Sex Pistols Quotes

In his suicide note, Kurt Cobain wrote, "It's better to burn out than to fade away." He was quoting a Neil Young song about Johnny Rotten of the Sex Pistols. When I was twenty-four, I interviewed John Lennon. I asked him about this sentiment, one that pervades rock and roll. He took strong, outraged exception to it. "It's better to fade away like an old soldier than to burn out, " he said. "I worship people who survive. I'll take the living and the healthy.

Vivienne Westwood, The Sex Pistols, Seven Stars, coffee with milk and strawberry cake. And Ren flowers. Nana's favorite things never change. It was so cool for someone like me who keeps on changing their mind.

Sai bene che quando l’amore si spegne è più freddo della morte. Il problema è che le due parti in causa non si spengono contemporaneamente e quando sei la parte ancora accesa, preferiresti essere morto.

I can appreciate that,” says Henry. He’s adding to the list. I look over his shoulder. Sex Pistols, the Clash, Gang of Four, Buzzcocks, Dead Kennedys, X, the Mekons, the Raincoats, the Dead Boys, New Order, the Smiths, Lora Logic, the Au Pairs, Big Black, Pil, the Pixies, the Breeders, Sonic Youth… Henry, they’re not going to be able to get any of that up here.” He nods, and jots the phone number and address for Vintage Vinyl at the bottom of the sheet. “You do have a record player, right?” My parents have one,” Bobby says. Henry winces. What do you really like?” I ask Jodie. I feel as though she’s fallen out of the conversation during the male bonding ritual Henry and Bobby are conducting. Prince,” she admits. Henry and I let out a big Whoo! And I start singing “1999” as loud as I can, and Henry jumps up and we’re doing a bump and grind across the kitchen. Laura hears us and runs off to put the actual record on and just like that, it’s a dance party.

Tengo el alma en su sitio, quiero ir más allá.

What's the deal with the bossman?" Urian asked him. Alexion shrugged. "I don't know. He came in last night with a book, went to his room to read, I suppose, and then he came out here this morning and has been playing . . . those songs ever since." Those songs were ballads, which Acheron never played. God-smack, Sex Pistols, TSOL, Judas Priest, but not . . . "Is that . . ." Urian physically cringed before he spat out the name, "Julio Iglesias?" "Enrique." Urian grimaced in horror. "I didn't even know he knew any mellow shit. Dear gods . . .is he ill?" "I don't know. In nine thousand years, I've never seen him like this before." Urian shuddered. "I'm beginning to get scared. This has to be a sign of the Apocalypse. If he breaks out into Air Supply, I say we sneeak up on him, drag him outside and beat the holy shit out of him.

If Innocent is happy, it is because he is innocent. If he can defy the conventions, it is just because he can keep the commandments. It is just because he does not want to kill but to excite to life that a pistol is still as exciting to him as it is to a schoolboy. It is just because he does not want to steal, because he does not covet his neighbour's goods, that he has captured the trick (oh, how we all long for it!), the trick of coveting his own goods. It is just because he does not want to commit adultery that he achieves the romance of sex; it is just because he loves one wife that he has a hundred honeymoons.

Here is how the harmful becomes profitable: That which yesterday was reviled today ends up in Urban Outfitters. The critic Rebecca Solnit has summarized it this way: 'Eat your heart out on a plastic tray,' say the Sex Pistols. Now, we know where to buy the tray and what the heart tastes like.

The only thing that made the music different was that we were taking lyrics to places they had never been before. The thing that makes art interesting is when an artist has incredible pain or incredible rage. The New York bands were much more into their pain, while the English bands were much more into their rage. The Sex Pistols' songs were written out of anger, wheras Johnny was writing songs because he was brokenhearted over Sable...

Before the Sex Pistols, music was so bloody serious, all run by university graduates. It was all head music devoid of any real intellectualism. There was no deep though in it, merely images pertaining to something mystical, too stupid and absolutely devoid of reality. How on earth were we supposed to relate to that music when we lived in council flats? We had no money, no job, no nothing. So the Pistols projected that anger, that rock-bottom working-class hate.

An essential difference between British and American punk bands can be found in their respective views of rock & roll history. The British bands took a deliberately anti-intellectual stance, refuting any awareness of, or influence from, previous exponents of the form. The New York and Cleveland bands saw themselves as self-consciously drawing on and extending an existing tradition in American rock & roll. (...) A second difference between the British and American punk scenes was their relative gestation periods. The British weekly music press was reviewing Sex Pistols shows less than three months after their cacophonous debut. Within a year of the Pistols' first performance they had a record deal, with the 'major' label EMI. Within six months of their first gigs the Damned and the Clash also secured contracts, the latter with CBS. The CBGBs scene went largely ignored by the American music industry until 1976 -- two years after the debuts of Television, the Ramones and Blondie. Even then only Television signed to an established label.

Bob Gruen: La gente veniva da noi per farsi mordere, non per farsi accarezzare.

Sometimes destiny is a motherfucker and that’s all there is to it.

Nosotros escuchábamos a los Adverts y a los Jam, a los Stranglers, los Clash y los Sex Pistols. Aunque en las fiestas, la gente ponía a la ELO, o a 10cc o, incluso, a Roxy Music.

