To mix punk and reggae bands on the same stage. reggae and punk grew out of the same political roots. “The main black bands had played to black audiences and white bands to white,” Mr. Under the anthem “Love Music, Hate Racism,” Rock Against Racism united Asian, black and white urban youth, forging lasting connections between different cultural repertoires. Credit Syd Shelton, courtesy of Autograph ABPįrom 1976 to 1981, Rock Against Racism organized marches against the neo-fascist National Front and put on more than 500 concerts throughout Britain, including two anti-fascists events in London that each attracted Shelton became deeply involved in the movement, emerging as an activist, photographer and one of the main designers of its magazine, Temporary Hoarding.īarry Forde Band and the Leyton Buzzards backstage in Leeds, England, during the Militant Entertainment Tour in 1979. With over 800 replies within the first few days.” “The response was immediate and phenomenal “Red and the letter’s other signatories called for a rank-and-file movement called Rock Against Racism to fight the racist poison,” Mr. Saunders to write a letter to the music news media in response. In 1976, the musician Eric Clapton urged his fans to “Keep Britain white” during a concert in Birmingham, leading Mr. Shelton reflected via email on the founding of the movement, which involved his friend and photographer Red Saunders. Shelton captured the rise of Rock Against Racism with an electric mastery. It is also a tribute to the extraordinary pictures taken of this vibrant movement by the British artist Syd Shelton.Īwakened to politics in his youth through involvement in the nuclear disarmament movement, Mr. The Arts London, the show is a vivid testimony to an organization whose strategy was to take seriously identity, culture and politics.
Curated by Mark Sealy, director of the photography nonprofit Autograph ABP, and Prof. Credit Syd Shelton, courtesy of Autograph ABPĪn exhibition of the same name is on display at Impressions Gallery in Bradford, England. When the show was infiltrated by a racist gang, the stage was protected and Sham 69 ended the concert by playing with the British reggae band Misty in Roots. Tony James of Generation X playing bass with Sham 69 at the Central London Polytechnic in September 1978.
0 kommentar(er)
