FRESH START Formerly The Boardroom at Artarmon, Centrefold Sydney is a five-star establishment located on Sydney’s north shore. The new management has renovated the already impressive venue with more than just a fresh coat of paint, too. Distinguishing between this type of establishment isn’t always easy, which is why Centrefold Sydney is changing the pace with its ‘gentlemen’s club’ attitude.  GENTLEMEN’S CLUB More than just a discreet venue for sexy companionship, Centrefold Sydney caters to individuals, couples, groups and functions. The public lounge area is quite spacious and comfortable, with a pool table and corner bar. It’s a great place to relax and see which special ladies you want to tickle your fancy. SEXY GETAWAY Centrefold Sydney also caters to couples looking to have a sensual getaway; for a steamy hour or three, or perhaps for the entire night. It was described to us as a “hotel-room experience”, with a lovely receptionist who can assist you with your (non-sexual) needs for the night. FIRST-TIMERS WELCOME The staff were quick to assure us that they are very experienced in dealing with those who are inexperienced with this type of establishment. Upon entering the venue, guests are greeted with inviting air-conditioning and seductive art adorning the walls, to serve as appropriate inspiration. Friendly receptionists are available to assist in guiding your decision. There’s no pressure and you’re free to answer as few or as many of their questions as you want. Once you’ve discovered/agreed on what you’re after, you can walk straight through to the public lounge or into your own private waiting room to view the girls at your leisure.

DISCRETION The reception area is situated on an upper level, separate from the public lounge space, private waiting rooms and the downstairs rooms where the magic happens. Visitors can access the underground car park from either downstairs or exit via Centrefold Sydney’s discreet side entrance. The waiting rooms are fitted out with leather couches and the TVs feature mood-setting adult entertainment. There’s ample space for viewing the delicious menu of ladies available for your consideration. THE GIRLS With hundreds of girls on the roster and around 15-20 on shift at a time, there are always more than a few options. Hostesses range in age from 18-25 and come from all walks of life, adding exciting diversity to the venue’s line-up. Guests are able to choose from ladies who are teachers, uni students, musicians, writers and more—a wide range of beauties to meet your sexual desires. PROGRESSIVE ESTABLISHMENT One of the pleasant surprises of Centrefold Sydney is how accessible it is for the physically challenged. The front entrance features a wheelchair stair platform lift. Likewise, there is a large lift around the back that connects with the undercover parking area. Centrefold Sydney also features a ‘hearing loop’, which is designed to be used in conjunction with hearing aids to deliver in-ear sound for those who are aurally challenged. STANDARD SUITES Centrefold Sydney boasts a selection of themed rooms—’Paris’, ‘Safari’, ‘Shogun’, etc.—to help you live out your fantasies. Even the so-called ‘smaller’ suites are generously sized, all sporting large and comfortable beds, spacious corner showers with frosted glass, mirrored walls and ceiling, as well as a spa bath. Each room is complete with a large-screen, wall-mounted plasma TV and whisper-quiet air-conditioning

LARGER SUITES For the same price as a standard suite, guests may access a party room that gives off a ‘the more the merrier’ vibe. These suites are perfect for groups of four, with a four-person spa, shower and a bed big enough to hold everyone. The infamous suite known as ‘Escape’ comes highly recommended, with a hydraulic-powered super-size bed that can be electronically raised and lowered to your desired height, either to achieve the perfect sex angle or for joining the ’1.5-metre high club’. Best of all, raising the bed reveals a hidden spa bath. THE COST Regardless of which suite you choose to stay in with a companion, guests can expect to pay $280 per hour. However, special daytime rates are also available—$150 per half hour or $260 per hour. Without companionship, rooms go for $120 per hour, and rates are negotiable for overnight or extended stays. GETTING THERE Centrefold Sydney is located at 27 Clarendon St, Artarmon, Sydney. It’s open 24 hours a day, seven days a week, with undercover parking available. All major payment methods are accepted, including Visa, MasterCard, American Express and Diners Club. For more detailed information, log on to: www.centrefoldsnorthshore.com/ or call (02) 9438 2288.

