Latest / DISGRACELAND / The Sex Pistols (Pt. 1): Anarchy, Thievery, and the Death of Rock ‘n’ Roll

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The Sex Pistols (Pt. 1): Anarchy, Thievery, and the Death of Rock ‘n’ Roll · DISGRACELAND

• 0:00
  Speaker 1: This episode contains content that may be disturbing to some listeners.
• 0:03
  Speaker 1: Please check the show notes for more information.
• 0:07
  Speaker 2: Disgraceland is a production of Double Elvis. The stories about
• 0:20
  Speaker 2: the sex Pistols are insane. Their lead singer saw rock
• 0:25
  Speaker 2: and roll as a disease that needed to be eradicated
• 0:28
  Speaker 2: and was hell bent on being the one to put
• 0:30
  Speaker 2: it out of its misery no matter what. And their
• 0:33
  Speaker 2: guitarist was a sex addict in kleptomaniac who stole wallets, bikes, cars,
• 0:39
  Speaker 2: and more than a few pieces of musical equipment to
• 0:42
  Speaker 2: outfit his band, including gear belonging to rock gods like
• 0:46
  Speaker 2: Keith Richards and David Bowie. They destroyed other bands gear
• 0:50
  Speaker 2: and slept with their girlfriends. They played a show in
• 0:53
  Speaker 2: front of five hundred hardened criminals at a maximum security prison.
• 0:57
  Speaker 2: And they scamed the same system that had scanned them
• 1:00
  Speaker 2: the working class for years by convincing the biggest record
• 1:04
  Speaker 2: label in the world to release their controversial music. And
• 1:08
  Speaker 2: they did all of this before the most infamous pistol
• 1:12
  Speaker 2: of all ever strapped on a bass guitar and pretended
• 1:15
  Speaker 2: he knew.
• 1:16
  Speaker 1: How to play.
• 1:18
  Speaker 2: And the sex Pistols made great music. Some of the
• 1:22
  Speaker 2: most defiant and defining music of the punk era. Unlike
• 1:26
  Speaker 2: that clip I played for you at the top of
• 1:28
  Speaker 2: the show. That wasn't great music. That was a preset
• 1:32
  Speaker 2: loop from my mellotron called Forbidden Flute MK One. I
• 1:38
  Speaker 2: played you that clip because I can't afford the rights
• 1:41
  Speaker 2: to Tonight's the Night Gonna Be Alright by Rod Stewart.
• 1:46
  Speaker 2: And why would I play you that specific slice of
• 1:49
  Speaker 2: loosened French gown cheese?
• 1:50
  Speaker 1: Could I afford it? Because that was the.
• 1:54
  Speaker 2: Number one song in America on November twenty sixth, nineteen
• 1:58
  Speaker 2: seventy six, And that was the day that the Sex
• 2:01
  Speaker 2: Pistols released their debut single Anarchy in the UK, a
• 2:06
  Speaker 2: single that would scandalize and galvanize opposing social classes in
• 2:10
  Speaker 2: Great Britain and serve as a dramatic turning point.
• 2:14
  Speaker 1: In the history of rock and roll.
• 2:16
  Speaker 2: On this part one of the special two part episode
• 2:20
  Speaker 2: rock and Roll Diseases, Kleptomediacs, maximum security prisons, and never
• 2:26
  Speaker 2: mind the bollocks, it's the sex Pistols. I'm Jake Brennan
• 2:32
  Speaker 2: in this this disgraceland. The sewer Rats weren't just huge,
• 3:03
  Speaker 2: they were angry, The rank smell of the underground clung
• 3:07
  Speaker 2: to their greasy, wet fur. They were kept down there
• 3:10
  Speaker 2: by the things that intended to do them harm. Cats
• 3:13
  Speaker 2: liked to play the part of the oppressor, sharp witted,
• 3:16
  Speaker 2: quick claud nemesis to the filthy vermin. But just because
• 3:20
  Speaker 2: the cats were farther up the food chain didn't mean
• 3:23
  Speaker 2: the laws of the food chain weren't meant to be broken.
• 3:26
  Speaker 2: Vile and upheavil was inevitable. Sewer rats didn't want to
• 3:29
  Speaker 2: stay underground forever.
• 3:31
  Speaker 1: They wanted the good life, the cat's life.
• 3:34
  Speaker 2: Post World War II, London was in a constant state
• 3:37
  Speaker 2: of falling apart, so it came as no surprise when
• 3:41
  Speaker 2: rusted sewer pipes ruptured.
• 3:43
  Speaker 1: And when sewer.
• 3:43
  Speaker 2: Pipes ruptured, rats squeezed their bodies through the corrosion. They
• 3:48
  Speaker 2: pushed towards.
• 3:48
  Speaker 1: The light, up higher and higher.
• 3:51
  Speaker 2: Until they shot out through a sink drain gushing forth
• 3:54
  Speaker 2: like dirty water from a backed up toilet.
• 3:57
  Speaker 1: They ran through the.
• 3:57
  Speaker 2: Kitchen and found their way through a crack in the wall,
• 3:59
  Speaker 2: where they scurried out onto the street. There they found
• 4:02
  Speaker 2: a stray cat, and the rats were hungry. The cats
• 4:06
  Speaker 2: stood its ground and hissed with menace. Its hair stood
• 4:09
  Speaker 2: on end, and the rats could smell fear, and they
• 4:13
  Speaker 2: moved in closer.
• 4:14
  Speaker 1: A low, guttural.
• 4:15
  Speaker 2: Moan came from the cat's belly, the kind of demonic
• 4:18
  Speaker 2: sound a cornered animal makes when it knows its time
• 4:21
  Speaker 2: is up.
• 4:23
  Speaker 1: And then the rats pounced.
• 4:26
  Speaker 2: They ripped up the cat's matted fur with their teeth.
• 4:28
  Speaker 2: They tore at the cat's flesh with their tiny claws.
• 4:31
  Speaker 2: They painted the cracked asphalt with the cat's blood, slicing
• 4:35
  Speaker 2: open its stomach and spilling the contents of its belly
• 4:38
  Speaker 2: on the ground. And only after the rats bellies were
• 4:41
  Speaker 2: full did they stop, and they left the carcasses behind.
• 4:45
  Speaker 1: They didn't clean up messus. They made them.
