of addicts, Aslon Arfa struck out into the underbelly of modern Tehran, camera in tow. The results of his mission, compiled here in Black Crack in Iran, are devastating images of men and women in the midst of a downfall. Some, including a young man with glazed eyes and infected burns stretching across his torso, are closer to the bottom than others. Further complicating the documentation of the epidemic are the shame of addiction, the misunderstanding and disapproval of drug use by outsiders, and the lack of trust from suffering people whose sickness is also a crime punishable by death. Yet, after months spent in the trenches, Arfa has succeeded in bringing the closed-door activities of Iran's most unseemly citizens to light in Black Crack in Iran.

The word motreb finds its roots in the Arabic verb taraba, meaning ‘to make happy.’ Originally denoting all musicians in Iran, motrebi came to be associated, pejoratively, with the cheerful vulgarity of the lowbrow entertainer. In Iranian Music and Popular Entertainment, GJ Breyley and Sasan Fatemi examine the historically overlooked motrebi milieu, with its marginalized characters, from luti to gardan koloft and mashti, as well as the tenacity of motreb who continued their careers against all odds. They then turn to losanjelesi, the most pervasive form of Iranian popular music that developed as motrebi declined, and related musical forms in Iran and its diasporic popular cultural centre, Los Angeles. For the first time in English, the book makes available musical transcriptions, analysis and lyrics that illustrate the complexities of this history. As it presents the findings of the authors’ years of ethnographic work with the history’s protagonists, from senior motreb to pop-rock stars, the book reveals parallels between the decline of motrebi and the rise of ‘modernity.’ In the twentieth century, the fate of Tehran’s motrebi music was shaped by the social and urban polarization that ensued from the modern market economy, and losanjelesi would be similarly affected by transnational relations, revolution, war and migration. Through its detailed and informed examination of Iranian popular music, this study reveals much about the values and anxieties of Iranian society, and is a valuable resource for students and scholars of Iranian society and history.