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.
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