'The cult is called punk; the music punk rock ...'
I.
In a pre-Grundy television interview, Sex Pistol Johnny Rotten is asked by Maggie Norden:
"What about the word 'punk' - it means worthless, nasty - are you happy with this word?"
A crucial question to which he replies:
"No, the press gave us it. It's their problem, not ours. We never called ourselves punk." [1]
It's a somewhat surprising response which every idiot who proclaims that they'll be a punk until they die might care to consider ...
II.
When Rotten refers to the press, he was more than likely thinking of posho freelance journalist and photographer Caroline Coon, who, having risen to prominence as part of the British Underground scene in the 1960s, attached herself to the new youth movement spearheaded by the Sex Pistols in the mid-70s [2].
For it was Coon, writing for the influential music paper Melody Maker, who famously described this anarchic subculture held together with safety pins and bondage straps as punk - a name by which, for better or for worse, it has been known ever since (despite Rotten's disavowing of the term) [3].
Personally, I always think it a pity when something as beautifully fluid, ambiguous, and messed up as the scene that grew out of at 430 King's Road is identified and codified; to name is to know and to know is to kill. Calling the Sex Pistols a punk band was to suggest they were not something radically new or different; that they could, in fact, be compared with other groups and to prevailing rock trends.
That's undoubtedly true of the Clash - the band with whom Coon became most closely associated - but it's absolutely not true of the Sex Pistols as conceived by McLaren and Westwood. And not true either of Alan Jones, Jordan, and all those others who either worked at or hung around 430, King's Road.
Assuming that a collective term of reference is at least provisionally needed, what should we call this assemblage of individuals ?
Perhaps the best answer to this question was supplied by cultural critic Peter York, who, in October '76, referred to the "Sex shop people" and characterised them as the "extreme ideological wing of the Peculiars" [4].
That, I think, is spot on: and very much in line with how I think of the Sex Pistols and those closely associated with them - as more funny peculiar than punk; i.e., as unusual, strange, abnormal, deviant, perverse, extraordinary, singular, exceptional, outlandish ...
The photo below perfectly captures just how queer things were before being named and tamed by the media and the music business and before an army of identikit punks emerged.
The Sex shop people: (L-R) Steve Jones, Danielle, Alan Jones,
Chrissie Hynde, Jordan, and Vivienne Westwood
Photo by David Dagley (Forum, June 1976)
Notes
[1] The full six minute interview with McLaren and Rotten - including a pre-recorded performance of 'Anarchy in the UK' - was on the tea-time current affairs show Nationwide (BBC1 12 Nov 1976). It can be found in the BBC Archive on Facebook: click here. A shorter version - without the band's performance - can also be found on YouTube: click here.
[2] Acting on the recommendation of Alan Jones, then working as an assistant alongside Jordan at McLaren and Westwood's shop on the King's Road, Coon attended an early Sex Pistols gig and, like many others, she was captivated by what she saw happening both on and off stage and immediately began to document this new scene.
[3] See Coon's Melody Maker article entitled 'Punk Rock: Rebels Against the System' (7 August 1976).
Although the word punk had already been used fairly widely for several years in connection to rock music in the US - and, indeed, has a much longer and more complex history than that: click here - it was Coon's piece that played a crucial role in introducing a slightly revised version of the term to a British audience and helping to identify a novel (but not radically new) genre of music.
Coon obviously had a gift for this kind of thing as, interestingly, she was also the person who named the hardcore group of friends who followed the Sex Pistols as the 'Bromley Contingent'.
[4] Peter York, quoted by Paul Gorman in The Life and Times of Malcolm McLaren (Constable, 2020), p. 329. York was writing in an article entitled 'Them', in Harpers & Queen (October, 1976).