• 4:49
  Speaker 2: Soon They were everywhere, and the cupboards under the floorboards,
• 4:52
  Speaker 2: and the old abandoned air raid shelters. Tenacious little fuckers,
• 4:56
  Speaker 2: harbages of death and doom, bringers of dirt disease. Plagueritten
• 4:59
  Speaker 2: number two is seeking you exploit a crumpling world. London
• 5:03
  Speaker 2: had already been burned decades after the war. Neighborhoods like
• 5:06
  Speaker 2: Finsbury Park and North London remained neglected shitholes by anyone's definition,
• 5:11
  Speaker 2: the working class struggled simply to survive. No fridge, no shower,
• 5:17
  Speaker 2: no toilet and upward mobility. Ah, you were lucky if
• 5:20
  Speaker 2: you remained upward and or mobile, and there was no
• 5:23
  Speaker 2: incentive to strive for anything else, because if you did,
• 5:26
  Speaker 2: if you happened to escape the deckenzie wasteland of the soul,
• 5:30
  Speaker 2: that place where your mom scoured you with toilet cleaner
• 5:33
  Speaker 2: once a month just to kill out the bugs that
• 5:35
  Speaker 2: thrived on the taste of your skin, you'd never ever
• 5:37
  Speaker 2: hear the end of it. Escaping your fate meant you
• 5:40
  Speaker 2: to turn your back on the downtrodden and the marginalized.
• 5:43
  Speaker 2: Fucking middle class cun is what you were and everyone
• 5:46
  Speaker 2: else you left behind were unite with the same shared
• 5:49
  Speaker 2: bond boredom, desperation, no future. The whole thing was fucking rotten.
• 5:58
  Speaker 2: In the nineteen sixties and seventies, those feelings of hopelessness
• 6:02
  Speaker 2: in London just festered. They bred hatred and contempt, just
• 6:07
  Speaker 2: like the rats bred feral armies and the sewers. Resentment
• 6:11
  Speaker 2: led to more hatred, and the poor punched down when
• 6:14
  Speaker 2: they should have been aiming higher. All the while the
• 6:16
  Speaker 2: middle and upper classes continued to turn a blind eye,
• 6:19
  Speaker 2: and the Queen continued to sip her tea with hand
• 6:22
  Speaker 2: firmly in glove. And it wasn't just feelings that festered
• 6:26
  Speaker 2: in London. All that rat piss in the water was
• 6:29
  Speaker 2: making people sick. John Lytton didn't know if it was
• 6:32
  Speaker 2: the rat piss that caused the meningitis nearly killed him
• 6:35
  Speaker 2: at age seven in the early sixties. He was too
• 6:38
  Speaker 2: busy fighting for his life. All that fluid pushing on
• 6:41
  Speaker 2: his brain made him hallucinate, and the headaches made him vomit,
• 6:45
  Speaker 2: and he was in and out of a coma for months.
• 6:48
  Speaker 2: A year later, he left the hospital permanently changed all
• 6:52
  Speaker 2: the needles they had stuck inside him to drain fluid.
• 6:54
  Speaker 2: It caused his spine to curve. His vision had gone blurry,
• 6:58
  Speaker 2: so he had to try extra hard to focus, which
• 7:01
  Speaker 2: men He developed an intense dead eyed stare. All those
• 7:07
  Speaker 2: hateful Londoners in his neighborhood, especially the English geezers who
• 7:11
  Speaker 2: couldn't stand Irish blokes like him, They saw him coming
• 7:15
  Speaker 2: and all said the same, John Lydon looks fucking grotesque.
• 7:20
  Speaker 2: Good take a long, hard look your fascist pics dare
• 7:24
  Speaker 2: you to look away, especially you genteel bastards. The ones
• 7:28
  Speaker 2: who survive and thrive on the status quo, the ones
• 7:31
  Speaker 2: who were high up that ladder, the ones who stay
• 7:34
  Speaker 2: up that ladder by keeping the rest of England down.
• 7:37
  Speaker 2: For John Lynon, Grotesque became him. It was his ammunition.
• 7:42
  Speaker 2: They put all that work in class anger, that rock
• 7:44
  Speaker 2: bottom malaise, right in the faces of those people who
• 7:46
  Speaker 2: needed to see it the most. The Prince of Wales
• 7:49
  Speaker 2: seated comfortably in the House of Lords, the so called
• 7:52
  Speaker 2: street fighting rock and roll men getting their medals from
• 7:54
  Speaker 2: the bloody Queen. Grotesque is necessary, long hair and.
• 7:59
  Speaker 1: Peace and love.
• 8:00
  Speaker 2: That was someone else's trip. This was hacked up hair
• 8:03
  Speaker 2: dyed a futrid shade of green, visible cigarette birds on
• 8:06
  Speaker 2: your arms. You mutilated your head, you cut yourself, burned
• 8:10
  Speaker 2: yourself fucking right you did, You bled, you hurt, You
• 8:13
  Speaker 2: were bored shitless. Your fashion reflected it, ripped up shirts,
• 8:17
  Speaker 2: fetish wear, safety pins.
• 8:19
  Speaker 1: It wasn't style, fuck style. This was chaos, the.
• 8:23
  Speaker 2: Stuffy button down the English way of life. It was
• 8:26
  Speaker 2: over on deck, hate in war idle hands. Weren't the
• 8:30
  Speaker 2: deaf's playthings that belonged to the anti Christ. Now it
• 8:33
  Speaker 2: was time for anarchy, and not just in the streets.
• 8:37
  Speaker 2: In the schools they weren't teaching, they were indoctrinating, brainwashing.
• 8:43
  Speaker 2: Home wasn't any better, and the adults all peddled the
• 8:45
  Speaker 2: same fantasy, the nineteen sixties fantasy, the nineteen fifties, bloody escapism,
• 8:52
  Speaker 2: Elvis Presley, Buddy Hawley. What the fuck did they have
• 8:56
  Speaker 2: to do with your life right now? In the nineteen seventies,
• 9:00
  Speaker 2: Elvis was a plague. Rock and roll was a disease.
• 9:03
  Speaker 2: It was vile, it was airport music.
• 9:05
  Speaker 1: It was over.
• 9:06
  Speaker 2: Someone needed to kill it and trotted through town flogging
• 9:09
  Speaker 2: its corpse for all to see. These were the kinds
• 9:14
  Speaker 2: of plans. John Lydon hatched when after his father tossed
• 9:18
  Speaker 2: him from the house at sixteen because of the way
• 9:20
  Speaker 2: he looked, he found himself squatting in London flats. He
• 9:24
  Speaker 2: lived alongside artists and musicians and pimps and junkies and
• 9:27
  Speaker 2: his friend another John, John Beverly aka John Simon Ritchie.
