Thursday, 13 April 2017

WHY JOHNNY ROTTEN CAN GO F*** HIMSELF

Never mind the bollocks, although it's very difficult where John Lydon is concerned. John Lydon, once styled Johnny Rotten, suddenly jumped onto the Brexit and Trump bandwagons and into the headlines a couple of weeks back, which caused a bit of a stir among the chatterers of society. Over the past forty years, Lydon has been groomed as a cultural ambassador by those in power, while playing the old game that he is somehow an anti-establishment rebel. The unfortunate thing is that many on the Alt Right - rather like what happened with Donald Trump - seem to have been taken in by him, so let us take a look at this new 'hero' and the cultural movement known as punk at large, which John Lydon as Johnny Rotten represented.

 

 

Let us begin with Lydon's origins and rise, for these are intertwined with the punk phenomenon at large. Lydon's immediate heritage is Irish, hence the title of his autobiography: Rotten: No Irish, No Blacks, No Dogs - the title being based on a typical sign on properties to let in the 1950s. The 'No Irish' part, which may look strange to us today, can be explained by the IRA terrorism of the time and also by the behaviour of Irish gypsies, otherwise known as Travellers. I remember in the good old days before political correctness, many public houses and inns would have signs on the entrance saying 'No Travellers'.

 

It is clear, then, from the book's title that he identifies his own purported second-class citizen status with that of the Negro, who, at the time of Lydon's birth, had only been in the country in any meaningful sense for barely a decade. This has extended to raising his elderly wife's half-caste grandchildren like a good little cuck. He has always identified himself with the Other and has an Irish rather than British passport to foreground his at least civic otherness. He therefore also identifies himself as working class in a Marxian sense, his idea of working class as being antagonistic to traditional British and even European norms. He talks about being purportedy working class at every given opportunity.

 

Certainly, his parents were working class, but is Lydon? There are two ironies here: the first is that he has married Nora Forster, a German publishing heiress fourteen years his senior; the second is that he has never done a working-class job in his life, manager Malcolm McLaren having turned him into a pop singer at the age of eighteen. Lydon is as bourgeois as they come. Indeed, it is telling that the venue for the very first Sex Pistols concert was St Martin's Art College, about as middle-class as one can get. I must point out that I have nothing against anyone who is born into one class or another, but John Lydon has spent his entire life sneering at the middle classes despite his own bourgeois existence.

 

As regards that sneer - and the sneer worn by punks in general - one must look at the chief architect of punk rock itself, Malcolm McLaren. Born into a family of Jewish diamond merchants on his mother's side and raised by his Jewish grandmother, McLaren was heavily influenced at art college by the Situationist avant-garde movement, led by French Communist Guy Debord and his Jewess wife Michèle Bernstein. On the artistic level, Situationism was a Leftist attack on the arts through absurdist or provocative happenings that deconstructed traditional norms and underpinned the May 1968 cultural revolution in France and Germany. The ultimate goal was to normalise the idea of a dictatorship of the proletariat.

Starting with the shop that became SEX, a fetishwear retailer co-managed with fashion designer Vivienne Westwood, McLaren applied this ideology firstly to clothing and then to music. Clothing included t-shirts with two homosexual cowboys naked from the waist down and red leather fetishwear emblazoned with the hammer and sickle for the New York Dolls. John Lydon, a young nihilistic eighteen-year-old without any discernable talent but self-defined by what he hated, fit the bill perfectly for McLaren's new musical project. Lydon could not sing a note in tune, but this was a plus point, as was his green hair, overall ugliness and 'I hate Pink Floyd' t-shirt.

 

The story of Glen Matlock within the band is interesting. The only member who could actually play to a good level, he was ousted when McLaren caused friction between Matlock and Rotten. This made way for the talentless drug addict known as Sid Vicious. Matlock co-wrote all but a handful of the band's songs and was just too good for a band with the intention of marketing crap to the masses. McLaren also set up post-punk band Bow Wow Wow, with its thirteen-year-old half-caste lead singer, Annabella Lwin, born Myant Myant Aye to a Burmese father and English mother. Lwin appeared naked on Bow Wow Wow's debut album as McLaren assaulted traditional norms with miscegenation and child pornography. You will never watch the video to McLaren's single 'Double Dutch' in the same way again.

