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"I have no time for lies and fantasy, and neither should you. Enjoy or die..." --John Lydon
Punk has been romanticized and embalmed in various media. An English class revolt that became a worldwide fashion statement, punk's idols were the Sex Pistols, and its sneering hero was Johnny Rotten.
Seventeen years later, John Lydon looks back at himself, the Sex Pistols, and the "no future" disaffection of the time. Much more than just a music book, Rotten is an oral history of punk: angry, witty, honest, poignant, crackling with energy. Malcolm McLaren, Sid Vicious, Chrissie Hynde, Billy Idol, London and England in the late 1970s, the Pistols' creation and collapse...all are here, in perhaps the best book ever written about music and youth culture, by one of its most notorious figures.
- Sales Rank: #143112 in eBooks
- Published on: 2014-06-10
- Released on: 2014-06-10
- Format: Kindle eBook
Amazon.com Review
"Much has been written about the Sex Pistols. Much of it has either been sensationalism or journalistic psychobabble. The rest has been mere spite. This book is as close to the truth as one can get ... This means contradictions and insults have not been edited, and neither have the compliments, if any. I have no time for lies or fantasy, and neither should you. Enjoy or die."
So writes author John Lydon, a.k.a. Johnny Rotten, in his introduction to the book Rotten, an oral history of punk: angry, honest, and crackling with energy. Seventies punk has been romanticized by the media and the up-and-coming punk bands of today, but the sneering, leering disaffection of that time has been lost. Now, Lydon candidly and at times, dare we say it, fondly looks back at himself, the Sex Pistols, and the "no future" attitude of the time. Rolling Stone calls Lydon a "pavement philosopher whose Dickensian roots blossom with Joycean color," and the San Francisco Chronicle calls Rotten an "invaluable [book] ... sheds welcome light on that short period of great music and spasmodic cultural change."
Bollocks you say? Read, sneer, and enjoy or die.
From Publishers Weekly
Britain's short-lived, notorious late-'70s punk band the Sex Pistols has become one of rock 'n' roll's greatest legends. But it's time to set the record straight, writes Lydon, aka Johnny Rotten, frontman for the Pistols and author of the controversial songs--"Anarchy in the U.K.," "God Save the Queen"--which made his band an immediate sensation. In his engagingly nasty and unexpectedly witty autobiography, he seeks to demythologize the Sex Pistols by suggesting that punk rockers are just like the rest of us, people with families, friends and financial troubles. Vitriolic about the British class system and the music industry, Lydon is nevertheless unabashedly affectionate when discussing his own family. And his depiction of Sid Vicious, his ironic bandmate who has been alternately romanticized and maligned for his addictions to heroin and self-mutilation emerges as a touchingly helpless figure. Lydon's account of the Sex Pistols' demise is one-sided and his narrative rambles at times, but textual anarchy seems appropriate in the context. He augments his personal perspective with the disparate impressions of his fellow bandmates and associates to make his memoir a convincingly candid account of the Sex Pistols as working-class stiffs who mainly wanted to shake things up a bit and inadvertently stumbled across rock 'n' roll sainthood. Photos not seen by PW.
Copyright 1994 Reed Business Information, Inc.
From Library Journal
Lydon is bettern known as Johnny Rotten, leader of one of the most influential British bands in the history of rock music, the Sex Pistols. Although he continues as a force in rock, this autobiography focuses almost exclusively on the brief (1974-78) pyrotechnic career of the Pistols. Well crafted and engaging, Rotten unfurls a tapestry of success, failure, conflict, and survival within the sometimes savage music industry. Admirably, Lydon balances his own recollections with the comments of such participants as Chrissie Hynde, Billy Idol, and, most importantly, fellow Pistols Paul Cook and Steve Jones. Especially valuable is Cook and Lydon's unique track-by-track analysis of the Pistols' studio oeuvre. Given the Pistols' significance in 20th-century popular music and their yet-undiminished popularity, Rotten should be seriously considered for both academic and public music collections.
- Bill Piekarski, Southwestern Coll . Lib ., Chula Vista, Cal.
Copyright 1994 Reed Business Information, Inc.
Most helpful customer reviews
61 of 64 people found the following review helpful.
Rotten, indeed
By daibhidh
At long last, John Lydon (aka, Johnny Rotten) has opened up, nearly twenty years later. The Sex Pistols remain one of my favorite bands, and Johnny Rotten one of the more interesting media figures in the pop culture, so I devoured this book. It combines first-person accounts of all sorts of punk notables and wannabes, and the observations of Lydon himself, co-written by Keith and Kent Zimmerman. I'll admit a bias up front - so much of the history of punk has been obfuscated, I value anything that comes along. I was eight at the time the Sex Pistols did their thing, and I remember being scared when I heard the names "Johnny Rotten" and "Sid Vicious" - I didn't know who they were, but they seemed scary names (and remember, this was before MTV), and the radios weren't playing them - they were phantoms and boogeymen, and all the adults seemed scared of them. I remember when I was a teenager, finally buying their album, and thinking, "What's the big deal? This music rocks!"
I'm glad to see some light shed on this period by one of the people at the center of the media storm. Lydon fills the book with tart observations - he retains his spite and anger and seems as volatile as ever. At the same time, I feel like he's pulling one over on the rest of us. Some of his recollections seem contradictory - perhaps very real to him, but everybody knows that one's perception of things changes over time. There's a subjective quality to this account that makes me long for corroboration. Some of the first-person commentary does back up Rotten's assertions, but I get the feeling there's impression management occurring (check out Goffman's "Impression Management" and you'll know what I'm talking about). Sort of retroactive damage control on Lydon's part.
