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The SEX PISTOLS were an English punk rock band formed in London in 1975. Although they initially lasted just two and a half years and produced only four singles and one studio album, _Never Mind the Bollocks, Here\'s the Sex Pistols
Sex Pistols
_, they have been called one of the most influential acts in the history of popular music , having initiated the punk movement in the United Kingdom, and inspired many later punk and alternative rock musicians.

The first incarnation of the Sex Pistols
Sex Pistols
was singer Johnny Rotten ( John Lydon ), lead guitarist Steve Jones , drummer Paul Cook and bassist Glen Matlock . Matlock was replaced by Sid Vicious (real name John Ritchie) early in 1977. Under the management of Malcolm McLaren , a visual artist , performer, clothes designer and boutique owner, the band provoked controversies that garnered a significant amount of publicity. Their concerts repeatedly faced difficulties with organisers and local authorities, and public appearances often ended in mayhem. Their 1977 single "God Save the Queen ", attacking social conformity and deference to the Crown, precipitated what one commentator described as the "last and greatest outbreak of pop-based moral pandemonium". Subjects addressed in their frequently obscene lyrics included the music industry , consumerism , abortion , violence , apathy , anarchy , fascism , the British Royal Family and the Holocaust .

In January 1978, at the end of a turbulent tour of the United States, Rotten left the Sex Pistols
Sex Pistols
and announced their break-up. Over the next several months, the three other band members recorded songs for McLaren's film version of the Sex Pistols' story, _The Great Rock \'n\' Roll Swindle _. Vicious died of a heroin overdose in February 1979, following his arrest for the alleged murder of his girlfriend . In 1996, Rotten, Jones, Cook and Matlock reunited for the Filthy Lucre Tour ; since 2002, they have staged further reunion shows and tours. On 24 February 2006, the Sex Pistols—the four original, surviving members and Sid Vicious—were inducted into the Rock and Roll Hall of Fame , but they refused to attend the ceremony, calling the museum "a piss stain".

CONTENTS

* 1 History

* 1.1 Origins and early days * 1.2 John Lydon joins the band * 1.3 Building a following * 1.4 EMI
EMI
and the Grundy incident * 1.5 Sid Vicious joins the band * 1.6 "God Save the Queen" * 1.7 _Never Mind the Bollocks_ * 1.8 US tour and the end of the band * 1.9 USA 1977–1978 tour dates * 1.10 After the break-up * 1.11 Reunions and later group activities

* 2 Legacy

* 2.1 Cultural influence * 2.2 Conceptual basis and the question of credit

* 3 Members

* 3.1 Timeline

* 4 Discography

* 4.1 Studio album * 4.2 Other albums * 4.3 Singles

* 5 Notes * 6 Sources * 7 Further reading * 8 External links

HISTORY

ORIGINS AND EARLY DAYS

The Sex Pistols
Sex Pistols
evolved from the Strand, a London band formed in 1972 by working-class teenagers Steve Jones on vocals, Paul Cook on drums and Wally Nightingale on guitar. According to a later account by Jones, both he and Cook played instruments they had stolen. They would go to concerts, and when these were over they would go up on stage and steal as much musical equipment as they could carry.

Early line-ups of the Strand—sometimes known as the Swankers—also included Jim Mackin on organ and Stephen Hayes (and later, briefly, Del Noones) on bass. The band members regularly hung out at two clothing shops on the Kings Road in Chelsea , London: John Krivine and Steph Raynor's Acme Attractions (where Don Letts worked as manager) and Malcolm McLaren and Vivienne Westwood 's Too Fast to Live, Too Young to Die.

The McLaren–Westwood shop had opened in 1971 as Let It Rock, with a 1950s revival Teddy Boy
Teddy Boy
theme. It had been renamed in 1972 to focus on another revival trend, the rocker look associated with Marlon Brando
Marlon Brando
. As John Lydon later observed, "Malcolm and Vivienne were really a pair of shysters: they would sell anything to any trend that they could grab onto." The shop would become a focal point of the punk rock scene, bringing together participants such as the future Sid Vicious , Marco Pirroni (who became a guitarist, songwriter and record producer), Gene October (who became the singer for the punk band Chelsea ), and Mark Stewart , among many others. Jordan , the English model and actress noted for her work with Vivienne Westwood and the SEX boutique , was a wildly styled shop assistant who is credited with "pretty well single-handedly paving the punk look".

In early 1974, Jones convinced McLaren to help out the Strand. Effectively becoming the group's manager, McLaren paid for their first formal rehearsal space. Glen Matlock , an art student who occasionally worked at Too Fast to Live, Too Young to Die, was recruited as the band's regular bassist. In November, McLaren temporarily relocated to New York City
New York City
. Before his departure, McLaren and Westwood had conceived a new identity for their shop: renamed SEX , it changed its focus from retro couture to S&M -inspired "anti-fashion", with a billing as "Specialists in rubberwear, glamourwear & stagewear".

After informally managing and promoting the New York Dolls for a few months, McLaren returned to London in May 1975. Inspired by the punk scene that was emerging in Lower Manhattan
Lower Manhattan
—in particular by the radical visual style and attitude of Richard Hell , then with Television —McLaren began taking a greater interest in the Strand.

The group had been rehearsing regularly, overseen by McLaren's friend Bernard Rhodes , and had performed publicly for the first time. Soon after McLaren's return, Nightingale was kicked out of the band and Jones, uncomfortable as frontman, took over guitar duties. According to journalist and former McLaren employee Phil Strongman, around this time the band adopted the name QT Jones and the Sex Pistols
Sex Pistols
(or QT Jones official credit was shared equally among the four.

Their first gig was arranged by Matlock, who was studying at Saint Martins College . The band played at the school on 6 November 1975, in support of a pub rock group called Bazooka Joe , arranging to use their amps and drums. The Sex Pistols
Sex Pistols
performed several cover songs, including the Who 's "Substitute ", the Small Faces
Small Faces
' "Whatcha Gonna Do About It ", "(Don't you Give Me) No Lip" by Dave Berry , and "(I\'m Not Your) Steppin\' Stone ", made famous by the Monkees ; according to observers, they were unexceptional musically aside from being extremely loud. Before the Pistols could play the few original songs they had written to date, Bazooka Joe pulled the plugs as they saw their gear being trashed. A brief physical altercation between members of the two bands took place on stage.

BUILDING A FOLLOWING

The original line-up of the Sex Pistols, early 1976. Left to right: Johnny Rotten , Steve Jones , Glen Matlock and Paul Cook .

The Saint Martins gig was followed by other performances at colleges and art schools around London. One of these, on 9 December 1975, was at Ravensbourne College, Chislehurst, near Bromley in Southeast London, where they supported the Newcastle-based rock band Fogg. The band played for free as according to McLaren they were 'turning professional' the following year, although as McLaren's letter confirming the booking stated: 'free beer for the band would be appreciated'. Despite the band's punk posturing, their PA equipment (including EV Eliminator bass bins) was so much better than that of the established touring band Fogg that their equipment was used for the gig. The result of them staying later was a bar bill of over £50 during the headliner's performance. Simon Barker, a friend of Steve Severin, saw the gig and enthused about the band. This resulted in them seeing the band at the Marquee on 12 February 1976. The Sex Pistols' core group of followers—including Siouxsie Sioux
Siouxsie Sioux
, Steven Severin , Soo Catwoman , and Billy Idol —came to be known as the Bromley Contingent , after the large suburban town several were from. Their cutting-edge fashion, much of it supplied by SEX, ignited a trend that was adopted by the new fans the band attracted. McLaren and Westwood saw the incipient London punk movement as a vehicle for more than just couture. They were both captivated by the May 1968 radical uprising in Paris , particularly by the ideology and agitations of the Situationists , as well as the anarchist thought of Buenaventura Durruti and others.

These interests were shared with Jamie Reid , an old friend of McLaren who began producing publicity material for the Sex Pistols
Sex Pistols
in the spring of 1976. (The cut-up lettering employed to create the classic Sex Pistols
Sex Pistols
logo and many subsequent designs for the band was actually introduced by McLaren's friend Helen Wellington-Lloyd.) "We used to talk to John a lot about the Situationists," Reid later said. "The Sex Pistols
Sex Pistols
seemed the perfect vehicle to communicate ideas directly to people who weren't getting the message from left-wing politics." McLaren was also arranging for the band's first photo sessions. As described by music historian Jon Savage , "With his green hair, hunched stance and ragged look, looked like a cross between Uriah Heep and Richard Hell."

The first Sex Pistols
Sex Pistols
gig to attract broader attention was as a supporting act for Eddie and the Hot Rods
Eddie and the Hot Rods
, a leading pub rock group, at the Marquee on 12 February 1976. Rotten "was now really pushing the barriers of performance, walking off stage, sitting with the audience, throwing Jordan across the dance floor and chucking chairs around, before smashing some of Eddie and the Hot Rods' gear." The band's first review appeared in the _NME_, accompanied by a brief interview in which Steve Jones declared, "Actually we're not into music. We're into chaos." Among those who read the article were two students at the Bolton Institute of Technology , Howard Devoto and Pete Shelley , who headed down to London in search of the Sex Pistols. After chatting with McLaren at SEX, they saw the band at a couple of late February gigs. The two friends immediately began organising their own Pistols-style group, the Buzzcocks
Buzzcocks
. As Devoto later put it, "My life changed the moment that I saw the Sex Pistols."

The Pistols were soon playing other important venues, debuting at Oxford Street
Oxford Street
's 100 Club on 30 March. On 3 April, they played for the first time at the Nashville, supporting the 101ers . The pub rock group's lead singer, Joe Strummer , saw the Pistols for the first time that night—and recognised punk rock as the future. A return gig at the Nashville on 23 April demonstrated the band's growing musical competence, but by all accounts lacked a spark. Westwood provided that by instigating a fight with another audience member; McLaren and Rotten were soon involved in the melee. Cook later said, "That fight at the Nashville: that's when all the publicity got hold of it and the violence started creeping in.... I think everybody was ready to go and we were the catalyst." The Pistols were soon banned from both the Nashville and the Marquee.

23 April also saw the release of the debut album by the leading punk rock band in the New York scene, the Ramones . Though it is regarded as seminal to the growth of punk rock in England and elsewhere, Lydon has repeatedly rejected any suggestion that it influenced the Sex Pistols: " were all long-haired and of no interest to me. I didn't like their image, what they stood for, or anything about them"; "They were hilarious but you can only go so far with 'duh-dur-dur-duh'. I've heard it. Next. Move on." On 11 May, the Pistols began a four-week-long Tuesday night residency at the 100 Club. They devoted the rest of the month to touring small cities and towns in the north of England and recording demos in London with producer and recording artist Chris Spedding . The following month they played their first gig in Manchester
Manchester
, arranged by Devoto and Shelley. The Sex Pistols' performance of 4 June at the Lesser Free Trade Hall set off a punk rock boom in the city. On 4 and 6 July, respectively, two newly formed London punk rock acts, the Clash —with Strummer as lead vocalist—and the Damned , made their live debuts opening for the Sex Pistols. On their off night in between, the Pistols (despite Lydon's later professed disdain) showed up for a Ramones gig at Dingwalls , like virtually everyone else at the heart of the London punk scene. During a return Manchester
Manchester
engagement, 20 July, the Pistols premiered a new song, " Anarchy
Anarchy
in the U.K. ", reflecting elements of the radical ideologies to which Rotten was being exposed.

According to Jon Savage, "there seems little doubt that Lydon was fed material by Vivienne Westwood and Jamie Reid, which he then converted into his own lyric." " Anarchy
Anarchy
in the U.K." was among the seven originals recorded in another demo session that month, this one overseen by the band's sound engineer, Dave Goodman . McLaren organised a major event for 29 August at the Screen on the Green in London's Islington
Islington
district: the Buzzcocks
Buzzcocks
and the Clash opened for the Sex Pistols
Sex Pistols
in punk's "first metropolitan test of strength". Three days later, the band were in Manchester
Manchester
to tape what would be their first television appearance, for Tony Wilson 's _So It Goes _. Scheduled to perform just one song, " Anarchy
Anarchy
in the U.K.", the band ran straight through another two numbers as pandemonium broke out in the control room.

