Sid and Nancy (1986) Sid Vicious was the bassist of punk band the Sex Pistols from 1977 to 1978. When his girlfriend Nancy Spungen was murdered in October 1978, he was charged with the crime. He died of a heroin overdose before the case could come to trial. CastingSid Vicious (Gary Oldman) and Johnny Rotten (Andrew Schofield) are vandalising a Rolls-Royce on a London street. Can of paint in hand, Sid kicks in the windscreen to reveal a nonplussed Scottish terrier sitting in the driver's seat. 'Go on, Sidney,' says Johnny. 'Spray the beast.' 'Nah,' replies Sid. 'It's a really good dog.' What a kind heart. Oldman and Chloe Webb are astonishingly good as Sid and Nancy, though at 28 and 30 respectively when this film came out, they were stretching credibility by playing teenagers. At the time of Spungen's murder, almost two years after the couple met, she was 20 and Vicious was 21. Musician Courtney Love, then 22, was desperate to play Spungen but settled for a smaller part as one of her friends. Meanwhile, according to Cox, Oldman fought off competition to play Vicious from 'another then-unknown London stage actor ⦠Daniel Day-Lewis.' MusicVicious joins the Sex Pistols on bass. At their first gig, he uses it to assault a critic who the film calls Dick Dent. In real life, Vicious assaulted NME journalist Nick Kent at a gig at London's 100 Club, though according to Kent he whipped him with a bicycle chain rather than clobbering him with a guitar. When it comes to using the bass to generate actual music, Vicious is less sure what to do. In real life, Lemmy Kilmister of Motörhead attempted to teach Vicious to play. 'It was all uphill,' Lemmy later told an interviewer. 'And he still couldn't play bass when he died, I mean, fucking hell.' Nevertheless, watching from the audience, Nancy Spungen is smitten. RomanceThe real Johnny Rotten â now known as John Lydon â is not a fan of the film. 'I still get asked questions about it', he wrote in his 1994 autobiography. 'I have to explain that it's all wrong. It was all someone else's fucking fantasy, some Oxford graduate who missed the punk rock era. The bastard.' There is plenty to quibble with in the movie's depiction of the punk scene, but its take on Vicious and Spungen's relationship is compelling. Director Alex Cox (who read law at Worcester College, Oxford) avoids excessive romanticisation, and yet, amid all the filth, vomit, blood, bruised veins, shouting, blackouts and violence, captures authentically the fractious but intimate tone of their interaction. The film's clever, imaginative photography by Roger Deakins â who went on to receive 10 Oscar nominations for his cinematography, most recently on Skyfall â underscores Cox's theme, finding moments of beauty in the garbage. MurderSid and Nancy move into New York's Chelsea Hotel. It is impossible to represent Spungen's murder accurately, because no one knows what happened. Vicious confessed to the crime, told several different stories, then retracted. In subsequent years, it has been suggested that Spungen may have been murdered by a third party. It seems like every time a famous man is accused of killing his girlfriend, there's someone ready to construct an elaborate scenario to get him off the hook. CrimeEven if you don't take Vicious's confession seriously on grounds of extreme incoherence, the case against him looks pretty damning. Witnesses remembered him talking about wanting to kill someone beforehand. He was a long-term drug addict with an extensive history of violence, including several arrests. According to local news reports, Spungen had bruises on her face when her body was found, and had told friends these were the result of fights with Vicious. While the film's version of what went on in Room 100 of the Chelsea Hotel that night makes dramatic sense within its own narrative, it cannot claim to be the truth. Nor could any other version. VerdictSid and Nancy may have shortcomings as a movie about punk, but it's an intriguing and harrowing glimpse into a dysfunctional relationship. The astonishing thing about 'Sid and Nancy' is the amount of subtle information it gives us about their relationship, given the fact that the surface of the movie is all tumult and violence, pain and confusion. This movie doesn't take the easy way out and cast these two lovers as Romeo and Juliet, misunderstood waifs. It sees beneath their leather and chains, their torn T-shirts and steel-toed boots, to a basically conventional relationship between an ambitious woman and a man who was still a boy. They needed each other. Spungen needed someone to mother, and Vicious, according to his friends, needed self-esteem and was immensely proud that he had an American girlfriend. They were meant for each other, but by the end it was all just ashes and bewilderment, because they were so strung out on drugs that whole days would slip by unnoticed. In their fantasies of doomed romance, they planned to go out together in a suicide pact, but by the end they were too sick to even go out together for a pizza. By now, everybody knows that Vicious woke up one