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West Side Story returns to Handa Opera on Sydney Harbour

Get ready to snap your fingers, tap your toes and experience the magic of Broadway in Sydney as Opera Australia presents the electrifying musical extravaganza West Side Story – making its triumphant return to the Handa Opera on Sydney Harbour stage in 2024. The 2019 production of West Side Story, if you were fortunate enough to grab seats, was an absolute smash hit. With record-breaking ticket sales and rave reviews, it's no wonder this show stole the hearts of over 65,000 theatre and musical buffs. Directed by the incomparable Francesca Zambello, West Side Story promises to once again whisk audiences away to the bustling streets of New York City, complete with iconic songs, heart-pounding dance numbers, and enough drama to fill the harbour twice over. Leonard Bernstein and Stephen Sondheim's musical masterpiece will once again take centre stage, accompanied by Jerome Robbins' legendary choreography – and this year, we were fortunate enough to be able to pose a few pre-performance questions to none other than Guy Simpson, the show’s musical director, and the all-singing, all-dancing Wayne Scott Kermond, who is playing “Doc” onstage. Let’s raise the curtain and see what they have to say! <img src="https://oversixtydev.blob.core.windows.net/media/2024/03/Guy-Simpson.jpg" alt="" width="1280" height="720" /> Guy Simpson Guy Simpson, a seasoned musical director with nearly 45 years of experience, boasts an illustrious career spanning global productions. Notably, his involvement with iconic shows like Miss Saigon and The Phantom of the Opera has taken him across continents, from Australia to Asia and beyond. Simpson's extensive repertoire includes serving as Musical Supervisor and Director for Opera Australia's acclaimed productions such as Evita, My Fair Lady, and of course West Side Story. Additionally, his contributions as an orchestrator and producer of cast recordings further solidify his stature in the musical theatre realm. With credits ranging from beloved classics like Les Misérables to contemporary hits like Muriel's Wedding, Simpson's versatile talent continues to enrich the world of musical theatre on an international scale. OverSixty: What memories do you have of your first time working on West Side Story – when was it and what was the experience like? Guy: “I was a rehearsal pianist for the 1983 production of West Side Story. The conductor was Dobbs Franks, who came from the US to conduct the first production of the show in 1960. So I was lucky to learn the show from him. I wasn’t in the orchestra and had tickets to watch opening night but during the afternoon of that day I received a call to play in the orchestra that night because the pianist was unwell. I’ll never forget that! Since then I have conducted three seasons of the show and learn more and more about it each time.” OverSixty: What were Bernstein’s influences and what impact did Bernstein’s score have when the musical first premiered? And why do you think it remains so recognised today? Guy: “Bernstein was influenced by many things. There is an <a href="https://www.wrti.org/arts-desk/2018-08-23/the-surprising-backstory-to-west-side-story" target="_blank" rel="noopener">excellent article by Debra Lew Harder</a> that outlines these influences. I love the combination of Jewish themes, Puerto Rican rhythm, Mexican dance music and of course American jazz. His classical roots also come in here – especially the music of Aaron Copland and George Gershwin. The genius is Bernstein's ability to blend all this into a score that tells the story so brilliantly." OverSixty: What’s your favourite moment in the music that audiences might not always notice but could listen out for? Guy: I like what is known as ‘THE BALCONY SCENE’. Most people will know it as the iconic love duet ‘TONIGHT’. In the show this scene moves between spoken dialogue (with underscoring), into the song and back into dialogue in a wonderfully cohesive way. It is so well crafted and is quite a challenge for the conductor to fit the music with the dialogue in a seamless way. I also love the scene in the bridal shop that includes the song ‘ONE HAND ONE HEART’. <img src="https://oversixtydev.blob.core.windows.net/media/2024/03/Wayne-Scott-Kermond-as-Doc.jpg" alt="" width="1280" height="720" /> Wayne Scott Kermond Wayne Scott Kermond, hailing from a rich lineage of Australian Vaudeville performers, epitomises the essence of musical theatre, comedy and cabaret. With a repertoire spanning from Anything Goes to Hairspray, including acclaimed performances in several productions of West Side Story, Kermond's versatility shines through. Additionally, he's showcased his creative prowess as the creator and star of captivating cabaret shows such as Candy Man and Jive Junkys. Beyond the stage, Kermond's talents extend to film, where he's contributed to projects like Happy Feet 1 & 2, and as a respected scriptwriter and director for various musicals, cabarets and corporate events. With accolades including a Green Room Award and Mo Award, alongside nominations for Helpmann Awards, Kermond's exceptional abilities and esteemed showbiz heritage solidify his status as an extraordinary Australian talent. OverSixty: You and Guy first worked on this musical 40 years ago, how does it feel to be coming back together on the Handa Opera version? Wayne: “I first performed in West Side Story at the old Her Majesty’s Theatre (Sydney), 40 years ago playing the youngest member of the Jets gang, ‘Baby John’, and then again in another fabulous production touring Australia / New Zealand in the mid-nineties playing Arab. And so it was lovely to be reminded by Guy on the first day of rehearsals for this season how special it is to us both, here we are, doing it again, just a little greyer." “We shared a few laughs about ‘where did that time go?’, and how ‘young’ we still look after all these years. It’s so great to work with Guy again, I think the last show we did together was Chicago, back in the late nineties. So with Guy's huge amount of expertise and experience at the helm as our Musical Director the show is in great hands. Wait till you hear the amazing Orchestra.” OverSixty: What about this musical’s story, lyrics, etc resonate with you and why do you think it keeps being seen on stage? Can it appeal to all ages? Wayne: “West Side Story is as iconic to music theatre as Swan Lake is to ballet. All great musicals such as West Side have to have a great love story; West Side certainly has that. And to add to that, also an incredible score, dynamic original choreography and a beautifully written book makes it a triple threat. That's why it stands the test of time – it's an inter-generational piece, whose story and message still stands today, which is the reason why I’m now getting the opportunity to play an adult character ‘Doc’ in this OA production 40 years later, as it will be for another artist, in another 40 years' time.” OverSixty: What’s your favourite moment in the show and why? Wayne: It is very difficult to say there is a favourite moment as there are so many. The whole journey of the show is something everyone who loves theatre should experience. The Prologue, Dance at the Gym, America, Cool, Tonight, Something's Comin, and not forgetting the Quintet powerhouse... Every part of this show is special, whether you're seeing the show for the first time or for the tenth time, it’s exhilarating, poignant and moving." “It’s especially wonderful for me to have been given the opportunity to revisit the show, after all these years later as a performer. And it’s very exciting to watch another generation of performers being given the opportunity to experience such an exceptional piece of theatre.” So, mark your calendars, Sydney-siders, because Handa Opera on Sydney Harbour is about to serve up a theatrical experience like no other. With world-class performances, breathtaking views of the harbour, and enough fireworks to make New Year's Eve jealous, this is one event you won't want to miss. So grab your tickets, grab your friends, and get ready to experience the magic of West Side Story like never before. See you at the opera! For more information and ticket sales, check out <a href="https://opera.org.au/productions/west-side-story-on-sydney-harbour/" target="_blank" rel="noopener">opera.org.au/harbour</a> All images: Supplied

