Description: The Sex Pistols‘ 1978 U.S. tour was a complete fiasco. Bassist Sid Vicious was hopelessly addicted to heroin, and Johnny Rotten was barely speaking with his bandmates. The group had never been to America, but they’d been in the press for the better part of a year and could have easily played relatively large venues in big cities. Instead, Sex Pistols manager Malcolm McLaren booked them at redneck bars across the Deep South and made sure an army of journalists chronicled the 12-day odyssey in great detail. He figured the inevitable chaos would further bolster the legend of the Sex Pistols.Needless to say, the residents of cities like Baton Rouge and San Antonio didn’t think much of the Sex Pistols, especially when Vicious called one crowd a “bunch of f*ggots.” The brief tour wrapped up January 14th at San Francisco’s Winterland Ballroom. It was the biggest venue of the entire tour, without any close second. The crowd was mainly hippies, curious to see what all the fuss was about. “In America, what f*cked it up was that they treated us like rock stars,” Sex Pistols guitarist Steve Jones said in Jon Savage’s book England’s Dreaming. “They didn’t know any different. They treat anyone who comes over the same way. At Winterland, I had a cold. Sid wasn’t playing a note, and he wasn’t even plugged in half the time. Me and Paul just wanted to play. I kept cutting out, strings breaking left, right and center.”The sound was absolutely atrocious, and Johnny Rotten’s voice started to give out. The band closed with a cover of the Stooges’ “No Fun,” and near the end Rotten melts down. “There’s no fun in being alone,” he says. “This is no fun. It is no fun at all.” When the song ends he famously asks the crowd, “Ever get the feeling you’ve been cheated?” He then drops the microphone and walks offstage. It was the last time the Sex Pistols would perform together until their reunion tour in 1996. Sex PistolsFrom Wikipedia, the free encyclopediaJump to navigationJump to searchFor the yaoi manga titled Sex Pistols in Japan, see Love Pistols.Sex PistolsThe Sex Pistols in Amsterdam in 1977 (L–R: Paul Cook, Glen Matlock, John Lydon and Steve Jones)Background informationOriginLondon, EnglandGenresPunk rockYears active1975–19781996–20012002–20032007–2008LabelsEMIA&MVirginUniversalWarner Bros.Associated actsSiouxsie and the BansheesThe Flowers of RomanceRich KidsPublic Image LtdVicious White KidsSham PistolsThe ProfessionalsChequered PastChiefs of ReliefFantasy 7Neurotic OutsidersThe Fallen LeavesMan RazeSubway Sect Past membersJohnny RottenSteve JonesGlen MatlockPaul CookSid ViciousThe Sex Pistols were an English punk rock band that formed in London in 1975. They were responsible for initiating the punk movement in the United Kingdom and inspiring many later punk and alternative rock musicians. Although their initial career lasted just two and a half years and produced only four singles and one studio album, Never Mind the Bollocks, Here's the Sex Pistols, they are regarded as one of the most influential acts in the history of popular music.[1][2]The Sex Pistols originally comprised vocalist Johnny Rotten (John Lydon), guitarist Steve Jones, drummer Paul Cook and bassist Glen Matlock. Matlock was replaced by Sid Vicious in early 1977. Under the management of impresario Malcolm McLaren, the band provoked controversies that captivated Britain. Their concerts repeatedly faced difficulties with organizers and authorities, and public appearances often ended in mayhem. Through an obscenity-laced television interview in December 1976 and their May 1977 single "God Save the Queen", attacking Britons' social conformity and deference to the Crown, they precipitated one of the more significant pop culture–based moral panics.In January 1978, at the end of a turbulent tour of the United States, Rotten left the band and announced its break-up. Over the next several months, the three other band members recorded songs for McLaren's film version of the Sex Pistols' story, The Great Rock 'n' Roll Swindle. Vicious died of a heroin overdose in February 1979, following his arrest for the alleged murder of his girlfriend. In 1996, Rotten, Jones, Cook and Matlock reunited for the Filthy Lucre Tour; through 2008, they staged further reunion shows and tours. On 24 February 2006, the Sex Pistols—the four original members plus Vicious—were inducted into the Rock and Roll Hall of Fame, but they refused to attend the ceremony, calling the museum "a p*ss stain".[3] History[edit]Origins and early days[edit]The Sex Pistols evolved from the Strand, a London band formed in 1972 with working-class teenagers Steve Jones on vocals, Paul Cook on drums and Wally Nightingale on guitar. According to a later account by Jones, both he and Cook played on instruments they had stolen.