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Young musician dies weeks after writing final song

Cat Janice has died aged 31 with her family by her side. The young musician, who had a large following on TikTok, had been battling cancer since January 2022 when doctors diagnosed her with sarcoma, a rare malignant tumour. She was declared cancer-free on July 22 that same year, following extensive surgery, chemo and radiation therapy. The mum-of-one was sadly re-diagnosed with cancer in June last year and despite fighting hard in the second round of her treatments, Janice told fans in January that her cancer "won" and that she "fought hard but sarcomas are too tough". Janice's family have announced her passing in a statement shared to her Instagram. "From her childhood home and surrounded by her loving family, Catherine peacefully entered the light and love of her heavenly creator," they said. "We are eternally thankful for the outpouring of love that Catherine and our family have received over the past few months." Before she died, Janice publicly announced that all her music would be signed over to her 7-year-old son, Loren, to support him in the future. Just weeks before her death, she released her final song Dance You Outta My Head in the hope it would spread "joy and fun". "My last joy would be if you pre saved my song 'Dance You Outta My Head' and streamed it because all proceeds go straight to my 7-year-old boy I'm leaving behind," she said, before the song was released. The song went viral, and took he number one spot in several countries and the number five spot on the Apple Itunes globally. Her family have said that the love she received for her final song, was unbelievable parting gift she could have ever received. "Cat saw her music go places she never expected and rests in the peace of knowing that she will continue to provide for her son through her music. This would not have been possible without all of you." Images: Instagram

Caring

Top 80s songs to get you moving

While the fashion from the 1980s might only come out of the closet for dress up parties these days, the music is still considered some of the best of our time. Especially for music to get you moving. From dance and pop hits to a little rap and rock, it’s got to be one of the most diverse, eclectic and extravagant decades in recent cultural history. Here, we have been busy rifling through the tracks to whittle down a decade of music into 40 of the best tracks to move to. From dancing to exercise, if you want to get up off that couch, these are the songs to hit play on. 1. “Girls Just Want to Have Fun” by Cindy Lauper (1983) 2. “Hit Me with Your Best Shot” by Pat Benatar (1980) 3. “Eye of the Tiger” by Survivor (1982) 4. “Love Shack” by The B-52's (1989) 5. “Beat It” by Michael Jackson (1982) 6. “Manic Monday” by The Bangles (1986) 7. “Let's Dance” by David Bowie (1983) 8. “Livin' on a Prayer” by Bon Jovi (1986) 9. “I Love Rock N' Roll” by Joan Jett & The Blackhearts (1982) 10. “Thriller” by Michael Jackson (1982) 11. “Faith” by George Michael (1987) 12. “Jump” by Van Halen (1984) 13. “Don't Stop Believin’" by Journey (1982) 14. “Walking on Sunshine” by Katrina & The Waves (1983) 15. “Kiss” by Prince (1986) 16. “Holiday” by Madonna (1983) 17. “Celebration” by Kool and the Gang (1980) 18. “Billie Jean” by Michael Jackson (1982) 19. “Love is a Battlefield” by Pat Benatar (1983) 20. “Sweet Dreams (Are Made of This)” by Eurythmics (1983) 21. “White Wedding” by Billy Idol (1982) 22. “Take on Me” by a-ha (1985) 23. “Video Killed the Radio Star” by The Buggles (1981) 24. “Karma Chameleon” by Culture Club (1983) 25. “The Tide is High” by Blondie (1980) 26. “Wake Me Up Before You Go-Go” by Wham (1984) 27. “Let's Hear It for the Boy” by Deniece Williams (1984) 28. “A Little Respect” by Erasure (1988) 29. “Sweet Child O' Mine” by Guns N' Roses (1987) 30. “Footloose” by Kenny Loggins (1984) 31. “Wild Thing” by Tone-Loc (1989) 32. “Tainted Love” by Soft Cell (1981) 33. “Borderline” by Madonna (1983) 34. “I Wanna Dance With Somebody” by Whitney Houston (1987) 35. “Just Can't Get Enough” by Depeche Mode (1981) 36. “Never Gonna Give You Up” by Rick Astley (1987) 37. “Always Something There to Remind Me” by Naked Eyes (1983) 38. “You Got It (The Right Stuff)” by New Kids on the Block (1988) 39. “It Takes Two” by Rob Base (1988) 40. “Down Under” by Men at Work (1981) Image: Getty

Music

Mariah Carey slapped with multi-million dollar lawsuit over hit festive song

Mariah Carey is facing a multi-million dollar lawsuit over her hit festive song, as another musician has come forward claiming she plagiarised an original work. Carey’s song All I Want For Christmas Is You has long been a staple of December, and has sold over 10 million copies since its 1994 release. However, Andy Stone, lead vocalist of Vince Vance and the Valiants, claims Carey infringed on his copyright. Stone co-wrote a song, which has the same title as Carey’s smash hit, in 1989 to which he claims Carey and her team of copying his song’s “compositional structure,” according to the complaint obtained by <a href="https://www.foxnews.com/entertainment/mariah-carey-facing-20-million-lawsuit-over-all-i-want-for-christmas-is-you" target="_blank" rel="noopener">Fox News Digital</a>. <iframe title="YouTube video player" src="https://www.youtube.com/embed/w8HWHd0EYJA?si=IdW0GIKXEQBJqaO_" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe> The court documents state that Carey “directly” copied lyrics from Stone’s 1989 hit and “approximately 50 per cent” of the song is copyright infringement. Stone went on to claim that Carey and her team “undoubtedly” had access to his version of All I Want For Christmas is You due to its “wide commercial and cultural success.” Stone’s track charted on Billboard for years, with the band even performing the track at the White House in 1994 - the same year Carey’s festive song was released. “Carey has capitalised on the success of her infringing work,” Stone’s complaint alleged. <iframe title="YouTube video player" src="https://www.youtube.com/embed/yXQViqx6GMY?si=Exrq9M0AA2u5XRpB" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe> “All I Want For Christmas is You has become a ubiquitous part of popular culture, and Carey’s name has become synonymous with the season.” Stone first sued Carey over the copyright issue in June 2022 in a Louisiana court before dropping the claim five months later. Image credits: Getty Images

Legal

“Deeply disappointed”: The Wiggles hit out at council’s “harsh” use of iconic song

The Wiggles have taken aim at the Western Australian city of Bunbury for using their iconic song in a “harsh” way. The childrens’ entertainers found out the local council had been playing their song Hot Potato on an endless loop to deter homeless people from congregating. The song had been playing at the Graham Bricknell Music Shell, a stage in one of the town’s parks, that plays host to bands and events. When not in use for entertainment purposes, homeless people would gather under the shell and pitch tent to seek shelter from the elements. After being alerted to the fact that their song was being used in such a callous way, The Wiggles contacted The City of Bunbury and banned them from using the song. In a statement given to the <a href="https://thewest.com.au/entertainment/the-wiggles-slap-the-city-of-bunbury-with-music-ban-over-homelessness-row--c-12413889" target="_blank" rel="noopener">West Australian, </a>they said, “The Wiggles’ music is created to bring joy and happiness to children and families around the world, and we are deeply disappointed to hear that it is being used in any other way.” The council had been using the Wiggles’ song for around six months before the band issued their ban. Mayor of Bunbury Jaysen Miguel defended his decision to play the music, saying, “The City of Bunbury has been running music on and off there for the past six months, as happens across Australia and across the world where you can have music in certain areas to deter anti-social behaviours.” “But... there has been a known problem where people are getting in and turning the music up to full bore.” Local homeless cafe provider Intown Centre said the council needed a better response to the homelessness crisis, as Chair David Bailey said, “In the last couple of days, I have been walking around and I have heard it, but I did not think it was the council.” “I thought it was someone with a CD player,” he said. “It did strike me as odd. It is harsh . . . (and) there needs to be a better response.” Image credits: Getty Images

Caring

It was written for nuclear disarmament – but today You’re The Voice is the perfect song for the ‘yes’ campaign