• 9:33
  Speaker 2: But they didn't call him John or Simon. They called
• 9:35
  Speaker 2: him Sid after John Lydon's vicious hamster. England's economic system,
• 9:40
  Speaker 2: it's social hierarchy. It didn't have room for kids like
• 9:42
  Speaker 2: John and Sid. They were too poor, they were too ugly.
• 9:45
  Speaker 2: They put their lives in their hands simply walking down
• 9:48
  Speaker 2: the street.
• 9:48
  Speaker 1: Looking the way they looked.
• 9:49
  Speaker 2: They didn't look like the hippies or the teds, or
• 9:52
  Speaker 2: the skinheads or the football hooligans. They looked like aliens.
• 9:55
  Speaker 2: Everyone else took one look at the likes of John Lydon.
• 9:58
  Speaker 2: His spine curved, his caustic stare practically psychotic, his green
• 10:01
  Speaker 2: hair chopped the pieces, and they just wanted to murder him.
• 10:05
  Speaker 2: He looked so different that he was treated as a threat.
• 10:07
  Speaker 1: He didn't conform, He didn't.
• 10:09
  Speaker 2: Stay in his place with the rest of the working class.
• 10:11
  Speaker 2: He wouldn't accept that fate, and he desired the right
• 10:14
  Speaker 2: opportunity to expose the whole system for what it was.
• 10:18
  Speaker 2: A fraud, a frame, a bloody disgrace. He wanted to
• 10:23
  Speaker 2: scratch all the way to the top and pull the
• 10:25
  Speaker 2: whole fucking thing up from the inside. It's only natural
• 10:29
  Speaker 2: when you're that bored, that's desperate, that belittled, you have
• 10:33
  Speaker 2: no choice but to swindle the system that's swindling you.
• 10:37
  Speaker 2: You either do that, but you start walking into forbidden places,
• 10:41
  Speaker 2: like you're supposed to be there and take what is
• 10:44
  Speaker 2: rightfully yours. July nineteen seventy three, London. David Bowie was
• 11:11
  Speaker 2: glad he had decided to wear a sheer mess shirt
• 11:13
  Speaker 2: that night, not just because it complimented his glittery trousers,
• 11:18
  Speaker 2: but because the Hammersmith Odion was hot. Thirty five hundred
• 11:22
  Speaker 2: people packed inside. Bowie was sweating like a pig, playing
• 11:26
  Speaker 2: the role of his androgynous alter he Go Ziggy starred us.
• 11:29
  Speaker 2: He had just delivered one hell of a show and
• 11:32
  Speaker 2: now he was tired. He stopped to catch his breath.
• 11:35
  Speaker 2: He looked out at the crowd and said, of all
• 11:37
  Speaker 2: our shows on this tour, this particular show will remain
• 11:40
  Speaker 2: with us the longest, because not only is it the
• 11:43
  Speaker 2: last show of the tour, but it's the last show
• 11:45
  Speaker 2: we will ever do. A hush fell over the crowd,
• 11:50
  Speaker 2: followed by sounds of confusion and panic.
• 11:53
  Speaker 1: What was happening?
• 11:54
  Speaker 2: The last show will ever do? The Spiders from Ours
• 11:57
  Speaker 2: followed Bowie's words with a thunderous verse of rock and
• 12:00
  Speaker 2: roll suicide, and then Ziggy Stardust was dead. The audience
• 12:07
  Speaker 2: was distraught. They cried in the streets outside the venue.
• 12:10
  Speaker 2: Little did they know when they went out that night
• 12:12
  Speaker 2: they would witness David Bowie's last show as Ziggy start Us.
• 12:16
  Speaker 2: And little did David Bowie know it was the last
• 12:18
  Speaker 2: show he'd play.
• 12:19
  Speaker 1: With his gear.
• 12:22
  Speaker 2: Seventeen year old Steve Jones found the security guard snoring
• 12:26
  Speaker 2: when he peeked in the back door of the Hammersmith
• 12:28
  Speaker 2: Odian later that night.
• 12:30
  Speaker 1: From his vantage.
• 12:31
  Speaker 2: Point, he could see the band's equipment on stage, Mick
• 12:35
  Speaker 2: Ronson's cream colored les, Paul Trevor Boulder's son Bassam. It
• 12:39
  Speaker 2: was all just sitting there. He could reach out and
• 12:43
  Speaker 2: touch it. Jones he heard a noise inside. Was someone there?
• 12:47
  Speaker 2: Didn't matter. This wasn't his first rodeo. He could play
• 12:51
  Speaker 2: the part if needed, the part of a security guard
• 12:53
  Speaker 2: or some daft roady, just like Bowie played the part
• 12:56
  Speaker 2: of Ziggy Christ. Steve Jones loved David Bowie almost as
• 13:00
  Speaker 2: much as he loved Rod Stewart or Brian Ferry. But
• 13:03
  Speaker 2: Jones wasn't at the Hammersmith Odian to revel in David
• 13:05
  Speaker 2: Bowie's incredible live show. He was there to steal David
• 13:09
  Speaker 2: Bowie's shit. Jones looked over at Wally and told him
• 13:13
  Speaker 2: the followers lead act like he's supposed to be there,
• 13:16
  Speaker 2: don't get rattled. Wally was Wally Nightingale, one of the
• 13:20
  Speaker 2: members of The Strand, Jonesy's first band he formed in
• 13:23
  Speaker 2: the early seventies, along with drummer Paul Cook. Jones and
• 13:27
  Speaker 2: Wally quickly made their way inside a security guard. Snore
• 13:31
  Speaker 2: echoed through the place, and they walked no suspiciously, but
• 13:35
  Speaker 2: confidently to the odeon stage, and then they started loading
• 13:39
  Speaker 2: up their arms with as much as they could carry.
• 13:42
  Speaker 2: They loaded the gear into Jonesy's van outside, some symbols
• 13:45
  Speaker 2: from Mick Woodmansee's drum kit, a microphone that still had
• 13:48
  Speaker 2: Bowie's lipstick smeared all over it, and that sweet bass samp.
