If there’s one type of place I am commonly drawn to, it is places on the margins: otherwise ignored, or soon to disappear, or discarded. Sometimes these places are also literally on the margins, in the outer suburbs, or on the edge of the city.
The Salvation Army store in Tempe is both. It is literally on the edge of the city, at the very last patch of the suburban land before the outskirts of the airport begins. Inside the warehouse that is the store and sorting centre are the discarded objects of Sydney residents, an abundance of clothes and furniture and bric a brac. Sydney has plenty of op shops, but this is one is certainly the most famous, so well known that it has, with its nickname “Tempe Tip”, become a cultural reference point.
The first references to the op shop as Tempe Tip appear in newspapers in the 1960s. The name was taken from the rubbish dump next door to the Salvation Army depot, and soon Tempe Tip became synonymous with the op shop, rather than with its original identity. Some of the newspaper mentions are utilitarian, advising newlyweds with little money to visit the Tempe Tip in order to furnish their houses. It is also mentioned in lifestyle articles, describing how people gather in corners at parties to talk about Tempe tip and the secondhand furniture bargains they found there. It’s the place to go for props and costumes, too. In 1971 the visiting Zorba Song and Dance company bought 10000 plates to be broken on stage in what was described as the “uninhibited finale” to their performance.
The Tempe Tip is also something of a local slang term, used to denigrate the quality of goods or clothing. If something “looks like it came from the Tempe Tip”, for example, it is no doubt shabby and strange. It was also used to denote poor quality in general. In 1966 the Sydney Morning Herald reviewer of Bob Dylan’s “Highway 61 Revisited” declared that:
He has moved into a fuzzy world of songs which abound in personal fantasies. His voice has contracted to a mumble. His accompaniments are a scattered jumble which sounds as though they were recorded at the Tempe tip. We know that artists must be permitted to change their approach, but this is ridiculous.
My favourite articles about Tempe Tip describe the scene on Saturday morning, as people waited to be let inside the gates. In a Sydney Morning Herald article from 1982, “On Your Marks at Tempe Tip”, the scene is described in detail:
The waiting crowd is stacked impatiently behind a cyclone wire fence which heaves, stretches and sags with their weight. Promptly at 11, Charles H. Jolly, in a straw cowboy hat and a pink western shirt, opens the gates and stands back as a 200-strong crowd stampedes in search of cut-price treasure. The battle for a bargain at Tempe Tip, the Salvo’s Miroma thrift shop, is fiercer than the struggle at Harrod’s spring sale: people push, pull, scream and swear territorially over their secondhand goodies.
In the 1980s the Tempe Tip’s opening hours were 11am – 2:30 during the week, and on Saturdays what was described as a “brief, exciting” two hours from 7:30am to 9:30am. Another article describes how :
You had to be young, fit and wearing your running shoes to race people sprinting in to get the best bargains.
The Salvation Army first moved onto this land in 1909, and set up a Prison Gate Farm here, providing employment for newly-released prisoners. A plan for a piggery was approved by the council in 1909, despite the objections from the nearby bakery which worried that “any offensive odours floating about in the air were liable to find their way into the dough when it was in a state of ferment, and would be in the bread when baked”.
The farm activities wound down and the site became a secondhand goods market. The name Tempe Tip came and stuck, and is still the affectionate term for the op shop that is there today. The shop is a large, low warehouse, painted royal blue with red awnings.
Just beyond it is a view of the edge of the airport and planes moving slowly from their hangars. Trucks go past at all times of the day and night, carrying shipping containers back and forth from the terminal at the end of Swamp Road, through a landscape of shipping containers, pampas grass, and the tall yellow pylons that support the landing lights for the runway.
The first time I came to Tempe Tip was some time in the 1990s and I thought it a kind of op shop heaven. The scene inside was much calmer than the crush of waiting shoppers against the wire fence in the 1980s, but it was no less exciting to me, newly moved out of home. I bought armfuls of clothes, baskets of bric a brac and a big round coffee table, a metre and a half across, with a copper top carved with hieroglyphics. A friend of mine with a van, a goth who played in a Birthday-Party-esque band, helped me convey this enormous table home. I liked to imagine the 1970s lounge room this table had once been a part of, something that would be pictured in one of the kitsch home decorating guides that I also bought in abundance from the Tempe Tip.
As I approach the entrance, I notice a man waiting out the front of the op shop. He is wearing a leather jacket with a logo on the back for the “Raging Dads”. His friend, another Raging Dad with tattoos and long hair, leaves the store with an armful of clothes and they push off with their baby strollers, their shopping trip complete. Mine has only just begun. It has been some time since I’ve been to Tempe Tip, but it works its magic over me as ever.
