Johnny Rotten hated Malcolm McLaren, and he wasn’t alone in that sentiment. Despite the fact that Malcolm was a ruthless trickster who often treated his collaborators and closest allies poorly, and in addition had a unique ability to irritate those around him, sometimes even an entire society, he had a significant cultural impact.
Text Stein Holte
Malcolm was no functional musician—more impresario than artist—and a terrible manager in the traditional sense. Rather, his strength lay in initiating projects and situations, letting them unfold as absurd theater driven by societal reactions. He was a charlatan, but also a genius—a twisted Brian Epstein and a kind of English Andy Warhol. Today, he is mostly remembered as the sleazy manager of the Sex Pistols, but Malcolm McLaren was much more than that.
Early Life
Malcolm Robert Andrew McLaren was born on January 22, 1946, in London. His parents divorced when Malcolm was two years old. His father left due to his mother’s numerous infidelities, and his mother had no interest in her young son. As a result, Malcolm was raised by his grandmother, who hated art, considering it a waste of time. Consequently, Malcolm never received crayons but was instead forced to read encyclopedias and classics like «Jane Eyre» and Dickens’ «A Christmas Carol» before he even started school. Neither Malcolm nor his grandmother liked school very much. She encouraged him to turn away and stare at the wall whenever the clichés from the teacher became too unbearable. The worse Malcolm behaved in school, the more his grandmother cheered him on. As she said, «It’s good to be bad,» a lesson Malcolm took to heart.
To his grandmother’s great dismay, Malcolm enrolled in art school, a unique English form of art education that also produced the likes of John Lennon, Keith Richards, Bryan Ferry, Marc Bolan, and David Bowie. McLaren attended three different art schools, without earning a degree. On his first day at the first of these schools, he met a teacher who would have a lasting influence on him. This teacher mocked the students’ ambitions to become famous artists, filmmakers, or something similar, insisting that realistically, they were all destined to be losers and failures. But what was wrong with being a failure? This teacher inspired the slogan now engraved on McLaren’s tombstone: «It is better to be a flamboyant failure than being any kind of benign success.» The word «flamboyant» describes something or someone who stands out due to their colorful, bold, confident, and often extravagant appearance and behavior.
Influence of Situationism
Malcolm was also inspired by an activist, artistic, and revolutionary movement with a philosophy known as Situationism. The Situationist International was founded in 1957 by a group of European avant-garde artists, intellectuals, and political thinkers. Central to Situationist theory is the concept of «spectacle,» which deals with how modern society is dominated by mass media, advertising, and consumerism, alienating people and creating passive spectators instead of active participants in life. Counterstrategies could include subversive manipulations of public spaces or creating situations that break with the norm, revealing the hidden to create revolutionary consciousness. The Situationists played a significant role during the May 1968 protests in France, both as active participants and as producers of slogans like «Be realistic, demand the impossible,» «The barricade blocks the street but opens the way,» «Boredom is counter-revolutionary,» and «Under the cobblestones, the beach.» The latter was coined when demonstrators discovered sand beneath the cobblestones they were tearing up to throw at the police.
Sex, Rock, and Fashion Design
When the 1960s ended and Malcolm had exhausted his time at art schools, he had to face the real world. It was rotten, fake, and above all, boring. But life had to be sustained, and Malcolm began designing clothes with his girlfriend, five years his senior, Vivienne Westwood. They started selling their creations and more in a shop at the bottom of Kings Road. Initially, the shop was called «Let it Rock,» then «Too Fast to Live, Too Young to Die,» with collections inspired by 1950s rockabilly and biker culture. Over time, the designs became more outrageous, with sleeveless shirts featuring messages like «PERV» and «ROCK,» and the use of safety pins, chicken bones, and glitter glue. In 1974, they revamped the concept and renamed the shop «Sex.» The new clothes were deliberately provocative, emphasizing fetish and sadomasochism, challenging the status quo and middle-class values to inspire rootless youth to rebel.