The Sex Pistols
Sex Pistols
played their first concert outside Britain on 3 September, at the opening of the Chalet du Lac disco in Paris. The Bromley Contingent accompanied them, with Siouxsie Sioux's swastika armband causing a stir. The following day, the _So It Goes_ performance aired; the audience heard " Anarchy
Anarchy
in the U.K." introduced with a shout of "Get off your arse!" On 13 September, the Pistols began a tour of Britain. A week later, back in London, they headlined the opening night of the 100 Club Punk
Punk
Special
Special
. Organised by McLaren (for whom the word "festival" had too much of a hippie connotation), the event was "considered the moment that was the catalyst for the years to come." Belying the common perception that punk bands couldn't play their instruments, contemporary music press reviews, later critical assessments of concert recordings, and testimonials by fellow musicians indicate that the Pistols had developed into a tight, ferocious live band. As Rotten tested out wild vocalisation styles, the instrumentalists experimented "with overload, feedback and distortion...pushing their equipment to the limit".

EMI
EMI
AND THE GRUNDY INCIDENT

_ " Anarchy
Anarchy
in the U.K." " Anarchy
Anarchy
in the UK" reached number 38 on the UK singles chart -------------------------

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On 8 October 1976, the major record label EMI
EMI
signed the Sex Pistols to a two-year contract. In short order, the band was in the studio recording a full-dress session with Dave Goodman. As later described by Matlock, "The idea was to get the spirit of the live performance. We were pressurised to make it faster and faster." The riotous results were rejected. Chris Thomas , who had produced Roxy Music and mixed Pink Floyd's _ The Dark Side of the Moon _, was brought to see them live for the first time by Chrissie Hynde . Then Thomas was brought in by Virgin Records to produce. The band's first single, " Anarchy
Anarchy
in the U.K.", was released on 26 November 1976. John Robb —a music journalist—described the record's impact: "From Steve Jones' opening salvo of descending chords, to Johnny Rotten's fantastic sneering vocals, this song is the perfect statement...a stunningly powerful piece of punk politics...a lifestyle choice, a manifesto that heralds a new era". Colin Newman , who had just cofounded the band Wire , heard it as "the clarion call of a generation."

" Anarchy
Anarchy
in the U.K." was not the first British punk single, pipped by the Damned's " New Rose ". "We Vibrate" had also appeared from the Vibrators , a pub rock band formed early in 1976 that had become associated with punk—though, according to Jon Savage "with their long hair and mildly risque name, the Vibrators were passers-by as far as punk taste-makers were concerned." Unlike those songs, whose lyrical content was comfortably within rock 'n' roll traditions, " Anarchy
Anarchy
in the U.K." linked punk to a newly politicised attitude—the Pistols' stance was aggrieved, euphoric and nihilistic, all at the same time. Rotten's howls of "I am an anti-Christ" and "Destroy!" repurposed rock as an ideological weapon. The single's packaging and visual promotion also broke new ground. Reid and McLaren came up with the notion of selling the record in a completely wordless, featureless black sleeve. The primary image associated with the single was Reid's "anarchy flag" poster: a Union Flag
Union Flag
ripped up and partly safety-pinned back together, with the song and band names clipped along the edges of a gaping hole in the middle. This and other images created by Reid for the Sex Pistols
Sex Pistols
quickly became punk icons.

_ The Fucking Rotter Audio from the 1976 interview conducted by Bill Grundy, where Grundy is called a sod and a rotter by Jones -------------------------

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The Sex Pistols' behaviour, as much as their music, brought them national attention. On 1 December 1976, the band and members of the Bromley Contingent created a storm of publicity by swearing during an early evening live broadcast of Thames Television 's _Today_ programme. Appearing as last-minute replacements for fellow EMI artists Queen , the band and their entourage were offered drinks as they waited to go on air. During the interview, Steve Jones said the band had "fucking spent" its label advance and Rotten twice used the word "shit". Host Bill Grundy , who claimed to be as drunk as his interviewees, engaged in repartee with Siouxsie Sioux
Siouxsie Sioux
, who declared that she had "always wanted to meet" him. Grundy responded, "Did you really? We'll meet afterwards, shall we?" This prompted the following exchange between Jones and the host: _Jones_: You dirty sod. You dirty old man. _Grundy_: Well keep going, chief, keep going. Go on. You've got another five seconds. Say something outrageous. _Jones_: You dirty bastard. _Grundy_: Go on, again. _Jones_: You dirty fucker. _Grundy_: What a clever boy. _Jones_: What a fucking rotter. _ Daily Mirror _ front page, 2 December 1976

Although the programme was broadcast only in the London region, the ensuing furore occupied the tabloid newspapers for days. The _Daily Mirror _ famously ran the headline "The Filth and the Fury!"; other papers such as the _ Daily Express _ ("Fury at Filthy TV Chat") and the _ Daily Telegraph
Daily Telegraph
_ ("4-Letter Words Rock TV") followed suit. Thames Television suspended Grundy and, though he was later reinstated, the interview effectively ended his career.

The episode made the band household names throughout the country and brought punk into mainstream awareness. The Pistols set out on the Anarchy
Anarchy
Tour of the UK, supported by the Clash and Johnny Thunders' band the Heartbreakers , over from New York. The Damned were briefly part of the tour, before McLaren kicked them off. Media coverage was intense, and many of the concerts were cancelled by organisers or local authorities; of approximately twenty scheduled gigs, only about seven actually took place. Following a campaign waged in the south Wales press, a crowd including carol singers and a Pentecostal preacher protested against the group outside a show in Caerphilly
Caerphilly
. Packers at the EMI
EMI
plant refused to handle the band's single.

Bernard Brook-Partridge, a Conservative member of the Greater London Council and chairman of the Arts committee from 1977, declared, "Most of these groups would be vastly improved by sudden death. The worst of the punk rock groups I suppose currently are the Sex Pistols. They are unbelievably nauseating. They are the antithesis of humankind. I would like to see somebody dig a very, very large, exceedingly deep hole and drop the whole bloody lot down it."

Following the end of the tour in late December, three concerts were arranged in the Netherlands for January 1977. The band, hungover, boarded a plane at London Heathrow Airport
London Heathrow Airport
early on 4 January; a few hours later, the _Evening News _ was reporting that the band had "vomited and spat their way" to the flight. Despite categorical denials by the EMI
EMI
representative who accompanied the group, the label, which was under political pressure, released the band from their contract. As McLaren fielded offers from other labels, the band went into the studio for a round of recordings with Goodman, their last with either him or Matlock.

SID VICIOUS JOINS THE BAND

Representation of Sid Vicious Sex Pistols
Sex Pistols
in Paradiso in 1977: Johnny Rotten "> A 1977 promotional poster.

Matlock was replaced on bass by Rotten's friend and self-appointed "ultimate Sex Pistols
Sex Pistols
fan" Sid Vicious , despite not being able to play bass. Born John Simon Ritchie, later known as John Beverley, Vicious was previously drummer of two inner circle punk bands, Siouxsie and the Banshees and the Flowers of Romance . He was also credited with introducing the pogo dance to the scene at the 100 Club. John Robb claims it was at the first Sex Pistols
Sex Pistols
residency gig, 11 May 1976; Matlock is convinced it happened during the second night of the 100 Club Punk
Punk
Special
Special
in September, when the Pistols were off playing in Wales. In Matlock's description, Rotten wanted Vicious in the band because "nstead of him against Steve and Paul, it would become him and Sid against Steve and Paul. He always thought of it in terms of opposing camps".

Julien Temple , then a film student whom McLaren had put on the Sex Pistols payroll to create a comprehensive audiovisual record of the band, concurs: "Sid was John's protégé in the group, really. The other two just thought he was crazy." McLaren later stated that, much earlier in the band's career, Vivienne Westwood had told him he should "get the guy called John who came to the store a couple of times" to be the singer. When Johnny Rotten was recruited for the band, Westwood said McLaren had got it wrong: "he had got the wrong John." It was John Beverley, the future Vicious, she had been recommending. McLaren approved the belated inclusion of Vicious, who had virtually no experience on his new instrument, on account of his look and reputation in the punk scene.

Pogoing aside, Vicious had been involved in a notorious incident during that memorable second night of the 100 Club Punk
Punk
Special. Arrested for hurling a glass at the Damned that shattered and blinded a girl in one eye , he had served time in a remand centre—and contributed to the 100 Club banning all punk bands. At a previous 100 Club gig, he had assaulted Nick Kent with a bicycle chain. Indeed, McLaren's _NME_ telegram said that Vicious's "best credential was he gave Nick Kent what he deserved many months ago at the Hundred Club". According to a later description by McLaren, "When Sid joined he couldn't play guitar but his craziness fit into the structure of the band. He was the knight in shining armour with a giant fist."

"Everyone agreed he had the look," Lydon later recalled, but musical skill was another matter. "The first rehearsals...in March of 1977 with Sid were hellish.... Sid really tried hard and rehearsed a lot". Marco Pirroni, who had performed with Vicious in Siouxsie and the Banshees, has said, "After that, it was nothing to do with music anymore. It would just be for the sensationalism and scandal of it all. Then it became the Malcolm McLaren story".

Membership in the Sex Pistols
Sex Pistols
had a progressively destructive effect on Vicious. As Lydon later observed, "Up to that time, Sid was absolutely childlike. Everything was fun and giggly. Suddenly he was a big pop star. Pop star status meant press, a good chance to be spotted in all the right places, adoration. That's what it all meant to Sid." Westwood had already been feeding him material, like a tome on Charles Manson , likely to encourage his worst instincts. Early in 1977, he met Nancy Spungen , an emotionally disturbed drug addict and sometime prostitute from New York . Spungen is commonly thought to be responsible for introducing Vicious to heroin , and the emotional codependency between the couple alienated Vicious from the other members of the band. Lydon later wrote, "We did everything to get rid of Nancy.... She was killing him. I was absolutely convinced this girl was on a slow suicide mission.... Only she didn't want to go alone. She wanted to take Sid with her.... She was so utterly fucked up and evil." Lydon also admits to regretting introducing the two in _The Filth and the Fury _.

"GOD SAVE THE QUEEN"

On 10 March 1977, at a press ceremony held outside Buckingham Palace , the Sex Pistols
Sex Pistols
publicly signed to A&M Records (the real signing had taken place the day before). Afterwards, intoxicated, they made their way to the A one of Rotten's pals threatened the life of a good friend of A&M's English director. On 16 March, A virtually all were destroyed. _ Jamie Reid's "God Save the Queen" sleeve; in 2001, it was named the greatest record cover of all time by Q _ magazine.

Vicious debuted with the band at London's Notre Dame Hall on 28 March. In May, the band signed with Virgin Records , their third new label in little more than half a year. Virgin was more than ready to release "God Save the Queen", but new obstacles arose. Workers at the pressing plant laid down their tools in protest at the song's content. Jamie Reid's now famous cover, showing Queen Elizabeth II
Queen Elizabeth II
with her features obscured by the song and band names in cutout letters, offended the sleeve's plate makers. After much talk, production resumed and the record was finally released on 27 May. Johnny Rotten on stage.

The scabrous lyrics—"God save the Queen/She ain't no human being/There is no future/In England's dreaming"—prompted widespread outcry. Several major chains refused to stock the single. It was banned not only by the BBC
BBC
but also by every independent radio station, making it the "most heavily censored record in British history". That week, there was no number 1 hit in Britain, according to Lydon, et al. in _The Filth and The Fury_; the top spot was empty, because so many radio stations, the BBC, and individuals protested the song's content. Rotten boasted, "We're the only honest band that's hit this planet in about two thousand million years." Jones shrugged off everything the song stated and implied—or took nihilism to a logical endpoint: "I don't see how anyone could describe us as a political band. I don't even know the name of the Prime Minister." The song, and its public impact, are now recognised as "punk's crowning glory".

The Virgin release had been timed to coincide with the height of Queen Elizabeth's Silver Jubilee celebrations. By Jubilee weekend, a week and a half after the record's release, it had sold more than 150,000 copies—a massive success. On 7 June, McLaren and the record label arranged to charter a private boat and have the Sex Pistols perform while sailing down the River Thames
River Thames
, passing Westminster Pier and the Houses of Parliament . The event, a mockery of the Queen's river procession planned for two days later, ended in chaos. Police launches forced the boat to dock, and constabulary surrounded the gangplanks at the pier. While the band members and their equipment were hustled down a side stairwell, McLaren, Westwood, and many of the band's entourage were arrested.