Lydon is very fond of telling how he exposed Jimmy Savile as a paedophile. It is interesting though that he has tried to ban the recording of his comments back in 1978 from public usage in order to sell them as part of his latest album. Ever the altruist. He has also always been suspiciously quiet about his own ex-manager McLaren's involvement in the world of paedophilia. Financed by both the BBC, under the auspices of (((Alan Yentob))), and EMI, in 1980 McLaren began creating an ostensibly music-related magazine that would be a more risqué version of Smash Hits, which had just been launched two years previously. In reality, the publication, originally titled Playkids, but then changed to Chicken, would serve to get child pornography into the mainstream. McLaren attempted to get the aforementioned Annabella Lwin to do a full-frontal nude shoot, but after she became distressed and tearful, brought in a replacement thirteen-year-old girl. Fortunately, enough concerns about the magazine ensured its shelving.

Punk rock was essentially a perversion of pub rock for middle-class Leftists. For all the talk of it being a roots, working-class movement that 'just sprang up', it was in reality orchestrated by middle-class communists, who used a (sometimes miscegenated) underclass rabble as a musical battering ram against traditional norms. Pub rock, with bands like early Slade, Captain Beefheart, The Who and The Sensational Alex Harvey Band, was what punk rock purported to be. Incidentally, my father rated the latter as the best live band he had ever seen. Bands like the Sex Pistols were fawned over by the Leftist media and catapulted into the mainstream, while Beefheart and Harvey remained genuinely underground. And therefore I say to Johnny Rotten in a style he might appreciate: Go fuck yourself, you fake posturing establishment shill.

2 comments:

  1. good (important) article highlighting the sleazy perversion and corrupting agenda of McClaren and his shill Lydon.

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  2. Nice title. Not very subtle, but valid.

    It's worth while to point out the false friends to the people or movements today as well as to point out their false beginnings. No reason to make it easy for them to sucker us again.

    Why am I not surprised at this stage when every time I see some counter culture tearing at tradition and society it always has Jewish and often communist roots? All the jokes and memes come true. It's hard to decide if it is all instinct that causes this to happen so consistently or it is a deliberate ongoing plan to promote, decontstruct and destroy if it is both. Of course this kind of thing being sown and fertilised by the mainstream media playing along only highlights why a new media and art scene is important. One for and by people not trapped in that sphere.

    His false pride regarding the paedophile scandal is only part of the larger false pride and obvious false ignorance that so many of these luvvies and celebrities perform when this subject has come up over the years. Despite it being an open secret enough to be in memos warning to keep kids from certain people and even fairly clearly stated in Jimmy's own biography that he was of that bent, all somehow still were ignorant of it. It becomes hard not to think about bringing back hanging when I look at that crowd and their paper thin lies. I'd have expected actors and performers to be better liars, actually. I still wonder how the BBC as a whole got away with claiming that people were "scared" of Jimmy too as an excuse to have done and said nothing. Apparently all staff, celebrities and all who knew the gossip both working and retired and even after Jimmy was retired without much wealth (judging by his late age interview with Louis) were all somehow terrified of him? If Jimmy was only who he is claimed to be then he was only a weak and small old man with middle class resources. Add to that him boasting about being able to bring down a police station with what he knew and him boasting to a policewoman's face about "having" a little girl if he got to her before the police did without consequence only adds to the stink.

    The government and BBC paedophile scandal is so obviously much larger than it is portrayed in the media yet the public goes along with it and the bureaucracy helps grease the wheels. When you think of only one of the child raping MPs and the logistics involved in that regular habit of his. We know from testimony that orphanage managers and others were cleaning the kids off afterwards (one spoke of it even on TV during the height of the drama), we know that the kids were shipped around by taxis and other hired transport, taken to hotels and the deeds done and then taken back (although darker ends for some is a possibility we will probably not find out about, but considering the huge Boystown scandal of America that was covered up it's very possible). When I think of the logistics involved over years and how many are involved as witnesses - Orphanage and carer staff, taxi company employees, hotel workers and managers, all their friends and relatives and coworkers that they will talk to and gossip with, the parliamentary staff and the MP's personal staff. All off the top of my head it must have been dozens at least for one man's habit. All of these people apparently struck deaf, blind and dumb when public figures were taking kiddies to their room for years on end and none of those people were special secret service staff vetted before they got near it. It was clumsy and sloppy perverted animal desires acted out yet still silenced somehow.

    It's disappointing but not surprising that the mainstream media let it all slide once more as they have done in the past as it's gone out of the media and the investigator warned it was going sideways before things were buried in paper and time.

    I think there's possibly something to the idea that the paedophile taste and activities are used to control people and used as hold on people they know will stick.

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