Brunswick Street, Art & Revolution :

Now available as an affordable hardback


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Book Description
Book Sample
Book Launch
Articles and Reviews
Trouble Mag
The Age / spectrum
Faifax Media

ook Description

It had to happen. Carnaby Street was the centre of fashion in the 60s. The 70s belonged to Haight-Ashbury’s flower children. Then in the 80s Melbourne gave birth to Brunswick Street — epicentre of an emerging arts movement. Three subcultures — grungers, bohemians and radical feminists collided and brought forth a dynamic that changed the face of the inner city. The meteoric rise of Brunswick Street was a cultural explosion of art, theatre, fashion, grunge, music, drugs, diverse sexuality, celebrity and politics.
 - Maz Wilson

Brunswick Street, Art & Revolution  is the story of a street that became a culture. Written by Anne Rittman and Maz Wilson, it consists of a series of interviews and colour photographs with and of the people who brought about that transformation. It teems with characters: baristas, hair-cutters, potters, comedians, painters, singers, poets, restaurateurs and more.

It evokes iconic places: the Black Cat, Pigtale Pottery, The Flying Trapeze, T F Much Ballroom, Bakers, Circus Oz , Scully & Trombone and the list goes on.

It bursts with visual impact: performances, artworks, architecture and the Waiters’ Race for example. Here it is in its true form as a cultural, social and political history.

It was a pioneering spirit which created its own centre of gravity. Early on the street had a frisson of excitement. Artists rubbing shoulders with criminals in a quarter acre block.
- Rod Quantock.

Laughter is the shock absorber of life!
- Tim McKew

It was love at first coffee.
- Sandra Goldbloom Zurbo

ISBN    9781876044978 (paperback)
470 pgs


ISBN    9781876044961 (hardback)
470 pgs
$88.00 - Australia (including postage)
$130.00 - International (including postage)

Book Sample

     Play the video for song and highlights of the book

Click here for a small sample of the book.

Book Launch

Pics from the launch, by Kim Tonelli

by Sue Ingleton,
The Provincial Hotel 20/2/2017

Honoured to be the one to do this as there are many, many more of us still around, we who were there!
(Name people I see)
put up your hand if you were there?
You’re in the book. All of you are in the book!

So many of us are not here tonight, they’re stuck in traffic or they’re quaffing pinot noir in some Heavenly Restaurant at the End of the Universe… Bless!

Only someone who was there at the beginning could possibly have had enough hutzpah to write and encode a book about an era of history that belonged to so many weird, wonderful, talented, egocentric, revolting & revolutionary, legends in their own lunchtime, creative,  freaks and geniuses.

Maz and Anne were there; they danced the dance, stepped over the line, climbed the mountain and fell through the cracks  until eventually they stepped into another river, which we call Time and drifted on to their next journey.    Some of us have the perspicacity to see that the past must be recorded before the memories fade, even though the street is  still here &  original enterprises still remain yet the Brunswick Street of this book has gone as it must- we, who know Melbourne have witnessed quite few roman candles burn brightly then slowly fade until ‘pop’.

But memory can be the very devil as Inga Clendinnen wrote:

one appreciates the depths of its character defects- its unreliability, its affront at being questioned, its rage at being impugned, its incorrigible complacency even when caught out.

(She’s not referring to Tronald Dump whose does not actually have a brain let alone a memory) but as with many epochs in history one person alone cannot record accurately every little nuance of the time.

So they came back with their goal clearly focussed-   and they set to work, excavating the people, the minds, the moments and they let them have their page. It’s their words and their memories and I for one wouldn't dare to question any of it.

How do we explain this phenomenon! Before Brunswick Street crashed through the light barrier I see it as a dark basement harbouring an energy that when the time was right or the call came—like cicadas emerging from a deep sleep— burst forth like as if there was an underground river where the gods had deposited all their brilliant ideas, daring the poorest to find them.

All new life must begin in the DARK.

And often it pokes its head out a little too soon and has to retreat back down for a little more germination but then its ready and it releases itself to the light and to manifestation and sometimes holds its breath, or enters laughing,  sometimes it vomits forth its inspiration or more often, silently sways into the milieu.

There happened to be a street in Melbourne that lay across this cosmic basement, this underground gallimaufry of compressed ideas, of fingers desperate to grasp the brush, the keyboard, the pen, the clay, the microphone, the audience!—And on this street lay a tramline: Number11—This in numerology is known as a Master Number—the 11 is the most intuitive of all numbers. It is instinctual, charismatic, dynamic and capable when its sights are set on a concrete goal. The 11 is the number associated with faith and psychics.

When its focus is not applied toward a goal, the 11 can be extremely self-sabotaging, stressed, conflicted and scattered.