_ "God Save the Queen" "God Save the Queen" was originally titled "No Future", but was changed to coincide with the 1977 Jubilee

-------------------------

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With the official UK record chart for Jubilee week about to be released, the _Daily Mirror_ predicted that "God Save the Queen" would be number one. As it turned out, the record placed second, behind a Rod Stewart
Rod Stewart
single in its fourth week at the top. Many believed that the record had actually qualified for the top spot, but that the chart had been rigged to prevent a spectacle. McLaren later claimed that CBS Records , which was distributing both singles, told him that the Sex Pistols were actually outselling Stewart two to one. There is evidence that an exceptional directive was issued by the British Phonographic Institute, which oversaw the chart-compiling bureau, to exclude sales from record-company operated shops such as Virgin's for that week only.

Violent attacks on punk fans were on the rise. In mid-June Rotten himself was assaulted by a knife-wielding gang outside Islington
Islington
's Pegasus pub, causing tendon damage to his left arm. Jamie Reid and Paul Cook were beaten up in other incidents; three days after the Pegasus assault, Rotten was attacked again. A tour of Scandinavia, planned to start at the end of the month, was consequently delayed until mid-July. In Oslo, Lydon posed in front of the photographs making the Nazi salute while wearing a sweater with a Swastika drawing. During the tour, a Swedish interviewer observed to Jones that "a lot of people" regarded the band as McLaren's "creation". Jones replied, "He's our manager, that's all. He's got nothing to do with the music or the image...he's just a good manager." In another interview, Rotten professed bafflement at the furore surrounding the group: "I don't understand it. All we're trying to do is destroy everything." At the end of August came SPOTS— Sex Pistols
Sex Pistols
On Tour Secretly, a surreptitious UK tour with the band playing under pseudonyms to avoid cancellation.

McLaren had wanted for some time to make a movie featuring the Sex Pistols. Julien Temple's first major task had been to assemble _Sex Pistols Number 1_, a twenty-five-minute mosaic of footage from various sources, much of it refilmed by Temple from television screens. _Number 1_ was often screened at concert venues before the band took the stage. Using media footage from the Thames incident, Temple created another propagandistic short, _Jubilee Riverboat_ (aka _Sex Pistols Number 2_). During summer 1977, McLaren had been making arrangements for the feature film of his dreams, _Who Killed Bambi? _, to be directed by Russ Meyer from a script by Roger Ebert . After a single day of shooting, 11 September, production ceased when it became clear that McLaren had failed to arrange financing. In _The Filth and The Fury_, it is revealed that Sting's first acting gig was in the film.

_NEVER MIND THE BOLLOCKS_

Main article: Never Mind the Bollocks, Here\'s the Sex Pistols
Sex Pistols
The Sex Pistols
Sex Pistols
( Sid Vicious left, Steve Jones centre, and Johnny Rotten right) performing in Trondheim in 1977

Since the spring of 1977, the three senior Sex Pistols
Sex Pistols
had been returning to the studio periodically with Chris Thomas to lay down the tracks for the band's debut album. Initially to be called _God Save Sex Pistols_, it became known during the summer as _Never Mind the Bollocks_. According to Jones, "Sid wanted to come down and play on the album, and we tried as hard as possible not to let him anywhere near the studio. Luckily he had hepatitis at the time." Cook later described how many of the instrumental tracks were built up from drum and guitar parts, rather than the usual drum and bass.

Given Vicious's incompetence, Matlock had been invited to record as a session musician. In his autobiography, Matlock says although he agreed to "help out", that he cut all ties after McLaren issued 28 February _NME_ telegram announcing Matlock had been fired for liking the Beatles, and that he only appeared on the songs previously recorded as singles and b-sides. According to Jon Savage, Matlock did play as a hired hand on 3 March, for what Savage describes as an "audition session". In his autobiography, Lydon claims that Matlock's work-for-hire for his ex-band was extensive—much more so than any other source reports—seemingly to amplify a putdown: "I think I'd rather die than do something like that." Music historian David Howard states unambiguously that Matlock did not perform on any of the _Never Mind the Bollocks_ recording sessions.

It was Jones who ultimately played most of the bass parts during the _Bollocks_ recordings; Howard calls his rudimentary, rumbling approach the "explosive missing ingredient" of the Sex Pistols' sound. Vicious's bass is reportedly present on one track that appeared on the original album release, "Bodies ". Jones recalls, "He played his farty old bass part and we just let him do it. When he left I dubbed another part on, leaving Sid's down low. I think it might be barely audible on the track." Following "God Save the Queen", two more singles were released: " Pretty Vacant " (largely written by Matlock) on 1 July and from the Bollocks sessions, "Holidays in the Sun " on 14 October. Each was a Top Ten hit. Thomas Dellert and the Sex Pistols, 1977

_Never Mind the Bollocks, Here\'s the Sex Pistols
Sex Pistols
_ (which includes " Anarchy
Anarchy
in the U.K." and another earlier recording, "No Feelings") was released on 28 October 1977. _Rolling Stone_ praised the album as "just about the most exciting rock ">_ US poster for Never Mind the Bollocks, Here's the Sex Pistols_

In January 1978, the Sex Pistols
Sex Pistols
embarked on a US tour, consisting mainly of dates in America's Deep South . Originally scheduled to begin a few days before New Year's, it was delayed due to American authorities' reluctance to issue visas to band members with criminal records. Several dates in the North had to be cancelled as a result. Though highly anticipated by fans and media, the tour was plagued by in-fighting, poor planning and physically belligerent audiences. McLaren later admitted that he purposely booked redneck bars to provoke hostile situations. Over the course of the two weeks, Vicious, by now heavily addicted to heroin, began to live up to his stage name. "He finally had an audience of people who would behave with shock and horror", Lydon later wrote. "Sid was easily led by the nose."

Early in the tour, Vicious wandered off from his Holiday Inn
Holiday Inn
in Memphis, Tennessee , looking for drugs. He was found in a hospital with the words "Gimme a fix" on his chest; he had written them with a marker pen. During a concert in San Antonio
San Antonio
, Texas, Vicious called the crowd "a bunch of faggots", before striking an audience member across the head with his bass guitar. In Baton Rouge, Louisiana , he received simulated oral sex on stage, later declaring "that's the kind of girl I like". Suffering from heroin withdrawal during a show in Dallas
Dallas
, Texas, he spat blood at a woman who had climbed onstage and punched him in the face. He was admitted to hospital later that night to treat various injuries. Offstage he is said to have kicked a female photographer, attacked a security guard, and eventually challenged one of his own bodyguards to a fight—beaten up, he is reported to have exclaimed, "I like you. Now we can be friends."

_ "No Fun" Sample of "No Fun", a cover version of the Stooges song—studio recording from 1976 or 1977 -------------------------

Problems playing this file? See media help ._

Rotten, meanwhile, suffering from flu and coughing up blood, felt increasingly isolated from Cook and Jones, and disgusted by Vicious. On 14 January 1978, during the tour's final date at the Winterland Ballroom in San Francisco, a disillusioned Rotten introduced the band's encore saying, "You'll get one number and one number only 'cause I'm a lazy bastard." That one number was a Stooges cover, "No Fun". At the end of the song, Rotten, kneeling on the stage, chanted an unambiguous declaration, "This is no fun. No fun. This is no fun—at all. No fun." As the final cymbal crash died away, Rotten addressed the audience directly—"Ah-ha-ha. Ever get the feeling you've been cheated? Good night"—before throwing down his microphone and walking offstage. He later observed, "I felt cheated, and I wasn't going on with it any longer; it was a ridiculous farce. Sid was completely out of his brains—just a waste of space. The whole thing was a joke at that point.... wouldn't speak to me.... He would not discuss anything with me. But then he would turn around and tell Paul and Steve that the tension was all my fault because I wouldn't agree to anything."

On 17 January, the band split, making their ways separately to Los Angeles. McLaren, Cook and Jones prepared to fly to Rio de Janeiro
Rio de Janeiro
for a working vacation. Vicious, in increasingly bad shape, was taken to Los Angeles by a friend, who then brought him to New York, where he was immediately hospitalised. Rotten later described his own situation: "The Sex Pistols
Sex Pistols
left me, stranded in Los Angeles with no ticket, no hotel room, and a message to Warner Bros saying that if anyone phones up claiming to be Johnny Rotten, then they were lying. That's how I finished with Malcolm—but not with the rest of the band; I'll always like them." Rotten flew to New York, where he announced the band's break-up in a newspaper interview on 18 January. Virtually broke, he telephoned the head of Virgin Records, Richard Branson , who agreed to pay for his flight back to London, via Jamaica. In Jamaica, Branson met with members of the band Devo , and tried to install Rotten as their lead singer. Devo declined the offer.

Cook, Jones and Vicious never performed together again live after Rotten's departure. Over the next several months, McLaren arranged for recordings in Brazil (with Jones and Cook), Paris (with Vicious) and London; each of the three and others stepped in as lead vocalists on tracks that in some cases were far from what punk was expected to sound like. These recordings were to make up the musical soundtrack for the reconceived Pistols feature film project, directed by Julian Temple, to which McLaren was now devoting himself. On 30 June, a single credited to the Sex Pistols
Sex Pistols
was released: on one side, notorious criminal Ronnie Biggs sang " No One Is Innocent " accompanied by Jones and Cook; on the other, Vicious sang the classic "My Way ", over both a Jones–Cook backing track and a string orchestra. The single reached number seven on the charts, eventually outselling all the singles with which Rotten was involved. McLaren was seeking to reconstitute the band with a permanent new frontman, but Vicious—McLaren's first choice—had sickened of him. In return for agreeing to record "My Way", Vicious had demanded that McLaren sign a sheet of paper declaring that he was no longer Vicious's manager. In August, Vicious, back in London, delivered his final performances as a nominal Sex Pistol: recording and filming cover versions of Eddie Cochran 's "Something Else" and Sinatra's "My Way." The bassist's return to New York in September put an end to McLaren's reunion dream.

USA 1977–1978 TOUR DATES

DATE CITY STATE VENUE NOTES

28 December 1977 Homestead Pennsylvania
Pennsylvania
Leona Theatre CANCELLED

31 December 1977 Chicago
Chicago
Illinois
Illinois
Ivanhoe Theatre CANCELLED

1 January 1978 Cleveland
Cleveland
Ohio
Ohio
The Agora CANCELLED

3 January 1978 Alexandria
Alexandria
Virginia
Virginia
Alexandria
Alexandria
Roller Rink CANCELLED

5 January 1978 Atlanta
Atlanta
Georgia Great Southeast Music Hall

6 January 1978 Memphis
Memphis
Tennessee
Tennessee
Taliesyn Ballroom

8 January 1978 San Antonio
San Antonio
Texas
Texas
Randy's Rodeo

9 January 1978 Baton Rouge Louisiana
Louisiana
Kingfish Club

10 January 1978 Dallas
Dallas
Texas
Texas
Longhorn Ballroom

12 January 1978 Tulsa Oklahoma
Oklahoma
Cain\'s Ballroom

14 January 1978 San Francisco
San Francisco
California
California
Winterland Ballroom

AFTER THE BREAK-UP

After leaving the Pistols, Johnny Rotten reverted to his birth name of Lydon, and formed Public Image Ltd. (PiL) with former Clash member Keith Levene and school friend Jah Wobble
Jah Wobble
. The band went on to score a UK Top Ten hit with their debut single, 1978's "Public Image ". Lydon initiated legal proceedings against McLaren and the Sex Pistols' management company, Glitterbest, which McLaren controlled. Among the claims were non-payment of royalties, improper usage of the title "Johnny Rotten", unfair contractual obligations, and damages for "all the criminal activities that took place". In 1979, PiL recorded the classic post-punk album _ Metal Box _. Lydon performed with the band until 1992, as well as participating in other projects such as Time Zone with Afrika Bambaataa and Bill Laswell
Bill Laswell
.