In 1973, McLaren and Westwood traveled to New York, where they connected with the band New York Dolls and began designing stage costumes for them. They also accompanied them on a tour of Britain and France. In 1975, Malcolm returned to New York and became the New York Dolls’ manager. He and Westwood designed new stage costumes in red leather with hammer and sickle motifs. This attempt at provocation was unsuccessful, and the band disbanded. Malcolm returned to Europe but had been deeply influenced by the pulsating life around the CBGB club in New York’s slums, home to the original punk scene with bands like Television, Patti Smith Group, Blondie, and especially the Ramones.
Sex on Kings Road became a gathering place for a mix of aspiring artists, street designers, musicians, fetishists, enemies of the system, Situationists, and low-life losers. One of the latter was kleptomaniac and Roxy Music fan Steve Jones, who had hung around so much that he became part of McLaren and Westwood’s inner circle. He was the vocalist in a band called The Strand, which included childhood friend Paul Cook on drums and a guy named Wally Nightingale on guitar. They played on instruments and equipment that Jones, sometimes with help from Cook, had stolen from stores and band vans outside the Hammersmith Odeon.
When an inspired McLaren returned from New York, he, at Jones’ request, took on the role of the band’s manager. Glenn Matlock, who occasionally worked as a salesperson at Sex, joined on bass. Poor bespectacled Wally was soon fired because he didn’t fit McLaren’s vision for the band. Jones, relieved to no longer be the vocalist, took over the guitar. After considering several names, one of which was actually The Damned, they renamed the band Sex Pistols, likely suggested by McLaren.
Then it was time to find a vocalist. Many were asked. Westwood suggested a guy named John, but she didn’t know his last name. Eventually, a friend and future manager of The Clash, Bernie Rhodes, discovered a guy with green hair and a torn Pink Floyd T-shirt with the words «I Hate» scribbled over the band’s name. When asked if he could sing, he replied, «Yes. But only badly.» He was persuaded to audition in front of a jukebox at Sex. There, he screamed into a loose showerhead over Alice Cooper’s «I’m Eighteen» while, according to McLaren, looking like the Hunchback of Notre Dame. He got the job. His name was John Lydon, but Steve Jones nicknamed him Johnny Rotten because of his rotten teeth. The guy Westwood had meant turned out to be the wrong John—John Richie, later known as Sid Vicious.
Punk
British punk was more a cultural and visual revolution than a musical one. The music was a continuation of American 1960s garage rock, English pub rock, early 1970s bands like MC5, the Stooges, New York Dolls, and contemporary American punk. Ska and reggae eventually became part of the mix, thanks to DJ Don Letts. The fashion, with torn T-shirts, subversive symbols and slogans, safety pins, spiky hair, and the whole aesthetic, was created by Westwood, McLaren, and the scene around Sex (which later changed its name to Seditionaries). The famous Sex Pistols’ logo, album covers, and other visual regalia were designed by Jamie Reid. The entire concept drew ideas from Situationism and the Paris riots of 1968. The goal was to shake the foundations of the British establishment and inspire youth who were not attracted to traditional left-wing politics to rebel.
With Johnny Rotten, Malcolm McLaren found a worthy partner—and adversary. McLaren’s plan was to create a sort of bad boy band, the antithesis to the Bay City Rollers, a disgustingly cheesy do-good band that dominated the English charts at the time. He saw himself as the director of a subversive, Situationist-inspired stunt with the band as his puppets. But Johnny Rotten refused to be anyone’s puppet. He had his own integrity. He also turned out to be a gifted lyricist who, though inspired by Westwood and Co.’s ideas, came up with lines like «I don’t know what I want, but I know how to get it» and «a cheap holiday in other people’s misery.» He also didn’t resemble any vocalist before him. His facial expressions, body language, presence, and, not least, his snarling, toneless vocals were completely original. He accepted McLaren as the band’s manager because McLaren was the manager of the band he sang in. But he never respected him as much as he despised him. In the end, he had enough.