And so, just over 36 years ago with that number eleven rolling on top of them these crazy, beautiful creatures broke through the ground and emerged into the extraordinary light—where they found that coffee was waiting for them.

Christ how blessed were we?

My journey in the Street began at T F Much Ballroom-I think. Then around 79 I ventured from Carlton to Pinder’s Bakers café, which sat in a rather neglected streetscape but that Pinder’s psychic ability. Ahead of his time. T F Much, Flying Trapeze and the Last Laugh. The streetscape reminded me of my student days in Carlton where 1963-66 in the Tower where later came the APG.

Let me take a description of that Brunswick street from the Book.

Jeff Raglas, musician, painter, designer (We were all mostly triple talented) wrote:

I’d have to say Brunswick Street seemed like it was from another place and time …back then it reminded me of a forgotten country town.. The faded grandeur of old Victorian era shops and buildings, most shops looked deserted or barely open, quite a few had their windows painted over with some sort of pale green paint, with Greek lettering or perhaps the words ‘tailor’ or ‘manufacturer’ but most looked like  nothing had happened for quite a while. Old trams rattled up and down .. hardly anyone on them. It was kinda cool and romantic.

I’d returned, 7 months pregnant with my partner from UK. The first gig we got to go to at Collingwood Town hall, Jeff Toll was singing a song called, Dingoes eat babies in Australia and we didn’t have a bloody clue what he was talking about. Later we got the appalling story, appalling because the press were in a feeding frenzy and I’d forgotten what it was like to be a woman in Australia..

1981 I was due to give birth in July. We moved back into my house in Clifton Hill and prepared ourselves for a homebirth but I was hungry for the stage and the idea of performing hugely pregnant was pretty fascinating.

Rod and Mary and co were running The Comedy Café used to be the Flytrap in what was still the dead end of Brunswick St, where there were cavernous op shops and nowhere to get  a latte. Can’t quite remember how but I found myself signed up for a show there. About 2 am one morning a few weeks later I sat at the bottom of the stairs and wrote the script of From Here to Maternity, channelling this appalling man who called  himself Bill Rawlings.

He was the universal Aussie male, who quite simply sees it as his birthright to be superior to the entire female sex.

So there I was in the Comedy Café 8 months pregnant, huge, everywhere, slow, often in the show I admitted to having lactose poisoning of the brain, when I would just stop! People loved it. People love it when you stop and look at them.

It was a triumph and after the birth the after birth- a bit later I came back to perform upstairs in the Banana lounge- Mothers Courage where I took the audience thru a blow by blow description of the birth & painful slide show including a picture of the placenta—a Margherita Pizza—I think the mother has some Italian blood in her, a nappy changing competition. Etc. Outside the trams were going down the road they were going down the line, like a coal seam –bad analogy there sorry- like a bloodline, an artery  DOWN to the place where the drums were beating! Brunswick street.  What the fuck was happening DOWN there?!!

I’ll remind you of what was happening down there. The discarded jewels of the heavens had been born again out of that basement. For me in later years with all my shows at the Universal theatre Brunswick St became very familiar, and even now there’s little patches left- Mario’s, Scally and Trombone where I once donated a pair of earrings to Mary Lou. Sorry about that. I know no one would’ve ever worn tampons dangling from their ears. But she put them in the window just the same!

No one has actually yet collated or codified, studied or explored the sociological, cultural phenomena that happened in the eighties through to the nineties IN ONE SUBURBAN MELBOURNE ROAD—Brunswick Street—except for Anne Rittman & Maz Wilson, two women who without any financial support have worked their beautiful arses off in a project which we Australians are usually very bad at doing—recognising that we create history and change in the most extraordinary places and most importantly through the creative minds of artists!- not through wars and  death and destruction do we come with this creativity to make history and change the world

WE come through our hearts and minds and our most creative of all tools—our hands. Show me your hands! Now put them together for these two women and for this work which is now—thanks to Black Pepper Publishers—is now launched!

GRANT reads his poem B STREET to ANNE at the Launch

B Street

B Street—What a treat—
a kaleidoscope o extremes—
all tha multi-coloured Punks &
drunks, artists, poets & musos.
We drank an got together on
tha corner o Kerr & B Street
each day, sometimes buskin—
an at night there’d be exhibition
openins at ROAR Studios, Rumberallas
an other galleries where there’d be
free booze—friends an lottsa ART
an then there’d be ROCK & ROLL
bands in tha BARS
Polyster Bookshop an Fetish
were always the place ta stop,
have a yarn—
an tha locals would always
greet ya with their charm—
an still do.
I’ve been on B Street fer 25 years,
an things have changed, with
BMWs, Mercedes, an Toorak Tanks
gridlokt lookin for a parkin space
cause they’re late for their lattes
or donuts—
B Street should be CAR FREE—
people should be at ease ta walk tha Street
leave ya ipods & iphones at HOME—

Grant Alexander McCracken, 9th Feb, 2017

Lyn Van Hek & Joe Dolce providing the entertainment

The book featured in the window of the Brunswick Street Bookstore


with Lindy Burns, Thu 6 Jul 2017, 7:00pm (22min 42sec)

From the Flying Trapeze to the Punters Club a new book called "Brunswick Street: Art and Revolution" celebrates the transformation of Brunswick Street, Fitzroy in the 1980s.