Vicious relocated to New York and began performing as a solo artist, with Nancy Spungen acting as his manager. He recorded a live album, backed by "The Idols" featuring Arthur Kane and Jerry Nolan of the New York Dolls—_ Sid Sings _ was released posthumously in 1979. On 12 October 1978, Spungen was found dead in the Hotel Chelsea room she was sharing with Vicious, with a single stab wound to her stomach and dressed only in her underwear. Police recovered drug paraphernalia from the scene and Vicious was arrested and charged with her murder. In an interview at the time, McLaren said, "I can't believe he was involved in such a thing. Sid was set to marry Nancy in New York. He was very close to her and had quite a passionate affair with her." (Apart from Vicious, heroin dealer and sometime actor Rockets Redglare has also been posited as Spungen's killer.)

While free on bail, Vicious smashed a beer mug in the face of Todd Smith, Patti Smith 's brother, and was arrested again on an assault charge. On 9 December 1978 he was sent to Rikers Island jail, where he spent 55 days and underwent enforced cold-turkey detox . He was released on 1 February 1979; sometime after midnight, following a small party to celebrate his release, Vicious died of a heroin overdose, aged 21. Reflecting on the event, Lydon said, "Poor Sid. The only way he could live up to what he wanted everyone to believe about him was to die. That was tragic, but more for Sid than anyone else. He really bought his public image."

On 7 February 1979, just five days after Vicious's death, hearings began in London on Lydon's lawsuit. Cook and Jones were allied with McLaren, but as evidence mounted that their manager had poured virtually all of the band's revenue into his beloved film project, they switched sides. On 14 February, the court put the film and its soundtrack into receivership —no longer under McLaren's control, they were now to be administered as exploitable assets for addressing the band members' financial claims. McLaren, with substantial personal debts and legal fees, took off for Paris to sign a record deal for an LP of standards, including " Non, je ne regrette rien ". A month later, back in London, he disassociated himself from the film to which he had devoted so much time and money. McLaren went on to manage Adam and the Ants and Bow Wow Wow . In the mid-1980s he released a number of successful and influential records as a solo artist, including the UK's first ever hip-hop chart single, "Buffalo Gals ".

_The Great Rock \'n\' Roll Swindle _, the soundtrack album for the still-uncompleted film, was released by Virgin Records on 24 February 1979. It is mostly composed of tracks credited to the Sex Pistols: There are the new recordings with vocals by Jones, Vicious, Cook, and Ronnie Biggs, as well as Edward Tudor-Pole , briefly considered as a permanent replacement for Rotten. McLaren himself takes the mic for a couple of numbers. Several tracks feature Rotten's vocals from early, unissued sessions, in some cases with re-recorded backing by Jones and Cook. There is one live cut, from the band's final concert in San Francisco. The album is completed by a couple of tracks in which other artists cover Sex Pistols
Sex Pistols
classics. Four Top Ten singles were culled from the _Swindle_ recordings, one more than had appeared on _Never Mind the Bollocks_.

The 1978 "No One is Innocent "/"My Way " was followed in 1979 by Vicious's cover of "Something Else " (number three, and the biggest-selling single ever under the Sex Pistols
Sex Pistols
name); Jones singing an original, "Silly Thing" (number six); and Vicious's second Cochran cover, "C\'mon Everybody " (number three). Two more singles from the soundtrack were put out under the Pistols brand—Tudor-Pole, among others, singing "The Great Rock 'n' Roll Swindle" and a Rotten vocal from 1976, "(I'm Not Your) Steppin' Stone"; both fell just shy of the Top Twenty. On 21 November 1980, the final "new" studio recordings attributed to the Sex Pistols
Sex Pistols
were released by Virgin: "Black Leather" and "Here We Go Again", recorded by Jones and Cook during the mid-1978 _Swindle_ sessions, were paired as one of a half-dozen 7-inch records (the other five reconfiguring previously released material) sold together as _Sex Pack_.

The Sex Pistols
Sex Pistols
film was completed by Temple, who received sole credit for the script after McLaren had his name taken off the production. Finally released in 1980, _The Great Rock \'n\' Roll Swindle _ still largely reflects McLaren's vision. It is a fictionalised, farcical, partially animated retelling of the band's history and aftermath with McLaren in the lead role, Jones as second lead, and contributions from Vicious (including his memorable performance of "My Way") and Cook. It incorporates promotional videos shot for "God Save the Queen" and "Pretty Vacant" and extensive documentary footage as well, much of it focusing on Rotten. In Temple's description, he and McLaren conceived it as a "very stylised...polemic". They were reacting to the fact that the Pistols had become the "poster on the bedroom wall of the day where you kneel down last thing at night and pray to your rock god. And that was never the point.... The myth had to be dynamited in some way. We had to make this film in a way to enrage the fans". In the film, McLaren claims to have created the band from scratch and engineered its notorious reputation; much of what structure the loose narrative has is based on McLaren's teaching a series of "lessons" to be learned from "an invention of mine they called the punk rock".

Cook and Jones continued to work through guest appearances and as session musicians . In 1980, they formed The Professionals , which lasted for two years. Jones went on to play with the bands Chequered Past and Neurotic Outsiders . He also recorded two solo albums, _Mercy _ and _ Fire and Gasoline _. Now a resident of Los Angeles, he hosts a daily radio program called _Jonesy's Jukebox._ Having played with the band Chiefs of Relief in the late 1980s and with Edwyn Collins in the 1990s, Cook is now a member of Man Raze . Following The Rich Kids' break-up in 1979, Matlock played with various bands, toured with Iggy Pop , and recorded several solo albums. He is currently a member of Slinky Vagabond.

The 1979 court ruling had left many issues between Lydon and McLaren unresolved. Five years later, Lydon filed another action. Finally, on 16 January 1986, Lydon, Jones, Cook and the estate of Sid Vicious were awarded control of the band's heritage, including the rights to _The Great Rock 'n' Roll Swindle_ and all the footage shot for it—more than 250 hours. That same year, a fictionalised film account of Vicious's relationship with Spungen was released: _ Sid and Nancy _, directed by Alex Cox . In his autobiography, Lydon lambastes the film, saying that it "celebrates heroin addiction", goes out of its way to "humiliate life", and completely misrepresents the Sex Pistols' part in the London punk scene. Although he praised Gary Oldman 's performance as Vicious, Lydon felt Oldman only captured "the stage persona as opposed to the real person."

REUNIONS AND LATER GROUP ACTIVITIES

The original four Sex Pistols
Sex Pistols
reunited in 1996 for the six-month Filthy Lucre Tour , which included dates in Europe, North and South America, New Zealand, Australia and Japan. The band members' access to the archives associated with _The Great Rock 'n' Roll Swindle_ facilitated the production of the 2000 documentary _The Filth and the Fury _. This film—directed, like its predecessor, by Temple—was formulated as an attempt to tell the story from the band's point of view, in contrast to _Swindle'_s focus on McLaren and the media. In 2002—the year of the Queen's Golden Jubilee
Golden Jubilee
—the Sex Pistols reunited again to play the Crystal Palace National Sports Centre in London. In 2003, their Piss Off Tour took them around North America for three weeks.

On 9 March 2006, the band sold the rights to their back catalogue to Universal Music Group . The sale was criticised by some commentators as a "sell out". In November 2006, the Sex Pistols
Sex Pistols
were inducted to the Rock and Roll Hall of Fame, whose citation named Vicious as well as the four living members. The band rejected the honour in coarse language on their website. In a television interview, Lydon accompanied a suggestion that the Hall of Fame "_Kiss this!_" with an obscene gesture. According to Jones, "Once you want to be put into a museum, Rock it's not voted by fans, it's voted by people who induct you, or others; people who are already in it."

The Sex Pistols
Sex Pistols
reunited for five performances in the UK in 2007. In 2008, they undertook a series of European festival appearances, titled the Combine Harvester Tour. In August, after performing at the Dutch festival A Campingflight to Lowlands Paradise , Lowlands director Eric van Eerdenburg declared the Pistols' performance "saddening": "They left their swimming pools at home only to scoop up some money here. Really, they're nothing more than that." That same year, they released the DVD _There\'ll Always Be An England _, recorded at their Brixton Academy appearance on 10 November 2007. In 2010, Fragrance and Beauty Limited announced the release of an authorised Sex Pistols
Sex Pistols
scent. According to a statement from the cosmetics firm, "the fragrance exudes pure energy, pared down and pumped up by leather, shot through with heliotrope and brought back down to earth by a raunchy patchouli." The band signed with Universal Music Group in 2012 to re-release _Never Mind the Bollocks_.

LEGACY

CULTURAL INFLUENCE

The _ Trouser Press Record Guide _ entry on the Sex Pistols
Sex Pistols
declares that "their importance—both to the direction of contemporary music and more generally to pop culture—can hardly be overstated". _Rolling Stone_ has argued that the band, "in direct opposition to the star trappings and complacency" of mid-1970s rock, "came to spark and personify one of the few truly critical moments in pop culture—the rise of punk." In 2004, the magazine ranked the Sex Pistols
Sex Pistols
No. 58 on its list of the "100 Greatest Artists of All Time". Leading music critic Dave Marsh called them "unquestionably the most radical new rock band of the Seventies."

Although the Sex Pistols
Sex Pistols
were not the first punk band, the few recordings that were released during the band's brief initial existence were singularly catalytic expressions of the punk movement. The releases of " Anarchy
Anarchy
in the U.K.", "God Save the Queen" and _Never Mind the Bollocks_ are counted among the most important events in the history of popular music. _Never Mind the Bollocks_ is regularly cited in accountings of all-time great albums: In 2006, it was voted No. 28 in _Q _ magazine's "100 Greatest Albums Ever", while _Rolling Stone_ listed it at No. 2 in its 1987 "Top 100 Albums of the Last 20 Years". It has come to be recognised as among the most influential records in rock history. An AllMusic critique describes it as "one of the greatest, most inspiring rock records of all time".

The Sex Pistols
Sex Pistols
directly inspired the style, and often the formation itself, of many punk and post-punk bands during their first two-and-a-half-year run. The Clash , Siouxsie and the Banshees , the Adverts , Vic Godard of Subway Sect , and Ari Up of the Slits are among those in London's "inner circle" of early punk bands that credit the Pistols. Pauline Murray of Durham punk band Penetration saw the Pistols perform for the first time in Northallerton in May 1976. She later explained their importance:

Nothing would have happened without the Pistols. It was like, "Wow, I believe in this." What they were saying was: "It's a load of shite. I'm going to do what I do and I don't care what people think." That was the key to it. People forget that, but it was the main ideology for me: we don't care what you think—you're shit anyway. It was the attitude that got people moving, as well as the music.

Although much of the Sex Pistols' energy was directed against the establishment, not all of rock's elder statesmen dismissed them. Pete Townshend of the Who said:

When you listen to the Sex Pistols, to " Anarchy
Anarchy
in the U.K." and "Bodies" and tracks like that, what immediately strikes you is that _this is actually happening_. This is a bloke, with a brain on his shoulders, who is actually saying something he _sincerely_ believes is happening in the world, saying it with real venom, and real passion. It touches you and it scares you; it makes you feel uncomfortable. It's like somebody saying "The Germans are coming! And there's no way we're gonna stop 'em!

The Sex Pistols' concert of 4 June 1976 at Manchester's Lesser Free Trade Hall was to become one of the most significant and mythologised events in rock history. Among the audience of forty people or so were many who became leading figures in the punk and post-punk movements: Pete Shelley and Howard Devoto , who organised the gig and were in the process of auditioning new members for the Buzzcocks
Buzzcocks
; Bernard Sumner , Ian Curtis and Peter Hook , later of Joy Division ; Mark E. Smith , later of the Fall ; and Morrissey , later of the Smiths . Anthony H. Wilson , founder of Factory Records , saw the band for the first time at the return engagement on 20 July – A stylised version of his view of the concert appears in the film _ 24 Hour Party People _. Among the many musicians of a later time who have acknowledged their debt to the Pistols are members of Motörhead , NOFX , the Stone Roses , Nirvana , Social Distortion , Circle Jerks , Black Flag , Bad Religion , the Germs , Green Day , the Jesus and Mary Chain , and Oasis . Mike Ness of Social Distortion went on the explain in his documentary _Another State of Mind _ how early in his career, he wanted to be "Orange County's Sid Vicious ". Describing the band as "immensely influential", a London College of Music study guide notes that "many styles of popular music, such as grunge, indie, thrash metal and even rap owe their foundations to the legacy of ground breaking punk bands—of which the Sex Pistols
Sex Pistols
was the most prominent."