The Rise and Fall of the Sex Pistols
The Sex Pistols played their first gig on November 6, 1975, at the art school Glen Matlock attended. Since this article primarily focuses on McLaren and not the Pistols, let’s fast-forward. The Sex Pistols gradually went from performing at schools and private parties to more established venues like the Marquee and the 100 Club. They became notorious for their behavior both on and off stage, particularly after Sid Vicious invented the pogo dance. Along the way, they inspired a growing number of people to start their own bands in the spirit of the Sex Pistols. A burgeoning group of punks began to cut their hair, refused to work, and became part of the punk movement instead. The Sex Pistols signed a contract with EMI and released the single «Anarchy in the UK.» They caused a scandal during a live TV appearance and were declared public enemies. Matlock, who composed most of the music, was fired for liking Paul McCartney and clashing with Rotten. He was replaced by Johnny’s friend Sid Vicious, who was terrible at playing but good at posing, quickly becoming a style icon. They provoked the entire country with a boat trip on the Thames and by planning to release the song «God Save the Queen» during the Queen’s Silver Jubilee. They were dropped by EMI and then signed with A&M, caused another scandal at the signing party, and were dropped from the label just two days later—but not before receiving a large advance, which Malcolm pocketed. «Where’s the money, Malcolm?»
The band members were so poor they had to walk or take public transport. Cook and Rotten shared the fate of many punks and were beaten up on the streets, Rotten twice. They signed with Virgin Records, which released «God Save the Queen,» selling in large numbers and causing moral panic in England. They were banned from playing almost everywhere but continued to perform, including shows in Oslo and Trondheim. They released two more singles, and the album «Never Mind the Bollocks, Here’s the Sex Pistols» came out. Sid had become a junkie and barely played on the album, with his bass buried deep in the mix. Steve Jones played bass on all tracks except for «Anarchy in the UK,» where Matlock had already recorded the bassline. Punk exploded in newspaper headlines, the music press, and on the charts. It spread from Britain to the rest of the world. The Pistols played their last two concerts in England in support of striking firefighters in Huddersfield around Christmas 1977—a children’s matinee during the day and an adult concert in the evening. There’s a documentary about these concerts on YouTube, which you should watch during the holidays. It’s genuinely touching—I’m not kidding!
After this came the disastrous US tour. Malcolm had mostly booked gigs in the American South, likely in the hope of generating controversy. The tour devolved into arguments, violence, Sid’s drug problems, and internal strife—Johnny and Sid on one side, Malcolm and the rest of the band on the other. They played their final show on January 14, 1978, at Winterland in San Francisco, ending with a drawn-out version of the Stooges’ «No Fun.» Steve Jones can clearly be heard saying, «Why should I carry on?» Rotten left the stage with the words, «Ever get the feeling you’ve been cheated?»
And that was it. It was truly over, even though Malcolm took Jones and Cook to Brazil and recorded a song with train robber Ronnie Biggs. Even though Malcolm released the movie and album «The Great Rock ‘n’ Roll Swindle,» and Virgin pumped out the world’s most cynical compilation, «Flogging a Dead Horse.» A greatest hits collection from a band that only made 15 songs in their entire career.
But before we continue, let’s look at two of the most notorious events in the Sex Pistols’ history.
After debuting with EMI, they became part of the label’s artist roster. When Queen pulled out last minute from a live broadcast on Thames Television’s talk show «Today» with Bill Grundy, the Sex Pistols were hastily asked to fill in. The group arrived at the studio in limousines provided by the label, accompanied by Siouxie Sioux, later famous with her band Siouxsie and the Banshees. Grundy was slightly drunk and condescending, and when Rotten accidentally said the word «shit,» Grundy encouraged him to repeat it. Rotten did. When Grundy tried to flirt with Siouxie, Steve Jones, who had found a fridge full of Blue Nun wine at the TV station, shot back with, «You dirty old man.» At Grundy’s apparent urging, he continued with inappropriate words and phrases like «You dirty fucker» and «You dirty bastard.» All of this was broadcast live on TV. It became a total scandal, ended Grundy’s career, and gave a huge boost to the Pistols. But Malcolm didn’t realize this immediately. He scolded the band and accused them of ruining his master plan. But when he saw the headlines and reactions the next day, he completely changed his tune and took credit for it himself. Here we see an example of how chance can take control. McLaren panicked when he felt he was losing control and something happened that he hadn’t planned or set in motion himself.