<a href="https://theconversation.com/profiles/peter-tregear-825">Peter Tregear</a>, <a href="https://theconversation.com/institutions/the-university-of-melbourne-722">The University of Melbourne</a> The serendipity of the pairing between John Farnham’s 1986 hit single You’re the Voice and the Voice to Parliament referendum is obvious, but it goes well beyond the fact the two share the key word “voice”. The original was composed by a team of British songwriters in response to an anti-nuclear demonstration in London’s Hyde Park in 1985. Chris Thompson, Andy Qunta and Maggie Ryder had planned a song-writing session on the day an <a href="https://www.nytimes.com/1985/10/27/world/100000-in-london-protest-arms-race.html">estimated 100,000 marched through central London</a> in support the Campaign for Nuclear Disarmament. Thompson, however, overslept. As an act of self-admonishment he decided to express his remorse by conceiving a song that emphasised the importance of personal agency in achieving political change. This is the kernel of meaning in You’re the Voice. It is also what makes it so especially well suited to support a campaign about a referendum to give Indigenous Australians a constitutionally recognised Voice to Parliament nearly 40 years later. <blockquote class="twitter-tweet"> OUR NEW AD IS LIVE! You’re the Voice that will make history. On 14 October, we know we all can stand together with the power to be powerful. <a href="https://twitter.com/hashtag/HistoryIsCalling?src=hash&ref_src=twsrc%5Etfw">#HistoryIsCalling</a>, so <a href="https://twitter.com/hashtag/VoteYes?src=hash&ref_src=twsrc%5Etfw">#VoteYes</a>. Are you in? John Farnham is. <a href="https://twitter.com/hashtag/UluruStatement?src=hash&ref_src=twsrc%5Etfw">#UluruStatement</a> <a href="https://twitter.com/hashtag/StayTrue2Uluru?src=hash&ref_src=twsrc%5Etfw">#StayTrue2Uluru</a> <a href="https://twitter.com/hashtag/YoureTheVoice?src=hash&ref_src=twsrc%5Etfw">#YoureTheVoice</a> <a href="https://twitter.com/hashtag/VoteYes?src=hash&ref_src=twsrc%5Etfw">#VoteYes</a> <a href="https://t.co/4ujYd9gk0M">pic.twitter.com/4ujYd9gk0M</a> — ulurustatement (@ulurustatement) <a href="https://twitter.com/ulurustatement/status/1698260272165875951?ref_src=twsrc%5Etfw">September 3, 2023</a></blockquote> <h2>The grain of Farnham’s voice</h2> Thompson was not at all convinced at the time Farnham <a href="https://www.news.com.au/entertainment/music/why-john-farnham-was-nearly-rockblocked-from-youre-the-voice/news-story/9e048f2d4550a8b4c1a28e2eba4909f6">could do the song justice</a> when he requested it for inclusion in his album Whispering Jack. And yet the particular qualities of Farnham’s singing is also arguably crucial to the song’s success, then and now. The music’s combination of <a href="https://en.wikipedia.org/wiki/Sentimental_ballad#Power_ballads">power ballad</a> tempo with <a href="https://music.amazon.com.au/playlists/B078H6J6BF">pub anthem</a> singability calls for a kind of full-throated vocal performance that takes more than a little inspiration from African American gospel traditions. Singers drawn from these traditions include giants of popular musical culture like James Brown, Tina Turner and Aretha Franklin. It is not exaggerated praise to suggest Farnham here delivers a performance that stands with their best. And it was career changing for him, helping Farnham to put to rest his earlier image as a clean-cut purveyor of sentimental pop songs like <a href="https://www.youtube.com/watch?v=r0c55lXRAeg">Sadie the Cleaning Lady</a> and relaunch his career. Farnham’s singing here exemplifies what Roland Barthes famously described in <a href="https://courses.lsa.umich.edu/jptw/wp-content/uploads/sites/23/2017/08/Barthes-ImageMusicText.pdf">an essay from 1972</a> as the “grain of the voice”: the element of a singer’s individuality which helps convey the sincerity and authenticity of what is being sung. You’re the Voice further highlights the grain of Farnham’s singing via the exclamation “oh, whoa!” regularly punctuating the song’s chorus. In a powerful moment of sonic symbolism, the exclamation is eventually taken up in the advertisement (like the sentiment of the song itself, it is no doubt hoped) by a chorus of supporters. <h2>You are the voice</h2> Indeed, if it is to succeed, the referendum will need to convince an especially broad coalition of Australians to vote for “yes”. The song supports this goal from its very title: you are the voice. It asks each of us, individually, to consider how we can act for the common good. <blockquote> We have the chance to turn the pages over We can write what we want to write We gotta make ends meet, before we get much older. </blockquote> The song’s explicit call to action has now been connected to the forthcoming referendum: now is the moment to use your voice at the ballot box to give, in turn, a constitutionally enshrined voice to indigenous Australians. The “yes” campaign’s appeal to collective responsibility is one aspect of the referendum process that <a href="https://www.theguardian.com/australia-news/2023/aug/16/lidia-thorpe-calls-for-referendum-called-off-indigenous-voice-to-parliament-no-campaign">concerns some Indigenous critics</a>. The very enterprise of constitutional reform, after all, presumes the legitimacy of the Australian constitution which in turn presumes the legitimacy of the original act of colonial dispossession. But the bigger threat to the “yes” campaign arguably comes from those who see the idea of an <a href="https://ipa.org.au/ipa-today/the-indigenous-voice-to-parliament-has-the-potential-to-be-divisive">Indigenous voice to parliament itself as divisive</a>. Yet, as the song goes: <blockquote> This time, we know we all can stand together With the power to be powerful Believing we can make it better. </blockquote> The use of You’re the Voice here reinforces the view that supporting the Voice to Parliament is a positive act of national reconciliation that we, as a nation, can take together. It is an injunction to take personal and collective responsibility for the history and character of the country we all share. <h2>Politically inclusive</h2> The advertisement is the work of Mark Green of <a href="https://themonkeys.com.au/">The Monkeys advertising agency</a> and historian <a href="https://www.clarewright.com.au/">Clare Wright</a>. It focuses on a family as they watch key moments which shaped Australia’s collective identity. It looks at key moments of reconciliation, Indigenous achievement and Indigenous protest; but also broader moments in collective action. In a particularly astute move, the advertisement overlays images of <a href="https://www.theguardian.com/australia-news/2019/jan/01/john-howard-port-arthur-gun-control-1996-cabinet-papers">John Howard’s 1996 gun reforms</a> in the wake of the Port Arthur massacre as Farnham delivers the lines: <blockquote> We’re all someone’s daughter We’re all someone’s son How long can we look at each other Down the barrel of a gun? </blockquote> Implicit in this conjunction is a reminder to us that support for the “yes” vote, like any nation-changing political act, can come from any side of politics. <h2>Democratising the message</h2> There are many more layers we could tease apart in You’re The Voice. Its extended bagpipes solo originated as an homage to AC/DC singer Bon Scott, connecting it to the egalitarian, <a href="https://www.popmatters.com/141796-let-there-be-rock-2496022409.html">working class culture</a> Scott’s music addresses. Then there is the way the bagpipes, combined with the song’s use of side-drum rhythmic patterns, evoke the sound world of a military tattoo or march. This simultaneously elevates the register of its message. The song – and now the ad – is an implicit call to arms. The inclusion of You’re the Voice in the “yes” campaign thus provides powerful support for its central message. Farnham himself recognises this. Upon release of the advertisement, Farnham <a href="https://www.smh.com.au/politics/federal/john-farnham-backs-voice-permits-his-anthem-to-front-yes-campaign-ad-20230901-p5e18t.html">spoke about</a> how, when it was first released in 1986, the song “changed his life”. Generously, he concluded: "I can only hope that now it might help in some small way, to change the lives of our First Nations Peoples for the better." <a href="https://theconversation.com/profiles/peter-tregear-825">Peter Tregear</a>, Principal Fellow and Professor of Music, <a href="https://theconversation.com/institutions/the-university-of-melbourne-722">The University of Melbourne</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/it-was-written-for-nuclear-disarmament-but-today-youre-the-voice-is-the-perfect-song-for-the-yes-campaign-212769">original article</a>.

Music

My Royal Melbourne Seniors Classic Adventure: A day on the greens (and in the bunkers!)