Domestic Travel

Radio stars reveal their worst on-air moments

In celebration of 100 years of Australian radio, the who's-who of the Aussie airwaves have shared their most awkward interview moments. Ben Fordham, Amanda Keller and Fifi Box were among the radio presenters who recalled their worst on-air moments to <a href="https://www.news.com.au/entertainment/tv/radio/celebrity-interview-derailed-by-radio-stars-bulge/news-story/056c130ab09f85c3c9e14a0fdeb5587b" target="_blank" rel="noopener">news.com.au</a>, with the memorable moments ranging from mispronouncing a guest's name, to announcing the death of a celebrity who was very much still alive. 2GB's Ben Fordham revealed one of the more outrageous moments from his radio show, recalling when a caller asked him about classic Aussie TV show Simon Townsend's Wonder World. "I said, 'yeah, that was a great show. Sadly we lost Simon Townsend recently,' and then people started calling in saying, 'are you sure Simon Townsend is dead?'" he said. It turned out that Fordham had made an error, as it was actually Townsend's dog Woodrow who had died. He said, "When I came out of the ad-break I had to do a mop up job. It was pretty ugly." Amanda Keller from WSFM's Jonesy and Amanda shared a story about accidentally mispronouncing Weird Al Yankovic's name, despite her co-host trying to help her. "Jonesy (my co-host) kept telling me to pronounce his surname 'Yankovick', and I said, 'no, excuse me, it's pronounced 'Yankovich'." During the entire interview with the musician, Keller introduced the singer with her mispronunciation, and was eventually corrected by the singer when the time came for him to record a promo for the radio network. "It was humiliating," she said. Fifi Box recalled an experience back in 2013 when her then co-host Jules Lund blindfolded her and took her to a secret location for their show's 'Blackout Challenge.' "I was pregnant at the time, and basically found myself lying on a bed in a dark room being serenaded by the one and only David Hasselhoff!" she said. "The Hoff then decided it was funnier to take his pants off for an added extra surprise. Also, being heavily pregnant made the whole scenario a lot more awkward." Rounding out the awkwardness was KIIS FM's Will and Woody who had an uncomfortable interview with pop star Jennifer Lopez. "We overheard Jennifer Lopez screaming at her publicist about needing to do an interview with us. We were both dressed as Santa and had to go through the whole interview knowing that she really didn't want to be there," Will said. "Suffice to say that the interview wasn't one of our best." Image credits: Getty Images

Music

Princess Diana’s twin nieces' major announcement

Lady Amelia and Lady Eliza Spencer have announced that Australia’s most prestigious race wear event, Fashions on the Field will go global for the first time ever. The competition will be open to international fashion-lovers as they will be accepting digital entries, with a new category allowing them to compete for the Best Dressed and Best Suited awards. The international winners will then be flown to Flemington during Cup Week to experience the glitz and glam of the races, and compete in person during the live final against Australian state and territory finalists on Thursday November 9. Princess Diana's twin nieces championed the prospects of international entries to the prestigious event and worked together with the Lexus Melbourne Cup trophy to make it a reality. "Racewear fashion really is its own fashion category and I know there will be some amazing international entries for the Melbourne Cup Carnival Fashions on the Field competition," Lady Eliza said. "It was great to discover some wonderful Australian labels at our Melbourne Cup Carnival Fashions on the Field shoot in London and I can't wait to see the style and creativity of entrants this year," Lady Amelia added. Victoria Race Club Chairman Neil Wilson also shared his excitement for opening up the event to internationals. "Fashion is a universally appreciated expression of people's individual style and we look forward to racing enthusiasts across the globe showcasing their unique take on race wear on track at Flemington or virtually, which will include the new international competition for the first time," he said. Image: Victoria Racing Club

Beauty & Style

Little House on the Prairie star passes away

Hersha Parady, renowned for her role in Little House on the Prairie, has passed away at the age of 78. According to a statement provided to The Hollywood Reporter by her son, Jonathan Peverall, Parady passed away at her residence in Norfolk, Virginia on Wednesday August 23. Her son had been actively seeking financial assistance before her demise, as Parady had been diagnosed with meningioma, a prevalent type of brain tumour. Peverall initiated a <a href="https://www.gofundme.com/f/helping-hersha" target="_blank" rel="noopener">GoFundMe campaign</a> with the intention of aiding his mother's escalating medical expenses. In a heartfelt plea on the fundraising page, he recounted how the illness had depleted her vitality, memory and vibrant demeanour, rendering her predominantly bedridden and struggling with day-to-day tasks. Relocating his mother to his own home, Peverall worked diligently to ensure she received the necessary medical attention. He emphasised that the associated costs extended beyond medical procedures, encompassing aspects such as moving expenditures, at-home nursing care and medical equipment. "While we contemplate a surgery to potentially ameliorate her condition, the path to recovery is an arduous one," he stated, acknowledging the substantial financial burden posed by these circumstances. Balancing a full-time job and caring for his three children added to the challenge, yet he reassured that they were providing the best care they could, regardless of external contributions. "Rest assured, we are taking care of her to the best of our ability, and we will continue to do so, regardless of any contributions made here," Peverall wrote. "This GoFundMe is about improving my Mom’s quality of life and giving her the support she needs during this difficult time. It's also about showing her that she is not alone in her fight. "Her family and friends have been here supporting her through everything, but there is only so much help she is willing to accept from the people she loves. My Mom has always been a fiercely independent woman, and asking for help isn't in her nature. That's why I'm stepping in to do it on her behalf." Peverall expressed his gratitude and urged supporters to rally around Parady, demonstrating that her on-screen "Little House" family was united in this battle, just as she had been a presence in their lives through the show. In an update dated August 1, Peverall shared that his mother had undergone a "successful" surgery. However, complications arose as Parady developed pneumonia during her recovery, leading to her admission to the intensive care unit. Unfortunately, her condition deteriorated to a point where she couldn't regain full consciousness. The medical team at the hospital launched an investigation into her condition. Peverall maintained ongoing communication with the medical professionals, seeking insights to guide the best decisions for her care. Despite the trying circumstances, he expressed hope and called upon others to remain optimistic. Parady embarked on her career in theater after graduating from Berea High School in 1963. Her journey took her to Los Angeles, where she secured a role opposite Jon Voight in a production of A Streetcar Named Desire. Subsequently, she transitioned to the silver screen, featuring in an episode of Bearcats!. However, it was in 1977 that Parady achieved widespread recognition for her portrayal of school teacher Alice Garvey in the fourth season of Little House on the Prairie. Appearing in 35 more episodes, her character, Alice, met a tragic end in season six, perishing in a fire. The actress also appeared in other shows including Kenan & Kel, The Phoenix, and The Quest, and movies like The Break and The Babysitter's Seduction. Parady is survived by her son Jonathan Peverall and her three grandchildren. Images: GoFundMe / Instagram

News

Why Air NZ is asking passengers to hop on the scales

Until July 2, passengers departing on international Air New Zealand flights from Auckland International Airport are being asked to step on the scales before their trip. New Zealand’s Civil Aviation Authority are making the request as part of a “weight survey” program - one required to take place every five years - and hoping to gather more information on the weight loads and distributions for aircrafts. “We weigh everything that goes on the aircraft - from the cargo to the meals onboard, to the luggage in the hold,” Air NZ’s load control improvement specialist Alastair James explained. “For customers, crew and cabin bags, we use average weights, which we get from doing this survey.” James went on to note that they are aware “stepping on the scales can be daunting”, as weight is a personal issue that many do not want to make public knowledge. And for any passengers with such concerns, the airline has promised to protect their privacy, with the data being kept anonymous. “We want to reassure our customers there is no visible display anywhere," he said. “No one can see your weight - not even us! It’s completely anonymous.” Two scales are to be set up in Auckland International Airport’s gate lounges - one that travellers will be asked to stand on, with their weight submitted for the survey, and another for their luggage in a separate weighing process. In order for the survey to be effective, 10,000 passengers must participate over the course of five weeks. “It’s simple, it’s voluntary,” James added, “and by weighing in, you’ll be helping us to fly you safely and efficiently, every time.” Air NZ’s project also means that passengers experiencing one of the world’s longest flights - the 17-hour flagship trip from Auckland to New York City’s JFK Airport - for the first time may find themselves asked to participate. It isn’t the first time the airline has requested its passengers hop on the scales before their trips either, with a similar survey taking place in 2021. And while the international research was meant to be conducted at an earlier date as well, the pandemic brought those plans to a temporary halt. And similar surveys are undertaken all across the globe, with Flight Global revealing that a survey by the European Union Aviation Safety Agency in 2022 discovered that the average weight of passengers has remained “relatively unchanged” for the past 15 years. Images: Getty