But the jubilee boat trip on the Thames was undoubtedly McLaren’s own initiative. He rented a boat, filled it with the band, instruments, a crowd of journalists, friends, punks, and a film crew. Two days before the Queen herself was to do so, the boat, named Queen Elizabeth, sailed down the Thames towards the Houses of Parliament while the band played «God Save the Queen.» As the boat approached Westminster, the police intervened. They forced the boat ashore, scuffles broke out, and participants scattered in all directions. The police asked Johnny Rotten who Johnny Rotten was, and Rotten pointed to where McLaren and Richard Branson were standing. The band got away, but McLaren was among those arrested. Both the stunt and the lyrics of the song were an unprecedented provocation against Britain’s most sacred institutions: «God save the Queen / The fascist regime» and «No future in England’s dreaming.» All this in the middle of the Queen’s Silver Jubilee!
After the Sex Pistols
After the Sex Pistols, Johnny Rotten became John Lydon again. He started the band Public Image Ltd (PiL). PiL, as they’re usually known, released at least three or four brilliant albums, especially Metal Box from 1979, which remains unparalleled to this day. They’re still active, with their latest release coming out just this year and receiving decent reviews. Lydon also had a hit with the techno group Leftfield with the song «Open Up» in the 1990s. However, he hasn’t fully realized his artistic potential, often still perceived as the clown from the Sex Pistols. Sid Vicious recorded a notorious version and video of «My Way,» possibly killed his girlfriend, and died of a heroin overdose. He became an icon and a role model for too many people, both in style and lifestyle. Cook and Jones started the band The Professionals and have since appeared in various musical contexts. Jones has also published an autobiography, helped create a TV drama series about the Sex Pistols, and hosted his own radio show. Glen Matlock started the band Rich Kids and has performed in many groups, most recently as the bassist in Blondie. The Sex Pistols went on their first of several reunion tours in 1996 and won a lawsuit against McLaren over the rights to the band’s name and music.
In «The Great Rock ‘n’ Roll Swindle,» directed by Julien Temple, Malcolm portrays himself as a cynical Svengali who, under the motto «Cash from Chaos,» starts the band the Sex Pistols, uses them as puppets, and manipulates them to the top of the music industry while he rakes in money from various record labels. The film features minimal participation from the band, except for Steve Jones. Rotten only appears in old documentary footage. For the band’s own version of what happened, watch Temple’s «The Filth and the Fury» from 2000.
Post-Punk Career
After the Sex Pistols, Malcolm McLaren continued his career as a manager. Adam Ant from Adam and the Ants asked him to manage his band, but Malcolm stole all of Adam’s band members for his new concept, Bow Wow Wow. Adam formed a new backing band and did quite well. Bow Wow Wow had 13-year-old Annabella Lwin as their vocalist. The band had some success and attention and launched a campaign promoting cassette releases. More questionable and unacceptable was Malcolm’s use of underage girls’ sexuality as part of the band’s image and promotion. Both bands performed in costumes designed by McLaren and Westwood, but the duo parted ways in 1986.
During a trip to New York with Bow Wow Wow, Malcolm saw a large black man wearing a Sex Pistols T-shirt on the street. It turned out to be Afrika Bambaataa, who invited him to a party in one of the city’s roughest neighborhoods. Here, Malcolm was exposed to hip-hop, breakdancing, and graffiti for the first time. A year later, the city was overflowing with this culture, which had been picked up by the hip art elite and fashion industry, who exploited it to the maximum before moving on. But in Europe, it was still almost entirely unknown.
