God Save the Queen" is a song by the English punk rock band Sex Pistols. It was released as the band's second single and was featured on their only album, Never Mind the Bollocks, Here's the Sex Pistols. The song was released during Queen Elizabeth II'sSilver Jubilee in 1977. The record's lyrics, as well as the cover, were controversial at the time, and both the BBC and theIndependent Broadcasting Authority refused to play the song.
The song reached number one on the NME charts in the United Kingdom, but only made it to #2 on the official UK Singles Chart as used by the BBC. This led to accusations by some that the charts had been "fixed" to prevent the song from reaching number one.[1] In March 2001, the BBC wrote that the single "reached number one in the UK in 1977 despite being banned by the BBC

The single was released on 27 May 1977, and was regarded by much of the general public to be an assault on Queen Elizabeth IIand the monarchy. The title is taken directly from "God Save the Queen", the national anthem of the United Kingdom. At the time it was highly controversial, firstly for its equation of the Queen with a "fascist regime", and secondly for the lyric "there is no future in England's dreaming".
Although many believe it was created because of the Jubilee, the band denies it, Paul Cook saying that, "It wasn't written specifically for the Queen's Jubilee. We weren't aware of it at the time. It wasn't a contrived effort to go out and shock everyone."[3]Johnny Rotten has explained the lyrics as follows: "You don't write 'God Save The Queen' because you hate the English race. You write a song like that because you love them, and you're fed up with them being mistreated."[4] His intentions were apparently to evoke sympathy for the English working class, and a general resentment for the monarchy.
On 7 June 1977—the Jubilee holiday itself—the band attempted to play the song from a boat named The Queen Elizabeth on theRiver Thames, outside the Palace of Westminster. After a scuffle involving attendee Jah Wobble and a cameraman, eleven people, including several members of the band's entourage, were arrested when the boat docked.[5]
The song peaked at number 2 (behind Rod Stewart's "I Don't Want to Talk About It" released as a double A-side single along with "The First Cut is the Deepest") on the official UK Singles Chart used by the BBC, though there have been persistent rumours—never confirmed or denied—that it was actually the biggest-selling single in the UK at the time, and was kept off number 1 because it was felt that it might cause offence.[1] On at least one singles chart for the period, (TOP 20 POPS) the song's No. 2 slot is represented with a blank line. It did hit number 1 on the unofficial NME singles chart. It was banned by the BBC and the Independent Broadcasting Authority which regulated Independent Local Radio, effectively denying it any media exposure. Since the official singles chart at the time was compiled using sales returns from a number of outlets amongst a wider participating roster, it is in theory possible that the single's number 2 position was not the result of disregarding sales figures as such, but of the selection for that week's chart source data of a number of stores which were not selling the record. In 2001 in an unrelated article about the best record covers of all time, the BBC website published the following "God Save The Queen reached number one in the UK in 1977 despite being banned by the BBC and marked a defining moment in the punk revolution". There has been no official statement from the BBC (before or after this article was written) regarding this admission and thus the issue as to whether the song did make it to the top of the British charts still remains unresolved.[2]
The phrase "no future", the song's closing refrain, became emblematic of the punk rock movement. The lyric provided the title of Jon Savage's award-winning 1991 history of the Sex Pistols and punk rock, England's Dreaming.