The store has its own atmosphere with the roar of planes overhead, the giant industrial fans suspended from the ceiling, and people intently browsing. A man discusses a Willow patterned platter with his elderly mother, who is holding a plastic bag of balls of mauve wool. A woman sizes up ceramic dog figurines, turning them over to look for maker’s marks on the paws. In the furniture section people move from couch to couch, testing them for comfort. A man with a bum-bag slung across his body like a holster pushes a shopping trolley past me, its contents an insect zapper and books by Deepak Chopra.
In between the planes flying by overhead, and the jangling sound of someone going through the cutlery, the radio plays U2s “I Still Haven’t Found What I’m Looking For”. I keep looking. Tempe Tip will have it, even if I don’t know exactly what it is yet.
As part of this year’s Australian Heritage Festival, I’ll be presenting a talk and slideshow about St Peters called “Post Industrial Playground”. It’s on May 10th at St Peters library, and is free, but please register here if you’d like to come along. I’ll be talking about St Peters’ recent past, with a focus on alternative culture: punx picnics, St Peters in pop culture, and weird scenes from Sydney Park. Of which there are many.
If you have spent time in Annandale some time in the last forty years, you would know this piece of graffiti that has been on the corner of Collins and Johnston Streets since 1977:
It’s a lot more faded these days and barely readable – this photo was taken at least 10 years ago. I read it almost like a poem, set out in a stanza, my favourite parts “taking, sneaking” and “what more can I say?” as the ending, like the writer has thrown their hands up in the air at the dishonourable scene that passed by in 1977.
What distinguishes this graffiti is firstly its longevity. It has few remaining contemporaries, apart from the slightly earlier (c.1970) Stop Vietnam War graffiti still visible on the sandstone rock face below the Tarpein Way at the end of Macquarie Street, facing the Opera House.
1970 and 1971 saw large-scale Vietnam War protests in Sydney with the three moratorium marches, the last of which occurred shortly before Australian troops were withdrawn. By the end of the 1970s peace was again the focus of activism, as was environmentalism. The anti-nuclear lobby had grown in strength and marches and demonstrations were held in capital cities across Australia. There were also a series of Rides Against Uranium, with groups cycling from Melbourne and Sydney to Canberra to protest against uranium mining and export.
The second distinguishing feature of the Annandale “taking, sneaking” message is that, unlike most graffiti, it marks a particular event that happened at that place at a specific time. By reading these words I imagine the convoy of trucks travelling down Johnston Street late at night, past houses and apartment buildings where people slept on, unaware of the radioactive cargo being transported through their suburb. But not everyone was asleep.
Friends of the Earth member Geoff Evans describes the blockades that met the trucks at White Bay, “protesting shipments of yellowcake from Lucas Heights being secretly spirited out in massively guarded convoys of trucks speeding through Sydney’s suburbs in the dead of night, only to be exposed by an elaborate network of activists alerted by the Lucas Heights campers, and mobilised through elaborate ‘phone trees’ that could get hundreds of protesters to the wharves within an hour.”
Things came to a head in September 1977. Around 200 protesters, and 240 police (numbers given in news reports at the time) were down at the wharves when the trucks carrying the yellowcake arrived. Some of the demonstrators sat down on the road to prevent the trucks moving through and were dragged off one-by-one by police, and some arrested. There is a painting by Toby Zoates (painted in 2015), who was one of the protesters, showing the scene as he remembers it (or as his “fantasy wishfully remembers” it). He describes the scene of the protest, then the benefit gig he organised to help pay the fines of those arrested.
But who painted the graffiti on the wall in Annandale? I don’t know, but I’m not the first to wonder. In 1993 two filmmakers sent out a request in the Sydney Morning Herald to try and find the writer, although the film doesn’t seem to have gone ahead. In the article one of the filmmakers said: “if we don’t find the person who did it, it will remain an unsolved mystery”.
In 1993 the filmmakers also said:”It’s been there since 1977 – that’s a long time for a little piece of graffiti”. Now it is forty years since the trucks passed by taking, sneaking.
The words are very faded and unless you had seen them there in the days when they were more visible and knew to look for them, you would probably pass by them without noticing. They are painted on a low wall, at calf-height, so I imagine whoever painted them sat on the pavement to do it, daubing each letter with a paintbrush, using the bricks like lines on a page. In their unusual position the words are like a footnote, annotating this place with one of its secrets.
As you cross the railway bridge just north of Tempe station, there’s an ad for Odyssey Jeantown on the wall above the tracks. Odyssey Jeantown ads have lined railway overpassses for decades: they were on both sides of the railway bridge on Crystal Street, and there is still one across from Sydenham station, updated now and then but always featuring the same rodeo rider on the back of a bucking horse. In the 1990s my friends would go on pilgrimages there to buy tight black jeans, and it seemed a mythical place with its Homeric name and location in the midst of the industrial area of Marrickville.
In the centre of a yellow arrow a rodeo rider is being thrown from his horse in the direction of Jeantown. But I must continue, my odyssey continues in the opposite direction. Next I pass a series of signs, blue arrows pointing in the direction of IKEA, like a trail of breadcrumbs.
I resist these too. The object of my attention is something much closer and more unusual.
I first noticed the Anomaly looking out of a taxi window. This is the backstreet route to the airport and I was staring out, feeling the grip of the city already loosening as my time to depart approached. As my thoughts travelled off into my impending journey my eyes moved over the houses on Unwins Bridge Road. This row of houses is set uncomfortably close to the narrow, busy road, but is otherwise a typical inner west scene. The houses were once built to an identical design, brick with striped wooden gables, Queen Anne style. Each is now slightly different from its neighbours, the colour scheme, or the windows, one has a tall palm tree, another is decorated with bird cages hanging from its verandah. But there was one differing feature that stood out most of all.
As I stared at the front fence of one of these houses, the bricks seemed to be moving. Crooked and topsy-turvy, the lines of bricks sloped up and down and anywhere but neatly across in straight lines, a suburban fence version of a magic eye picture. The traffic lights changed, and the taxi moved onwards, leaving the weird scene behind, and I filed it away for future investigation.
Now I’m back to inspect it. Just as it had months before, the anomaly comes in sight as the road curves over the railway tracks. It is as I remember it from the taxi window, the bricks in misshapen lines that seemed to move before my eyes. I walk down under the shade of the swamp oaks, along past the wire fence tangled with morning glory vine. A truck goes past, full of tyres and draped in tinsel, and the rubber smell of it hangs in the air for a moment. All the while, my eyes are fixed on the anomaly and its riotous bricks.
I cross the street to look at it more closely, and as I do, something unusual happens. The bricks, which looked so crooked and weird on approach now look straight. I stand staring at it, flummoxed by the illusion. Were the bricks crooked or straight, and how could they be both at the same time? I crossed back over the street, and walked up to the corner, and sure enough, the fence bricks were crooked again.
If I am looking for an answer as to how this could be so, the opposite corner of the intersection has a suggestion. It is an overgrown patch of land with two billboards planted in it, one for ice cream, and one for Bickfords cordial. A giant hand grasps a bottle of red cordial and splashes it down into a tall, frosty glass. In the space underneath the bottle, words float: “Makes the Ordinary Extraordinary”. I took it as encouragement.
Thank you for reading, following, commenting on and sharing Mirror Sydney this year, dear readers. Next year plenty of exciting things are in store: more stories, tours, and most exciting of all, a Mirror Sydney book.
For now, enjoy the romance and shadow, and I will see you in the new year.
When the building across from the Crystal Street intersection was torn down, the Boot Palace came back into memory. Tall black letters, carefully painted, announced that this was the Leichhardt Branch of the City Boot Palace.
In the 1890s branches of John Hunter’s City Boot Palace were so widespread that their advertisements needed only to give the address as “stores everywhere”. Travel around Sydney and soon you would come across a Boot Palace, with a window display of shoes and slippers, showcasing the durable and elegant goods to be found within.
For a time in the late 19th century Sydney was well supplied with palaces. You could buy a pair of boots at the City Boot Palace, put them on to walk over to visit the International Exhibition at the Garden Palace, and afterwards take refreshment at the Sydney Coffee Palace. Palaces were not some kind of fairytale dream, they were places of everyday magic that could be browsed or entered.
In 1885 a writer for The Bulletin was so overcome by the “magnificent edifice” of the central City Boot Palace, at the corner of George and Market Streets, that mere words could not do it justice: “as the interior is fitted with carved cedar showcases, wherein the best and handsomest productions in boots and shoes are displayed, the effect can be better imagined that described”. Bulletin readers could give free reign to their wildest footwear dreams, and the palace that housed them.
The Boot Palace is long, long gone, and the building with its sign is now a fabric store and one of Parramatta’s Road plentiful wedding dress shops. But I can readily imagine the smell of leather and fabric that must have greeted shoppers. A clue to the Boot Palace’s atmosphere can be found in the 1911 novel Jonah, by Louis Stone, set in Sydney city and inner suburbs. The main character opens a shoe store, and describes how the shelves were packed from floor to ceiling and how “boots and shoes hung from the ceiling like bunches of fruit”.
Another feature of Jonah’s fictional shoe store was a four metre long silver shoe that hung above the entrance, gleaming in the sun, the “hugest thing within sight”. For a time its present day equivalent was the oversized Blundstone on top of the sign for Hylands Shoe city on Victoria Road in Rozelle. But Hylands closed, and while the sports physiotherapy place that replaced it kept the boot up for a while, it was eventually taken down. Now the city’s big boot is the oversized Dr Martens painted on the wall at the top of the escalators to Kings Cross station, outside Raben Footwear.
In the 1990s, for a certain type of rebellious teenager eager to assert their identity, Raben was the place to buy boots. It’s still something of a punk shoe store, with its cluttered displays of cherry red Docs, platform Converse sneakers, and every possible available colour of canvas shoe.
As for suburban shoe stores, most have long gone the way of other independent retailers, closing down as the proprietors age or the competition from chain stores became too great. Dicksons in Rockdale is one of these, recently closing after 55 years.
There is still Forbes in Hornsby, however, which has been around since 1940. Inside its shoeboxes stack up to the ceiling, and ladders are propped up against the shelves for staff to scamper up and down as they fetch pairs for customers to try on.
If shoe stores are mostly homogenous these days, shoe repair shops still retain their idiosyncracies. Many have persisted, unchanged, for decades. The best known of Sydney’s shoe repair stores is Roger Shoe Repair in Redfern. Roger is a kind of rock star of the city’s cobblers, known equally for his conversation as his skills in shoe repair.
Every one of these old shoe repair stores has a distinct character, like the Bankstown shop that is as small as a ticket booth.
Con’s Shoe Repair at Hurlstone Park has shoe lasts stacked up to the ceiling, and polystyrene crate of basil plants out the front (click on the link to go inside the store via the magic of Google – see if you can spot Con’s white cat). In Fairfield, Rapid Shoe Repair celebrates the amicable rivalry between shoes and keys (keys mentioned 10 times on the exterior, shoes 7).
Despite the skill of these craftsmen, there is one Sydney shoe that is beyond repair, so much so I was surprised to find it still in place. It has been almost five years since I visited it. At first, as I drove slowly along Hollywood Drive, I thought it gone, but then it appeared through a clearing in the trees, a little worse for wear but as dreamlike as ever.
And, elsewhere, if you look closely there are still palaces to be found, here and there.
A tyre floats like a halo above the Princes Highway. It is one of those corners of the city where time is trapped and stratified: how long it took for the paint to fade, the tree to grow, the chimneys to blacken.
Across the highway the park’s green slopes absorb our footsteps. The sky is big here and criss-crossed by the planes which skim over the city, coming here only to leave again.
The ominous feeling of impending change, undercutting the details of the present.
This month on Mirror Sydney, an excursion beyond the borders of this blog, to a story I wrote for the Sydney Review of Books: please click on through to Excavating St Peters.
This is part of a series of essays of Sydney and NSW regional places the Sydney Review of Books are publishing called Writing NSW. I’ll be speaking at an event at Bankstown Arts Centre associated with this on November 12th, New Geographies. I’ll be speaking about haunting and the urban landscape with Peter Doyle, Anwen Crawford, and Mark Mordue.
Even since this essay was published, things have changed in St Peters. Follow the Westconnex Action Group for updates on the Westconnex monster.
You can also hear me, Sydney Review of Books editor Catriona Menzies-Pike, and writer Suneeta Peres da Costa talking about the series on RN Books and Arts.
The bus zigzags through Sydenham and St Peters, going east. It travels along Railway Road, past the cappuccino bulging with froth that is painted on the corner cafe, and high up a ghost sign for a newsagent emerging from underneath faded whitewash.
Then the buildings come to an end. Twenty years ago the houses here, 152 in all, were demolished due to aircraft noise from the third runway. Their front fences remain, their steps leading up to nothing but the expanse of rarely traversed lawn. Further back, behind the lawns, is a memorial to the demolished houses in the form of an oversized, exterior living room. The giant concrete sofa has tiles decorated by students from Tempe High School, anguished figures of princesses and punks with “go away” speech bubbles.
All of this is familiar to me. I know this west to east journey well, the zigzag along narrow roads until they meet up with the Princes Highway. The bus turns and travels along the highway, past the rug shop and the self storage place and the fence with the hole cut in it to reveal the water meter.
I thought I knew all such notable sights of the Princes Highway, but I was wrong.
I gaze out from the bus window, down past the drab landscaping surrounding the complex of car goods megastores, when my eye catches something. It’s not something I expected to see leaning up at the entrance to a scrap metal yard with a backdrop of shipping containers. The last time I saw this object it was hanging in the centre of Martin Place, glowing above a giant television screen. That was sixteen years ago. But hey, I can still share the spirit.