The book's co-author Anne Rittman joined Lindy for a trip down memory lane.

To listen to the interview go to:

or play it here:

Another interview with Anne about the book that you may like to listen to is at the following link:

Anne's interview starts 1 hour and 23 minutes into the show, running for about 25 minutes.

Trouble Mag June 2017

INTRODUCTION  by Steve Proposch
THE END OF DIVERSITY? by Avatar Polymorph

"In Melbourne this left places like Fitzroy, Collingwood, Richmond, North Melbourne and even Carlton virtually gutted. Flemington, Kensington and Footscray fared not much better with larger and stronger industrial infrastructure close at hand, but on the North East side the times were economically dire indeed. Of course, nothing lasts forever. What happened next occurred first in Carlton, to a small degree, and caught fire in Fitzroy. It is a well-documented social phenomenon that occurs over and again, all around the world, in a fairly similar pattern every time such conditions occur. It is a phenomenon that is spearheaded by artists, writers, actors, potters and creative weirdos of all kinds, who move in to take advantage of low rents and large, industrial spaces that nobody wants or cares about and where they remain free to live as they choose, make what they choose and earn what they choose in the way they choose to earn it, where fewer if any people care enough to try telling them how to live. But as surely as this movement begins it tolls its own death knell, known as Gentrification, which occurs without fail about ten to twenty years later, when all of a sudden the suburban mass begins to hanker for culture, and realises that the inner city is alive with it. Artists are thick on the ground in there."

"In Fitzroy the phenomenon centred around Brunswick street, which is the subject of a new book by Black Pepper publishing, Brunswick Street: Art & Revolution. The book is filled with the stories of artists and creatives who lived a beautiful life in Fitzroy in the 70s and early 80s, a life full of community and fresh, brave culture, in a place where they could – all too briefly – almost believe they were free."

For the complete article go to:

The Age / spectrum 3/6/2017
reviewed by Fiona Capp,

Brunswick Street: Art & Revolution
The inner-Melbourne suburb of Fitzroy was, despite slum clearance, still largely "a backwater of seedy pubs and sleazy brothels" when Maz Wilson and Anne Rittman first moved there in 1975. But the rent was cheap, drawing writers, artists, musicians, performers and radical activists who would transform the suburb and its main drag, Brunswick Street, into a vibrant bohemian enclave. Venues, galleries and shops such as Rhumbarellas, the Black Cat, the Flying Trapeze Cafe, the Troubadour, Roar Studios, the Artist's Garden, Polyester Records with its provocative catchline "Totally Weird Shit", Misfit, Fetish and many more fostered and reflected the street's alternative ethos. The diverse voices, the spirit and daring of that era are captured in this exuberant landmark anthology of recollections, rants and raves by those who were there when it all began.

by Helenka Wargon

Just quietly, it’s a shame the review wasn’t meatier, speaking more on the cultural contribution this collection of people made to Australia, rather than focusing on cheap rent and seedy pubs.  So many of these so called ‘seedy pubs’ nurtured poets and artists of all sorts that mingled together exchanged ideas on art, culture, Australian identity.  Indeed, it was the ONLY place in Melbourne where ANYONE could turn up and discuss ideas such as these without having an academic degree, without a ticket to a ‘gentlemen’s club’.  It was an absolute breath of fresh air and something utterly lacking right now in Melbourne.  There was so much more she could make of this book; how it stands as an inspiration to this age we’re living in, as a testimony to what can be born of an area where artistic expression is welcomed and invited.  Indeed, this now gentrified highly expensive real estate sits ENTIRELY off the back of it’s former spirit.

Celebrating Brunswick Street's glory days, heart and soul 
by Carolyn Webb,
The Sydney Morning Herald 25/2/2017
Also appearing in The Age and Newcastle Herald

"For a few short years, this vibrant neon strip with an edgy mix of grunge pubs, retro cafes, art galleries, comedy clubs, experimental theatre and bookstores was the hottest ticket in town."

This was Brunswick Street, Fitzroy, in its heyday, as described by author Maz Wilson in the foreword to a new book. Nowadays it's a different place altogether. Brunswick Street: Art and Revolution, which she co-authored with Anne Rittman, tells how cashed-up entrepreneurs and fashionistas moving in, and tourists from the suburbs, have quelled the street's bohemian spirit.