草啊木有任何影响相关的··············

Just what is it that makes a band ‘Great’?
The best British Band debate is an all-time pub favorite amongst those in the UK who love their music and a good old Barney. Before beer mats are thrown as make-shift missiles and many a British classic is slaughtered in an attempt to prove a point, how’s about we establish some rules. Just what is it that makes a band ‘Great’? We have had so many brilliant musicians in our country and when assessing the strengths and short comings of their success or failure to make our list, there are 4 categories I can establish that lead to one band being the greatest!
1. GRNIUS LYRICS
2. GREAT ALBUM
3. MEMORABLE LIVE PERFORMANCES
4. ICONIC BAND MEMBER(S)
Already I can see those in their parkas with their preened mop-tops claiming that the only man to challenge the throne of the iconic John Lennon is the swaggering, tambourine wielding Liam Gallagher. The unswerving loyalty of those Sex Pistols and Clash followers will stake their claim that whilst one initiated the punk movement in the 70’s the other incorporated styles of punk, ska and reggae that was to influence bands and artists forever after. Not to miss the rock hard points of Led Zeppelin and Rolling Stones fans, that they were ‘the’ best live acts of their time. Lest we forget the great records that have shaped British Music History, with the dark tones of Joy Division’s Unknown Pleasures sparking a following that has spanned generations, and the innovative genius of Thom Yorke who led a new generation of sound through Radio head. Of course there are other notable challengers including The Kinks, The Who, Pink Floyd, Massive Attack, The Smiths, The Specials, The Undertones, Prodigy, Blur and of course Queen. For me though, there is one outstanding candidate. They were the original-originals, achieving more in their initial short career than any band has ever done to date. A band, many consider the most influential of our time, changing the face of music and causing an almighty ruckus whilst doing it.
“Undermine their pompous authority, reject their moral standards, make anarchy and disorder your trademarks. Cause as much chaos and disruption as possible but don’t let them take you ALIVE”
SID VICIOUS
Formed in London in1975, a time when the UK was entering the strife of the dole-queue era. The Sex Pistols had already built up a controversial reputation long before even releasing a record. Form The Strand to The Swankers, finally settling on the Sex Pistols; Rotten, Jones, Cook, and Matlock (eventually replaced by Sid Vicious for liking the Beatles too much), quickly made a provoking start to their career, as their debut single Anarchy in the UK, glorified and advocated groups who were hell bent on violence against the government. A track that prompted drummer Paul Cook’s own mother to tell a London Newspaper her son was no longer welcome at home.
Their controversial lyrics made an immediate impact on a society attacking everything from the Royal Family, capitalism and politics. Were they considered great lyrics? Well they certainly provoked ideas and reactions moving those who listened, through one unified subject-matter. The biggest difference between The Sex Pistols and other UK bands was how they captivated the whole country through their words. The finest example of this was the release of single ‘God Save The Queen’ in 1977. A track attacking Britain’s social conformity and regard for the crown, it evoked the greatest outbreak of music-based moral uproar ever witnessed and was timed like a bomb to land on the Queen’s Sliver Jubilee celebrations in the middle of that hot summer.

1. GRNIUS LYRICS
An amazing fact associated with the Sex Pistols is that throughout the whole of their career the band only ever released one studio album. You might think that gives cause for concern with regards to the Great Album category, but there are another seven to choose from in the form of live albums, compilations and a movie soundtrack, not that we needed to be spoilt for choice. Never Mind The Bollocks, Here’s The Sex Pistols is one of the outstanding albums in British Music History. It was an album with a sound utterly unlike anything that had come before it. Its’ anarchistic, nihilistic attitude spoke to a new generation of disaffected youth, capturing their voice at a time when nobody seemed to understand.
The distinctive British delivery of Rotten’s spiting vocals is accompanied masterfully by the pile-driver guitars of Steve Jones and Glen Matlock. The true genius of this album though, is the traditional pop song format and dynamics that under-lie every track. Tracks such as ‘Submission’ and ‘Pretty Vacant’ combine the anger and urgency of their lyrical agitation with an ease of sound. Not that the production of the album was any more predictable than the bands’ reputation. Bass-player Vicious suffered hepatitis at the time and hired hands were brought in to contribute including, Vicious’ eventual re-replacement and original member, Glen Matlock. The album reached #1 despite the controversy, and with the legendary tales surrounding its making, it has an epic appeal beyond many a British album.
2. GREAT ALBUM
If you were ever at a Sex Pistols gig, I guarantee you would still think about it every day of your now min comparison, dull life. Prior to Never Mind The Bollocks’ release, the band had already found their live shows to be somewhat chaotic. Their concerts repeatedly faced difficulties with organizers and authorities, and public appearances often ended in mayhem. Although the band had built a massive following, there were also those disgruntled at what the band felt it was too dangerous to continue performing in British, and they booked a U.S. tour in 1978. The tour caused their eventual disbandment as the tensions were too much for Rotten and he left the group. This intensity may have been the reason for the Sex Pistols initial split however it was also the reason for Rotten leading the push of the boundaries of live performance.
“If Johnny Rotten is the voice of punk, then Vicious is the attitude.”
3. MEMORABLE LIVE PERFORMANCES
Original members Rotten, Jones, Cook, and Matlock are all legends in their own rights. Although Rotten is one of the most memorable front-men of all time, it is Vicious who had gone on to become the iconic figure of the band. Manager Malcolm McLaren once claimed ‘f Johnny Rotten is the voice of punk, then Vicious is the attitude.’ McLaren also stated in a documentary that if he had met Vicious before Rotten, he would have made him the Sex Pistols front-man as he had more charisma on stage. And it is not just this reputation that has led to Vicious becoming the most revered of all the Sex Pistols. On the morning of 12 October 1978, Vicious claimed to have awoken from a drugged stupor to find girlfriend Nancy Spungen dead on the bathroom floor of their room from a single stab wound. Sid was arrested for murder but never charged. 10 days later he attempted suicide before eventually overdosing on heroin on the 1st of February 1979. A few days after Vicious was cremated his mother found a note in his jacket pocket…
We had a death pact, and I have to keep my half of the bargain. Please bury me next to my baby in my leather jacket, jeans and motorcycles boots.
4. ICONIC BAND MEMBER(S)
HELL YES !!!
Our fair isle or ‘Cool Britannia’ as it is widely known, is the spiritual home of rock n’ roll. From it’s ever-fertile womb it has birthed some of the greatest rock bands on the planet and possibly the universe: Beatles, Stones, Oasis, Sex Pistols, Joy Division, The Smiths, and The Who to name but a few. This is especially in contrast to our friends across the pond, who are either selling car insurance (not naming names or anything) or turning up to their gigs hours late, only to bellow obscenities at women and children through a megaphone (Axl Rose, that means YOU).
More recently though snooty types in bad jumpers have been snidely declaring that ‘Rock n Roll is dead’, like it’s going out of fashion. Here are ten of the best new, and what’s more British, new bands to show they’re not looking far enough past the ends of their upturned noses.