[4] Early line-ups of the Strand—sometimes known as the Swankers—also included Jim Mackin on organ and Stephen Hayes (and later, briefly, Del Noones) on bass.[5] The band members regularly hung out at two clothing shops on the Kings Road in Chelsea, London: John Krivine and Steph Raynor's Acme Attractions (where Don Letts worked as manager)[6] and Malcolm McLaren and Vivienne Westwood's Too Fast to Live, Too Young to Die. The McLaren–Westwood shop had opened in 1971 as Let It Rock, with a 1950s revival Teddy Boy theme. It had been renamed in 1972 to focus on another revival trend, the rocker look associated with Marlon Brando.[7] As John Lydon later observed, "Malcolm and Vivienne were really a pair of shysters: they would sell anything to any trend that they could grab onto."[8] The shop would become a focal point of the punk rock scene, bringing together participants such as the future Sid Vicious, Marco Pirroni, Gene October, and Mark Stewart, among many others.[9] Jordan, the wildly styled shop assistant, is credited with "pretty well single-handedly paving the punk look".[10]In early 1974, Jones convinced McLaren to help out the Strand. Effectively becoming the group's manager, McLaren paid for their first formal rehearsal space. Glen Matlock, an art student who occasionally worked at Too Fast to Live, Too Young to Die, was recruited as the band's regular bassist.[11] In November, McLaren temporarily relocated to New York City. Before his departure, McLaren and Westwood had conceived a new identity for their shop: renamed Sex, it changed its focus from retro couture to S&M-inspired "anti-fashion", with a billing as "Specialists in rubberwear, glamourwear & stagewear".[12] After informally managing and promoting the New York Dollsfor a few months, McLaren returned to London in May 1975.[13] Inspired by the punk scene that was emerging in Lower Manhattan—in particular by the radical visual style and attitude of Richard Hell, then with Television—McLaren began taking a greater interest in the Strand.[14]The group had been rehearsing regularly, overseen by McLaren's friend Bernard Rhodes, and had performed publicly for the first time. Soon after McLaren's return, Nightingale was kicked out of the band and Jones, uncomfortable as frontman, took over guitar duties.[15] According to journalist and former McLaren employee Phil Strongman, around this time the band adopted the name QT Jones and the Sex Pistols (or QT Jones & His Sex Pistols, as one Rhodes-designed T-shirt put it).[16] McLaren had been talking with the New York Dolls' Sylvain Sylvain about coming over to England to front the group. When those plans fell through, McLaren, Rhodes and the band began looking locally for a new member to assume the lead vocal duties.[17] As described by Matlock, "Everyone had long hair then, even the milkman, so what we used to do was if someone had short hair we would stop them in the street and ask them if they fancied themselves as a singer."[18]. With the search going nowhere, McLaren made several calls to Richard Hell, who turned down the invitation.[19]John Lydon joins the band[edit]In August 1975, Rhodes spotted nineteen-year-old Kings Road habitué John Lydon wearing a Pink Floyd T-shirt with the words I Hate handwritten above the band's name and holes scratched through the eyes.[20][21][22] Reports vary at this point: the same day, or soon after, either Rhodes or McLaren asked Lydon to come to a nearby pub in the evening to meet Jones and Cook.[20][23] According to Jones, "He came in with green hair. I thought he had a really interesting face. I liked his look. He had his 'I Hate Pink Floyd' T-shirt on, and it was held together with safety pins. John had something special, but when he started talking he was a real arsehole—but smart."[20] When the pub closed, the group moved on to Sex, where Lydon, who had given little thought to singing, was convinced to improvise along to Alice Cooper's "I'm Eighteen" on the shop jukebox. Though the performance drove the band members to laughter, McLaren convinced them to start rehearsing with Lydon.[20][24]Lydon later described the social context in which the band came together:Early Seventies Britain was a very depressing place. It was completely run-down, there was trash on the streets, total unemployment—just about everybody was on strike. Everybody was brought up with an education system that told you point blank that if you came from the wrong side of the tracks...then you had no hope in hell and no career prospects at all. Out of that came pretentious moi and the Sex Pistols and then a whole bunch of copycat wankers after us.[25]Journalist Nick Kent of the New Musical Express (NME) jammed occasionally with the band, but left upon Lydon's recruitment. "When I came along, I took one look at him and said, 'No. That has to go,'" Lydon later explained. "He's never written a good word about me ever since."