Malcolm McLaren set out to change that. He declared that punk was the end of the old, and hip-hop was the start of the new. In 1983, he debuted as a solo artist with the album Duck Rock and hit singles like «Buffalo Gals» and «Double Dutch.» The album was a mix of hip-hop and African world music, one of the first to feature scratching. He collaborated with producer Trevor Horn and the DJ duo The World’s Famous Supreme Team from New York. The album was instrumental in spreading hip-hop culture in Europe. As often happens when a white man dabbles in black music and culture, he faced plagiarism lawsuits, which were settled out of court. He was also accused of cultural appropriation, a critique that has followed many artists throughout history. Without cultural exchange, however, we wouldn’t have had icons like Elvis, The Beatles, The Rolling Stones, Led Zeppelin, or even the Sex Pistols. Many black artists would have been even more obscure and forgotten. An album like Duck Rock would hardly be possible in today’s highly sensitive cultural climate.
Malcolm McLaren continued his musical exploration. In 1984, he combined R&B, electronic music, and opera in the hit single «Madame Butterfly» and on the album Fans (1985). Waltz Darling (1989) was a funk and disco album that, among other things, was one of the first to popularize the stylized trance dance «voguing,» several months before Madonna. In the Serge Gainsbourg-inspired album Paris (1994), he collaborated with French stars like Catherine Deneuve and Françoise Hardy. In all these projects, he worked with designers and video artists to make them visual experiences as well. He continued with various musical and visual collaborations for the rest of his life. His last release was the spoken word to music album Tranquilize (2005).
McLaren was also active as a film producer, and in 1999, he returned to visual arts with an exhibition of new sound sculptures. He passed away in 2010. His coffin was inscribed with the words “Too fast to live, too young to die.”
Just a Flamboyant Fiasco?
Did Malcolm McLaren create punk? Did he truly create the Sex Pistols? He certainly didn’t create punk as a whole—it was already in full swing in the States, and influential British music magazines had written about it. Moreover, the times were ripe for an aggressive rebellion. Britain was plagued by unemployment, strikes, trash piling up on the streets, and one crisis after another. In the music scene, stadium rock, arrogant record labels, Yes, disco, and Bay City Rollers dominated, making it seem almost impossible for a regular working-class British youth to break through as a rock musician.
The band that became the Sex Pistols existed before McLaren became their manager. If McLaren had stuck to fashion design, the band might have gone in a similar direction under the management of someone like future Clash manager Bernie Rhodes. But that’s speculation. Without Malcolm McLaren, there would have been no subversive little shop at the bottom of Kings Road, and without that shop, punk might have taken a very different form. Perhaps it would have remained a subculture—less flashy, less likely to be commercialized by the fashion industry, and less scandalous. None of the bands inspired to start by the Sex Pistols would have existed. But the Ramones and Dead Boys might have eventually influenced many of those musicians anyway. Punk would have been more varied visually and musically—not frozen in the Westwood and Vicious look, not just quick riffs. But things turned out the way they did.
The Legacy of a Flamboyant Fiasco
Does a subculture have to be commercialized, or does it remain obscure? Both punk and rap/hip-hop started from the bottom. Rap has become part of the mainstream, while punk only resurfaces when a Billy Idol, a Green Day, or a nostalgic trendy fashion designer comes along. It’s paradoxical that something inspired by Situationism became part of «le spectacle» so quickly, and that something born in the Bronx slums has ended up in wealth and mansions on the hill. But how negative is that, really? It allows it to reach a wider audience. The underground scene still thrives; in almost every corner of the world, someone is practicing in a rat-infested basement, spitting rhythmic rhymes, or creating beats on a worn-out mobile phone. And they are doing it themselves. Malcolm McLaren may have been a cynical exploiter who colonized other people’s cultures, but he was also one of the most important cultural figures of the late 20th century. As he himself said, «Fuck Authenticity.»
