The War at Home: Counterprotests

Learning Objectives

  • Describe the conditions of and the reactions to the major counter-protests of the late 1960s and 1970s

The violence at the 1968 Democratic convention in Chicago and the campus of Kent State in 1970 showed the deep divisions within the country, especially concerning the war in Vietnam. At the same time, they revealed tensions that went far beyond foreign policy; in both cases, the antiwar protestors tended to be racially diverse and college-educated. The police and national guardsmen, in contrast, were largely White and working-class, and second-or-third generation Americans. As Black Americans, women, and other historically disadvantaged groups began to make slow progress, it was this so-called “White ethnic” demographic that experienced the downturns of the 1970s most poignantly. The crime rate rose markedly. A turbulent economy endangered the middle-class lifestyle to which many Americans were accustomed. Affirmative action meant greater (and fairer) competition for a dwindling number of jobs. Nixon had won the presidency by pledging to stand up for the “Silent Majority” of Americans who did not sign on to the rejection of postwar values and structures flouted by civil rights groups, antiwar protests, and feminist activism. As the 1960s turned to the 1970s, this majority was no longer silent and organized to limit the impact these movements had on their country. Ironically, their use of public protest and mass organization often borrowed from the very civil rights and social movements they were reacting against.  

The Hard-Hat Riots

Many Americans were horrified by the shootings at Kent State University, but others felt a deep contempt toward the unruly student protesters. In the wake of Kent State, public action against the Vietnam War began anew. Some of the heaviest protesting took place in New York City in the midst of funeral proceedings for one of the four young people killed.

Image of construction hard hats on table. One has "Nixon" written on the front with an American flag at the top.

Figure 1. Hard hats shown on the cabinet table after meeting with President Nixon in 1970. Many of the construction workers involved in the counterprotests were unionized and belonged to White ethnic groups, both of which had traditionally suggested Democratic Party sympathies. The riot showed that cultural grievances against social protesters were becoming a greater priority than collective bargaining for some of these unionists, and many former Democrats voted for Republican Nixon.

On May 8, only four days after the bloodshed in Ohio, antiwar protesters were assaulted by workers who were on their lunch break. Carrying flags, brandishing their tools as weapons, and shouting “USA, All the Way!,” these workers began an impromptu counter-demonstration that turned into a violent attack on the antiwar gathering. Nearby law enforcement personnel did little to stop this rampage, and only six of the roughly 1,200 rioters were arrested. (Incidentally, many of these construction workers were in the process of building what would one day become the World Trade Center.) Although both white-collar office-workers and blue-collar construction workers took part in the melee, the event became known as the “hard-hat riot.”

The “hard-hats” barged their way into City Hall itself, demanding that the American flag, which had been lowered to half-mast in remembrance of Kent State, be raised to full-mast. President Nixon could not explicitly endorse the riot, and even met with a group of antiwar students in Washington later that day. But just a few weeks later, he met with a large gathering of union leaders that suggested a unified stand against war protests that had gotten out of hand. By praising “labor leaders and people from Middle America who still have character and guts and a bit of patriotism,” Nixon signaled his tacit support for the rioters’ grievances [1].

Civil Rights Pushback in the North

Some of the most prominent resistance to civil rights reforms took place well outside the South and were often framed as compromising Whites’ civil rights. In response to the urging of the Black community of Massachusetts, the state passed a law in 1965 which required schools to desegregate or lose state funding. Fifty-five cities were deemed to be racially imbalanced, the vast majority of them in working-class enclaves of Boston. One major problem in achieving desegregation was that Boston had been divided into a number of distinctly racial and ethnic neighborhoods for decades. Simply put, White and Black students lived far apart from one another, making desegregation logistically difficult.

When schools resisted integration, state courts ruled that they must comply. To do so, they mandated a system called busing in 1974, which involved transporting a number of children in a Black neighborhood of Boston to a school in a White neighborhood, and vice versa. Many were angered because the architects of the busing policy, including the judge who mandated it, lived in more affluent suburbs that were not affected by these rulings. Perhaps no figure personified the opposition to busing more than Louisa Day Hicks of the Boston School Committee. Arguing that the children of Boston were being treated as “pawns,” she formed an organization called ROAR (Restore Our Alienated Rights), consisting mostly of mothers whose children would be affected by busing, to resist the requirement. School attendance plummeted and interracial violence in newly integrated school districts became a recurring problem.