International Travel

Kendall Roy’s playlist: why hip hop is the perfect counterpoint for Succession’s entitled plutocrats

<a href="https://theconversation.com/profiles/j-griffith-rollefson-952418">J. Griffith Rollefson</a>, <a href="https://theconversation.com/institutions/university-college-cork-1321">University College Cork</a> From the very first minutes of HBO’s hit drama series, <a href="https://theconversation.com/succession-how-true-to-life-is-the-tv-series-170139">Succession</a>, hip hop is used to underpin, juxtapose and comment on the story of corporate intrigue, capitalist entitlement and white privilege. Just as a hip hop beat underscores the classical piano lines to <a href="https://www.youtube.com/watch?v=77PsqaWzwG0&ab_channel=HBO">the show’s theme song</a> by composer Nicholas Britell, hip hop’s swaggering braggadocio acts as a counterpoint to the Roy family’s rarefied worlds of high finance and plutocratic untouchability. <figure><iframe src="https://www.youtube.com/embed/3eTTkxM8QLE?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>The first scene of Succession’s pilot episode.</figcaption></figure> Recalling the opening scene to Office Space (1999) – which begins knee-deep in cringey, white boy, <a href="https://www.youtube.com/watch?v=XASNM1XEQPs&ab_channel=JoseHernandez">gangsta karaoke</a> – Succession’s first episode introduces wannabe-protagonist Kendall Roy (Jeremy Strong) with a similarly embarrassing set piece. The businessman is riding in the back of a limo, listening to <a href="https://www.youtube.com/watch?v=ny6hwUOFvlw">An Open Letter to NYC</a> by the Beastie Boys, as the hustle and bustle of Manhattan rolls by. But when the backing track fades, <a href="https://www.youtube.com/watch?v=3eTTkxM8QLE&ab_channel=OpeningScenes">Kendall’s own voice is revealed</a>, thin and childish, rapping along to the lyrics about skyscrapers and Wall Street traders. This wannabe hip hop businessman persona is at the core of Kendall’s deeply conflicted character. This persona is in full bloom in a memorable season two episode, where Kendall performs L to the OG, a rap tribute to his father Logan Roy (Brian Cox), earning him the nickname “Ken.W.A.” from brother Roman (Kieran Culkin), a la the infamous Compton rap group NWA. As I explain in my book, <a href="https://criticalexcess.org/">Critical Excess: Watch the Throne and the New Gilded Age</a>, corporate board rooms and <a href="https://www.dukeupress.edu/the-real-hiphop">hip hop ciphers</a> are no longer as incompatible as they might seem. This is exemplified through American rap superstars Jay Z and Kanye West’s (now known as Ye) collaborative “<a href="https://genius.com/Jay-z-and-kanye-west-otis-lyrics">luxury rap</a>” album, Watch the Throne (2011). <figure><iframe src="https://www.youtube.com/embed/6dUDQTc-9kM?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>Kendall rapping in season two of Succession.</figcaption></figure> In season four, <a href="https://www.youtube.com/watch?v=GNbfEC-AeHs&ab_channel=ob9RJ2mJhoMPHH">Kendall listens</a> to <a href="https://www.youtube.com/watch?v=IHiFMW8s6zk&ab_channel=JAYZ-Topic">Jay Z’s The Takeover</a> (2001) on his way to work in the ATN news studio. It’s not surprising that Jay Z is a favourite. The rapper-turned-entrepreneur once rapped the lines: “I’m not a businessman, I’m a business, man!” in his verse on Ye’s <a href="https://www.youtube.com/watch?v=aI0jNu-G5Hw&ab_channel=KanyeWest-Topic">Diamonds from Sierra Leone</a> (2005), an attitude it’s easy to imagine Kendall aligning himself with. It’s also no coincidence that this dysfunctional family is named Roy, French for “king”, another link to Watch the Throne and the hustle to become “<a href="https://www.complex.com/music/2020/05/who-is-king-of-new-york">king of New York</a>”. Real-life media mogul family, the Murdochs, are widely believed to have <a href="https://www.vanityfair.com/news/2023/04/rupert-murdoch-cover-story">inspired Succession</a>. But the hip hop connection is particularly uncanny. In 1995, Rupert Murdoch’s youngest son, James, bankrolled the hot new hip hop label Rawkus Records. Soon thereafter Murdoch’s News Corp bought a majority share in Rawkus and artists reportedly <a href="https://www.theguardian.com/media/2011/jul/11/james-murdoch-hip-hop">started complaining about unpaid royalties</a>. <h2>Hip hop as Kendall’s hype music</h2> Rap music is <a href="https://www.jstor.org/stable/10.5406/musimoviimag.2.1.0026">repeatedly used</a> to show Kendall’s need for a boost of confidence – a need once satisfied by <a href="https://www.youtube.com/watch?v=y9gIa3Xqycg">his substance abuse</a>. Hip hop pioneer <a href="https://www.allmusic.com/artist/krs-one-mn0000359119/biography">KRS-One</a> reportedly once likened hip hop to a “<a href="https://floodmagazine.com/42937/quelle-chris-being-you-is-great-i-wish-i-could-be-you-more-often/">confidence sandwich</a>” for its ability to help America’s forgotten underclasses find the strength to get up and fight the good fight, from enduring the daily grind to organising for a better world. But what happens when this swag burger is blaring in the ears of an out-of-touch CEO? <figure><iframe src="https://www.youtube.com/embed/GNbfEC-AeHs?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>Kendall listening to Jay Z’s The Takeover.</figcaption></figure> As the late, great Black music critic <a href="https://www.penguinrandomhouse.com/books/176649/everything-but-the-burden-by-edited-by-greg-tate/">Greg Tate</a> suggests, hip hop has been a site of “the Elvis effect” for decades, with white artists and businessmen profiting mightily from Black creative cultures. This history stretches back to rock and roll, jazz, blues and beyond. The boost that hip hop gives him allows Kendall to do horrible things. This echoes the way hip hop group De La Soul describes so-called “crossover” music as a “<a href="https://www.youtube.com/watch?v=n0X2h56qlG4&ab_channel=DeLaSoulVEVO">double cross</a>” on their concept album Buhloone Mindstate (1993). As Kendall exemplifies again and again, when hip hop’s witty but often crass wordplay is decontextualised by white men, it almost always comes off as disrespectful frat boy voyeurism. Indeed, London rapper, Roots Manuva recently retweeted a nice <a href="https://twitter.com/TheWrongtom/status/1654768980828082177?s=20">case in point</a> on the eve of another high profile “succession” – King Charles III’s accession to the British throne. So while established rapper <a href="https://www.redbullmusicacademy.com/lectures/pusha-t">Pusha T</a> has recently collaborated with Britell on <a href="https://www.youtube.com/watch?v=sF5IU-Pyn2A&ab_channel=PushaTVEVO">a remix of Succession’s theme song</a> and while Jay and Ye continue to infiltrate the rarefied white spaces of corporate board rooms and <a href="https://www.youtube.com/watch?v=jLmQ57mEGFs">seats of political power</a>, these relationships <a href="https://www.penguinrandomhouse.com/books/176649/everything-but-the-burden-by-edited-by-greg-tate/">remain deeply asymmetrical</a>.<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/205773/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/j-griffith-rollefson-952418">J. Griffith Rollefson</a>, Professor of Music, <a href="https://theconversation.com/institutions/university-college-cork-1321">University College Cork</a> Image credits: HBO 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/kendall-roys-playlist-why-hip-hop-is-the-perfect-counterpoint-for-successions-entitled-plutocrats-205773">original article</a>.

