For Vivid Ideas, Vivid Festival, Sydney. ‘Kings Bloody Cross, Surface Glitter and Underground Guts’, at The World Bar, Saturday 3 June, 2017 (I’ve stuck the power point slides in amongst the text)

Today I want to sing the praises of a small and obscure photography book published in 1971. Australia doesn’t have a particularly big tradition of photobooks, perhaps our population has always been too small to sustain local publishers who specialise in photobooks. So it’s pretty hard to call to mind any important Australian photobooks, whereas European ones like Brassai’s Paris by Night, or American ones like Robert Frank’s The Americans, spring readily to mind. Nonetheless there are a few Australian photobooks that, in their own way, are significant and integral works of art as well as being important cultural documents. And it pains me that they are not remembered, particularly by today’s young Australian photographers who all profess to be into photobooks, but only it seems if they are imported from Europe or the US. Of course Mathew Sleeth’s Tour of Duty from 2004 is a classic, and there are a few others which are celebrated perhaps. But remembering Australian photobooks from their heyday, the period from the mid 1960s until the early 1970s, when they were part of mainstream culture as well as being sites for experimentation, is particularly important.

In the history of Australian photography it is not the 1960s, but the 1970s that is commonly celebrated as the watershed decade where, following the 1972 election of a socially enlightened Labor government, there was a creative flowering entailing both a renaissance in the Australian film industry, and a ‘photography boom’ consisting of new photography galleries, new photography collections, new funding opportunities, and a new role for a younger generation of art-school trained photographers.[1] However, if attention is paid to the many photobooks that were produced, distributed, bought and read in large numbers before the magical date of 1972, the picture we can form of not only Australian photography, but also of Australian culture as a whole, deepens considerably.

There were two absolutely cracker books published in that period, one was Southern Exposure published by David Beal and Donald Horne in 1967, and the other was Kings Cross Sydney: A Personal Look at the Cross published by Rennie Ellis and Wesley Stacey in 1971. And today I want to celebrate the latter.

Southern Exposure, 1967

Kings Cross Sydney, 1971

During this period Australian photobooks tended to be coffee table tourist souvenirs. They were the kind of book an aunt you never saw during the year might give you for Christmas; or you would send back to your grandparents in the UK or Greece; or you would put in you bag after a few weeks of R&R ion case you needed a souvenir for someone. But during this period some photobooks began to be published which attempted to go beyond the standard Australiana tourist genre. They began to be timely, about Australian society as it was at the time, rather than timeless, about a generic Australia; and they were quite explicitly about the new Australian identity that was emerging in the post war period. Driving this change was unprecedented wealth flowing from a mining boom, continuing mass migration from Southern Europe, and a geopolitical realignment towards the US, evidenced by an escalating commitment to the Vietnam War from 1966 onwards and, in the case of Kings Cross, the presence of a quarter of a million American servicemen in Australia, who spent seventy million dollars on their R&R leave between 1967 and 1971.

 Significantly, the Australian film industry did not undergo its renaissance until the 1970s. There were only a handful of feature films made in Australia during the sixties, and most of those were made by overseas directors. A good example of this is They’re a Weird Mob. Featuring Kings Cross, it was based on an extraordinarily popular Australian novel, and starred some of Australia’s best-loved actors, but it was made by an English director. [2] However, although Australian feature films were few in number in the 1960s, at least sixty significant Australiana picture books were published during the same period.

The sixties also saw a radical increase in the number of independent, start-up publishers, historically analogous to the internet startups of today. The value of Australian publishing increased eight fold between 1961 and 1979; and from 1961 to 1971 membership of the Australian Book Publishers Association increased from thirty-seven to sixty-seven, of which nearly forty were Australian owned.[3] Many of these publishers, such as Rigby, Lansdowne, Nelson and Jacaranda were substantial, while others were more like today’s internet start-ups and were literally kitchen table operations. Horwitz, whose books sold for less than a dollar, catered to the lurid pulp fiction market. However not all of Horwitz’s books were pulp fiction. Some, such as the gritty Vietnam: The Cruel War by Anthony Syme, which sold for 65 cents, engaged with the politics of the period.

Other start-up publishers who also focussed on the cheaper end of the market, such as Sun Books, explicitly addressed the burgeoning of intellectual interest in issues of Australian history identity.

