Feminist history in Australia grew out of the women’s liberation movement and the theoretical challenge it posed to what counted as a proper subject for historical inquiry. Marilyn Lake and Clare Corbould trace that history from Kay Daniels’s 1975 national archival survey through the shift from women’s history to gender history, the writing of Creating a Nation (1994), the history wars of the 1990s, and the transnational networks that took Australian feminist historians well beyond the local debates. Lake describes a moment of liberation in those years: realising that if Australian male historians wouldn’t engage with feminist scholarship seriously, there were feminist historians across the world who would.

The conversation is candid about the paradox that remains. Women now make up roughly half of employed historians in Australia, and women have often led the Australian Historical Association. But national histories — written by men of both progressive and conservative persuasions — continue to treat women as peripheral.

Marilyn Lake is Professorial Fellow in History at the University of Melbourne and one of the founding figures of feminist history in Australia. Her books include Creating a Nation (co-authored with Patricia Grimshaw, Ann McGrath and Marian Quartly), Getting Equal and Drawing the Global Colour Line (with Henry Reynolds). She is currently working on a project about Australia’s founding ideals in 1901.

Clare Corbould is a Professor of History at Monash University. Her research focuses on African American history and its transnational dimensions. She is currently writing about Sally Hemings and the history of the American Revolution.

Recorded and edited by Lachlan D’Acourt. Executive producers: Michelle Arrow and Kate Fullagar. Executive producer, Impact Studios: Sarah Gilbert. History Lab is made by UTS Impact Studios and the Australian Centre for Public History. Field Notes is made in collaboration with the Australian Historical Association.

• Kate Millett, Sexual Politics (1970)
• Deborah Gray White, Ar’n’t I a Woman? Female Slaves in the Plantation South (1985)
• Patricia Grimshaw, Marilyn Lake, Ann McGrath, and Marian Quartly, Creating a Nation (1994)
• Gail Bederman, Manliness and Civilisation (1995)

What does decolonisation mean as a field of historical inquiry — and what does it demand of the historians who work in it? Jon Piccini and Angela Woollacott approach these questions from different generations and starting points. Woollacott came to postcolonial thinking through the new imperial history in 1990s American universities, where the field felt genuinely revolutionary. Piccini came through the study of 1960s transnational activism, and found his way to decolonisation proper only when a supervisor’s question stuck with him long enough to send him back to sources he thought he’d already exhausted.

They discuss what a decolonial approach actually requires: taking positionality seriously, working across archives that are not equally preserved, and refusing to let the boundaries of the logo map define Australian history. The conversation moves through the historiography — Frantz Fanon, CLR James, the landmark work of Tracy Banivanua Mar on decolonisation as an oceanic movement — and into practical questions about how the history is made. Piccini describes working with Papua New Guinean archives and the irreducible privilege involved in that encounter, while Woollacott discusses the seminal work of Henry Reynolds and the influence of the Colonial Frontiers Massacres Map as presenting incontrovertible evidence of frontier violence.

Jon Piccini is a Senior Lecturer in History at Australian Catholic University in Brisbane/Meanjin. His work spans transnational activism, human rights history, and Australia’s colonial relationships in the Pacific. He is completing a book on Australia and decolonisation.

Angela Woollacott is Distinguished Professor Emerita in the School of History at the Australian National University, on Ngunnawal Country. Her books include Settler Society in the Australian Colonies (2015) and a biography of Don Dunstan. Her current project examines Australians who shaped the intellectual and political challenge to colonialism in the mid-twentieth century.

Recorded and edited by Lachlan D’Acourt. Executive producers: Michelle Arrow and Kate Fullagar. Executive producer, Impact Studios: Sarah Gilbert. History Lab is made by UTS Impact Studios and the Australian Centre for Public History. Field Notes is made in collaboration with the Australian Historical Association.

• Tracy Banivanua Mar, Decolonisation and the Pacific (2016)
• CLR James, The Black Jacobins (1938; rev. ed. 1963)
• Shannyn Palmer, Unmaking Angus Downs: Myth and History on a Central Australian Pastoral Station (2022) — Prime Minister’s History Prize winner
• Jessica Urwin, Contaminated Country (forthcoming, Melbourne University Press)
• Henry Reynolds, Looking from the North (2024)

Before social media, before streaming, before algorithms decided what you'd hear next, Sydney had the street press — and the street press had the Hopetoun Hotel.