One of the first significant, substantial purchases I made after starting testosterone, was a Compact Colt .45 1991 A1 automatic pistol. It's just about the best penis substitute I've ever waved at a sex partner. I love my gun. Can I get an a-a-ay-men? You better fucking believe I lo-o-ove my gun. I love to take it apart and put it back together and admire...oh,you sexy little death-machine...I suppose I oughta feel guilty or something, loving and fetishizing to the point of anthropomorphizing it it. But I don't. I won't either-don't matter to me whether or not I'm supposed to keep this a dirty little secret. I got a dick and I can kill you with it. Yeah, baby, trip my trigger, why dontcha. Heh.

There was an intelligence about him (Joe Strummer) that allowed his band to change and evolve, just as Johnny Rotten and the Sex Pistols were disappearing up their own bondage trousers. And there was a generosity about Strummer, too, a warmth and humanity about the guy. He was a brilliant musician, a beautiful man, and a charismatic artist. There is a part of me that bitterly resents the fact that the Clash never replaced the Rolling Stones in rock music's hall of heroes. But the Clash were not about milking if for a lifetime...I thought they were the greatest band I had ever seen. And, half a lifetime on, in a large part of my soul, I still do...They changed lives. They certainly changed mine. Because they made me believe that, with passion and commitment and a bit of fire in your belly, you could be exactly the person you wanted to be.

I hope you know that you'll not be getting poetry from Sirius," Remus stated firmly as they made their way back toward the castle, still hand-in-hand. "He might quote you some Sex Pistol lyrics at best. You're going to miss me.

I’ve had the great pleasure of meeting Newt Gingrich and having a chat with the fellow on a staircase,” ex–Sex Pistols vocalist John Lydon once told Rolling Stone. “I found him completely dishonest and totally likable, because he doesn’t care.

Watching amateurs at work can also inspire us to attempt the work ourselves. “I saw the Sex Pistols,” said New Order frontman Bernard Sumner. “They were terrible. . . . I wanted to get up and be terrible with them.” Raw enthusiasm is contagious.

Once you’re saying, ‘Let’s stay like this for ever,’ you’re not bringing anything new to it or responding to life as it’s happening. At that point, you might as well be a Teddy boy.

Every woman who sets out on her own should have a means of protecting herself. The male sex is endowed with the greater share of physical strength. A pistol is a means of redressing that imbalance.

She’d kissed a couple of boys before him, but those boys had approached kissing like it was the starting pistol in a sprint. Presumably, the finish line was sex, but neither of the boys had expected to get that far; they were simply trying to cover as much ground as possible before Julia called off the race.

The place reeked of vice and corruption and the dregs of Parisian society in all its rottenness gathered there: cheats, conmen and cheap hacks rubbed shoulders with under-age dandies, old roués and rogues, sleazy underworld types once notorious for things best forgotten mingled with other small-time crooks and speculators, dabblers in dubious ventures, frauds, pimps, and racketeers. Cheap sex, both male and female, was on offer in this tawdry meat-market of a place where petty rivalries were exploited, and quarrels picked over nothing in an atmosphere of fake gallantry where swords or pistols at dawn settled matters of highly questionable honour in the first place.

[From Sid Vicious's letter to Nancy Spungen's mother Deborah] P.S. Thank you, Debbie, for understanding that I have to die. Everyone else just thinks that I'm being weak. All I can say is that they never loved anyone as passionately as I love Nancy. I always felt unworthy to be loved by someone so beautiful as her. Everything we did was beautiful. At the climax of our lovemaking, I just used to break down and cry. It was so beautiful it was almost unbearable. It makes me mad when people say you must have really loved her.' So they think that I don't still love her? At least when I die, we will be together again. I feel like a lost child, so alone. The nights are the worst. I used to hold Nancy close to me all night so that she wouldn't have nightmares and I just can't sleep without my my beautiful baby in my arms. So warm and gentle and vulnerable. No one should expect me to live without her. She was a part of me. My heart. Debbie, please come and see me. You are the only person who knows what I am going through. If you don’t want to, could you please phone me again, and write. I love you. I was staggered by Sid's letter. The depth of his emotion, his sensitivity and intelligence were far greater than I could have imagined. Here he was, her accused murderer, and he was reaching out to me, professing his love for me. His anguish was my anguish. He was feeling my loss, my pain - so much so that he was evidently contemplating suicide. He felt that I would understand that. Why had he said that? I fought my sympathetic reaction to his letter. I could not respond to it, could not be drawn into his life. He had told the police he had murdered my daughter. Maybe he had loved her. Maybe she had loved him. I couldn't become involved with him. I was in too much pain. I couldn't share his pain. I hadn't enough strength. I began to stuff the letter back in its envelope when I came upon a separate sheet of paper. I unfolded it. It was the poem he'd written about Nancy. NANCY You were my little baby girl And I shared all your fears. Such joy to hold you in my arms And kiss away your tears. But now you’re gone there’s only pain And nothing I can do. And I don’t want to live this life If I can’t live for you. To my beautiful baby girl. Our love will never die. I felt my throat tighten. My eyes burned, and I began to weep on the inside. I was so confused. Here, in a few verses, were the last twenty years of my life. I could have written that poem. The feelings, the pain, were mine. But I hadn't written it. Sid Vicious had written it, the punk monster, the man who had told the police he was 'a dog, a dirty dog.' The man I feared. The man I should have hated, but somehow couldn't.

