The title of this recording is "David Hindley images". It is described as: David Hindley talks about his photography during the period of homosexual law reform (1985/86). It was recorded in Wellington, Aotearoa New Zealand on the 10th June 2011. David Hindley is being interviewed by Gareth Watkins.  Their names are spelt correctly but may appear incorrectly spelt later in the document. The duration of the recording is 33 minutes. A list of correctly spelt content keywords and tags can be found at the end of this document. A brief description of the recording is: In this podcast David talks about his photography during the period of homosexual law reform (1985/86). The content in the recording covers the 1980s decade. A brief summary of the recording is: This summary is about a 33-minute audio interview with David Hindley, a photographer and member of the Pink Triangle magazine collective, conducted by Gareth Watkins and recorded in Wellington, Aotearoa New Zealand, on June 10, 2011. During the interview, Hindley discusses their work capturing the significant moments of the homosexual law reform in New Zealand during 1985 and 1986. Pink Triangle magazine, a community-based, non-profit publication, served as an activist platform for the gay and lesbian community and was central to reporting the events of that period. The interview begins with a description of Pink Triangle's role and coverage during the homosexual law reform campaign. Despite being Wellington-based, the magazine had nationwide distribution and contributors. Hindley recalls taking photographs to illustrate the magazine's news stories and to document the historic events happening in their community. Many of the images were taken in Wellington, but some events in Auckland were also captured. Hindley explains achieving access to photograph key moments from advantageous points by simply acting with the resolve of a journalist, a training that emboldened them to enter areas where crucial stories unfolded. Media interest in the homosexual law reform campaign was intense, driven by the political battle it stirred, including the high-profile involvement of groups like the Salvation Army and controversial petitions against the bill. The photographs Hindley took serve as a poignant visual history. After the arson attack on a lesbian and gay rights resource center, for example, images captured the aftermath, including a scrawled word 'fag' humorously inscribed in correction fluid, which underscored the hostile climate of the times. Despite these challenges, Hindley's photographs reveal a community in resistance and celebration, from street marches to rallies and debates. Hindley reflects on the emotional and historical significance of these photographs. They were taken using a Canon A1 SLR camera with a black and white film which was processed in a laundry flat, underscoring the DIY ethic of the era. Subjects ranged from supportive bystanders to uncomfortable participants wary of the personal risks of being openly associated with the gay community during such a contentious time. Throughout the interview, reflections on specific events such as demonstrations outside the Salvation Army building, various anti-bill and pro-reform rallies, and lively debates challenge preconceptions of public opinion. Opposition and support coexisted in the public reaction to the perilous and triumphant moments of the law reform effort, from heated confrontations in town hall meetings to anti-reform rallies turned chaotic by activism. Hindley's collection captures the diverse faces and voices that participated in this epoch. From the "Ban the Bonnet" banners indicative of the community's humor as a tool of protest to the Bigot Busters rallies echoing the zeitgeist of the Ghostbusters era, these photographs document not just resistance, but a transformative moment in New Zealand's social history, embodying the spirit of the community's struggle for equality. The interview concludes with Hindley urging current and future activists to carefully preserve their photographs, especially in the digital age, to ensure the material testament of their efforts survives for future generations. The historical importance of these images, as well as their personal contributions as testament to a pivotal period of change, are recognized by their archiving at the Alexander Turnbull Library in Wellington, and through exhibitions commemorating the passage of the bill. The full transcription of the recording begins:  I'm David Hindley. And in 1985 86 I was part of the Pink Triangle, uh, magazine collective. Uh, and I was a photographer, so I took a lot of photographs, Really? From the start of the campaign, until after homosexual law reform bill was passed, What was Pink Triangle? Pink Triangle? There were two, gay and lesbian publications at that period, Art magazine and Pink Triangle and Pink Triangle was a slightly more activist one. It was a community based nonprofit, uh, publication. And we really covered a lot of the key news from the law reform period. Was that Wellington based or was it a national magazine? Uh, Pink Triangle was Wellington based, but we did have people in Auckland and and other centres providing information, and it was distributed around the country. And so, during law reform, did you go to events around the country? I did. And most of the photographs are from Wellington, and most of my activities were in Wellington. But I did spend some time in Auckland as well. So why were they taken? They were taken, I think, as a, uh for several reasons. One to illustrate the news stories that were covered in Pink Triangle. But also, we knew that this was really, uh, a historical event. This was a really groundbreaking, uh, event for our community, and they were taken as a record of all the different things that were going on during that time. You seem to have very good, uh, access to the events in terms of like photographing from the stage and into the crowd. Uh, how was that arranged? How How did you get such good access? I think probably the the thing with the photographs is that, uh, I I'm a journalist by by training. And, uh so I'm just used to, uh, doing what journalists do, and that is you simply go where you want to do, go to get the story. So if there's a big public event and you want to take a photograph from the stage, you simply go up onto the stage to do it. And, uh uh, in some cases, you might arrange that in advance, but generally just do it and nobody stops you. Was there much media interest in these events? There was huge media interest in the campaign itself, partly just because of the nature of of decriminalisation, of homosexuality, partly because of the huge political battle that, uh, developed over several years the involvement of things like the Salvation Army uh, the development of the petition which the people against the bill launched and that had huge coverage around the country. It was really something that, uh, a lot of people were talking about at the events themselves. Were there mainstream media or was it more kind of community based at some of the events that were well flagged in advance? They were mainstream media. So, for example, the for the anti bill people, the presentation of the petition at Parliament that got huge coverage because they'd done a lot of work to arrange that for a lot of the other events, the smaller events in particular, there wasn't particularly much media coverage, but there was some community access. Radio coverage wasn't there. That's right. I mean, most of the most of the the really good coverage and the substantial coverage was provided by community organisations like um the the collective that worked on the access radio programme and, uh, pink triangle. I've got to say these the these shots that you've taken, uh, are beautifully composed. And I'm wondering, how do you How do you compose shots in such a, uh, a fluid situation as, uh, protests or rallies. I think the the key is really just being prepared to, um, to, uh to take the photograph when you when the the absolute moment is right. And so you just have to be primed and ready to just kind of, uh, click whenever you need to. I think that one of the other things is being in the middle of things and just getting a sense of how activities are developed. Seeing how things might develop, looking at two protagonists, walking towards each other and thinking right, there's going to be something happen here, so I'll get ready to take the photograph. What kind of equipment were you using? I was this This was obviously in the days of film, and most of it was, um, black and white. So I was using a canon a one SLR camera. Uh, and I developed all the film, uh, myself, uh, in a laundry of a of a gay flat in street when you shot particularly close up on people. How did they react, And I'm thinking both in terms of the kind of, uh, anti reform people and and also the the pro reformers. People were generally accepting of the fact that they were being photographed. I think they knew that they were involved in something which was very, very newsworthy, which was quite a big historical, um, event. And so generally people accepted that some people were very, very happy to be photographed. Other people were quite uncomfortable, and occasionally you had to, uh, really size up how you were going to take a photograph and then grab it when the opportunity came because you knew that the person wouldn't otherwise allow you to do it. And I guess at this time when homosexuality was illegal to actually have a published photo of yourself in a gay magazine, that must have been quite challenging for some people. Well, it absolutely was. Because, of course, this was before the disc the days of discrim, anti discrimination legislation and things like that so people could potentially be thrown out of their jobs thrown out of their flats and things like that. Um, and that did happen from time to time. Uh, this was also, uh, the days of, uh, police entrapments of police going around and, um, hassling people in gay bars and and that type of thing. So there were definitely the potential for repercussions for people who were photographed. If we could perhaps look through the the images that are on the website and and maybe just go into a wee bit more detail about what the events were and and and maybe describing some of the atmosphere around the events, Uh, the first one we're looking at is, uh, looks like the Salvation Army. Where is this? This is in Vivian Street in Wellington. This is the old Salvation Army building. It's it's since been pulled down and replaced with a big new flash one. But this was very early on in the campaign when the Salvation Army had just announced that they were going to, uh, take an active role in opposing law reform. And so, uh, we had a group come together on a Sunday morning to, uh, have a demonstration outside the Salvation Army. Uh, and to be honest, a lot of the Salvation Army people who came along, I think, were quite surprised and quite bemused to see us. Some of them were quite hostile. Others really wanted to have a conversation about things. Um, I think a lot of people in the Salvation Army had the feeling that, uh, the opposition that the army had to the bill was something that was led by the hierarchy at the top. And they really didn't have much say in that. And quite a few people in the Salvation Army were very uncomfortable, Uh, about the role that the army played, Uh, this was also one of the, um, first demonstrations when we had a had a real inkling of the the nature of of these sorts of things that would, um, be carried out throughout the whole campaign. One of the elements was an element of humour. So Tiggy Instone, for example, in one of the photographs, uh, is carrying a banner that says, Ban the Bonnet, which is a classic Tiggy. I mean, bringing a sense of humour to it, that there's a there's a there's a a real message behind what she's doing. But there's also a sense of just just lightening the mood. Um and, um and that was a a very, um, important part of the campaign. But there's also the real confrontational stuff in that when people said something that's particularly nasty or particularly objectionable, um, we we challenged it. You've got an image here of the police being involved in in this, uh, demonstration. How were they at this stage? The police, uh, had a bit of a difficult role. They the police were did put a submission in about the law reform, and and the police, uh, opposed homosexual law reform. Um, so and as I say, the police had a long history up until this point of entrapment of gay men of, um, going into gay bars and and going into gay bathhouses and so on and and, uh, really making life difficult for gay men in particular. Um, they were very careful around this, I think, because they knew that it was a high profile event, that they were being photographed and that they were being watched. Um, but they definitely didn't. Um uh didn't hesitate to to pull people back or to get a little physical, uh, if they felt it was warranted. The next couple of photos are of a gay task force stall. Where is this. That was, uh, that was in a show. Um, Wellington used to have in in the show. Buildings used to have a a big show each year, which was, uh, had all sorts of different stalls. And they were typically for, uh, different types of community organisations and businesses and and so on, and they weren't weren't generally political, but, uh, the gay task force, uh, had a stall and handed out some information. It was a little bit controversial. A few people were very surprised to see us there, but that was part of just reaching out and getting our message across was that the store that was almost banned because it wasn't meant to be a political trade feud. That's right. That's one of the occasions when, uh, we got our foot in the door and then people tried to close the door, but we kept our foot there and we just said, no, we have a right to be here, and we're going to be here. And what was the public reaction? Uh, generally quite good. I think one of the things over this period is that a lot of the people supported law reform. I think one of the reasons that law reform went through was that there had been a change in the mood. Um, in the general public, a lot of people looked at the idea of seven years imprisonment for consenting, um, adult activity and thought that that was crazy. And of course, you got some opposition, but, um, there was a lot of support as well. The next series of photos highlights a fire. What? What? What is this of? This was a lesbian and gay rights resource centre in, uh, in a building in Cott Street. Um, and this was a This was a the the forerunner of, uh, of the archives. It was where, uh, records were kept. Uh, magazines and documents were kept. It was where the Pink Triangle Collective came together to have meetings and put the magazine together. Uh, there was an arson attack on the centre, and there was quite a lot of damage caused. Um, and we had no doubts at all that it was related to the campaign and that it was a It was a a anti gay event. And in one of the photos I see was it fag? Is is kind of written on the What is that? That's right. It was almost funny in a in a way. Somebody had had scrolled the word fag on the floor, but they'd actually found a bottle of of twink on the desk. And they had twink the letter fag on the floorboards, which was in one way, it's it's insulting. But in the other way, it's just so funny that someone had done it. Um, in twink. It's a very, very, very, very odd thing to have done the arson. How did that impact on on the like the pink triangle? Um, collective and and also the the the other members. It was something that a few people took particularly hard because, uh, the the lesbian Gay Archives reflected a lot of work over a lot of years by by some individuals Phil Parkinson in particular, but others as well. And so it was. There was a a real sense of shock and anger that that had happened. Uh, it didn't stop anything at all. It didn't didn't really dent the campaign, and it didn't stop pink triangle from going out. Um, in fact, it just, um, spurred on a lot of people to, uh, to become even more active and in the photograph with three people standing. Can you just identify who those people are? Yes. Uh, the person on the left hand side is Phil Parkinson, who is a curator and and has very, very long, um, and extraordinary, um, commitment to, uh, to lesbian and gay archives. Uh, Bill Logan in the middle. Uh, Bill Logan was a coordinator of the the Lesbian Gay Task Force and one of the key players, Uh, over the period and then Phil, uh, Peter Knowland on the right hand side. Uh, and Peter was, um, amongst other things, uh, one of the key players behind the access radio programme Gay BC. And out of this fire is this where the Lesbian and Gay Archives of New Zealand came from? It's part of it that the the um the resource centre was certainly the forerunner. And a lot of the material that went from the resource centre went into the Lagos Uh, and in fact, I think in Lagos there are probably still a few documents which have, uh, a little bit of sending around the edges which date from the fire the next series of photographs is a street march. Can you tell me where where this is? Yes. This is a street march in Wellington. Uh, there were some mixed, uh, feelings politically about this. A few of the parliamentary supporters didn't particularly want, uh, gay people to to have a high profile in the campaign. But within the community, we thought it was incredibly important to have a high profile just to give us give ourselves the visibility, but also to support each other. Uh, and in fact, we knew that we get support for a street march and and we did. People turned out in their thousands and marched from Bunny Street outside the railway station, uh, around to Courtney place to Pigeon Park. What was the response from bystanders? Uh, again, the response was very supportive. Um, quite a few of the people who marched were were, um, heterosexual people who just supported, um, law reform and in the crowd, people watching us as we marched along, there were a lot of supporters and, of course, the odd, um, opposition person. But the march was generally a very so as well as a demonstration of support for law reform there was There was there were always elements of celebration and these sorts of things. The fact that we were changing history, that we were all together and that that we were we were visible. We were standing up, um, and making ourselves visible and saying this is going to happen. How was something like this organised? I'm thinking pre cell phone, Pre Internet. How? How? How did you kind of rally this amount of people? Well, it's interesting because, uh, it was before all of those sorts of things, and we just did it the old fashioned way of just, um, uh, putting posters around the place, uh, phoning people up, Um, and just basically getting on the grapevine and just talking to as many people as we could. It looks a very diverse crowd as well. Oh, absolutely. It was extraordinarily diverse. Um, there were people who there? There were gay and lesbian couples who've been together since before the Second World War. Uh, there were teenagers. Um, there were heterosexual families with, um, Children. Um, there were lesbians with their Children. Um, there there were just, um all sorts of, um, people. That was fantastic. the next couple of photos show, uh, some kind of gathering. I I'm I'm guessing after a march and kind of performance was that Was that a big part of of of this whole thing as well. It was one of the things that we did after, uh, the march, Um uh, concluded in pigeon park was to have some have a few speeches, um, but also have some entertainment. Um, um and that was great again that that, um, lifted the spirits of people because it was an incredibly difficult challenging time. Um, it gave us a few things to laugh about. Um, really helped to, uh, to bring people together moving on to the next series of photos, which appear to be Is it an anti reform meeting? It was. This was in the Knox church hall in lower Hutt. Um, it was a camp. It was a meeting that was organised by opponents of law reform and, uh, Jeff Bray, Brook. Uh, and all the key opponents of law reform were there. Um, but there was also a very strong contingent of lesbians and gay men there who were determined not to let, uh, the sort of rubbish that was going on. Go on unchallenged. And so there were lots of challenges from the floor. And, uh, Norman Jones and some of the other speakers made the mistake of saying, Look, we've paid for this church hall. You haven't It's our right to speak. And we said, Well, how about if we pay half? Um uh, and so they agreed. Uh, and so there was, um, lots of money collected from, uh, from the lesbians and gay men there. We came up with half of the rental of the hall, and then Bill Logan and Alison Laurie went on to the stage to to speak. So it was an absolutely, um, extraordinary event and and amazingly, chronicled in in these images, Um, especially, you know, I'm looking at the this. This is Bill Logan standing up and and talking to the the stage. That's right. So Bill really stood up and, uh, just said just really fought for the right to have our speakers there. Um, and, uh, there was this long discussion, um, with the anti gay MP S and various other people. But eventually the outcome was that we had, uh, our people speaking from the stage as well. Can we just identify the the the people on the stage? Um, for instance, there is a shot of Bill Logan pointing up to the stage and you've got Who is that? Um, the MP S are Norman Jones, Uh, Jeff Bray Brook. And, um, Mr Young, I forget his first name, and there's a fantastic shot of counting the money on the stage floor. That's right. I mean, this was an extraordinary drama that obviously the people who organised the meeting weren't expecting at all, and and we just couldn't believe our luck that this was happening, but the money was all collected. It was counted up. Uh, we had to find a couple of $100 to pay for half of the hall hire for that night. We came up with more than that, and, uh, then we we had, um, Alison and Bill on the stage, uh, speaking in support of law reform, and, uh, some of the people who who were sitting in the audience were were just, uh I think gobsmacked by the whole thing. What was the atmosphere like? It was absolutely extraordinary. Really. We had We couldn't believe how we'd really taken over this meeting. And, um, I don't think this was planned at all, but, uh, we just really, uh, plan not to let them say the sort of rubbish that they were they were coming up with, uh, and there was just a meeting of just a sense of of amazement and again, almost of of of, uh, joy that it had turned out this way and that we could, uh, listen to Alison and Bill speaking from the stage and cheer them on. Who is the chap with his hands over his ears? He was just, uh, an opponent of the bill who obviously was not happy to, uh, to listen to to our speakers. And I have to say there were quite a few people in the audience, Uh, Patricia Bartlett, Uh, a famous, uh, leader of society of the promotion of community standards. She was a very staunch opponent of, um, pornography, uh, as well as lesbian and gay rights. And there were quite a few very, uh, shocked people in the audience. The next series of photos, uh, show us AAA kind of dance party at the Wellington Town Hall. Yes. There's a There were several events held at the Wellington town Hall. There were a couple of rallies. Um, where we basically just got a lot of people together and and, uh, entertainment, Uh, really, To lift spirits, uh, to to keep people going during the campaign. Um, And then at the end of the campaign, there was a, uh, celebratory party, um, in the old town hall as well. Is this party the the big party at the end? I think I think what we have here is a is the, uh, the final, uh, party after the bill had passed. And then we have a shot of Fran Wild on stage. Is this at the bigot busters rally? This? Yes. This is from a a series of photographs taken. Um, uh, Lloyd Scott, I think, is probably emceeing. He's on stage there. There's a photograph of the top twins, um, singing and, uh, entertaining the crowd. Um, and then a number of speakers. Um, so we had, um some key, uh, speakers came to these things on the stage. Uh, Lloyd Geering was one of the the people who spoke, um, at at in a rally at the old Town Hall. Uh, Sonia Davies. Um, we also got, uh, messages of support from overseas and from people around the country that we read out, and the chap on stage wearing a kind of a hunting hat. Who is he? Oh, that. That was Michael Wilson. The chap with a kind of a pith helmet. Um, he was really taking off Norman Jones. Norman Jones was an extraordinary character who, uh, came out with extraordinary statements. Um, he was speaking in Parliament once against the bill, and And I think Fran or someone else yelled out, You're obsessed and he said, Yes, I am. But it's a magnificent obsession. He had a he he was said some some horrific things. But there was almost a clownish element to a lot of, uh, of how he presented himself. And this is what Michael Wilson was taking off. It's a very large crowd at this rally. It is. We filled, uh, we filled the old town hall. Um, and these things were incredibly important because there was, uh, real uncertainty at this stage about whether the bill was would pass. There was a huge campaign against the bill passing not only the salvation Army. But some very, um, high profile people like Keith Hay of of Keith A. Holmes was putting money into this, uh, a number of other high profile business people. Um, a lot of churches around the country, particularly fundamentalist churches, were really, um, working hard against the bill. Some of them were bringing in people from overseas to speak against the bill. Uh, there was some horrific violence, um, against, uh, lesbians or gay men during the campaign. Um, some with very serious consequences. And so we really needed events that would lift people's spirits, give us an opportunity to to get together and support each other. There's a a sequence of shots here. One is, uh, a sequence with Ian Scott, who was, um uh, a very early, um out gay member of, uh, um candidate, I should say, for parliament Uh, Fran Wild and Alison Laurie. Um, other shots include Grant mouldy, uh, wearing it, Uh, a bigger busters. T-shirt and the Big busters logo was a cartoon of, um, Norman Jones. Really? As a kind of an old fashioned, uh, clown really with a with a pith helmet. Um, and of course, that was based on the Ghostbusters. Uh, idea which was around at the time, Um, and there's a a photograph there of, uh, three people blowing out candles. Um, uh, on a birthday cake with a with 16 on it. This reflects the fact that the age of consent was, uh, a real area of, uh, of battle. Uh, a lot of people were pushing for us to lift the age of consent or put particularly pushing Fran to accept a higher age of consent than 16. Uh, because, uh, they said that there'd been more likelihood of the bill passing if it was a higher age of consent. And, of course, from our point of view, we wanted an equal age of consent. So we were working very, very hard to make sure that there was, uh, no, um uh, pulling back on that and that we went for an equal age of consent. The next series of shots appears to be another anti law reform rally in the town hall again. Quite populated, isn't it? It is. This this was another, um, rally, uh, set up to oppose the bill. Um, after a while, they stopped advertising anti gay rallies because they were worried that we would turn up and disrupt them. So, uh, it it definitely we definitely had a tactic that paid off in just not letting them get away with this sort of thing. But again, the speaker started, um, saying things which were quite objectionable. And so lesbians or gay men in the audience just started, uh, standing up and challenging it. Uh, and in fact, it turned out to be a little bit of a circus, particularly towards the end. Um, and there were police there, and they, uh, hold a few, uh, people out. Um, but there was a lot of argument, really between, um uh, pro and anti bill people. Did the police actions get more strident? As as the campaign went on, I think the police were aware that there was, uh, violence going on, um, against gay men, but they hadn't particularly taken that sort of thing. Seriously, uh, I know personally that I was involved in a in an incident at the Railway tavern where a group I was with a group of gay men and we were beaten up and and one was, um, concussed and had to be taken to hospital, and it was very, very difficult to get the police to accept a complaint and to get them to investigate that and effectively, they didn't. Nothing happened. Um, and the police were, um, active in, um, trying to trying to shut some people up at some of these campaigns. And again at the at the pre the presentation of the bill outside parliament, there were just two shots in this next sequence where it's it's almost is it a review that's going on? Yes. This is a, uh this was, uh this was one of the, um, rallies that we had, uh, at the town hall just to lift spirits. And one of the photographs is Tiggy and stone in a dress. Um, Tiggy was fantastic. She played a number of characters, um, and did a quick change and then came through sort of and seeing, um, with Linda Evans helping her do the quick changes backstage. Uh, Tiggy also went to some demonstrations, uh, in various guises, with uh dressed as as kind of outrageous characters and in some cases, was was taken at face value by, uh, bill opponents, which was just extraordinary. And she could get into a meeting. And, um, just be be amazed that, um uh, that that really no one had sort of saw that, that she was, uh, she was taking the piss a little bit. The final sequence of images is Fran Wilde. And where where are these taken? These are taken in the foyer of Parliament. Uh, the bill, um, was discussed in parliament over a long period of time. The the different readings and so on. Uh, and so we spent a lot of time, uh, listening to the speakers in parliament. Um, and, uh, this is Fran Just explaining to lesbians or gay men what was going to happen, What the procedure was, uh, was going to be. And this is towards the end of the campaign. So was there quite a turnout of gay and lesbians? Uh, during the parliamentary debates? Oh, there absolutely was. I mean, that was a real focus for activity, just to see what was going on and and what was happening. Um, and, uh, it was it was a focus for the opponents of the bill as well. There were a group of, uh, conservative, uh, people would come and sort of set up and outside parliament buildings and and pray and light candles and things like that, uh, praying for the, uh, for the defeat of the bill. Um, but, uh, particularly at the end, when the final vote came, Uh, there were a lot of us there. And it was just an extraordinary, um, day because we really had no guarantee that the bill was going to pass. We suspected that there were the numbers in favour of it, but we knew it would be incredibly close. Uh, we knew that you could probably count on the fingers of one hand that the majority that it will get. So, um, it was very, very nail biting in the final image in the sequence of the final image in the sequence is Ruth Dyson, Fran Wilde and Trevor Mallard. Uh, and this was taken at the Victoria Club in Oriental Bay. The Victoria Club was a, uh uh, a club, uh, lesbian gay club, which, uh, had, um premises on the first floor of a building right in the heart of Oriental Bay. And members went up there to have drinks and dinner and so on. After the bill passed a lot of people went back there to celebrate. And, uh, Fran and Trevor, uh, and Ruth came up as well. So what kind of life have these images had after after pink triangle? Uh, a lot of these images didn't really appear in pink triangle. A few of them did. But there were an awful lot that sat as negatives for quite a while without being printed. And then, um, they first came together for an exhibition that was put together to mark the 20 years, um, of the passage of the bill. And there was an exhibition held in Alexander Turnbull house in Wellington. Uh, and that was all that was subsequently went to Christchurch. Uh, there was it was shown in Christchurch and also, uh, Auckland. Uh, and then they've gradually been picked up. Since then, it's really the most complete record, particularly of, uh, events through the campaign in Wellington. Do you have any final thoughts about the images? Um, I really just want to express appreciation to all the people who, uh, were in front of the camera during this, and and the, um the support that I got, um it was very important to to document this because, um it was an incredible struggle. Uh, it was something that we achieved, uh, ourselves. We can be incredibly proud we weren't given law reform. It's something that we stood up and and we demanded and we fought for. And, uh so I think it's incredibly important that we know what happened and that we have this record of it. Um, I'd I'd also like to urge anyone who's taking photographs now to store them very carefully and to print them out. One of the advantages I had of taking photographs with film is that I have the negatives and, uh, leg ends will have the negatives. And so there's a record. There's a permanent record there. One of the great dangers with digital photography is people take a great photograph, but don't print it out. Don't store it properly, it gets deleted. And there are some events which have actually been very well covered with photographs. But there aren't any photographs left because they were all taken digitally and they've since been erased. So if you're taking images of something which uh may have, um, value in the future, then for goodness sake, save it. The full transcription of the recording ends. A list of keywords/tags describing the recording follow. These tags contain the correct spellings of names and places which may have been incorrectly spelt earlier in the document. The tags are seperated by a semi-colon: 1980s ; Aotearoa New Zealand ; Auckland ; Bigot Busters ; Bill Logan ; Christchurch ; Close Up (television) ; Coming Up ; Cynthia Bagwash ; David Hindley ; Events ; Gay Task Force ; Homosexual Law Reform ; Homosexual Law Reform Act (1986) ; Ian Scott ; Knox Church Hall ; Michael Wilson ; Norman Jones ; Patricia Bartlett ; People ; Phil Parkinson ; Pink Triangle collective ; Railway Tavern ; Ruth Dyson ; Salvation Army ; Stuff ; Tighe Instone ; Trevor Mallard ; Victoria Club ; Vivian Street ; Wellington ; Wellington Town Hall ; access ; actions ; activities ; advertising ; age of consent ; anger ; anti discrimination ; archives ; army ; arson ; attack ; audience ; bars ; birthday ; bonnet ; building ; camp ; campaigns ; celebration ; change ; children ; church ; circus ; collective ; community ; consent ; conservative ; conversation ; dance ; demonstrations ; discrimination ; drama ; entertainment ; entrapment ; exhibition ; face ; fag ; faith ; feelings ; film ; fire ; future ; gay ; helmet ; heterosexual ; history ; homosexual ; homosexual law reform ; hospital ; human rights ; hunting ; icons ; images online ; imprisonment ; internet ; laundry ; law ; legislation ; lesbian ; letter ; listening ; magazines ; mainstream ; march ; media ; meetings ; nature ; news ; obsession ; opportunity ; other ; passing ; performance ; petition ; photography ; police ; politics ; pornography ; posters ; profile ; protest ; radio ; rally ; records ; resource ; review ; singing ; straight ; struggle ; submission ; support ; time ; top ; training ; twins ; violence ; visibility ; visual arts ; vote ; walking ; website ; work. The original recording can be heard at this website https://www.pridenz.com/david_hindley_images.html. The master recording is also archived at the Alexander Turnbull Library in Wellington, New Zealand.  For more details visit their website https://tiaki.natlib.govt.nz/#details=ecatalogue.1089186. David Hindley also features audibly in the following recordings: "AsiaPacific Outgames closing" and "David Hindley". Please note that this document may contain errors or omissions - you should always refer back to the original recording to confirm content.