Rhian E. Jones – författare

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 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.

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.

Shortlisted for the Bread and Roses Award for Radical Publishing 2016The wave of unrest which took place in 1840s Wales, known as ‘Rebeccaism’ or ‘the Rebecca riots’, stands out as a success story within the generally gloomy annals of popular struggle and defeat. The story is remembered in vivid and compelling images: attacks on tollgates and other symbols of perceived injustice by farmers and workers, outlandishly dressed in bonnets and petticoats and led by the iconic anonymous figure of Rebecca herself. The events form a core part of historical study and remembrance in Wales, and frequently appear in broader work on British radicalism and Victorian protest movements. This book draws on cultural history, gender studies and symbolic anthropology to present fresh and alternative arguments on the meaning of Rebeccaite costume and ritual; the significance of the feminine in protest; the links between protest and popular culture; the use of Rebecca’s image in Victorian press and political discourse; and the ways in which the events and the image of Rebecca herself were integrated into politics, culture and popular memory in Wales and beyond. All these aspects repay greater consideration than they have yet been accorded, and highlight the relevance of Rebeccaism to British and European popular protest – up to and including the present day.

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. Rhian E. Jones considers The Holy Bible in terms of its political context, setting it within the de-industrialised Welsh landscape of the 1990s; Daniel Lukes looks at the album's literary and artistic sources; and Larissa Wodtke analyses the way the album's links with philosophical ideas of memory and the archive.

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 Councilhave done over the last decade in order to earn Preston the title of Most Improved City, the bookshows how the model can be adapted to fit different local circumstances, as well as demonstratinghow 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 thecapacity to achieve a meaningful transfer of wealth and power back to local communities. A lot ofrecent coverage and references have tended to oversimplify the Preston Model, which is not justabout ‘buying local’ but a comprehensive project, which envisions local and regional discussions andcollaboration adding up to a wholesale transformation of our currently failing economic systems.