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.

Feminism, Digital Culture and the Politics of Transmission argues that despite the prevalence of generational narratives within feminism, the technical processes through which knowledge is transmitted across generations remain unexplored. Taking Bernard Stiegler's concept of the already-there as its starting point the book considers how the politics of transmission operates within digital culture. It argues that it is necessary to re-orient feminism's political project within what is already-there so that it may respond to an emergent feminist tradition. Grounded in the author's work collecting and interpreting the music-making heritage of the UK Women's Liberation Movement, it explores how digital technologies have enabled empassioned amateurs to make 'archives' within the first decade of the 21st century. The book reflects on what is technically and politically at stake in the organization and transmission of digital artifacts, and explores what happens to feminist cultural heritage when circuits shut down, stall or become diverted.

Feminism, Digital Culture and the Politics of Transmission argues that despite the prevalence of generational narratives within feminism, the technical processes through which knowledge is transmitted across generations remain unexplored. Taking Bernard Stiegler's concept of the already-there as its starting point the book considers how the politics of transmission operates within digital culture. It argues that it is necessary to re-orient feminism's political project within what is already-there so that it may respond to an emergent feminist tradition. Grounded in the author's work collecting and interpreting the music-making heritage of the UK Women's Liberation Movement, it explores how digital technologies have enabled empassioned amateurs to make 'archives' within the first decade of the 21st century. The book reflects on what is technically and politically at stake in the organization and transmission of digital artifacts, and explores what happens to feminist cultural heritage when circuits shut down, stall or become diverted.