[26] In September, McLaren again helped hire private rehearsal space for the group, who had been practising in pubs. Cook, who had a full-time job he was loath to give up, was making noises about quitting. According to Matlock's later description, Cook "created a smokescreen" by claiming Jones was not skilled enough to be the band's sole guitarist. An advertisement was placed in Melody Maker for a "Whizz Kid Guitarist. Not older than 20. Not worse looking than Johnny Thunders" (referring to a leading member of the New York punk scene).[27] Most of those who auditioned were incompetent, but in McLaren's view, the process created a new sense of solidarity among the four band members.[28] Steve New was considered the one talented guitarist to have tried out and the band invited him to join. Jones was improving rapidly, however, and the band's developing sound had no room for the technical lead work at which New was adept. He departed after a month.[29]Lydon had been rechristened "Johnny Rotten" by Jones, apparently because of his bad dental hygiene.[22][30] The band also settled on a name. After considering options such as Le Bomb, Subterraneans, the Damned, Beyond, Teenage Novel, Kid Gladlove, and Crème de la Crème, they decided on Sex Pistols—a shortened form of the name they had apparently been working under informally.[31] McLaren later said the name derived "from the idea of a pistol, a pin-up, a young thing, a better-looking assassin". Not given to modesty, false or otherwise, he added: "[I] launched the idea in the form of a band of kids who could be perceived as being bad."[32] The group began writing original material: Rotten was the lyricist and Matlock the primary melody writer (though their first collaboration, "Pretty Vacant", had a complete lyric by Matlock, which Rotten tweaked a bit); official credit was shared equally among the four.[33][34]The Sex Pistols in late 1975; L-R: Rotten, Matlock, Jones, and CookTheir first gig was arranged by Matlock, who was studying at Saint Martins College. The band played at the school on 6 November 1975,[35] in support of a pub rock group called Bazooka Joe, arranging to use their amps and drums. The Sex Pistols performed several cover songs, including the Who's "Substitute", the Small Faces' "Whatcha Gonna Do About It", and "(I'm Not Your) Steppin' Stone", made famous by the Monkees; according to observers, they were unexceptional musically aside from being extremely loud. Before the Pistols could play the few original songs they had written to date, Bazooka Joe pulled the plugs as they saw their gear being trashed. A brief physical altercation between members of the two bands took place on stage.[36]Building a following[edit]The Saint Martins gig was followed by other performances at colleges and art schools around London. The Sex Pistols' core group of followers—including Siouxsie Sioux, Steven Severin and Billy Idol, who would go on to form bands of their own, as well as Jordan and Soo Catwoman—came to be known as the Bromley Contingent, after the suburban borough several were from.[37] Their cutting-edge fashion, much of it supplied by Sex, ignited a trend that was adopted by the new fans the band attracted.[38] McLaren and Westwood saw the incipient London punk movement as a vehicle for more than just couture. They were both captivated by the May 1968 radical uprising in Paris, particularly by the ideology and agitations of the Situationists, as well as the anarchist thought of Buenaventura Durruti and others.[39]The original line-up of the Sex Pistols, early 1976. Left to right: Rotten, Jones, Matlock and Cook.These interests were shared with Jamie Reid, an old friend of McLaren who began producing publicity material for the Sex Pistols in the spring of 1976.[40] The cut-up lettering employed to create the classic Sex Pistols logo and many subsequent designs for the band was actually introduced by McLaren's friend Helen Wellington-Lloyd.[41] "We used to talk to John [Lydon] a lot about the Situationists," Reid later said. "The Sex Pistols seemed the perfect vehicle to communicate ideas directly to people who weren't getting the message from left-wing politics."[42] McLaren was also arranging for the band's first photo sessions.[43] As described by music historian Jon Savage, "With his green hair, hunched stance and ragged look, [Lydon] looked like a cross between Uriah Heep and Richard Hell."[44]The first Sex Pistols gig to attract broader attention was as a supporting act for Eddie and the Hot Rods, a leading pub rock group, at the Marquee on 12 February 1976. Rotten "was now really pushing the barriers of performance, walking off stage, sitting with the audience, throwing Jordan across the dance floor and chucking chairs around, before smashing some of Eddie and the Hot Rods' gear."