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.

"Traces the links between politics and pop music in order to interpret why we are where we are, in terms of class, gender and representation and the wider grim political situation we find ourselves in. The book made me angry and a bit nostalgic, but probably nostalgic for something that was never fully realised." --Emmy-Kate Montrose, formerly of Kenickie

Rhian E. Jones writes on history, politics, popular culture and the places where they intersect. She is a co-editor of Red Pepper magazine and contributes to Tribune, New Humanist and New Socialist. She lives in London, UK.