Introduction: Acts of active espousal, or advocacy have long been recognised as effective tools for mediums of change. Supporting a cause by argument and recommending publicly for its inception or expansion has always been a generally accepted course of action within professional practice. Essentially, advocacy in this sense is a utilization of the available law to achieve favourable outcomes. If objecting events and abstracting analyses from social relationships are integral actions within advocacy, the following arguments that, (O'Connor, Wilson and Thomas, 1991, p. 171) , are relevant considerations.

Consequently, indigenous advocacy could be influenced by a support for an Aboriginal culture base in "identified areas of concern" (Perkins, 1994, pp. 37 - 38). Positions taken to support land management for example, should support Aboriginal cultural issue, so that subsequent increased awareness can 'push messages' about environmental distress. In order to 'push these messages' advocates should enjoy a medium to high profile, as well as some other popular asset, to offer public awareness. Participants within the entertainment industry are players that have these qualities.

Furthermore, advocacy strategies are universal. There must be included an element of public awareness, when presenting an environmental problem or claim for change. Activists should therefore recognize a 'perspective for intervention', as interventionists have different values and expectations as to when it is most appropriate to act. Therefore, it is true that varying types of environmental and/or cultural problems do not attract similar public attention (Hannigan, 2002, p. 80). In view of this, Hannigan promotes society as solving the problems or claims advanced by advocates/groups, prior to investigating harsher problems or claims that are not advocated or socially constructed as a problem (Hannigan, 2002, pp. 187 - 191). Advocacy then is an important characteristic in relationships concerning change and in defining the perception of human value. Advocates initiate and develop a concern and a care for the environment (Wolfe 1993, p. 82), albeit in different ways. (Wolfe 1993, p. 82), albeit in different ways.
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The Rise of Peter Garrett and the Oils as a Cult Classic: the history of an advocacy group: Peter Garrett was a law student when he joined the rock-band Farm in 1975. He had an outspoken style of communication and with his law background and imposing figure; attained a very acceptable public persona. Garrett consequently became an ideal model for political/environmental/cultural advocacy. Farm and Peter Garrett became Midnight Oil in 1976 and thus progressed to become one of the most high-ranking punk-rock groups to influence contemporary Australian thinking. Yet, there have been critics who have also argued that Midnight Oil was not really a band out to construct or change social policy. They were just a group of musicians who were merely "intersecting with politics" (Zuel, 2002a, p. 1). In this sense, Midnight Oil were not 'in for' pushing unwanted political messages onto so many human subjects, it 'just happened'. There are however, marked differences of opinion in this area.

Nevertheless, Midnight Oil did become one and the same with political/environmental/cultural activism, as well as with race advocacy. Through a trend towards non-conformity with contemporary Australian music and culture (Midnight Oil, n. d[a]. p. 1) Midnight Oil influenced political, environmental and Aboriginal cultural perception for the next twenty-six years. Between 1976 and their disbanding in 2002, Midnight Oil rock and roll music was a well-known genera within Australian and international social issue, as well as the punk rock scene in general. The music and protest performed by this band told the public just what was happening in our relationships with the environment, indigenous people and the perception of middle-class self-righteousness. The lyrics of their many songs conveyed a message to the public in many ways, most notably through the entertainment of song, concert and protest.

A unique set of events interacted with the phenomena of Midnight Oil to make them a powerful force within Australian environmental, cultural and Aboriginal politics. The 1970's were an era of change in both national and international spheres, as well as in all aspects of Australian life. There were expectations for long, healthy and prosperous lifestyles by 'baby boomers', (those born between 1946 and 1960) after 1970. At that time, Australia had upward of 5 million 'baby boomers' and they made up the most highly educated and prosperous generation ever. There was also a cultural change during this period that the maturing baby-boomers supported and embellished. Midnight Oil were not an exception to these social phenomena, but were a motivating stimulus for their development. Their persona was such that Midnight Oil affectionally became known just as the Oils.

The Oils' onstage antics, loud guitar sounds, punk-rock protest, environmentalism, anti-imperialism, pro-worker views, political messages and consistency in their musical wherewithal (Wilson & Elroy, n. d.), proved a contrast to the likes of sixties rock icons such as Little Pattie, Judy Stone and the ever famous, 'clean living king of pop', Col Joye. Rock and roll personalities essentially became a political force during the 1972 Federal election as the ALP employed vocalists Little Pattie and Judy Stone to push their "Its Time" message (Cockington, 2001, p. 158). This subsequently initiated a modern era of advocating cause by working class entertainment industry personalities. Notwithstanding this and in relation to the sociology of their music, one could say that Oils' productions included some High Culture characteristics, as well as Low Culture qualities in their music, depending on one's point of view (Juredini & Poole, 2000, p. 316) and life station, as to the degree of involvement and range.

