A Cheap Holiday ...

Sex Pistols: 'Holidays in the Sun' 

(Virgin Records, 1977) [1]
 

 

I. 

 

I don't know why - perhaps because I'm a little naive and trusting of his lyrical ability - but I always believed that Rotten had penned the memorable opening line of the Sex Pistols' fourth single: A cheap holiday in other people's misery.

 

It turns out, however, that it's borrowed from the Situationists who used the line during the events of May '68 to attack mass tourism, taking particular aim at Club Med; a French travel and tourism operator headquartered in Paris, who specialise in all-inclusive holidays. Founded in 1950, Club Med today owns or operates nearly eighty resort villages in locations around the world (although the company itself is now owned by a Chinese conglomerate).  

 

 

II.

 

The Situationists, led by the brilliant (but troubled) figure of Guy Debord, viewed mass tourism not as an opportunity for working-class people to travel to foreign lands, but as a manifestation of the Society of the Spectacle (i.e., a sociey in which authentic experience and real events are replaced by mere representation and one's relationships are increasingly mediated by images).

 

A package holiday is - as the name suggests - perfectly commodified and serves only to reinforce capitalist control and intensify the holidaymaker's alienation via the illusion of happiness; you think you're having fun, but actually you're having your soul sucked out of you and being prevented from actively engaging with your environment or knowing real pleasure.

 

What's more, mass tourism forces the local population to prostitute themselves and make their towns, cities, even whole countries attractive for visitors over and above their own needs. At first, everyone thinks it's great and tourism is a huge boost to the economy, but then, one day, they wake up inside a theme park and their traditional way of life has been rendered null and void.

 

Recently, in European cities including Barcelona and Venice, there have been anti-tourism protests; local residents finally deciding to try and resist their homeland and culture being turned into a consumable product by the Spectacle. One suspects, however, that these protests are in vain; too little, too late when the whole world has been Disneyfied and we are all tourists now [2].    

 

 

III.

 

Jean Baudrillard - who was a bit of a situationist himself - didn't quite say that tourism and terrorism are one and the the same thing, but he did argue that they are inextricably linked phenomena arising from the process of globalisation and that tourism is itself a form of terror as an avatar of colonisation and a viral infiltration of traditional cultures by foreign capital and alien values [3]. 

 

Like it or not, as you sit at the airport waiting to fly off for some winter sun, tourism imposes a universal and commodified experience upon the world and incites (sometimes violent and symbolic) acts of resistance from those who don't wish to see their singular experience Disneyfied and consumed by tourists; who understand that any culture that loses its singularity dies.     

 

Like it or not, no matter how much you paid for your trip and how much you love the locals and try to respect their way of life, you are still just enjoying:

 

 

 

Notes

 

 [1] 'Holidays in the Sun' was released on 14 October 1977 as the fourth single by the Sex Pistols. It reached number 8 in the UK charts. It also serves as the opening track to the album Never Mind the Bollocks, Here's the Sex Pistols which was released two weeks later (Virgin Records, 1977). To play the track and watch the official video on YouTube, click here. 

      Jamie Reid's artwork hijacked images from a Belgian holiday brochure and added speech bubbles with lyrics from the song. Unfortunately, the tourist company sued and the record sleeve (along with promotional materials that made use of the artwork) had to be withdrawn. Over 50,000 singles were recalled and re-issued in plain sleeves, although not before an estimated 5,000 had already been sold (one of which I bought). 

      Anyone with £2000 to spare can buy a 'Holidays in the Sun' poster from the London-based bookseller Peter Harrington: click here for details.  

  

[2] See the post titled 'Travels in Hyperculture with Byung Chul-Han 1: We Are All Tourists Now' (30 Jan 2022): click here.  

[3] I'm paraphrasing what Baudrillard writes in 'Where Good Grows', an essay written in 2005, which can be found in The Agony of Power, trans. Ames Hodges (Semiotext(e), 2010), p.102.    

 

 

A Brief Note on the Resurrection of the Damned and Johnny Rotten as an Artist in Decline

The Damned - Rat Scabies, Brian James, Dave Vanian and Captain Sensible - 

proving that whilst punk rockers never die, they do, sadly, grow old ...

Photo credit: John Nguyen / JNVisuals (2022)

 

 

Readers who, like me, still retain a vague interest in how the story of punk unfolds in its twilight years, will have doubtless noticed a couple of stories in the news recently. 

 

Firstly, the original line up of the Damned have reunited to play live, 46 years after they initially took to the stage, offering us not so much an opportunity to smell once more the sweet scent of a new rose, as witness the sad spectacle of human decay.

 

Their show at the Hammersmith Apollo earlier this week - the first of five UK gigs - was described by Neil McCormick in The Telegraph as a 'cacophony of amateurish noise and chaos', so it certainly sounds like it was fun [1]. 

 

But, ultimately, apart from sixty-something die hard fans, to whom does such a event really mean anything? 

 

Secondly, a sheet of handwritten lyrics by Johnny Rotten has sold at auction for more than £50,000; well over the estimated sale price of between £15,000 and £20,000. 

 

The songs featured are 'Submission' - a track written in mocking response to Malcolm's request for a song with a sadomasochistic theme - and 'Holidays in the Sun' - the Sex Pistols' fourth single, which opens with the memorable line 'A cheap holiday in other people's misery' [2].    

 

Lyrically, neither song is at the same level of brilliance as 'Anarchy in the U.K.' or 'God Save the Queen' and arguably Rotten never wrote anything as good again as this verse taken from the latter:

When there's no future, how can there be sin?

We're the flowers in the dustbin ...

We're the poison in the human machine ...

We're the future, your future! [3]

 

However, even Rotten's weakest songs written as the charismatic young singer of the Sex Pistols look like works of genius compared to the dispiriting rubbish he now offers us as the fat old man fronting Public Image Ltd. 

 

I very much doubt people will be paying tens of thousands of pounds for the handwritten lyrics to 'Double Trouble', for example. 

 

Nor can I imagine that Sebastian Horsley would still describe Rotten as "Rimbaud reborn in Finsbury Park" - with all the intelligence and vision of an extraordinary poet [4] - were he able to hear Lydon moaning about his domestic life and indoor plumbing issues: 

 

What - you fucking nagging again? 

About what? What? What? 

The toilet's fucking broken again 

I repaired that, I told you 

Get the plumber in again [5]

 

It pains me to say it, but I'm tempted to agree with Vivienne Westwood that whilst Johnny Rotten was a sensation when performing with the Sex Pistols, once he was thrown out of the band "he didn't have any more ideas" [6]. 

 

And so he turned inward and began to exploit his memories and feelings; this internalisation being one of the defining characteristics of post-punk. Indeed, Lydon himself has confessed that whilst he invested the Sex Pistols with his intelligence, he poured his heart and soul into PiL. 

 

This may have produced some interesting work at first - I'm not denying the brilliance of Metal Box (1979) - but, ultimately, it resulted in a steady decline of his writing skills, just as age and increased girth have, sadly, led to a deterioration of his ability to sing and perform [7]. 

 

Johnny Rotten at the Cruel World Festival (14 May 2022)

Photo by Alex Kluft

 

 

Notes

 

[1] Neil McCormick, 'The Damned are just as amateur now as they were in 1976', The Telegraph (29 Oct 2022): click here. 

      For those who want a reminder of just how great the Damned were back in the day, click here. 'New Rose' was the first single released by a British punk rock group, on 22 October 1976 (one month prior to the Sex Pistols releasing their debut single, 'Anarchy in the U.K.'). 

 

[2] Both these songs can be found on the Sex Pistols' album Never Mind the Bollocks, Here's the Sex Pistols (Virgin Records, 1977). Click here to listen to 'Submission' and/or here to play 'Holidays in the Sun'.

 

[3] Lyrics from the Sex Pistols' second single 'God Save the Queen', released May 1977 on Virgin Records, written by Johnny Rotten and © Warner Chappell Music, Inc. The track is credited to all four members of the band; Steve Jones, Johnny Rotten, Glen Matlock, and Paul Cook. Click here to play.

 

[4] Sebastian Horsley, Dandy in the Underworld, (Sceptre, 2008), pp. 57-58.

 

[5] Lyrics from 'Double Trouble' written by Lydon, although the track is credited to all four members of PiL; Scott Firth, Lu Edmonds, John Lydon, and Bruce Smith. It can be found on the album What the World Needs Now ... (PiL Official Ltd., 2015): to play, click here.

      Although the album received mostly favourable reviews, it is, in fact, fucking awful. Middle-class music critics working for The Guardian might find the songs exhilarating, foul-mouthed fun, but I don't.

[6] Vivienne Westood interviewed by Alex Flood (13 May 2022) for the NME. Click here to read online.

[7] This is evidenced by a charmless live performance at the Cruel World Festival earlier this year: click here to watch an excruciating version of 'Shoom' (another track from What the World Needs Now ...).