Read Clampdown: Pop-Cultural Wars on Class and Gender by Rhian E. Jones Online


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 femalWhy 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."...

Title : Clampdown: Pop-Cultural Wars on Class and Gender
Author :
Rating :
ISBN : 9781780997087
Format Type : Paperback
Number of Pages : 104 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

Clampdown: Pop-Cultural Wars on Class and Gender Reviews

  • Tara Brabazon
    2019-01-28 15:21

    This is it. This is what cultural studies scholars should have been writing in the last ten years. Instead of walking away from discussions of the political economy or - even worse - becoming apologists (cheerleaders?) for the neoliberal reclamation of power after the Global Financial Crisis, cultural studies scholars should have got angry, got political and got busy to understand class, gender and race through the 2010s.This book by Rhian Jones is inspirational. I have taken 10 pages of notes and found myself cheering out loud while reading it. Jones investigates what has happened to working class women (and men) in and through popular culture in the last two decades. This is not a book about representation. This is a book about invisibility. Working through 'chav' culture and Britpop, Jones has created a nuanced, considered and truly brilliant analysis of the casual racism, sexism, classism and xenophobia that has punctuated our century. I feel so fortunate to have had the chance to read this book. It is an inspiration for all of us working in the humanities in higher education - a role of great privilege - and provides an opportunity to remember our political role and our social accountability. Time to get angry. Time to get busy.

  • Lis
    2019-01-26 09:40

    This is such an important book - my worry is that, couched as it is in academic language, not enough people will read it. A thought-provoking analysis and discussion of the role gender and class play in UK pop culture, particularly over the Britpop/90s period.

  • John Carter McKnight
    2019-02-03 13:23

    This long essay/short monograph is not for the noob: if you don't have a deep knowledge of UK pop culture generally and the 1990s-2010 UK indie music scene specifically, don't bother. Jones' writing is brilliant, pyrotechnic, clever, scathing, but most of the time I had no idea what she was on about.Reading Clampdown was like standing behind someone at a cocktail party who's clearly having a fascinating conversation that you can only hear half of - tantalizing, but not edifying.

  • Alan Trotter
    2019-02-13 15:31

    Really disappointing. It's an interesting topic—examining why pop culture has become so politically conservative, satisfied to shore up rather than critique or attack. (In particular its focus is popular music, and on representations of women and the working class.) I think Jones's position is coherent and a good account of it could be made, an account that could be interesting, could be vital. But it's so badly written.It takes until the second part of the book, 30 pages in, for a good sentence to appear: a play on Orwell, describing the Tories under Major as seeming like "a government impossible to indict [and that] all the future held was the prospect of a grey cricket shoe stamping on a human face forever". For most of its length the writing is unbearably flat. Even less forgivably, the easy flow of jargon is allowed to dictate the sense of what is said, and the result can be confused or outright meaningless. It's writing as a submission to pre-constructed, received thought. You end up with messes like this sentence (not the worst):Absent from, or actively refusing, many of the narratives of its time, especially the twin triumphalisms of Britpop and Blairism, The Holy Bible stubbornly retained other narratives of which its era was characterised by the shedding and suppression (the impact of the end of the cold war, the 90s confessional turn, the ‘crisis of masculinity’ and other socio-political peculiarities stemming from having grown up in Thatcher-damaged, post-industrial parts of the country) and, in its angst, anxiety, rage and self-loathing, the album vividly expressed the tensions which boiled between these two Britains.(It doesn't help that the formatting of the Kindle version is similarly lazy, with apostrophes dislocated from their words, and footnotes that link to the wrong place or don't link anywhere at all.)At its worst, it's the kind of writing that Orwell himself complained about: "The writer either has a meaning and cannot express it, or he inadvertently says something else, or he is almost indifferent as to whether his words mean anything or not."

