Not the Same Old Show: An Exploration of Ruth Gregory’s Iconic Designs for Temporary Hoarding (1977-81)

This article explores the visual aesthetic of the Rock Against Racism (RAR) punk-fanzine style paper, Temporary Hoarding (1976-81), with an emphasis on the impactful designs created by Ruth Gregory. RAR was created to counter racism in the music industry and the increasing influence of the National Front on youth subcultures. The essential role played by graphic design in this endeavour has been understated within the wider discussion on RAR. The paper’s creators aimed to embody the anti-establishment ethos and language of punk and reggae, to promote anti-racism within a wider left-libertarian perspective. This contrasted with the dense, impenetrable political theory which characterised traditional left media, and enabled the paper to connect with their young audiences. The paper also introduced issues surrounding police brutality, feminism, apartheid, Northern Ireland and the legacy of colonialism to its readership. The article explores the influence of Dada and Constructivism, as well as 1960s agit-prop and punk, on the design aesthetic, and draws correlations with the underground press (1960s-70s). It explores the trajectory of the design aesthetic as the campaign hit unexpected heights, before having to respond to a new reality with the election of an authoritarian New Right government from 1979.