By late 1976, bands such as the Ramones in New York City and the Sex Pistols and The Clash in London were recognized as the vanguard of a new musical movement. The following year saw punk rock spreading around the world, and it became a major cultural phenomenon in the United Kingdom. For the most part, punk took root in local scenes that tended to reject association with the mainstream. An associated punk subculture emerged, expressing youthful rebellion and characterized by distinctive styles of clothing and adornment and a variety of anti-authoritarian ideologies.

After a brief period unofficially managing the New York Dolls, Englishman Malcolm McLaren returned to London in May 1975, inspired by the new scene he had witnessed at CBGB. The Kings Road clothing store he co-owned, recently renamed Sex, was building a reputation with its outrageous "anti-fashion".[137] Among those who frequented the shop were members of a band called The Strand, which McLaren had also been managing. In August, the group was seeking a new lead singer. Another Sex habitué, Johnny Rotten, auditioned for and won the job. Adopting a new name, the group played its first gig as the Sex Pistols on November 6, 1975, at St. Martin's School of Art[138] and soon attracted a small but ardent following.[139]In February 1976, the band received its first significant press coverage; guitarist Steve Jones declared that the Sex Pistols were not so much into music as they were "chaos".[140] The band often provoked its crowds into near-riots. Rotten announced to one audience, "Bet you don't hate us as much as we hate you!"[141] McLaren envisioned the Sex Pistols as central players in a new youth movement, "hard and tough".[142] As described by critic Jon Savage, the band members "embodied an attitude into which McLaren fed a new set of references: late-sixties radical politics, sexual fetish material, pop history,...youth sociology".[143]
Bernard Rhodes, a sometime associate of McLaren's and friend of the Sex Pistols', was similarly aiming to make stars of the band London SS. Early in 1976, London SS broke up before ever performing publicly, spinning off two new bands: The Damned and The Clash, which was joined by Joe Strummer, former lead singer of The 101'ers.[144] On June 4, 1976, the Sex Pistols played Manchester's Lesser Free Trade Hall in what came to be regarded as one of the most influential rock shows ever. Among the approximately forty audience members were the two locals who organized the gig—they had formed the Buzzcocks after seeing the Sex Pistols in February. Others in the small crowd went on to formJoy Division, The Fall, and—in the 1980s—The Smiths.[145]
In July, the Ramones crossed the Atlantic for two London shows that helped spark the nascent UK punk scene and affected its musical style—"instantly nearly every band speeded up".[146] On July 4, they played with the Flamin' Groovies and The Stranglers before a crowd of 2,000 at the Roundhouse.[147] That same night, The Clash debuted, opening for the Sex Pistols in Sheffield. On July 5, members of both bands attended a Ramones club gig.[148] The following night, The Damned played their first show, as a Pistols opening act in London. In critic Kurt Loder's description, the Sex Pistols purveyed a "calculated, arty nihilism, [while] the Clash were unabashed idealists, proponents of a radical left-wing social critique of a sort that reached back at least to ... Woody Guthrie in the 1940s".[149] The Damned built a reputation as "punk's party boys".[150] This London scene's first fanzineappeared a week later. Its title, Sniffin' Glue, derived from a Ramones song. Its subtitle affirmed the connection with what was happening in New York: "+ Other Rock 'n' Roll Habits for Punks!"[151]

