How to Make Trouble and Influence People

Iain Mcintyre

Description

This book reveals Australia’s radical past through more than 500 tales of Indigenous resistance, convict revolts and escapes, picket line hijinks, student occupations, creative direct action, street art, media pranks, urban interventions, squatting, blockades, banner drops, guerilla theatre, and billboard liberation. Twelve key Australian activists and pranksters are interviewed regarding their opposition to racism, nuclear power, war, economic exploitation, and religious conservatism via humor and creativity. Featuring more than 300 spectacular images How to Make Trouble and Influence People is an inspiring, and at times hilarious, record of resistance that will appeal to readers everywhere.

Sujets

• Protest
• Subvertising
• Vandalism
• Mischief Makers

Informations

• Publié par: PM Press
• Date de parution: 15 octobre 2013
• Nombre de lectures: 0
• EAN13: 9781604868807
• Langue: English
• Poids de l'ouvrage: 17 Mo

Extrait

Patches by various Anonymous artists, 2000s. Coutesy Jane Orme, Tom Sevil and Lou Smith
Let no one say the past is dead. The past is all about us and within.
Oodgeroo Noonuccal, 1970
We recognise and pay respect to the Indigenous nations and traditional custodians of Australia. We express solidarity with the ongoing struggles for land rights, self-determination, sovereignty and the recognition of past injustices.
AUTHOR AND EDITOR
IAIN M C INTYRE
BOOK DESIGN AND GRAPHIC EDITOR
TOM SEVIL ( AKA CIVIL)
EDITOR AND ADDITIONAL RESEARCH
LOU SMITH
PROOF READING: PETER CAHILL, SHANE MCGRATH AND GREGORY NIPPER
Second Edition Co-Published in 2013 by:

PM PRESS
PO BOX 23912, OAKLAND, CA 94623 USA WWW.PMPRESS.ORG

BREAKDOWN PRESS
PO BOX 1283 CARLTON, MELBOURNE, VIC 3053 AUS WWW.BREAKDOWNPRESS.ORG
First Published in 2009 by Breakdown Press.
FOR MORE INFORMATION
WWW.HOWTOMAKETROUBLEANDINFLUENCEPEOPLE.ORG
This book is an expanded compilation of the zines: How To Make Trouble And Influence People, 1996 How To Stop Whining And Start Living, 1999 Revenge Of The Troublemaker, 2003.
Dedicated to Ned Sevil (1980-2010), Pete Gray (1981-2011) and Dara Greenwald (1971-2012).
Every attempt has been made to locate and give credit to the original creators of the images contained within this book and to locate the authors quoted. Due to the often anonymous and ephemeral nature of much of this material we have been unable to provide accurate sources for some images. If you are the creator of any of these works and would like to be credited in any future edition of this book then please contact the publisher [e-mail] . Copyright remains with the individual creators.
Aboriginal and Torres Strait Islander peoples are advised that this book contains images of deceased persons.
AUTHOR S TEXT : Creative Commons licence
Attribution-Noncommercial 2.5 Australia ( http://creativecommons.org/licenses/by-nc/2.5/au/ )
This edition copyright Breakdown Press PM Press 2013
ISBN: 978-1-60486-595-0
LCCN: 2012913624
Printed in the USA on recycled paper by the Employee Owners of Thomson-Shore in Dexter, Michigan. www.thomsonshore.com
Australia has progressed by a series of little rebellions.
L. Haylen, 1948
INTRODUCTORY PAGES PHOTO CREDITS
PAGE 2: Anonymous graffiti captured while wandering the streets of Melbourne, 2008-09. Photographer: Andrew J. Cosgriff. PAGE 3: 1990s graffiti - Hobart, Adelaide, Sydney, Newcastle. Photographer: Ian Sweeney. PAGE 4: Top to bottom, left to right: Masked-up protester stencil by Sixten, Ned Kelly stencil by HA HA, character by Phibs, Inner Melbourne, 2007. Photographer: Tom Sevil Anonymous stencil, Melbourne 2006. Photographer Tom Sevil Supermarket sculpture. Sydney, 2003. Photographer: Ned Sevil Shout, Shout, street stencil by Meggs. Photographer: Plasmo Hunter Street Mall, Newcastle, 1997. Photographer: Ian Sweeney Woman diving stencil by Leroy Black, King Street Newcastle 2003, Photographer: Lou Smith Tagged door, Brunswick, Melbourne 2012. Photographer: Tom Sevil. PAGE 5: clockwise from top left: Woman with bike paste-up, Gertrude Street, Melbourne, 2008 {now gone} by Miso Sunflower bike stencil, Anon. Photographer: Lonely Radio Bike rider with friends stencil by Ghostpatrol. Photographer: Peter Chen Aerial bike stencil, Anon. Photographer: Peter Chen DIY Bike Lane, Reclaim the Streets. Sydney, 1997. Photographer: Ian Sweeney. PAGE 6: Climate Clowns at Hazelwood coal-fired power station protest. Victoria, September, 2009. Photographer: Rodney Dekker ( www.switchoffhazelwood.org ). PAGE 7: Members of the Australian Workers Union Bicycle Squad assembled at Coonamble, NSW during the 1902 Shearers strike. Photographer: Andrew Barton Banjo Paterson. The Bundaberg Bicycle Squad used to to seek out non-unionised workers during the The Sugar Strike of 1911. Photographer unknown Anti-Uranium Bike Ride, Canberra, 1977. Photographs courtesy of Friends of the Earth, Melbourne. PAGES 8-9: Longstanding creative activist Benny Zable as Greedozer. Climate Summit, Canberra. 2009. Photographer: Kristy Henderson. Anti-war protest, Perth 1984. Photograph courtesy People for Nuclear Disarmament. Graffiti reading No jobs on a dead planet along with anti-logging slogans adorn the disused Lonsdale Street power station s smokestack. Melbourne, 2003. Photographer: Tom Sevil. PAGE 10: Yulanji Bardon and Emily Nielson camped for 11 days during joint US-Australian military exercises to reclaim Shoalwater Bay for peace, Northern Queensland, 2009. Photograph taken on mobile phone by Mark Palmer Tranny Cops, this Sydney-based drag dance troupe have lampooned and infuriated riot police across the country by performing at events such as the G20 and APEC protests. This photograph is from Reclaim The Streets. Sydney, April 2006. Photographer: moz.net.nz Billboard Graffiti in action, New England Highway near Tamworth. 2002. PAGE 11: Australia Day Real Estate billboard revision pointing out whose country it really is via the use of the black, red and yellow Aboriginal Flag. Newcastle, 2008. Courtesy of Cooks Hill Massive. Goolengook anti-logging action, Victoria 1993. Photographer: Sarojini Krishnapillai. PAGE 12: Patches, collection courtesy of Tom Sevil. PAGE 13: 750 women take part in the Disrobe to Disarm action spelling No War with their naked bodies. Byron Bay, 2003. The action sent a strong message to PM Howard and the world about opposition to the war. At the time this photo was downloaded by 4,500 media outlets across the globe. Hobart Graffiti, late 1990s. Photographer: Ian Sweeney. PAGE 14: Phuc It Up billboard revision. Melbourne, 1999. Photograph courtesy of Phuc It Up. PAGE 15: Stanmore pedestrian tunnel stencil based on an image from a government anti-terrorism booklet. Sydney, 2004. Photographer: Dean Sewell. PAGES 16-17: Top Left: Lizards Revenge, Roxby Downs SA. 2012. Bottom left: Smoke bombs hurled by anti-apartheid protesters disrupt play at the SCG during the Springbok rugby tour. Sydney, 1971. Courtesy of Meredith Burgmann. Main image: Anti-World Trade Organisation (WTO) protest. Sydney, 2002. Photographer: Dean Sewell. opposite: In November 2004, Zanny Begg created an art project for the Blacktown Arts Centre that involved installing life-size stencils around the area reading Checkpoint For Weapons Of Mass Distraction . While in the process of doing so, she was approached by a Community Law Enforcement Officer who told her to remove the work as it was illegal and inappropriate in the climate of terrorism . After suggesting the officer contact the curator of the installation, she received a phone call informing her that her work had been withdrawn. Following much publicity concerning this act of censorship, Zanny exhibited the work again at Mori Gallery in early 2005 alongside works by other anti-war artists. To further spread comment on the ongoing War On Terror , 100 of the stencils were distributed, and subsequently appeared all over Sydney on September 11th 2006. Photograph courtesy of Zanny Begg. Background to this page and pages 18-19: Sydney, Early 1970s. Courtesy of Pat Fiske, from her film Rocking The Foundations, www.roninfilms.com.au .
Contents
FOREWORD I: Josh MacPhee
FOREWORD II: Andrew Hansen
MAPS OF AUSTRALIA
INTRODUCTION: Iain McIntyre
MAKING TROUBLE AND INFLUENCING PEOPLE
PRANKS, PROTESTS, GRAFFITI POLITICAL MISCHIEF-MAKING FROM ACROSS AUSTRALIA
1788 - 1849
1850 - 1899
1900 - 1945
1946 - 1959
1960 - 1969
1970 - 1979
1980 - 1989
1990 - 1999
2000 - 2012
CONVERSATIONS
Meredith Burgmann
BUGA-UP
John Safran
Dave Burgess
The Chaser
John Howard Ladies Auxiliary Fan Club
Pauline Pantsdown
Kevin Buzzacott
Deborah Kelly
Grevillea
No To Pope Coalition
Network Against Prohibition
Order of Perpetual Indulgence
Graffiti Games Organising Committee
ENDNOTES
SOURCES FURTHER READING
GLOSSARY OF ACRONYMS
THANKS BIOGRAPHIES
ABOUT PM PRESS
The Jack-in-the-Box
JOSH MACPHEE
Organiser of CELEBRATE PEOPLE S HISTORY POSTER SERIES and member of JUSTSEEDS ARTISTS COOPERATIVE ( Justseeds.org )
/ USA
I can t articulate how much glee I felt in 2003 when I first saw the photos of the sydney opera House inscribed with the giant red letters No WAR . Who did that? How? In this 21st century of surveillance cameras, retina scans, and completely militarised police forces, a couple of guys got to the top of Australia s most well known national landmark and did a giant roller piece on it? No shit! Two friends, Dave Burgess and Will Saunders, just scaled up the side of the building with a can of red paint. It was that simple. And Iain McIntyre had the good sense to interview Dave about how and why they did it. And it s right here, in this book!
Well, at least it looks like a book and feels like a book, but it s actually a mischievous jack-in-the-box. Well, not exactly. It s the box, and once you ve read it, you become the jack. This box is so crammed with tricks, treats, and creative protest techniques that you can t help but get wound up. It s not simply a compendium of pranks done for their own sake, nor a giant pile of protest photos we ve seen before, How to Make Trouble and Influence People maps the intersections of popular creativity, humour, and political rage: all three mixing up into a powerful molotov of past, present, and potential action.
What kind of action? Graffiti, street performances, puppetry, stencilling, billboard alterations, tree sits, protest signs, flyers, wheatpasting, banner drops, boating actions, occupations, unpermissioned public sculptures, electoral stunts, parties in the street, protest camps, light projections, drag routines, viral songs, posters, and on and on and on. And we re just talking about Australia! Yup, this book sticks to what s been going on within the boundaries of this big island in the Pacific. But before you worry about provincialism, all this national frame does is show