In many ways these book publishers formed a continuum with the magazine publishers, who published middle class travel magazines like Walkabout, domestically oriented magazines such as the dominant Women’s Weekly, and barbershop magazines such as Australasian Post, People or Pix. From 1965 this suburban newsagent’s range was joined by a burgeoning of inner city street magazines which focussed on satire, sex and radical politics. These included Oz, which reached a circulation of 30,000, but also magazines like Kings Cross Whisper, which reached a circulation of 100,000, and the quickly banned sex magazines like Sexy, Searchlight, Obscenity, Ribald and Censor, as well as student magazines that dealt with radical politics like Honi Soit and Tharunka.[4]

Jozel Vissel, Paper Seller, Kings Cross, From Life In Australia, edited by David Beal and Craig McGregor, 1968, p228

Kings Cross was already featuring in this explosion of Australian publishing. It already had, since at least the 1920s, become a media trope within Australia. It was a locus of a powerful kind of ‘aspirational anxiety’ within Australia. Louis Nowra has described Kings Cross as:

a piece of urban DNA where the two spirals interweave the safe and the dangerous, the Australian and the foreign, the old-fashioned glamour and trashy sexual exploitation, the underworld and city professionals, the seedy and glamorous, the hetero and gay, sexual freedom and commercial sex, the underclass and the rich, the beautiful and tawdry.[5]

And, as an emerging  popular media spectacle, Kings Cross was similarly a place of Bohemian artiness and Parisian boulevards, at the same time as it was a place of crime, drinking and sex. It was where airy aspirational fantasies of Australia finally graduating as a cosmopolitan country were mixed with deep atavistic fears of rampant sexuality and lawlessness.

Max Dupain, Soul of a City, published by Oswald Ziegler

The popular iconography of the Cross had been developing in the 1940s and 50s. Max Dupain contributed photographs of women in pretty print dresses strolling under the plane trees of Macleay Street to many Sydney books during those decades. But it really took off in the 1960s — on a broad visual front. The Cross not only featured in the film They’re a Weird Mob, it also became the staple location for Horwitz pulp fiction novels, and in 1965 was the subject of a Channel Nine TV documentary called The Glittering Mile.

The Glittering Mile in many ways sets a template for subsequent Cross iconography. It starts with a bit of history: the convict windmills and colonial villas on the ridge above the town reached by an aboriginal track through the scrub which eventually became William Street, and so on. It interviews what had already become a familiar cast of characters: the 1920s flapper Dulcie Deamer, the witch Rosalee Norton, the manager of the Pink Pussycat Last Card Louie, and so on. But it also adds a new character, a stunning looking Carlotta barely out of her teens, and before her sex change, who was interviewed backstage at The Jewel Box, a predecessor to Les Girls. And, like many other documentaries it takes us through a twenty-four hour period in the life of the Cross: from the the day when we surveil the same pretty print dresses we had seen in Max Dupain, to the night where we track strippers rushing between jobs. We are shown, on our TV screens in 1965, strippers performing inside strip clubs, and men soliciting prostitutes. It might have been these brief glimpses which led to calls for the TV documentary to be banned.

The Glittering Mile, Channel Nine, 1965

In 1965 the first book to be devoted entirely to the Cross was also published. Life at the Cross featured an anodyne text by Kenneth Slessor. Slessor had popularised ‘Bohemian Sydney’ in 1933 with his book of poems Darlinghurst Nights, and in the post war period had become the go-to laureate for poetical musings on Sydney. He was 64 by this time, and phoned in a text which is yawningly behaved. The book had an introduction by the Lord Mayor, so there is no imagery of prostitution, as there had been in The Glittering Mile, but nonetheless Robert Walker’s by now familiar imagery of ‘Parisian’ streets is spiced up with some tasteful strip club imagery, and even some drag act imagery. But all the stripper photographs are printed very small, and visually recuperated into images of suburbanites having a touristic fun night out, which are printed larger and dominate the pages.

Life at the Cross, Kenneth Slessor and Robert Walker, 1965

There is an obligatory excursion to the Cross in my other pick for best-Australian-photobook-ever, an acerbic take down of Australian complacency called Southern Exposure published in 1967 by Donald Horne, author of the excoriating book The Lucky Country, and the photographer David Beal. Their book which, as we can see from the cover, is dedicated to inverting Australian complacencies, also breaks down the unspoken wall between day and night which all previous visual representations of the Cross had adhered to in order to sustain the aspirational anxiety it represented — to keep separated the Cross’s twin helixes of cosmopolitanism and sleaze. In previous Cross representations the daytime is for Parisian boulevardiering, the night-time for frenetic excess. However in the double page spread of Beal’s obligatory Cross photos a fashionable young coffee drinker suspiciously glowers at the camera through narrowed eyes, wordlessly telling us to f… off, and we get a portrait of the Pink Panther’s garbage bin primly sunning itself in the bright morning.