morning in New York's Chelsea Hotel to find Spungeon's dead body. He was booked on suspicion of murder, released on bail, and two months later was dead of a drug overdose. The available evidence strongly suggests that he did not stab Spungeon to death, but that she died of one of those untidy accidents that befall drug abusers. A human being is a dangerous thing to let loose in a room with itself, when it cannot think. There were some good times earlier in their story, but on the evidence of this movie there were not many. By the time Spungeon met Vicious in London in the mid-1970s, the Sex Pistols were the most infamous punk rock band in the world. But they were in the position of Gandhi in that apocryphal story where he sees the mob run past and races to get in front of his followers. The punk conceit was a total rejection of conventional society; their credo was the line by Johnny Rotten, the Pistols' lead singer: 'Got a problem and the problem is you.' For the Pistols to stay in front of that mob, they had to be meaner, more violent, more negative than their followers. How did it feel to stand on a bandstand and make angry music while your fans stood face to face, banging heads until unconsciousness came? 'Sid and Nancy' suggests that Vicious never lived long enough to really get his feet on the ground, to figure out where he stood and where his center was. He was handed great fame and a certain amount of power and money, and indirectly told that his success depended on staying fucked up. This is a big assignment for a kid who would otherwise be unemployable. Vicious did his best, fighting and vomiting and kicking his way through his brief days and long nights, until Spungen brought him a measure of relief. Some nights she was someone to hold, and other nights she was someone to hold onto. What difference did it make? 'Sid and Nancy' makes these observations with such complexity, such vividness, and such tenderness that at the end of the film a curious thing happens. You do not weep for Vicious, or Spungen, but maybe you weep for all of us, that we have been placed in a world where it is possible for people to make themselves so unhappy. Vicious was not a hero, just a guy who got himself into a situation he couldn't handle. But to thousands of London kids, he represented an affront to a society that offered no jobs, no training, no education, and no entry into the world of opportunity. If life offers you nothing, the least you can offer it is the finger. Performances like the ones in this film go beyond movie acting and into some kind of evocation of real lives. Vicious is played by Gary Oldman and Spungen is played by Chloe Webb, and there isn't even a brief period at the top of the movie where we have to get used to them. They are these people, driven and relentless. The movie was directed by Alex Cox, who made 'Repo Man' a couple of years ago, and here he announces himself as a great director. He and his actors pull off the neat trick of creating a movie full of noise and fury, and telling a meticulous story right in the middle of it. But why should anyone care about a movie about two scabrous vulgarians? Because the subject of a really good movie is sometimes not that important. It's the acting, writing, and direction that count. If a movie can illuminate the lives of other people who share this planet with us and show us not only how different they are but, how even so, they share the same dreams and hurts, then it deserves to be called great. If you have an open mind, it is possibly true that the less you care about Sid Vicious, the more you will admire this movie.
Sid Vicious (born Simon John Ritchie,[2][1] 10 May 1957 â 2 February 1979) was an English bassist and vocalist. He achieved fame as a member of the punk rock band the Sex Pistols, replacing Glen Matlock, who had fallen out of favour with the rest of the group. Due to intravenous drug use, Vicious was hospitalised with hepatitis during the recording of the Sex Pistols' only studio album, Never Mind the Bollocks, Here's the Sex Pistols; his bass is only partially featured on one song - 'Bodies'. Vicious later appeared as a lead vocalist, performing three songs, on the soundtrack to The Great Rock 'n' Roll Swindle, a largely fictionalised documentary about the Sex Pistols. As the Sex Pistols were gaining attention, Vicious met Nancy Spungen, and the pair entered a destructive codependent relationship based on drug use. This culminated in Spungen's death from an apparent stab wound while staying in New York City's Hotel Chelsea with Vicious. Under suspicion of murder, Vicious was released on bail; he was arrested again for assaulting Todd Smith, brother of Patti Smith, at a nightclub, and underwent drug rehabilitation on Rikers Island. He died in 1979 after overdosing on heroin. Less than four weeks after Vicious's death, The Great Rock 'n' Roll Swindlesoundtrack was released. On 15 December 1979, a compilation of live material recorded during his brief solo career was released as Sid Sings. Gary Oldman portrayed Vicious in the 1986 biopic Sid and Nancy.
