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Rock Against Racism: the Movement That Inspired Rebels, Revolutionaries, and Rastas 1976-1981

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Rock Against Racism: the Movement That Inspired Rebels, Revolutionaries, and Rastas 1976-1981 Rock Against Racism: The Movement That Inspired Rebels, Revolutionaries, and Rastas 1976-1981 Rachel Cathie Cathie 1 Table of Contents Pages Introduction………..…………………………………………………………..2-5 Chapter 1: How It All Began …….…………………………..…………….....6-21 Chapter 2: Rise of the National Front.....………………………………….....22-29 Chapter 3: The Members of Rock Against Racism………......…………….....30-44 Chapter 4: Playing Favorites……………....………………....……………......45-58 Chapter 5: Conclusion……………...………………………………………….59-67 Bibliography…………...………………………………………………………68-71 Cathie 2 Introduction In the 1970s, Britain was suffering from inflation and high unemployment rates, especially among the youth. This was due to the oil crisis, coupled with a stock market crash, which left the economy devastated. As the UK attempted to rebuild their country from the World Wars, the government enacted policies that enhanced the economic crisis and caused stagflation. This left citizens disenchanted with their government and resulted in strikes and protests, as people struggled to find employment or earn a livable wage. As tensions grew, much of this resentment shifted towards immigrants and minorities. Many people saw immigrants as a threat to stability, as they felt that the country could not support the influx of more foreign people. Moreover, they believed that immigrants were a threat to the British national identity. The result was the rise of far-right radical parties like the National Front. One of the reactions to this turn towards the right was the emergence of the punk movement. Race relations and punk music has been studied isolated from each other in the past, but very few historians have placed an emphasis on how punk music was used as a tool to mobilize people in the fight against racism. I found the relationship between the punk subculture and racism more complicated than I expected, which is why I have chosen to write my Distinction Thesis on a movement that has often been overlooked or forgotten: Rock Against Racism (RAR). The thesis question I am posing is: “Did the participants of the 1970s Rock Against Racism movement in Britain, comprised of the central committee members, punk rock musicians, fans, and members of the Anti-Nazi League, successfully support the anti-racist rhetoric they espoused by utilizing demonstrations and musical concerts to protest the racial injustices minorities were facing, or did the objectives of these three groups not align, causing Cathie 3 tension and disunity within the movement?” This topic is important because when reflecting back on history, it is easy to glorify and praise a movement when its goal was to simply “stop racism.” Eliminating racism in society is a cause that many people today would support. Without taking into consideration the context of the 1970s, it is easy for us to look back and say that everyone who supported the National Front or Enoch Powell was full of hatred and ignorance. However, this is not a completely true statement. People are typically more complex and are very rarely wholeheartedly “for” or “against” something. That is not to say that there were not a large amount of racist people, but many were just scared of immigration because they were suffering from the poor economy conditions, and feared minorities were taking their only opportunities to work. Out of fear, these citizens used immigrants as scapegoats for their problems. Rock Against Racism began as a response to these racist sentiments, and the contentious political atmosphere. The founder, Red Saunders, wanted people to realize that immigrants were not the sole source of their problems. This movement was far from perfect though, and there were many who participated that did not care for the plight of immigrants at all, but rather, sought to further their own agendas. I wanted to analyze and dissect the different elements of this movement to show that although most members of RAR may have had great intentions, it had its faults which should not be overlooked. RAR fits into a broader picture, as it shows that a movement with a great cause can easily be admired, but one has to delve deeper to truly understand if the organization was a competent one. The question I am posing is difficult to answer since “success” is objective, and therefore, hard to measure. After thorough research though, I have come to the conclusion that success can be determined by whether those involved with RAR were able to achieve the goals they set for the movement. I conclude that the RAR committee members, punk rockers, and members of the Cathie 4 Anti-Nazi League did have differing beliefs that put strain on the movement, but it did not cause enough conflict to inhibit them from coordinating effective protests and musical shows which they used to promulgate