In this episode, State Library Fellow Dr Liz Giuffre takes us inside her archival forays into On the Street and Drum Media, two free weekly publications held in the State Library of NSW's collection that served as the first draft of Sydney's music history from the early 1980s to the early 2010s. Combing through 375 issues of On the Street and 685 issues of Drum Media, Giuffre reconstructed the full gig history of the Hoey — a 200-capacity pub in Surry Hills that somehow managed to be the centre of a very special universe. The numbers tell part of the story: 375 slots for live music in just the first decade, the majority free, Wednesday nights the busiest, genres and genders far more diverse than the "blokey pub rock" myth would have you believe.

But archives only get you so far — the rest is memory, and this panel has plenty of it. From Machine Gun Fellatio forming almost by accident after a misprint in a gig listing, to Box the Jesuit's anatomically ambitious birthday cakes, to the gentleman's agreements between venue bookers that briefly kept Paul Kelly off the Hopetoun stage, the conversation ranges across what made the Hoey's ecosystem tick: the bands, the bookers, the barflies, the street press journos, Terry the Pieman, and Johnny's fish and chips next door. The panel also looks forward — at what's been lost to unaffordability and dispersal, what's quietly thriving in record stores and warehouse spaces and jewellery shops on Parramatta Road, and why culture, as one panellist puts it, always finds a way.

Voices

Dr Liz Giuffre is a Senior Lecturer in Communications at UTS, a music and arts journalist, and a fan. Her work has been published widely for academic and general audiences, and she is still an active commentator online and on radio via TheMusic, 2SER FM and ABC Radio Sydney. She was one of the Library’s Visiting Fellows in 2024. Her new book, Spirits of the Hoey, is a love letter to the iconic Hopetoun Hotel.

Chit Chat von Loopin Stab is a filmmaker, lyricist, music producer, TV presenter, radio announcer, film score composer and gardener. He cowrote The Whitlams’ hit song ‘No Aphrodisiac’, which was voted number one on the Hottest 100 of 1997 and won the 1998 ARIA Award for Song of the Year. Chit Chat is also founding member, producer, manager, keyboardist and occasional vocalist for Machine Gun Fellatio, as well as a music TV presenter on Foxtel’s Max for 12 years. His score for the 2003 Australian crime film Getting Square won multiple awards. Chit Chat’s first band Vrag were regulars at the Hopetoun, as was Machine Gun Fellatio.

Emily Collins is a seasoned music industry leader with deep expertise in strategy, policy and program development. Prior to her appointment as Head of Sound NSW, Emily served for eight years as the Managing Director of MusicNSW, where she played a pivotal role in strengthening the state’s contemporary music sector. Emily’s career began in major music festivals, including the Cockatoo Island Festival and the Great Escape Festival, before expanding into marketing roles at Underbelly Arts Festival, Sydney Writers’ Festival and Darwin Festival. A long-standing champion of the NSW music industry, she has been a prominent advocate for the sector and continues to support artists, venues, festivals and industry organisations across the state through her leadership at Sound NSW.

Lex Davidson is the manager of Cultural Strategy for the City of Sydney and the Chairperson of the Music Cities Network, a global network of music policy professionals. Under his stage name Lex Lindsay, he is a multidisciplinary artist, theatre maker and music composer with a background in directing film and music festivals. Lex has produced work for two Biennales of Sydney and is a contributing artist to pieces in the permanent collections of the Museum of Contemporary Art (MCA) and the Australian Centre for the Moving Image (ACMI). His current project, composing choral works for CREATION, a speculative queer climate action religion, has been performed at the Sydney Opera House, Art Gallery of NSW, Carriageworks, and will feature in the grand reopening of the renovated Newcastle Art Gallery in 2026.

Susie Beauchamp is half of the songwriting/performance powerhouse Box The Jesuit, an incredible live and recorded Sydney band from the mid 1980s until early 1990s. They supported Nirvana at the first Big Day Out and, more importantly, gave Hoey patrons all singing, all dancing, all death-defying, all pornographic cake eating nights to remember! The band ended when Susie’s partner in music and life, Goose (Stephen Gray) passed away. The legend remains, and the music remains completely captivating.

Tamson Pietsch is director of the Australian Centre for Public History and History Lab's presenter.

Credits

This episode of History Lab was recorded on Gadigal Land, Sydney, at the State Library of New South Wales. For more literary events like this one, see the library's What's On page.

Edited and mixed by Lachlan A'Court.

History Lab is brought to you by the Australian Centre for Public History and UTS Impact Studios. Executive producer is Sarah Gilbert.

Further reading and listening

Explore the Spirits of the Hoey web page.