![]() Early life[edit]Vicious was born Simon John Ritchie[2][1] on 10 May 1957 in Lewisham, to John and Anne Ritchie. His mother dropped out of school early due to a lack of academic success and went on to join the RAF, where she met her husband-to-be, Ritchie's father, a guardsman at Buckingham Palace and a semi-professional trombone player on the London Jazz scene.[3] Shortly after Ritchie's birth, he and his mother moved to Ibiza, where they expected to be joined by his father who, it was planned, would support them financially in the meantime. However, after the first few cheques failed to arrive, Anne realised he would not be coming. Anne later married Christopher Beverley in 1965, before setting up a family home back in Kent. Ritchie took his father's first name and stepfather's surname and was known as John Beverley.[4] Christopher Beverley died six months later from cancer,[4] and by 1968 Ritchie and his mother were living in a rented flat in Tunbridge Wells, where he attended Sandown Court School. In 1971 the pair moved to Hackney in east London. He also spent some time living in Clevedon, Somerset. Ritchie first met John Lydon in 1973, when they were both students at Hackney Technical College. Lydon described Ritchie at this time as a David Bowie fan and a 'clothes hound'.[5] By age 17, Ritchie was hanging around London. One favourite spot was Malcolm McLaren and Vivienne Westwood's then-little-known clothing store, SEX. There he met American expatriate Chrissie Hynde before she formed the Pretenders. She tried (but failed) to convince Ritchie to join her in a sham marriage so she could get a work permit. John Lydon nicknamed Ritchie 'Sid Vicious' after Lydon's pet hamster Sid (which was named after Syd Barrett[6]), who had bitten Ritchie, eliciting Ritchie's response: 'Sid is really vicious!'[7] The animal was described by Lydon as 'the softest, furriest, weediest thing on earth.'[8] At the time, Ritchie was squatting with Lydon, John Joseph Wardle (Jah Wobble), and John Grey, and the four were familiarly known as 'the Four Johns'.[citation needed] According to Lydon, he and Vicious would often busk for money, with Vicious playing the tambourine. They would play Alice Cooper covers, and people gave them money to stop. Once a man gave them 'three bob' (three shillings, i.e., 15p in decimal currency) and they all danced.[9] Yet the darker side of Vicious' personality emerged when he assaulted NME journalist Nick Kent with a motorbike chain, with help from Jah Wobble.[10] On another occasion, at the Speakeasy (a London nightclub popular with rock stars of the day) he threatened BBC DJ and Old Grey Whistle Test presenter Bob Harris.[11] Career[edit]Early career and incident with the Damned[edit]Vicious began his musical career in 1976 as a member of the Flowers of Romance along with former co-founding member of the Clash, Keith Levene (who later co-founded John Lydon's post-Pistols project Public Image Limited; their 1981 album was titled after the band) and Palmolive and Viv Albertine, who would later join the Slits.[4] He appeared with Siouxsie and the Banshees, playing drums at their notorious first gig at the 100 Club Punk Festival in London's Oxford Street.[12] According to members of the Damned, Vicious was considered, along with Dave Vanian, for the position of lead singer for the Damned, but Vicious failed to show up for the audition.[13] Vicious later contended that Vanian and associates had intentionally withheld information regarding the audition as an act of jealousy to ensure Vicious did not arrive. Soured by the experience, Vicious held a personal grudge for this perceived slight perpetrated against him by Vanian and The Damned, a grudge that would become violent. During The Damned's performance at day 2 of the 100 Club Punk Special, the day after making his debut drumming with Siouxsie and the Banshees, an intoxicated and amphetamine-fuelled Vicious hurled his glass at the stage. He was attempting to strike Dave Vanian as an act of retribution, but the glass missed, shattered on a pillar and partially blinded a girl in one eye. Vicious was arrested the next day and imprisoned at Ashford Remand Centre. Vivienne Westwood and Viv Albertine visited Vicious during his imprisonment, Albertine bringing Helter Skelter as a gift.[12][14] Sex Pistols[edit]
The Sex Pistols (Vicious left, Steve Jones centre, and Johnny Rotten right) performing in Trondheim in 1977