• 13:54
  Speaker 2: Jones He could hardly believe he now possessed something that
• 13:56
  Speaker 2: belonged to one of his idols. It was thrilling, thrilling
• 14:00
  Speaker 2: as the time he stole Wrong Woods's coat. Well, he
• 14:03
  Speaker 2: thought it was Ron Woods's coat. Jonesy and the rest
• 14:06
  Speaker 2: of the guys in the Strand idolized the faces they
• 14:09
  Speaker 2: used to take banned pilgrimages up to Ron's posh house
• 14:11
  Speaker 2: on Richmond Hill and just marble at the enormity of it.
• 14:15
  Speaker 2: Sometimes Ronni himself would even appear at the window and wave.
• 14:18
  Speaker 2: But that wasn't enough for Jonesy. He wanted more than
• 14:21
  Speaker 2: a winkt or nod. He went back to the house
• 14:24
  Speaker 2: on his own, and he followed a small path to
• 14:26
  Speaker 2: a wall around back. The wall wasn't that high, easy enough,
• 14:30
  Speaker 2: He scaled it and was delighted to find that the
• 14:32
  Speaker 2: side door was unlocked.
• 14:34
  Speaker 1: He let himself inside and the room seemed pretty vacant.
• 14:38
  Speaker 2: He spied a small portable TV set in a coat,
• 14:41
  Speaker 2: and he nicked the bull.
• 14:43
  Speaker 1: He was toughed to have ron Woods coat.
• 14:45
  Speaker 2: Later, when he learned it didn't actually belong to Ronwood,
• 14:48
  Speaker 2: he wasn't disappointed because it really belonged to Keith Richards
• 14:52
  Speaker 2: fucking Amy. That's just as cool now and then it
• 14:56
  Speaker 2: wasn't just Pilford trophies that encouraged Steve Jones.
• 14:59
  Speaker 1: To compulsive steal.
• 15:01
  Speaker 2: Part of the thrill of being a klepto was knowing
• 15:03
  Speaker 2: that it was wrong that he get caught at any moment.
• 15:06
  Speaker 2: The biggest thrill of all, though, that was hearing a
• 15:08
  Speaker 2: news report the next morning about the theft. David Bowie's
• 15:11
  Speaker 2: gear from the night before he did that. He was
• 15:14
  Speaker 2: the reason the man on the radio was telling that story.
• 15:17
  Speaker 2: It was Jonesy's first brush with fame, and it felt good.
• 15:23
  Speaker 2: Before Steve Jones stole anything, he watched other people steal,
• 15:26
  Speaker 2: working class people just like him and his mom and stepfather.
• 15:30
  Speaker 2: Everyone in West London was struggling to get by, and
• 15:32
  Speaker 2: they would never be anything but poor. And there were
• 15:35
  Speaker 2: the haves and the have nots, and never the twain
• 15:37
  Speaker 2: shall meet. So he really couldn't blame poverty stricken family
• 15:40
  Speaker 2: with no hope and no future for sticking a few
• 15:42
  Speaker 2: extra items up their jackets at the grocery store. You
• 15:45
  Speaker 2: saw it happen and you just looked away. Some days,
• 15:48
  Speaker 2: thieving was literally the difference between life and death. As
• 15:52
  Speaker 2: a child, Jonesy wasn't poor. He was fucking miserable. He
• 15:55
  Speaker 2: could hardly read or write. He had to jockey with
• 15:58
  Speaker 2: his stepfather for his mother's attention, and that same stepfather
• 16:01
  Speaker 2: sexually abused him when he was only ten years old.
• 16:04
  Speaker 2: He no longer had a safe place in his own home.
• 16:07
  Speaker 2: He felt threatened by that man's presence and it made
• 16:10
  Speaker 2: him angry, and he had to do something about it.
• 16:13
  Speaker 2: He began to hang out anywhere but home, and he
• 16:16
  Speaker 2: started to steal. And I'm not talking a few extra
• 16:19
  Speaker 2: bags of Chris at the market. First it was toys
• 16:22
  Speaker 2: parts for his train set, wallets lifted from pants left
• 16:25
  Speaker 2: in gymnasium changing rooms. Then it was bikes ones resting
• 16:29
  Speaker 2: against their kickstands outside bicycle shops. Next it was musical
• 16:32
  Speaker 2: equipment so that his band actually had instruments to play.
• 16:35
  Speaker 2: A twin weaver of bamp stolen from a band that
• 16:37
  Speaker 2: was opening for Bob Marley and the Whalers, a Sunbird
• 16:40
  Speaker 2: special that belonged to Mott the hoopless guitarist. Eventually it
• 16:44
  Speaker 2: was even cars, and there was nothing like the feeling
• 16:46
  Speaker 2: of popping some Mandy's aka Mantrick sleeping pills, chasing them
• 16:49
  Speaker 2: with a few pints of beer, and then letting that
• 16:51
  Speaker 2: magical tingling feeling take over your entire body as he
• 16:55
  Speaker 2: slipped behind the wheels someone else's Austin Healely Well, maybe
• 16:58
  Speaker 2: shagging birds, which, next to stealing, was an eight plus
• 17:01
  Speaker 2: non stop addiction for Steve Jones. It was the nineteen
• 17:05
  Speaker 2: sixties and seventies, the golden age of car crime, as
• 17:08
  Speaker 2: Jones himself put it long before alarms and security cameras.
• 17:12
  Speaker 1: In the club, but that didn't mean he didn't get caught.
• 17:15
  Speaker 2: He did twelve times before the age of eighteen.
• 17:19
  Speaker 1: He was sent to juvie.
• 17:20
  Speaker 2: He was slapped on the hand. Honestly, he really didn't
• 17:24
  Speaker 2: give a fuck. What he did care about was finding
• 17:28
  Speaker 2: a place where he belonged. It certainly wasn't at home.
• 17:31
  Speaker 2: It wasn't at some halfway house either, and he couldn't
• 17:34
  Speaker 2: crash it as mate Paul Cook's place all the time.
• 17:37
  Speaker 2: The first time he walked through the door at four
• 17:39
  Speaker 2: thirty Kings Road in early nineteen seventy two, he thought
• 17:43
  Speaker 2: perhaps he had found the place he was looking for.
• 17:47
  Speaker 1: Let It Rock was.
• 17:48
  Speaker 2: A trendy shop run by Malcolm McLaren and Vivian Westwood.
