The first book on Rebecca Riots since 1989 The book looks at the Rebecca riots protest movement in Victorian Wales, in a context informed by not only British and European historiography but also other disciplines including literature and anthropology. The book is informed by recent work in cultural and gender history, which it applies for the first time to the symbolic and ritual content of the protests. The book’s epilogue discusses historical protest in the context of the contemporary resurgence of leaderless extra-parliamentary protest around the world including Occupy, Anonymous, and anti-austerity movements.
Why have both pop and politics in Britain become the preserve of an unrepresentative elite? From chav-pop pantomimes to retro-chauvinist ‘landfill indie’, the bland, homogenous and compromised nature of the current 'alternative' sector reflects the interests of a similarly complacent and privileged political establishment. In particular, political and media policing of female social and sexual autonomy, through the neglected but significant gendered dimensions of the discourse surrounding ‘chavs’, has been accompanied by a similar restriction and regulation of the expression of working-class femininity in music. This book traces the progress of this cultural clampdown over the past twenty years. ,
The UK alternative rock band, Manic Street Preachers, were and remain one of the most interesting, significant, and best-loved bands of the past thirty years. Their third album The Holy Bible (1994) is generally acknowledged to be their most enduring and fascinating work, and one of the most compelling and challenging records of the nineties. Triptych reconsiders The Holy Bible from three separate, intersecting angles, combining the personal with the political, history with memory, and popular accessibility with intellectual attention to the album's depth and complexity.
Women write about their experiences of loving music that doesn’t love them back – a feminist 'guilty pleasures'.e - a kind of feminist guilty pleasures. In the majority of mainstream writing and discussions on music, women appear purely in relation to men as muses, groupies or fangirls, with our own experiences, ideas and arguments dismissed or ignored. But this hasn’t stopped generations of women from loving, being moved by and critically appreciating music, even – and sometimes especially – when we feel we shouldn’t. Under My Thumb: Songs that Hate Women and the Women Who Love Them is a study of misogyny in music through the eyes of women. It brings together stories from journalists, critics, musicians and fans about artists or songs we love (or used to love) despite their questionable or troubling gender politics, and looks at how these issues interact with race, class and sexuality. As much celebration as critique, this collection explores the joys, tensions, contradictions and complexities of women loving music – however that music may feel about them. Featuring: murder ballads, country, metal, hip hop, emo, indie, Phil Spector, David Bowie, Guns N’ Roses, 2Pac, the Rolling Stones, Bob Dylan, AC/DC, Elvis Costello, Jarvis Cocker, Kanye West, Swans, Eminem, Jay-Z, Taylor Swift, Combichrist and many more.
‘When was the last time you heard an all-girl band on the radio? Why don’t all-girl bands get attention they deserve?’ In Women Make Noise musicians, journalists, promoters and fans excavate the hidden story of the all-girl band: from country belles of the 20s–40s and girl groups of the 60s, to prog rock goddesses, women’s liberationists and punks of the 70s–80s; from riot grrrl activists and queercore anarchists of the 90s to radical protesters Pussy Riot and the most inspiring all-girl bands today. These aren’t the manufactured acts of some pop svengali, these groups write their own songs, play their own instruments and make music together on their own terms. All-girl bands have made radical contributions to feminism, culture and politics as well as producing some unique, influential and innovative music. It’s time to celebrate the outspoken voices, creative talents and gutsy performances of the all-girl bands who demand we take notice. Including commentary from members of the original 60s girl groups and classic punk-inspired outfits like The Raincoats and The Slits, as well as contemporary Ladyfest heroines like Beth Ditto, this timely exploration shows the world that sidelining all-girl bands is a major oversight. Contributions by Victoria Yeulet, Elizabeth K.Keenan, Sini Timonen, Jackie Parsons, Deborah Withers, Jane Bradley, Rhian E.Jones, Bryony Beynon, Val Rauzier, Elizabeth K. Keenan and Sarah Dougher This book is a celebration of girl bands in all genres: girl bands who make music on their own terms. With a unique focus on the talented girl bands of the past 50 years rather than casting female musicians in the typical solo ‘singer-songwriter’ mode. New perspectives on each genre – from 1960s Motown groups to 1970s prog rock and punk to 1980s protest music, 1990s queercore, riot grrrl and beyond – written by musicians, performers, journalists, promoters and fans. Contents Introducing the All-girl Band: Finding Comfort in Contradiction | Julia Downes 1. Female Pioneers in Old-time and Country Music | Victoria Yeulet 2. Puppets on a String? Girl Groups of the 50s and 60s | Elizabeth