Buy Spirits of the Hoey at Melbourne Books.

For more Hoey memories, listen to another Impact Studios podcast ep featuring authors Liz Giuffre and Greg Ferris speaking with singer-songwriters Sarah Blasko and Sally Seltman, along with Hoodoo Gurus bassist Clyde Bramley about the life and times of the Hopetoun Hotel.

What made Australia's fringe cultural scene so generative in the 1980s — and what can it teach us about sustaining creative industries today?

Tony Moore and Mark Gibson, co-authors with Chris McAuliffe and Maura Edmond) join Reg Mombassa (of Mental as Anything and Mambo fame) to launch their book Fringe to Famous: Cultural Production in Australia After the Creative Industries. In a wide-ranging discussion, hosted by journalist and academic Catharine Lumby, the panel examines how music, comedy, film and design crossed over from fringe scenes into the mainstream — and why that transition was never a sellout, but a negotiation.

The discussion ranges from the Sydney pub rock circuit and the role of Countdown, to the institutional infrastructure — public broadcasters, independent labels, accessible welfare — that quietly made it all possible. And they ask the harder question: without that scaffolding, what does the future of Australian creative life actually look like? Enjoy a cameo appearance from Paul Fenech, actor, director, producer and comedian (Pizza, Fat Pizza and Housos).

Fringe to Famous is published by Bloomsbury Academic, and the launch was held on Gadigal land, at Sydney's Gleebooks.

Voices

Tony Moore is a cultural historian and Professor of Media and Communications at Monash University, where he leads major ARC-funded projects on Australian comedy and the convict roots of democracy. A former ABC documentary maker and book publisher, his previous books include Dancing with Empty Pockets: Australia's Bohemians, Death or Liberty: Rebels and Radicals Transported to Australia, and The Barry McKenzie Movies. He is co-author of Fringe to Famous: Cultural Production in Australia After the Creative Industries.

Mark Gibson is Professor in the School of Media and Communications at RMIT University. His research spans cultural and creative industries, the history of cultural studies, comedy and the role of audiences in cultural production. He is the author of Culture and Power: A History of Cultural Studies and co-author of Fringe to Famous: Cultural Production in Australia After the Creative Industries.

Reg Mombassa is a New Zealand-born Australian artist and musician. A founding member of Mental as Anything — inducted into the ARIA Hall of Fame in 2009 — he is also a member of Dog Trumpet alongside his brother Peter. As principal artist and designer for Mambo Graphics, his work helped define the visual identity of one of Australia's most iconic and irreverent surf and streetwear labels. He continues to work as a visual artist and musician.

Catharine Lumby (host) is Professor of Media and Communications at the University of Sydney and foundation chair of its Media and Communications Department. The author and co-author of six books, she writes regularly for The Guardian, the Sydney Morning Herald and the ABC, and has advised the public and private sectors on cultural diversity, bullying prevention and social media. She is a leading public intellectual on media, culture and gender in Australia.

Paul Fenech is an Australian filmmaker, writer, director, producer and actor. After winning Tropfest in 1998, he was able to parlayed his 1995 third-place entry, about his life as a pizza delivery driver, into the SBS series Pizza, which ran for five seasons from 2000. He went on to create Housos — winner of the Logie for Most Outstanding Light Entertainment Program in 2014.

Credits

This episode of History Lab was recorded on Gadigal Land, Sydney, at Gleebooks. For more literary events like this one, see the Gleebooks events page.

Edited and mixed by Daniel Wiggins.

History Lab is brought to you by the Australian Centre for Public History and UTS Impact Studios. Executive producer is Sarah Gilbert.

What happens to women's art when the world stops looking?

That's the question at the heart of A Woman's Eye: Her Art, Drusilla Modjeska's book about a century of women artists who made radical, visionary work — and were then, largely, forgotten. Recorded live at Gleebooks before a packed house, this is a conversation about art history as a political act: who gets remembered, who gets written out, and why it keeps happening.

In conversation with literary biographer Bernadette Brennan — who is currently writing Modjeska's own biography — and joined by artist Julie Rrap, Modjeska moves from Wilhelmine Germany to 1920s Paris to the liberation of Dachau, tracing the lives of women who saw things their own way.

Voices

Drusilla Modjeska is the author of Poppy, Stravinsky's Lunch, The Orchid, The Mountain, Second Half First, and A Woman's Eye: Her Art, published by Penguin Books Australia.