• 17:51
  Speaker 2: They sold modernized versions of fifties era teddy boy close
• 17:55
  Speaker 2: that contradicted the hippie fashions that the rest of lond
• 17:57
  Speaker 2: had seemed to be clinging too, of creeper shoes, peg pants,
• 18:02
  Speaker 2: drape jackets. But you didn't just buy something and let
• 18:04
  Speaker 2: it rock and then leave like you did at other stores.
• 18:07
  Speaker 2: There was a couch in a jukebox, you can hang out.
• 18:11
  Speaker 2: Malcolm Mavivian were always up to chat. If, like Steve Jones,
• 18:15
  Speaker 2: you were playing around with your identity a hippie who
• 18:17
  Speaker 2: loved purple Hayes, a skinhead enamored with a whole lot
• 18:20
  Speaker 2: of love, a hooligan headbanging to rock and roll Hoochi Coup,
• 18:24
  Speaker 2: you were welcome to do that without judgment. You were
• 18:27
  Speaker 2: free to be yourself whoever the hell you ended up being.
• 18:31
  Speaker 2: The Cobs, on the other hand, weren't about to let
• 18:33
  Speaker 2: Steve Jones off so easily. The summer of nineteen seventy
• 18:37
  Speaker 2: four was a rude awakening. His thirteenth bust was different from.
• 18:41
  Speaker 1: The previous twelve.
• 18:42
  Speaker 2: Jones was no longer an adolescent. He was now eighteen
• 18:46
  Speaker 2: years old, and this time wouldn't be another Judy lock up.
• 18:49
  Speaker 2: This time would be prison talk about no future. The
• 18:53
  Speaker 2: band would be over, that's for sure, and they were
• 18:55
  Speaker 2: just getting started. Glenn Mattlocke had recently joined on bass,
• 18:58
  Speaker 2: and he was quite good, even if he was partial
• 19:01
  Speaker 2: de Beutles Courts. But unlike the last doesn't arrest, this
• 19:05
  Speaker 2: time Steve Jones had something else on his side. He
• 19:08
  Speaker 2: had Malcolm McLaren in honest to god adult in his
• 19:12
  Speaker 2: late twenties who was willing to vouch for Jones and
• 19:14
  Speaker 2: help plead his case to the judge. Inside the Marley
• 19:18
  Speaker 2: Bone Magistrate's Court, Malcolm went on and on about Jonesy's
• 19:21
  Speaker 2: bright future, about how he was going to leave an
• 19:24
  Speaker 2: indelible mark on British society and all that, and that
• 19:27
  Speaker 2: stupid fucker in the robe, and Wig swallowed Malcolm's line
• 19:30
  Speaker 2: of bullshit like it was a tea cake. It wasn't
• 19:34
  Speaker 2: all bullshit. Though Malcolm McLaren was right. Steve Jones would
• 19:38
  Speaker 2: leave an indelible mark, it just wouldn't be in the
• 19:41
  Speaker 2: way the.
• 19:41
  Speaker 1: Judge might have imagined.
• 19:43
  Speaker 2: What the judge didn't know was that as soon as
• 19:45
  Speaker 2: he was set free, Steve Jones wasn't going to change
• 19:49
  Speaker 2: lead the goody two shoes bit to those wankers in
• 19:51
  Speaker 2: the Bay City rollers. Jones he was going to take
• 19:54
  Speaker 2: all that anger and all that frustration which he still
• 19:57
  Speaker 2: felt at his stepfather, at all the filthy risch top
• 20:00
  Speaker 2: he never had to make nothing in order to survive,
• 20:02
  Speaker 2: and he was going to funnel it into a guitar,
• 20:05
  Speaker 2: one that belonged.
• 20:06
  Speaker 1: To someone else.
• 20:07
  Speaker 2: Because just like David Bowie ziggy stardus once sang the
• 20:11
  Speaker 2: bitter does come out better on a stolen guitar.
• 20:19
  Speaker 3: We'll be right back after this. We're, We're, We're.
• 20:26
  Speaker 2: John Lyden did his curved spine, dead eyed stare move,
• 20:30
  Speaker 2: the one where he leans forward from the front of
• 20:32
  Speaker 2: the stage, the microphone stand propping him up and preventing
• 20:36
  Speaker 2: him from falling straight into the audience, And for the
• 20:39
  Speaker 2: first time he was the one who felt nervous. Just
• 20:43
  Speaker 2: look at this crowd. Rapists, murderers, hardened criminals, five hundred
• 20:49
  Speaker 2: fucking lunatics, eyes wider and crazier than his own, and
• 20:53
  Speaker 2: their teeth. Steve Jones had re christened John Lydon Johnny
• 20:57
  Speaker 2: Rotten because of his disgusting teeth. But John's pearly off
• 21:01
  Speaker 2: whites were no match for this ocean of damage smiles.
• 21:05
  Speaker 2: The inmates at the Chelmsford Maximum Security Prison looked rabid,
• 21:09
  Speaker 2: frothing at the corners of their mouths, unshackled and uninhibited.
• 21:14
  Speaker 2: You only want to be an anarchy until you're performing
• 21:16
  Speaker 2: in front of a prison's worth of real anarchists who
• 21:19
  Speaker 2: would gladly trample your lifeless body to get to the
• 21:22
  Speaker 2: nearest exit, and where the fuck was Malcolm McLaren, their
• 21:26
  Speaker 2: so called manager. He was safe and sound on the
• 21:29
  Speaker 2: other side of the closed and locked door with all
• 21:31
  Speaker 2: the prison guards. He wasn't crazy, he wasn't risking his life,
• 21:35
  Speaker 2: but he'd risked the lives of his band members. Never
• 21:38
  Speaker 2: mind the bollocks one false move, they were all dead
• 21:43
  Speaker 2: to John. Malcolm was no savior. Malcolm didn't rescue John
• 21:47
  Speaker 2: from a fate worse than death like he had with
• 21:49
  Speaker 2: Steve Jones. Malcolm was, to put it bluntly, a thief,
• 21:54
  Speaker 2: just like Jonesy, only instead of stealing cars and guitars,
• 21:58
  Speaker 2: Malcolm stole the essence of people from cooler than he
• 22:00
  Speaker 2: could ever hope to be, people like John call Malcolm's
• 22:04
  Speaker 2: muse or whatever. But one thing was for sure. Whatever
• 22:07
  Speaker 2: John did, Malcolm wanted to replicate it. When Malcolm changed
• 22:11
  Speaker 2: the name of his store from leed It Rock to
• 22:13
  Speaker 2: Sex and began to peddle all that bondage gear and
• 22:16
  Speaker 2: skin tight rubber shirts, the more provocative and outrageous the better.