Music

106-year-old tattoo artist becomes Vogue’s oldest cover star

Apo Maria ‘Whang-Od’ Oggay has made history as the oldest woman to have featured on the cover of Vogue. Regarded as the last mambabatok of her generation, Whang-Od was born in the remote village of Buscalan in the northern Philippines’ province of Kalinga in 1918, and entered the world of tattooing at just 16 years old. As Vogue Philippines’s editor-in-chief Bea Valdes explained of their decision to feature her on the cover, “we felt she represented our ideals of what is beautiful about our Filipino culture. "We believe that the concept of beauty needs to evolve, and include diverse and inclusive faces and forms. What we hope to speak about is the beauty of humanity.” And Whang-Od was the perfect choice. Vogue Philippines’ demonstrated as much when they wrote on Twitter that “the symbols of the Kalinga tribe signifying strength, bravery & beauty” are imprinted on her skin, and that Whang-Od embodies the “strength and beauty of the Filipino spirit”. <blockquote class="twitter-tweet"> Apo Maria “Whang-Od” Oggay symbolizes the strength and beauty of the Filipino spirit. Heralded as the last mambabatok of her generation, she has imprinted the symbols of the Kalinga tribe signifying strength, bravery & beauty on the skin. Read more on <a href="https://t.co/2F1mJ5iQWG">https://t.co/2F1mJ5iQWG</a>. <a href="https://t.co/urVcA3g2Ek">pic.twitter.com/urVcA3g2Ek</a> — Vogue Philippines (@vogueph) <a href="https://twitter.com/vogueph/status/1641276503433572353?ref_src=twsrc%5Etfw">March 30, 2023</a></blockquote> As tattoo anthropologist Dr Lars Krutak found out for Vogue, it was through Whang-Od’s father’s mentorship that she launched her career in tattooing. She was the first - and only - mambabatok of her time, and would spend her time visiting neighbouring villages - and beyond - to “to imprint the sacred symbols of their ancestors on individuals who have crossed or about to cross a threshold in their lives.” Her own life story can be found on her skin - featuring everything from her accomplishments to her ailments, and even the names of past lovers - in a story of beauty, bravery, and the heritage of the Kalinga tribe. For men, tattoos reflected them as “a headhunting warrior”, while women were typically tattooed for “fertility and beautification”. As Vogue reported, the elder women of Kalinga say that “when they die, they can’t take their beads and gold with them to the afterlife. They only have the markings on their body.” As Vogue went on to cover, decades of colonial erasure had a significant impact on batok - in Kalinga, village girls had to cover their arms, while many others abandoned the art. But through Whang-Od and her descendants, the ancient art of batok will continue - both in Buscalan and the rest of the world. Batok itself, as explained by the Vogue team who had the honour of receiving a tattoo from Whang-Od, involves “an unused gisi, a bamboo stick with a thorn attached to one end” and a pattern traced “using a length of grass dipped in the soot and charcoal mixture”. The process then sees Whang-Od hold the inked gisi in one hand, while she “uses a larger stick to whack it with her right hand, driving it over a hundred times per minute into the flesh until the three dots are filled and oozing with blood and ink. She dabs at them with a wet wipe before deciding to go over the freshly wounded spots again for good measure.” And now, Whang-Od has been teaching her craft to her grand-niece, Grace Palicas. Under Whang-Od’s mentorship, the thousand-year-old tradition will live on, as the next generation of stick-and-thorn artists strive to preserve their craft, and share it with the world. As for Whang-Od herself? Her plans are quite simple, with the artist explaining that “when visitors come from far away, I will give them the tatak Buscalan, tatak Kalinga for as long as my eyes can see.” Images: Instagram

Beauty & Style

As the global musical phenomenon turns 50, a hip-hop professor explains what the word ‘dope’ means to him

