Lesbian Gay Bisexual Transgender Material Survey
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SELECTED LGBTI ORGANISATIONS Health, Welfare, Social & Advocacy Hayden Brown and Marek Kroll
SELECTED LGBTI ORGANISATIONS health, welfare, social & advocacy Hayden Brown and Marek Kroll Please note that the LGBTQI+ acronym varies from place to place and will continue to change. As we are citing specific websites in the toolkit below, the acronyms used will refer to the ones used by that specific organisation. ADVICE AND ASSISTANCE Another Closet http://www.anothercloset.com.au/ Information and advice about intimate partner violence among LGBTI individuals Better Pride https://betterpride.com.au/?gclid=EAIaIQobChMI_teD_tq26wIVgXZgCh1OYQQNEAAYASAAEgK1kfD_BwE Ph: 1800 531 919 Phone support provided by LGBTI people Beyond Blue: Lesbian, gay, bi, trans, intersex (LGBTI), and bodily, gender and sexually diverse people https://www.beyondblue.org.au/who-does-it-affect/lesbian-gay-bi-trans-and-intersex-lgbti-people A website offering advice and information for LGBTI communities. Coming Out Australia http://www.comingout.com.au/ Helping people in the GLBTIQ Community with coming out GenderQueer Australia [email protected] https://www.genderqueer.org.au Supports gender questioning and genderqueer people, their family, friends and professionals who they go to for help. Head to Health: Gender Expression https://headtohealth.gov.au/supporting-yourself/support-for/gender- expression Advice and referral suggestions Kara House Lesbian Domestic Violence Service https://www.karahouse.org.au/ [email protected] Counselling and other support Lifeline 13 11 14 A free 24-hour crisis support and suicide prevention service Mind Equality Centre https://www.mindaustralia.org.au/mind-equality-centre A safe, healing place for LGBTI people including psychological and family counselling, sex therapy, occupational therapy. Q Life 1800 184 527 or http://qlife.org.au/ Opportunity to speak of mental health, negotiating the medical system, relationships, isolation, coming out, people assuming our genders, and other concerns. -
Background Note on Human Rights Violations Against Intersex People Table of Contents 1 Introduction
Background Note on Human Rights Violations against Intersex People Table of Contents 1 Introduction .................................................................................................................. 2 2 Understanding intersex ................................................................................................... 2 2.1 Situating the rights of intersex people......................................................................... 4 2.2 Promoting the rights of intersex people....................................................................... 7 3 Forced and coercive medical interventions......................................................................... 8 4 Violence and infanticide ............................................................................................... 20 5 Stigma and discrimination in healthcare .......................................................................... 22 6 Legal recognition, including registration at birth ............................................................... 26 7 Discrimination and stigmatization .................................................................................. 29 8 Access to justice and remedies ....................................................................................... 32 9 Addressing root causes of human rights violations ............................................................ 35 10 Conclusions and way forward..................................................................................... 37 10.1 Conclusions -
Marie Collier: a Life
Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family. -
Phillip Street Theatre
