%0 Journal Article %1 ashley_dawson_love_2005 %A Dawson, Ashley %D 2005 %J Postmodern Culture %K Antirassismus Besorgen Cultural_Studies Geschichte-Grossbritannien-20._Jhd.-1970er-80er_Jahre Rock_Against_Racism %N 1 %T "Love Music, Hate Racism": The Cultural Politics of the Rock Against Racism Campaigns %V 16 %X "Love Music, Hate Racism": The Cultural Politics of the Rock Against Racism Campaigns, 1976-1981 "Love Music, Hate Racism": The Cultural Politics of the Rock Against Racism Campaigns, 1976-1981 Ashley Dawson � 2005 PMC 16.1 In his classic study of post-1945 youth subcultures, Dick Hebdige suggests that Black British popular culture served as a template for defiant white working class subcultural practices and styles (29). The kind of affiliatory cultural politics that Hebdige describes is best exemplified in the little-studied Rock Against Racism (RAR) campaign of the late 1970s. As Paul Gilroy stresses in There Ain't No Black in the Union Jack, his seminal analysis of British culture and nationalism, unlike much of the Left at the time, RAR took the politics of youth cultural style and identity seriously. Surprisingly, neither Gilroy himself nor subsequent cultural historians have extended his brief discussion of RAR; as a result, our understanding of this movement, its cultural moment and its contradictions remains relatively undeveloped. This is particularly unfortunate since, unlike previous initiatives by members of Britain's radical community, RAR played an important role in developing the often-latent political content of British youth culture into one of the most potent social movements of the period. In 1978 alone, for instance, RAR organized 300 local gigs and five carnivals in Britain, including two enormous London events that each drew...

@article{ashley_dawson_love_2005, abstract = {{"Love} Music, Hate Racism": The Cultural Politics of the Rock Against Racism Campaigns, 1976-1981 {"Love} Music, Hate Racism": The Cultural Politics of the Rock Against Racism Campaigns, 1976-1981 Ashley Dawson � 2005 {PMC} 16.1 In his classic study of post-1945 youth subcultures, Dick Hebdige suggests that Black British popular culture served as a template for defiant white working class subcultural practices and styles (29). The kind of affiliatory cultural politics that Hebdige describes is best exemplified in the little-studied Rock Against Racism {(RAR)} campaign of the late 1970s. As Paul Gilroy stresses in There Ain't No Black in the Union Jack, his seminal analysis of British culture and nationalism, unlike much of the Left at the time, {RAR} took the politics of youth cultural style and identity seriously. Surprisingly, neither Gilroy himself nor subsequent cultural historians have extended his brief discussion of {RAR;} as a result, our understanding of this movement, its cultural moment and its contradictions remains relatively undeveloped. This is particularly unfortunate since, unlike previous initiatives by members of Britain's radical community, {RAR} played an important role in developing the often-latent political content of British youth culture into one of the most potent social movements of the period. In 1978 alone, for instance, {RAR} organized 300 local gigs and five carnivals in Britain, including two enormous London events that each drew... }, added-at = {2009-09-03T00:39:07.000+0200}, author = {Dawson, Ashley}, biburl = {https://www.bibsonomy.org/bibtex/22098aaa4808a0c0b9a25d931181aab07/orcival}, interhash = {519e6c9c24f647f28543ba8b0986bb3a}, intrahash = {2098aaa4808a0c0b9a25d931181aab07}, journal = {Postmodern Culture}, keywords = {Antirassismus Besorgen Cultural_Studies Geschichte-Grossbritannien-20._Jhd.-1970er-80er_Jahre Rock_Against_Racism}, month = {September}, number = 1, timestamp = {2009-09-12T12:19:48.000+0200}, title = {{"Love} Music, Hate Racism": The Cultural Politics of the Rock Against Racism Campaigns}, volume = 16, year = 2005 }