 

---

American photographer Eric Kroll has released more than 10 books, five magazines and had numerous exhibitions during his 35 years of delivering ‘pop art erotica’.  Penthouse visited the 64-year-old in San Francisco to chat about his work and relationship with original muse and former partner, Gwendoline

---

Interview: Graham Brown

You infuse your work with your obsessions—high heels, girdles, sex, voyeurism, and S&M. What drives your photography? If it gives me a hard-on, I must be doing the right thing. Marcel Duchamp [20th Century avant-garde artist] said he was motivated by lust, and I believe that. I did a shoot recently, at this hotel downtown, which was amazing. This guy was fucking his wife—they were an older couple who were really into each other. So I suggested she get on his back and ride him like a horse, and that was really hot. It’s interesting how one moment motivates the next. We’d met a few weeks earlier at the same hotel and I’d asked her if she would like to do a shoot with Gwen. I dressed them up in conservative business suits with these huge, 16-inch high-heeled boots. It went so well, she got back to me a few days later asking if we could shoot again but with more bondage.  Are you interested in expanding your output from still photography to film? The internet has killed that area unless you have a lot of money behind you. I have friends who do, but it’s not really where my head’s at. I think the internet is run by people who want to see women be abused, but I’m not into that. I believe in consensual S&M. Whether a woman is on the top or bottom, I don’t care. A lot of profitable sites are for guys who get off on torture and the visual displeasure of women, and it’s not my deal. Your photos show some discomfort… I mean, those heels could kill…. The point is that a woman in high heels is vulnerable, and not necessarily dominant. Unless, of course, she is Annie Sprinkle, who can move fast. The beauty of your work is the intimacy between the photographer and the subject. I like that. I lot of people say, “You’re not going to get involved with the women?” and I’m like, “Totally.” The thing is, if she’s there and it’s play and we’re high, then it’s cool. One night, we had two women and this guy came over and we all took turns playing sexual games. Everyone had cameras and we were all taking pictures. There was one shot of me taking a picture of Gwen framed by her naked legs. The beauty of your work is the intimacy between the photographer and the subject. I like that. I lot of people say, “You’re not going to get involved with the women?” and I’m like, “Totally.” The thing is, if she’s there and it’s play and we’re high, then it’s cool. One night, we had two women and this guy came over and we all took turns playing sexual games. Everyone had cameras and we were all taking pictures. There was one shot of me taking a picture of Gwen framed by her naked legs. So authorship is not that important in your photography? It’s more about the energy. Of course, I’m helping create that energy. I’m bringing in those elements. I love to orchestrate. Sometimes it works, sometimes it doesn’t. Does invoking your name help? It’s amazing what women will let us, including my friend [and fellow photographer] Richard Kern, do—either with them or to them. Why is that—is it your celebrity? It’s partly that. Everyone wants to be recognised. They want to be in a Kroll or Kern book. It gives them validity. There’s a lot of insecurity out there and people don’t know where they are going, so they are validated by being in a photograph. Another thing is that a lot of photographers have no fucking pre-visualisation. They expect the model to come up with something. While they know I try not to direct too much, I know what I want and they appreciate that. For example, a shot called Girlfriend as Birdfeeder had Gwen covered in birdseed, which is sexual but humorous and had a bit of Dada going on—a wave to the furry teacup [sculpture by Méret Oppenheim]. Are you a fan of Dada and the Surrealists, then? Yes, I have a lot of Man Ray’s work. When I first met Gwen, I would get her to shave a lot and collect the hair, then I’d photograph her sticking the hair back on, like under her armpits. I also put her pubic hair on a slice of pizza for a shot. With people such as Richard Kern and yourself there seems to be a rebirth of almost amateurish photography, where available light is used as opposed to that of the studio. And where the models, even porn stars, are used but deliberately not made up—showing pimples and the like. I think Richard and I both lean that way. Irving Klaw, who shot the Bettie Page photos in the ’50s, was a big influence. These hot women were lit by floodlights and you could see the light sockets. That’s what I was jerking off to. What was erotic to me was it was real. But your work is a lot more elaborate than that. Certainly in the costuming. My mother was a model when she was young. My parents gave me this aesthetic that you see in the photograph A ’50s New York style? Yes, I get off on that. There are some girls whose pussies I want to look at, but for the most part I would rather see them clothed. I shot this 19-year-old and I didn’t care for her pussy. She’s not going to read this, is she? Maybe. Where do you usually find your models? Well, that girl was stripping and did escorting. She made a lot of bucks. She walked into one of my exhibitions. She didn’t know who I was, but she wanted to be in one of my photographs. I don’t put pressure on people to work with me. If I see a girl, I give her my card and let her know what kind of work I do. And if she wants to call me, she will. Then flawlessly airbrushed beauty is not your aim? I’m not really interested in making someone look beautiful. My theory is that the stuff you jerk off to at 15 is the stuff that does it when you’re 40. The girl who took my virginity wore a girdle and that stayed with me. That reminds me of ’60s comic artist Robert Crumb whose obsession with big-bottomed women litters his work. I appeared in the documentary about Crumb. I had a woman I was photographing, but in the movie he rejected her because she was too perfect. She wasn’t large enough. What’s he like? He’s really nervous. He did a nice drawing for me. You’re probably best know for your work with one particular model, known as Gwen (real name Felice), whom you had a relationship with for almost a decade. How did you meet? It was Valentine’s Day 1995 or ’96. I was on a booth with my wife and I went up to this area, saw Gwen being tied up, gave her my card and it didn’t mean shit to her. Her boyfriend or the guy she was in love with said, “You should pose for him.” Good thing he was around or she never would have called me. She was 21. I wanted a role relationship, but somewhere along the line it became a love relationship. Was your wife okay with that? No. She didn’t like that particular kind of photography, either? As long as I was married to her, I was an art photographer. The moment we got divorced, I was a pornographer. My name appeared in a book alongside [painter and sculptor] Joan Miró, which I was excited about, and she never even looked at it. What sort of relationship did you and Gwen have? Gwen didn’t like me fooling around. We were paranoid about having safe sex—and what we called safe sex was a lot safer than what many other people would do. Even in my photographs, I’m known for putting plastic wrap on the pussy before doing oral sex. Does having a camera act as a buffer and help you remove yourself from the fact that Gwen was actually having sex with someone else? Not really. You can’t have a hard-on when you’re directing. I have a house in Tucson, Arizona and we’d met this guy at a local restaurant. He was a good-looking black guy. He came over a couple of times for photoshoots and he was cool with it all. One time, we were playing ‘Truth or Dare’ and we had a few drinks and it got wild. There was a lack of communication and the next thing we knew, it got more sexual. Later, Gwen asked, “Why didn’t you stop him?” I admit I did photograph it, so it can be kind of touch and go sometimes. Has it ever gone too far? Not that I know about. People expect me to be protective, but I’m not going to be overly protective. I’m not that monogamous kind of guy. I’m more concerned about disease than moral issues. At the beginning of our relationship, we would play separate from each other, but we cut that out as it was getting weird. Does having an unstable relationship upset your work? If the communication breaks down and we fight, then there’s not the support there. I go from one deadline to the next, so it helps when I don’t have to think, “Is this relationship working?” Also, I’m getting older, so I don’t really need another pussy—just the one is plenty for me.