What's the deal with the bossman?" Urian asked him. Alexion shrugged. "I don't know. He came in last night with a book, went to his room to read, I suppose, and then he came out here this morning and has been playing . . . those songs ever since." Those songs were ballads, which Acheron never played. God-smack, Sex Pistols, TSOL, Judas Priest, but not . . . "Is that . . ." Urian physically cringed before he spat out the name, "Julio Iglesias?" "Enrique." Urian grimaced in horror. "I didn't even know he knew any mellow shit. Dear gods . . .is he ill?" "I don't know. In nine thousand years, I've never seen him like this before." Urian shuddered. "I'm beginning to get scared. This has to be a sign of the Apocalypse. If he breaks out into Air Supply, I say we sneak up on him, drag him outside and beat the holy shit out of him.

I remember what Sid Vicious taught me about fighting: Do the worst thing you can think of first. Except I threatened the worst thing first, 'If you want to take it outside, let's take it outside,' I said, putting the hardest, coldest look I could muster into my eyes. 'And I'll put this bottle in your face.' I picked up an empty bottle of Heineken with such fluidity of movement you'd think I did this sort of thing every day.

Place a loaded pistol in a playpen and the babies will play with it just like any other toy, giggle, and perhaps even place the gun in their mouth. In contrast, put a plastic snake into the playpen; the babies will cower in fear. Show a person of any age a snake —or even a picture of one —and you will elicit a dramatic response, including sweaty skin and an increased heart rate. It doesn’t matter whether the person is in America, Europe, Japan, Australia, or Argentina,

My interest in comics was scribbled over with a revived, energized passion for clothes, records, and music. I'd wandered in late to the punk party in 1978, when it was already over and the Sex Pistols were history. I'd kept my distance during the first flush of the new paradigm, when the walls of the sixth-form common room shed their suburban-surreal Roger Dean Yes album covers and grew a fresh new skin of Sex Pistols pictures, Blondie pinups, Buzzcocks collages, Clash radical chic. As a committed outsider, I refused to jump on the bandwagon of this new musical fad, which I'd written off as some kind of Nazi thing after seeing a photograph of Sid Vicious sporting a swastika armband. I hated the boys who'd cut their long hair and binned their crappy prog albums in an attempt to join in. I hated pretty much everybody without discrimination, in one way or another, and punk rockers were just something else to add to the shit list. But as we all know, it's zealots who make the best converts. One Thursday night, I was sprawled on the settee with Top of the Pops on the telly when Poly Styrene and her band X-Ray Spex turned up to play their latest single: an exhilarating sherbet storm of raw punk psychedelia entitled "The Day the World Turned Day-Glo" By the time the last incandescent chorus played out, I was a punk. I had always been a punk. I would always be a punk. Punk brought it all together in one place for me: Michael Moorcock's Jerry Cornelius novels were punk. Peter Barnes's The Ruling Class, Dennis Potter, and The Prisoner were punk too. A Clockwork Orange was punk. Lindsay Anderson's If ... was punk. Monty Python was punk. Photographer Bob Carlos Clarke's fetish girls were punk. Comics were punk. Even Richmal Crompton's William books were punk. In fact, as it turned out, pretty much everything I liked was punk. The world started to make sense for the first time since Mosspark Primary. New and glorious constellations aligned in my inner firmament. I felt born again. The do-your-own-thing ethos had returned with a spit and a sneer in all those amateurish records I bought and treasured-even though I had no record player. Singles by bands who could often barely play or sing but still wrote beautiful, furious songs and poured all their young hearts, experiences, and inspirations onto records they paid for with their dole money. If these glorious fuckups could do it, so could a fuckup like me. When Jilted John, the alter ego of actor and comedian Graham Fellows, made an appearance on Top of the Pops singing about bus stops, failed romance, and sexual identity crisis, I was enthralled by his shameless amateurism, his reduction of pop music's great themes to playground name calling, his deconstruction of the macho rock voice into the effeminate whimper of a softie from Sheffield. This music reflected my experience of teenage life as a series of brutal setbacks and disappointments that could in the end be redeemed into art and music with humor, intelligence, and a modicum of talent. This, for me, was the real punk, the genuine anticool, and I felt empowered. The losers, the rejected, and the formerly voiceless were being offered an opportunity to show what they could do to enliven a stagnant culture. History was on our side, and I had nothing to lose. I was eighteen and still hadn't kissed a girl, but perhaps I had potential. I knew I had a lot to say, and punk threw me the lifeline of a creed and a vocabulary-a soundtrack to my mission as a comic artist, a rough validation. Ugly kids, shy kids, weird kids: It was okay to be different. In fact, it was mandatory.

Things can get out of hand quickly, especially with Sid around. I also decide never to wear heels again when I'm out with him. I go to Holt's in Camden Town and buy a pair of black Dr Martens. (You can get them in black, brown or maroon, the skinhead boys at school used to buy the brown ones and polish them with Kiwi Oxblood shoe polish — this gives them a deep reddish brown colour, much subtler than the flat red of the originals. They also keep them pristinely clean and polished at all times.) I wear my new boots with everything — dresses, tutus — it’s a great feeling to be able to run again. No other girl wears DMs with dresses, so I get a lot of funny looks. (Skinhead girls only wear DMs with Sta-Prest trousers. With their boring grey skirts, they west plain white or holey ecru tights and black patent brogues.) Bit I wear them all the time to clubs and pubs, it eventually catches on with other girls and I don’t look so odd.