COLLECTION FINDING AID Phillip Street Theatre Performing Arts Programs and Ephemera (PROMPT) Australian ColleCtion Development The Phillip Street Theatre (sucCeeded by the Phillip Theatre) was a popular and influential commercial Sydney theatre and theatriCal Company of the 1950s and 1960s that beCame well known for its intimate satiriCal revue produCtions. William Orr was the Company’s founding DireCtor of ProduCtions, and EriC DuCkworth was General Manager. After taking over the MerCury Theatre in Phillip Street, William Orr re- opened it as the Phillip Street Theatre in 1954, presenting a series of “Phillip Street Revues” and children's musicals, including Top of the Bill and Hit and Run (both 1954), Willow Pattern Plate (1957), Cross Section (1957-58), Ride on a Broomstick (1959), Mistress Money (1960). These featured many noted Australian performers, many who later went on to beCome well known film, theatre and television personalities, inCluding Gordon Chater, Margot Lee, Barry Creyton, Jill Perryman, Noeline Brown, Robina Beard, Judi Farr, Kevin Miles, Charles "Bud" Tingwell, Ray Barrett, Ruth CraCknell, June Salter, John Meillon, Barry Humphries, Reg Livermore, Peter Phelps, and Gloria Dawn. The Phillip Street Theatre was demolished at the time of Out on a Limb with Bobby Limb and Dawn Lake in 1961, and the Company moved to the Australian Hall at 150 Elizabeth Street, near Liverpool Street. The Company's name was then shortened to the Phillip Theatre in reCognition of this move. Content Printed materials in the PROMPT ColleCtion include programs and printed ephemera such as broChures, leaflets, tiCkets, etC. Theatre programs are taken as the prime doCumentary evidenCe of a performanCe at the Phillip Street Theatre. -
Changing Stations
1 CHANGING STATIONS FULL INDEX 100 Top Tunes 190 2GZ Junior Country Service Club 128 1029 Hot Tomato 170, 432 2HD 30, 81, 120–1, 162, 178, 182, 190, 192, 106.9 Hill FM 92, 428 247, 258, 295, 352, 364, 370, 378, 423 2HD Radio Players 213 2AD 163, 259, 425, 568 2KM 251, 323, 426, 431 2AY 127, 205, 423 2KO 30, 81, 90, 120, 132, 176, 227, 255, 264, 2BE 9, 169, 423 266, 342, 366, 424 2BH 92, 146, 177, 201, 425 2KY 18, 37, 54, 133, 135, 140, 154, 168, 189, 2BL 6, 203, 323, 345, 385 198–9, 216, 221, 224, 232, 238, 247, 250–1, 2BS 6, 302–3, 364, 426 267, 274, 291, 295, 297–8, 302, 311, 316, 345, 2CA 25, 29, 60, 87, 89, 129, 146, 197, 245, 277, 354–7, 359–65, 370, 378, 385, 390, 399, 401– 295, 358, 370, 377, 424 2, 406, 412, 423 2CA Night Owls’ Club 2KY Swing Club 250 2CBA FM 197, 198 2LM 257, 423 2CC 74, 87, 98, 197, 205, 237, 403, 427 2LT 302, 427 2CH 16, 19, 21, 24, 29, 59, 110, 122, 124, 130, 2MBS-FM 75 136, 141, 144, 150, 156–7, 163, 168, 176–7, 2MG 268, 317, 403, 426 182, 184–7, 189, 192, 195–8, 200, 236, 238, 2MO 259, 318, 424 247, 253, 260, 263–4, 270, 274, 277, 286, 288, 2MW 121, 239, 426 319, 327, 358, 389, 411, 424 2NM 170, 426 2CHY 96 2NZ 68, 425 2Day-FM 84, 85, 89, 94, 113, 193, 240–1, 243– 2NZ Dramatic Club 217 4, 278, 281, 403, 412–13, 428, 433–6 2OO 74, 428 2DU 136, 179, 403, 425 2PK 403, 426 2FC 291–2, 355, 385 2QN 76–7, 256, 425 2GB 9–10, 14, 18, 29, 30–2, 49–50, 55–7, 59, 2RE 259, 427 61, 68–9, 84, 87, 95, 102–3, 107–8, 110–12, 2RG 142, 158, 262, 425 114–15, 120–2, 124–7, 129, 133, 136, 139–41, 2SM 54, 79, 84–5, 103, 119, 124, -
Golden Yearbook
Golden Yearbook Golden Yearbook Stories from graduates of the 1930s to the 1960s Foreword from the Vice-Chancellor and Principal ���������������������������������������������������������5 Message from the Chancellor ��������������������������������7 — Timeline of significant events at the University of Sydney �������������������������������������8 — The 1930s The Great Depression ������������������������������������������ 13 Graduates of the 1930s ���������������������������������������� 14 — The 1940s Australia at war ��������������������������������������������������� 21 Graduates of the 1940s ����������������������������������������22 — The 1950s Populate or perish ���������������������������������������������� 47 Graduates of the 1950s ����������������������������������������48 — The 1960s Activism and protest ������������������������������������������155 Graduates of the 1960s ���������������������������������������156 — What will tomorrow bring? ��������������������������������� 247 The University of Sydney today ���������������������������248 — Index ����������������������������������������������������������������250 Glossary ����������������������������������������������������������� 252 Produced by Marketing and Communications, the University of Sydney, December 2016. Disclaimer: The content of this publication includes edited versions of original contributions by University of Sydney alumni and relevant associated content produced by the University. The views and opinions expressed are those of the alumni contributors and do -
Resilient Individuals: Sexual Orientation Gender Identity & Intersex
Resilient Individuals: Sexual Orientation Gender Identity & Intersex Rights NATIONAL CONSULTATION REPORT • 2015 The Australian Human Rights Commission encourages the dissemination and exchange of information provided in this publication. All material presented in this publication is provided under Creative Commons Attribution 3.0 Australia, with the exception of: • the Australian Human Rights Commission logo • photographs and images • any content or material provided by third parties. The details of the relevant licence conditions are available on the Creative Commons website, as is the full legal code for the CC BY 3.0 AU licence. Attribution Material obtained from this publication is to be attributed to the Australian Human Rights Commission with the following copyright notice: © Australian Human Rights Commission 2015. ISBN 978-1-921449-71-0 Resilient Individuals: Sexual Orientation, Gender Identity & Intersex Rights • National Consultation Report • 2015 Design and layout Dancingirl Designs Graphics The Explainers Cover photo iStock Printing Paragon Printers Australasia Electronic format This publication can be found in electronic format on the website of the Australian Human Rights Commission: www.humanrights.gov.au/sogii Resilient Individuals: Sexual Orientation, Gender Identity & Intersex Rights National Consultation Report • 2015 Australian Human Rights Commission 2015 SOGII Rights Sexual Orientation, Gender Identity & Intersex Rights Contents Message from the Commissioner 1 A road map for inclusion 2 A note on terminology 5 1 Introduction -
University of New England Jeremy Fisher Sex, Sleaze and Righteous
Fisher Sex, sleaze and righteous anger University of New England Jeremy Fisher Sex, sleaze and righteous anger: The rise and fall of gay magazines and newspapers in Australia Abstract: For much of the 20th century, homosexuality was illegal in Australia. The country was also subject to draconian censorship; overt homosexual works were banned. In the late 1960s and early 1970s, however, social change was afoot and publications of the homosexual rights and gay liberation movements began to appear, soon joined by more commercial publications aligned to an increasingly overt gay sub-culture. These publications prospered over the next three decades. Their focus ranged from earnest proselytising to post-modern pornography. Most maintained strong links to their readerships, even though many of them were distributed free of charge and relied on advertising to survive. This paper chronicles the range of these publications and examines how they helped develop and foster a gay, lesbian or queer readership (and hence outside the mainstream); explores how and why the printed forms of these publications gradually merged within the mainstream as same-sex relationships lost their deviance; and notes that these publications have largely been replaced by digital alternatives in the 21st century. Biographical note: Dr Jeremy Fisher, Senior Lecturer in Writing at the University of New England, is