Forget golf or footy, boxing is the new corporate sport of choice, with mild-mannered businessmen around Australia – and the world – lining up for a crack at the title…and each other.

Story: Denise Mooney
Photos: Andrew K

Continue reading “Feature: Melbourne’s Fight Club” »

From Superman and Tintin to our very own The Phantom, mint comics can prove a solid investment.
Illustration: Oliver Bland Continue reading “Feature article: Comic Book $uperheroes” »

For visitors and locals looking for luxury lovin’, this classy Sydney brothel offers surroundings as gorgeous as its ladies

Story: Meg White

THE HISTORY
When Sydney’s Gateway Club first opened, more than 35 years ago, it was a humble two-bedroom establishment. Since those modest beginnings, it has flourished, undergoing sprawling renovations and impressive expansion, and now stands as a luxurious, 15-room pleasure dome; a breathtaking sanctuary that’s as far removed from the inanities of our everyday world as is possible.

GATEWAY 101
First-time brothel-goers–even first-time Gateway patrons–can breathe easy about their maiden voyage to the club. All Gateway Club receptionists are eager to make the clients’ experience a professional and reassuring one, and there is ample opportunity throughout initial proceedings to get comfortable with your surroundings and ask any questions you may have.

Upon entry, the receptionist will greet you, invite you in and show you to a private waiting area. She will lead you to one of three lounges where you will be seated, offered a drink and run through everything you might need to know. Once you’re done talking business, you will be rewarded with a procession of beautiful women; the girls come out one by one and join you for a quick chat. Here, you can get to know each hostess a little, and she’ll be able to talk with you about the specific services she offers. You select your lady of choice, then your fantasy begins!

THE LOUNGE
The Gateway Club’s lounge area is noteworthy in itself. Between the wall-mounted televisions, atmospheric lighting and crisp interior design, it doesn’t take long for the sophistication of the surroundings to elevate your spirit and relax your mind. And with the option of curtained petitions, that nirvana can be reached with as little, or as much, privacy as you wish.

