Rock Against Racism

Rock Against Racism
Danny Birchall · CC BY 2.0 · source
Name	Rock Against Racism
Caption	Poster for a 1978 carnival concert
Founded	1976
Founders	Red Saunders; Alexei Sayle; Dave Renton
Location	United Kingdom
Genre	Punk rock; reggae; ska; new wave

Rock Against Racism

Rock Against Racism began as a British cultural and political response linking punk rock, reggae, ska, and new wave scenes to oppose racism and far-right movements. Emerging amidst controversies involving musicians and politicians in the 1970s, the movement coordinated concerts, marches, publications, and collaborations with activists, musicians, venues, and media. It fostered alliances across scenes involving artists, promoters, venues, labels, and grassroots organizations to mobilize audiences against racist rhetoric and extreme-right groups.

Origins and Background

The immediate origins trace to reactions involving musicians like Eric Clapton, David Bowie, Elvis Costello, Graham Parker, and public statements by figures such as Enoch Powell and groups like the National Front. Founders and early organizers included activists and artists connected to venues such as The Roundhouse, The Electric Ballroom, and promoters associated with NME, Melody Maker, and fanzines like Sniffin' Glue. Influences and antecedents included transatlantic connections with movements around Alice Cooper, Bob Marley, The Clash, Sex Pistols, and labels such as Island Records and Stiff Records. The milieu intersected with community organizations including Greater London Council, Anti-Nazi League, Campaign for Nuclear Disarmament, and cultural institutions like Notting Hill Carnival.

Organisation and Activities

Organising networks brought together musicians, journalists, comedians, and politicians including contacts with Paul Weller, Joe Strummer, John Peel, Ian Dury, and comedians like Alexei Sayle. Activities ranged from benefit concerts at venues like Alexandra Palace, Brixton Academy, Victoria Park, London, and street-level events in boroughs such as Hackney, Southwark, and Lambeth. Collaborations involved unions and societies such as Musicians' Union, Amnesty International, and anti-fascist groups including Searchlight (magazine) and international partners like Anti-Racist Action. Organisers worked with independent labels such as Rough Trade Records, Cherry Red Records, 2 Tone Records, and distributors including Virgin Records for publicity and pressing. Media engagement used outlets like BBC Radio 1, Capital Radio, The Guardian, and The Independent alongside fanzines and community papers.

key Events and Concerts

Major events featured billings with bands and artists including The Specials, The Jam, The Police, X-Ray Spex, Buzzcocks, Public Image Ltd, Siouxsie and the Banshees, Stiff Little Fingers, Crass, Aswad, Linton Kwesi Johnson, Steel Pulse, Desmond Dekker, Toots and the Maytals, Jimmy Cliff, UB40, Madness, Diana Ross, Pearl Jam (later benefit contexts), and DJs such as John Peel. Landmark concerts included a series of carnivals and rallies with tens of thousands at Victoria Park, London and other urban parks, festivals coordinated with Notting Hill Carnival and benefit gigs at locations like Hammersmith Odeon and Finsbury Park. International ties connected concerts and solidarity events in cities like New York City, Paris, Berlin, Manchester, Birmingham, and Leeds.

Music and Cultural Impact

The musical cross-pollination linked reggae artists such as Bob Marley and the Wailers, Gregory Isaacs, Peter Tosh, and Dennis Brown with punk acts including The Clash, The Damned, and The Ruts. It helped spotlight labels and producers like Lee "Scratch" Perry, Sly and Robbie, Chris Blackwell, and studios such as Studio One and Trident Studios. Cultural effects manifested in scenes around venues like The Marquee Club, 100 Club, and institutions such as BBC Television Centre and publications like NME and Melody Maker. The movement influenced fashion linked to designers and subcultures tied to Vivienne Westwood, Malcolm McLaren, and the 2 Tone aesthetic associated with Jerry Dammers. Crossovers appeared in film and television projects involving filmmakers and broadcasters like Ken Loach, Stephen Frears, Mick Jones, and presenters such as Annie Nightingale.

Political Influence and Criticism

Politically, the movement intersected with campaigns and personalities including Tony Benn, Ken Livingstone, Eddie George in public debates, and legislative contexts involving debates in the House of Commons and local councils such as Islington Council. It prompted responses from far-right groups like the National Front and provoked media controversies in outlets like The Sun and Daily Mail. Critics from various quarters—certain musicians, commentators, and cultural theorists writing in The Spectator and academic journals—argued about artistic autonomy, politicisation of music, and effectiveness. Defenders cited alliances with groups such as the Anti-Nazi League and civic campaigns involving Shelter (charity) and Refugee Council as evidence of impact.

Legacy and Revival movements

Legacy and revivals connected to later benefit movements and campaigns involving artists like Paul McCartney, Muse, Green Day, The White Stripes, Arcade Fire, Radiohead, Sleater-Kinney, and collectives such as various international offshoots through festivals, tribute events, and academic study at institutions like Goldsmiths, University of London and University of Westminster. Successor and inspired projects included initiatives by Hope Not Hate, Stand Up To Racism, Show Racism the Red Card, and music industry responses coordinated with Help Musicians UK and Gendered Intelligence style diversity campaigns. Commemorative releases, archival exhibitions at museums such as Victoria and Albert Museum and Museum of London, and retrospectives in periodicals like The Guardian and New Statesman have preserved its influence on contemporary anti-racist cultural organising.

Category:Anti-racism movements Category:British music history Category:Punk rock