the author of Perfect timing, Music from another country and How to tell your father to drop dead, as well as numerous scholarly and professional articles and papers on the history of print culture. Keywords: Gay and lesbian publications – Campaign – Outrage – Star observer – Lesbians on the loose TEXT Special Issue 25: Australasian magazines: new perspectives on writing and publishing 1 eds Rosemary Williamson and Rebecca Johinke, April 2014 Fisher Sex, sleaze and righteous anger I finished high school in 1972 at the same time the Whitlam government was elected and, to my teenage eyes, the world appeared to be changing rapidly and radically. -
Here from There—Travel, Television and Touring Revues: Internationalism As Entertainment in the 1950S and 1960S
64 Jonathan Bollen Flinders University, Australia Here from There—travel, television and touring revues: internationalism as entertainment in the 1950s and 1960s Entertainments depicting national distinctions attracted Australian audiences in the 1950s and 1960s. Touring revues from overseas afforded opportunities to see the nations of the world arrayed on the stage. Each of the major producers of commercial entertainments in Australia imported revues from Europe, Africa, the Americas and East Asia. Like their counterparts in Hong Kong and Singapore, entrepreneurs in Australia harnessed an increasing global flow of performers, at a time when national governments, encouraged by their participation in the United Nations, were adopting cultural policies to foster national distinction and sending troupes of entertainers as cultural ambassadors on international tours. In this article the author explores the significance of internationalist entertainment in mid-20th century Australia, focusing on Oriental Cavalcade, an “East Meets West” revue from 1959 which toured with performers from Australia and Asia. At a time when television viewing was becoming a domestic routine and international aviation was becoming an affordable indulgence, producers of internationalist entertainments offered audiences in the theatre experiences of being away from home that were akin to tourism and travel beyond the domestic scene. Jonathan Bollen is a Senior Lecturer in Drama, Flinders University, Australia Keywords: variety, revue, aviation, tourism, travel, television, internationalism desire to create a national theatre for Australia gathered momentum A in the late-1940s and eventually gained traction.1 Government support for the performing arts was introduced with the establishment of the Australian Elizabethan Theatre Trust in 1954 and the subsequent founding of new national opera, theatre and ballet companies and the National Institute of Dramatic Art, while government investment in venues for the performing arts Popular Entertainment Studies, Vol. -
Memories of Television in Australia
Sue Turnbull and Stephanie Hanson AFFECT, UPSET AND THE SELF: MEMORIES OF TELEVISION IN AUSTRALIA Abstract In a recent survey inviting people to outline some of their memories of television and its place in their lives, one of the questions asked was: ‘Can you explain why these particular television memories have stayed with you?’ While the responses to this question were complex and individual, some common themes emerged. These included questions of affect; experiences that were ‘beyond the norm’; and moments of self-identification. While the younger age group (15–45 years) slightly favoured the ‘self-identification’ and ‘affect’ categories, for the 46+ combined groups, the major category was the ‘beyond the norm’. The second-most cited factor, given by approximately 50 per cent of the respondents, was that a television memory is made when an event on television somehow becomes intertwined with the life of the individual. In many instances, the event was recalled as a formative or life-changing occurrence. While it is difficult to draw too many conclusions from the data in relation to gender, given that there were more female participants than male, when the data were recast to show percentages within each gender group, it was interesting to note that the male participants rated ‘affect’ most highly while females rated ‘self-identification’ as the most significant factor in the making of a television memory. This article explores these findings in more detail and examines the implications of these data for thinking about the relationship between the medium of television, television audiences and the formation of memories. -