THE GIRLS
The ladies range from the statuesque to the petite, from blonde to brunette, and from Brazilian to British. There are B cups, E cups, straight girls and bisexuals. Whether you want tantric wonder or missionary magic, the Gateway Club hostesses can satisfy your whims.

There’s a rotating roster of hotties, and no matter your taste on any given day, it has likely been accounted for. The Gateway Club website (see below) also has descriptions of all of its smouldering ladies for you to peruse prior to your visit.

THE ROOMS
Unlike most brothels, The Gateway Club doesn’t have ‘themed’ rooms–opting for a more timeless, modern approach with an emphasis on luxury.

There are three lounge areas: a completely private one, which has its own lift to whisk you up to the rooms in secrecy; a semi-private lounge with a bar; and an open lounge area for regular patrons who like to relax and have a complimentary drink with the girls before going into their booking.

You can choose between gorgeous standard and deluxe suites, with standard rooms offering plush décor, a complimentary mini-bar and ensuite, as well as large televisions with access to adult movies, plus the endless sports or news options available on Foxtel.

The deluxe suites are larger and take the notion of luxury to new heights, with timber and marble settings, king-size bed, 50-inch Foxtel-serviced TV, full complimentary bar including spirits, champagne and platters, and a spa.

The standard suites are generally the option taken by those just staying for brief periods, while the deluxe suites are favoured by clients who are able to enjoy the Gateway Club for a little longer.

If you’re after more extravagance than even a deluxe suite can offer, there’s the indulgence suite. This room belongs on the big screen. It can comfortably accommodate several couples, boasts everything the deluxe suites do, but goes even further with its own eight-seater spa, a fitted dance pole and twin king-size beds.

PAY A VISIT
The Gateway Club doubles as a boutique hotel, so if you want to take your special lady somewhere sexy, but don’t want to involve a third party, you can absolutely do that. If you simply want to stay in Sydney, surrounded by gorgeous women and a fantastic atmosphere, you can check in to The Gateway. And there’s no need for concern about what will turn up on your credit-card transactions, as the club operates under a discrete company name.

THE COST
Fees for a standard suite are: ½ hour–$210; ¾ hour–$270; 1 hour–$320. A deluxe suite will set you back $350 for an hour. And the indulgence suite costs $700 for two hours. Note that extra services may incur an additional fee.

THE WAY…
The Gateway Club, 474 Parramatta Rd, Leichardt, Sydney. The club is open 24 hours, seven days a week, with parking at the rear. It accepts MasterCard and Visa. For more information, visit www.gatewayclub.com.au, or call (02) 9560 8066.

What the hell is going on with online censorship? What will the proposed online filter really mean for everyday Australians, and is derailing such a filter the best solution to Australia’s censorship problems?

Story: Meg White
Continue reading “Feature: Internet Mythology” »

Some of the world’s most dangerous jobs are carried out right here in Australia. Denise Mooney meets the men who risk everything at their 9 to 5

Around the world, aircraft pilots feature prominently in fatality statistics. Last year, 30 people died while carrying out aerial work, flight training or working on private flights, according to the Australian Transport Safety Bureau.

Fergus Ponder is a flight instructor with Becker Helicopters on Queensland’s Sunshine Coast, but during the summer season he’ll be fighting bushfires in Queensland and New South Wales. Up until last year, the pilot was based in the US city of Chicago, where he spent most of the year fighting fires from Florida all the way to Montana. The former stockman became a helicopter pilot 13 years ago, after a visit to America. “From the first moment we got translational lift, I knew it was exactly the right fit,” he says. The 42-year-old has since flown Agusta A-109s, R22s and, his favourite, the Sikorsky S-58T.

When you’re fighting fires, the dangers include strong winds and downdraughts, and low flying near treetops. “You put yourself in these situations,” Ponder tells us. “If you think too much about it, you’re in the wrong job.”

But some days you have no choice, like the day he was preparing to make a drop in the Sawtooth Mountains in Montana. “I messed it up,” he says plainly. “I started to descend too quickly. I did a fast turn and the next thing you know, down it comes.” The helicopter dropped about 15 metres, but luckily not all the way to the trees. “Your stomach comes up into your mouth. In the moments following it, you start thinking about family and whether it’s really worth it. As fun as it is, there is that inherent danger.”

There are always pilots who don’t make it home from work: “A few years ago in northern California, the guys on the next helipad to us got tasked with a mission. We could have got it, but they did. They were delivering cargo to some crew on the hill. He put his load down in a clearing, but he drifted and bumped into a tree. It can happen.”