[45] The band's first review appeared in the NME, accompanied by a brief interview in which Steve Jones declared, "Actually we're not into music. We're into chaos."[46]Among those who read the article were two students at the Bolton Institute of Technology, Howard Devoto and Pete Shelley, who headed down to London in search of the Sex Pistols. After chatting with McLaren at Sex, they saw the band at a couple of late February gigs.[47] The two friends immediately began organising their own Pistols-style group, the Buzzcocks. As Devoto later put it, "My life changed the moment that I saw the Sex Pistols."[48]The Pistols were soon playing other important venues, debuting at Oxford Street's 100 Club on 30 March.[49] On 3 April, they played for the first time at the Nashville, supporting the 101ers. The pub rock group's lead singer, Joe Strummer, saw the Pistols for the first time that night—and recognised punk rock as the future.[50] A return gig at the Nashville on 23 April demonstrated the band's growing musical competence, but by all accounts lacked a spark. Westwood provided that by instigating a fight with another audience member; McLaren and Rotten were soon involved in the melee.[51] Cook later said, "That fight at the Nashville: that's when all the publicity got hold of it and the violence started creeping in.... I think everybody was ready to go and we were the catalyst."[52] The Pistols were soon banned from both the Nashville and the Marquee.[53]On April 23, as well, the debut album by the leading punk rock band in the New York scene, the Ramones, was released. Though it is regarded as seminal to the growth of punk rock in England and elsewhere, Lydon has repeatedly rejected any suggestion that it influenced the Sex Pistols: "[The Ramones] were all long-haired and of no interest to me. I didn't like their image, what they stood for, or anything about them";[54] "They were hilarious but you can only go so far with 'duh-dur-dur-duh'. I've heard it. Next. Move on."[55] On 11 May, the Pistols began a four-week-long Tuesday night residency at the 100 Club.[56] They devoted the rest of the month to touring small cities and towns in the north of England and recording demos in London with producer and recording artist Chris Spedding.[56][57] The following month they played their first gig in Manchester, arranged by Devoto and Shelley. The Sex Pistols' 4 June performance at the Lesser Free Trade Hall set off a punk rock boom in the city.[58][59]On 4 July and 6 July, respectively, two newly formed London punk rock acts, the Clash—with Strummer as lead vocalist—and the Damned, made their live debuts opening for the Sex Pistols. On their off night in between, the Pistols (despite Lydon's later professed disdain) showed up for a Ramones gig at Dingwalls, like virtually everyone else at the heart of the London punk scene.[60] During a return Manchester engagement, 20 July, the Pistols premiered a new song, "Anarchy in the U.K.", reflecting elements of the radical ideologies to which Rotten was being exposed. According to Jon Savage, "there seems little doubt that Lydon was fed material by Vivienne Westwood and Jamie Reid, which he then converted into his own lyric."[61] "Anarchy in the U.K." was among the seven originals recorded in another demo session that month, this one overseen by the band's sound engineer, Dave Goodman.[62] McLaren organized a major event for 29 August at the Screen on the Green in London's Islington district: the Buzzcocks and The Clash opened for the Sex Pistols in punk's "first metropolitan test of strength".[63] Three days later, the band were in Manchester to tape what would be their first television appearance, for Tony Wilson's So It Goes. Scheduled to perform just one song, "Anarchy in the U.K.", the band ran straight through another two numbers as pandemonium broke out in the control room.[64]The Sex Pistols played their first concert outside Britain on 3 September, at the opening of the Chalet du Lac disco in Paris. The Bromley Contingent made the trip and Siouxsie Sioux was hassled by locals due to her outfit with bare breasts.[65] The following day, the So It Goes performance aired; the audience heard "Anarchy in the U.K." introduced with a shout of "Get off your arse!"[66][67] On 13 September, the Pistols began a tour of Britain.[68] A week later, back in London, they headlined the opening night of the 100 Club Punk Special. Organised by McLaren (for whom the word "festival" had too much of a hippie connotation), the event was "considered the moment that was the catalyst for the years to come."[69] Belying the common perception that punk bands couldn't play their instruments, contemporary music press reviews, later critical assessments of concert recordings, and testimonials by fellow musicians indicate that the Pistols had developed into a tight, ferocious live band.