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性手枪（Sex Pistols）是英国最有影响的朋克摇滚乐队之一，虽然他们存在的时间非常短。庞克是什么？仅仅是很容易被眼下一些无能之辈利用来大耍二佰五的装饰品？庞克之父们在七十年代建立性手枪时本意并不是要给它的衍生代们提供漂亮借口的。他们付出的是毁灭的代价，造就的是完善和纯粹的东西。性手枪合唱团算是朋克乐的始 ...

性手枪（Sex Pistols）是英国最有影响的朋克摇滚乐队之一，虽然他们存在的时间非常短。



庞克是什么？仅仅是很容易被眼下一些无能之辈利用来大耍二佰五的装饰品？庞克之父们在七十年代建立性手枪时本意并不是要给它的衍生代们提供漂亮借口的。他们付出的是毁灭的代价，造就的是完善和纯粹的东西。性手枪合唱团算是朋克乐的始祖，没有他们就没有了朋克乐。而他们带给社会的贡献是:使得人名不在一昧的盲从而有了批评不管是在行完或思维方式上有了重大的改变。当然这也和英国政府的容纳和开放有一定的关系虽然后来政府禁止了他们的歌曲但已经无法抵挡这股社会改革和音乐改革的潮流了。



1972年，尚未成年的史蒂夫·琼斯（Steve Jones，吉他手）和保罗·库克（Paul Cook，鼓手）决定组成一 个乐队时，绝对没有意识到他们将要承担策动摇滚乐史上另一场革命的使命，尽管伦敦青年的视野早已因为披头士和滚石的成功而拓宽到世界范围，但成功的殿堂却没有现成的阶梯吉他手史蒂夫·琼斯和鼓手保罗·库克加上他们的一个同班同学便是性手枪乐队的前身河滨（Strand）乐队，而后又有2个小伙子入伙儿，原因大不了是河滨乐队装备齐全。乐器由史蒂夫·琼斯提供，实际上，它们全是琼斯偷来的史蒂夫·琼斯给一家商店做周末终点工。这里必须提到一个人，该商店的拥有者－－－马尔科姆·麦克拉伦（Malcom McLaren）一位满脑子反社会、反传统思想的商人。麦克莱仁开的商店十分赚钱，但他的野心并不在商业上，他一直试图成为音乐制作人和乐队经纪人。他和他的店员史蒂夫·琼斯因此也不是一般的老板与雇员关系。琼斯缠着麦克拉伦为河滨寻找一块排练场地时，麦克拉伦爽快地照办了。在这样一位老板的诱导下，另一位店员格莱思·迈特罗克（Glen Matlock）也加入了摇滚行列，作了河滨乐队的贝司手。目前首要问题是为河滨找一名歌手。麦克拉伦早留意上来他商店的一位常客，并得知这位染绿发的少年叫约翰·里顿（John Lydon）。里顿用点唱机随着艾丽斯·库珀（Alice Cooper）演唱为乐队试音，很令人满意，几次彩排之后，麦克拉伦已看出他正是乐队需要的乐队人员已经就位，马尔科姆·麦克拉伦开始按他的思想和生活方式塑造它，主唱约翰·里顿牙齿不甚美观常被队友中的吉他手史蒂夫·琼斯戏称为“;烂牙”;，麦克拉伦遂为其取名为约翰尼·罗顿（Johnny Rotten）意义为腐朽，烂掉的，麦克拉伦以此来显示社会本身的病态和既成观念的腐朽。他的总店名日“;性”;（Sex），店里出售的时装上曾有过一淫荡的标语“;性手枪”;（Sex Pistols）此刻被籍来做队名。河滨与性手枪相比的确未免太不够刺激。单纯翻唱一直是小乐队们的生存手段，但显然已不再符合雄心勃勃的性手枪的计划。



1975年，他们在伦敦圣马丁学院首次上演自己的作品，刚演了一小会儿，便被一位刻薄的家伙拔去了电源。这点小意思对一个准备以脸皮公开向社会挑战的乐队来说算不了什么。还是有不少地方愿意他们去演出，那次难堪的首场演出也确实没有阻止他们拥有自己逐渐扩大的乐迷群。马尔科姆·麦克拉伦眼力不差秋毫，他找到的正是几位反叛专家，倒不是为了回报麦克拉伦投入的财力、物力、精力，性手枪的几位成员无需雕琢，本身就是“;热刺猥”;型的人物。人类所处的社会永远都不是一个令大家都完全满意的社会，每个人心理处于不平衡状态时都需要报怨、发牢骚。性手枪对社会的弊病无孔不入，并且，我敢说从始至终，还没有人能超越性手枪攻击这些弊病的那种令人惊讶的技巧。他们咒骂堕胎，咒骂八小时工作制，咒骂人类的互相欺骗，咒骂各种碍手碍脚的条条框框，咒骂凭空而来的坏情绪，甚至不放过对英国人来说最清白的两个人——女王和自己。要表达诸如此类的激烈情绪，从埃尔维斯·普雷斯利和披头士那儿是不会受太多启发的。形式为内容服务，他们形成了一种极为嘈杂粗陋的音乐，在此背景上歌者放开嗓门，与其说在唱，不如说是一顿叫骂。你也许怀疑它艺术上的魅力，但你丝毫不怀疑它很适合那种人皆有之的糟糕态度。它貌似粗鄙，却能助你达到宣泄自己的目的。他们是风暴中的英雄？回答“;是”;还需要一些勇气。这种愤世妒俗为主导的表演必然煽起人群的恶劣情绪，因此演出与暴力事件牵扯不断。在the 100俱乐部中的一场演出中一位女孩在疯狂的玻璃大会战中双目失明。演出经常中途被警察驱散。法国的Mont De Marson Punk音乐节慑于他们的坏名声将其拒之门外。