Dealing with events like this can be difficult. Ponder always calls his wife. “She knows when I’m going through a tough time, and she’ll talk me through it.” To be a good pilot, you need to be a glass-half-full type of guy who doesn’t think too much about what can go wrong. “I just get a buzz from flying,” smiles Ponder. “I always start singing. I get a lot of satisfaction from it.”

Some of the world’s most dangerous jobs are carried out right here in Australia. Denise Mooney meets the men who risk everything at their 9 to 5

In 2006, the world held its breath as miners Todd Russell and Brant Webb became trapped after part of a mine in Beaconsfield, Tasmania collapsed. About 130,000 Australians work in mining, and it ranks highly among the worlds most dangerous professions. In worldwide comparisons, mining and quarrying had the highest fatality rates in most countries, including Australia.

What Chris Cheal doesn’t know about mining could probably fit on the back of a postage stamp. For 15 years, he has been mining and prospecting opals in Lightning Ridge in outback New South Wales. It’s wild west country, where a bloke can still peg a claim and have a go. Tumbling opal prices have made miners reluctant to sell their gems, so Cheal has been working three 12-hour shifts a week in a coal mine to supplement his income.

You’ve got to know your stuff working with drill rigs, diggers and agitators. Cheal once came a cropper when a hydraulic digger weighing more than a tonne fell on top of him. Luckily, he escaped with just an arm injury. Miners have died and lost limbs in this environment. He says the first time he climbed down an underground shaft was challenging. “It was a weird feeling,” he reveals. “But once I was on the ground, it didn’t worry me. A cave-in would be the worst. We climb down shafts that are up to 90 feet [27m] deep.”

Cheal has since learnt to look after himself while working his claim: “It’s dangerous if you take short cuts. If you do, sooner or later you’re going to get hurt. It’s only a matter of time, and there are no second chances.” Despite the risks, Cheal loves what he does. Coal mining pays well and opal mining could make him rich one day. “It’s pretty exciting because you don’t know what you’re going to come home with.”

Some of the world’s most dangerous jobs are carried out right here in Australia. Denise Mooney meets the men who risk everything at their 9 to 5

Millions have been enthralled by television shows like Deadliest Catch and Trawlermen, fascinated by the dramas of working on the high seas. But fishermen are not the only ones taking risks to earn a buck. In 2006, 270 people died on the job in Australia. The industries with the highest number of deaths were farming, forestry, fishing, transportation and construction.

Discovery Channel’s hit show about Alaskan fishermen isn’t called Deadliest Catch for nothing. According to the United Nations Food and Agriculture Organisation, fishing at sea is the most dangerous occupation in the world, with an estimated 24,000 people dying each year, out of a total 15 million workers. That’s 65 a day. And there’s little evidence to suggest these numbers are decreasing.

John Hammond, a rock lobster and king crab fisherman from Tasmania, is a fan of the show and says it paints a realistic picture of life at sea. His two fishing boats spend weeks at a time in the most dangerous waters in Australia, off the west coast of Tasmania. “We work in similar weather to the crab fishermen in Alaska,” he says. “We regularly get winds of 60 or 70 knots out there.”

The 59-year-old is one of only a handful of operators to fish these seas during rough weather. Reduced quotas mean the crew will try and pull in the big catches while the price is high in winter. Despite the treacherous conditions and a few “close shaves”, Hammond hasn’t lost anyone, though others have perished over the years: “It’s only a matter of time before you get a flogging.”

Hammond’s boats travel up to 40 nautical miles out from shore, so when a storm hits there’s no chance of making it to safety. Instead, they drop anchor and wait until it passes. “You’re bouncing up and down all night, jumping five or six metres,” Hammond tells Penthouse. “It’s like being on a big dipper.”

Huge rogue waves are a fisherman’s worst nightmare. Hauling 100kg lobster pots from the sea bed at one o’clock in the morning is not for wimps. “It’s very physically demanding. When you’re in the dark in the heavy weather, you can’t see the big waves. The boat’s rolling around violently, and it can be zero degrees with winds of 20 or 30 knots.”

Hammond’s 25-year-old son is the fourth generation to work in the family’s 100-year-old business. Recent economic woes have seen local tradies turn to fishing, but Hammond says they don’t usually last long: “You need to be brought up to it.” Hammond spends a lot of time taking care of his boats, checking alarms, diesel and electrics. It could sink in 15 minutes if something goes wrong. “We’re out here by ourselves, so if something goes pear-shaped there’s no-one to save you.”