G'day to all past, present, and emerging golf enthusiasts! If you're a senior golfer like me, hunting for inspiration, adventure, and authentic golf yarns — this is for you. Picture this: a crisp August morning, and sixty-two senior golfers gathered on Royal Melbourne's West Course for the Vic Seniors Classic 2023. Here's the story of how it all went down... Before anything else, I mustered the guts to jump in. Ever heard of "imposter syndrome"? Trust me, I was its best mate. But the requirements were clear: age 55+ (I'm a proud 65-year-old), GA Handicap under 24.5 (18.5), and a $225 entry fee. Wait, $225? Given that Royal Melbourne's green fees dance around $1000, caddy fee included, it was a no-brainer. Fueled by the temptation of playing a top-notch course for a quarter of the fee, I submitted my application without hesitation. Before I knew it, my name adorned the list of players. As the day approached, I was geared up to tackle the Royal Melbourne challenge. The 8 am shotgun start meant groups teed off from various holes. I found myself at the 11th tee, flanked by two fierce competitors: Peter (Daily Handicap 1) and Damian (12). Yours truly? A modest 20. Standing over the ball, knees a tad wobbly, I swung that driver. The ball sailed gracefully, landing centre fairway, while their shots had taken a wilder route into the rough. The lesson? 'How near,' not 'how far'. Now, let's talk about those Royal Melbourne greens. Rumour had it, they were "super fast". Super fast? Imagine sliding a ball across your kitchen's polished tiles — yep, that rapid. Around the course, bunkers became my stern mentors — big, deep, and oh-so unforgiving. Post 18 holes, scorecards were in, followed by the triumphant crowning of winners over lunch. Rodney Ware (75 gross) and Kevin Naismith (81 gross) led in men's gross, while Wayne Moon (72 net) and Craig Lonsdale (73 net) dominated the net division. Melinda Crawford (16, scratch stableford) and Louise Yuen (29 handicap points) shone in the women's. Kudos to winners, fellow players, Royal Melbourne and Golf Australia for the unforgettable day. By the way, can you see yourself on those hallowed Royal Melbourne greens? If your inner golfer nods, I'm your cheerleader. Consider joining me for the 2024 Royal Melbourne Seniors Classic. And as I wrap up, let me leave you with the timeless words of the legendary Peter Thomson: "Golf is a game of how near, not how far". Until next time, keep those swings buttery, putts steadfast, and steer clear of those tricky bunkers. PS: My result? T43rd (net) among the 48 male players. Next time I'll be swinging even better. About the Writer: Mike Searles is a Melbourne retiree who's living the golfing dream. Image credits: Getty Images

Domestic Travel

Backlash for John Farnham over use of iconic song in Voice campaign

John Farnham, the celebrated Australian music legend, has allowed his timeless classic, "You're the Voice", to serve as the official soundtrack for the Yes campaign in the Indigenous Voice to Parliament referendum of 2023. This decision, however, has sparked mixed reactions from the public. Farnham's decision to lend his 1980s hit to the campaign holds particular significance as Australia gears up for the pivotal referendum on October 14. In a heartfelt statement, Farnham expressed his motivation for this gesture, saying, "This song changed my life. I can only hope that it now might help, in some small way, to change the lives of our First Nations people for the better." Tim Wheatley, the son of Farnham's late longtime manager Glenn Wheatley, added, "Win or lose this referendum, this song will forever remain on the right side of history." The campaign video featuring the song will be widely disseminated, appearing on television, social media and various digital platforms. However, the decision to use Farnham's iconic track has not been without controversy. Some critics argue that the campaign missed an opportunity to promote the event using an Indigenous artist, thereby highlighting the importance of Indigenous voices in this critical moment. <blockquote class="twitter-tweet"> A very sad day today to hear John Farnham allowing his song to be used for the YES Campaign. Selling yourself out to a divisive political stance. Have been a fan of yours for decades. You have just sold your soul to half of Australia. Shame on you. Vote No to the Voice — Bobby Abruzzo (@wbfc1954) <a href="https://twitter.com/wbfc1954/status/1698126419912745206?ref_src=twsrc%5Etfw">September 3, 2023</a></blockquote> Opposition Leader Peter Dutton also expressed his reservations about the choice of song. He remarked, "In a sense, it's the appropriate theme song for the Yes campaign because remember that the key line in the lyrics there is, you know, 'you're the Voice, try to understand it.' I honestly don't think most Australians understand it. And they want to be informed." The two-minute campaign ad is a poignant montage that showcases significant moments in Australian history, all experienced through the lens of television. As Farnham's hit plays in the background, viewers witness iconic events such as Cathy Freeman's historic victory at the 2000 Olympics, former Prime Minister John Howard's landmark gun reform in 1996, and Kevin Rudd's heartfelt apology to the stolen generations in 2008. <blockquote class="twitter-tweet"> I used to think the song "You're The Voice" was for all Australians. Disappointed that John Farnham has decided to make it divisive and political. Have your say privately by voting John but not like this. Still wish you well in recovery.<a href="https://twitter.com/hashtag/VoteNO23Australia?src=hash&ref_src=twsrc%5Etfw">#VoteNO23Australia</a> <a href="https://t.co/29lxkmCFWG">pic.twitter.com/29lxkmCFWG</a> — Jenny (@JennyandFreedom) <a href="https://twitter.com/JennyandFreedom/status/1698123945176891520?ref_src=twsrc%5Etfw">September 3, 2023</a></blockquote> Image: Supplied

Music

Country music star's "racist" song divides audience

A popular country music star has been forced to defend his new song and accompanying music video, after many condemned the track for being racist. Jason Aldean's song, titled Try That in a Small Town, soared to number one on the country music charts in the US, before been pulled by Country Music Television after claims it promoted gun violence, vigilantism and lynching: a form of execution frequently committed against African-Americans. The singer, who is known for his conservative views, defended the song, saying it was about, “the feeling of community that I had growing up in where we took care of our neighbours, regardless of difference of background or beliefs”. He also slammed the furore against the song, saying saying the accusations against the track that it is “pro lynching” are “not only meritless but dangerous”. Singer Sheryl Crow called out Aldean posting on Twitter, “There’s nothing small town or American about promoting violence,” and called the song “lame” for its controversial themes. <blockquote class="twitter-tweet"> .<a href="https://twitter.com/Jason_Aldean?ref_src=twsrc%5Etfw">@Jason_Aldean</a> I’m from a small town. Even people in small towns are sick of violence.There’s nothing small-town or American about promoting violence. You should know that better than anyone having survived a mass shooting. This is not American or small town-like. It’s just lame <a href="https://t.co/cuOtUO9xjr">https://t.co/cuOtUO9xjr</a> — Sheryl Crow (@SherylCrow) <a href="https://twitter.com/SherylCrow/status/1681485292425867264?ref_src=twsrc%5Etfw">July 19, 2023</a></blockquote> The music video for the song prompted a new wave of backlash, as it was filmed outside the Maury County Courthouse in Columbia, Tennessee, which is a site that African American man was lynched. A writer for entertainment industry magazine <a title="variety.com" href="https://variety.com/2023/music/opinion/jason-aldean-try-that-in-a-small-town-worst-country-song-video-column-1235673177/">Variety</a> said it was “the most contemptible country song of the decade” which traded on the “implicit moral superiority of having a limited number of neighbours”. “For Aldean, it’s about how tiny burgs are under the imminent threat of attack from lawless urban marauders who will have to be kept at bay by any means necessary – meaning, pretty explicitly, vigilantism,” wrote its music critic Chris William. He went on to say the video was “dangerous” because it “conflates the act of protesting with violent crime”. In the wake of the criticism, Aldean hit back on his social media accounts, saying people had gone "too far" with their interpretation of the song. He wrote on Twitter, “There is not a single lyric in the song that references race or points to it – and there isn’t a single clip that isn’t real news footage – and while I can try and respect others to have their own interpretation of a song with music – this one goes too far.” “My political views have never been something I’ve hidden from. And I know that a lot of us in this country don’t agree on how we get back to a sense of normalcy, where we go at least a day without a headline that keeps us up at night, but the desire for it to – that’s what the song is about.” Image credits: Getty Images