1976年，性手枪参加了在伦敦牛津城the 100俱乐部举行朋克音乐节。性手枪的演出全面推动了朋克运动的兴起，正因为这次演出the 100俱乐部至今被认为是朋克的诞生之地。EMI唱片公司先声夺入，匆匆将性手枪拉到旗下，性手枪旋即推出首张单曲“;英国的无府主义”;（Anarchy in The UK）这副要造反的架势与惯例中艺人们放荡的小动作不尽相同，正因为在府官员座椅下点上一把火而得意的性手枪随后接受了一次电视采访，电视记者诱导他们“;来点儿粗的”;，吉他手史蒂夫·琼斯在电视上表演了用文雅些的话描述起来是“;足令当今电视机前的观众晕倒”;的污言秽语，第二天报纸的头版刊出了性手枪的丑态，并极力敦促EMI公司废止与他们的合同。公众的怒火是能将顽石烧成灰烬的，那些预备承接性手枪巡回演出的单位像遇见瘟疫一样唯恐避之而不及.一系列灾变不但使巡演计划流产，还导致了贝司手格莱思·迈特罗克离队，他的继任者席德·维瑟斯（Sid Vicious）曾是性手枪最疯狂的追随者，虽然此前他是个鼓手，但他作为性手枪的贝斯手，后来却成了最具朋克特征的代表性人物。同年，性手枪与A＆M唱片公司签约，准备发行单曲“;上帝保佑女王”;（God Save The Queen），这首作品首次向王座开火，并把女王忠实的臣民描述成了白痴，唱片内乐队的照片背景拍摄地取了白金汉宫的外墙，它的威力不啻于闪电掣入了不列颠历来以久的民族主义的心脏。这回他们痛快地给了保皇派一记耳光，自己也被A＆M公司甩了。几个月后，这支认为女王不需要拯救的乐队更换了第三家唱片公司——Virgin，在Virgin公司旗下“;上帝保佑女王”;终于发行，设计师还在套封里给女王的鼻子加了支安全别针（刺猬头，破旧衣着和安全别针是他们的标志），难怪这张唱片四处遭禁。性手枪死不悔改，选在女王继位纪念日在泰晤士的游轮上狂嚎“;上帝保佑女王”;直到警察把他们抓起来才算完。稍后的单曲“;美妙的茫然”;（Pretty Vacant），“;阳光假日”;（Holidays In the Sun）同专辑《别在乎那话儿，性手枪在此》（NeverMind the Bullocks——Here's The Sex Pistols）尽管广遭销售商们的抵制和榜评员们的大做手脚的乾扰仍成为榜上先锋。这已不是乐队与保守人士之间的事，它已演进成一部分人同另外一部分人在思维和行为方式上的争执，性手枪到此发展到了极至！



1978年的美国之行注定了乐队没落的开始。在旧金山演出时，主唱约翰尼·罗顿咆哮“;自己被骗了”;，第二天他宣布离队，乐队的经纪人兼缔造者马尔科姆·麦克拉伦至少有三件事做得不妥。1.他解雇了约翰尼·罗顿，2.他牺牲了乐队过量的金钱和精力拍摄乐队的自传体记录片“;伟大的摇滚骗术”;（The Great Rock N’Roll Swinple），3.他在这部传记中忽视 了前贝司手格莱思·迈特罗克，任意贬低离任主唱约翰尼·罗顿；他犯的错误还有一件是把火车抢劫犯龙尼·比格斯（Ronnie Biggs）弄来当主唱.这些都不足以称作毁灭性事件，接下来发生的才是。1978年已成为乐队核心的贝司手席德·维瑟斯的女友南茜·斯庞根（Nancy SpunGen）被发现死于维瑟斯的寓所，维瑟斯受到谋杀指控，在开庭前的保释期间他摄入毒品时酗酒而导致死亡。



马尔科姆·麦克拉伦后来的失策和席德·维瑟斯之死表象不能概括为性手枪没落的原因，究其根源恐伯仍要归结到性手枪的主导思想上，即——与世界彻底的决裂和完全的自我毁灭！这段并不圣洁的传奇并没有结束，在它之后的二十多年里涌现出了数百支类似他们的乐队，许多非朋克乐队也纷纷探讨和翻唱他们的作品。对于其中夹杂的不少伪朋克乐队，朋克之父的忠告和语气十分严峻：不要试图模仿，那样同更改一封适时适地有着适宜主人的旧信件的时间、地址、主人一样拙劣。

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For the yaoi manga titled Sex Pistols in Japan, see Love Pistols.