Southern Exposure

As the sixties progressed the idea of youth — young people as a distinctive cultural category — began to occupy inner city iconography. Some young people began to bring a kind of hallucinogenic approach to inner city Sydney. For instance in 1968 the thirty-five year old left-wing writer and social analyst Craig MacGregor had got the job of writing the text for the tourist souvenir book To Sydney With Love. McGregor attempted a very personal beat-poetry howl on Sydney. He opened his text, meant to be read by ordinary Australians, with a cosmic experience of Sydney he had late at night standing on the roof of a block of flats in Potts Point looking into Woolloomooloo:

I know this city, I comprehend it utterly, my guts and mind embrace it in its entirety, it’s mine. It was a moment of exhilaration, of exquisite and loving perception, my soul stretched tight like Elliot’s across this city which lay sleeping and partly sleeping around me and spread like some giant Rorschach inkblot to a wild disordered fringe of mountains, and gasping sandstone, and hallucinogenic gums.

While the Cross sprouted these ecstatic visions, middle class Australia continued its fascination with it from a distance. For instance the tourist magazine Walkabout did a Cross story in 1969, adding yet another member to the cast of characters: Ted Noffs from the Wayside Chapel, which had been established in 1964 and had become a Cross institution. The following year Walkabout did yet another Cross story, this one by Wesley Stacey and Rennie Ellis and called ‘Wild Night in Big Bad Sydney’. Rennie Ellis and Wesley Stacey also contributed Kings Cross photographs to The Bulletin and The Sydney Telegraph.

Walkabout, 1969

Walkabout, 1970

Their contributions to these magazines were to become part of a larger project, a whole book aimed at a new market made up of the traditional market for Australiana, R&R servicemen, and the emerging hipster class. When the book Ellis and Stacey had been shooting finally came out in 1971, published by Nelson, it was badged as Kings Cross Sydney: A Personal Look at the Cross. It was going to be their vision of the cross in photography. The blurb on the dust jacket capitalizes on the edginess of the project:

Over a period of six months the authors made frequent forays in the Cross armed with their cameras and a tape recorder. It was only by becoming known to the locals that they were able to record some of the remarkable scenes in this book. Nevertheless, there is much that they learned about the Cross which can only be hinted at. The laws of libel and the threats of bashing ensure a diplomatic silence. As one of the authors put it: ‘When a guy pulls a pistol on you and says that he’s going to shoot you, you know that it’s time to put away your camera and retire gracefully.

The young photographers, in their early thirties, took the reader right into the strip clubs and hippy pads of the area, using graphically dynamic and tight picture groupings and pungently personal text.[6] Their book had a decidedly hallucinogenic feel to it. Most significantly, the focal length of their lenses changed, while Robert Walker had been shooting with a something like a telephoto 135mm lens, Stacey and Ellis were shooting wide angle at 35mm. Walker’s strippers are seen from the back of the room, Stacey and Ellis take us into their dressing rooms

Kings Cross Sydney, Wesley Stacey and Rennie Ellis, 1971

Ellis’s text for the book begins with a picaresque personal memory from 1958, when he came to the Cross after leaving a Melbourne grammar school. There he and his mates meet Babs. She is ‘training to be a strip-tease artiste’ and gives the boys a show they will never forget. From this mnemonic deflowering Ellis takes us back to the obligatory history of colonial windmills and villas, before plunging us into the present day, 1970. Like a Beat poet he introduces us to the people themselves:

Hippies and heads and spades; dog-walkers and cat-feeders; witches, warlocks, painters; poets, philosophers, pensioners, painters, prostitutes, perves; soldiers and sailors; strippers; gamblers and gunmen; camps and conmen; craftsmen, chefs, shopkeepers, foreigners, bikies, jewellers, junkies, nuns, schoolkids, tourists; princes and paupers and chicks on the make, cops on the take and even an Irish Jew or two. p6

For me this exhilarating list has echoes of a similar list Carol Jerrems made three years later in her Book About Australian Women, where she said she had photographed:

“…….artists – painters, sculptors, writers, poets, filmmakers, photographers, designers, dancers, musicians, actresses and strippers. Others included women’s liberationists, Aboriginal spokeswomen, activists, revolutionaries, teachers, students, drop-outs, mothers, prostitutes, lesbians and friends.”.[7]