Music

6 classic songs involved in lawsuits

Like with all art, the line between appropriation and plagiarism in the music world is very blurred. Artists have always been inspired by other artists, so it’s inevitable that some works will be similar to others. These cases, however, prove that the consequences of copyright infringement can be extremely costly indeed. The Beatles vs. Chuck Berry Chuck Berry’s music has long been the object of adaptation, but none were as high-profile as The Beatles’ hit song “Come Together”, which allegedly borrowed lyrics and melodies from Berry’s “You Can’t Catch Me”. Lennon’s line, “Here come ol’ flattop, he come groovin’ up slowly” is thought to have been taken from Berry’s “Here come a flattop, he was movin’ up with me”. Berry’s publishing company was awarded nearly US$85,000 as a settlement. Johnny Cash vs. Gordon Jenkins In the 1970s, Cash was ordered to pay Gordon Jenkins US$75,000 after his 1955 song “Folsom Prison Blues” allegedly used lyrics and music from Jenkins’ 1953 tune “Crescent City Blues”. Although Cash’s song was a tale of murder and imprisonment and Jenkins’ was about a lovelorn woman desperate to escape, the songs were still similar enough to be the focus of a lawsuit. Men At Work vs. Larrikin Music It’s considered to be one of Australia’s most iconic songs (even an unofficial anthem for some), but Men At Work’s hit song “Down Under” was the subject of a nasty dispute in 2009 when they were sued by Larrikin Music, the owners of 1932 classic “Kookaburra”. Larrikin Music claimed that part of the Aussie band’s flute riff was stolen from the song “Kookaburra”, written by Marion Sinclair. The band was forced to give Larrikin 5 per cent of all royalties after 2002. Ray Parker, Jr. vs. Huey Lewis and the News Who can forget Parker’s iconic Ghostbusters theme song? Well, as it turns out, it may not have been completely original. Huey Lewis and the News sued Parker after hearing similarities with their song “I Want a New Drug”, and won the suit. In a strange twist, however, Huey Lewis revealed the details of the settlement to the media in a breach of confidentiality and was counter-sued by Parker in 2001. Rod Stewart vs. Jorge Ben Stewart was sued after the vocal melody from his hit “Do Ya Think I’m Sexy?” was found to be uncannily similar to that of Jorge Ben’s 1976 song “Taj Mahal”. As part of the settlement, Stewart decided to donate a percentage of the track’s earnings to UNICEF. “Clearly the melody had lodged itself in my memory and then resurfaced. Unconscious plagiarism, plain and simple,” Stewart wrote in his autobiography. Coldplay vs. Joe Satriani Satriani sued Coldplay in 2008, alleging that their song “Viva la Vida” used “substantial original portions” of music from his song “If I Could Fly”, which was released four years previously. They settled out of court in 2009. This suit came just months after American band Creaky Boards accused them of stealing the melody of their ironically-named song “The Songs I Didn’t Write”. Yusuf Islam (Cat Stevens) also claimed the song ripped off his track “Foreigner Suite”. Do you think any of these songs sound like their alleged inspirations? Tell us your thoughts in the comment section below. Image credit: Getty Related links: <a href="../finance/insurance/2016/04/10-odd-things-celebrities-have-insured/">10 odd things celebrities have insured</a> <a href="../entertainment/music/2016/04/the-surprising-real-names-of-singers/">The surprising real names of famous singers</a> <a href="../entertainment/music/2016/03/rock-and-roll-hits-banned-from-being-played/">6 rock ‘n’ roll hits banned from being played</a>

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6 modern-classic movies everyone needs to see

There's never a bad time to dive back into the archives and watch some good movies. With that in mind, here we’ve rounded up six essential modern-classic movies from the past 15 years that everyone needs to see. Scroll through the gallery above for images. 1. Donnie Darko (2001) Jake Gyllenhaal plays a troubled teen that is tormented by visions of the future and a disturbing-looking bunny. Donnie Darko has become a cult classic, as it captured the angst of the youth who at the time the movie was in theatres were coping with the confusion of a post-9/11 world. 2. Bowling For Columbine (2002) Michael Moore's fourth feature film, which won an Oscar for best documentary, might be his best. The controversial director uses the events of the Columbine High School massacre to address the US' addiction to guns. Sadly, years later the issues explored in this movie are still relevant. 3. Ratatouille (2007) Ratatouille tells a compelling story through animation that isn't just for kids. Set in the posh Paris cooking world, Ratatouille follows a rat who fancies himself a chef. The movie could have been a disaster, but instead it showed that stories with lots of layers could be told well through cartoons and computer graphics. 4. There Will Be Blood (2007) Paul Thomas Anderson delivers a film that is epic in so many ways, including its story, its music, and its photography. Daniel Day-Lewis delivers a performance that withstands the test of time as a maniacal oil baron. 5. Zodiac (2007) David Fincher, who is known for his attraction to dark material, was perfect for bringing the story of the Zodiac Killer to the big screen. Jake Gyllenhaal plays a cartoonist for a newspaper who becomes obsessed with the case and takes over the detective work when the cops dry up on leads. Perhaps the best trick Fincher pulls off is building constant suspense so that, by the end, anyone could be the Zodiac. 6. WALL-E (2008) Arguably Pixar's greatest work, WALL-E explores so many different issues that you can watch it a dozen times and enjoy focusing on each one. From a love story to commentaries on obesity and climate change, the movie is much more than the mere travels of a lovable robot (but that part is great, too). Written by Jason Guerrasio. First appeared on <a href="../%20http:/www.stuff.co.nz/" target="_blank" rel="noopener">Stuff.co.nz.</a> Images: Getty

Movies

Readers respond: What's a song that is so beautiful it makes you cry?

It doesn't take much for music to make you move, but music that moves you to the point of tears is something special. We asked our readers which songs they find so beautiful that it touches a part of their soul and brings them to tears. Here are some of our favourite responses that, and a list of songs you could add to your playlist. Mary Therese Apostol - Unchained Melody from the film Ghosts... always brings me to tears. Also Always on my Mind brings back beautiful memories of a very loved person. Susan Buntin - Mike and the Mechanics song called The Living Years as I wasn’t there for my parents passing. Pat Sayers - "I'll take you home again Kathleen". One of my mother's favorites to sing, she had a good voice. It is not heard at all these days, but I cry even when I sing it, remembering her. Suzie Justinic - “If I can dream” by Elvis Presley. Very powerful song. Cry every time I hear it. Debbie Costelloe - Goodbye my friend by Linda Ronstad,it holds memories of my loved ones Kate Gregg - Fields of Athernrye Janine Sarai George - Outside when a full band of bagpipes plays a certain song, Danny Boy, Flowers of Scotland it can be magic. Chrissy Soldi - Nothing else matters by Metallica it was played at my son’s funeral still brings tears to my eyes. Annie MacCormack - ‘Sailing’ by Rod Stewart. We played it at my mum’s funeral. I cry every time I hear it. Nita Kennedy - "You raised me up" the CD was given to me on mother's day by my daughters with instructions to listen to the words because they reflected how they thought of me ... I did and I cried ..... Linda Misarz - If I can dream, by Elvis. Very powerful message. Barbara Bergen - Beautiful Dreamer by Roy Orbison Joyce Nickson - Imagine! John Lennon.

Music

Fans fume as classic film undergoes censorship treatment

Film fanatics are in outrage after discovering an unannounced edit in William Friedkin’s 1971 classic movie, The French Connection. The scene causing the trouble comes just 10 minutes into the drama, when two characters - Gene Hackman’s ‘Popeye’ Doyle and Roy Scheider’s Buddy ‘Cloudy’ Russo - are having a conversation, and one of them uses a racial slur. The sequence was removed, and the new edited version cuts to the latest in the conversation, omitting the part with the slur. Disney has been the subject of blame for the move - as the company took over Fox in 2019 and subsequently the rights to the film - with fans accusing them of censoring the scene in the United States, while in the United Kingdom and Canada, the unedited version of the film is still available for streaming on Disney+. Most took to social media to share their complaints, with the majority in agreement that Disney had missed the mark, and The Film Magazine’s Joseph Wade even calling it “corporate vandalism”. “In cases such as this, ‘Censor’ takes the place of ‘Vandalise’,” he tweeted. “They have vandalised a piece of art.” <blockquote class="twitter-tweet"> Disney Censor 'The French Connection' (1971) In cases such as this, "Censor" takes the place of "Vandalise". They have vandalised a piece of art. This is corporate vandalism no matter how said corporation spins the language. <a href="https://t.co/yxl1o2RsMU">pic.twitter.com/yxl1o2RsMU</a> — Joseph Wade (@JoeTFM) <a href="https://twitter.com/JoeTFM/status/1666327940072722434?ref_src=twsrc%5Etfw">June 7, 2023</a></blockquote> “At the risk of being like ‘nooo, my precious n-word,’ the uncensored FRENCH CONNECTION should be the only one in circulation, whether on TV or in theatres,” one user said. “I don't think it's a stretch to say that Friedkin knew exactly what having his detective protagonist use it said about him.” One user went on to share a clip of Hackman discussing the scene - and slur - in question, in which the actor claimed he “protested somewhat”, before sharing his belief that it was part of “who the guy is”. <blockquote class="twitter-tweet"> Gene Hackman speaking in 2012 about the controversial line from French Connection. <a href="https://t.co/l45DBP9DvD">pic.twitter.com/l45DBP9DvD</a> — oneilla (@oneilla828) <a href="https://twitter.com/oneilla828/status/1666439477403811840?ref_src=twsrc%5Etfw">June 7, 2023</a></blockquote> “The censorship of The French Connection is shameful if true,” another agreed. “Thank God,” a frustrated - and sarcastic - fan added, “now I can finally show my 6 year old child The French Connection without any worries”. One Twitter user wrote of how “it speaks badly for film preservation that even a Best Picture winner isn't immune from the clutches of Disney”, and how they’d prefer to watch the film “the way it was intended to be watched, thank you very much.” Images: Twentieth Century Fox