After I finished my Ph.D. in 2017, several newspaper reporters wrote about the job I’d accepted at the University of Virginia as an assistant professor of hip-hop. “A.D. Carson just scored, arguably, the dopest job ever,” one <a href="https://www.usatoday.com/story/news/2017/07/03/virginia-ad-carson-hip-hop-professor/435032001/">journalist wrote</a>. The writer may not have meant it the way I read it, but the terminology was significant to me. Hip-hop’s early luminaries transformed the word’s original meanings, using it as a synonym for cool. In the 50 years since, it endures as an expression of respect and praise – and illegal substances. In that context, dope has everything to do with my work. In the year I graduated from college, one of my best friends was sent to federal prison for possession of crack cocaine with intent to distribute. He served nearly a decade and has been back in prison several times since. But before he went to prison, he helped me finish school by paying off my tuition. In a very real way, dope has as much to do with me finishing my studies and becoming a professor as it does with him serving time in a federal prison. <h2>Academic dope</h2> For my Ph.D. dissertation in Rhetorics, Communications, and Information Design, I wrote a <a href="http://phd.aydeethegreat.com/">rap album</a> titled “Owning My Masters: The Rhetorics of Rhymes & Revolutions.” A peer-reviewed, mastered version of the album is due out this summer from University of Michigan Press. Part of my reasoning for writing it that way involved my ideas about dope. I want to question who gets to determine who and what are dope and whether any university can produce expertise on the people who created hip-hop. While I was initially met with <a href="https://www.theatlantic.com/national/archive/2016/04/clemson-university-arrests/478455/">considerable resistance</a> for my work at Clemson, the university eventually became supportive and touted “<a href="https://news.clemson.edu/clemson-doctoral-student-produces-rap-album-for-dissertation-it-goes-viral/">a dissertation with a beat</a>.” <blockquote class="twitter-tweet"> A Dissertation with a Beat. 🔊🎤 🔊<a href="https://twitter.com/hashtag/Clemson?src=hash&ref_src=twsrc%5Etfw">#Clemson</a> doctoral student produces rap album for dissertation; it goes viral ➡️ <a href="https://t.co/wgiM9LS6k5">https://t.co/wgiM9LS6k5</a> <a href="https://t.co/r1lmBYXV2S">pic.twitter.com/r1lmBYXV2S</a> — Clemson University (@ClemsonUniv) <a href="https://twitter.com/ClemsonUniv/status/845990987440652289?ref_src=twsrc%5Etfw">March 26, 2017</a></blockquote> Clemson is not the only school to recognize hip-hop as dope. In the 50 years since its start at <a href="https://theconversation.com/hip-hop-holiday-signals-a-turning-point-in-education-for-a-music-form-that-began-at-a-back-to-school-party-in-the-bronx-165525">a back-to-school party</a> in the South Bronx, hip-hop, the culture and its art forms have come a long way to a place of relative prominence in educational institutions. Since 2013, Harvard University has housed the <a href="https://hutchinscenter.fas.harvard.edu/institutes/hiphop-archive-research-institute">Hiphop Archive & Research Institute</a> and the <a href="https://hutchinscenter.fas.harvard.edu/faq/nasir-jones-hiphop-fellowship">Nasir Jones Hiphop Fellowship</a> that funds scholars and artists who demonstrate “exceptional scholarship and creativity in the arts in connection with Hiphop.” UCLA announced an <a href="https://www.latimes.com/entertainment-arts/music/story/2022-03-28/ucla-hip-hop-initiative-chuck-d">ambitious Hip Hop Initiative</a> to kick off the golden anniversary. The initiative includes artist residencies, community engagement programs, a book series and a digital archive project. Perhaps my receiving tenure and promotion at the University of Virginia is part of the school’s attempt to help codify the existence of hip-hop scholarship. When I write about “dope,” I’m thinking of Black people like drugs to which the U.S. is addicted. Dope is a frame to help clarify the attempts, throughout American history, at outlawing and <a href="https://www.ilsos.gov/departments/archives/online_exhibits/100_documents/1853-black-law.html">legalizing</a> the presence of Black people and Black culture. As dope, Black people are America’s constant ailment and cure. To me, dope is an aspiration and a methodology to acknowledge and resist America’s steady surveillance, scrutiny and criminalization of Blackness. By this definition, dope is not only what we are, it’s also who we want to be and how we demonstrate our being. Dope is about what we can make with what we are given. Dope is a product of conditions created by America. It is also a product that helped create America. Whenever Blackness has been seen as lucrative, businesses like record companies and institutions like colleges and universities have sought to capitalize. To remove the negative stigmas associated with dope, these institutions cast themselves in roles similar to a pharmacy. Even though I don’t believe academia has the power or authority to bestow hip-hop credibility, a question remains – does having a Ph.D and producing rap music as <a href="https://theconversation.com/hip-hop-professor-looks-to-open-doors-with-worlds-first-peer-reviewed-rap-album-153761">peer-reviewed publications</a>change my dopeness in some way? <h2>Legalizing dope</h2> Though I earned a Ph.D by rapping, my own relationship to hip-hop in academic institutions remains fraught. Part of the problem was noted in 2014 by Michelle Alexander, a legal scholar and author of “<a href="http://newjimcrow.com/">The New Jim Crow</a>,” when she talked about <a href="http://www.drugpolicy.org/resource/new-jim-crow-whats-next-talk-michelle-alexander-and-dpas-asha-bandele">her concerns about</a> the legalization of marijuana in different U.S. states. “In many ways the imagery doesn’t sit right,” she said. “Here are white men poised to run big marijuana businesses … after 40 years of impoverished black kids getting prison time for selling weed, and their families and futures destroyed. Now, white men are planning to get rich doing precisely the same thing?” I feel the same way about dopeness in academia. Since hip-hop has emerged as a global phenomenon largely embraced by many of the “academically trained” music scholars who initially rejected it, how will those scholars and their schools now make way for the people they have historically excluded? This is why that quote about me “scoring, arguably, the dopest job ever” has stuck with me. I wonder if it’s fair to call what I do a form of legalized dope. <h2>America’s dope-dealing history</h2> In the late 1990s, I saw how fast hip-hop had become inescapable across the U.S., even in the small Midwestern town of Decatur, Illinois, where I grew up with my friend who is now serving federal prison time. He and I have remained in contact. Among the things we discuss is how unlikely it is that I would be able to do what I do without his doing what he did. Given the economic realities faced by people after leaving prison, we both know there are limitations to his opportunities if we choose to see our successes as shared accomplishments. Depending on how dope is interpreted, prisons and universities serve as probable destinations for people who make their living with it. It has kept him in prison roughly the same amount of time as it has kept me in graduate school and in my profession. This present reality has historical significance for how I think of dope, and what it means for people to have their existence authorized or legalized, and America’s relationship to Black people. Many of the buildings at Clemson were built in the late 1880s using “<a href="http://glimpse.clemson.edu/convict-labor/">laborers convicted of mostly petty crimes</a>” that the state of South Carolina leased to the university. Similarly, the University of Virginia was built by <a href="https://dei.virginia.edu/resources">renting enslaved laborers</a>. The University also is required by state law to purchase office furniture from a state-owned company that <a href="https://www.insidehighered.com/news/2020/02/14/public-universities-several-states-are-required-buy-prison-industries">depends on imprisoned people for labor</a>. The people who make the furniture are paid very little to do so. The people in the federal prison where my friend who helped me pay for college is now housed work for paltry wages making towels and shirts for the U.S. Army. Even with all of the time and distance between our pasts and present, our paths are still inextricably intertwined – along with all those others on or near the seemingly transient line that divides “legal” and “illegal” dope. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/as-the-global-musical-phenomenon-turns-50-a-hip-hop-professor-explains-what-the-word-dope-means-to-him-200872" target="_blank" rel="noopener">The Conversation</a>.

Music

"Downhearted": Rod Stewart reveals sad reason for cancellation

Fans of Rod Stewart, Cyndi Lauper and Jon Stevens were left devastated after the trio’s highly anticipated performance was cancelled hours before they were due to take the stage. The sad announcement was made just after midday, with the trio set to perform at 4 pm at A Day on the Green festival in Mt Duneed Estate in Geelong, Victoria. Stewart took to Instagram to share his heartfelt apology, “Hello, my friends. I’m absolutely downhearted that I’m disappointing my fans who bought tickets to A Day on the Green. “Late this morning I was advised that I have a viral infection and my throat is too irritated to sing. I’m only human and sometimes get sick just like you do. “My greatest joy is performing for you, so I’m doing everything I can to get on the mend and back on stage!” <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/Cp7XzziNTVN/?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/Cp7XzziNTVN/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Sir Rod Stewart (@sirrodstewart)</a> </div> </blockquote> On Saturday, the promoters of the event posted an online statement confirming that the show was cancelled. The statement read: “Live Nation and Roundhouse Entertainment regret to announce that tonight’s performance, Saturday 18 March 2023, by Rod Stewart, Cyndi Lauper and Jon Stevens at Mt. Duneed Estate, Geelong will not go ahead, due to illness.” Ticketmaster also apologised for the cancellation and to hold on to their tickets while they wait for further updates regarding the show. Hundreds of fans have shared their disappointment, with some saying they had travelled just for the show. “Would’ve been good to receive an email/text and not have to find out from a random in a cafe. Booked a weekend away for my mother-in-law’s 60th birthday which is today, we’re beyond devastated,” one person commented in an Instagram post from A Day on the Green. “A text or email would have been lovely, we just arrived after driving 5 hours and our notification was the sign out the front. This was my partner's dads Christmas present,” commented another. <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/Cp6WmRLOsHo/?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/Cp6WmRLOsHo/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by A Day On The Green (@adayonthegreenofficial)</a> </div> </blockquote> Others have expressed their sympathy in response to the statement shared by Stewart. “It's all good Sir Rod.. Take care of your people first.. The rest can be sorted out afterwards…” wrote one user. “I hope it's nothing too serious. Sending hugs. 💜” shared another fan. “Hope you feel better soon. Must have been an awful decision to make to cancel at such short notice,” wrote a third. Image: Oscar Gonzalez/Getty Images