Carol Jerrems, Virginnia Fraser, A Book About Australian Women, 1974

Although we meet the same cast of characters introduced in previous Cross publications, including the aging flapper Dulcie Deamer, and the aging witch Rosalee Norton, Ellis’s text take us down onto the street where his own libidinal gaze is roused:

The streets are busy with shoppers, especially determined little old ladies with straw hats and gloves and, in summertime, perhaps a parasol, and itinerant kids brushing from one to another killing time or maybe stretching it out. The girls are extraordinary nymphets—cascades of hair, bare feet, and erect nipples denting T-Shirts over faded Levis or perhaps they wear long tie-died dresses or Indian gear. For most, the bra is passé. They amble along the street, breasts jiggling like delicious jellies, features open to the world. The boys are hairy and hip. They look like ancient warriors and act like troubadours. p8

Kings Cross Sydney, Wesley Stacey and Rennie Ellis, 1971

On pages like this we see the ambition of the book, but also its graphic naivety. Unlike all previous Australian photobooks, Ellis’s text is linked closely to his images of the same experiences, which are often printed on the same page as the text. The book’s design attempts to break out of the staid stolid design of the previous decades, so occasionally it creates centrifugal layouts of small images across double page spreads. These small images are also run along the top of the pages which carry his text, but they are a bit too small to be seen properly by the reader.

On other pages Ellis indulges in long Beat-style riffs that encapsulates not so much a visually captured scene, as a personally experienced moment:

Keep your eyes and your mind wide open and you’ll see it all— the passing parade, a perennial Mardi Gras with no threat of Lent to follow. Across the road—hare krishna hare krishna krishna krishna hare hare hare—there are eight of them, the men with shaven heads, except for a tuft on the crown, the girls pretty and gentle with long plaits over their shoulders, all in flowing robes, their foreheads symbolically marked in white. Together they sway from foot to foot, a devoted chorus line of the Hare Krishna movement chanting their mantra to a drum beat and a hand clap— hare krishna hare krishna—it’s an infectious rhythm and people stop to stare, and wait for something to happen, while others join in and chant. Some hurry past as if it wasn’t really happening at all. Several Japanese businessmen leave a restaurant and climb into a long chauffeur driven car. They glance momentarily at a curvy girl in a Superman T-shirt—rama hare rama rama—while another with a gold-lettered satin sash across her shoulder walks past, handing out Whisky a Go Go invitation cards: ‘$2 includes food and drink for the sock-it-to-me happy hour and quarter and admittance all night until 3 a.m.’. People accept them indifferently. The hairy ones in their Levis are floating past, stalking shadows and followed by chunky-nippled girls in two and threes and solo, oblivious, I think, to the heads they turn. One girl in a crocheted top actually has her brown nub poking through the open knit like it’s coming up for air. You try not to look too hard and glance at the Back to Godhead magazine which you have been given—hare krishna, hare krishna—and before you’ve recovered another nymphet comes into view, beautiful and blonde, her stomach bare, her friend a willowy black soul brother bebopping along just like he was on 125th Street. Then, revving big Trummpies, a couple of Very Heavy bikies glide past, their leathered and crash-hatted ladies hunched on the back, defying the world. There are tourists in bermuda shorts with sunglasses and Instamatics and snappy little hats and next to me this jet-set guy with film star good looks and tinted hair, and his girl chain-smoking her unbelievable mauve cigarettes, and back in the street the ubiquitous little old Cross ladies tottering along all dressed up under ritzy white summer hats. And there goes Caddy, that white haired leprechaun with the side levers who carries the strippers’ bags and knows all their little secrets. Girls for a private show? Go see Caddy—hare hare rama hare—Hey man! Leonie, Jill of all trades, master of the quick con and sweet, sweet lady, mouths greetings, her snakey tatoo showing an inch above the neckline of her black satin shirt. Kerry the dog girl is shopping, and the Black Prince, with lovely young Veronica, is off downtown to flog his silver roach clips. Pilly the Dill and Fearless Fred the Drug Squad stalwarts cruise past, eyes piercing the crowded streets; Michael and Roger—Mimi and Ruth— triss by on their way to their favourite camping spot, and a thousand other people go about their daily shopping. On Thursday afternoon the scene will be the same but different, if you know what I mean. p30

It is no wonder that the following year Ellis said:

Much of my pleasure in photography is not in looking at the photographs, which I find boring, but my involvement in the actual situation of taking the shots, of preventing the moment from escaping forever.[8]

On other pages Ellis gives us extraordinary intimate vignettes:

At her home in Victoria Street, Michele, one of the strippers, talks about her job. She is English, very likeable and in her own style intelligent and articulate. She sits in her bra and pants on the couch under an Uncle Sam Wants You for The US Army poster and plays with her kitten. ‘Well actually I arrived in Australia with only $6 so I caught a cab, told the driver I danced, he told me he knew where I could get a job and took me to the Paradise Club and I started the next day waitressing and stripping. I used to do tables, jump up, get my gear off, then back on the tables. It was quite hard work really. But I liked it in the Cross. Compared with places like Soho and the Reeper-bahn in Hamburg it’s much more friendlier, not so vicious. It’s closer knit. Everyone knows everyone. And the bosses, the big guys, are more approachable here, you know, more like people. ‘Quite a lot of women come in to the shows. Sometimes they’re in long dresses after some fancy ball and they giggle and hide their faces. It’s funny to go up and shake your fanny around and embarrass them. And we have lots of middle-aged married couples up from Melbourne. Then there’s these downright perves who just sit there having wanks. It’s awful. They come in and sit in the front row, they’ve got glassy eyes, and they just pull it out and away they go. It’s so embarrassing. I look at them as I dance past and say “put it away you filthy bastard” and they just look at you blankly. They’re miles away in a sexual fantasy of their own. Mostly they’re young guys. Then there are the old regulars of course, great characters who think it’s great if the girls talk to them.’

Kings Cross Sydney, Wesley Stacey and Rennie Ellis, 1971

At other times Ellis reports from within his own experience, like a gonzo school boy.

The Whisky a Go Go claims to be the Biggest Night Spot in the Southern Hemisphere. … You walk in under an explosion of neon in William Street, past a couple of tuxedoed and handsome dandies who scrutinise each and everybody. The last thing the Whisky wants is trouble, buddy. You pay your $2 and then, like jumping through the looking glass, you’re plunged into a maelstrom—a total environment that impinges on the senses like an electrical storm. Partly it’s manufactured by the management—light balls whirling in the dark, incredibly sexy go-go girls performing in chained and mirrored cages, forty near-nude waitresses, and the thundering amplified sounds of a rock group— and partly by the people themselves, shaking and shimmying on the dance floor as if they’re caught up in the electronic vibrations that burst out in waves from the huge speakers. The Whisky has been a big favorite with R & R boys, especially the Negroes. And black girls too. And they form their own turned-on little clique, dancing like mad with their big lit up spade smiles, flowing limbs and a knowing sensuality that stirs the loins. In contrast the rest of the Whisky oozes with a sort of contrived, but nonetheless effective, sexuality. The waitresses in a kind of bikini-sarong outfit, bend over your table and their boobs just about fall out all over you. The go-go dancers in their cages, reflected all angles several times over, are curvy ladies too, and they know how to make the curves work. In g-strings and bras they writhe away for ten minutes then take a twenty minute break. Six nights a week, six hours a night they work like convulsed marionettes.

Kings Cross Sydney, Wesley Stacey and Rennie Ellis, 1971

Race is one issue that the book is completely uninhibited about displaying. The other issue is the changing role of women in Australia. Although Ellis’s libidinal gaze is never far away from the book, and although we see him developing this pervey gaze in the 1980s in the extraordinarily popular books Life’s a Beach and Life’s a Parade, in fact the experience of women becomes a focus for the Kings Cross book in a way which is totally unprecedented in other published Australian photobooks of the time. It is there in Ellis’s text. But also there in some of the striper shots, where they are pictured a adrift in a lonely void.

Kings Cross Sydney, Wesley Stacey and Rennie Ellis, 1971

A stripper hurries across the road from one club to another. Her red panties are three inches lower than her mini skirt and as she walks they seem to flicker like a danger signal. Under her arm she carries the inevitable record that will set her in motion once she hits the stage. As she enters the door, Freddy the midget wrestler comes out and they exchange a nodded hullo. Freddy pushes his way through a knot of people who are staring across the road at a young woman and her baby. She is barefoot and in short shorts and carries her little boy on her hip. He is naked, save for a singlet that just covers his navel. Suddenly she places a square of newspaper on the ground and sits him on it while she stares into a shop window, resting her forehead on the glass. Then she’s off again. She stops and starts, stares at windows and a weighing machine, places her baby on the ground and picks him up again. Those who know drugs know she is tripping. Her shorts are very short and you can see the cheeks of her bottom grind together as her impatient steps take her from one manhole cover to the next. Each time she reaches her goal she stands stock still, staring and seemingly unaware of the impression she’s making on the crowd. Some are watching her because of the naked curve of her bottom. Others show genuine concern for her condition and for her baby, especially when she walks out into the traffic. But no one tries to help.