[70] As Rotten tested out wild vocalisation styles, the instrumentalists experimented "with overload, feedback and distortion...pushing their equipment to the limit".[71]Sid Vicious joins the band[edit]The Sex Pistols (Sid Vicious left, Steve Jones centre, and Johnny Rotten right) performing in Trondheim, Norway, July 1977In February 1977, word leaked out that Matlock was leaving the Sex Pistols. On 28 February, McLaren sent a telegram to the NME confirming the split. He claimed that Matlock had been "thrown out...because he went on too long about Paul McCartney.... The Beatles was too much."[93] In an interview a few months afterwards, Steve Jones echoed the charge that Matlock had been sacked because he "liked The Beatles".[4] Years later, Jones expanded on the matter of the band's issues with Matlock: "He was a good writer but he didn't look like a Sex Pistol and he was always washing his feet. His mum didn't like the songs."[94] Matlock told the NME that he had voluntarily left the band by "mutual agreement".[93] Later, in his autobiography, he would describe the primary impetus as his increasingly acrimonious relationship with Rotten, exacerbated—in Matlock's account—by the rampant inflation of Rotten's ego "once he'd had his name in the papers".[95] Lydon would later claim that "God Save the Queen", the belligerently sardonic song planned as the band's second single, had been the final straw: "[Matlock] couldn't handle those kinds of lyrics. He said it declared us fascists." Though the singer could hardly see how anti-royalism equated with fascism, he claimed, "Just to get rid of him, I didn't deny it."[96] Jon Savage suggests that Rotten pushed Matlock out in an effort to demonstrate his power and autonomy from McLaren.[97] Matlock almost immediately formed his own band, Rich Kids, with Midge Ure, Steve New, and Rusty Egan.Matlock was replaced by Rotten's friend and self-appointed "ultimate Sex Pistols fan" Sid Vicious. Born John Simon Ritchie, later known as John Beverley, Vicious was previously drummer of two inner circle punk bands, Siouxsie and the Banshees and The Flowers of Romance. He was also credited with introducing the pogo dance to the scene at the 100 Club. John Robb claims it was at the first Sex Pistols residency gig, 11 May 1976; Matlock is convinced it happened during the second night of the 100 Club Punk Special in September, when the Pistols were off playing in Wales.[98] In Matlock's description, Rotten wanted Vicious in the band because "[i]nstead of him against Steve and Paul, it would become him and Sid against Steve and Paul. He always thought of it in terms of opposing camps".[99]Julien Temple, then a film student whom McLaren had put on the Sex Pistols payroll to create a comprehensive audiovisual record of the band, concurs: "Sid was John's protégé in the group, really. The other two just thought he was crazy."[97] McLaren later stated that, much earlier in the band's career, Vivienne Westwood had told him he should "get the guy called John who came to the store a couple of times" to be the singer. When Johnny Rotten was recruited for the band, Westwood said McLaren had got it wrong: "he had got the wrong John." It was John Beverley, the future Vicious, she had been recommending.[100] McLaren approved the belated inclusion of Vicious, who had virtually no experience on his new instrument, on account of his look and reputation in the punk scene.The Sex Pistols with Thomas Dellert, c. 1977Pogoing aside, Vicious had been involved in a notorious incident during that memorable second night of the 100 Club Punk Special. Arrested for hurling a glass at The Damned that shattered and blinded a girl in one eye, he had served time in a remand centre—and contributed to the 100 Club banning all punk bands.[101] At a previous 100 Club gig, he had assaulted Nick Kent with a bicycle chain.[102] Indeed, McLaren's NME telegram said that Vicious's "best credential was he gave Nick Kent what he deserved many months ago at the Hundred Club".[93][103] According to a later description by McLaren, "When Sid joined he couldn't play guitar but his craziness fit into the structure of the band. He was the knight in shining armour with a giant fist."[104] "Everyone agreed he had the look," Lydon later recalled, but musical skill was another matter. "The first rehearsals...in March of 1977 with Sid were hellish.... Sid really tried hard and rehearsed a lot".[105] Marco Pirroni, who had performed with Vicious in Siouxsie and the Banshees, has said, "After that, it was nothing to do with music anymore. It would just be for the sensationalism and scandal of it all. Then it became the Malcolm McLaren story".[104]Membership in the Sex Pistols had a progressively destructive effect on Vicious. As Lydon later observed, "Up to that time, Sid was absolutely childlike. Everything was fun and giggly. Suddenly he was a big pop star. Pop star status meant press, a good chance to be spotted in all the right places, adoration. That's what it all meant to Sid."