Bernadette Brennan is a literary critic and the author of A Writing Life: Helen Garner and Her Work and Leaping into Waterfalls: The Enigmatic Gillian Mears. She is currently writing a biography of Drusilla Modjeska.

Julie Rrap is one of Australia's most significant contemporary artists. Her survey exhibition Past Continuous, centred on SOMOS, was held at the Museum of Contemporary Art Australia in 2024–25. SOMOS is now in the permanent collection of the Art Gallery of Western Australia.

A Woman's Eye: Her Art is published by Penguin Books Australia.

Credits

This episode of History Lab was recorded on Gadigal Land, Sydney, at Gleebooks. For more literary events like this one, see the Gleebooks events page.

Edited and mixed by Maksim Voloshin-Cleary.

History Lab is brought to you by the Australian Centre for Public History and UTS Impact Studios. Executive producer is Sarah Gilbert.

Works mentioned

Paula Modersohn-Becker

Self-Portrait on the Sixth Wedding Anniversary (1906) — nude self-portrait depicted as pregnant Paula Modersohn-Becker Museum, Bremen https://online-sammlung.hamburger-kunsthalle.de | Google Arts & Culture entry from the Böttcherstraße Museums: https://artsandculture.google.com/story/IwVRLMk5ACZUJQ

Lying Mother with Child II (1906) — nude mother reclining with child Paula Modersohn-Becker Museum / Museen Böttcherstraße, Bremen Google Arts & Culture: https://artsandculture.google.com/asset/lying-mother-with-child-ii-paula-modersohn-becker/LgGzY69gnE9o7Q

Portrait of Clara Rilke-Westhoff (1905) — Clara with rose Hamburger Kunsthalle, Hamburg Collection record: https://online-sammlung.hamburger-kunsthalle.de/de/objekt/HK-2362

Claude Cahun

I Am in Training, Don't Kiss Me (c.1927) — self-portrait with pursed lips and curls Jersey Heritage Collection Jersey Heritage page on Cahun: https://www.jerseyheritage.org/history/claude-cahun-and-jersey/

Que me veux-tu? / What Do You Want From Me? (1928) — double-exposure composite self-portrait Musée d'Art Moderne de la Ville de Paris Also held in the Met collection: https://www.metmuseum.org/art/collection/search/838682

Self-portrait in jester jacket (c.1928) — catching the viewer's gaze Jersey Heritage Collection (as above)

Dora Maar

Untitled [Assia] (1934) — model casting dramatic shadow Centre Pompidou, Paris (various versions held there and elsewhere) Pompidou reproduction page: https://editions.centrepompidou.fr/en/home-decor/dora-maar-reproduction-untitled-assia/1577.html

Nusch Éluard on the beach (c.1935) — photograph of Éluard lying on beach Centre Pompidou, Musée national d'art moderne, Paris AWARE Women Artists entry with collection details: https://awarewomenartists.com/en/artiste/dora-maar/

Lee Miller

Tanja Ramm under a Bell Jar (1931) — woman's head enclosed in glass bell jar Lee Miller Archives (Farley Farm, Sussex); widely reproduced but not in a single permanent public collection page — the Lee Miller Archives hold the primary rights: https://www.leemiller.co.uk

Lee Miller in Hitler's Bathtub, Munich (1945) — photographed by David Scherman Held at Tate Britain Tate collection record: https://www.tate.org.uk/art/artworks/miller-scherman-lee-miller-in-hitlers-bathtub-munich-x100252

Julie Rrap

SOMOS (Standing On My Own Shoulders) (2023) — life-sized bronze, artist standing on her own shoulders Permanent collection, Art Gallery of Western Australia; also shown at MCA Sydney Ocula interview with full context: https://ocula.com/magazine/conversations/julie-rrap-standing-on-her-own-shoulders/ MCA exhibition page: https://www.mca.com.au (search "Julie Rrap Past Continuous")

In this episode of History Lab Live, we revisit a remarkable moment in Australian history: the 1960 visit of Paul Robeson and his wife, Eslanda Robeson.

Paul Robeson was one of the most famous voices in the world — a singer who could fill concert halls, but also a lawyer, actor, athlete, and one of the most outspoken civil rights activists of the 20th century.

Alongside him was Eslanda, an anthropologist, author, actress and political organiser. Their arrival in Australia came after nearly a decade of enforced silence during the Cold War, when the US government stripped Paul Robeson of his passport.

Recorded live at Gleebooks, historian Ann Curthoys joins journalist and academic Lorena Allam to discuss Curthoys' book, The Last Tour – a look at what happened when the Robesons finally made it to Australia.

