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“Cutting ‘Anarchy in the U.K.’ out of the market just as it was reaching its audience, EMI, the Sex Pistols’ first label, dropped them after the televised ‘fuck’ that made Declan McManus’ day, recalled the records, and melted them down. … The press contrived a moral panic to sell papers, but the panic seemed real soon enough: the Sex Pistols were denounced in Parliament as a threat to the British way of life, by socialists as fascist, by fascists as communist. … The group itself had become contraband. In late 1975, when the Sex Pistols first appeared, crashing another band’s concert and impersonating the opening act, the plug was pulled after ten minutes; now to play in public they were forced to turn up in secret, under a false name. The very emptiness of the terrain they had cleared — the multiplication of new voices from below, the intensification of abuse from above, both sides fighting for possession of that suddenly cleared ground — had pushed them toward self-destruction, into the silence of all nihilist noise.”

Greil Marcus, discussing the Sex Pistols in his 1989 book, “Lipstick Traces: A Secret History of the Twentieth Century”

Greil Marcus – Sex Pistols

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One thought on “Greil Marcus – Sex Pistols

  1. okay, maybe — I also think that Malcolm was a brilliant bully who could only manage success negatively: moral panic publicity, etc., and that he flamed the volatile mix of Lydon and Jones, tossed Sid into the mix for his own amusement, and ensured the band legendary status by preventing them from making a second album.

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