K. Keenan 3. Truth Gotta Stand: 60s Garage, Beat and 70s Rock | Sini Timonen 4. Prog Rock: A Fortress They Call ‘The Industry’ | Jackie Parsons 5. Feminist Musical Resistance in the 70s and 80s | Deborah Withers 6. You Create, We Destroy: Punk Women |Jane Bradley 7. Post-Punk: Raw, Female Sound | Rhian E. Jones 8. Subversive Pleasure: Feminism in DIY Hardcore | Bryony Beynon 9. Queercore: Fearless Women | Val Rauzier 10. Riot Grrrl, Ladyfest and Rock Camps for Girls | Elizabeth K. Keenan and Sarah Dougher Epilogue: Pussy Riot and the Future | Julia Downes Notes Bibliography Reviews “Tales of race riots, intimidation and abuse by male music fans and management, and inspiring moments of in-your-face activism provide fascinating background to some of your favourite bands (and many you’ve never heard of). The greatest strength of Women Make Noise is that many of the contributors were themselves part of the bands they are chronicling. These women offer up inspiring, funny and enraging stories of being radical activists and prolific musicians in a world that worked constantly to push them down.” – Gender Focus “Women Make Noise is a wonderful collection of essays, taking the reader from the days of Sassy country and Western women carving out a place in a horrendously sexist fledgeling music industry, all the way up to the Riot Grrrl movement of the 90s and beyond. Each chapter is written with such boundless enthusiasm for the subject matter that it’ll keep you enthralled until you drift slowly out of your comfort zone without even realising it. Read the book cover to cover, have your eyes opened, discover your next favourite band and perhaps think about the role of Women in music a little differently from now on.” – Intuition, review by Owen Chambers “Fascinating, diverse and, most importantly, inspiring – the title alone is as much a rallying cry as a joyous statement of the truth.” – Zoe Street Howe, author of Typical Girls? The Story of The Slits, and other music titles “It’s exhilarating to learn about different generations of female musicians from such diverse, strong voices.” – Kathleen Hanna, American singer, musician, artist, feminist activist, pioneer of the feminist punk riot grrrl movement “A very important and timely contribution to the debates about “women in rock”. All-girl bands have too often been written off as novelties, and this exciting book sheds new light on an under-researched area.” – Lucy O’Brien, author of She Bop: The Definitive History of Women in Rock, Pop and Soul
Paint Your Town Red tells the story of how one city in the north of England decided to level up without waiting for Whitehall. Across the world, there is a growing recognition that a new kind of economy is needed: more democratic, less exploitative, less destructive of society and the planet. Paint Your Town Red looks at how wealth can be generated and shared at a local level through the experience of one of the main advocates of the new Democratic Economy, Matthew Brown, the driving-force behind the world-recognized Preston Model. Using analysis, interviews and case studies to explain what Matthew and Preston City Council have done over the last decade in order to earn Preston the title of Most Improved City, the book shows how the model can be adapted to fit different local circumstances, as well as demonstrating how Preston itself adapted economic and democratic experiments in ‘community wealth-building’ from elsewhere in the US and Europe. Preston’s success shows that the ideas of community wealth-building work in practice and have the capacity to achieve a meaningful transfer of wealth and power back to local communities. A lot of recent coverage and references have tended to oversimplify the Preston Model, which is not just about ‘buying local’ but a comprehensive project, which envisions local and regional discussions and collaboration adding up to a wholesale transformation of our currently failing economic systems.
Why have both pop and politics in Britain become the preserve of an unrepresentative elite? From chav-pop pantomimes to retro-chauvinist ‘landfill indie’, the bland, homogenous and compromised nature of the current 'alternative' sector reflects the interests of a similarly complacent and privileged political establishment. In particular, political and media policing of female social and sexual autonomy, through the neglected but significant gendered dimensions of the discourse surrounding ‘chavs’, has been accompanied by a similar restriction and regulation of the expression of working-class femininity in music. This book traces the progress of this cultural clampdown over the past twenty years. ,
The first book on Rebecca Riots since 1989 The book looks at the Rebecca riots protest movement in Victorian Wales, in a context informed by not only British and European historiography but also other disciplines including literature and anthropology. The book is informed by recent work in cultural and gender history, which it applies for the first time to the symbolic and ritual content of the protests. The book’s epilogue discusses historical protest in the context of the contemporary resurgence of leaderless extra-parliamentary protest around the world including Occupy, Anonymous, and anti-austerity movements.
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