Here is the acknowledgements page from the thesis itself.

Acknowledgements

Millions of Go-Go’s to the following people (in alphabetical order)

Prue Acton (Fashion designer, 1966)(for background on Melbourne, pre Go-Set, and for information about her Go-Set column)

Clelia Adams (Go-Set Sydney, secretary and office organiser)(for her kind reassurance, for helping me with networking, and some insights into the operation of the Sydney office)

Pat Aulton (Record producer, Brisbane, founded Sunshine Records) (RIP)

Colin Beard (Go-Set photographer, Melbourne, 1966 to 1969)(for use of his unpublished manuscript, and his insights into the role of Go-Set’s founders in the newspaper’s first year.)

Ron Boromeo (aka Ronnie Charles)(singer, songwriter)(for insights into Ian Meldrum, and for help on the mid sixties of Australian pop music)

Jim Colbert (Go-Set photographer, Melbourne, 1967; and member of Monash University crowd, 1965)

Liz Colbert (Wife of Jim, and member of Monash University crowd, 1965)

Roman Demkowski (singer 70’s)(for lending me his Go-Set collection)

Peter Dixon (friend, record collector, and ‘stock of knowledge’)(for his insights into life in Sydney, and for information on other aspects of Australian cultural and social history; and for helping me with books and records from the period, support and proof-reading an earlier version of the manuscript)

Dr. Dexter Dunphy (sociologist)

David Elfick (Go-Set Sydney office manager and writer, 1967-71)(who pointed me towards Greg Quill)

Buddy England (singer)(for his descriptions of Melbourne pop and jazz music culture and venues before Go-Set)

Hank Facer (Australia’s first rock & roll/pop/rock music label curator, Australian music historian and chartologist)(the first person I talked to, for his insights into the Australian music industry 1960-1970))

Phillip Frazer (Go-Set founder and editor; creator of Revolution, High Times and The Digger)(for the many answers he gave to my questions about Go-Set’s history, operation and personalities, as well insights into its meaning and place in Australian teenage society)

Mick Hadley (singer, songwriter)

Mick Hamilton (musician, Guitar player)(for his detailed interview on Melbourne, pre Go-Set, and about Moods manager Peter Raphael)

Jon Hawkes (Go-Set, Revolution & High Times editor, 1970-71)   

Jenny Irvine (Go-Set editor, 1974)

Pam Johnson (Part of the Go-Set distribution staff, early 1966)

Marcie Jones (singer)

Duncan Kimball (Creator of Milesago website)

Ross Laird (Go-Set writer of jazz column, 1966)

Vince Lovegrove (Go-Set gossip and information columnist, 1972)

Phillip Mason (Publisher, Go-Set 1973-74)(for insights into the background to the Sungravure take-over of Go-Set 1974)

Ian McCausland (Go-Set graphics artist, also Gas, Revolution)(for insight into the artistic design of Go-Set, and its sister publications, background on Go-Set personalities, and a for giving me an idea of how the Go-Set Publications Melbourne office ran.)

Barry McKay (ABC Producer, 2001)(for getting the interviews I couldn’t; passing on the calls from people who rang the ABC after the radio shows went to air; and for putting together an index of Go-Set that turned into an extremely valuable research tool)

Phillip Morris (Go-Set photographer, Sydney, 1969-1974)

Ed Nimmervoll (Go-Set top-40 charts, reviews, editor (1972-73) 1967-1973)(for provided me with the first real insight into Go-Set, and the music industry structure)

Stephen McLean (Go-Set writer)(for inside information into some of the personalities of Go-Set, as well as information about Go-Set’s internal social politics)(RIP)

Anthony O’Grady (Go-Set reviewer, 1974)

Dr. Graeme Osborne (Surf dance promoter, Melbourne, 1962-3)(for insights into the role of 3UZ disc jockey Stan Rofe in Melbourne dance promotion, pre-Go-Set)

Doug Panther (Go-Set writer and action man)(for provided insights into the beginnings of Go-Set)

Greg Quill (musician and Go-Set writer, Sydney, 1969-1971)

Peter Raphael (Promoter, band manager and Go-Set editor)

Normie Rowe (singer)(for provided background into Go-Set’s role in covering his chart success, and for information about Lily Brett)

Mike Rudd (musician, singer, songwriter)(for insights into place and role of Go-Set, and information about the part played by Go-Set in Spectrum’s success; and offering to help edit)

John Sayers (Record producer)(for insights into the meaning of Go-Set; Ian Meldrum; and production techniques in Melbourne, 1966-1969; and offering to help edit)

Tony Schauble (Go-Set founder and editor)

Roger Treble (Musician) (for insights into playing in bands in Melbourne, before and after Go-Set) (RIP)

Tony Walker (Go-Set graphics artist, 1974)

Michele Williams (aka. Mitch & Mitch O’Driscoll)(Go-Set writer)(For answering all my questions about Go-Set, and for her fab support)

Gary Young (Musician, songwriter, and drummer)(for background into Melbourne’s music and dance scene before and during Go-Set’s reign)

Johnny Young (Singer, songwriter)

To the many people I met, and whose names I didn’t get, but whose fond memories of Go-Set helped me get a feeling for its meaning.

Friends and University of Canberra Faculty of Communication Staff

Dr. Alaine Chanter (for feedback and constant support)

Anita Cleaver (for suggesting I do the Masters program, and support when I needed it, and proof reading)

Dr. Fran Dixon (for support and proof reading)

Pauline Griffiths (for inspiration, support and help) (Now Dr. Pauline Griffiths)

Kerrie Hayes (for support and editing)

Bill Mandle (for getting me started)

Mariem Omari (for support and editing)

Dr. Patricia Payne (for feedback)

Rob Schaap (for inspiration when things got tough) (Now Dr. Rob Shaap)

Dr. Ruth Shrensky (my thesis supervisor, for her fantastic help and guidance in turning this into such an interesting and challenging thesis)

Dr. Jennifer Webb (for feedback)

POSTSCRIPT: I have lost touch with many of these people, and owe many of them a debt of gratitude for spending so many hours interviewing them during my research. I haven't forgotten, and it is my intention to revisit everyone I can and say thank you, and make sure you have a copy to read.

Sadly a few have passed on, and it is very sad. Thank you for your insight and stories.