Movies

Alluring, classic, glamorous: the history of the martini cocktail

<a href="https://theconversation.com/profiles/ursula-kennedy-560331">Ursula Kennedy</a>, <a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a> The martini cocktail has existed in a range of guises throughout its ice-cold, crisp life. Several stories exist as to its origins. The “classic” martini is made with gin and vermouth (a fortified wine infused with spices) and garnished with an olive or a twist of lemon. It is quintessentially American. <h2>The contested origins of the martini</h2> <a href="https://historynewsnetwork.org/article/143103">Many believe</a> the martini was invented in the 1860s at the Occidental Hotel in San Francisco by bartender Jerry Thomas. Thomas evolved a one part sloe gin, two parts sweet vermouth, maraschino and a dash of bitters with a lemon concoction into a drink he called the Martinez, which he made for passengers departing on the ferry to the town of the same name. It was said to also be prepared for miners celebrating striking gold. Others believe it was invented in 1911 at the Knickerbocker Hotel in New York by bartender Martini di Taggia, served to billionaire John D. Rockerfeller with equal parts London dry gin and dry vermouth. However, recipes for the drink were published as early as 1862, in Jerry Thomas’s Bartenders’ Guide. Stronger versions of the martini include two parts gin, and even up to five parts gin, to one part vermouth, garnished with olive or lemon. A “dry” martini has little to no vermouth at all – the focus being gin. Author T.S. Eliot once said: <blockquote> There is nothing quite so stimulating as a strong dry martini cocktail. </blockquote> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/521990/original/file-20230420-16-tnbdz5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/521990/original/file-20230420-16-tnbdz5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/521990/original/file-20230420-16-tnbdz5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=380&fit=crop&dpr=1 600w, https://images.theconversation.com/files/521990/original/file-20230420-16-tnbdz5.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=380&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/521990/original/file-20230420-16-tnbdz5.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=380&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/521990/original/file-20230420-16-tnbdz5.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=478&fit=crop&dpr=1 754w, https://images.theconversation.com/files/521990/original/file-20230420-16-tnbdz5.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=478&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/521990/original/file-20230420-16-tnbdz5.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=478&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>A classic martini with olives as the garnish. Shutterstock</figcaption></figure> <h2>The martini’s rise, fall and rise again</h2> During the <a href="https://www.history.com/topics/19th-century/gilded-age">Gilded Age</a> (1880-1900), the martini rose in popularity and remained so through to the mid-20th century. Prohibition in America during 1920 to 1933 did little to harm the martini’s popularity, as backyard gin production was reasonably easy. In the 1960s the drink’s popularity started to wane due to the burgeoning quality and availability of other beverages such as wines and beers. There were also concerns about alcohol consumption and health. With the increasing popularity of “retro” style and culture in recent years the martini has made a comeback, with <a href="https://vinepair.com/articles/martini-hype-train/">reports of increased demand</a> for the drink among young people. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/521989/original/file-20230420-22-ci80sy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/521989/original/file-20230420-22-ci80sy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/521989/original/file-20230420-22-ci80sy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=458&fit=crop&dpr=1 600w, https://images.theconversation.com/files/521989/original/file-20230420-22-ci80sy.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=458&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/521989/original/file-20230420-22-ci80sy.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=458&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/521989/original/file-20230420-22-ci80sy.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=576&fit=crop&dpr=1 754w, https://images.theconversation.com/files/521989/original/file-20230420-22-ci80sy.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=576&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/521989/original/file-20230420-22-ci80sy.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=576&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>Customers at a Philadelphia bar after Prohibition’s end, Dec. 1933. Shutterstock</figcaption></figure> <h2>Martini and its variations</h2> Today, the martini (or a common variation of it) is best known for its identity in popular culture, most famously as the drink of fictional British Secret Service agent, James Bond. The famous phrase “shaken, not stirred” was first uttered on screen by actor Sean Connery playing Bond in the 1964 movie Goldfinger. Bond’s tipple of choice is prepared with vodka rather than gin. While most purists believe the gin martini is the classic form of the drink, there are myriad variations that use the martini name or are closely related to the original drink, such as <a href="https://www.liquor.com/recipes/gibson/">the Gibson</a>, a classic martini garnished with cocktail onions instead of olives. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/521991/original/file-20230420-3001-awnpdc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/521991/original/file-20230420-3001-awnpdc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/521991/original/file-20230420-3001-awnpdc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=597&fit=crop&dpr=1 600w, https://images.theconversation.com/files/521991/original/file-20230420-3001-awnpdc.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=597&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/521991/original/file-20230420-3001-awnpdc.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=597&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/521991/original/file-20230420-3001-awnpdc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=750&fit=crop&dpr=1 754w, https://images.theconversation.com/files/521991/original/file-20230420-3001-awnpdc.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=750&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/521991/original/file-20230420-3001-awnpdc.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=750&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>Sean Connory as James Bond, making his signature vodka martini. Wikimedia</figcaption></figure> <a href="https://www.spiritshunters.com/cocktail/the-history-of-the-dirty-martini/">The “dirty” martini </a> is currently popular, which is gin soiled with a generous dash of brine from the olive jar. According to the Oxford Companion to Spirits & Cocktails, the practice of adding brine to a martini has been around since at least 1901. The term “dirty martini” seemingly wasn’t coined until the 1980s, however. US president Franklin Delano Roosevelt may have been an early proponent of using olive brine in cocktails. Allegedly, the president “would shake up a drink at the drop of a hat … and was reported to have splashed a bite of brine in his drinks at the White House,” writes Robert Simonson in The Martini Cocktail: A Meditation on the World’s Greatest Drink, with Recipes. <a href="https://www.gq-magazine.co.uk/article/espresso-martini-vodka-cocktail">The story goes</a> that London bartender Dick Bradsell first made the espresso martini, a fusion of espresso, sweet coffee liqueur and vodka, in the late 1980s when supermodel Kate Moss (or sometimes Naomi Campbell) asked for a drink that would “wake me up and fuck me up”. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/521984/original/file-20230420-2604-g4y6r4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/521984/original/file-20230420-2604-g4y6r4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/521984/original/file-20230420-2604-g4y6r4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=399&fit=crop&dpr=1 600w, https://images.theconversation.com/files/521984/original/file-20230420-2604-g4y6r4.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=399&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/521984/original/file-20230420-2604-g4y6r4.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=399&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/521984/original/file-20230420-2604-g4y6r4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=502&fit=crop&dpr=1 754w, https://images.theconversation.com/files/521984/original/file-20230420-2604-g4y6r4.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=502&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/521984/original/file-20230420-2604-g4y6r4.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=502&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>The espresso martini. Shutterstock</figcaption></figure> There are many modern drinks that use the iconic martini glass to justify using martini in their name – however, they bear little resemblance to the original cocktail. An appletini is vodka blended with apple juice, apple cider or apple brandy, while the “French martini” consists of vodka, pineapple juice and raspberry liqueur. The TV show Sex and the City popularised the “flirtini”, containing vodka, champagne and pineapple juice. <figure><iframe src="https://www.youtube.com/embed/8STeT9WrYtU?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>Keeping cool</h2> A martini glass – a classic conical bowl on a long straight stem – is one aspect of the drink that does not change. The glass was <a href="https://www.irishtimes.com/life-and-style/homes-and-property/design-moment-martini-glass-1925-1.4094434">formally unveiled at the 1925 Paris Exhibition</a> as an alternative to the classic champagne glass. The long stem allows the glass to be held while the drink remains cool, not warmed by the drinker’s hands. The wide rim allows the drinker’s nose to be close to the liquid when sipping, so the aromatics can be easily appreciated. <h2>Never out of style</h2> While Bond embodied the glamorous side of the martini, studies of writer Ian Fleming’s famous spy indicate that Bond had a <a href="https://theconversation.com/the-names-bond-james-bond-and-im-an-alcoholic-21440">severe problem with alcohol</a> consumption. On occasion he may have had a blood alcohol concentration of .36% – almost fatal. The martini should be consumed with deference … and in moderation.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/195913/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/ursula-kennedy-560331">Ursula Kennedy</a>, Lecturer of Wine Science, <a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a> This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/alluring-classic-glamorous-the-history-of-the-martini-cocktail-195913">original article</a>. Images: Getty