Vicious was asked to join the Sex Pistols after Glen Matlock's departure in February 1977, due to Vicious being present at every gig.[citation needed] Manager Malcolm McLaren said 'if Johnny Rotten is the voice of punk, then Vicious is the attitude.'[citation needed] McLaren also said that if he had met Vicious before he had hired Rotten to be the singer, then the more-charismatic Vicious would have been the Sex Pistols' front man.[citation needed] Alan Jones described Vicious as '[having] the iconic punk look .. Sid, on image alone, is what all punk rests on.'[15] His nails would be painted in a sloppy manner with purple nail polish.[16] Vicious played his first gig with the Pistols on 3 April 1977 at The Screen On The Green in London. His debut was filmed by [Don Letts] and appears in Punk Rock Movie. Vicious was in the band, but he could not play well and had no bass guitar experience, so guitarist Steve Jones played bass on the band's debut album Never Mind the Bollocks, Here's the Sex Pistols. Vicious appeared only on 'Bodies', which he was allowed to play bass on, even though it would be overdubbed later on by Jones. He was also absent from the album's sessions, because he was in hospital with hepatitis (most likely from his drug use) and during that period his main visitor would have been his girlfriend [Nancy Spungen], an American groupie (and friend of Johnny Thunders') he had met in 1977. She is said to have introduced Vicious to heroin, although he was already abusing drugs (supplied by his mother, Anne Beverley) before he met her. On 25 December 1977, the band played a matinee for the children of Huddersfield during the firemen's strike. John Lydon claimed in the documentary Never Mind the Baubles that Vicious needed a serious talking-to beforehand because he wanted to be the 'hardcore, tough rocker bloke' and that swearing and being tough wasn't 'the right way' to 'get the message across' to the children. The recording of the Johnny Thunders song 'Born to Lose' which appears on Sid Sings, featuring Vicious on vocals, was recorded during this performance, when Johnny Rotten stepped offstage to pose as Father Christmas. These were the Sex Pistols' last performances in England until the Filthy Lucre reunion tour of 1996 (with the original quartet together again).[citation needed] In January 1978, the group embarked on a US tour which would only last one to two weeks because of multiple show cancellations and deterioration within the group. These issues primarily involved tension between Malcolm McLaren, Johnny Rotten and Vicious, with Rotten accusing McLaren of trying to 'wreck the very thing that made the Sex Pistols great,'[citation needed] and the issue of Vicious's worsening heroin habit and negative interactions with members of the audience. In San Antonio, Vicious famously hit an audience member on the head with his bass; the audience member had antagonised Vicious, who shouted out 'faggot fucker' before hitting him.[citation needed] Before Sex Pistols took the stage of the Longhorn Ballroom in Dallas, Vicious, again in heroin withdrawal, carved the words 'gimme a fix' into his bare chest with a razor.[17] In autumn 1977,[timeframe?] the Sex Pistols began to perform the controversial song 'Belsen Was a Gas' live for the first time. The song was most likely Vicious's only contribution to the band during his tenure as a member,[citation needed] even though it was composed during his time in the Flowers of Romance. Vicious would also perform this song during his brief solo career after the band's split.[citation needed] ![]() After the show at Winterland in San Francisco, (Live at Winterland 1978 was released in 2001), the group fell apart, freeing Vicious to do as he pleased. He embarked on a path to destruction, while recording lead vocals on three cover songs for soundtrack album and film The Great Rock 'n' Roll Swindle. 'My Way' was released in 1978, 'C'mon Everybody' was released in 1979, and 'Something Else' was released in 1979 after his death. Solo career[edit]With Spungen acting as his 'manager,' Vicious embarked on a solo career during which he performed with musicians including Mick Jones of the Clash, Sex Pistols bassist Glen Matlock, Rat Scabies of the Damned and the New York Dolls' Arthur Kane, Jerry Nolan, and Johnny Thunders. He performed the majority of his performances at Max's Kansas City and drew large crowds, though some performances were 'hellish,' especially when Vicious insulted some of the audience. Examples of this can be heard in the in-between tracks on his live album Sid Sings. Guitarist Steve Dior said in the documentary film Who Killed Nancy? that he 'got good money for those shows.'[citation needed] His gigs at Max's would turn out to be his last performances as a solo musician, as well as his last performances ever before he died the following February.[18] Murder charge and attack on Todd Smith[edit]