Kings Cross Sydney, Wesley Stacey and Rennie Ellis, 1971

Like every account of the Cross, ever, Stacey and Ellis’s book ends on a Requiem for a lost Cross of the past, a Cross they experienced, but we can’t, we were too late.

Requiem: And so it goes on. Everywhere there are signs — Summit, Westfield, Mainline, Bank of NSW, Palisades, Home Units — proudly announcing the new projects. Many others are on the planning boards and in a few years time the Cross we know today will be unrecognizable. In place of the village will be a new satellite city. And much of the atmosphere that suggested this book will have vanished with the brick dust.

Kings Cross Sydney didn’t sell. It was an experiment that failed. In many ways it is a transitional publication, halfway between the tourist photography of the 1950s and 60s and the personally inflected photography of the 1970s. In 1974, just three years later, Morry Schwartz’s Outback Press published Carol Jerrem’s A Book About Australian Women with text by Virginnia Fraser, and Robert Ashton’s Into the Hollow Mountain, about Melbourne’s Fitzroy which combined text and poetry. The next Australian photobook to feature Kings Cross was thoroughly embedded in radical politics, it was Marion Marrison and Peter Manning’s Green Bans, which covered the fight to save Victoria Street, and was published by the Australian Conservation Foundation in 1975. Ellis submitted some more junkie pictures to an Ilford Photographic competition called Concern, and then opened up a photography gallery in Melbourne, and further honed his libidinal gaze to produce the extraordinarily popular books Life’s a Beach and Life’s a Parade in the 1980s.

Marion Marison and Peter Manning, Green Bans, 1975

Concern, 1972

Kings Cross Sydney is certainly is a flawed book. The layout seems extraordinarily amateurish to us now, but at least we can begin to see the photographers wrestling with the problem of deploying images across a page, although they can never seem to make up their minds what to do design-wise from page to page. We also see Ellis himself trying to work his photographs and his writing together. The book has disappeared to history almost completely, and though it is great that Ellis’s individual photographs are coming back to us through the work of the Rennie Ellis Archive, I think that Stacey and Ellis’s book project also is very important for the history of Australian photography. This is becasue, in the book Stacey and Ellis:

identified a market that might straddle both existing mainstream genres as well as newly emerging beat/hippy/gonzo modes;

shot the project in an unprecedented embedded process over a defined period of six months;

tried (and failed) to produce a designed book package integrating text and image;

all at the crucial historical juncture of 1970 as the R&R days of the late sixties were rolling over into the counterculture of the 1970s.

So I think it’s good.

[1] Gael Newton, Shades of Light : Photography and Australia 1839-1988. Canberra: Australian National Gallery: Collins Australia, 1988. Helen Ennis, Photography and Australia, London: Reaktion Books, 2007. Anne-Marie Willis, Picturing Australia: A History of Photography, North Ryde, N.S.W.: Angus & Robertson, 1988.

[2] Examples include: Summer of the Seventeenth Doll, Leslie Norman, 1959; They’re a Weird Mob, Michael Powell, 1966; Age of Consent, Michael Powell, 1969; Walkabout, Nicolas Roeg, 1971; Wake in Fright, Ted Kotcheff, 1971

[3] Frank Thompson, ‘Sixties Larrikins’, Paper Empires: A History of the Book in Australia 1946-2005. Ed. Craig Munro, and Robyn Sheahan-Bright. St Lucia, Qld: University of Queensland Press, 2001.

[4] Dominic Bowes, Exposing Indecency, BA (Hons) thesis, University of Sydney, 2012

[5] Louis Nowra, Kings Cross: A Biography, 2013)

[6] Rennie Ellis and Wes Stacey, Kings Cross Sydney; a Personal Look at the Cross, Melbourne: Thomas Nelson, 1971

[7] Virginnia Fraser and Carol Jerrems, A Book About Australian Women. Outback Press. 1974 Outback Press was founded by Morry Schwartz, amongst others. Morry Schwartz is currently owner of the Black Imprint.

[8] Concern, edited by Harry Marks, Nelson, p48