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On the verge of Thatcherism and the neo-liberal takeover of the world, much of the music of this pivotal moment records the sound of a country breaking apart, of old communities dying and new ones struggling to be born. Robinson wasn’t alone in his sense of foreboding, further warnings of collapse can be heard in the songs of many other bands who played for RAR: in the Clash’s ‘ London Calling’, Aswad’s ‘ Judgement Day’, the Ruts’ ‘ Babylon’s Burning’, Stiff Little Fingers’ ‘ State of Emergency‘, and, most potently perhaps, in the weird atmospherics of the Specials’ ‘ Ghost Town’. You can hear it especially in ‘Long Hot Summer’, which was inspired by the Stonewall riots, and in the shifting allegiances of ‘Up Against the Wall’, where he confronts his audience with the question: “Just whose side are you on?” Like many of the period’s best songs, his catch the jittery mood on the streets. Robinson’s prophecies weren’t far off the mark: the next few years would see tanks in Belfast, bombs in London, and riots in cities up and down the country. Written in 1977, the song predicts an uprising in 1979 and then looks back at the insurrection from a time in the future when a world-weary activist addresses a new generation: “All you kids who just sit and whine, you should have been there back in ’79, You say we’re giving you a real hard time, you guys are really breaking my heart”. There are many songs that convey the wild and apocalyptic imagination of the late 1970s and early 1980s in Britain – the pervasive sense of urgency and danger, of state violence and fascist threat – but Tom Robinson’s ‘Winter of ‘79’ differs from others in treating the moment historically. Winter of ‘79 - Tom Robinson B and (1977) What follows are a reflections on the music I chose, and on my involvement with a movement that interrogated the past, prefigured future networking organisation, and celebrated the turbulent era we were living through with – as Syd’s photographs attest – passion, style and commitment Syd, Paul and I each selected three tracks that in some way epitomized the era. This is why thinking about the performers who appeared on our stages, and the music they played there, seemed like the best way to cut through the arguments and get to the heart of RAR.
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When Syd Shelton recently published his photographs from Rock Against Racism, full of the drama and intensity of the times, I joined him and the critic Paul Gilroy, at Autograph Gallery in the East End of London to discuss the RAR years.įorty years later, among all the theories advanced about its origins and politics, one glaring fact about RAR is often forgotten: at its root was the shared love of music.