The Sex Pistols were an English punk rock band that formed in London in 1975. Although their initial career lasted just two and a half years, they are regarded as one of the most groundbreaking acts in the history of popular music. They were responsible for initiating the punk movement in the United Kingdom and inspiring many later punk and alternative rock musicians. Their fashion and hairstyles have been credited as a significant influence on punk image, and they are often associated with anarchism within music.
The Sex Pistols in Amsterdam in 1977 (L–R: Cook, Matlock, Rotten and Jones)
The Sex Pistols originally comprised vocalist John Lydon (known at the time by his stage name "Johnny Rotten"), guitarist Steve Jones, drummer Paul Cook and bassist Glen Matlock. Matlock was replaced by Sid Vicious in early 1977. Under the management of Malcolm McLaren, the band attracted controversies that both captivated and appalled Britain. Through an obscenity-laced television interview in December 1976 and their May 1977 single "God Save the Queen", attacking Britons' social conformity and deference to the Crown, they precipitated the punk rock movement. It was banned not only by the BBC but also by nearly every independent radio station, making it the "most heavily censored record in British history".
The band's only album Never Mind the Bollocks, Here's the Sex Pistols (1977)—a UK number one album—is a staple record of punk rock. In January 1978, at the end of their over-hyped and turbulent tour of the United States, Rotten announced the band's break-up. Over the next few months, the three remaining 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, Nancy Spungen. Rotten, Jones, Cook and Matlock reunited for a highly successful concert tour in 1996. Further one-off performances and short tours followed over the next decade.
