Sex Pistols Revolution

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https://www.last.fm/music/Sex+Pistols/_/Revolution
Перевести · 13.03.2015 · Sex Pistols are a punk rock band that formed in London, UK in 1976. They are, together with The Clash and The Damned, responsible …
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Перевести · Sex Pistols - Revolution Lyrics. Goodbye authority The ones who think that they know it all Just want you on your knees Behind the classroom …
https://www.discogs.com/Sex-Pistols-Revolution-In-The-Classroom-Schools-Are-Prisons/...
Перевести · Discover releases, reviews, track listings, recommendations, and more about Sex Pistols* - Revolution In The Classroom / Schools Are Prisons at Discogs. Complete your Sex Pistols…
https://www.discogs.com/Sex-Pistols-Revolution-In-The-Classroom-Schools-Are-Prisons/...
Перевести · View credits, reviews, tracks and shop for the 1989 Vinyl release of "Revolution In The Classroom / …
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Перевести · Sex Pistols* – Revolution In The Classroom / Schools Are Prisons. Label:. S.T.P. Records – STP-0
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Перевести · Revolution Sex Pistols. Top Sex Pistols Lyrics Holidays In The Sun Great Rock 'n' Roll Swindle God Save The Queen Friggin' In The Riggin' EMI Did You No Wrong C'mon Everybody Bodies Black Leather Belsen Was A Gas. Related Sex Pistols Links Official page Sex Pistols wiki Revolution video Sex Pistols twitter Sex Pistols …
https://lascuolafanotizia.it/2020/12/08/the-sex-pistols-the-punk-movement-and-the...
Перевести · 08.12.2020 · The Sex Pistols : the punk movement and the anarchists revolution By Liceo Vico di Napoli From the ashes of phoney rock music rose a new genre, full of anger and …
https://www.femalefirst.co.uk/music/news/Sex+Pistols-257563.html
Перевести · 18.09.2012 · Sex Pistols guitarist Steve Jones is calling for a new musical revolution.. The 'God Save the Queen' band changed the course of musical history with their …
https://hudba.zoznam.sk/sex-pistols/piesen/revolution-in-the-classroom
Перевести · Sex Pistols - Revolution in the Classroom (text piesne) Goodbye authority The ones who think that they know it all Just want you on your knees Behind the classroom door Where seasons waste away They teach you how to right and wrong But there's a price to pay A price to pay Revolution In the classroom Revolution …
https://en.m.wikipedia.org/wiki/Sex_Pistols
Genres: Punk rock
Origin: London, England
Past members: Johnny Rotten, Steve Jones, …
Years active: 1975–1978, 1996, 2002–2003, 2007–2008
Cultural influence
The Sex Pistols are regarded as one of the most groundbreaking acts in the history of popular music. The Trouser Press Record Guideentry on the Sex Pistols remarks 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-197…
Cultural influence
The Sex Pistols are regarded as one of the most groundbreaking acts in the history of popular music. The Trouser Press Record Guide entry on the Sex Pistols remarks 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 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 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 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 critic calls it "one of the greatest, most inspiring rock records of all time".

The 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.

The Sex Pistols' 4 June 1976 concert 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 merely 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; Bernard Sumner, Ian Curtis and Peter Hook, later of Joy Division; Mark E. Smith, later of The Fall; punk poet John Cooper Clarke 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. Among the many musicians of a later time who have acknowledged their debt to the Pistols are members of the Jesus and Mary Chain, NOFX, The Stone Roses, Guns N' Roses, Nirvana, Green Day, and Oasis. Calling the band "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 was the most prominent."

According to Ira Robbins of 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 "[i]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 reinforced what the garage bands of the '60s had demonstrated—you don't need technique to make rock & roll. In a time when music had been increasingly complicated and defanged, the Sex Pistols' generational shift caused a real revolution."

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 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!"

Along with their abundant musical influence, the Sex Pistols' cultural reverberations are evident elsewhere. Jamie Reid's work for the band is regarded as among the most important graphic design of the 1970s and still influences 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 shirt (punk) and brothel creepers (ted)." Christopher Nolan, director of the Batman movie The Dark Knight, has said that Rotten inspired the characterization 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."

Conceptual basis and the question of credit
The 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 claimed that the 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 became the most important cultural phenomenon of the late 20th century", McLaren later asserted. "Its authenticity stands out against the karaoke ersatz culture of today, where everything and everyone is for sale.... [P]unk is not, and never was, for sale." 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, dismissed McLaren's influence: "We made our own scandal just by being ourselves. Maybe it was that he knew he was redundant, so he overcompensated. All the talk about the French Situationists being associated with punk is bollocks. It's nonsense!" Cook concurs: "Situationism had nothing to do with us. The Jamie Reids and Malcolms were excited because we were the real thing. I suppose we were what they were dreaming of." According to Lydon, "If we had an aim, it was to force our own, working-class opinions into the mainstream, which was unheard of in pop music at the time."

Toby Creswell argues that the "Sex Pistols' agenda was inchoate, to say the least. It was a general call to rebellion that falls apart at the slightest scrutiny." Critic Ian Birch, writing in 1981, called "stupid" the claim that the Sex Pistols "had any political significance.... If they did anything, they made a lot of people content with being nothing. They certainly didn't inspire the working classes." While the Conservative triumph in 1979 may be taken as evidence for that position, Julien Temple has noted that the scene inspired by the Sex Pistols "wasn't your kind of two-up, two-down working class normal families, most of it. It was over the edge of the precipice in social terms. They were actually giving a voice to an area of the working class that was almost beyond the pale." Within a year of "Anarchy in the U.K." that voice was being echoed widely: scores if not hundreds of punk bands had formed across the country—groups composed largely of working-class members or middle-class members who rejected their own class values and pursued solidarity with the working class.

In 1980, critic Greil Marcus reflected on McLaren's contradictory posture:

It may be that in the mind of their self-celebrated Svengali...the Sex Pistols were never meant 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 were meant to be a force that would set the world on its ear...and finally unite music and politics. The 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 for 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 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 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, "[T]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 characterization 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 affair, "Ever since I was ten years old! Ever since Elvis Presley joined the army!" [1956 and 1958, respectively].) 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."
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