• 22:20
  Speaker 2: That wasn't an original idea. That was all from watching
• 22:23
  Speaker 2: John come in and out of the store dressed to
• 22:26
  Speaker 2: his own provocative and outrageous way. John's looks at defiance.
• 22:30
  Speaker 2: It reaked of nonconformity, the middle fingering aimed at the
• 22:33
  Speaker 2: status quo. But Malcolm McLaren an agitator. Malcolm McLaren was
• 22:38
  Speaker 2: an opportunist. And Malcolm McLaren didn't create the sex Pistols.
• 22:43
  Speaker 2: What a load of shit. Malcolm did what he always did.
• 22:46
  Speaker 2: Something happened and he reacted to it. The sex Pistols existed.
• 22:50
  Speaker 2: Malcolm just found a way to make money off of them.
• 22:52
  Speaker 2: He was their manager, whatever that meant. Having come straight
• 22:56
  Speaker 2: off that train wreck of attempting to manage the New
• 22:58
  Speaker 2: York Dolls, jonesy Ben fitted.
• 23:00
  Speaker 1: From that little stint.
• 23:01
  Speaker 2: He got Sylvain Sylvanian's white les Paul, the one with
• 23:04
  Speaker 2: stickers of pinup girls on it. Malcolm brought that back
• 23:07
  Speaker 2: from New York.
• 23:08
  Speaker 1: It was a gift.
• 23:09
  Speaker 2: John didn't get gifts. John got fuck all. Same for
• 23:12
  Speaker 2: Glenn Matlock and Paul Cook the Pistols rhythm section.
• 23:16
  Speaker 1: Not that they were complaining.
• 23:17
  Speaker 2: They just seemed happy to be in the band that
• 23:19
  Speaker 2: played regular gigs and got noticed. Didn't matter to them
• 23:22
  Speaker 2: if they were called the Strand or the sex Pistols. Well, okay,
• 23:25
  Speaker 2: Glenn was a bit of a mummy's boy, so being
• 23:27
  Speaker 2: in a group called the sex Pistols did rattle his
• 23:29
  Speaker 2: cage quite a bit. That amused John to no end.
• 23:33
  Speaker 2: It was a better name than Cutie Jones and his
• 23:35
  Speaker 2: sex Pistols, which was what Malcolm had originally christened the
• 23:38
  Speaker 2: band back when Jonesy sang lead for a hot minute.
• 23:40
  Speaker 1: But they all knew that Jonesy couldn't be the lead singer.
• 23:43
  Speaker 2: He needed to focus on what he did best, playing
• 23:46
  Speaker 2: is les Paul like he wanted to snap its neck
• 23:48
  Speaker 2: in two and Jonesy said it himself. His guitar style
• 23:52
  Speaker 2: was rooted in not knowing how to play. It was
• 23:54
  Speaker 2: all anger and frustration, just like Johnny Rotten's incredible thing.
• 24:01
  Speaker 2: People write Johnny Rotten off as just some fuck up punk.
• 24:04
  Speaker 2: He's one of the greatest singers of all time. The
• 24:08
  Speaker 2: legend goes that Vivian Westwood suggested John Lyden as a
• 24:11
  Speaker 2: lead singer because she'd seen him at the Sex Store
• 24:13
  Speaker 2: a lot, and he had that rebellious image and attitude.
• 24:16
  Speaker 1: They were looking for.
• 24:17
  Speaker 2: The legend further goes that what she said, check out
• 24:20
  Speaker 2: this guy named John, she actually wasn't talking about John Lyden,
• 24:23
  Speaker 2: but instead his friend John Beverly aka Sid Vicious. But
• 24:28
  Speaker 2: we'll get to him later. One thing was for sure, though,
• 24:33
  Speaker 2: But Malcolm and the band audition Johnny. The tension was
• 24:36
  Speaker 2: ripe from the jump. Malcolm said, I'm gonna play Alice
• 24:39
  Speaker 2: Cooper's eighteen on the jukebox. I want you to behave
• 24:42
  Speaker 2: as if you're on stage and sing.
• 24:43
  Speaker 1: Along to it.
• 24:44
  Speaker 2: And if you don't, this blow here next to me,
• 24:46
  Speaker 2: Steve Jones, He's gonna beat the living daylights out of you. Sure,
• 24:51
  Speaker 2: Jonesy was bigger, but John fancied himself smarter, smart enough
• 24:55
  Speaker 2: to keep the lyrics he was writing hidden from the
• 24:57
  Speaker 2: other band members. Glenn Mattlock would have and quit on
• 25:00
  Speaker 2: the spot if he knew what he was getting himself into.
• 25:03
  Speaker 2: No one was singing about the things Johnny Rotten was
• 25:05
  Speaker 2: singing about, Inciting anarchy, toppling the monarchy, abortions and bodies
• 25:10
  Speaker 2: and cheap holidays and other people's misery. John Lynden was
• 25:14
  Speaker 2: the consummate vocalist, if not the greatest singer in the
• 25:18
  Speaker 2: traditional sets. His diction and delivery were incredible. He sneered,
• 25:22
  Speaker 2: he taunted, He rolled his ars like a proper Englishman,
• 25:25
  Speaker 2: but did it with his tongue firmly in his cheek.
• 25:28
  Speaker 1: He took the piss out of the whole charade.
• 25:30
  Speaker 2: Rock and roll bloated, pretentious rubbish. Rock and roll was
• 25:34
  Speaker 2: a problem.
• 25:35
  Speaker 1: And John was going to do something about it.
• 25:37
  Speaker 2: Don't tell that to Johnsy and the rest of the band.
• 25:40
  Speaker 2: Even though Jonesy pop speed like there were Tic TACs,
• 25:43
  Speaker 2: the band didn't play fast like the Promones. Their tempos
• 25:46
  Speaker 2: were slower like the Faces, with thick, easy to follow
• 25:49
  Speaker 2: riffs blasted from one hundred watt Marshall amp that blistered
• 25:52
  Speaker 2: your years. People listened. They didn't have a choice, like
• 25:56
  Speaker 2: those inmates at the Chelmsford Maximum Security prison. Else but
• 26:00
  Speaker 2: the Sex Pistols would go full Johnny Cash and play
• 26:03
  Speaker 2: a gig in prison. The Clash no way. The Clash
• 26:06
  Speaker 2: fought the law, and the law won. Man. According to
• 26:09
  Speaker 2: John Lydon, the Clash weren't punk. The Clash were a
• 26:12
  Speaker 2: couple of trendy Carl Mark slogans in a slick image,
• 26:15
  Speaker 2: and maybe they were a punk at least in the
• 26:17
  Speaker 2: early days, but they weren't like the Pistols.