their message of anti-racism. However, Rock Against Racism, as its name implies, began as a campaign to reduce racism, but the focus of the organization was shifted to anti-fascism once the Anti-Nazi League became involved. As RAR evolved, those involved saw the neo-fascist National Front as the biggest threat to English society, and sought to abate their influence. The RAR members believed that by diminishing the power of the National Front, there would be a direct reduction of racism as well. Research Over the course of five chapters I utilized a diverse array of both primary and secondary sources. The two sources I relied heavily on are the books White Riot, edited by Max Trembley and Stephen Duncombe, and Walls Come Tumbling Down by Daniel Rachel. White Riot is an anthology of different interviews and articles by experts and bands that were integral to the movement. I also interviewed Max Trembley to seek his expert opinion on how minorities were represented within punk music and this movement. He made the point that punk musicians were partial to West Indians, but did not actively try to alienate other minorities. Since RAR utilized punk music to garner support, it appeared that the movement favored Blacks, but this was not always the fault of the organization itself. This topic was also broached in Walls Come Tumbling Down. This book is an aggregate of interviews and accounts from those who were directly involved in the movement. Both sources offered detailed insight into punk subculture and the operation of the Rock Against Racism movement. Since Walls Come Tumbling Down featured the central RAR committee members and others who comprised the movement, it was a great resource for understanding the operation of the movement. However, it was a bit biased and very Cathie 5 subjective. In order to analyze every facet of RAR I needed to use impartial and equitable sources as well. In this case, I relied on authors Simon Firth and John Street’s analysis of RAR as well as sociologist Paul Gilroy. Firth and Street conclude that the movement fell short in a myriad of ways, but was still important in the destruction of the National Front. Paul Gilroy saw the merit in RAR, but thought it did not reach its full potential as it could have done more to encourage anti-racism. Additionally, I used fanzines such as Sniffin Glue and Temporary Hoarding to learn about RAR and punk music from the punk fans’ and musicians perspective. Although the sources I used were helpful and comprehensive, there were still gaps in my research. There were not a plethora of sources about this topic. Due to the lack of material, I had to form a conclusion based on the research I did find, and from my own interpretation of the movement. Cathie 6 Ch. 1 How It All Began On August 30, 1976, racial tensions within Britain came to a head. It was a day designated to commemorate the annual Notting Hill Carnival, a celebration of West Indian culture, which had been celebrated for over ten years without incident. This year, however, was different. What began as an innocuous festival, later erupted into a massive riot, concluding with over 100 police officers and 60 carnival attendees hospitalized, while 66 people were arrested for misconduct.1 There are various accounts of the events that took place that day; some claim that the police were only doing their due diligence by preventing pick pocketers from targeting unsuspecting victims, whereas others believed that the police were racially profiling black youths by accusing them of crimes in which they were innocent. Although there were large discrepancies in the stories reported, the one that made the biggest and most lasting impact, was that young Blacks were being harassed by a blatantly racist police force. When journalist Robert Elms attended the Carnival, a cop stopped and asked him why he was at the festival, since it was “just full of niggers.”2 This was not uncommon behavior exhibited by the police, as they had a long history of targeting minorities, predominately people of West Indian descent. This day harkened back to the race riots that occurred in the same place, on the same day, 18 years prior. Darcus Howe, author of the article “Carnival In a Strange Land,” said that the first Carnival signified a time period when “the West Indian community had fought off the racists” by putting up “a major resistance to police brutality, and, in so doing, established itself 1 "BBC ON THIS DAY | 30 | 1976: Notting Hill Carnival Ends in Riot," BBC News, August 30, 1976, accessed March 27, 2018, http://news.bbc.co.uk/onthisday/hi/dates/stories/august/30/newsid_2511000/2511059.stm. 2 Daniel Rachel, Walls Come Tumbling Down: The Music and Politics of Rock Against Racism, 2 Tone and Red Wedge, 1976-1992 (London: Picador, 2017), 103. Cathie 7 as a major bridgehead in the struggle of black people in Britain.”3 That is why Notting Hill was chosen as the sight for the Carnival, as it was considered “liberated territory” by the West Indians, who had protested in 1958.
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