My only complaints about the book are minor - I wanted more pictures, and I'd hoped for more commentary. I was really wondering what he was thinking in some of those shots, and the cryptic comments make them all the more enigmatic. Again, probably the way he likes it. My other gripe is the book seems to raise more questions than it answers - I wanted more!
The fact that he went to bat in court for the band (which is detailed at the end of the book), and didn't cut Jones and Cook out of it, even when they repeatedly sided with McClaren, is a character-revealing moment. They'd consistently shafted him, and Rotten could have easily blown them off and pursued the case for his exclusive benefit. But he kept them in, eventually winning them over once they realized where their interest was. Contrasted with McClaren's machinations, this righteous persistence on Rotten's part is inspiring. On page 283, he says:
"'Nice' is the worst insult you could ever pay anybody. It means you are utterly without threat, without values. Nice is a cup of tea."
That's part of what I love about John Rotten - he's a nutcase, wit, cynic, revolutionary, and clown, and you're never sure whom you're dealing with; he's a chimera, and he's certainly not "nice". All you can be certain of is that he's laughing at all of us. In this age of immaculately-packaged music superstars, Rotten's aura remains refreshing and subversive - downright threatening. It is simply hard to safety pin him down, and I think that's the way he likes it.
24 of 24 people found the following review helpful.
The Pistols seen through the piercing stare of Johnny Rotten
By K Master General
The constant criticism of this book is what is perceived as Rottens one sided ego about the events that created the Sex Pistols and the movement that would become punk in mid 70's England. What these critics fail to realize is that the book is from his point of view which he has had to become very defiant over due to all of the mis-information that has been reported over the years. This book represents his chance to set the facts straight and you can feel the underlying frustration that obviously drove him to write this book as you read the pages. Rotten explains in plain facts the atmosphere in England in the Mid 70's and the conditions that would combust into what the press would end up dubbing "punk rock". Reading this book allows outsiders to really understand what was going on beyond the masses of mohawks and leather jackets that would later cast the movement in a generic style void of it's original creativity. The book is hard to put down and provides a ton of laughs to go along with the vivid picture of life for the young working class Brits frustrated with a system too willing to wallow in drudgery and maintain status quo. Many at the time thought that Rotten was trying to insight anarchy when he was only trying wake the sleeping masses up to come alive and create change for the better in a time when England needed it most. A great companion with this book is the documentary "The Filth and the Fury".
31 of 33 people found the following review helpful.
In defense of the revered Mr. Lydon. . .
By Allison Suko
First, I wish to take issue with other reviewers who admit to knowing absolutely nothing about the '70s London punk scene, yet feel qualified to critique dear Johnny's representation of it. The picture painted in this book matches up quite well with all the others I have encountered in my journey to understand this punk world that I unfortunately am too young to have been a part of. From "The History of Rock and Roll" documentary to the Clash's autobiographical documentary ("Westway to the World") to books and essays by and interviews with people who were actually there (Jon Savage's "England's Dreaming," Mikal Gilmore's essays and articles from "Night Beat," Greil Marcus's work, etc.), John's portrait of the scene flawlessly fits in with the others. As far as I am concerned, it positively reeks with accuracy.
Second, yes, John Lydon is obnoxious. It's not a secret that you're letting anyone in on. He knows it and takes pride in it, and his fans know it and love him for it. He is superior and he hates everything and he really is a c*nt (sorry if you disapprove of the language, but it's how the man describes himself). If you don't like him, that's just fine by both him and me. Punks didn't put much stock in trying to be liked by anyone. If you're trying to learn more about the scene, that's one key fact you should be getting out of this text.
Third, if you don't know what the Ramones "stood for," you obviously should have started out with something much more elementary in your "School of Rock--Punk" lesson. The Ramones stood for a return to the '60s. They wanted to take rock back to the happy place it occupied when it was synonymous with pop music, which is a noble quest. However, I suspect most of Mr. Lydon's distaste is based on the fact that the Ramones idolized the Beatles (their name was taken from an early stage name of Paul McCartney's--he called himself Paul Ramone for a while), and John hates the Beatles. Glen Matlock loved the Beatles, and it got him kicked out of the Sex Pistols.
Fourth, Clash fans have no right to criticize just because they see the Clash as a superior band and John doesn't share their admiration. Technical skill has absolutely nothing to do with what makes a good punk band. It's all about what you say, what your philosophy is, what you "stand for." I would venture to say that the Clash and the Sex Pistols are completely equal in their excellence on all counts. Besides, it's ridiculous to rate bands on musical proficiency alone. Claiming that the Clash were better than the Pistols because they played better is like saying that the Monkees were better than the Stones because they played better--sloppiness was part of the *point* with the Stones, as it was with the Pistols. If we based our like of rock on how professional and well-played it was, we'd all be hailing Yes and ELP as the greatest bands of all time. Which, you may have noticed, we aren't doing.
Fifth (and I promise this is the final count), how in good God's name can you critique an autobiography for not being objective? I should think it would be obvious that one cannot be at all subjective when considering one's own life. You want objectivity, read an encyclopedia.
There. Now that all that's said, I'll say my short little piece on the book itself. Great autobiography. The reader definitely comes away with a sense of the writer's (extremely abrasive) personality, a coherent look at the events of his life, and a clear idea of how he thinks of them. We see the rise of the London punk scene through the eyes of one at the center of it. And if you doubt the complete veracity of this representation, remember: the view from the eye of the storm isn't always the clearest view of the storm itself. Think about the Beatles at the center of Beatlemania. They couldn't comprehend all the fuss going on about them, but they were about the only people with a clear view of the group itself. In the same way, amid all the furor surrounding the punks, only one of the punks themselves can tell you what it was really like. If you don't agree, well, you weren't there.
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