I step up to a podium and speak to the audience as if I were addressing a rally. But just as I begin, a tall figure in the fifth row stands up and says, "Excuse me, Jesus..." I lean forward to search the blackness for the voice. The figure raises a pistol and fires a shot that echoes all over the auditorium. The place goes nuts. People scream. I smash the blood pack under my shirt and collapse on the floor as the figure dashes out the nearest exit. A couple of audience members actually run after him like it's real. The stage goes to red and the electric guitars start to wail. It's fucking brilliant. There's no time for the audience to recover. Onstage it's chaos: fifty teenagers keen and scream, choristers dressed as cops, paramedics, and reporters dash on trying to restore order, but only complicating things. And in the middle of it all is me, lying in a pool of blood. This, this, this is what being an actor is about. To be able to elicit such a strong reaction from hundreds of people at once - that power is awesome and irresistible and humbling. If you want to think I'm needy because I love applause, go ahead. But I know that the reason I perform is for moments like these, moments when you connect with an audience and take them somewhere.

I’ll go myself,” the sergeant said tersely. He was getting annoyed. The stairway went down underneath the ground floor to a depth of about eight feet. A short paved corridor ran in front of the boiler room at right angles to the stairs, where each end was closed off by unpainted panelled doors. Both the stairs and the corridor felt like loose gravel underfoot, but otherwise they were clean. Splotches of blood were more in evidence in the corridor and a bloody hand mark showed clearly on the unpainted door to the rear. “Let’s not touch anything,” the sergeant cautioned, taking out a clean white handkerchief to handle the doorknob. “I better call the fingerprint crew,” the photographer said. “No, Joe will call them; I’ll need you. And you local fellows better wait outside, we’re so crowded in here we’ll destroy the evidence.” “Ed and I won’t move,” Grave Digger said. Coffin Ed grunted. Taking no further notice of them, the sergeant pushed open the door. It was black and dark inside. First he shone his light over the wall alongside the door and all over the corridor looking for electric light switches. One was located to the right of each door. Taking care to avoid stepping in any of the blood splotches, the sergeant moved from one switch to another, but none worked. “Blown fuse,” he muttered, picking his way back to the open room. Without having to move, Grave Digger and Coffin Ed could see all they wanted through the open door. Originally made to accommodate a part-time janitor or any type of laborer who would fire the boiler for a place to sleep, the room had been converted into a pad. All that remained of the original was a partitioned-off toilet in one corner and a washbasin in the other. An opening enclosed by heavy wire mesh opened into the boiler room, serving for both ventilation and heat. Otherwise the room was furnished like a boudoir. There was a dressing-table with a triple mirror, three-quarter bed with chenille spread, numerous foam-rubber pillows in a variety of shapes, three round yellow scatter rugs. On the whitewashed walls an obscene mural had been painted in watercolors depicting black and white silhouettes in a variety of perverted sex acts, some of which could only be performed by male contortionists. And everything was splattered with blood, the walls, the bed, the rugs. The furnishings were not so much disarrayed, as though a violent struggle had taken place, but just bloodied. “Mother-raper stood still and let his throat be cut,” Grave Digger observed. “Wasn’t that,” Coffin Ed corrected. “He just didn’t believe it is all.

Johnny Rotten slouches at the front of the stage, propped up on the mike stand. He's leaning so far forward he looks as if he might topple into the empty space in front of the audience. · His face is pale and his body is twisted into such an awkward ugly shape he looks deformed. He looks ordinary, about the same age as us, the kind of boy I was at comprehensive school with. He's not a flashy star like Marc Bolan or David Bowie, all dressed up in exotic costumes, he's not a virtuoso musician like Eric Clapton or Peter Green, he's not even a macho rock-and-roll pub-band singer – he's just a bloke from Finsbury Park, London, England, who’s pissed off. Johnny sneers at us in his ordinary North London accent, his voice isn't trained and tuneful, it's a whiny cynical drawl, every song delivered unemotionally. There's no fake American twang either. All the things I'm so embarrassed about, John's made into virtues. He's unapologetic about who he is and where he comes from. Proud of it even. He's not taking the world's lack of interest as confirmation that he’s wrong or worthless. I look up at him twisting and yowling and realise it's everyone else who's wrong, not him. How did he make that mental leap from musically untrained, state-school-educated, council estate boy, to standing on stage in front of a band? I think he's brave. A revolutionary. He's sending a very powerful message, the most powerful message anyone can ever transmit. Be yourself.