The Sex Pistols have been recognised as an influence on various genres, including grunge, indie, thrash metal and hip hop.[1] In 2004, Rolling Stone placed them No. 58 on its list of the "100 Greatest Artists of All Time". On 24 February 2006, the Sex Pistols—the four original members plus Vicious—were inducted into the Rock and Roll Hall of Fame, but they refused to attend the ceremony, calling the museum "a piss stain".[2]
The Sex Pistols evolved from The Strand, a London band formed in 1972 with 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 on instruments they had stolen.[3] 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.[4] The band members regularly hung out at two clothing shops on the King's Road in Chelsea, London: John Krivine and Steph Raynor's Acme Attractions (where Don Letts worked as manager)[5] and Malcolm McLaren and Vivienne Westwood's Too Fast to Live, Too Young to Die. McLaren's and Westwood's shop had opened in 1971 as Let It Rock, with a 1950s revival Teddy Boy theme. It had been renamed in 1972 to focus on another revival trend, the '50s rocker look associated with Marlon Brando.[6] 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."[7] The shop became a focal point of the punk rock scene, bringing together participants such as the future Sid Vicious, Marco Pirroni, Gene October, and Mark Stewart, among many others.[8] Jordan, the wildly styled shop assistant, is credited with "pretty well single-handedly paving the punk look".[9]
In early 1974, Jones asked McLaren to manage The Strand. Effectively agreeing, 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.[10] In November, McLaren temporarily relocated to New York City. Before his departure, he 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".[11] After informally managing and promoting the New York Dolls for a few months, McLaren returned to London in May 1975.[12] Inspired by the punk scene that was emerging in Lower Manhattan—in particular by the Ramones and the radical visual style and attitude of Richard Hell, then with Television—McLaren began taking a greater interest in The Strand members.[13]
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.[14] According to journalist and former McLaren employee Phil Strongman, around this time the band adopted the name QT Jones and the Sex Pistols (or QT Jones & His Sex Pistols, as one Rhodes-designed T-shirt put it).[15] McLaren had been talking with the New York Dolls' Sylvain Sylvain about coming over to England to front the group. When those plans fell through, McLaren, Rhodes and the band began looking locally for a new member to assume the lead vocal duties.[16] As described by Matlock, "Everyone had long hair then, even the milkman, so what we used to do was if someone had short hair we would stop them in the street and ask them if they fancied themselves as a singer".[17] For instance, Midge Ure, the former singer with boy band Slik who was also later to be the front man of Rich Kids (with Matlock) and Ultravox, claims to have been approached by McLaren, but to have refused the offer.[18] With the search going nowhere, McLaren made several calls to Richard Hell, who also turned down the invitation.[19]
In August 1975, Bernard Rhodes spotted nineteen-year-old King's Road habitué John Lydon wearing a Pink Floyd T-shirt with the words I Hate handwritten above the band's name and holes scratched through the eyes.[20][21][22] Reports vary at this point: the same day, or soon after, either Rhodes or McLaren asked Lydon to come to a nearby pub in the evening to meet Jones and Cook.[20][23] According to Jones, "He came in with green hair. I thought he had a really interesting face. I liked his look. He had his 'I Hate Pink Floyd' T-shirt on, and it was held together with safety pins. John had something special, but when he started talking he was a real arsehole—but smart."[20] When the pub closed, the group moved on to Sex, where Lydon, who had given little thought to singing, was convinced to improvise along to Alice Cooper's "I'm Eighteen" on the shop jukebox. Though the performance drove the band members to laughter, McLaren convinced them to start rehearsing with Lydon.[20][24]
Lydon later described the social context in which the band came together:
Early Seventies Britain was a very depressing place. It was completely run-down, there was trash on the streets, total unemployment—just about everybody was on strike. Everybody was brought up with an education system that told you point blank that if you came from the wrong side of the tracks...then you had no hope in hell and no career prospects at all. Out of that came pretentious moi and the Sex Pistols and then a whole bunch of copycat wankers after us.[25]