• 26:20
  Speaker 1: Nobody was.
• 26:22
  Speaker 2: This was the reputation that the Sex Pistols gained early on.
• 26:25
  Speaker 2: They were loud, they were dangerous. They didn't know what
• 26:27
  Speaker 2: they wanted, but they knew how to get it. Other
• 26:29
  Speaker 2: bands invited them to open their shows because they brought
• 26:32
  Speaker 2: that element of batshit crazy drama that you just couldn't buy,
• 26:35
  Speaker 2: like Eddie and the Hot Rods. But pub rock band
• 26:38
  Speaker 2: playing a label showcase at the Marquee Club, they got
• 26:41
  Speaker 2: more than they bargained for. John put his microphone stand
• 26:44
  Speaker 2: right through one of the hot Rod's monitor speakers. Though,
• 26:47
  Speaker 2: while John was busy destroying other band's equipment, Jonesy was
• 26:50
  Speaker 2: busy fucking their girlfriends.
• 26:52
  Speaker 1: No band was safe from the Pistols antics.
• 26:55
  Speaker 2: Fights broke out regularly at their gigs, an extension of
• 26:58
  Speaker 2: the anger on stage. Sometimes the brawls were between kids
• 27:01
  Speaker 2: hopped up on cheap and fetamine sulfate and even cheaper beer.
• 27:05
  Speaker 2: Sometimes it was the band themselves, like John and Glenn
• 27:09
  Speaker 2: always at each other's throats, Glenn that closet abba fan.
• 27:13
  Speaker 2: John couldn't fucking handle it, that tension. He made the
• 27:16
  Speaker 2: band what it was in both the Next Devolution and
• 27:18
  Speaker 2: the total destruction of rock and roll. And they also
• 27:21
  Speaker 2: just sounded incredible, like a jumbo jet landing in your
• 27:25
  Speaker 2: living room. To quote Johnsy, they were firing on all
• 27:28
  Speaker 2: cylinders and it wasn't just other bands and punk kids noticed.
• 27:34
  Speaker 2: In October of nineteen seventy six, EMI came calling, not
• 27:38
  Speaker 2: only the most old fashioned of all British record labels,
• 27:41
  Speaker 2: but the largest label in the world. They signed the
• 27:44
  Speaker 2: band for a two year contract. Malcolm did his part,
• 27:48
  Speaker 2: he got paid, negotiated a forty thousand pounds signing bonus.
• 27:52
  Speaker 2: John could hardly believe the irony, how easy it was
• 27:55
  Speaker 2: to accomplish that goal, to be that subversive. If only
• 27:59
  Speaker 2: EMI knew what rotten business John had in store. Now
• 28:02
  Speaker 2: that the Pistols were part of the machine, the next
• 28:05
  Speaker 2: step was simple. Like the fuse, watch it Burn. The
• 28:31
  Speaker 2: Sex Pistol's debut single, Anarchy in the UK, was released
• 28:34
  Speaker 2: by EMI Records on November twenty sixth, nineteen seventy six.
• 28:39
  Speaker 2: But it was difficult to find Anarchy in the UK
• 28:41
  Speaker 2: and record stores throughout Great Britain, and not because it
• 28:44
  Speaker 2: was flying off the shelves. Some employees had EMI record
• 28:48
  Speaker 2: pressing plants actually refused to touch cop as the record.
• 28:52
  Speaker 2: The name alone was scandalous. The Sex Pistols was obscene,
• 28:56
  Speaker 2: unforgivably profane, and then add to that the content to
• 29:00
  Speaker 2: the music, it's lyrics and the mayhem the group was
• 29:02
  Speaker 2: inspiring throughout the country. Org Is on the EMI line
• 29:06
  Speaker 2: shutder to think. The reluctance to come in physical contact
• 29:10
  Speaker 2: with little slabs of vinyl with that name on the
• 29:12
  Speaker 2: label led to delays in production and distribution. But not
• 29:16
  Speaker 2: even a week after the single's release on December first,
• 29:19
  Speaker 2: the Pistol has got the opportunity to do a bit
• 29:22
  Speaker 2: of promotion on Today, a regional television program on London's
• 29:26
  Speaker 2: Thames Television. It was Kissman Queen were originally booked to
• 29:30
  Speaker 2: appear in the show, I had to pull out last
• 29:32
  Speaker 2: minute so that Freddie Mercury could undergo emergency dental surgery
• 29:36
  Speaker 2: and their appearance on the show may have gone well
• 29:39
  Speaker 2: if not for a few important factors. For one, the
• 29:42
  Speaker 2: band was drunk. Jonesy alone chugged two or three bottles
• 29:46
  Speaker 2: of blue non backstage in the green room. The second
• 29:49
  Speaker 2: factor was Today's host, Bill Grundy, was a good thirty
• 29:53
  Speaker 2: years older than the Pistols and was a walking, talking
• 29:56
  Speaker 2: representation of the old garden tweed suits. His thick sideburned,
• 30:01
  Speaker 2: scotch knee, upper lip stiff. He was upper class, a
• 30:05
  Speaker 2: fat cat. He looked down on the Pistols generation as
• 30:08
  Speaker 2: lazy saws, all of them filthy, vacand vermin. Was no future.
• 30:13
  Speaker 2: They were the bottom feeders, sewer dwellers. Grundy hated them
• 30:16
  Speaker 2: before he even asked his first question. He hated John
• 30:20
  Speaker 2: his spiky orange hair like a thorny briar patch. He
• 30:23
  Speaker 2: hated Jonesy brazenly sitting there wearing that T shirt, the
• 30:27
  Speaker 2: one that simply had a full sized photo of a
• 30:29
  Speaker 2: naked pair of women's breasts.
• 30:31
  Speaker 1: And he hated the circus.