Music

Fiddler on the Roof star passes away

Chaim Topol has passed away at the age of 87. The Israeli actor, known around the world for his role as Tevye the Milkman in Fiddler on the Roof, died at home with his loved ones at his side. He is survived by his wife and three children. Topol’s son had previously confirmed that the actor had been diagnosed with dementia in 2022, while The Times of Israel reported that the 87-year-old had been battling with Alzheimer’s for years. Israel’s president Isaac Herzog announced Topol’s death in a statement, describing him as a “gifted actor who conquered many stages in Israel and overseas, filled the cinema screens with his presence, and most importantly entered deep into our hearts.” <blockquote class="twitter-tweet"> President <a href="https://twitter.com/Isaac_Herzog?ref_src=twsrc%5Etfw">@Isaac_Herzog</a> mourns the passing of Chaim Topol: <a href="https://t.co/PXWYUKq8iY">pic.twitter.com/PXWYUKq8iY</a> — Office of the President of Israel (@IsraelPresident) <a href="https://twitter.com/IsraelPresident/status/1633716213925724160?ref_src=twsrc%5Etfw">March 9, 2023</a></blockquote> Topol was just 30 years old when he first stepped into the role of Tevye in 1996 for the stage musical Fiddler on the Roof. At the time, he was required to wear makeup and special costuming to make him look older than he was, but by the time he finished performing in 2009, he had to act younger, as he was then in his 70s. It has been estimated - and claimed by Topol himself in 2014 - that he had portrayed Tevye in the stage play over 4000 times. His credits weren’t limited just to the stage, however, with the actor also diving in as the beloved character for the 1971 screen adaptation. For this work, he secured himself nominations for both an Academy Award and a Golden Globe. While he did not win the Oscar, he did go home with the Golden Globe award. He also received a Tony Award nomination in 1991 for the Broadway revival. Throughout his career, Teyve was the first character people recognised him for, though Topol didn’t seem to mind. In a 2015 interview, he said “how many people are known for one part? How many people in my profession are known worldwide?” Production took him across the globe with Fiddler on the Roof, and saw him visit everywhere from Australia to Europe, Asia, and Israel. “Sometimes I am surprised when I come to China, or when I come to Tokyo, or when I come to France, or when I come to wherever, and the clerk at immigration says ‘Topol, Topol, are you Topol?’” he said, “many people saw [the play] and it’s not a bad thing.” Topol also starred in the likes of Galileo, Flash Gordon, and For Your Eyes Only, as well as providing his voice for Hebrew dubs of both The Jungle Book and two Harry Potter films. His later years, however, saw him turn to writing and illustrating books. And in 2015, the actor was awarded The Israel Prize by the State of Israel, something that is considered to be one of the state’s top cultural honours. Images: Getty

News

Daryl Braithwaite joins Harry Styles on stage for a show-stopping performance

As Harry Styles finished up his Love on Tour shows in Australia, he was joined by an impressive 70,000-strong crowd in Sydney's Accor Stadium. On Saturday night, after two weeks Down Under, Styles performed his final show in Australia before heading to New Zealand. As a special treat for his fans to commemorate the final Aussie show, the British pop icon brought an Aussie legend to the stage. “It’s our last show in Australia, so it only felt right to do something a little bit special,” Harry told his fans. “Please welcome, Mr Daryl Braithwaite!” In a true display of Australianism, Daryl Braithwaite led a duet of The Horses as the entire crowd sang along, with Styles dancing alongside him. <div class="embed" style="font-size: 16px; box-sizing: inherit; margin: 0px; padding: 0px; border: 0px; vertical-align: baseline; outline: none !important;"><iframe class="embedly-embed" style="box-sizing: inherit; margin: 0px; padding: 0px; border-width: 0px; vertical-align: baseline; width: 610px; max-width: 100%; outline: none !important;" title="tiktok embed" src="https://cdn.embedly.com/widgets/media.html?src=https%3A%2F%2Fwww.tiktok.com%2Fembed%2Fv2%2F7206678993213426945&display_name=tiktok&url=https%3A%2F%2Fwww.tiktok.com%2F%40yourislandgyalmb%2Fvideo%2F7206678993213426945&image=https%3A%2F%2Fp16-sign-sg.tiktokcdn.com%2Fobj%2Ftos-alisg-p-0037%2F15d698da8fda4e8e9aea6713dcd8c6bf_1677935718%3Fx-expires%3D1678075200%26x-signature%3Dn3BzCrm7n9lxLVMnztJiIKKoiTA%253D&key=59e3ae3acaa649a5a98672932445e203&type=text%2Fhtml&schema=tiktok" width="340" height="700" frameborder="0" scrolling="no" allowfullscreen="allowfullscreen"></iframe></div> As the song finished, Harry told the crowd the "Aussie was coursing through my veins," before explaining, “He’s a TimTam, he’s a shoey, he’s Vegemite ... He’s Mr Daryl Braithwaite!” The iconic on-stage moment comes just days after Daryl attended Harry's Melbourne show, in which Styles also sang a cover of The Horses, not knowing the man behind the song's Aussie fame was in the crowd. Braithwaite was impressed by Styles' cover, sharing his admiration for him on Facebook, writing, “What an extraordinary night it was at Harry’s gig." "I just love the feeling of these massive concerts as they take on a life of their own." “Harry Styles is so good at what he does and they loved him. I was completely overwhelmed by the night.” When Styles first performed The Horses in Perth, he described the track as "catnip" to Aussies, with every member of the audience knowing every word to the iconic song. <blockquote class="twitter-tweet"> Daryl Braithwaite watching Harry cover The Horses at Marvel Stadium in Melbourne, Australia - February 25 (via fenellamai) <a href="https://t.co/zsEot2TbQt">pic.twitter.com/zsEot2TbQt</a> — HSD Love On Tour (@hsdlot) <a href="https://twitter.com/hsdlot/status/1629529137680351232?ref_src=twsrc%5Etfw">February 25, 2023</a></blockquote> “I’ve been playing that a couple of times here and there,” Styles said of the song. “And every time you are around an Australian, this happens.” Styles then turned his back to the Perth audience, pretended to hear the song, quickly twisting his head with interest, and asked, “Is that Daryl Braithwaite?” Image credits: Instagram

Music

TV host humiliated live on air by 9-year-old daughter

A TV host has been left mortified after her 9-year-old daughter embarrassed her live on air. Jenna Hager Bush, one of the hosts of the US morning show Today with Hoda & Jenna, had her daughter Mila on the show to chat about fashion. The 9-year-old then shocked her mum by telling viewers that Hager “never wears underwear.” She continued, “She is not wearing it right now! I saw her change!” The little one’s confession came one month after the journalist first confessed that she often skips underwear for a “more pretty silhouette” after co-host Hoda Kotb called her out. Hager, who also shares daughter Poppy, 7, and son Hal, 3, with husband Henry Hager, explained that her controversial wardrobe choice makes her life “easier.” “You don’t have to pack as much,” she pointed out last month. “There [are] a lot of pros to it.” While Mila wasn’t the first to out her mother’s lack of underwear, she did continue to embarrass Hager with another story on Tuesday. “One time she was laughing in our living room and she peed her pants!” Mila said, noting that Hager had to “change [her] pyjamas” at the time. Hager was a good sport, sarcastically thanking Mila before saying, “I think Hoda is trying to get the truth bombs out [of you] but no more.” <div id="ad-hybrid-banner-1" data-type="unruly" data-ad-size="4x4" data-device-type="web"> <div> </div> </div> When Mila showed no signs of keeping quiet, Hager abruptly concluded, “OK, goodbye! Goodbye, I love you!” As Mila exited the stage, Kotb gushed, “What a great kid. … You and her are very similar because you’re both just exactly who you are.” Image credits: Today with Hoda & Jenna

“An exciting place to be”: Carmen becomes first opera performed on Cockatoo Island