Vicious' mugshot from 9 December 1978
On the morning of 12 October 1978, Vicious claimed to have awoken from a drugged stupor to find Nancy Spungen dead on the bathroom floor of their room in the Hotel Chelsea in Manhattan, New York. She had suffered a single stab wound to her abdomen and appeared to have bled to death. The knife used had been bought by Vicious on 42nd Street and was identical to a '007' flip-knife given to punk rock vocalist Stiv Bators of the Dead Boys by Dee Dee Ramone. According to Ramone's wife at the time, Vera King Ramone, Vicious had bought the knife after seeing Bators'.[19] Vicious was arrested and charged with her murder.[20] He said they had fought that night but gave conflicting versions of what happened next, saying, 'I stabbed her, but I never meant to kill her,' then saying that he did not remember, and at one point during the argument Spungen had fallen onto the knife.[21] On 22 October, ten days after Spungen's death, Vicious attempted suicide by slitting his wrist with a smashed light bulb. He was hospitalised at Bellevue Hospital, where he also tried to kill himself by jumping from a window shouting, 'I want to be with my Nancy' or similar words, but was pulled back by hospital staff. In a November 1978 interview he said that Spungen's death was 'meant to happen' and that 'Nancy always said she'd die before she was 21.' Near the end of the interview, he was asked if he was having fun. In reply, he asked the interviewer if he was kidding, adding that he would like to be 'under the ground.' At Bellevue he was visited by his lawyer James Merberg.[citation needed] Assault arrest[edit]Vicious was charged with assault after attacking Todd Smith, singer Patti Smith's brother, at a Skafish concert at Hurrah, a New York dance club.[5] Vicious was arrested on 9 December 1978 and sent to Rikers Island metro jail for 55 days to undergo a painful and enforced detoxification. He was released on bail on February 1, 1979. His bail was originally set at $50,000 (equivalent to $173,000 today),[22] but lowered after court hearings and negotiations from his lawyer. Malcolm McLaren, the Sex Pistols' manager, worked to raise money and the bond was eventually covered by Virgin Records.[22] John Lydon said that Mick Jagger paid for Vicious' lawyer, praising Jagger for never seeking publicity for this.[23] Windows 10 usb tool download location. Then click Next button. Death[edit]
Vicious' death certificate
On the evening of 1 February 1979, a small group of friends, including Jerry Only of the Misfits and future D Generation founding member Howie Pyro, gathered to celebrate Vicious having made bail at the Manhattan apartment of his new girlfriend, Michelle Robinson, at 63 Bank St. in New York City.[24]Vicious was clean, having been on a detoxification methadone program during his time at Rikers Island, but at the dinner gathering, Vicious had a friend, English photographer Peter Kodick, deliver him heroin. He had apparently spent hours during the party looking toward the future, planning an album he would record to get his life and career back on track should he be acquitted. Vicious overdosed, died in the night, and was discovered by his mother, Anne Beverley, early the next morning. In the book Please Kill Me: The Uncensored Oral History of Punk by Legs McNeil and Gillian McCain, Vicious' close friend photographer Eileen Polk said that no New York funeral home was willing to hold a funeral or burial for Vicious due to his reputation. His remains were eventually cremated at Garden State Crematory in New Jersey.[25] According to Eileen Polk, Vicious had stated during his life that he wanted to be buried with Nancy Spungen. Spungen, who was Jewish, is buried in a Jewish cemetery in Pennsylvania. Vicious' mother Anne Beverley later traveled to Spungen's family's home in Philadelphia and asked Spungen's mother, Deborah Spungen, if she could scatter Vicious' remains over Spungen's grave. Spungen's mother denied the request. Polk said that despite Spungen's mother's refusal, Jerry Only drove Beverley and her sister, and two of Vicious' friends to the cemetery where Spungen was buried, where Beverley scattered Vicious' ashes over Spungen's grave.[25]Howie Pyro, who also went along with the group to scatter Vicious' ashes, said in a 2009 documentary that he thought Spungen killed herself and Vicious was innocent. 'To me, she just did it herself because that's what people like that do, like teenagers who cut themselves.'