Food & Wine

Surprising facts about 5 classic TV shows

As well as offering some real television nostalgia, these classic shows are also regarded as some of the most iconic TV shows ever made. Here are some lesser-known facts about five of the most popular shows in TV history. 1. I Love Lucy I Love Lucy had a rather rocky start. Fraught with dilemmas and thought to maybe not move forward with the pilot, it came down to play it safe, or take a chance on the untried medium of television. Ball recounts that in a dream, Hollywood actress Carole Lombard appeared in a “very smart suit and she said, <a href="https://books.google.com/books?id=uBWFgeCNAz4C&pg=PA26&lpg=PA26&dq=carole+lombard+Take+a+chance,+honey.+Give+it+a+whirl!&source=bl&ots=8jLdurHJI6&sig=lSqvQ7Uk-bHYFlraRdDppCxrj74&hl=en&sa=X&ved=0ahUKEwjt8byl9LXRAhVmi1QKHS3-DB70Q6AEIPjAH#v=onepage&q=carole%20lombard%20Take%20a%20chance%2C%20honey.%20Give%20it%20a%20whirl!&f=false" target="_blank" rel="noopener">‘Go on, honey. Give it a whirl</a>!’” And they did exactly that and they show is one of the most loved of its kind to date. 2. The Flintstones The popular 1960s cartoon The Flintstones may have become a hit around the world but it was not well received by everyone. One of television’s most iconic actors of all time, Jackie Gleason, was not happy about the show’s inspiration. According to Alan Reed Jr. (son of Alan Reed, who voiced Fred Flintstone), The Flintstones was <a href="http://www.thespectrum.com/story/entertainment/2015/09/24/alan-reed-jr-remembers-flintstones/72626720/" target="_blank" rel="noopener">inspired by The Honeymooners</a>, taking on the short-tempered and overbearing characteristics of Gleason’s vociferous Ralph Kramden. 3. The Odd Couple After it first premiered in 1970, viewers had some questions about the sexuality of Felix and Oscar, as the two men living as roommates in New York City. Felix, played by Tony Randall, raised the most eyebrows for his flamboyant mannerisms and interest in the arts. Worried that viewers would be turned off due to the continuous speculation, ABC executives made it a point in the show’s intro to state that the roommates were “divorced men.” 4. The Ed Sullivan Show In 1953 when Broadway director Joshua Logan asked to speak about his struggles with mental illness, what ensued was one of Ed Sullivan’s proudest TV moments. Worries about CBS’s reaction, Sullivan hesitantly allowed Logan to change the running order of the show to address his mental breakdown, recovery, and the stigma surrounding mental illness. It was met with momentary silence followed by a very big applause. In the weeks that followed, CBS was sent oodles of letters of appreciation. 5. Hogan’s Heroes CBS’s Hogan’s Heroes, which ran from 1965 to 1971, was set in an actual German POW camp during World War II. Despite being successful, the sitcom was heavily criticised, given the actual atrocities that were committed during the war. Surprisingly, many of the actors portraying the dim-witted German Nazis were Jewish, too. Image credit: Shutterstock

20 classic movie quotes you’ll love

From James Bond to Robin Williams in Dead Poets Society, these classic movie quotes are sure to bring a smile to your face. 1. "Bond. James Bond." Sean Connery in Dr No (1962) 2. “Carpe diem. Seize the day, boys. Make your lives extraordinary.” Robin Williams in Dead Poets Society (1989) 3. "ET phone home." Drew Barrymore in ET the Extra-terrestrial (1982) 4. "Frankly, my dear, I don't give a damn!" Clark Gable in Gone with the Wind (1939) 5. "Get busy living, or get busy dying." Tim Robbins in The Shawshank Redemption (1994) 6. "Go ahead, make my day." Clint Eastwood in Sudden Impact (1983) 7. "Here's looking at you, kid." Rick Blaine/Humphrey Bogart in Casablanca (1942) 8. "I never had any friends later on like the ones I had when I was 12. Jesus, does anyone?" Richard Dreyfuss in Stand By Me (1986) 9. "If you build it, he will come." Ray Liotta in Field of Dreams (1989) 10. "I'll be back." Arnold Schwarzenegger in The Terminator (1984) 11. "I'll have what she's having." Estelle Reiner in When Harry Met Sally (1989) 12. "I'm also just a girl standing in front of a boy asking him to love her." Julia Roberts in Notting Hill (1999) 13. "I'm gonna make him an offer he can't refuse." Marlon Brando in The Godfather (1972) 14. "Life is a box of chocolates, Forrest. You never know what you're gonna get." Sally Field in Forrest Gump (1994) 15. "Louis, I think this is the beginning of a beautiful friendship." Humphrey Bogart in Casablanca (1942) 16. "May the Force be with you." Harrison Ford in Star Wars (1977) 17. "Oh, Jerry, don't ask for the moon. We have the stars." Bette Davis in Now, Voyager (1942) 18. "Say hello to my little friend." Al Pacino in Scarface (1983) 19. "You had me at hello." Renee Zellweger in Jerry Maguire (1996) 20. “You're only supposed to blow the bloody doors off!” Michael Caine in The Italian Job (1969) Images: Getty

Movies

Readers respond: What's a cover song that's better than the original?

Just because a particular version of a song came first, doesn't necessarily mean it's better than a cover. We asked our readers what their favourite cover tracks are, and the response was overwhelming. Here's what they said. Moses Serugo - All Whitney Houston covers! Glen Crawford - Johnny Cash’s cover of Trent Reznor’s ‘Hurt’. It was one of the last songs Johnny recorded, and is awesome! Vicki Hunt - Torn by Natalie Imbruglia. Apparently someone recorded it before she did, although I've only heard her version, which was a major hit for her. Bruce Winther - Fields of Gold by Eva Cassidy. Sheila Schmidt - Bette Midler’s version of Beast of Burden is better than the Rolling Stones. Ken Jacob - Simply the Best by Tina Turner better than the original by Bonnie Tyler. Harold Hanlon - Elton John doing Lucy in the Sky with Diamonds. Judi Nicholls - U2 doing Unchained Melody. Michael Zoellner - Blinded By The Light by Manfred Mann. Much better than Bruce Springsteen who originally did the song. Jennifer Mitchell - Hallelujah by Lucy Thomas is absolutely beautiful. Leanne Guthrie - We've gotta get out of this place, The Angels. Best version ever!! Weeze Aitch - Horses by Darryl Braithwaite. Originally by Ricki Lee Jones. Noelene Braidwood - The Wonder Of You, by Elvis Presley. Michael Pemberton - All Along the Watchtower (Dylan) cover by the Jimi Hendrix Experience. Rick Graham - The Sound of Silence by Disturbed. Steve Pullan - Smooth Criminal by Alien Ant Farm. Deirdre Dee O'Hanlon McGregor - Dear Prudence Beatles song covered by Doug Parkinson, he does a great job, better than the Beatles. Graham Anderson - Can't think of one. The originals are the best. Image credits: Getty Images