They stood on tiptoe, strained their eyes. “Let me look.” “Well, look then.” “What you see?” That was the question. No one saw anything. Then, simultaneously, three distinct groups of marchers came into view. One came up 125th Street from the east, on the north side of the street, marching west towards the Block. It was led by a vehicle the likes of which many had never seen, and as muddy as though it had come out of East River. A bare-legged black youth hugged the steering-wheel. They could see plainly that he was bare-legged for the vehicle didn’t have any door. He, in turn, was being hugged by a bare-legged white youth sitting at his side. It was a brotherly hug, but coming from a white youth it looked suggestive. Whereas the black had looked plain bare-legged, the bare-legged white youth looked stark naked. Such is the way those two colors affect the eyes of the citizens of Harlem. In the South it’s just the opposite. Behind these brotherly youths sat a very handsome young man of sepia color with the strained expression of a man moving his bowels. With him sat a middle-aged white woman in a teen-age dress who looked similarly engaged, with the exception that she had constipation. They held a large banner upright between them which read: BROTHERHOOD! Brotherly Love Is The Greatest! Following in the wake of the vehicle were twelve rows of bare-limbed marchers, four in each row, two white and two black, in orderly procession, each row with its own banner identical to the one in the vehicle. Somehow the black youths looked unbelievably black and the white youths unnecessarily white. These were followed by a laughing, dancing, hugging, kissing horde of blacks and whites of all ages and sexes, most of whom had been strangers to each other a half-hour previous. They looked like a segregationist nightmare. Strangely enough, the black citizens of Harlem were scandalized. “It’s an orgy!” someone cried. Not to be outdone, another joker shouted, “Mama don’t ’low that stuff in here.” A dignified colored lady sniffed. “White trash.” Her equally dignified mate suppressed a grin. “What else, with all them black dustpans?” But no one showed any animosity. Nor was anyone surprised. It was a holiday. Everyone was ready for anything. But when attention was diverted to the marchers from the south, many eyes seemed to pop out in black faces. The marchers from the south were coming north on the east side of Seventh Avenue, passing in front of the Scheherazade bar restaurant and the interdenominational church with the coming text posted on the notice-board outside: SINNERS ARE SUCKERS! DON’T BE A SQUARE! What caused the eyes of these dazed citizens to goggle was the sight of the apparition out front. Propped erect on the front bumper of a gold-trimmed lavender-colored Cadillac convertible driven by a fat black man with a harelip, dressed in a metallic-blue suit, was the statue of the Black Jesus, dripping black blood from its outstretched hands, a white rope dangling from its broken neck, its teeth bared in a look of such rage and horror as to curdle even blood mixed with as much alcohol as was theirs. Its crossed black feet were nailed to a banner which read: THEY LYNCHED ME! While two men standing in the back of the convertible held aloft another banner reading: BE NOT AFRAID!

One letter was addressed to me personally in large, shaky handwriting with little circles over the i's instead of dots. [...] It was from Sid. Dear Debbie [Nancy's mother], Thank you for phoning me the other night. It was so comforting to hear your voice. You are the only person who really understands how much Nancy and I love each other. Every day without Nancy gets worse and worse. I just hope that when I die I go the same place as her. Otherwise I will never find peace. Frank [Nancy's father] said in the paper that Nancy was born in pain and lived in pain all her life. When I first met her, and for about six months after that, I spent practically the whole time in tears. Her pain was just too much to bear. Because, you see, I felt Nancy's pain as though it were my own, worse even. But she said that I must be strong for her or otherwise she would have to leave me. So I became strong for her, and she began to stop having asthma attacks and seemed to be going through a lot less pain. [Nancy had had asthma since she was a child.] I realized that she had never known love and was desperately searching for someone to love her. It was the only thing she really needed. I gave her the love that she needed so badly and it comforts me to know that I made her very happy during the time we were together, where she had only known unhappiness before. Oh Debbie, I love her with such passion. Every day is agony without her. I know now that it is possible to die from a broken heart. Because when you love someone as much as we love each other, they become fundamental to your existence. So I will die soon, even if I don't kill myself. I guess you could say that I'm pining for her. I could live without food or .water longer than I'm going to survive without Nancy. Thank you so much for understanding us, Debbie. It means so much to me, and I know it meant a lot to Nancy. She really loves you, and so do I. How did she know when she was going to die? I always prayed that she was wrong, but deep inside I knew she was right. Nancy was a very special person, too beautiful for this world. I feel so privileged to have loved her and been loved by her. Oh Debbie, it was such a beautiful love. I can't go on without it. When we first met, we knew we were made for each other, and fell in love with each other immediately. We were totally inseparable and were never apart. We had certain telepathic abilities, too. I remember about nine months after we met, I left Nancy for a while. After a couple of weeks of being apart, I had a strange feeling that Nancy was dying. I went straight to the place she was staying and when I saw her, I knew it was true. I took her home with me and nursed her back to health, but I knew that if I hadn't bothered she would have died. Nancy was just a poor baby, desperate for love. It made me so happy to give her love, and believe me, no man ever loved a woman with such burning passion as I love Nancy. I never even looked at others. No one was as beautiful as my Nancy. Enclosed is a poem I wrote for her. It kind of sums up how much I love her. If possible, I would love to see you before I die. You are the only one who understood. Love, Sid XXX.

We met in 1976, at a high school dance. It was the era of Pierre Trudeau and glam rock and the Sex Pistols. He was the boy from out of town. I was the girl who wanted out. Like young people of every generation, we thought nonconformity and the acquisition of authentic wounds to be essential to our freedom. Our scars were there, waiting inside us, scars of disease and damage, bur we didn't yet know how they might undo us.

Sex Pistols Were Financed by USSR to 'Destabilize

You don’t have to sound like the Sex Pistols, all you have to be is different to provoke such animosity.

Fugazi’s particularly dogmatic slant emphasized pragmatism, modesty, and fair play—not the first concepts to come to mind when discussing the indisputably punk rock Sex Pistols, for example. Far from complicating their lives, Fugazi’s conditions actually simplified things. If no club in a particular city could agree to Fugazi’s terms, the band would simply skip that town. Occasionally the band would pull up to a club and learn that their conditions had not been met. And they’d start packing the van back up. Sometimes the promoter would relent, sometimes not. If not, he or she would get a good, long look at the band van’s taillights. “The power of ‘No,’ man, that’s the biggest bat we’ve ever wielded,” says Picciotto. “If it makes you uncomfortable, just fuckin’ say no. It’s made life so much easier for us, man. I think bands are fragile, particularly our band—we’re super fragile, we’re control freaks—if things upset us, we can’t deliver…. That’s what it’s about—all this shit, just setting it up so we can go out and play without cares, man. It eliminates everything. It just slashes through all that crap.