Operas as we know them conjure up images of concert halls with soaring ceilings, tiered, cushiony seats, and singers projecting their voices for the whole audience to hear. To take opera beyond the theatre and into the great outdoors comes with plenty of challenges, many of which conductor Tahu Matheson has become all too familiar with while conducting the orchestra for <a href="https://www.oversixty.com.au/travel/domestic-travel/fireworks-motorbikes-and-opera-carmen-on-cockatoo-island-review">Carmen on Sydney’s Cockatoo Island</a>. “It’s quite tricky,” he tells OverSixty. “In particular, it’s the distance. The orchestra is a long, long way away from the grand outdoor stage.” With the orchestra located in one of the island’s historic buildings and the opera’s main stage on the water’s edge, Matheson and the cast rely on monitors to see each other and stay in time. “I can see the stage but only really from a distance,” he explains. “So really, I just listen, basically, and try and follow the singers as much as possible. “And they've got a big monitor, and when they can they take note of the monitor.” Naturally, the elements present another challenge to be overcome with the help of microphones, and the help of sound designer Tony David Cray, who Matheson describes as a “sound genius”. “He never stops working. When we’re all having a break, we hear moments of stuff that we’ve just done, and then he's just working on the sound and seeing if we can make this clearer and more beautiful, and more articulated,” Matheson says. But the most interesting part of this production for Matheson has been how it has changed from the original under the guidance of director Liesel Badorrek. “Carmen, probably one of the strongest women in opera, is being sort of interpreted just slightly differently, from a woman’s point of view,” he says. “There’s always a little bit of Carmen where, yes, she’s an incredibly strong character, but it’s definitely been written by a man, so a man’s idea of a strong woman. “And so Liesel just interprets that in a slightly different way… a strong woman from a woman’s perspective. I think it’s timely and it’s also slightly more interesting than we’ve had in the past.” Opera Australia’s version of Carmen draws attention to themes of violence against women at a time when sexual violence and coercive control have been in the spotlight. It also modernises the appearance of Carmen through costuming and set design, opening up questions of whether future productions could follow suit in a bid to appeal to modern audiences. But, Matheson says this can be tricky when dealing with an artform like opera. “I think there are some things about opera, just the artform itself, that are so thrilling and exciting that I don’t think you're going to experience them in any other artform,” he says. “It’s very difficult because it’s a hybrid of three or four different artforms, each of which, in itself, is capable of reducing the audience members to tears, whether it’s just the spoken word alone, or just music in a concert, or just a singer with a piano. “And then you bring all these things together and then you add a dramatic plot to it - it has the ability to be something so thrilling and so amazing. “But it also has this fragility because it depends on all four or five disparate parts working together. And so it can fail, and sometimes it does. “And I think it’s worth remembering as a member of the public that it has the possibility to be the most stunning experience that you’ve ever had in your life. “At the same time, we do need to modernise, think forward a little bit and [think]: How do we engage with people as well as wanting them to engage in the artform itself?’ “I don’t think it’s as simple as going, ‘We’ll add more people in jeans and t-shirts so that people empathise with characters’, but somehow a mixture of both, I think it’s what we need.” Carmen on Cockatoo Island is showing Tuesday through Sunday nights from November 25 until December 18, with tickets available <a href="https://opera.org.au/productions/carmen-on-cockatoo-island" target="_blank" rel="noopener">here</a>. Images: Prudence Upton / Opera Australia

Domestic Travel

Dog found hidden in carry-on bag at airport security

A US Transportation and Security Agency (TSA) officer has discovered a small dog stashed in a traveller's carry-on luggage. The animal was found in a backpack when going through the X-ray machine at the Dane County <a title="Airport " href="https://www.9news.com.au/airport" target="_blank" rel="noopener">Airport</a> in Wisconsin. TSA told a local news outlet that the passenger was unaware of the screening protocol and did not tell security officers about her dog. After an officer explained the proper process and confirmed she disclosed she was travelling with a pet to the airline, she proceeded to her gate to board her flight. TSA Great Lakes confirmed that the woman's error was an accident on social media, while alerting people to the proper flying rules. <blockquote class="twitter-tweet"> Video: Here’s the proper way to travel with your pet. Note: This is a <a href="https://twitter.com/TSA?ref_src=twsrc%5Etfw">@TSA</a> PreCheck passenger traveling with a cat. If you think your pet will attempt an escape, ask to speak with a supervisor before removing the animal. Alternative screening options may be available. (2/2) <a href="https://t.co/NL2jNjni2l">pic.twitter.com/NL2jNjni2l</a> — TSA_GreatLakes (@TSA_GreatLakes) <a href="https://twitter.com/TSA_GreatLakes/status/1600210121136537600?ref_src=twsrc%5Etfw">December 6, 2022</a></blockquote> "A dog was accidentally sent through the X-ray @MSN_Airport this week," it tweeted. "When travelling with any animal, notify your airline and know their rules." "At the checkpoint, remove your pet from the bag and send all items, including the empty carrier, to be screened in the machine." It then uploaded a video showing "the proper way" to travel with pets. Image credits: Twitter

Travel Trouble

Nat Barr concerned for Kochie after on-air defeat

Sunrise co-host Kochie has been spectacularly defeated after going head-to-head with a professional arm wrestler. Ahead of the arm-wrestling national titles in Sydney over the weekend, hopeful competitors paid a visit to Brekky Central on Thursday morning to test out their strength. Competitors Charlie and Sam first battled it out, with the loser having to face Kochie, as he exclaimed, “I didn’t know I was going to be up!” Kochie was pitted against Sam, as victor Charlie shared some words encouragement. “I think you’re going to have to access some old man strength,” he said. “It’s a real thing - old man’s strength exists.” Despite his might, Kochie was defeated as he cried out, "No no no!" Concerned for her co-host, Nat Barr watched on before saying, “He didn’t break your arm did he?" Following the segment, the host shared a re-post of him wrestling Sam, as Nat and Charlie smiled behind them. “Don’t think I qualify for the National Arm Wrestling Champs this weekend,” he said with a laughing emoji. Image credits: Sunrise

How Kerri-Anne Kennerley overcame the loss of her beloved husband and mother

Kerri-Anne Kennerley has opened up about moving on following her beloved husband and mother’s deaths. The 69-year-old television veteran lost her husband John at the age of 78 in February 2019, after a tragic fall in 2016. He was left paralysed after falling from a balcony while taking photos of Kerri-Anne during a golfing tournament in Coffs Harbour, NSW, in March 2016. Her mother Grace died in May 2022 and that was the final straw for Kennerley who decided to make a change. "I think you just need to know it's time, and it was certainly time. Time for something new,” she told <a href="https://www.nowtolove.com.au/celebrity/celeb-news/kerri-anne-kennerley-career-75492" target="_blank" rel="noopener">Woman’s Day</a>. Kennerley sold off all her belongings and moved out of the massive home she shared with John for 23 years. The house “took over an entire block” and Kennerley has finally settled into an apartment in Sydney’s Double Bay. She explained the change was a long time coming as she still goes through “waves” of grief and loss. "It takes a very long time to just go through the waves,” she said. "It does get ever so slightly easier as the years pass and you start to remember more of the beautiful and fabulous times." Despite his passing, Kennerley says she still feels John’s presence around her with his trophies, smoking pipes, and a digger. When asked about whether the pair spoke about moving on after his passing, Kennerley just replied: “Nope, nope, nope”. Images: Instagram

Relationships

Flight attendant reveals must-have travel items

A seasoned flight attendant has shared the three things she always packs in her carry-on luggage to make every travelling experience a breeze. Rosalie Shaw, who has been a cabin crew member for nine years, says she has learned plenty of travel hacks throughout her career. She says one of the things she always takes is a clear ziplock bag to carry her passport in, in case of unfortunate accidents. “I know it seems like a lot but a damaged passport will literally ruin your holiday,” she said in a recent TikTok video. “The bag protects it from any spills like a water bottle, the rain or in my case a really bumpy boat ride,” she said. The next thing on Rosalie's list is a “good quality clear bag” for shampoo, conditioner and other liquids you want to take in your carry-on. These sturdy cosmetic bags last much longer than zip lock bags and can contain mess if there is a mid-flight spill. Rosalie puts all of her carry-on luggage in the clear bags because “it's easier to find things” on the go, and also adheres to security requirements of keeping things in a see-through bag. The last thing she recommends is to take two or three changes of clothes in your carry-on, in case anything happens to your checked luggage and you are left with no clothes. When choosing what spare clothes to pack, Rosalie recommends packing your favourite or most expensive items that are harder to replace. She said, “That way if your bag does go missing, you aren't stranded for outfits.” Rosalie always has her favourite linen dress in her handheld luggage, a cardigan, a spare pair of underwear, a bikini and a spare pair of shoes. “One time my bag did go missing but at least I had a bag of backup outfits with me so I wasn't as stressed,” she said. Image credits: TikTok

