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But Malcolm Mc Laren, the band’s manager and mastermind who created the Pistols in the mold of an intensely profane, anti-Monkees, had no interest in building the audience.
His goal was conflict and the free press it would generate.
he Sex Pistols’s notoriously ill-conceived 1978 tour of the U. was one of the more surreal moments in American pop culture history.
The band had spent the previous two years violently yanking on England’s stiff upper lip, making international news by, among other things, dropping f-bombs on a London suppertime chat show and timing the release of a single “God Save the Queen”—which declared the prim monarch was fascist and inhuman—to coincide with the silver jubilee celebration of her 25 years on the throne.
Though some considered them the embodiment of underclass unrest, the prevailing perception was simpler: that the band’s only interest was offending any and everyone.
It’s a remarkable yet simple photograph, extremely subtle compared to the balance of the coverage.
Against a wan, blue sky, a large, barn-shaped sign announces the honkytonk’s name.
Or constitutionally disgruntled Johnny Rotten hunched over and leering at the crowd in Tulsa (or anywhere, really).
But one of the most well-known images from the tour doesn’t show any of the band members.
So he booked the tour throughout the South, and over nine days that January—36 years ago this month—the Pistols played in places like Memphis, Baton Rouge, San Antonio, and Dallas.
Trailing them was a phalanx of now-famous photographers—names like Annie Leibovitz and Bob Gruen—who were charged with memorializing this world-class culture clash.