The greatest boon to mankind that history will ever know can be brotherly love,” he was saying. “Brotherhood! It can be more nutritious than bread. More warming than wine. More soothing than song. More satisfying than sex. More beneficial than science. More curing than medicine.” The metaphors might have been mixed and the delivery stilted, for Marcus was not highly educated. But no one could doubt the sincerity in his voice. The sincerity was so pure it was heart-breaking. Everyone within earshot was touched by his sincerity. “Man’s love for man. Let me tell you, it is like all religions put together, like all the gods embracing. It is the greatest.…” No one doubted him. The intensity of his emotion left no room for doubt. But one elderly black man, equally serious, standing on the opposite side of the street, expressed his concern and that of others. “I believe you, son. But how you gonna get it to work?” “We’re going to march!” Marcus declared in a ringing voice. Whether that answered the old man’s question or not was never known.

The avowedly politicized language of punk rock bands, exemplified in the Sex Pistols’ 1976 hit ‘Anarchy in the UK’, caught the sour mood of the time. But the punk bands’ politics were as one-dimensional as their musical range, the latter all too often restricted to three chords and a single beat and dependent upon volume for its effect.

I guess the one lesson you could learn from it all would be about trusting who you’re with and not trying to be too controlling, because the magic was always the bit that none of us could control.

Any harder edge may also have been a subconscious reaction to the accusations of ‘dinosaur rock’ that were being thrown at bands like Led Zeppelin, Emerson, Lake & Palmer and ourselves. We were all aware of the arrival of punk – even anyone who didn’t listen to the music could not have failed to notice the Sex Pistols’ explosion into the media spotlight. Just in case we had missed this, locked in our Britannia Row bunker, Johnny Rotten kindly sported a particularly fetching ‘I hate Pink Floyd’ T-shirt.

Trevor Horn: Punk was awful. I mean, I didn’t get it at all at first. I understood the liberating aspect of it, but the actual music I detested, although I have to say I thought a couple of the Sex Pistols’ tunes were quite clever, especially ‘Pretty Vacant’: ‘Pretty va-cunt!’ But it didn’t appeal to me much at the time. It wasn’t the route for me, as I was more interested in the techno/dance route. I was also more interested in working with keyboards rather than guitars. Keyboards were new, guitars were old.

There were a couple of Bowie twins from Hatfield in Hertfordshire. They were both tall and razor thin, and looked like a slightly more exaggerated version of David Bowie on the cover of Young Americans. Their hair was even more exaggerated: deep red with bleached streaks through the front, but also with pink highlights cascading over their eyes, and slicked back at the sides. Pencil-thin dark plucked eyebrows, very pale complexions, with black mascara. They always wore the shiniest black or red plastic dungarees. Outside the club they would wear these slightly furry leopard-skin bomber jackets, which I thought looked great. They had a mad, slurry way of talking, and kind of shouted and talked at the same time. They would jump from one subject to another in mid-sentence. They were very unusual people. Every second line was ‘Never mind the bollocks.’ They would say that three hundred times a night. Everything was ‘Never mind the bollocks.’ I know for a fact that the Sex Pistols got the name for their album from the twins. They both earned a living selling hot dogs. One worked on Charing Cross Road, the other down by Trafalgar Square. They were mad. If you stopped to talk to them, they would always be arguing with someone. Man or woman, they always had the same line: ‘Now listen, sweetheart: never mind the bollocks.

Johnny Rotten: Jan. 31, 1956

My London is a place where Samuel Johnson is forever running into the Sex Pistols.

I wouldn’t want to be born today, everything is so expensive and everything is so dull. There’s no future for the kids.

The passion for destruction is also a creative passion! Michael Bakunin: Reaction In Germany (1842)

gallimaufry of deviants and delinquents,

Gli innamorati tendono a tre cose: 1) Dire che il sesso non è la cosa più importante tra loro; 2) Farsi promesse incredibili 3) Concepire progetti di ogni genere per un brillante futuro. Quando si fanno dei progetti con la persona amata ci si può immaginare qualsiasi cosa, tranne che gli stessi progetti possano essere realizzati con un'altra persona. Si considera ogni promessa fatta come unica ed eterna, si immagina che la parola data valga più dell'amore.

Sei mai stato un mollusco?... Io sì, quando ero innamorato...Seduti sulla spiaggia guardavamo la luna e io inventavo per lei un regno di folletti allucinati e catelli medievali.

Ci sono due cose in cui sono bravissimo, spidocchiare un cane e perdere ciò che amo.

Non so come abbia fatto a ignorare allora che lei era la cosa migliore che avrei mai avuto.

Tu mi ricordi una poesia che non riesco a ricordare, una canzone che non è mai esistita e un posto in cui non devo essere mai stato.

Non ho mai ammazzato nessuno ma ho portato più d'una sull'orlo della morte fisica o spirituale. Meglio non farmi incazzare. Ho il cuore acuminato come schegge di un'esplosione.

Sei mai stato un mollusco? Io sì, quando ero innamorato… Seduti sulla spiaggia guardavamo la luna e io inventavo per lei un regno di folletti allucinati e castelli medievali.

Ci sono due cose in cui sono bravissimo: spidocchiare un cane e perdere ciò che amo.

Io come in tutte le cose mi arrangio. Non è come se sapessi fare qualcosa ma ho un mio modo personale di non saperlo fare. Per mia fortuna il mondo è zeppo di gente insoddisfatta e insignificante, gente che è capace di vedere ciò che non va solo quando le cose vanno palesemente male, quindi è poco probabile che mi imbatta in un esperto.

