UNLV Retrospective Theses & Dissertations 1-1-2002 The Sex Pistols: Punk rock as protest rhetoric Cari Elaine Byers University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Byers, Cari Elaine, "The Sex Pistols: Punk rock as protest rhetoric" (2002). UNLV Retrospective Theses & Dissertations. 1423. http://dx.doi.org/10.25669/yfq8-0mgs This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. 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Oversize materials (e.g.. maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 IMI* Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE SEX PISTOLS: PUNK ROCK AS PROTEST RHETORIC by Can E. Byers Bachelor of Arts Arizona State University 1997 A thesis submitted in partial fulfillment of the requirements for the Master of Arts Degree Hank Greenspun Department of Communication Studies Greenspun College of Urban Affairs Graduate College University of Nevada, Las Vegas December 2002 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1413476 UMI‘ UMI Microform 1413476 Copyright 2003 by ProQuest Information and Learning Company. Ail rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Thesis Approval uNiy The Graduate College University of Nevada, Las Vegas July. 25 02 The Thesis prepared by Cari E. Byers Entitled The Sex Pistols; Punk Rock as Protest Rhetoric is approved in partial fulfillment of the requirements for the degree of Masters of Arts in Communication Examination Committee Chair Dean o f the Graduate College : ./Te;? ExamimtiojimtiofÆ ommittee^eiember Examination Committeb'Member Graduate College Faculty Representative PR/1017-53/1.00 11 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT The Sex Pistols: Punk Rock as Protest Rhetoric by Cari Elaine Byers Dr. Dolores Tanno, Committee Chair Pro&ssor of Communication University ofNevada, Las Vegas This thesis examines the punk music of the Sex Pistols as protest rhetoric. Seven of the songs on the album Never Mind the Bollocks Heres the Sex Pistols are analyzed for their content. The analysis utilizes the theory of symbolic convergence and its coinciding fentasy theme analysis along with ego-function of protest rhetoric. Through the analysis it is found that punk rock is in 6ct protest rhetoric as defined and explained by the theory of ego-fimctiorL The guides of this theory eiqplain the emergence of punk music and the resulting culture. Symbolic convergence theory and fentasy theme analysis examines the messages within the text and how they express the ideas, beliefs, and values of the punk culture. This provides a better understanding of punk culture and the messages communicated in the songs of the Sex Pistols. m Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ABSTRACT ................................................................................................................... iii CHAPTER 1 INTRODUCTION AND BACKGROUND.................................................1 Introduction.................................................................................................................... 1 Method of Analysis........................................................................................................3 Organization...................................................................................................................6 Background....................................................................................................................7 Victims of Recession............................................................................................... 10 British Society and the Foundation of Punk............................................................ 14 Rebellion and Anarchy................................................................................................. 16 Alienation and Marxism...............................................................................................21 The Sex Pistols.............................................................................................................26 CHAPTER 2 REVIEW OF LITERATURE AND METHODOLOGY.......................... 34 Review of Literature ....................................................................................................34 Music as Rhetoric ........................................................................................................35 Punk as Protest Music ..................................................................................................38 Fantasy Theme Analysis and Symbolic Convergence Theory.................................... 42 Ego-Function of Protest Rhetoric................................................................................ 51 CHAPTER 3 TEXTURAL ANALYSIS......................................................................... 57 Setting Up the Contrast Between the Protesters and the Enemy.................................. 57 Developing Fantasy......................................................................................................59 Creating, Raising, and Sustaining Punk Consciousness............................................... 63 Holiday in the Sun........................................................................................................74 Liar ...................................................................................................................76 Problems ...................................................................................................................77 God Save the Queen.....................................................................................................78 Anarchy in the UK.......................................................................................................82 Pretty Vacant................................................................................................................85 EMI ...................................................................................................................86 Summary ...................................................................................................................88 CHAPTER 4 CONCLUSIONS.......................................................................................89 Summary ...................................................................................................................97 Limitations...................................................................................................................98 APPENDIX SONG LYRICS......................................................................................... 100 IV Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. BIBLIOGRAPHY...........................................................................................................114 VITA 120 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER 1 INTRODUCTION AND BACKGROUND Introduction Music is an important rhetorical element in modem culture. Music and its messages have become a means of uniting people. As DavidA. Carter explains “A song tells the story simply. Heroes and villains are identified, struggles and crisis are amplified, and hopes for salvation and nirvana are shouted. Songs become means of uniting against and coping