Some new bands, such as London's Alternative TV, Edinburgh's Rezillos, and Leamington's The Shapes, identified with the scene even as they pursued more experimental music. Others of a comparatively traditional rock 'n' roll bent were also swept up by the movement:The Vibrators, formed as a pub rock–style act in February 1976, soon adopted a punk look and sound.[159] A few even longer-active bands including Surrey neo-mods The Jam and pub rockers The Stranglers and Cock Sparrer also became associated with the punk rock scene. Alongside the musical roots shared with their American counterparts and the calculated confrontationalism of the early Who, the British punks also reflected the influence of glam rock and related bands such as Slade, T.Rex, and Roxy Music.[160] One of the groups openly acknowledging that influence were The Undertones, from Derry in Northern Ireland.[161] Another punk band formed to the south, Dublin's The Radiators from Space.
In October, The Damned became the first UK punk rock band to release a single, the romance-themed "New Rose".[162] The Vibrators followed the next month with "We Vibrate" and, backing long-time rocker Chris Spedding, "Pogo Dancing". The latter was hardly a punk song by any stretch, but it was perhaps the first song about punk rock. On 26 November, the Sex Pistols' "Anarchy in the U.K." came out—with its debut single the band succeeded in its goal of becoming a "national scandal".[163] Jamie Reid's "anarchy flag" poster and his other design work for the Sex Pistols helped establish a distinctive punk visual aesthetic.[158] On December 1, an incident took place that sealed punk rock's notorious reputation: On Thames Today, an early evening London TV show, Sex Pistols guitarist Steve Jones was goaded into a verbal altercation by the host, Bill Grundy. Jones called Grundy a "dirty ****er" on live television, triggering a media controversy.[164] Two days later, the Sex Pistols, The Clash, The Damned, and The Heartbreakers set out on the Anarchy Tour, a series of gigs throughout the UK. Many of the shows were cancelled by venue owners in response to the media outrage following the Grundy confrontation.[165]

The Sex Pistols' live TV skirmish with Bill Grundy was the signal moment in British punk's transformation into a major media phenomenon, even as some stores refused to stock the records and radio airplay was hard to come by.[198] Press coverage of punk misbehavior grew intense: On January 4, 1977, the Evening News of London ran a front-page story on how the Sex Pistols "vomited and spat their way to an Amsterdam flight".[199] In February 1977, the first album by a British punk band appeared: Damned Damned Damned (by the Damned) reached number thirty-six on the UK chart. The EP Spiral Scratch, self-released by Manchester's Buzzcocks, was a benchmark for both the DIY ethic and regionalism in the country's punk movement.[200] The Clash's self-titled debut album came out two months later and rose to number twelve; the single "White Riot" entered the top forty. In May, the Sex Pistols achieved new heights of controversy (and number two on the singles chart) with "God Save the Queen". The band had recently acquired a new bassist, Sid Vicious, who was seen as exemplifying the punk persona.[201]
Scores of new punk groups formed around the United Kingdom, as far from London as Belfast's Stiff Little Fingers andDunfermline, Scotland's The Skids. Though most survived only briefly, perhaps recording a small-label single or two, others set off new trends. Crass, from Essex, merged a vehement, straight-ahead punk rock style with a committed anarchist mission. Sham 69, London's Menace, and the Angelic Upstarts from South Shields in the Northeast combined a similarly stripped-down sound with populist lyrics, a style that became known as streetpunk. These expressly working-class bands contrasted with others in the second wave that presaged the post-punk phenomenon. Liverpool's first punk group, Big in Japan, moved in a glam, theatrical direction.[202] The band didn't survive long, but it spun off several well-known post-punk acts.[203] The songs of London's Wire were characterized by sophisticated lyrics, minimalist arrangements, and extreme brevity.[204] By the end of 1977, according to music historian Clinton Heylin, they were "England's arch-exponents of New Musick, and the true heralds of what came next."[205]

好了明天好好看看能不能拿来当例子 不合适就算了
另外 度娘你英语好差 骂人的词都不屏蔽