Uno si mette a scrivere perché coi numeri non ci sa fare, perché non vuole fare il medico né l'avvocato, perché è incazzato, perché odia la gente e vuole insultarla. Uno si metter a scrivere perché in mancanza di meglio vuole essere come Bukowski. Uno si mette a scrivere perché per gli impotenti fi ogni sorta non c'è altra strada. Uno si mette a scrivere perché non è il gallo del quartiere e non è neppure il più forte o il più spiritoso, perché non è niente di niente, perché non vale un cazzo, perché se esce di casa lo fanno a pezzi, perché sua madre urla tutto il tempo, perché non ci sono illusioni né luci alla fine del tunnel, perché la sua mente vola basso e non sarà mai un altro Cioran perché non ha il coraggio di saltare, perché rimane impantanato tra un'intenzione e l'altra, perché c'era una volta l'amore ma ho dovuto ammazzarlo

A volte penso di non amare più una certa ragazza, che quell'amore sia morto ma ogni notte, alle prime luci dell'alba, piccole creature voraci mi succhiano il cuore. Dato che non c'è verso di contaminare il suo ricordo, il suo ricordo contamina me. Questo è l'assioma: quando si è in due, c'è sempre uno che impesta l'altro.

Visto che non ho nessuno da odiare odio lui, visto che non c'è colpevole do a lui la colpa, visto che non c'è nemico faccio di lui il mio nemico. Visto che chi dovrei uccidere sono io, io uccido l'amore. Visto che non ho potuto dire a lei quanto la amo, lo dico al mondo.

You could just be yourself. That was a very important part of the Sex Pistols era. It wasn’t an antisex thing or a consciously premeditated attitude. We weren’t going to play the games according to the previous shitheads.

The idea was to tell lies and play with the myths and cause them to explode. The Sex Pistols were about placing a charge inside your head and questioning what you thought about the world. By blowing it up, you were forced to think about the fragments and what it meant.

Jeff’s quarters were small, but he’d done a lot with it over the last year and a half. The wall above his bed was covered with sheets of paper that he’d taped together, upon which he’d drawn an elaborate mural. Here was the Mars over which the Emperor had reigned: boat-like aircraft hovering above great domed cities, monstrous creatures prowling red wastelands, bare-chested heroes defending beautiful women with rapiers and radium pistols, all beneath twin moons that looked nothing like the Phobos and Deimos we knew. The mural was crude, yet it had been rendered with painstaking care, and was nothing like anything we’d ever seen before. That wasn’t all. On the desk next to the comp was the original Phoenix disk, yet Jeff hadn’t been satisfied just to leave it behind. A wire-frame bookcase had been built beside the desk, and neatly stacked upon its shelves were dozens of sheaves of paper, some thick and some thin, each carefully bound with hemp twine. Books, handwritten and handmade. I carefully pulled down one at random, gazed at its title page: EDISON’S CONQUEST OF MARS by Garrett P. Serviss. I put it back on the shelf, picked up another: OMNILINGUAL by H. Beam Piper. I placed it on the shelf, then pulled down yet another: THE MARTIAN CROWN JEWELS, by Poul Anderson. And more, dozens more… This was what Jeff had been

PICTURE A CREAM-COLORED couch. Now visualize one brooding dark-haired sex machine (I’m assuming, but I have a strong feeling about this) sitting on one end and one golden being of near perfection on the other. Then there’s me, in the middle, literally squished between two yummy smelling men, and…I just want to escape. The pizzas have been demolished (I ate half of one myself) and now an awkward silence has descended. It doesn't help that I keep thinking of pornos and threesomes. I am honestly waiting for corny seventies music to start. I was here first. I don’t feel like I should have to be the one to move. But I’m awfully uncomfortable. There are other places to sit in the room; a recliner even. Ya know, super comfy, so comfy you can recline. So one of them could move to that. I almost think they’re enjoying this. Like, they’re having fun at my expense because they know I think they’re hot. Why did I blurt that out? “So, what’s with the name Kennedy?” Blake wonders in his deep timbre that doesn’t really sound like Graham’s, but reminds me of him all the same. I turn my head to the right, careful not to move any other body part, and meet his challenging gray eyes. He’s, like, two inches away. So close I can see green flecks in his eyes. I think he’s a little too amused by my predicament, if the upward curve of his mouth is anything to go by. One inky black eyebrow lifts as he waits. “It’s my name.” I raise a single eyebrow back. I can do that too, the look says. His smile deepens. “Yeah, but, what were your parents thinking? Kennedy? For a girl? And technically it’s a last name.” My eyes narrow. Oh, so it’s to be like that, is it? “So is Blake,” I retort and give myself an imaginary pat on the back. “And Graham,” I add triumphantly. “Leave me out of this,” Graham states from my left... “Did your parents have a thing for the Kennedys?” Two eyebrows go up this time. I get my mental pistols ready—it’s obvious there’s going to be a showdown. I straighten my spine. “What do you mean by a thing?” My, totally in this moment one hundred and forty-nine percent resented, roommate groans. He shrugs one broad shoulder. “You know. An infatuation. An unhealthy obsession. Fanaticism. A thing.” “You really shouldn’t have started this,” Graham intercedes, leaning around me to give his brother a look. My face is on fire and my hands are in tight fists in my lap. I stare at the television, which is on and no one’s paying attention to, and say very softly, “I’ll have you know, the Kennedys were, and are, an iconic family. I feel it an honor to be named after them.” Blake grunts. “Do you deny it?” I ask the TV. “Nope. I just wondered about your family.” I jerk my head around and give him a look full of venom. “We will not discuss my family.” He holds his hands up in surrender, but there's a gleam in his eyes. What is wrong with this guy? “Easy there, Ken.” I growl. Graham sighs beside me. “Don’t call me that,” I state through gritted teeth. He looks over the top of my head. “Touchy, isn’t she?” Graham’s head slumps against the back of the couch. “So, Blake,” I begin in a sweet voice, “what’s up with you and red?” I go still, holding my breath. Did I really just say that? That was so not nice. I wait with anticipation and dread. Graham stops moving on the other side of the couch. Blake stares at me, his lips parted. Then he looks at his brother. “What’s she talking about?” My about to be annihilated roomie makes a sound of dismay. I twist around to glare at him. He looks like a young boy who just had his hand caught in the cookie jar; guilty and disappointed that his fun has been halted. “Don’t say the word red, huh?” I jump to my feet and back away until both men are within my line of vision. “You know what?” They both look at me, obviously not knowing what. “This means war!

