Peter Vetter

Interviewed by Bill Thornycroft in the early 1980s and Ian Townson on 21st April 1969

You can read more of Peter’s memories of the Gay Centre here

Peter Vetter was born in I951 and spent his childhood and early adulthood in a rural town in Queensland, Australia. He was educated by catholic nuns up to the age of fourteen and he came from a fairly liberal family background with his parents voting against the far right politician Bjelke-Petersen. He became involved in the anti-Vietnam war movement at university.

He arrived in London in about February I974 after two years as a teacher in Australia and stayed in a hotel in Paddington. On his first day there he saw an advertisement in a newspaper for Gay Switchboard and on making a phone call, for the first time, he nervously stammered out the fact that he was homosexual. He was given details about the a gay disco at the Prince Albert pub. Within three or four days of being in London he plucked up courage and went there where he met Peter Bradley and went back to his squat in Elgin Avenue.



Peter was involved in re-squatting the Gay Centre and doing a lot of re-building work there. He came from a place where machismo was so obvious and he detected elements of that in the way political debates, arguments and scenes were being conducted between people. He believed there were a lot of big egos around at the time and they hid a lot of their insecurities behind argument. That’s the way he saw it at the time. He was aware that there was always a pressure for him to engage whereas others were excused like Robbie (Roberto Campagna - Italian) and "a lot of French people." He partly wanted to be like them: "wild and silly and not really get engaged in the politics of it."


He was very prepared in "a lazy way" to let others do the speaking for him. There were always ‘leaders’ who were better at it than him and more prepared to speak up. But also he believed those leaders were prepared to be pushy and bully people into being involved in things that they weren't really interested in. He saw them as ‘theoreticians’ who hid behind a facade of ‘knowingness’ but were just as insecure as everyone else.

Yet he still believed that everybody’s contribution to the place was vital though they operated in very different ways. But with Gary de Vere and Colm Clifford somehow he was made to feel that he was not ‘measuring up’ all the time. This at a time when he was experiencing difficulties in coming out at school as a teacher.


Opposition to the Gay Centre's application to Lambeth Council for a small grant to cover running costs: Mrs. Old, one of the proprietors of the George pub, having barred gay people from drinking there, attempted to whip up opposition through descriptions of men coming out of the gay centre in wigs and suspenders etc. Instead of being outraged people just laughed and giggled about It.

(L-R) Jamie Hall, Peter Vetter, unknown, Julian Hows, unknown, and David Callow

Peter retold the episode of the police raid for drugs at the houses and Peter Cross’s and Jamie’s arrest. The embarrassment of being discovered in bed by police or sitting around the garden in drag after an event at the Centre when they came swarming over. People had to decide in twenty minutes who would take blame for the dope plants avoiding confessions from those who already had a criminal record and anyone from another country to avoid the risk of deportation.

Peter was not aware of any involvement with black groups. Bruno (de Florence) was the only person he knew of who was involved in the gay community who was black. After the Gay Centre was finally evicted meetings were held at the Womens’ Centre, 207 Railton Road.

 

Dining Al Fresco. Foreground Terry S, Jane R. Background unknown, Maxime Journiac, Peter Vetter by the window

 

"I still have an incredible nostalgia about it somehow. As if it was a very important time for me. I almost felt I grew up there in a way. I kind of had my childhood all over again. That was one of the wonderful things about Brixton. I felt like I could play. I tend to be serious. I still get very nostalgic about it at times. But I see it as very much something that is in the past which was creative but can’t be recreated."