Annual Report 1990-91 AUSTRALIAN BROADCASTING TRIBUNAL
AUSTRALIAN BROADCASTING TRIBUNAL Annual Report 1990-91 AUSTRALIAN BROADCASTING TRIBUNAL ANNUAL REPORT 1990-91 Australian Broadcasting Tribunal Sydney 1991 © Commonwealth of Australia ISSN 0728-8883 Design by Publications and Public Relations Branch, Australian Broadcasting Tribunal. Printed in Australia by Pirie Printers Sales Pty Ltd, Fyshwick, A.CT. 11 CONTENTS 1. Membership of the Tribunal 1 2. The Year in Review 5 3. Powers and Functions of the Tribunal 11 Responsible Minister 14 4. Licensing 15 Number and Type of Licences on Issue 17 Number of Licensing Inquiries 19 Bond Inquiry 19 Commercial Radio Licence Grant Inquiries 20 Supplementary Radio Grant 21 Joined Supplementary /Independent Grant Inquiries 22 Remote Licences 22 Public Radio Licence Grants 23 Licence renewals 27 Renewal of Licences with Conditions 27 Revocation/ Suspension/ Conditions Inquiries 28 Revocation of Licence Conditions 31 Consolidation of Licences 32 Surrender of the 6CI Licence 33 Allocation of Call Signs 33 Changes to the Constituent Documents of Licensees 35 5. Ownership and Control 37 Applications Received 39 Most Significant Inquiries 39 Extensions of Time to Comply with the Act 48 Appointment of Receivers 48 Uncompleted Inquiries 49 Contraventions Amounting To Offences 51 Licence Transfers 52 Uncompleted Inquiries 52 Operation of Service by Other than Licensee 53 Registered Lender and Loan Interest Inquiries 53 6. Program and Advertising Standards 55 Program and Advertising Standards 57 Australian Content (Radio and Television) 58 Compliance with Australian Content Television Standards 60 Children's and Preschool Children's Television Standards 60 Compliance with Children's Television Standards 63 Comments and Complaints 64 Broadcasting of Political Matter 65 Research 66 Ill 7. -
Tv Advertised Lp's
AUSTRALIAN RECORD LABELS TV ADVERTISED LABELS 1970 to 1992 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, SEPTEMBER 2018 1 ACKNOWLEDGEMENTS MANY THANKS TO PAUL ELLWOOD FOR HELP WITH J & B. ANDREW RENAUT’S WEBSITE LISTS MANY OF THE MAJESTIC / K-TEL COMPILATIONS: https://majesticcompilations.com/ CONCEPT RECORDS CONCEPT RECORD PTY LTD, 139 MURRAY ST, PYRMONT, 2009 // 37 WHITING ST, ARTARMON, 2064. BEGUN BY THEO TAMBAKIS AS A J & B SPECIAL PRODUCTS LABEL. ACTIVE FROM 1984. CC 0001 BREAKIN’ IT UP VARIOUS 1984 CC 0002 HOWLIN’ FOR HITS 2LP VARIOUS 1984 CC 0003 LOVE THEMES INSPIRED BY TORVILL & DEAN VARIOUS CC 0004 THAT’S WHAT I CALL ROCK ‘N’ ROLL VARIOUS CC 0005 THE BOP WON’T STOP VARIOUS 1985 CC 0006 THE HITS HITS HITS MACHINE 2LP VARIOUS 1985 CC 0007 MASTERWORKS COLLECTION VARIOUS 1985 CC 0008 CC 0009 LOVE ME GENTLY VARIOUS CC 0010 4 STAR COUNTRY 2LP DUSTY, REEVES, WHITMAN, WILLIAMS CC 0011 CC 0012 THE DANCE TAPES VARIOUS 1985 CC 0013 KISS-THE SINGLES KISS 1985 CC 0014 THE VERY BEST OF BRENDA LEE 2LP BRENDA LEE 1985 CC 0015 SOLID R.O.C.K. VARIOUS 1985 CC 0016 CC 0017 CC 0018 HIT AFTER HIT VARIOUS 1985 CC 0019 BANDS OF GOLD 2LP VARIOUS CC 0020 THE EXTENDED HIT SUMMER 2LP VARIOUS 1985 CC 0021 METAL MADNESS 2LP VARIOUS 1985 CC 0022 FROM THE HEART VARIOUS 1986 CC 0023 STEPPIN’ TO THE BEAT VARIOUS 1986 CC 0024 STARDUST MELODIES NAT KING COLE CC 0025 THE VERY BEST OF OZ ROCK 2LP VARIOUS 1986 CC 0026 SHE BOP VARIOUS 1986 CC 0027 TI AMO VARIOUS 1986 CC 0028 JUMP ‘N’ JIVE VARIOUS 1986 CC 0029 TRUE LOVE WAYS VARIOUS 1986 CC 0030 PUTTIN’ ON