Marita Lorenz, was born on August 18, 1939, in Bremen, Germany. In January of 1960 Marita, described as an attractive “curvy, black-haired young lady was named American’s “Mata Hari” by New York Daily News reporter Paul Meskil. Having had an affair with Fidel Castro that turned sour, she now returned to Havana where she attempted to take part in an assassination attempt, supposedly orchestrated by the Mafia and the CIA. Marita brought along poison pills in her cold cream jar, which predictably melted in the tropical heat. Besides, she later said that she really did not have the stomach for killing her former lover. Apparently Castro aware of why she returned to Cuba, handed her his pistol with a dare for her to use it. Even after knowing the truth regarding her visit, he allowed her to safely leave Cuba. Returning to Miami, Marita said that Frank Sturgis, presumably a CIA operative, was involved in this attempt, however it was his close associate, Alex Rorke, who was responsible for orchestrating the plan to poison Castro. Sturgis was extremely angry when she returned and rebuked her for putting the pills into the warm cold cream, calling her stupid, over and over again. For a few years after leaving the island, Marita was looked after and protected by a mobster named Ed Levi. It was his job to protect her from, what was considered, a likely attempt on her life by “Cuban Intelligence Operatives.” In 1961, Marita met Marcos Pérez Jiménez, the former President of Venezuela, in Miami. Marcos told her that he was anxious to meet her because he knew she was “Fidel's girl." He successfully pursued Marita, and when she gave in, they had an affair that resulted in the birth of a daughter.

The Police – Maracanãzinho, 1982. Uma noite quente no Rio de Janeiro, com todos os seus 40 graus estampados, e empapados de suor na camiseta escura do vocalista. Logo aqui embaixo, o couro come no palco. Iluminação simples de matizes rasta. Time de metais dando o tempero com discrição e esperteza. E, para a alegria dos -aqui nebuloso- quatro ou cinco mil presentes, um verdadeiro supergrupo em plena forma, fazendo uma certa história. Esse pode não ter sido um “show que mudou o mundo”, como se diz daquele Sex Pistols em Manchester; ou, mais na nossa categoria, o Nirvana no Morumbi, em 1993. Mas, nesse 16 de fevereiro de 1982, o Police, ainda que de maneira fugaz, nos iluminou no Maracanãzinho. Para além da música, a presença da banda no Brasil, nesse momento, nos deu uma sensação praticamente inédita de, com o perdão da palavra, modernidade. De frescor, de novidade…Foi a captação, a sacação coletiva, ao vivo e com riffs e coros, do tal zeitgeist do pop planetário. Durante um par de horas, fizemos parte do mundão dos bons sons.

Don't be told what you want and don't be told what you need.

– Rock is dead, but pop will live forever. Addio, Mista.

I hated the Beatles when they first came out because they were so goddamn cheery. I didn’t listen to popular music from 1964 until 1976, when I first heard the Sex Pistols. Finally a new antihippie sound that could piss off every musical legend that came first.

Sid's quite awkward and talks in spurts like he thinks it's stupid to have a point of view, but he's got to communicate, so he forces the words out. I can see it's not that he's unsure of his opinions, he just thinks it's pathetic to have a strong opinion on any subject; to be intelligent means being able to see all sides.

One day Sid turns up in the peg trousers and they're in ribbons. He'd sliced them up with a razor blade because he hated them so much but he couldn't find his jeans so when he wanted to go out he had to stick them back together. He joined the rips with loads of safety pins, all the way down his legs, hundreds of them. That’s how the ‘loads of safety pins’ thing started amongst people in clubs: they copied it, but he only did it because he couldn’t be bothered to sew his trousers up.

I say something provocative to Posh Boy, he threatens me with violence, and the next thing I know, Sid's whipped off his studded belt, wrapped around his fist and smashed Posh Boy over the head with the buckle end. Splits his head open. (Sid taught me this move: wrap the tongue of the belt round your hand, use the buckle as the weapon, it's important to lock your arm straight whilst you wield the belt, and do the worst thing you can think of first. That’s the only chance you’ve got.)

I put on a tight black lace dress Sid got me from a jumble sale. It didn’t quite fit so he slashed a slit in the side – which is now held together with safety pins – then he hacked the bottom off whilst I was wearing it, leaving the hem really short and frayed. I pull on my holey black tights and Dr Marten boots; I still never wear heels if I’m seeing Sid.