[104] Westwood had already been feeding him material, like a tome on Charles Manson, likely to encourage his worst instincts.[106] Early in 1977, he met Nancy Spungen, an emotionally disturbed drug addict and sometime prostitute from New York.[104][107] Spungen is commonly thought to be responsible for introducing Vicious to heroin, and the emotional codependency between the couple alienated Vicious from the other members of the band. Lydon later wrote, "We did everything to get rid of Nancy.... She was killing him. I was absolutely convinced this girl was on a slow suicide mission.... Only she didn't want to go alone. She wanted to take Sid with her.... She was so utterly f*cked up and evil."[108]"God Save the Queen"[edit]On 10 March 1977, at a press ceremony held outside Buckingham Palace, the Sex Pistols publicly signed to A&M Records (the real signing had taken place the day before). Afterwards, intoxicated, they made their way to the A&M offices. Vicious smashed in a toilet bowl and cut his foot—there is some disagreement about which happened first. As Vicious trailed blood around the offices, Rotten verbally abused the staff and Jones got frisky in the ladies' room.[109] A couple of days later, the Pistols got into a rumble with another band at a club; one of Rotten's pals threatened the life of a good friend of A&M's English director. On 16 March, A&M broke contract with the Pistols. Twenty-five thousand copies of the planned "God Save the Queen" single, produced by Chris Thomas, had already been pressed; virtually all were destroyed.[110]Jamie Reid's "God Save the Queen" sleeve; in 2001, it was named the greatest record cover of all time by Qmagazine.[111]Vicious debuted with the band at London's Notre Dame Hall on 28 March.[112] In May, the band signed with Virgin Records, their third new label in little more than half a year. Virgin was more than ready to release "God Save the Queen", but new obstacles arose. Workers at the pressing plant laid down their tools in protest at the song's content. Jamie Reid's now famous cover, showing Queen Elizabeth II with her features obscured by the song and band names in cutout letters, offended the sleeve's plate makers.[113] After much talk, production resumed and the record was finally released on 27 May.[114]The scabrous lyrics—"God save the queen/She ain't no human being/And there's no future/In England's dreaming"—prompted widespread outcry.[115] Several major chains refused to stock the single.[114] It was banned not only by the BBC but also by every independent radio station, making it the "most heavily censored record in British history".[116] Rotten boasted, "We're the only honest band that's hit this planet in about two thousand million years."[117] Jones shrugged off everything the song stated and implied—or took nihilism to a logical endpoint: "I don't see how anyone could describe us as a political band. I don't even know the name of the Prime Minister."[117] The song, and its public impact, are now recognised as "punk's crowning glory".[118]The Virgin release had been timed to coincide with the height of Queen Elizabeth's Silver Jubilee celebrations. By Jubilee weekend, a week and a half after the record's release, it had sold more than 150,000 copies—a massive success. On 7 June, McLaren and the record label arranged to charter a private boat and have the Sex Pistols perform while sailing down the River Thames, passing Westminster Pier and the Houses of Parliament. The event, a mockery of the Queen's river procession planned for two days later, ended in chaos. Police launches forced the boat to dock, and constabulary surrounded the gangplanks at the pier. While the band members and their equipment were hustled down a side stairwell, McLaren, Westwood, and many of the band's entourage were arrested.[119] In critic Sean O'Hagan's description, the Pistols had set off the "last and greatest outbreak of pop-based moral pandemonium".[118] With the official UK record chart for Jubilee week about to be released, the Daily Mirror predicted that "God Save the Queen" would be number one. As it turned out, the record placed second, behind a Rod Stewart single in its fourth week at the top. Many believed that the record had actually qualified for the top spot, but that the chart had been rigged to prevent a spectacle. McLaren later claimed that CBS Records, which was distributing both singles, told him that the Sex Pistols were actually outselling Stewart two to one. There is evidence that an exceptional directive was issued by the British Phonographic Institute, which oversaw the chart-compiling bureau, to exclude sales from record-company operated shops such as Virgin's for that week only.[120]
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