Travel Tips

How to pack your carry-on luggage

Depending on what luggage you travel with, your baggage can determine how easy you find your travels. Savvy travellers, who often pack light, get through security faster and have an easier time on the plane. Carry-ons don’t have to be used as supplementary baggage for your next trip, you can, in fact use it as your primary bag. It will force you to travel light, save you time at baggage collection, any extra luggage fees - plus, your bag cannot be lost by the airline. Here's a guide to not only packing light, but packing right! Choosing a bag: Even for carry-on, size matters. Most airlines now have restrictions on the size and weight of your bag. Check with the airline as to what your allowance is. In any case, opt for a bag that is light and has lots of room inside without being too flimsy. You want something sturdy and durable but that doesn’t weigh you down before you’ve packed it. A bag that has wheels and a handle will allow you to get around with ease and quickly if need be. Getting dressed: Wear your heaviest items on the plane – think denim, heavy shoes and a jacket, if you intend to pack one. Wearable luggage: This sounds strange but if you want to maximise your carry-on packing space – this is especially useful if you are only travelling with carry-on – then you might want to consider buying some wearable luggage like a bum bag or cross-body bag that sits flat against you. You can put items in here like passport, phone, money and cards and a couple of little items which will free up some space in your bag. Every bit counts! What to pack: You’ll want to ensure you pack all of your essential items in your carry-on bag. This is not only important to ensure nothing gets stolen, but if your bag is lost at least when you land you will have enough essential items to comfortably get by until alternative arrangements are made or your bag is returned to you. Essential carry-on bag items include: passport, return flight details, accommodation and transport information, cash and cards, pen, home house key, key electronics such a phone and tablet or laptop along with the chargers, change of clothes, mini bag to house your at-seat essentials so you don’t have to get up and down to the overhead compartment, headphones, medication, glasses and possibly a snack and bottle of water. Perfect packing: Roll your clothes as not only will it allows you to fit them into corners and in between items when packing, but they surprisingly come out almost wrinkle free. Layering is the key technique of master packers. Think of your bag as being divided into three horizontal layers. Place shoes and any other bulky or hard items (like a travel hair dryer) in first as the bottom layer. Fill in the space between these items with smaller things like underwear, T-shirts, toiletries etc. The second layer is for larger clothing items and the third tier is for anything you might to access on your way to your destination. Then the majority of your toiletries (packed in your clear bag) should go in this layer, too. Also anything else that might break or spill – think make-up – should be on top so other items don’t squish them. Image credits: Getty Images

Travel Tips

A list of what you can and can’t take in your carry-on luggage

When it comes to travelling, there are a lot of grey areas when it comes to what you can and can’t take in your carry-on luggage. You often run into inconsistencies with travelling internationally and domestically with the do’s and don’ts of packing, making it difficult to know what you should be taking. When it comes to travelling within Australia on a domestic flight, the rules are slightly more relaxed than on international journeys. According to the <a href="https://www.abf.gov.au/entering-and-leaving-australia/can-you-bring-it-in/bring-on-a-plane">Australian Border Force</a>, there are no restrictions on how much powders, liquids, aerosols and gels you can carry onboard. However, the rules are very different for flights overseas. All liquids, aerosols and gel items must be in containers of 100 millilitres or 100 grams or less. Containers must fit into one transparent and re-sealable plastic bag, like a snap-lock bag, with only one ziplock bag allowed per passenger. However, there is one detail on travelling with liquids that can often catch people off guard at the last minute. Australian Traveller's Quentin Long said, "But the problem that gets us all ... is that it's not based on the actual quantity of liquid, it's based on the container size. So if you have a 120ml size container with liquid in it, that's going to be taken off you." "That has cost me, and a lot of other people, some very expensive fragrances." While you are allowed to take most laptops, tablets and phones in your hand luggage without any worries, you'll need to remove them when going through security. Airport x-ray machine operator Michael Sørensen explained why in a <a href="https://www.quora.com/Why-do-I-need-to-take-my-electronics-out-of-my-bag-at-airport-security/answer/Michael-S%C3%B8rensen">Quora</a> thread, writing, "The main reason that you need to remove laptops especially and tablets sometimes is because the batteries and some electronics are so dense metallic material that they obscure what's beneath.” "So that's why we ask for electronics with large batteries to be next to your bag or in a tray on its own." All batteries must be packed in your carry-on luggage, which includes lithium ion batteries, non-spill batteries like dry cell batteries, and nickel, alkaline, or nickel cadmium batteries. E-cigarettes and personal vaping devices also must be tucked into your carry-on baggage. When it comes to miscellaneous items such as umbrellas, razors and alcohol, Long says, "There's different rules for international and domestic, but the general rule for both is don't take anything sharp." So things like scissors, metal nail files and Swiss army knives are a big no-no. Razor blades are also not allowed, but the <a href="https://www.homeaffairs.gov.au/travelsecure-subsite/Pages/Items-you-cannot-take-on-plane.aspx">Department of Home Affairs</a> clarifies that household and personal items such as safety razors are permitted. Umbrellas with metal points are also on the permitted list, along with knitting and crochet needles, perfume, lighter fluid and alcohol. If in doubt about whether an item can be carried onboard, check with your airline prior to arriving at the airport. In some cases, you may be able to pack the item in your checked baggage at the last minute. Image credits: Getty Images

Travel Tips

Shocking footage shows brutal baseball attack on police officer

Body-cam footage of a baseball bat attack on two Victorian police officers has emerged in court, with one of the officers telling the court he would have died if not for his partner’s intervention. The video shows an altercation between officers Rowan Baldham and William Ringin, a teenage boy, and Warrnambool man Steven Cleary in October last year. Baldham and Ringin can be seen questioning the teen about why he wasn’t wearing a mask amid Victoria’s COVID-19 restrictions, when Cleary pulls over and emerges from his car with a baseball bat. Cleary then yells at the boy to “pick up your bags and go” and tells police to “get your hands off him”. The situation escalates when the teenager allegedly reaches for Ringin’s gun, while Cleary begins hitting Baldham with the bat several times before Ringin manages to wrestle it from Cleary’s hands. The 21-year-old officer then hits Cleary with the bat before he is eventually capsicum sprayed and tasered by both officers. After Cleary is cuffed and taken away in another police vehicle, the body-cam footage shows Baldham sitting on the curb with blood streaming down the side of his head. Appearing in court on Wednesday, Cleary pleaded guilty to multiple charges, including affray, causing injury intentionally, and assaulting an emergency worker on duty, per <a href="https://7news.com.au/news/crime-melbourne/shock-moment-police-officer-is-bashed-with-a-baseball-bat-during-confrontation-over-masks-c-7587408" target="_blank" rel="noopener">7News</a>. Both officers were also present, with an emotional Baldham breaking down when he saw the shocking footage again. “Hearing the sound I made when I’m hit is the worst bit for me,” he said. “I didn’t know I was capable of making such a sound.” He told the court he was “convinced” he would have died if his partner hadn’t stepped in to help. “I am convinced that without his intervention – I would have been beaten to death,” he said. Cleary, who is due to be sentenced on Friday, suffered from a delusional mental illness which he wasn’t being treated for, according to his lawyer, and at the time of the incident believed in Covid conspiracy theories. The two officers had planned to serve in the police for life, but are considering leaving following the incident. Images: 7News

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