What emerges is a portrait of the Robesons as “figures of the future” — speaking a political language that echoes today.

History Lab Live brings you recordings of conversations about Australian history from bookshops, universities and public institutions around the country.

This episode is brought to you in partnership with our friends at Gleebooks. Head to the Gleebooks events page to discover more great literary events featuring some of Australia’s best and best known authors.

Voices

Professor Ann Curthoys is an eminent Australian historian who has researched, taught, and published on many aspects of Australian history, and also on questions of feminism, cultural studies, and historical writing and theory. Her major publications include Freedom Ride: A Freedomrider Remembers (2002); (with John Docker) Is History Fiction? (2005, 2010); and (with Jessie Mitchell), Taking Liberty: Indigenous Rights and Settler Self-government in the Australian Colonies, 1830 – 1890. The Last Tour: Paul and Eslanda Robeson's visit to Australia and New Zealand was published in 2025 by MUP.

Lorena Allam is a multiple Walkley Award-winning journalist, a Gamilaraay and Yuwaalaraay woman, and an Industry Professor of Indigenous media at the Jumbunna Institute for Indigenous Education and Research at the University of Technology Sydney.

Credits

This episode was introduced by Tamson Pietsch, and mixed by Siobhan Moylan.

History Lab is an Impact Studios podcast. Its executive producer is Sarah Gilbert.

In this episode from History Lab's archive, we stay in Darlinghurst with the award winning Red Light Green Light story from our Listen to Darlinghurst series.

Going back to the street corners and safe houses where sex workers competed for customers in Darlinghurst in the 1980s, you will hear the stories of members of the community who fought for law reform and sex worker's rights.

The last time we heard this story, a petition had been started to bring back the statue of Joy, one of relatively few statues in Sydney that represents a woman - in this case, a sex worker. We are proud and excited to say that Joy has been returned to her rightful place in Darlinghurst, now in bronze and fully permanent!

This episode of History Lab won a Signal Award in the social impact category.

Voices

Julie Bates, veteran sex worker activist; Principal of Urban Realists Planning and Health Consultants.

Chantell Martin, veteran sex worker; Co-CEO of Sex Workers Outreach Project.

Credits

This audio story is a production of the Australian Centre for Public History and Impact Studios at UTS, in partnership with the Paul Ramsay Foundation. It is part of the award-winning Darlinghurst Public History Initiative.

Producer: Catherine Freyne

Sound engineer: Judy Rapley

Music: Blue Dot Sessions

Archival: ABC Library Sales

In this bonus episode, History Lab's Tamson Pietsch speaks with historian Leigh Boucher about the making of Darlinghurst's AIDS Crisis — our three-part History Lab series exploring one of the most intense and concentrated episodes of loss, activism, and community life in Australian history (if you haven't listened yet, go to episodes 42-44 of History Lab).

Leigh is an historian based at Macquarie University who has lived in Darlinghurst for years. Walking the streets of the neighbourhood every day, he found himself asking a question the existing histories hadn't quite answered: what did it actually feel like to live in this neighbourhood as the epicentre of an epidemic? The series was his attempt to find out.

Here, Leigh describes the tension between oral history practice — open-ended, associative, unhurried — and what podcasting demands.

Leigh also reflects on the way his research, his interviewees and the collaborative work of making the podcast were able to complicate the story of how AIDS played out in Australia - zooming in to the local experience, and listening to voices that can help us hold that complexity rather than resolve it.

Voices

Leigh Boucher and Tamson Pietsch, presented by Regina Botros.

Credits

Recorded by Siobhan Moylan, edited and mixed by Regina Botros.

History Lab is a UTS Impact Studios production, in collaboration with the Australian Centre for Public History at UTS.

Support

This series of History Lab was made with the support of the support of the Paul Ramsay Foundation and is part of the Foundation's Darlinghurst Public History Initiative, a collaboration with UTS' Australian Centre for Public History and Impact Studios.

Thanks to Macquarie University for its support of this series.

A special thanks goes to the staff and management of City Gym, Darlinghurst, for their generous hospitality. Heartfelt thanks also to Anni Turnbull at the Powerhouse Museum in Sydney for her time and expertise, and to the Australian Queer Archives.

Thanks also to the National Library of Australia, the State Library of New South Wales, ACON and the Pride History Group Sydney.

By the early 1990s, AIDS had reached its devastating peak in Darlinghurst. Obituaries filled the pages of the Star Observer, funerals became routine. Sickness and loss touched almost every friendship and street in the neighbourhood.