Yet, during the mid-1970's, the Oils played the RSL Club circuit in Sydney's northern suburbs and the pub-rock scene in western suburb hotels. This was coincidentally, the same time that technological advances brought colour TV to Australia. Countdown became an ABC pop-rock show that brought Australians colour TV, as well as fame for the rock stars that only Sydneysiders knew. Bands such as Skyhooks, AC/DC and Midnight Oil became family names Australia wide, as they played to working class and mass population audiences in pubs and clubs and on colour TV shows such as Countdown. By using stage props such as outlandish make up (Skyhooks), bright lights and dirty deeds (AC/DC) and contemporary Australian social issue (Midnight Oil), these groups got their respective message across to their audiences and made them think in diverse ways.
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Peter Garrett's and the Oil's modus operandi for Change: changing popular culture an analysis of their work for change: History shows that the screams and gyrations of the Oils cemented a belief that vocalist Peter Garrett then led the most politized rock and roll band in Australia. Their consequent albums produced between 1976 and 2002 underpinned their strength and purpose. During this time they produced sixteen albums with names such as Species Decreases; Earth, Sun and Moon and Blue Sky Mining. All of which, as the names suggest, were synonymous with protest. (Midnight Oil, n. d.[b], p.1). It was however, the live shows that really packed the punches and turned the Oils into home grown Australian superstars, who were exacerbating group politics and consciousness, to satisfy their principals and being. Sixties rock personalities were emigrating into middle class respectability, whilst the up and coming rock icons of the seventies were claiming the niches of so called punk-rock, heavy metal rock, as well as other radical rock and roll styles. The Oils also found a place to protest their radical principals and objectives. The old guard was replaced with a new order, although the Oils' development as a unique type of Social Movement Organization (SMO), was due to the evolution of social institutions and the economics of Australia during the post-World War II years (Hutton and Connors, 1999).

By listening to the songs made popular by Peter Garrett and the Oils, one can reflect on a mood of resentment, anger and passion. As a social consciousness, their songs protested against the way we live and the modes of sustaining that lifestyle. The album, Redneck Wonderland for example, is about Australian political conservatism, a traditional disposable society and the throw away items that society generates. There are overtones of Australia's contemporary politics and an essentially anti-popular culture theme. Redneck Wonderland was published at the time when One Nation's 'fish and chip queen of politics', Pauline Hansen was on the political stage trying to convince Australians how her politics would save this country from Howardism, as well as all the other established views of political conservatism. If Peter Garrett and the Oils' actions were not choreographed as suggested by Zuel (2002b. p. 1), the great spirit of 'advocated change' was definitely their guardian angel. Vellutini (2003, p. 132) then presents this opinion as: "Midnight Oil's ambition was to 'build bridges' between the centre and the periphery, allowing a new dialogue to happen", whilst she also asserts that "While Midnight Oil's song lyrics have become increasingly cryptic, the band uses their public appearances to reaffirm their strong political comment" (Vellutini, p. 134). The Oils' actions 'built bridges' between them and their audiences and followers.

On Redneck Wonderland, there is a challenging message in the final paragraph of the first track titled, "Redneck Wonderland".

Well the streets are clean, nothing gets away
I can see the beauty treatment draining from your face
It is vision free, it's poor bugger me
Something less than grand
Redneck wonderland.

Does this mean that all of the selfishness, uniqueness, dislike of foreigners and intolerance displayed by many Australians today are gradually fading into the background? Maybe it is the Oils' way of defining the 'please explain' symptom of Pauline Hansen disappearing into the obscurity of past politics once and for all.

This album however, contained loud music and throbbing beats as well as power and angry passion. Nevertheless, as it was released almost six years ago and who really listened to the lyrics of old rockers like Peter Garrett and the Oils at that time? When Redneck Wonderland was released they had been in the Australian rock scene for twenty-two years and they were getting on towards middle age. However, they still had plenty to offer because their convictions about suburban living, intolerance and complacency, as well profit driven capitalism were still the same as they were back in the 1970s and 1980s. The Oils' music was a picture of reflection on their lives at a time there was a changing of views by many thinking Australians.

