important cultural phenomenon of the late 20th century", McLaren later asserted. "Its authenticity stands out against the karaoke ersatz culture of today, where everything and everyone is for sale.... [P]unk is not, and never was, for sale." They were something with which "to sell trousers", as McLaren said in 1989; a "carefully planned exercise to embezzle as much money as possible out of the music industry", as Jon Savage characterises McLaren's core theme in The Great Rock 'n' Roll Swindle; "cash from chaos" as the movie repeatedly puts it. Lydon, in turn, dismissed McLaren's influence: "We made our own scandal just by being ourselves. Maybe it was that he knew he was redundant, so he overcompensated. All the talk about the French Situationists being associated with punk is bollocks. It's nonsense!" Cook concurs: "Situationism had nothing to do with us. The Jamie Reids and Malcolms were excited because we were the real thing. I suppose we were what they were dreaming of." According to Lydon, "If we had an aim, it was to force our own, working-class opinions into the mainstream, which was unheard of in pop music at the time." Toby Creswell argues that the "Sex Pistols' agenda was inchoate, to say the least. It was a general call to rebellion that falls apart at the slightest scrutiny." Critic Ian Birch, writing in 1981, called "stupid" the claim that the Sex Pistols "had any political significance.... If they did anything, they made a lot of people content with being nothing. They certainly didn't inspire the working classes." While the Conservative triumph in 1979 may be taken as evidence for that position, Julien Temple has noted that the scene inspired by the Sex Pistols "wasn't your kind of two-up, two-down working class normal families, most of it. It was over the edge of the precipice in social terms. They were actually giving a voice to an area of the working class that was almost beyond the pale." Within a year of "Anarchy in the U.K." that voice was being echoed widely: scores if not hundreds of punk bands had formed across the country—groups composed largely of working-class members or middle-class members who rejected their own class values and pursued solidarity with the working class. In 1980, critic Greil Marcus reflected on McLaren's contradictory posture: It may be that in the mind of their self-celebrated Svengali...the Sex Pistols were never meant