In this episode, we move inside the hospitals, hospices and homes where nurses, carers and volunteers supported a generation of young men facing terminal illness. Beyond the wards, grief and anger spilled into public life — through candlelight vigils, the AIDS Memorial Quilt, and growing activism demanding faster access to life-saving drugs.

Then, in 1996, combination therapies changed the course of the epidemic. Soon, for the first time in a decade, the Star Observer ran without a single obituary. But survival came with a new question: how do you rebuild a life — and a community — after so much loss?

This episode explores the final grueling years of the crisis and its aftermath — and the complex and unruly legacies it left for generations to come.

Voices

Narrator: Regina Botros

Historian: Leigh Boucher

Interviewees: Pierre Touma, Lizzie Griggs, Bill Patterson, Frank McCabe, Billy Kokkinos, Tim Vincent, Sara Lubowitz, Bruce Carter, Tess Ziems, Scott Petrie and Ian Innes.

Archive voice actors: Sam David Harris and Michael J Ryan.

Radio news and current affairs archive from Gaywaves, 2SER.

Credits

This special History Lab Original series was created on the lands of the Gadigal people of the Eora nation.

Produced, written and narrated by Regina Botros, in collaboration with Macquarie University historian Leigh Boucher.

Story development by Leigh Boucher and Michelle Ransom-Hughes.

Interviews by Leigh Boucher.

Research assistance from Eli Branagh.

Story and script editing by Sarah Gilbert.

History Lab is a UTS Impact Studios production, in collaboration with the Australian Centre for Public History at UTS.

Support

This podcast was made with the support of the support of the Paul Ramsay Foundation and is part of the Foundation's Darlinghurst Public History Initiative, a collaboration with UTS' Australian Centre for Public History and Impact Studios.

Thanks to Macquarie University for its support of this series.

A special thanks goes to the staff and management of City Gym, Darlinghurst, for their generous hospitality. Heartfelt thanks also to Anni Turnbull at the Powerhouse Museum in Sydney for her time and expertise, and to the Australian Queer Archives.

Thanks also to the National Library of Australia, the State Library of New South Wales, ACON and the Pride History Group Sydney.

Further reading

To learn more about the history and complex legacies of AIDS in Darlinghurst, read these articles by Leigh Boucher:

Reciting the names of the dead: how Australia's response to HIV/Aids was emotionally - and politically - powerful, Guardian Australia, 1 Dec 2025.

What have we lost with 2026's Mardi Gras Parade after party cancellation?, Star Observer, 13 Feb 2026.

By the mid-1980s, the epidemic had taken hold in Darlinghurst. Fear was rising, homophobia was intensifying, and uncertainty shaped everyday life. Who had the virus? What did a positive test mean? And could the state be trusted with that information?

In this episode, historian Leigh Boucher moves into the heart of the crisis as the neighbourhood marshals every last drop of queer energy, love, creativity and strength to hold back the tide. Safe sex campaigns and innovative health responses proliferate – in bars, on dance floors and among squat racks.

For Peter Vincent and his friends, the party is far from over, even as they face the stark reality of a disease without a cure and the homophobic judgment beyond the gaybourhood. This is Darlinghurst – dancing as fast as it can.

Voices

Narrator: Regina Botros

Historian: Leigh Boucher

Interviewees: Bill Patterson, Lizzie Griggs, Frank McCabe, Tim Vincent, Pierre Touma, Bruce Carter, Scott Petrie and Sara Lubowitz.

Archive voice actors: Sam David Harris and Michael J Ryan.

Radio news and current affairs archive from Gaywaves, 2SER.

Credits

This special History Lab Original series was created on the lands of the Gadigal people of the Eora nation.

Produced, written and narrated by Regina Botros, in collaboration with Macquarie University historian Leigh Boucher.

Story development by Leigh Boucher and Michelle Ransom-Hughes.

Interviews by Leigh Boucher.

Research assistance from Eli Branagh.

Story and script editing by Sarah Gilbert.

History Lab is a UTS Impact Studios production, in collaboration with the Australian Centre for Public History at UTS.

Support

This podcast was made with the support of the support of the Paul Ramsay Foundation and is part of the Foundation's Darlinghurst Public History Initiative, a collaboration with UTS' Australian Centre for Public History and Impact Studios.

Thanks to Macquarie University for its support of this series.

A special thanks goes to the staff and management of City Gym, the Albion Centre and ACON's Needle and Syringe Program for their generous hospitality.