Journalist Nick Kent of the New Musical Express (NME) jammed occasionally with the band, but left upon Lydon's recruitment. "When I came along, I took one look at him and said, 'No. That has to go,'" Lydon later explained. "He's never written a good word about me ever since."[26] In September, McLaren again helped hire a private rehearsal space for the group, who had been practising in pubs. Cook, who had a full-time job he was loath to give up, was making noises about quitting. According to Matlock's later description, Cook "created a smokescreen" by claiming Jones was not skilled enough to be the band's sole guitarist. An advertisement was placed in Melody Maker for a "Whizz Kid Guitarist. Not older than 20. Not worse looking than Johnny Thunders" (referring to the lead guitarist of the New York Dolls, and later the Heartbreakers).[27] Most of those who auditioned were incompetent, but in McLaren's view, the process created a new sense of solidarity among the four band members.[28] Steve New was considered the one talented guitarist to have tried out and the band invited him to join. Jones was improving rapidly, however, and the band's developing sound had no room for the technical lead work at which New was adept. He departed after a month.[29]
Lydon had been rechristened "Johnny Rotten" by Jones, apparently because of his bad dental hygiene.[22][30] The band also settled on a name. After considering options such as Le Bomb, Subterraneans, the Damned, Beyond, Teenage Novel, Kid Gladlove, and Crème de la Crème, they decided on Sex Pistols—a shortened form of the name they had apparently been working under informally.[31] McLaren later said the name derived "from the idea of a pistol, a pin-up, a young thing, a better-looking assassin". Not given to modesty, false or otherwise, he added: "[I] launched the idea in the form of a band of kids who could be perceived as being bad."[32] The group began writing original material: Rotten was the lyricist and Matlock the primary melody writer (though their first collaboration, "Pretty Vacant", had a complete lyric by Matlock, which Rotten tweaked a bit); official credit was shared equally among the four.[33][34]
Their first gig was arranged by Matlock, who was studying at Saint Martins College. The band played at the school on 6 November 1975,[35] in support of a pub rock group called Bazooka Joe, arranging to use their amps and drums. The Sex Pistols performed several cover songs, including the Who's "Substitute", the Small Faces' "Whatcha Gonna Do About It", and "(I'm Not Your) Steppin' Stone", made famous by the Monkees; according to observers,[who?] they were unexceptional musically[citation needed] 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.[36]
The Saint Martins gig was followed by other performances at colleges and art schools around London. The Sex Pistols' core group of followers—including Siouxsie Sioux, Steven Severin and Billy Idol, who eventually formed bands of their own, as well as Jordan and Soo Catwoman—came to be known as the Bromley Contingent, after the suburban borough several were from.[37] Their cutting-edge fashion, much of it supplied by Sex, ignited a trend that was adopted by the new fans the band attracted.[38] 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.[39]
These interests were shared with Jamie Reid, an old friend of McLaren who began producing publicity material for the Sex Pistols in the spring of 1976.[40] The cut-up lettering (like that used in the notes left by kidnappers or terrorists) employed to create the classic Sex Pistols logo and many subsequent designs for the band was actually introduced by McLaren's friend Helen Wallington-Lloyd.[41] "We used to talk to John [Lydon] a lot about the Situationists," Reid later said. "The Sex Pistols seemed the perfect vehicle to communicate ideas directly to people who weren't getting the message from left-wing politics."[42] McLaren was also arranging for the band's first photo sessions.[43] As described by music historian Jon Savage, "With his green hair, hunched stance and ragged look, [Lydon] looked like a cross between Uriah Heep and Richard Hell."[44]
The first Sex Pistols gig to attract broader attention was as a supporting act for 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."[45] 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."[46] 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.[47] The two friends immediately began organising their own Pistols-style group, Buzzcocks. As Devoto later put it, "My life changed the moment that I saw the Sex Pistols."[48]
The Pistols were soon playing other important venues, debuting at Oxford Street's 100 Club on 30 March.[49] 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.[50] 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.[51] 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."[52] The Pistols were soon banned from both the Nashville and the Marquee.[53]
On 23 April, as well, the debut album by the leading punk rock band in the New York scene, the Ramones, was released. Though it is regarded as seminal to the growth
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