During the 1980s and the 1990s the Oils toured many times throughout Australia and the world. A notable tour of this time was one that took their protest to Aboriginal communities in the Northern Territory, to the Pine Gap American base and to the B52s in Darwin (McMillan, 1988). This later became known as their 'Blackfella/Whitefella' tour as they played alongside the Aboriginal music group, Warumpi Band. Their first overseas tour began in 1980 and although it was not at all successful their album at that time, Place Without a Postcard was only released in Australia (Midnight Oil, n. d.[b]. p. 1). The most successful of the Oils's publications however, was in 1982 when the very poiltized album 10,9,8,7,6,5,4,3,2,1 was released amid much fanfare because of a radical content. The Oils then began an association with an international cult following. The most successful of the Oils' publications however, was in 1982 when the very poiltized album 10,9,8,7,6,5,4,3,2,1 was released amid much fanfare because of a radical content. The Oils then began an association with an international cult following.

The album 10,9,8,7,6,5,4,3,2,1 was definitely a protest about nuclear proliferation, as the very title signifies detonation, or that at least a significant event will occur. This title sets the tone for the whole album. The message here is given with very powerful lyrics and especially commanding songs. If one could listen carefully to the lyrics, then it will make one think of what is happening in our society and that we were then, counting down to a disaster. The Oils became identified with the songs on this album and with the anti-war agenda as well as becoming well-known identities in Australia because of this identification. They also became known for awesome live performances because of Peter Garrett's unusual performance style of dancing and thrashing about the stage like a deranged, bald headed madcapper of mayhem. This type of performance continued up until the start of the Blackfella/Whitefella tour in 1987 and on into the 1990s.
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In May of 1990, the Oils played a protest concert in New York at the entrance to the Exxon Corporation building as a protest for the Exxon Valdez maritime oil spill in Alaska during 1989. The Exxon Valdez ran aground on Bligh Reef in Prince William Sound and 11 million barrels of crude oil washed onto 1,300 miles (2,080 kilometres) of coastline (National Marine Fisheries Service, 2002, p. 1) occurred. This was an unannounced performance from the back of a truck in front of Exxon Corporation headquarters and was a prelude for the publication of the follow up album Blue Sky Mining. The whole world and not just Australians were was beginning to consider Oils' music as a powerful force in environmental issues (Lortie, 2002, p. 1) Album sales reflected accordingly.

Peter Garrett was the lead singer for the Oils between 1976 and 2002. He and the Oils cemented their places in the general rock scene, as well as in historical activities relating to environmental, political and indigenous cultural conservation within Australia and to a limited degree, overseas. They also became an institution for the 'baby boomeretts', (children of 'baby boomers') and were recognized by their protest. The impact of what they had done in the last twenty-five years of the twentieth century was later felt at the closing ceremony of the Sydney Olympics in 2000 when the Oils performed their Aboriginal protest song "Beds are Burning" (Sydney Morning Herald, 2002, p. 1) in one of their public performance protests against inequality and injustice within indigenous relations (Tompkin 2000, p. 1). They even said "sorry" to present-day Aboriginal people for the past actions of the Australian establishment towards the past generations of indigenous persons. However, this 'sorry' statement was from Midnight Oil and not from the general Australian public.

Peter Garrett became a commanding presence in the Rock and Roll scene, as well as in Australian politics as an activist. He attained board membership with Greenpeace International, presidency of the Australian Conservation Fund (ACF) as well as a green backbencher within the federal political milieu. Garrrett actively supported many contemporary Australian issues, including Aboriginal and youth issue, during this time. Garrett and the Oils were noted for public protest performances in Australia's Kakadu National Park, Clayquot in Canada, Sao Paulo in Brazil and the aforementioned Exxon Valdez performance in New York (Garrett, n.d. p. 1). The most notable consideration of Perter Garrett and Midnight Oil's presence in Australian the rock music scene, was in the messages passed on to the "baby boomer' generation, as well as the next generation of contemporary Australians, the 'baby boomerettes'.
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Conclusion: Activists and the advocates are essentially components of contemporary human relationships between people and environment issue. Thus, we can see that human interest in advocate practices provide further valuing of environmental elements and issues. Consequently community values are supporting the structure and the evolution of advocates and their principals. For this reason, an effective advocacy is usually one that develops gradually form certain stimulus and has different reactions to diverse ranges of motivation. In this context, Peter Garrett and the Oils' agenda did influence the thinking of many Australians and many others felt their impact for change. The Oil's song, dance and concert initiated, an understanding of, as well as a concern and a care for environmental issue, race relationships between Aboriginal and non-Aboriginal Australians, as well as their respective cultures and ministrations.

In this context, Peter Garrett and Midnight Oil's agenda
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