[26]Pyro said that he thought Spungen was desperate for attention and stabbed herself, thinking Sid would come to her rescue, but that he was too intoxicated to do so.[27] Suicide claim and mother's involvement[edit]Shortly after Sid Vicious' death, his mother Anne Beverley claimed that Vicious and Spungen made a suicide pact and that Vicious' death was not accidental. Beverley claimed that after Vicious was cremated, she found a handwritten note in the pocket of Vicious' leather jacket.[28][29] It read: We had a death pact, and I have to keep my half of the bargain. Please bury me next to my baby. Bury me in my leather jacket, jeans and motorcycle boots. Goodbye.[29] In the documentary series Final 24, NYPD sergeant Richard Houseman said that shortly after overdosing, Vicious wanted another dose of heroin. In 1996, Beverley told journalist Alan G. Parker that she had then purposely administered a fatal dose of heroin to Vicious because he was afraid of going back to prison and had doubts about how good his lawyers were, even though the lawyers were certain they would clear his name. Parker later directed his own film, Who Killed Nancy?. Legacy[edit]Musicianship[edit]Though regarded by many including Steve Jones and original Sex Pistols bassist Glen Matlock as a talented vocalist,[30] Vicious was initially a poor bass player. During an interview for Guitar Hero III, when Jones was asked why he, instead of Vicious, recorded the bass parts of Never Mind the Bollocks, Jones responded, 'Sid was in a hospital with hepatitis, so he couldn't really play, not that he could play anyway.'[31] The only song that he played on in the studio was 'Bodies.' Vicious asked Lemmy, the bassist of Motörhead, to teach him how to play with the words, 'I can't play bass,' to which Lemmy replied, 'I know.'[32]
Vicious performing with his short-lived punk group Vicious White Kids
According to Paul Cook, in the few months between joining the band and meeting Spungen, Vicious was a dedicated worker and tried his hardest to learn to play; indeed, this period was Cook's favourite in the band.[33]Viv Albertine went further in defence of his ability, saying that one night she 'went to bed, and Sid stayed up with a Ramones album and a bass guitar, and when I got up in the morning, he could play. He'd taken a load of speed and taught himself. He was so quick.'[34]Keith Levene, a member of the Flowers of Romance with Vicious and later a member of the Clash and then Public Image Ltd, also recounts a similar story: 'Could Sid play bass? I don't know, but one thing I do know was that Sid did things quickly. One night, he played the first Ramones album nonstop, all night, then next morning, Sid could play the bass. That was it; he was ready! I told you Sid did things quickly!'[35] Throughout his performing career, Vicious played a white Fender Precision Bass with a black pickguard. After his death, his mother, Anne Beverley, took possession of the bass. According to Steve Jones, shortly before her death she said to him, 'Look, it's been under my bed for seventeen years. I think someone should have it,' and sold it to Jones for $2,000 (equivalent to $3,200 today), together with the leather strap with the name 'Sid' on it.[36] Hall of Fame induction[edit]In 2006, Vicious, along with the four original members of the Sex Pistols, was inducted into the Rock and Roll Hall of Fame, although the band refused to attend.[37] Tributes[edit]Various bands over the years have recorded songs about Sid Vicious. In 1982, The Exploited included the song 'Sid Vicious Was Innocent' on their album Troops of Tomorrow. Former frontman for the Clash, Joe Strummer, recorded 'Love Kills' and 'Dum Dum Club' for the Sid and Nancy soundtrack. In 1986, the Ramones released 'Love Kills' on their album, Animal Boy which was a tribute to both Sid and Nancy. Biopic[edit]The 1986 UK feature-film Sid and Nancy, directed by Alex Cox, portrays the chaotic last phase of their lives, ending with a fictionalised stabbing scene. It starred Gary Oldman as Sid Vicious and Chloe Webb as Nancy Spungen. Oldman's performance was praised by Uncut as a 'hugely sympathetic reading of the punk figurehead as a lost and bewildered manchild.'[38] Discography[edit]Solo[edit]
Sex Pistols[edit]Wikipedia Film Sid And NancyStudio album[edit]
Compilations and live albums[edit]
Singles[edit]
The Vicious White Kids, featuring Sid Vicious track list[edit]
Film appearances[edit]
Further reading[edit]
References[edit]
External links[edit]
Chloe Webb
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