According to the _ Trouser Press Record Guide_, "the Pistols and manager/provocateur Malcolm McLaren challenged every aspect and precept of modern music-making, thereby inspiring countless groups to follow their cue onto stages around the world. A confrontational, nihilistic public image and rabidly nihilistic socio-political lyrics set the tone that continues to guide punk bands." Critic Toby Creswell locates the primary source of inspiration somewhat differently. Noting that "mage to the contrary, the Pistols were very serious about music", he argues, "The real rebel yell came from Jones' guitars: a mass wall of sound based on the most simple, retro guitar riffs. Essentially, the Sex Pistols
Sex Pistols
reinforced what the garage bands of the '60s had demonstrated—you don't need technique to make rock ">_ An image of Vicious lacrimosa _ in Madrid, 2006

Jamie Reid's work for the band is regarded as among the most important graphic design of the 1970s and still impacts the field in the 21st century. By the age of twenty-one, Sid Vicious was already a "t-shirt-selling icon". While the manner of his death signified for many the inevitable failure of punk's social ambitions, it cemented his image as an archetype of doomed youth. British punk fashion , still widely influential, is now customarily credited to Westwood and McLaren; as Johnny Rotten, Lydon had a lasting effect as well, especially through his bricolage approach to personal style: he "would wear a velvet collared drape jacket (ted ) festooned with safety pins ( Jackie Curtis through the New York punk scene), massive pin-stripe pegs (modernist), a pin-collar Wemblex (mod ) customised into an Anarchy
Anarchy
shirt (punk) and brothel creepers (ted)."

Christopher Nolan , director of the Batman movie _The Dark Knight _, has said that Vicious inspired the characterisation of The Joker , played by Heath Ledger . According to Nolan, "We very much took the view in looking at the character of the Joker that what's strong about him is this idea of anarchy. This commitment to anarchy, this commitment to chaos." Ledger's costar Christian Bale has claimed that Ledger drew inspiration from watching tapes of Vicious.

CONCEPTUAL BASIS AND THE QUESTION OF CREDIT

The Sex Pistols
Sex Pistols
were defined by ambitions that went well beyond the musical—indeed, McLaren was at times openly contemptuous of the band's music and punk rock generally. "Christ, if people bought the records for the music, this thing would have died a death long ago," he said in 1977. The degree to which the Pistols' anti-establishment stance resulted from the members' spontaneous attitudes as opposed to being cultivated by McLaren and his associates is a matter of debate—as is the very nature of that stance itself. Deprecating the music, McLaren elevated the concept, for which he later took full credit.

He would claim that the Sex Pistols
Sex Pistols
were his personal, Situationist-style art project: "I decided to use people, just the way a sculptor uses clay." But what had he supposedly made? The Sex Pistols were as substantial as pop culture could get: " Punk
Punk
became the most important cultural phenomenon of the late 20th century", McLaren would later assert. "Its authenticity stands out against the karaoke ersatz culture of today, where everything and everyone is for sale.... unk is not, and never was, for sale." Or they were a cynical con: 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, would dismiss 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
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
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
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
Sex Pistols
were never meant to be more than a nine-month wonder, a cheap vehicle for some fast money, a few laughs, a touch of the old _épater la bourgeoisie _. It may also be that in the mind of their chief terrorist and propagandist, anarchist veteran...and Situational artist McLaren, the Sex Pistols
Sex Pistols
were meant to be a force that would set the world on its ear...and finally unite music and politics. The Sex Pistols
Sex Pistols
were all of these things.

A couple of years before, Marcus had identified different roots underlying the band's merger of music and politics, arguing that they "have absorbed from reggae and the Rastas the idea of a culture that will make demands on those in power which no government could ever satisfy; a culture that will be exclusive, almost separatist, yet also messianic, apocalyptic and stoic, and that will ignore or smash any contradiction inherent in such a complexity of stances." Critic Sean Campbell has discussed how Lydon's Irish Catholic heritage both facilitated his entrée into London's reggae scene and complicated his position vis-à-vis the ethnically English working class—the background his bandmates had in common.

Critic Bill Wyman acknowledges that Lydon's "fierce intelligence and astonishing onstage charisma" were important catalysts, but ultimately finds the band's real meaning lies in McLaren's provocative media manipulations. While some of the Sex Pistols' public affronts were plotted by McLaren, Westwood, and company, others were evidently not—including what McLaren himself cites as the "pivotal moment that changed everything", the clash on the Bill Grundy _Today_ show. "Malcolm milked situations", says Cook, "he didn't instigate them; that was always our own doing." It is also hard to ascribe the effect of the Sex Pistols' early Manchester
Manchester
shows on that city's nascent punk scene to anyone other than the musicians themselves. Matlock later wrote that at the point when he left the band, it was beginning to occur to him that McLaren "was in fact quite deliberately perpetrating that idea of us as his puppets.... However, on the other hand, I've since found out that even Malcolm wasn't as aware of what he was up to as he has since made out." By his absence, Matlock demonstrated how crucial he was to the band's creativity: in the eleven months between his departure and the Pistols' demise, they composed only two songs.

Music historian Simon Reynolds argues that McLaren came into his own as an auteur only after the group's break-up, with _The Great Rock 'n' Roll Swindle_ and the recruitment of Ronnie Biggs as a vocalist. Much subsequent commentary on the Sex Pistols
Sex Pistols
has relied on taking seriously McLaren's onscreen proclamations in the film, whether lending them credence or not. As music journalist Dave Thompson noted in 2000, "oday, _Swindle_ is viewed by many as the truth" (despite the fact that the movie purveys, among other things, a completely illiterate Steve Jones, a talking dog, and Sid Vicious shooting audience members, including his mother, at the conclusion of "My Way"). Temple points out that McLaren's characterisation was intended as "a big fucking joke—that he was the puppetmeister who created these pieces of clay from plasticine boxes that he modeled away and made Johnny Rotten, made Sid Vicious. It was a _joke_ that they were completely manufactured." (In his final onscreen scene in the film, McLaren declares that he was planning the Sex Pistols
Sex Pistols
affair, "Ever since I was ten years old! Ever since Elvis Presley
Elvis Presley
joined the army!" .) Temple acknowledges that McLaren ultimately "perhaps took this too much to heart."

According to Pistols tour manager Noel Monk and journalist Jimmy Guterman, Lydon was much more than "the band's mouthpiece. He's its raging brain. McLaren or his friend Jamie Reid might drop a word like 'anarchy' or 'vacant' that Rotten seizes upon and turns into a manifesto, but McLaren is not the Svengali to Rotten he'd like to be perceived as. McLaren thought he was working with a tabula rasa, but he soon found out that Rotten has ideas of his own". On the other hand, there is little disagreement about McLaren's marketing talent and his crucial role in making the band a subcultural phenomenon soon after its debut. Temple adds that "he catalyzed so many people's heads. He had so many just extraordinary ideas". Though, as Jon Savage emphasises, "In fact, it was Steve Jones who first had the idea of putting the group, or any group, together with McLaren. He chose McLaren, not vice versa."

MEMBERS

Official members

* Johnny Rotten – lead vocals (1975–1978, 1996–2001, 2002–2003, 2007–2008) * Steve Jones – guitar, backing vocals, (1975–1978, 1996–2001, 2002–2003, 2007–2008), bass (1977) * Glen Matlock – bass, backing vocals (1975–1977, 1996–2001, 2002–2003, 2007–2008) * Sid Vicious – bass, backing vocals (1977–1978; died 1979) * Paul Cook – drums (1975–1978, 1996–2001, 2002–2003, 2007–2008)

Guest musicians

Musicians other than the band members who recorded songs with Steve Jones and Paul Cook on _The Great Rock \'n\' Roll Swindle _:

* Ronnie Biggs – lead vocals on " No One Is Innocent ", "Belsen Was a Gas " (1978) * Edward Tudor-Pole – lead vocals on "The Great Rock 'n' Roll Swindle", "Who Killed Bambi?", " Rock Around the Clock " (1978) * Dave Goodman – bass on "The Great Rock 'n' Roll Swindle" (1978) * Andy Allan – bass on "Silly Thing (single version)" (1979)

TIMELINE

* Only includes singles which featured previously unreleased material.

DISCOGRAPHY

STUDIO ALBUM

YEAR ALBUM DETAILS PEAK CHART POSITIONS CERTIFICATION

UK US SWE NOR ESP NZ

1977 _Never Mind the Bollocks, Here\'s the Sex Pistols
Sex Pistols
_

* Type: Studio album

1 106 12 11 100 27

* UK : 2 x Platinum * US : Platinum * NL : Gold

OTHER ALBUMS

YEAR ALBUM DETAILS PEAK CHART POSITIONS CERTIFICATION

UK US SWE NOR ESP NZ

1977 _Spunk _ a

* Type: Early recordings for album; leaked by Dave Goodman

– – – – – –

1979 _The Great Rock \'n\' Roll Swindle _

* Type: Various artists soundtrack

7 – – – – 26

* UK : Gold

_Some Product: Carri on Sex Pistols
Sex Pistols
_

* Type: Interviews and radio spots

6 – – – – –

* UK : Silver

1980 _ Flogging a Dead Horse _

* Type: Compilation

23 – – – – 49

* UK : Silver

_Sex Pack_

* Type: Compilation

– – – – – –

1985 _ Anarchy
Anarchy
in the UK: Live at the 76 Club _ b

* Type: Live

– – – – – –

1992 _ Kiss This _

* Type: Compilation

10 – 46 – – –

* UK : Gold

1996 _ Filthy Lucre Live _

* Type: Live

26 – – – – –

2001 _ Live at Winterland 1978 _

* Type: Live

– – – – – –

2002 _Jubilee _

* Type: Compilation

29 – – – – –

_ Sex Pistols
Sex Pistols
_

* Type: Compilation (box set)

– – – – – –

2004 _ Raw and Live _

* Type: Live

– – – – – –

2008 _Agents of Anarchy
Anarchy
_

* Type: Compilation

– – – – – –

2008 _Live official release—1996, as part of _ Spunk/This Is Crap _, bonus CD included with _Never Mind the Bollocks_ reissue; official stand-alone release—2006. * ^B Bootleg release—1985; official release—2001. * Note that a host of other bootlegs arrived on the market in the mid-late 80's.

SINGLES

YEAR SINGLE UK SINGLES CHART

1976 " Anarchy
Anarchy
in the U.K. " 38

1977 "God Save the Queen " 2**

" Pretty Vacant " 6

"Holidays in the Sun " 8

1978 " No One Is Innocent "/"My Way " 7

1979 "Something Else "/"Friggin\' in the Riggin\' " 3

"Silly Thing"/"Who Killed Bambi?" c 6

"C\'mon Everybody " 3

"The Great Rock 'n' Roll Swindle" 21

1980 "(I\'m Not Your) Steppin\' Stone " 21

"Black Leather"/"Here We Go Again" —

1981 "Who Killed Bambi?" c —

1992 " Anarchy
Anarchy
in the U.K." (reissue) 33

"Pretty Vacant" (reissue) 56

1996 "Pretty Vacant" (live) 18

2002 "God Save the Queen" (reissue) 15

2007 " Anarchy
Anarchy
in the UK" (2nd reissue) 70

"God Save the Queen" (2nd reissue) 42

"Pretty Vacant" (2nd reissue) 65

"Holidays in the Sun" (reissue) 74

** Withheld from top spot

* ^C Credited as " Ten Pole Tudor with Sex Pistols".