Protests against busing near Boston’s city hall became a commonplace occurrence. Although ostensibly about local control over education, it did not escape notice that ROAR consisted almost entirely of White parents. While many of their protests were peaceful, buses carrying Black students into White neighborhoods were often pelted, and protest signs against busing frequently contained racial slurs. Perhaps the most famous demonstration of the racial undertone of the busing protests was captured in Stanley Forman’s Pulitzer Prize-winning photograph “The Soiling of Old Glory.”

soiling of old Glory

This iconic photograph named “The Soiling of Old Glory,” taken by Stanley Forman during the Boston busing crisis, won a Pulitzer Prize for depicting the violent assault of a Black lawyer and civil rights activist Ted Landsmark by a White teenager, Joseph Rakes. Landsmark, a professor at Northeastern University, is shown in the video below speaking about that event but also about his other work focused on the intersection between diversity and design.

About the busing attack, Landsmark remembered, “I could either focus on my anger at being attacked, or we could try to mobilize other people, who had not been involved with any of the busing and the violence, in a way that would bring more people of conscience into the conversation around the subject of what was going on in Boston at that time.”[2]

You can view the transcript for “Spend Two Minutes With The Academic Who Made History In Iconic Boston Busing Protest Photo” here (opens in new window).

Crime and Punishment at the Movies

The crime rate, which had been in decline since the Great Depression, began to rise again in the 1960s, even in the midst of relative affluence. Particularly troubling was the murder rate, which multiplied by a factor of two and a half between 1957 and 1980 [3]. Skyjackings and serial killers like Ted Bundy and the Zodiac Killer dominated headlines. The public crisis over crime was amplified by a Supreme Court decision that enshrined the rights of accused persons. This decision, Miranda vs. Arizona (1966), ruled that an accused person in police custody must be made aware of his or her rights, particularly when undergoing interrogation from law enforcement. Should suspects not be informed of these rights, any information obtained from the accused could be dismissed from court. In the wake of the decision, Nixon himself opined that the Miranda decision “had the effect of seriously hamstringing the peace forces in our society and strengthening the criminal forces.”[4]

Anxiety that this ruling would embolden and protect criminals filtered into popular culture, particularly in cinema. Movies from the early Cold War era tended to have male protagonists who were clean-cut, polite, and respectful of established authority. Amidst the tumult of the late 1960s, a new kind of protagonist, the antihero, emerged. In such films, the hero fought against hardened criminals (often portrayed as racial minorities), but also an ineffective bureaucracy that tied their hands in fighting those same criminals. One of the most successful films in this genre was Dirty Harry, starring Clint Eastwood. In the film, Eastwood plays Harry Callaghan, a police officer hunting a brutal serial killer. Throughout the film, Callaghan’s attempts to bring the killer to justice are thwarted by a legal system that requires that the suspect be apprehended within the limits of the law, including his Miranda rights. In the end, Eastwood’s character ignores these restrictions, shoots the killer in a showdown, and throws away his police badge. Ultimately, Although the film was both a critical and commercial success, some reviewers were troubled by the message; critic Roger Ebert called the film “very effective” but also “fascist.”[5] The 1974 film Death Wish starred Charles Bronson as a well-meaning liberal whose life changes dramatically when his wife is murdered and whose daughter is assaulted in a home invasion. Bronson’s character turns to a life of vigilantism, hunting down violent criminals outside of the law. In each of these films, the audience is set up to view these men, using violence outside the limits of the law to keep their communities safe, as sympathetic figures.

Perhaps no film demonstrated this feeling of pent-up resentment more than 1976’s Network. In its most iconic scene, an irate newsman encourages citizens fed up with crime and squalor to open their windows and scream “I’m mad as Hell, and I’m not going to take it anymore” into the city streets. This scene’s wide appeal demonstrated larger public frustrations at the course of liberalism since the days of the Great Society. Rather than seeing liberal politics as advancing civil rights or fighting against poverty, more working-class Americans perceived liberalism as a disruptive force that protected criminals, hampered children’s education, and undermined the family unit.

Try It

Glossary

antihero: a protagonist in a story who often has deep flaws

busing: a means of desegregating schools by transporting learners by bus to a different school district in order to achieve racial balance

Miranda v. Arizona: a 1966 court ruling that said a person must be informed of their rights to remain silent and consult with an attorney before being questioned. It reiterated that the Fifth Amendment protects a person from testifying against themselves.


  1. David Paul Kuhn, The Hardhat Riot: Nixon, New York City, and the Dawn of the White Working-Class Revolution. Oxford University Press. pp. 252–253.
  2. https://www.npr.org/2016/09/18/494442131/life-after-iconic-photo-todays-parallels-of-american-flags-role-in-racial-protes
  3. Steven Pinker, "Decivilization in the 1960s," Human Figurations 2, Vol. 2, July 2013, http://hdl.handle.net/2027/spo.11217607.0002.206
  4. Richard Nixon, "Toward Freedom from Fear," May 8, 1968, https://www.presidency.ucsb.edu/documents/remarks-new-york-city-toward-freedom-from-fear
  5. Roger Ebert, "Dirty Harry," Chicago Sun Times, January 1, 1971.