“…Amid the arson and the bombings and the protests, a lighthearted song mocking Charles, the future Prince of Wales, seems almost quaint, but it was deeply subversive (Hill, 2006, 2007; James, 2005; Jones, 2013). The queen’s little boy, Carlo, is depicted as a true friend of Wales—he is a regular contributor to learned journals and a member of the Welsh League of Youth; he reads the Welsh newspapers and studies the work of the great medieval bard, Dafydd ap Gwilym; the future of the language is safe in his hands, and he’s more of a nationalist than the FWA—but when the singer calls around to Buckingham Palace he’s told that Carlo is out playing polo with his daddy.…”