* 1970s portal

NOTES

* ^ "Sex Pistols". Rock and Roll Hall of Fame. Retrieved 19 May 2010. * ^ _A_ _B_ Sheldon, Camilla; Skinner, Tony (2006). _Popular Music Theory: Grade 4_. Registry Publications Ltd. pp. 29–30. Retrieved 28 May 2010. * ^ _A_ _B_ O'Hagan, Sean (2 May 2004). "Fifty Years of Pop". _The Observer_. London. Retrieved 20 March 2009. * ^ Sprague, David (24 February 2006). " Sex Pistols
Sex Pistols
Flip Off Hall of Fame". _Rolling Stone_. Archived from the original on 17 February 2008. Retrieved 21 February 2008. * ^ _A_ _B_ _C_ Olsson, Mats (23 July 1977). "Sex Pistols". _Expressen_. Retrieved 17 March 2009. * ^ Savage, Jon. _England's Dreaming_, pp. 77–79; Strongman, Phil, _Pretty Vacant_, p. 84. * ^ Strongman, Phil, _Pretty Vacant_, p. 87; Savage, Jon, _England's Dreaming_, p. 96. * ^ Bell-Price, Shannon (2006). " Vivienne Westwood and the Postmodern Legacy of Punk
Punk
Style". Metropolitan Museum of Art. Retrieved 7 October 2006. * ^ Robb, John, _ Punk
Punk
Rock_, p. 83. * ^ Robb, John, _ Punk
Punk
Rock_, pp. 83–84, 86–87, 89, 102, 105. * ^ Robb, John, _ Punk
Punk
Rock_, p. 84. * ^ Savage, Jon. _England's Dreaming_, pp. 70–80. * ^ Savage, Jon. _England's Dreaming_, pp. 83, 92; Robb, John, _ Punk
Punk
Rock_, pp. 83–89, 102–105. * ^ Savage, Jon. _England's Dreaming_, pp. 87–88, 97; Eglinton, Mark (30 July 2009). "Bringing Out the Dead: The New York Dolls on Their Highs and Lows". The Quietus. Retrieved 3 August 2010. * ^ Savage, Jon. _England's Dreaming_, pp. 88–90, 92, 97. * ^ Strongman, Phil, _Pretty Vacant_, pp. 84–85. * ^ Strongman, Phil, _Pretty Vacant_, pp. 85–86. * ^ Strongman, Phil, _Pretty Vacant_, p. 93; Savage, Jon. _England's Dreaming_, pp. 98–99. * ^ Robb, John, _ Punk
Punk
Rock_, p. 110. * ^ Strongman, Phil, _Pretty Vacant_, pp. 93–94; Savage, Jon. _England's Dreaming_, p. 99. * ^ _A_ _B_ _C_ _D_ Lydon, John, _Rotten_, p. 74. * ^ Savage, Jon, _England's Dreaming_, p. 114. * ^ _A_ _B_ Young, Charles M. (20 October 1977). "Rock Is Sick and Living in London". _Rolling Stone_. Retrieved 10 October 2006. * ^ Robb, John, _ Punk
Punk
Rock_, pp. 110–111; Savage, Jon, _England's Dreaming_, p. 120; Strongman, Phil, _Pretty Vacant_, p. 98. * ^ Savage, Jon, _England's Dreaming_, pp. 120–121; Matlock, Glen, _I Was a Teenage Sex Pistol_, p. 71. * ^ Robb, John, _ Punk
Punk
Rock_, p. 97. See also Savage, Jon, _England's Dreaming_, pp. 108–112. Savage notes that the July 1975 unemployment figures were the worst since World War II (p. 108). * ^ Lydon, John, _Rotten_, p. 78. See also Matlock, Glen, _I Was a Teenage Sex Pistol_, pp. 57–59. * ^ Matlock, Glen, _I Was a Teenage Sex Pistol_, p. 86. * ^ Savage, Jon, _England's Dreaming_, pp. 125–126. * ^ Matlock, Glen, _I Was a Teenage Sex Pistol_, p. 87. * ^ Robb, John, _ Punk
Punk
Rock_, p. 112; Strongman, Phil, _Pretty Vacant_, p. 105. * ^ Evans, Mike, _Rock 'n' Roll's Strangest Moments_, p. 190; Matlock, Glen, _I Was a Teenage Sex Pistol_, pp. 64–65. Matlock says the band decided on the name while McLaren was in the United States—no later than May 1975—before Rotten even joined (p. 65). Jon Savage says the name was not firmly settled on until just before their first show in November 1975 (_England's Dreaming_, p. 129). * ^ Molon, Dominic, "Made with the Highest British Attention", p. 76. * ^ Strongman, Phil, _Pretty Vacant_, pp. 99–100. * ^ _A_ _B_ _C_ Reynolds, Simon, "Ono, Eno, Arto", p. 89. * ^ Gimarc, George, _ Punk
Punk
Diary_, p. 22; Robb, John, _ Punk
Punk
Rock_, p. 114; Savage, Jon, _England's Dreaming_, p. 129. * ^ Strongman, Phil, _Pretty Vacant_, p. 106; Robb, John, _Punk Rock_, pp. 114–120; Robb, John (5 November 2005). "The Birth of Punk". _The Independent_. London. Retrieved 15 October 2006. Strongman says that Rotten was pinned to the wall by Bazooka Joe's Danny Kleinman; after an apology, the Pistols continued playing for a few more minutes. Robb describes a brief fistfight that took place after the plugs were pulled. * ^ " Siouxsie and the Banshees – The Creatures – Steven Severin". www.untiedundone.com. Retrieved 23 April 2014. * ^ Lydon, John, _Rotten_, pp. 172–189 (" Steven Severin on the Bromley Contingent"); "The Bromley Contingent". punk77.co.uk. Retrieved 9 October 2006. * ^ Savage, Jon, _England's Dreaming_, pp. 181–185. * ^ Robb, John, _ Punk
Punk
Rock_, pp. 86, 197; Savage, Jon, _England's Dreaming_, pp. 27–42, 204; Strongman, Phil, _Pretty Vacant_, pp. 67–75. * ^ Savage, Jon, _England's Dreaming_, pp. 201–202. * ^ Robb, John, _ Punk
Punk
Rock_, p. 86; Savage, Jon, _England's Dreaming_, p. 201; Strongman, Phil, _Pretty Vacant_, p. 111. * ^ Savage, Jon, _England's Dreaming_, pp. 204–205. * ^ Savage, Jon, _England's Dreaming_, p. 151. * ^ Savage, Jon, _England's Dreaming_, p. 114. For more on Lydon's apparently coincidental resemblance to Hell, see also Matlock, Glen, _I Was a Teenage Sex Pistol_, p. 71, and Matlock and Pirroni quotes in Robb, John, _ Punk
Punk
Rock_, pp. 111–112, 183. * ^ Robb, John, _ Punk
Punk
Rock_, pp. 147–148. * ^ Robb, John, _ Punk
Punk
Rock_, p. 148. * ^ Robb, John, _ Punk
Punk
Rock_, pp. 163–166. * ^ Savage, Jon, _England's Dreaming_, p. 174. * ^ Robb, John, _ Punk
Punk
Rock_, p. 153. * ^ Robb, John, _ Punk
Punk
Rock_, p. 155. * ^ Savage, Jon, _England's Dreaming_, pp. 166–167. See also Matlock, Glen, _I Was a Teenage Sex Pistol_, p. 107. * ^ Savage, Jon, _England's Dreaming_, p. 168. * ^ Savage, Jon, _England's Dreaming_, p. 172. * ^ Lydon, John, _Rotten_, p. 118. * ^ Robb, John, _ Punk
Punk
Rock_, p. 182. * ^ _A_ _B_ Gimarc, George, _ Punk
Punk
Diary_, p. 30. * ^ Robb, John, _ Punk
Punk
Rock_, pp. 160–162; Savage, Jon, _England's Dreaming_, pp. 173–174. * ^ _A_ _B_ " Sex Pistols
Sex Pistols
Gig: The Truth". BBC. 27 June 2006. Retrieved 6 February 2009. * ^ Morley, Paul (21 May 2006). "A Northern Soul". _Observer Music Monthly_. London. Retrieved 20 September 2006. * ^ Robb, John, _ Punk
Punk
Rock_, pp. 199–201. * ^ Savage, Jon, _England's Dreaming_, p. 204. * ^ Strongman, Phil, _Pretty Vacant_, pp. 118–119; Savage, Jon, _England's Dreaming_, p. 205. * ^ Savage, Jon, _England's Dreaming_, pp. 207–209; Robb, John, _ Punk
Punk
Rock_, pp. 212–215. Quote: Savage, Jon, _England's Dreaming_, p. 207. * ^ Strongman, Phil, _Pretty Vacant_, pp. 126–129. * ^ _A_ _B_ Gimarc, George, _ Punk
Punk
Diary_, p. 37. * ^ " Sex Pistols
Sex Pistols
Appear on \'So It Goes\'". BBC. Retrieved 14 March 2009. * ^ Gimarc, George, _ Punk
Punk
Diary_, p. 38. * ^ Strongman, Phil, _Pretty Vacant_, p. 135; Savage, Jon, _England's Dreaming_, p. 317. Quote: Gimarc, George, _ Punk
Punk
Diary_, p. 39. * ^ Coon, Caroline (2 October 1976), "Parade Of The Punks", _Melody Maker_; Ingham, Jonh (31 July 1976). "Sex Pistols/Buzzcocks—Lesser Free Trade Hall, Manchester". _Sounds_. Jonh Ingham—My Back Pages. Retrieved 19 March 2009. Savage, Jon, _England's Dreaming_, pp. 176–177, 206, 208; Robb, John, _ Punk
Punk
Rock_, pp. 119, 156, 162. * ^ Savage, Jon, _England's Dreaming_, p. 177. * ^ Robb, John, _ Punk
Punk
Rock_, p. 241. * ^ _A_ _B_ Savage, Jon, _England's Dreaming_, p. 245. * ^ Strongman, Phil, _Pretty Vacant_, pp. 144–148. * ^ Robb, John, _ Punk
Punk
Rock_, pp. 257–258. * ^ Robb, John, _ Punk
Punk
Rock_, p. 258. * ^ Savage, Jon, _England's Dreaming_, pp. 221. * ^ Hatch, David, and Stephen Millward, _From Blues to Rock_, pp. 168, 170. * ^ Savage, Jon, _England's Dreaming_, pp. 253. * ^ Pardo, Alona, "Jamie Reid", p. 245. * ^ Strongman, Phil, _Pretty Vacant_, pp. 151–153; Southall, Brian, _The Sex Pistols_, p. 52; Savage, Jon, _England's Dreaming_, pp. 257–259. Savage's transcription, unlike Strongman's, Southall's, and the one that appears on the cover of the _Daily Mirror_, incorrectly has Grundy saying "ten seconds" and Jones saying "You fucking rotter." The transcription has been checked against the excerpted video of the interview available on the band\'s official website. * ^ Robb, John, _ Punk
Punk
Rock,_ p. 260. * ^ Savage, Jon, _England's Dreaming_, p. 264. See also Strongman, Phil, _Pretty Vacant_, p. 157. * ^ " Manchester
Manchester
Celebrities: Bill Grundy". Manchester
Manchester
2002. 2002. Retrieved 14 October 2006. * ^ Robb, John, _ Punk
Punk
Diary_, pp. 263–273; Savage, Jon, _England's Dreaming_, pp. 267–275. * ^ "The Sex Pistols
Sex Pistols
in Caerphilly". BBC. 22 July 2010. Retrieved 22 July 2010. * ^ Gimarc, George, _ Punk
Punk
Diary_, p. 45. * ^ Gimarc, George, _ Punk
Punk
Diary_, p. 49. The transcription of the television interview has been corrected per the documentary footage used in _The Great Rock 'n' Roll Swindle_ (28:36–28:55). * ^ Savage, Jon, _England's Dreaming_, p. 286. * ^ Savage, Jon, _England's Dreaming_, pp. 286–288. * ^ Strongman, Phil, _Pretty Vacant_, p. 172. * ^ _A_ _B_ _C_ Gimarc, George, _ Punk
Punk
Diary_, p. 56. * ^ McKenna, Kristine (2005). "Q&A with Steve Jones". Rhino Magazine. Retrieved 4 December 2010. See also later Lydon quote: Savage, Jon, _England's Dreaming_, pp. 307–308. * ^ Matlock, Glen, _I Was a Teenage Sex Pistol_, pp. 113–119, 162, 167–171. Quote: p. 115. * ^ Lydon, John, _Rotten_, p. 3. See also pp. 82, 103. * ^ _A_ _B_ Savage, Jon, _England's Dreaming_, p. 308. * ^ Robb, John, _ Punk
Punk
Rock_, pp. 159–160; Matlock, Glen, _I Was a Teenage Sex Pistol_, p. 130. * ^ Matlock, Glen, _I Was a Teenage Sex Pistol_, p. 176. * ^ _A_ _B_ _Blood on the Turntable: the Sex Pistols_ (dir. Steve Crabtree), BBC
BBC
documentary (2004). * ^ Robb, John, _ Punk
Punk
Rock_, pp. 217, 224–225; Strongman, Phil, _Pretty Vacant_, pp. 137–138. * ^ Strongman, Phil, _Pretty Vacant_, pp. 116–117; Savage, Jon, _England's Dreaming_, pp. 177–178. * ^ For the sort of thing in Kent's past for which he arguably "deserved" a beating—physically assaulting his then-girlfriend Chrissie Hynde at the McLaren-Westwood shop—see Matlock, Glen, _I Was a Teenage Sex Pistol_, pp. 59–60; Strongman , Phil, _Pretty Vacant_, p. 116. * ^ _A_ _B_ _C_ _D_ _E_ Robinson, Charlotte (2006). "So Tough: The Boy Behind the Sid Vicious Myth". PopMatters. Retrieved 14 October 2006. * ^ Lydon, John, _Rotten_, p. 143. For a view that Vicious was a more competent bass player than his reputation would have it, see Strongman, Phil, _Pretty Vacant_, p. 117. * ^ Savage, Jon, _England's Dreaming_, p. 222. * ^ McNeil, Legs, and Gillian McCain, _Please Kill Me_, p. 262; Monk, Noel, and Jimmy Guterman, _12 Days on the Road_, p. 124. * ^ Lydon, John, _Rotten_, p. 147. * ^ Lydon, John, "Rotten", The Filth and the Fury * ^ Strongman, Phil, _Pretty Vacant_, p. 174; Savage, Jon, _England's Dreaming_, pp. 315–318. * ^ Savage, Jon, _England's Dreaming_, pp. 318–320. * ^ " Sex Pistols
Sex Pistols
Cover Tops Chart". BBC. 14 March 2001. Retrieved 20 March 2009. * ^ Gimarc, George, _ Punk
Punk
Diary_, pp. 59–60. * ^ Savage, Jon, _England's Dreaming_, pp. 347, 349; Robb, John, _ Punk
Punk
Rock_, p. 348. * ^ _A_ _B_ Gimarc, George, _ Punk
Punk
Diary_, p. 70; Savage, Jon, _England's Dreaming_, p. 349. * ^ Savage, Jon, _England's Dreaming_, pp. 347–367. * ^ Petridis, Alexis (12 April 2002). "Leaders of the Banned". _Guardian_. London. Retrieved 22 September 2006. * ^ Lydon, et. al, The Filth and the Fury * ^ _A_ _B_ Gimarc, George, _ Punk
Punk
Diary_, p. 70. * ^ Savage, Jon, _England's Dreaming_, pp. 358–364; Strongman, Phil, _Pretty Vacant_, pp. 181–182. * ^ Savage, Jon, _England's Dreaming_, pp. 364–365; Leigh, Spencer (20 February 1998). "Music: Charting the Number Ones That Somehow Got Away". _The Independent_. London. Retrieved 18 March 2009.