Music

Happy songs: these are the musical elements that make us feel good

Music has a unique power <a href="https://www.researchgate.net/profile/Daniel-Vaestfjaell/publication/258173113_Emotion_Induction_through_Music_A_Review_of_the_Musical_Mood_Induction_Procedure/links/02e7e527c81174366e000000/Emotion-Induction-through-Music-A-Review-of-the-Musical-Mood-Induction-Procedure.pdf">to affect the way people feel</a> and many people use music to enhance or change their mood, channel emotions and for psychological support. The strong emotional impact of music is derived from its profound physical and psychological effects. For example, listening to relaxing music often has a positive impact on the <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1959222/">autonomic nervous system</a> (which regulates many key bodily functions), by slowing breathing, regulating heart rate, lowering blood pressure and reducing muscle tension. Listening to music also affects us at a deep physiological level, as it has a strong impact on the <a href="http://www.downloads.imune.net/medicalbooks/Neurochemistry%20of%20music.pdf">endocrine system</a>, which is responsible for hormone production. Music can stimulate the release of the neurotransmitters which affect experiences of pleasure by increasing the production of dopamine (the reward hormone), reducing levels of cortisol (the stress hormone) and increasing salivary immunoglobulin A – an antibody responsible for strengthening the immune system. Of course, these benefits are only experienced if we listen to music that we enjoy. <a href="http://www.brainvitge.org/papers/Science-2013-Salimpoor-216-9.pdf">Familiarity</a> also affects enjoyment, but even new music can stimulate positive physical and psychological responses if it is similar to other music that we like. Music we don’t like can have a strong adverse effect upon mood and wellbeing. Individual differences mean emotional <a href="https://journals.sagepub.com/doi/abs/10.1177/0305735618754688?journalCode=poma">reactions to songs differ</a> depending on the participant’s preferences and associations they might have with the music. If we don’t like the song (or it brings back negative memories), it won’t make us happy, regardless of the quality. <h2>Creating a personal soundscape</h2> Portable listening devices and music streaming platforms have made it possible to choose from an unprecedented selection of musical styles. People can now listen to their favourite music any time, anywhere. This means music can be used to create a personal soundscape. This is common when using public transport, for example, as many passengers use headphones to create an individualised sonic environment as a distraction from the less pleasant aspects of travelling on crowded and noisy transport systems. In a <a href="https://www.prnewsblog.com/news/health-wellbeing/15034/music-psychologist-reveals-the-formula-for-the-happiest-song-ever/">recent survey</a>, 71% of 2,000 participants reported that music was the strongest influence on their mood and almost 75% regularly listened to music to cheer themselves up. In response to these findings, I conducted a review of published research, to find out which musical features tend to be present in “happy” songs. It should be remembered that musical preferences and expectations are culture dependent. For example, some Asian cultures have different associations between positive/negative emotions and major/minor chords, so <a href="https://royalsocietypublishing.org/doi/10.1098/rsos.170952">western “happy songs” may not be globally interpreted as such.</a> Within western cultures, there are certain components of popular music which are commonly linked with positive emotions. Music that is perceived as “happy” is usually written in a major key with a bright tone, featuring instruments with a bright timbre, such as trumpets or electric guitars. “Happy” music usually adds <a href="https://royalsocietypublishing.org/doi/10.1098/rsos.170952">the seventh note of the scale</a> to the main three notes in the chord. This creates a brief feeling of tension – or pleasurable expectation – followed by relief or resolution when the harmonic progression proceeds as our previous listening experience predicts. For many people, listening to music becomes an immersive <a href="https://www.frontiersin.org/articles/10.3389/fpsyg.2015.00906/full">flow experience</a> which can distract from everyday concerns. Active musical participation through dancing or singing along brings additional enjoyment. A simple, consistent rhythm based on two or four beats in a bar increases a song’s “<a href="https://mashable.com/ad/feature/science-of-pop-music">danceability</a>”, while a binary structure – verse-chorus-verse-chorus – helps to establish familiarity so the song quickly becomes “<a href="https://www.york.ac.uk/news-and-events/features/pop-science/">sing-alongable</a>”. People generally <a href="https://mashable.com/ad/feature/science-of-pop-music">prefer familiar music</a>, or music which quickly becomes memorable. The most enjoyable songs are likely to be those which strike a satisfying <a href="https://www.sciencedirect.com/science/article/pii/S0960982219312588">balance between predictability and surprise</a>, providing an experience familiar enough to be pleasurable while avoiding being too simplistic or formulaic. Unexpected changes can intensify emotional responses. Listeners often derive the most pleasure from music when they are fairly sure about what will happen next but then an unexpected chord progression or key change provides a surprise. Based on previous experiences, listeners develop expectations about a piece of music. While familiar music tends to give the most pleasure, it also needs to contain enough “surprise” elements to retain enough interest to create a state of flow. This explains the use of a bridge or the middle eight (a section which is different from the verse and chorus) in many songs. Although “happy songs” are usually written in a <a href="https://www.researchgate.net/publication/301724912_Beyond_Happiness_and_Sadness_Affective_Associations_of_Lyrics_with_Modality_and_Dynamics">major key</a>, they sometimes include a section in a minor key to add interest. Good Vibrations by the Beach Boys begins with a verse in a minor key and then creates a strong emotional uplift as it switches into a bright major key for the chorus. <h2>The speed of happiness</h2> Faster music tends to induce more positive emotions than slower music. Research suggests that music that is perceived as happy is usually performed at a tempo between <a href="https://mymodernmet.com/10-happy-songs/">140 and 150 beats per minute (BPM)</a>. Songs people have said they use to <a href="https://open.spotify.com/playlist/7k00dawKjXgBBuq2nZyHmO">improve their mood</a> include Queen’s Don’t Stop Me Now at 156 BPM. Tempo is a confounding variable because <a href="https://journals.sagepub.com/doi/abs/10.1177/0305735618754688?journalCode=poma">faster music increases arousal/excitement</a>, but this may not always be associated with happiness. There may also be <a href="https://www.anderson.ucla.edu/documents/areas/fac/marketing/mogilner/Mogilner_Shifting_Meaning_of_Happiness_SPPS_2011.pdf">age-related differences</a> in interpretation. What is certain is that music can have a profound effect on our sense of wellbeing. Just stick on <a href="https://www.youtube.com/watch?v=pTdihu-mp90">James Brown’s I Got You</a> (or whatever might tempt you to do a happy dance) and start to feel good. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/happy-songs-these-are-the-musical-elements-that-make-us-feel-good-201342" target="_blank" rel="noopener">The Conversation</a>.

Music

“I’ve written some real stinkers”: Billy Joel reveals controversial songs

Singer and songwriter Billy Joel has revealed two non “woke” songs that may not have been written given today’s political climate. The Piano Man singer is one of the best-selling musicians to date, but the 73-year-old admitted in an interview with the LA Times that if he were to do it all over again, he would take away “at least 25 per cent” of his songs. “I’ve written some real stinkers I wish I could take back,” he said, citing ‘When in Rome’ from his 1989 album Storm Front and ‘C’était Toi’ from 1980’s Glass Houses. “I don’t even speak French, so I don’t know what I was doing. Sometimes I’d get six or seven songs I thought were pretty damn good, then there’d be a couple of squeeze-outs at the end just to fill up the album. I realise now I shouldn’t have done that.” Joel released 12 successful pop and rock albums between 1971 and 1993 but then stopped writing new material, save for Fantasies and Delusions, his 2001 album of classical compositions. Joel also told the LA Times that he didn’t make that decision “based on whether it was right or wrong”. “It just felt like it was time for me to stop writing songs,” he said. “I didn’t have the same motivation anymore. You need inspiration to create good new music, and if you don’t have it, don’t bother. Get off the treadmill, for Christ’s sake.” He was asked whether he considered “the current cultural and political climate” when organising a setlist, Joel said that it crossed his mind with a song such as ‘Captain Jack’, which references “the junkies and the closet queens”. “You mean are they woke? It crosses my mind,” he admitted. “But ‘Captain Jack’ has gotten real boring to me. The verse is just two chords over and over again, and it’s this dreary story of some suburban kid jacking off at home. My mind starts to wander during the song, so I don’t do it even though people want to hear it.” He agreed that ‘Only the Good Die Young’ was also a tough sell by ‘modern woke standards’. The song, featured on 1977’s The Stranger, was written from the perspective of a young man determined to have sex with a Catholic girl. The song has not aged well by today’s standards, with lyrics such as, “come out Virginia, don’t let me wait, you Catholic girls start much too late” and “they say there’s a heaven for those who will wait, some say it’s better, but I say it ain’t”. “It’s occurred to me recently that I’m trying to talk some poor innocent woman into losing her virginity because of my lust,” Joel said. “It’s kind of a selfish song — like, who cares what happens to you? What about what I want? But on the other hand, it was of its time. This was written in the mid-‘70s, and I was trying to seduce girls. Why bulls**t about it?” Image credit: Getty