• 30:33
  Speaker 2: They brought with them four additional punks standing behind where
• 30:36
  Speaker 2: the band was seated. One of them wore a Nazi
• 30:38
  Speaker 2: swastik on his arm, and another, a girl named Susie,
• 30:42
  Speaker 2: looked like she'd been plucked right out of a clockwork orange.
• 30:45
  Speaker 1: The whole thing was perverse.
• 30:48
  Speaker 2: Grundy had to knock back a few drinks of his
• 30:50
  Speaker 2: own just to deal with it, and there wouldn't be
• 30:52
  Speaker 2: enough drinks to drown out what happened next. No one,
• 30:55
  Speaker 2: not the Pistols, not built Grundy, and certainly not the
• 30:58
  Speaker 2: good people of England.
• 31:00
  Speaker 1: Ever, forget it.
• 31:03
  Speaker 3: They are punk rockers, the new craze. They tell me
• 31:06
  Speaker 3: they're heroes, not the nice, clean Rolling Stones. They are
• 31:10
  Speaker 3: a group called the Sex Crystals. I'm told that that
• 31:13
  Speaker 3: group have received forty pounds from a record company. Doesn't
• 31:17
  Speaker 3: that seem slightly opposed to their anti materialistic view of life?
• 31:23
  Speaker 3: Know the motel aria? Really? Oh yeah, well tell me more?
• 31:27
  Speaker 3: Then we fucking spent it, ain't we? I don't know,
• 31:30
  Speaker 3: have you? Yeah? It's all gone really good? Lord? Now
• 31:34
  Speaker 3: I want to know one thing. What are you serious?
• 31:37
  Speaker 3: Or are you just trying to make me laugh? No?
• 31:40
  Speaker 3: It's gone gone. No, I mean about what you're doing. Yeah, Beethoven, Mozart,
• 31:45
  Speaker 3: bark and bronze helos. Ain't they really? What what do
• 31:49
  Speaker 3: you say, sir? They're wonderful people, are they?
• 31:52
  Speaker 2: Oh?
• 31:53
  Speaker 3: Yes, they really turn us on? Suppose they turn other
• 31:56
  Speaker 3: people on? Well, that's just their tough shit. It's what
• 32:00
  Speaker 3: a rude word? Next question? No? No, what was the
• 32:05
  Speaker 3: rude word? Shit? Was it really good? Heavens? You frightened
• 32:09
  Speaker 3: me to death? What about you girls behind? Are you
• 32:12
  Speaker 3: worried or just enjoying themselves? Enjoying myself? Are you. Yeah,
• 32:16
  Speaker 3: that's what I thought. You do it. I've always wanted
• 32:18
  Speaker 3: to meet you, did you really?
• 32:20
  Speaker 2: Yeah?
• 32:21
  Speaker 3: Well we'll meet afterwards, shallity? You? Dirty? Soad, dirty your mind,
• 32:25
  Speaker 3: keep going cheap, keep going, go on, you've got another
• 32:28
  Speaker 3: five seconds, say something outrageous. It's dirty, bastard. Go on again,
• 32:33
  Speaker 3: dirty fucker? What a clever boy? What a fucking rotter.
• 32:37
  Speaker 3: Well that's it for tonight. I'll be seeing you soon.
• 32:39
  Speaker 3: I hope I'll not be seeing the likes of you again.
• 32:42
  Speaker 3: For me though, Good night.
• 32:46
  Speaker 2: Malcolm McLaren nearly shit his pants, and for good reason. Sure,
• 32:50
  Speaker 2: Bill Grundy was a closed minded asshole and an egged
• 32:53
  Speaker 2: the guy's on, but they had taken it too far.
• 32:56
  Speaker 2: Cursing on live television. You have to understand in nineteen
• 33:00
  Speaker 2: seventy six, that was a huge deal, absolute scandal. Overnight,
• 33:05
  Speaker 2: the sex Pistols were the subject of conversation in every
• 33:08
  Speaker 2: household in Great Britain. They were instantly famous, and this
• 33:12
  Speaker 2: is important. They became famous not for their music before
• 33:16
  Speaker 2: what they said live on the air. Thanks to their
• 33:19
  Speaker 2: appearance on Grundy's show. Most of the band's December tour
• 33:23
  Speaker 2: dates were canceled, City and town councils held emergency meetings
• 33:26
  Speaker 2: and voted to ban the Pistols from any further appearances,
• 33:30
  Speaker 2: and those weren't the only meetings being held. EMI's chairman,
• 33:33
  Speaker 2: Sir John Reid, a man who rumor had it dined
• 33:36
  Speaker 2: with the Queen herself, sat down with the label stakeholders
• 33:39
  Speaker 2: to discuss the future of their newest act. Bottom line,
• 33:43
  Speaker 2: there was no future. The band's actions were inexcusable and
• 33:47
  Speaker 2: the punks were done. Sir John Reid cut them loose
• 33:51
  Speaker 2: with the stroke of a pen, and the Pistols took
• 33:54
  Speaker 2: it all in stride.
• 33:56
  Speaker 1: Fuck e am I.
• 33:57
  Speaker 2: The only thing that the label was good for was
• 33:59
  Speaker 2: fodder for a new your song. John Lyden and the
• 34:02
  Speaker 2: band had successfully disrupted the system, and they walked away
• 34:05
  Speaker 2: with a forty thousand pounds signing bonus. That was a
• 34:09
  Speaker 2: win as far as they were concerned, but it wasn't over.
• 34:13
  Speaker 2: Far from it. There were more labels to infiltrate, more
• 34:16
  Speaker 2: idolist to destroy, a monarchy, to overturn an unlimited supply
• 34:20
  Speaker 2: of chaos and anarchy. The Sex Pistols wouldn't be truly
• 34:24
  Speaker 2: happy until they left the whole.
• 34:26
  Speaker 1: Fucking world in Disgrace. I'm Jake Brennan.
• 34:31
  Speaker 2: In This episode of Disgraceland is to be continued. Disgraceland
• 34:56
  Speaker 2: was created by Yours Truly and is produced in partnership.
• 34:59
  Speaker 1: With Double L.
• 35:00
  Speaker 2: Credits for this episode can be found on the show
• 35:02
  Speaker 2: notes page at disgracelampod dot com. If you're listening as
• 35:06
  Speaker 2: a Disgraceland All Access member, thank you for supporting the show.
• 35:10
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• 35:11
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• 35:13
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• 35:18
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• 35:30
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• 35:42
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• 35:49
  Speaker 1: He then