* ^ Savage, Jon, _England's Dreaming_, pp. 365–366. * ^ " Punk
Punk
and the Svastika". acc.umu.se. Archived from the original on 21 March 2007. Retrieved 1 July 2016. CS1 maint: BOT: original-url status unknown (link ) * ^ Rockwell, John (7 August 1977), "The Sex Pistols: A Fired-Up Rock Band", _New York Times_. * ^ Savage, Jon, _England's Dreaming_, pp. 390–392. * ^ Savage, Jon, _England's Dreaming_, pp. 339–340. * ^ Thompson, Stacy (winter 2004), " Punk
Punk
Cinema", _Cinema Journal_ 43, no. 2; "_Jubilee Riverboat_ (1977)". BFI. Retrieved 31 March 2009.

* ^ Savage, Jon. _England's Dreaming_, pp. 379–380, 388–389, 413–414. * ^ The Filth and the Fury * ^ Savage, Jon, _England's Dreaming_, p. 409. * ^ Lydon, John, _Rotten_, p. 200. * ^ Savage, Jon, _England's Dreaming_, p. 414. * ^ Matlock, Glen, _I Was a Teenage Pistol_, pp. 170–171. * ^ Savage, Jon, _England's Dreaming_, p. 309. * ^ Lydon, John, _Rotten_, p. 142. See also p. 200. * ^ _A_ _B_ Howard, David, _Sonic Alchemy_, p. 245. * ^ Lydon, John, _Rotten_, p. 200. Jones also recalls Vicious showing up to record for "God Save the Queen". Lydon reports recording an unused version of "Submission" with Vicious (pp. 142–143). * ^ Savage, Jon, _England's Dreaming_, pp. 126–127; Robb, John, _ Punk
Punk
Rock_, p. 359; Gimarc, George, _ Punk
Punk
Diary_, p. 74. * ^ Gimarc, George, _ Punk
Punk
Diary_, p. 95. * ^ Savage, Jon, _England's Dreaming_, p. 556. * ^ _A_ _B_ Taylor, Steven, _False Prophet_, p. 69. * ^ _A_ _B_ Nelson, Paul (23 February 1978). "_Never Mind the Bollocks Here\'s the Sex Pistols_ (album review)". _Rolling Stone_. Archived from the original on 22 June 2008. Retrieved 20 March 2009. * ^ Savage, Jon, _England's Dreaming_, p. 414; Ott, Chris (2004). "051: Sex Pistols
Sex Pistols
_Never Mind the Bollocks_ (Top 100 Albums of the 1970s)". Pitchfork. Retrieved 20 March 2009. * ^ Nevermind the Bollocks, Here Are the Sex Pistols, _Bodies_ * ^ Sid and Nancy, Love Kills * ^ _A_ _B_ Savage, Jon, _England's Dreaming_, p. 415. * ^ Thompson, Dave, _Alternative Rock_, p. 609; de Jongh, Nicholas (10 November 1977). " Punk
Punk
Record Is a Load of Legal Trouble". _Guardian_. London. Retrieved 31 March 2009. * ^ Vermorel, Fred, and Judy Vermorel, _Sex Pistols_, p. 113. * ^ Lydon, John, _Rotten_, p. 202. * ^ Savage, Jon, _England's Dreaming_, pp. 428–429. * ^ Robb, John, _ Punk
Punk
Rock_, p. 403. * ^ Savage, Jon, _England's Dreaming_, p. 430. * ^ _A_ _B_ Huey, Steve (2005). "Sid Vicious: Biography". AllMusic. Retrieved 28 February 2014. * ^ _A_ _B_ Lydon, John, _Rotten_, pp. 244. * ^ Klein, Howie (February 1978), "Sex Pistols: Tour Notes", _New York Rocker_. * ^ Vermorel, Fred, and Judy Vermorel, _Sex Pistols_, p. 120. * ^ Lydon, John, _Rotten_, pp. 5, 247–248. * ^ Cooper, Mark (28 January 1978), "The Sex Pistols: Winterland, San Francisco", _Record Mirror_. The transcription has been slightly expanded per the documentary footage used in _The Great Rock 'n' Roll Swindle_ (1:09:55–1:10:31). The sound cuts out immediately after the word "cheated". * ^ Lydon, John, _Rotten_, p. 5. * ^ Savage, Jon, _England's Dreaming_, pp. 463–464. * ^ Das, Lina (2006). "Jolly Rotten". _Daily Mail Weekend Magazine_. Retrieved 4 October 2006. * ^ Savage, Jon, _England's Dreaming_, p. 464. * ^ Reynolds, Simon, _Rip It Up and Start Again_, pp. 80–81. * ^ Gimarc, George, _ Punk
Punk
Diary_, p. 145. Gimarc refers to sources claiming that the "My Way" recording involved no contact between Vicious and the Jones-Cook duo; Temple, however, says that Jones was flown over to Paris to join Vicious in the studio (Temple, Julian, "Commentary", 1:29:18–1:29:20), and seems to indicate that he recorded his guitar part there (1:33:09–1:33:16). * ^ Savage, Jon, _England's Dreaming_, p. 497–498. Savage describes the single as being a double A-side; other sources indicate that the Biggs vocal was the A-side and the Vicious vocal the B-side (e.g., Gimarc, George, _ Punk
Punk
Diary_, p. 145). There is no disagreement that the Vicious side was the more popular. * ^ Savage, Jon, _England's Dreaming_, pp. 491–494, 497–503. For the management termination, see also Temple, Julian, "Commentary", 1:30:38–1:30:51. * ^ Ruhlmann, William (2005). "Public Image Ltd.". Allmusic. Retrieved 12 October 2006. * ^ Roekens, Karsten (2000–2006). "PiL Chronology". Fodderstompf. Retrieved 11 October 2006. * ^ _A_ _B_ Verrico, Lisa (13 March 1999). "The Big Interview: Limited Edition". _The Times_. JohnLydon.com. Retrieved 4 October 2006. * ^ _A_ _B_ "Sex Pistol Vicious on Murder Charge". BBC. 12 October 1978. Retrieved 15 October 2006. * ^ Strongman, Phil, _Pretty Vacant_, pp. 238–242. * ^ Savage, Jon, _England's Dreaming_, pp. 527–529; Strongman, Phil, _Pretty Vacant_, pp. 241–242. * ^ Gilmore, Mikal (1980). " John Lydon Improves His Public Image". _Rolling Stone_. Retrieved 4 October 2006. * ^ Savage, Jon, _England's Dreaming_, pp. 533–534, 537; Strongman, Phil, _Pretty Vacant_, pp. 242–243. * ^ Ruhlmann, William. "Malcolm McLaren". AllMusic. Retrieved 28 February 2014. * ^ Savage, Jon, _England's Dreaming_, pp. 531–536, 558; Gimarc, George, _ Punk
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Rock_, p. 163. * ^ Marcus, Greil, _Lipstick Traces_, 1989, Harvard University Press, pg. 1 * ^ Fat Mike (30 October 2001). "Q & A—Read Answers". NOFX Official Website. Retrieved 22 March 2009. * ^ Green, Alex. _The Stone Roses_, p. 98. * ^ Wall, Mick, _W.A.R._, pp. 11, 38, 113, 118, 136. * ^ "Kurt Donald Cobain". Biography Channel. Retrieved 11 October 2006. * ^ Sladeckova, Olga (10 August 2002). "Jesus and Mary Chain : Interview with Jim Reid Part 1". _pennyblackmusic.co.uk_. Retrieved 11 July 2012. * ^ Harris, John, _Britpop!_, p. 144. * ^ _A_ _B_ Creswell, Toby, _1001 Songs_, p. 735. * ^ Raimes, Jonathan et al., _Retro Graphics_, p. 164; "Jamie Reid: The Art of Punk" (June 2004), _Computer Arts_, pp. 46–48. * ^ Strongman, Phil, _Pretty Vacant_, p. 235. * ^ Savage, Jon, _England's Dreaming_, p. 530. * ^ Douglas, Mark, "Fashions, Youth", pp. 188–189. Quote: Jon Savage, in Mulholland, Neil, _The Cultural Devolution_, p. 72. * ^ Bentley, David (17 June 2008). " Punk
Punk
Rock Pioneer an Inspiration for Heath Ledger\'s Joker". _Coventry Telegraph_. Retrieved 18 July 2008. * ^ Jeffries, Mark (29 July 2008). " Heath Ledger Based Joker on Sex Pistol Sid Vicious". _Mirror_. Retrieved 12 September 2008. * ^ Reynolds, Simon, "Ono, Eno, Arto", p. 89. See also Gimarc, George, p. 102. McLaren echoes the line in _The Great Rock 'n' Roll Swindle_: "Do you realise, these kids didn't buy the records for the music. If that was the case, this thing would have died a death years ago" (10:56–11:03). * ^ _A_ _B_ McLaren, Malcolm (15 September 2007). "Searching for a Way to Break the Rules". _Guardian_. London. Retrieved 23 March 2009. * ^ Hibbert, Tom (August 1989), "Pernicious? Moi?" (interview with Malcolm McLaren), _Q_. * ^ Savage, Jon, _England's Dreaming_, p. 499. * ^ The line, which became known as a catchphrase of McLaren's, appears in the lyric of the title track (credited to Jones, Cook and Temple) (6:59–7:02); as a motto on a conveniently placed coat of arms (21:30–21:36); and in large letters on a T-shirt won by McLaren in several scenes (first fully visible: 26:26–26:51; partly visible in three subsequent scenes). See also Temple's script for the film's promotional video: Gimarc, George, _ Punk
Punk
Diary_, pp. 328–329. * ^ Lydon, John, _Rotten_, p. 3. * ^ Lydon, John, _Rotten_, p. 186. * ^ Mulholland, Neil, _The Cultural Devolution_, p. 68. * ^ Salewicz, Chris, _Interview with Julien Temple_, 1:13–1:28. * ^ Albiez, Sean, "Print the Truth", p. 100; Henry, Tricia, _Break All Rules_, p. xi. * ^ Hatch, David, and Stephen Millward, _From Blues to Rock_, p. 170. * ^ Campbell, Sean, "Sounding Out the Margins", pp. 127–130. * ^ See, for instance, Temple's commentary: " was not planned at all. It was totally spontaneous. And as the band will tell you, Malcolm said, 'You've blown it. You've ruined everything I've worked for'" (Temple, Julian, "Commentary", 27:26–27:33); and Matlock's confirmation (Matlock, Glen, _I Was a Teenage Sex Pistol_, pp. 145, 147). Concerning the time the band spent waiting to go on air, Siouxsie Sioux
Siouxsie Sioux
later said, "I've got a feeling that Malcolm _was_ geeing them up, stirring it a bit" (Savage, Jon, _England's Dreaming_, p. 257). Her view is belied by the version of the incident in Phil Strongman's _Pretty Vacant_, which appears to rely on McLaren himself (pp. 154–155). According to Strongman, McLaren "was inconsolable" (p. 154). * ^ Savage, Jon, _England's Dreaming_, p. 338. * ^ Matlock, Glen, _I Was a Teenage Sex Pistol_, p. 170. * ^ Strongman, Phil, _Pretty Vacant_, p. 198. * ^ Thompson, Dave, _Alternative Rock_, p. 135. * ^ Temple, Julian, "Commentary", 1:24–1:40. * ^ Temple, Julian, _The Great Rock 'n' Roll Swindle_, 1:12:54–1:13:02. * ^ Temple, Julian, "Commentary", 1:20–1:23. * ^ Monk, Noel, and Jimmy Guterman, _12 Days on the Road_, pp. 76–77. * ^ Monk, Noel, and Jimmy Guterman, _12 Days on the Road_, p. 77. * ^ Temple, Julian, "Commentary", 37:03–37:09. * ^ Savage, Jon, _England's Dreaming_, p. 71. * ^ Warwick, Kutner, and Brown, _Complete Book of the British Charts_, p. 973. See also "UK Top 40 Hit Database". everyHit.com. Retrieved 13 January 2010.