Music

"Writing songs is my therapy": Ed Sheeran reveals further heartbreak

In the wake of the tragic news of the <a href="https://www.oversixty.com.au/news/news/tragedy-strikes-ed-sheeran-tour" target="_blank" rel="noopener">heartbreaking loss</a> suffered by his co-writer and touring partner, Ed Sheeran has taken to Instagram to share his struggle following a series of life-changing events – and how this has altered the course of his new album, Subtract. The singer shared how he “spiralled” into depression last year after his wife, Cherry, was diagnosed with a tumour during her second pregnancy, which couldn’t be treated until after she gave birth. The star explained that he was "trying to sculpt the perfect acoustic album" for almost a decade, when the series of events changed everything. “Writing songs is my therapy. It helps me make sense of my feelings. I wrote without thought of what the songs would be, I just wrote whatever tumbled out. “And in just over a week, I replaced a decade’s worth of work with my deepest darkest thoughts," he captioned. “Within the space of a month, my pregnant wife got told she had a tumour, with no route to treatment until after the birth. “My best friend Jamal [Edwards], a brother to me, died suddenly and I found myself standing in court defending my integrity and career as a songwriter. I was spiralling through fear, depression and anxiety. “I felt like I was drowning, head below the surface, looking up but not being able to break through for air". <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/CpPY7qyI6XB/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CpPY7qyI6XB/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Ed Sheeran (@teddysphotos)</a> </div> </blockquote> The four-time Grammy award winner shared that this album was a "trapdoor" into his soul, and a way for him to make sense of everything he's been through. Sheeran announced the birth of his second daughter, Jupiter, in May of last year. Subtract will be released on the 5th of May 2023, through Asylum/Atlantic. Image: Getty

Caring

I’m going to a classical music concert for the first time. What should I know?

Classical music is surprisingly controversial. For some, it’s a pinnacle of cultural achievement. For others it perpetuates class inequality and <a href="https://global.oup.com/academic/product/class-control-and-classical-music-9780190844356?cc=au&lang=en&">upholds</a> “white middle class social domination”. To controversy, we can add contradiction! We love to hear the instruments and idioms of classical music in film and television (think of the theme from The Crown or the music from the Harry Potter films), but experience has shown classical music is most effective at <a href="https://www.wqxr.org/story/classical-music-actually-effective-fighting-crime/">repelling loiterers</a> from public spaces. Engaging with the controversy and contradiction of this music requires more than streaming a minute or two of Mozart. <a href="https://pubmed.ncbi.nlm.nih.gov/23959902/%5D">Research shows</a> we make better judgements about music when hearing and seeing it, and classical music was designed to be experienced live. So are you considering giving classical music a go? Here are some tips for first-time concert goers. <h2>Where should I start?</h2> Concerts range from intimate performances by solo players to major works for choir and orchestra featuring hundreds of musicians. Terms like “chamber” (small ensembles like string quartets), “choral” (choirs large and small), “orchestral” (ranging from larger string ensembles to giant collections of strings, winds, brass and percussion) and “opera” (companies of musicians that include orchestral players, solo singers and sometimes a chorus) describe different groups of musicians. Each has its own repertoire and a dizzying array of terms (such as <a href="https://en.wikipedia.org/wiki/Aria">aria</a>, <a href="https://en.wikipedia.org/wiki/Concerto">concerto</a>, <a href="https://en.wikipedia.org/wiki/Sinfonia">sinfonia</a>, <a href="https://en.wikipedia.org/wiki/Oratorio">oratorio</a> and <a href="https://en.wikipedia.org/wiki/Cantata">cantata</a>) help describe the pieces these ensembles perform. The more you get to know classical music, the more you’ll understand and appreciate the terminology. One of the most common types of classical music you’ll come across is a symphony. A symphony is a substantial orchestral work with different sections or “movements”, each with a different character and tempo. Though the term “symphony” became popular in the 18th century, composers are still writing symphonies today. Symphonies differ in purpose and duration. They can be as short as ten minutes and as long as two hours. Sammartini’s Symphony in F from 1740, for example, has three movements and lasts about ten minutes. Its movements have simple, direct structures that aren’t too far removed from pop songs in terms of complexity and scope. Mahler’s third symphony from 1896, on the other hand, has six movements and lasts for 90 minutes. Its breadth and complexity are astounding. I would suggest a first timer selects an orchestral concert with multiple pieces on the program. You will get to enjoy the spectacle of many musicians and many different instruments. You’re also likely to be exposed to the work of composers from different times and places. If money is a concern, many orchestras put on <a href="https://concreteplayground.com/melbourne/event/the-msos-2023-sidney-myer-free-concerts">free concerts</a>. <h2>What should I expect?</h2> Classical music is pretty diverse. Just as rock ’n’ roll traverses anything from Buddy Holly to Thundermother, what we colloquially know as “classical music” spans many cultures and many centuries. Terms like “Baroque” (composed between 1600 and 1750), “Classical” (this time with a capital C, composed between 1730 and 1820), “Romantic” (around 1820 to 1900) and “Modern” (1890 to 1950) help us keep track of when the music was written. These eras also operate with regional descriptors such as French, German, Italian or Russian. Overlay this with subtleties of style and the distinct personalities of individual composers and you get a sense of the vast breadth of classical music. But it is also important to know classical music isn’t only a celebration of dead Europeans. It is a living tradition whose boundaries aren’t fixed. Classical music readily interacts with other types of music and crosses cultural boundaries to generate new styles and new sounds. Consider the Australian work <a href="https://www.abc.net.au/classic/read-and-watch/classic-australia/barton-hindson-kalkadungu-2007/11268328">Kalkadungu</a> by William Barton and Matthew Hindson, a work “designed to explore the transition of traditional song-lines between the past, present and future”. Though sometimes far removed from contemporary culture, every piece of classical music has something to say about the human experience. So, what to expect in the program? Expect to be surprised. <h2>What should I wear?</h2> Wear what makes you comfortable. While it’s not unusual for people to dress up for a concert, it isn’t compulsory, and ordinary casual clothes are fine. In the same way people dress up for the Melbourne Cup, some people wear black tie to the opera. Don’t let it faze you. <h2>When should I clap?</h2> While you might be moved to clap right after hearing an incredible feat of musicianship, modern audiences generally don’t clap whenever there is a pause in the music, such as between movements of a symphony. This reflects the idea that a symphony is a “complete” musical statement – including the pauses between sections. If you’re uncertain when to clap, wait until others do. <h2>What else should I keep in mind?</h2> Going to classical music should be about enjoying the concert! Here are some final tips on how to enjoy yourself. Enjoy the spectacle. There’s much to see at classical concerts. The interactions between the conductor and the orchestra can be particularly interesting. Watch as the conductor, with a flick of the baton, unleashes awesome sonic power. Appreciate the skill of the musicians. Classical performers are the elite in their field. It takes decades of training to do what they do. Learn something about the composer and the work. Some classical composers are saints (<a href="https://en.wikipedia.org/wiki/Hildegard_of_Bingen">Hildegard of Bingen</a>) and some may have been psychopaths (<a href="https://www.theguardian.com/music/tomserviceblog/2010/mar/18/carlo-gesualdo-composer-psychopath">Gesualdo</a>). Knowing who the composer is and what they were trying to achieve in their music will add to your appreciation. Keep in mind that your musical taste expands as you expose yourself to new and unfamiliar sounds. The more you listen, the more you are likely to enjoy. Oh, and sometimes, if the audience is adequately enthusiastic, there’ll be a short additional piece at the end. Encore! Image credits: Shutterstock This article originally appeared on <a href="https://theconversation.com/im-going-to-a-classical-music-concert-for-the-first-time-what-should-i-know-195290" target="_blank" rel="noopener">The Conversation</a>.

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I’m going to a classical music concert for the first time. What should I know?

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Newspaper

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Entertainment

Travel

Health

Lifestyle

Finance

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Compare

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Information

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Young musician dies weeks after writing final song

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Mariah Carey slapped with multi-million dollar lawsuit over hit festive song

“Deeply disappointed”: The Wiggles hit out at council’s “harsh” use of iconic song

It was written for nuclear disarmament – but today You’re The Voice is the perfect song for the ‘yes’ campaign

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Country music star's "racist" song divides audience

6 classic songs involved in lawsuits

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Readers respond: What's a song that is so beautiful it makes you cry?

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“I’ve written some real stinkers”: Billy Joel reveals controversial songs

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I’m going to a classical music concert for the first time. What should I know?

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