Rhian E. Jones

In Painting the Beauty Queens Orange, the women who livedthe decade reveal what it meant to push boundaries, claimyour identity, and carve out your place amidst the winter ofdiscontent, the scorching summer of '76 and the rise ofThatcherism.

Women's Lives in the 1970s

Painting The Beauty Queens Orange

Daniel Lukes

Larissa Wodtke

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.

An examination of the Manic Street Preachers Holy Bible

Triptych

Shortlisted for the Bread and Roses Award for Radical Publishing 2016 The 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.

Gender, Culture and Popular Protest in the Rebecca Riots

Petticoat Heroes

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.

Rhian E. Jones

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