SOURCES

* Albiez, Sean, "Print the Truth, Not the Legend. The Sex Pistols: Lesser Free Trade Hall, Manchester, 4 June 1976", in _Performance and Popular Music: History, Place and Time_, ed. Ian Inglis, pp. 92–106. Ashgate, 2006. ISBN 0-7546-4057-4 * Bolton, Andrew, _Punk: Chaos to Couture _, 2013. * Campbell, Sean, "Sounding Out the Margins: Ethnicity and Popular Music in British Cultural Studies", in _Across the Margins: Cultural Identity and Change in the Atlantic Archipelago_, ed. Glenda Norquay and Gerry Smyth, pp. 117–136. Manchester
Manchester
University Press, 2002. ISBN 0-7190-5749-3 * Creswell, Toby, _1001 Songs: The Great Songs of All Time and the Artists, Stories and Secrets Behind Them_, Thunder's Mouth Press, 2006. ISBN 1-56025-915-9 * Douglas, Mark, "Fashions, Youth", in _Encyclopedia of Contemporary British Culture_, ed. Peter Childs and Mike Storry, pp. 187–189. Taylor & Francis, 1999. ISBN 0-415-14726-3 * Evans, Mike, _Rock 'n' Roll's Strangest Moments: Extraordinary Tales from Over Fifty Years of Rock Music History_, Robson, 2006. ISBN 1-86105-923-X * Gimarc, George, _ Punk
Punk
Diary: The Ultimate Trainspotter's Guide to Underground Rock, 1970–1982_, Backbeat, 2005. ISBN 0-87930-848-6 * Green, Alex. _The Stone Roses_, Continuum, 2006. ISBN 0-8264-1742-6 * Harris, John. _Britpop!: Cool Britannia and the Spectacular Demise of English Rock_, Da Capo, 2004. ISBN 0-306-81367-X * Hatch, David, and Stephen Millward, _From Blues to Rock: An Analytical History of Pop Music_, Manchester
Manchester
University Press, 1989. ISBN 0-7190-2349-1 * Henry, Tricia, _Break All Rules!: Punk
Punk
Rock and the Making of a Style_, University of Michigan Press, 1989. ISBN 0-8357-1980-4 * Howard, David N., _Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings_, Hal Leonard, 2004. ISBN 0-634-05560-7 * Lydon, John, with Keith and Kent Zimmerman, _Rotten: No Irish, No Blacks, No Dogs _, Farrar, Straus, and Giroux, 2008 . ISBN 0-312-42813-8 * Matlock, Glen, with Pete Silverton, _I Was A Teenage Sex Pistol_, Omnibus Press, 1990. ISBN 0-7119-1817-1 * Marsh, Dave, "The Sex Pistols", in _The New Rolling Stone Record Guide_, ed. Dave Marsh and John Swenson, p. 456. Random House/Rolling Stone Press, 1983. ISBN 0-394-72107-1 * McNeil, Legs , and Gillian McCain (ed.), _Please Kill Me: The Uncensored Oral History of Punk_, Grove Press, 1996. ISBN 0-349-10880-3 * Molon, Dominic, "Made with the Highest British Attention to the Wrong Detail: The UK", in _Sympathy for the Devil: Art and Rock and Roll Since 1967_, ed. Dominic Molon, pp. 72–79. Yale University Press, 2007. ISBN 0-300-13426-6 * Monk, Noel, and Jimmy Guterman, _12 Days on the Road: The Sex Pistols and America_, Harper Paperbacks, 1992. ISBN 0-688-11274-9 * Mulholland, Neil, _The Cultural Devolution: Art in Britain in the Late Twentieth Century_, Ashgate, 2003. ISBN 0-7546-0392-X * Pardo, Alona, "Jamie Reid", in _Communicate: Independent British Graphic Design Since the Sixties_, ed. Rick Poyner, p. 245. Yale University Press, 2004. ISBN 0-300-10684-X * Paytress, Mark, _Siouxsie & the Banshees: The Authorised Biography_, Sanctuary, 2003. ISBN 1-86074-375-7 * Raimes, Jonathan, Lakshmi Bhaskaran, and Ben Renow-Clarke, _Retro Graphics: A Visual Sourcebook to 100 Years of Graphic Design_, Chronicle Books, 2007. ISBN 0-8118-5508-2 * Reynolds, Simon, _Rip It Up and Start Again: Post Punk 1978–1984_, Faber and Faber, 2006. ISBN 0-571-21570-X * Reynolds, Simon, "Ono, Eno, Arto: Nonmusicians and the Emergence of Concept Rock", in _Sympathy for the Devil: Art and Rock and Roll Since 1967_, ed. Dominic Molon, pp. 80–91. Yale University Press, 2007. ISBN 0-300-13426-6 * Robb, John, _ Punk
Punk
Rock: An Oral History_, Ebury Press, 2006. ISBN 0-09-190511-7 * Robbins, Ira, "Sex Pistols", in _The Trouser Press Record Guide_, 4th ed., ed. Ira Robbins, pp. 585–586, Collier, 1991. ISBN 0-02-036361-3 * Salewicz, Chris, _Interview with Julien Temple by Chris Salewicz_ (_The Great Rock 'n' Roll Swindle_ DVD bonus feature), Shout! Factory, 2001. ISBN 0-7389-3199-3 * Savage, Jon, _England's Dreaming: Anarchy, Sex Pistols, Punk
Punk
Rock and Beyond_, St. Martin's Press, 1992. ISBN 0-312-08774-8 * Sheldon, Camilla, and Tony Skinner, _Popular Music Theory—Grade: 4_, Registry, 2006. ISBN 1-898466-44-0 * Southall, Brian, _The Sex Pistols: 90 Days At EMI_, Omnibus Press, 2007. ISBN 978-1-84609-779-9 * Strongman, Phil, _Pretty Vacant: A History of UK Punk_, Chicago Review Press, 2008. ISBN 1-55652-752-7 * Taylor, Steven, _False Prophet: Fieldnotes from the Punk Underground_, Wesleyan University Press, 2004. ISBN 0-8195-6668-3 * Temple, Julian, _The Great Rock 'n' Roll Swindle_ (DVD), Shout! Factory, 1980 (2001). ISBN 0-7389-3199-3 * Temple, Julian, with Chris Salewicz, "Commentary on _The Great Rock 'n' Roll Swindle_" (_The Great Rock 'n' Roll Swindle_ DVD bonus feature), Shout! Factory, 2001. ISBN 0-7389-3199-3 * Thompson, Dave, _Alternative Rock_, Hal Leonard, 2000. ISBN 0-87930-607-6 * Vermorel, Fred, and Judy Vermorel, _Sex Pistols: The Inside Story_, Omnibus Press, 1987 . ISBN 0-7119-1090-1 * Wall, Mick, _W.A.R.: The Unauthorized Biography of William Axl Rose_, Macmillan, 2008. ISBN 0-312-37767-3 * Warwick, Neil, Jon Kutner, and Tony Brown, _The Complete Book of the British Charts: Singles padding:0.75em; background:#f9f9f9;"> Find more aboutSEX PISTOLSat's sister projects

* _Media from Commons * Quotations from Wikiquote * Data from Wikidata

* Official website * Sex Pistols
Sex Pistols
at DMOZ

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Sex Pistols
Sex Pistols

* JOHNNY ROTTEN * STEVE JONES * GLEN MATLOCK * PAUL COOK * SID VICIOUS

STUDIO ALBUM

* Never Mind the Bollocks, Here\'s the Sex Pistols
Sex Pistols
_

Compilations and soundtracks

* _Spunk _ * _The Great Rock \'n\' Roll Swindle _ * _Some Product: Carri on Sex Pistols
Sex Pistols
_ * _ Flogging a Dead Horse _ * _ Kiss This _ * _ The Filth and the Fury _ * _Jubilee _ * _ Sex Pistols
Sex Pistols
_ (box set) * _Agents of Anarchy
Anarchy
_ * _Silver Jubilee _

LIVE ALBUMS

* _ Anarchy
Anarchy
in the U.K: Live at the 76 Club _ * _ Filthy Lucre Live _ * _ Live at Winterland 1978 _ * _ Raw and Live _ * _Live border-left-width:2px;border-left-style:solid;width:100%;padding:0px">

* " Anarchy
Anarchy
in the U.K. " * "God Save the Queen " * " Pretty Vacant " * "Holidays in the Sun " * " No One Is Innocent "/"My Way " * "Something Else " * "Silly Thing " * "C\'mon Everybody " * "The Great Rock \'n\' Roll Swindle " * "(I\'m Not Your) Steppin\' Stone " * "Who Killed Bambi? " * "Pretty Vacant" (live)

OTHER NOTABLE SONGS

* " Belsen Was a Gas " * "Bodies "

FILMS

* _The Punk
Punk
Rock Movie _ * _D.O.A.: A Rite of Passage _ * _The Great Rock \'n\' Roll Swindle _ * _ The Filth and the Fury _ * _There\'ll Always Be an England _

RELATED ARTICLES

* 100 Club Punk
Punk
Festival * Filthy Lucre Tour * Nancy Spungen * Malcolm McLaren * Vivienne Westwood * Jamie Reid * Julien Temple * Dave Goodman * Chris Thomas * Wally Nightingale * Ronnie Biggs * Edward Tudor-Pole * Nick Kent * Rich Kids * Vicious White Kids * Public Image Ltd
Public Image Ltd
* The Professionals * Ex Pistols * Neurotic Outsiders * _Who Killed Bambi? _ * _ Sid and Nancy _

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Rock and Roll Hall of Fame Class of 2006

PERFORMERS

* BLACK SABBATH ( Geezer Butler , Tony Iommi , Ozzy Osbourne , Bill Ward ) * BLONDIE ( Clem Burke , Jimmy Destri , Nigel Harrison , Debbie Harry ,