Rallying Signs: Vietnam Posters Express Outrage

Few things have caused a greater schism in American society than the Vietnam War.

The 1960’s encompassed a time of political, racial, social, and cultural unrest as the U.S. became polarized between those who advocated continued involvement in Vietnam and those who wanted peace. Central to the conflict was the fact that many did not understand the origins of the Vietnam War or the reasons behind the U.S. decision to intervene. To a majority of Americans, the war seemed futile and pointless, and it left the nation questioning the policies of a government it had always trusted.

The movement against U.S. involvement in the Vietnam War began with demonstrations in 1964 and grew in strength over the next few years, peaking in 1968. Many in the peace movement were students, mothers, or anti-establishment hippies, but there was also involvement from educators, labor unions, clergy, journalists, lawyers, military veterans, and ordinary Americans. Expressions of opposition ranged from peaceful nonviolent demonstrations to radical displays of violence.

In terms of peaceful nonviolent demonstrations, a large number took place independently on college campuses, while national demonstrations took the form of Marches on Washington, which drew hundreds of thousands of people and continued up until the war’s end in 1975.

Out of these demonstrations arose countless posters and political signs harboring anti-war messages and slogans. Some are direct and simple, a call for something; others, with sharp and severe messages, prompt a double-take; some are sad, while others mock through ironic jokes and a biting sort of sarcasm; still others are vulgar and obscene, placing blame as they look for a scapegoat and search for someone to blame.

Here are some particularly poignant rally signs and posters from various anti-war demonstrations:

CALL FOR ACTION - A fairly generic rallying sign calling for the end of the war and the return of U.S. soldiers.

DESPICABLE DRAFT - The poster reads "I don't give a damn for Uncle Sam" and protests the draft. Uncle Sam was a familiar character on recruitment posters.

MASTER PUPPETEER - This photo shows two protesters, one labeled "Saigon Puppet" and the other "U.S. Imperialism."

A SIGN TO LAST THE AGES - A rallying sign featuring one of the most familiar and famous messages of the 1960's: make love, not war.

COME WITH ME - A sign calling for those opposed to the war to participate in a protest march.

A NEW HITLER? - One of the more darkly labeled rallying signs, this poster compares President Nixon to Hitler, substituting a swastika for the 'x' in Nixon's name.

DOUBLE JEOPARDY - This poster suggests that the war's effects are not only taking a toll in the U.S.

PROTEST POSTERS - A group of protesters walk with rallying signs reading: "Bring the Troops Home Now," "War No More," "End the War in Vietnam Now," and "Self Determination for Vietnam."

LEADING THE WAY - This rallying banner leads a group of marchers protesting the Vietnam War.

Watch this video for a deeper look at Vietnam War protests. 

Banksy Documentary Takes Inside Look at Street Art

I mentioned my newfound obsession with Banksy on Saturday. Let me just say: it has grown. That same night I watched a documentary produced by and featuring Banksy called “Exit Through the Gift Shop.” Absolutely fabulous. Banksy is not only an artist; he’s a character. Having a naturally sarcastic way about him, his commentary adds wit and entertainment to the 86-minute-long look at some of the most famous images of political graffiti, protest graffiti, and street art.

Banksy produced the documentary "Exit Through the Gift Shop," which takes an inside look at some of the most famous street artists in the world, along with many of their politically-charged works. Banksy is also a subject in the film.

Even more cool, viewers actually get to see three of the world’s most infamous graffiti artists—Banksy, Shephard Fairey, and Invader—at work. Given Banksy’s notoriously camera-shy reputation, the fact that he appears onscreen at all is remarkable.

The documentary begins when a Los Angeles based Frenchman, Thierry Guetta, gets the idea that he would like to film street artists in the process of creating their work. To gain access, he tells them he is making a documentary. In reality, he is only filming endless footage with no intention of making a cohesive movie. Unaware of this fact, many street artists from around the world agree to participate. As Thierry goes out with artists at night, he begins assisting them in creating their designs and even gains insider knowledge about the most sought-after locations for graffiti art.

The documentary also takes a look at Shepard Fairey's "Obey" campaign, and viewers will see him posting his graffiti in many locations.

After following Invader, Fairey, and other graffiti artists for a while, Thierry finally gains permission to tag along with Banksy, so long as he only films his hands working. In interview scenes, Banksy demands to be blacked out, and viewers never see his face. Banksy eventually convinces Thierry to use his footage to make a movie. After six months apart, Thierry returns to Banksy to show him the product of his work. At this point, Banksy realizes that Thierry is an amateur filmmaker at best, but still finds Thierry to be an interesting character—in an odd, yet appealing, way.

Banksy decides to take over the film process and uses Thierry’s footage along with additional material to make his own documentary about Thierry’s journey in this project. Since Thierry spent so much time involved in the process of street art, Banksy also suggests (rather offhandedly) that Thierry become a street artist himself. Not wanting to disappoint Banksy—whose suggestion Thierry takes very seriously—Thierry reinvents himself as street artist MBW, an acronym for “Mr. Brainwash.”

After being on the LA street art scene only a short while, Thierry throws everything into putting on a massive art show showcasing his work. However, as viewers will see, much of his ‘original’ work appears similar to other artists’. Despite the unoriginality, he gains fame and popularity, much to the other artists’ shock.

The film ends with my favorite line of the documentary, said by Banksy:

“I used to encourage everyone I knew to make art; I don’t do that so much anymore.”

Watch the trailer for the documentary here: