Looking for books on Fascism on Amazon the other day, I came across a couple of books on Rock Against Racism, the pop music campaign against the National Front when they became the fourth largest political party for a very brief time in the 1970s. I thought I’d mention them here because some of the commenters have memories about them and the Socialist Workers’ Party, with whom they have been linked and who have been blamed by some historians of British fascism for the movement’s demise.
The books are:
Never Again: Rock Against Racism and the Anti-Nazi League 1976-1982 (Routledge Studies in Fascism and the Far Right) Paperback – 10 Dec. 2018
Dave Renton
By 1976, the National Front had become the fourth largest party in Britain. In a context of national decline, racism and fears that the country was collapsing into social unrest, the Front won 19 per cent of the vote in elections in Leicester and 100,000 votes in London.
In response, an anti-fascist campaign was born, which combined mass action to deprive the Front of public platforms with a mass cultural movement. Rock Against Racism brought punk and reggae bands together as a weapon against the right.
At Lewisham in August 1977, fighting between the far right and its opponents saw two hundred people arrested and fifty policemen injured. The press urged the state to ban two rival sets of dangerous extremists. But as the papers took sides, so did many others who determined to oppose the Front.
Through the Anti-Nazi League hundreds of thousands of people painted out racist graffiti, distributed leaflets and persuaded those around them to vote against the right. This combined movement was one of the biggest mass campaigns that Britain has ever seen.
This book tells the story of the National Front and the campaign which stopped it.’
https://www.amazon.co.uk/Never-Again-Anti-Nazi-1976-1982-Routledge/dp/1138502715
Rock Against Racism ―1976–1981 Hardcover – 29 Sept. 2022
by Syd Shelton (Author), Red Saunders (Afterword), Paul Gilroy (Contributor), Adam Phillips (Contributor), & 2 more
An outstanding photography book documenting a movement that rocked the world.
Syd Shelton: Rock Against Racism is a body of photographs that Syd Shelton produced for and about the British Rock Against Racism movement (RAR) of 1976–1981. For Shelton, this work was a socialist act, what he calls a “graphic argument,” on behalf of marginalized lives. His practice of photographic activism began in 1973 when he was driven to document the socio cultural and political dynamics expressed on the streets of Sydney by urban Australian Aboriginal communities, the working class, and the architectural landscapes of these groups. Shelton’s first solo show in 1975, “Working Class Heroes” at the Sydney Film-makers Cooperative, established his distinct activist eye.
Shelton joined RAR in early 1977 on his return to England from Australia. He did so because he found his birthplace a more racist country than it had been when he left. This was marked by the increased political presence of the National Front, notably its gain of some 119,000 votes in the Greater London Council Elections of May 1977. Shelton, like millions of others, feared for the future of multi-cultural Britain. His contribution to RAR was to be on the London committee, to create graphic material with other RAR members such as the RAR publication “Temporary Hoarding,” posters’ badges and his photography—RAR did not have an official photographer. Shelton’s instinctive need to document RAR—its events, contributors, and supporters—has resulted in the largest collection of images on the movement. Alongside his documentation of RAR, Shelton took photographs of what he calls “the contextual images,” the lives and landscapes that were defined by others as “different,” and that often fueled racist acts of violence by simply being.
What is presented here are Shelton’s authoritative visual statements as participant-photographer on the social tempo in Britain at this time and the activist potency of RAR. As collective activism, RAR’s success was dependent on individual contributions to fuel the movement’s activities across the country. This unique national, and eventually international, charge incorporated the visual dynamic of how Black and white RAR contributors and participants styled their bodies as another antagonistic tool against racism. These were acts of style activism—the making of an activist identity through the considered composition of clothes, accessories, hairstyles, makeup, and body language. Shelton’s images prompt us to remember that the individuals at RAR carnivals, gigs, and demonstrations were the event—they were RAR.
There are many versions of what RAR was and its legacy. Syd Shelton: Rock Against Racism provides an auto/biographical telling of that historical moment. It reflects on how Shelton’s work as a photographer contributed towards social change at a critical moment of political and racial tension in Britain.’
There are also reviews of the Syd Shelton book online from some of the newspapers and magazines, if you want to look.