  • Roxy
    2019-02-01 08:27

    Published a couple of years ago and relevant now more than ever. "Clampdown" is a fantastic assessment of class and gender representation and visibility as it has been over the past 20+ years, through the rise and fall of Britpop, the various strands and trends within it in relation to classism and sexism, as well as the "chav" stereotype, and the disappearance of positive representations of working-class people in the media in recent times. There are much-needed dissections of issues such as appropriation of working class culture, and the intersections of class politics and feminism. The only thing that ever so slightly let it down for me is that it's a bit wordy where it doesn't necessarily need to be. If you read cultural theory, political theory, any kind of theory and are used to seeing long sentences with long words, then you won't have a problem; for me there's just an irony that such vital issues, which need to be recognised and understood by, really, as many people as possible, are not quite as accessible as they should be. I would also suggest you take the section on Britpop with a pinch of salt - personally I'm not into it at all, so it was difficult for me to be able to recognise certain elements; if you're quite into it yourself, I'm sure you can draw your own conclusions.Either way, this was a brilliant book to read. The subject matter is quite depressing but it really is something we must acknowledge within academic/cultural discourse and in wider political discourse too. I would have rated this 4.5 stars but it wouldn't let me.

  • Simon
    2019-02-11 07:39

    This short, passionate book articulates one answer to how the UK is able to suffer the hardest, deepest and most damaging cuts to the public sector and welfare in generations and still see it as something necessary and even desirable. Jones argues that pop culture has gradually drifted to the right, particularly over the last ten years, cutting off one of the key avenues of self expression to all but those privileged enough to be able to be self sufficient. As a result protest against the untrammelled progress of ideological capitalism has been neutered at the same time that the constant and prolonged dismissal of working class society as 'chavs' has resulted in an all but conquered society. It is difficult to read this book without feeling a growing sense of anger. Jones does not offer any answers, since that is not her purpose. She is simply pointing out the issues. Although this book uses pop culture, and specifically music, of the last twenty years as its theme, this is merely a lens through which to examine the changes society has undergone. I would encourage anyone remotely interested in the current state of politics to read it.

  • Paula Maguire
    2019-02-08 10:32

    I found this a challenging read and have to admit that I didn't' get everything. I probably need to re read it as a 'dippy' book and not from start to finish because you need to savour the arguments. However I largely agree with the premise of the book ; that music has become increasingly mainstream and middle class (cold play and mumfords, or anodyne (xfactor) and it working class voices increasingly marginalised, or ridiculed.'One need not be a victim of rose coloured personal nostalgia to argue that popular culture seems currently consumed by pastiche, recycling, solipsistic navel gazing and pantomimes of authenticity, preoccupied with kitsch fripperies and politically disengaged, with previous traditions of protest and consciousness weakened, compromised, commodified confused or forgotten.'

  • acb
    2019-02-11 07:20

    An interesting broadside on the soul of indie music under neoliberalism; charts the rise of Blairite Britpop, its (d)evolution to “landfill indie”, the New Lad culture, the increasing compartmentalisation of female participants into rigid categories (think Adele vs. Amy Winehouse) and the exclusion of lower-class perspectives and inclusion of poshos' caricatures of hideous proles in a music industry where participation is increasingly limited to those with inherited wealth.

  • Louise
    2019-02-08 12:42

    When I was first made aware of this book I got ridiculously excited. A look at music and politics, with bands like Kenickie looked at? It sounded perfect. After reading it I am still very impressed; it makes some fantastic points I hadn't thought about before, but I can't help wishing it had gone a bit more in depth or was a tiny bit longer. That can only be a good thing though, I thought what was there was very good indeed.

  • Daisy Madder
    2019-02-01 13:23

    An analysis of the way in which the working class and women were treated and presented in music and popular culture, from Britpop to the present day, including looking at the way such excellent bands as Kenickie, Shampoo and the Manics were fitted, or not, into popular narrative. Yeah, this might have been my kind of book

  • Gillian
    2019-01-24 10:35

    Short, snappy and powerful indictment of the Blair years and Labour's disowning of the working class, the demise of an independent and politically motivated music scene and the " media policing of female social and sexual autonomy" .

  • Jenny Shaw
    2019-01-25 14:30

    I'm sure this book makes some important points. Unfortunately, it's far too verbose to communicate them effectively. Disappointing.

  • Stephen Naish
    2019-01-31 11:15

    I was a teenager during the 90's and I look back on the era of Brit-pop with fondness, however dull it all seems today. This book is short and sweet and one of the best in defining the times.

  • Charlotte
    2019-02-07 07:41

    mostly good on the 90s, not so good on current/recent cultural trends (and particularly bad when it just repeats some ideas from retromania entirely uncritically).