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"I am so lost without you": Sam Rubin's son speaks out

Sam Rubin’s son has delivered an emotional on-air tribute to his late dad just days after his <a href="https://oversixty.com.au/health/caring/legendary-today-show-reporter-dies-unexpectedly" target="_blank" rel="noopener">passing</a>. The entertainment reporter died unexpectedly at the age of 64, after reportedly suffering a heart attack in his Los Angeles home last Friday. He worked for LA TV station KTLA as their entertainment reporter, and was a regular guest on Aussie programs like Today and Today Extra. Colby Rubin, the youngest of the reporter's four children, joined KTLA 5 Morning News on Monday to reflect on his father's death. “Hi dad. I wrote this under the desk in your cubicle – only you weren’t there to wake me up this time. Dad, I can’t believe you’re gone,” the 16-year-old began. “I love you so much. On the day you died, I hope you heard me say that. You were the kindest soul, the light in every room. I can’t imagine my life without you... You were always there.” He said he idolised his father calling him his hero, and said: “I never got to tell you that, and I’m so sorry dad.” Colby then shared some of their private texts showing how encouraging his father was when he was unsure of himself, telling him: "You can do this,” and "you have every gift. Respect your own talent." At this point, Colby was overwhelmed with emotion, with the hosts telling him he could take a break but the teen powered on. “I can’t believe I’ve lost you. I had more of a father in 16 years than some people get in their entire lives, and I’m so grateful. "You are a beautiful human and you will never be forgotten. Dad I love you. I am so lost without you, I’ll miss you every day. I hope you know how loved you are.” Colby's tribute left his father's colleagues in tears with one co-host telling him simply: “He knew.” “He would be so proud of you. All of us are parents, we all can say – that is the most beautiful thing I’ve ever heard,” another said as she fought back tears. Viewers praised Colby for his “strength and composure” in delivering such an emotional tribute just days after losing his father. “Amazing how Colby was able to do this with such grace, strength, and composure. You can tell Sam was an amazing father through Colby’s tribute,” TV anchor Stephanie Myers wrote on X. Sam is survived by his wife Leslie and four children: Perry, 28, Rory, 23, Darcy, 18, and Colby. Image: KTLA/ X

Family & Pets

Sydney Airport launches massive auction of lost property

Have you ever lost something at the airport? You're not alone. This year there were more than 2,500 unclaimed items left at the airport including electronics, jewellery and designer handbags, and now they are up for grabs for a fraction of their retail price. The airport has launched their annual online auction, with all the money raised going to the Harding Miller Education Foundation, which grants four-year scholarships to high-school girls with high academic potential who are experiencing disadvantage. Over the past decade, the auctions have raised $1.6 million for various charities. “It’s clear the public love nabbing a bargain in support of a worthy cause," Sydney Airport general manager of corporate affairs Josh Clements said. “There’s something for everyone with plenty of great tech, clothing, accessories and beauty products as well as a host of unique items like a massage table, an electric scooter, a leaf blower and a quintessential Aussie favourite, a jaffle maker (sandwich press),” he added. “It’s great to see these unclaimed items find new homes, while also supporting a charity that’s offering comprehensive scholarships to help level the playing field for high school girls facing disadvantage.” “Opening bids start at just $10, which means shoppers have a chance to grab a great deal while also supporting an impactful charity,” Theodore Bruce Auctioneers director, Casi Prischl, said. The auction runs until Sunday May 12, with the <a href="https://www.theodorebruceauctions.com.au/sydney-airport-lost-property-auction-2024a" target="_blank" rel="noopener">complete list of auctions currently open for bids below</a>: <ul> <li>Tech & Gaming - Saturday 4 May to Saturday 11 May, closing at 10am</li> <li>Sunglasses, Bags, Scarves & Accessories - Saturday 4 May to Saturday 11 May, closing at 2pm</li> <li>Jewellery & Watches - Saturday 4 May to Sunday 12 May, closing at 10am</li> <li>Clothing - Saturday to May to Sunday 12 May, closing at 2pm</li> <li>Beauty, Alcohol, Home - Saturday 4 May to Sunday 12 May, closing at 4pm</li> </ul> Goods can be delivered at a price, or picked up by appointment. Images: Theodore Bruce Auctions

Money & Banking

“I lost all ability to fly the plane”: Pilot's shock claim after plane drops mid-flight

At least 50 passengers have been injured with a dozen hospitalised after a Boeing 787 Dreamliner suddenly plunged about two hours into the flight from Sydney to Auckland on Monday. LATAM Airlines said that the plane experienced an unspecified "technical event during the flight which caused a strong movement." Passengers on board the flight have recalled the terrifying moment the plane took a nose-dive mid-flight. "The plane dipped so dramatically into a nose dive for a couple of seconds and around 30 people hit the ceiling hard," Daniel, who was travelling from London, told the NZ Herald. “None of us knew what had happened until after the flight, I was just trying to keep everyone calm. We never heard any announcement from the captain." He added that passengers were screaming and it was hard to tell whether blood or red wine was splattered through the cabin. Another passenger, Brian Jokat, told broadcaster RNZ that the incident took place in "split seconds". "There was no pre-turbulence, we were just sailing smoothly the whole way,” he said. “I had just dozed off and I luckily had my seatbelt on, and all of a sudden the plane just dropped. It wasn’t one of those things where you hit turbulence and you drop a few times … we just dropped.” He added that a passenger two seats away from him, who was not wearing his seatbelt, flew up into the ceiling and was suspended mid-air before he fell and broke his ribs. “I thought I was dreaming,” he said. “I opened my eyes and he was on the roof of the plane on his back, looking down on me. It was like The Exorcist.” Paramedics and more than 10 emergency vehicles were waiting for passengers when the plane landed in Auckland. Around 50 patients were treated, with 12 of them hospitalised and one in serious condition. At least three of those treated were cabin crew. Jokat told RNZ that after the plane landed, the pilot came to the back and explained what had happened. "He said to me, ‘I lost my instrumentation briefly and then it just came back all of a sudden,’” Jokat said. In another interview with Stuff.co.nz, Jokat recalled the pilot also saying: “My gauges just blanked out, I lost all of my ability to fly the plane.” The airline's final destination was Santiago, Chile, but it was landing at Auckland Airport in accordance with its normal flight path, according to Reuters. "LATAM regrets the inconvenience and injury this situation may have caused its passengers, and reiterates its commitment to safety as a priority within the framework of its operational standards," the airline said. Images: Brian Jokat/ News.com.au

Travel Trouble

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

The art of ‘getting lost’: how re-discovering your city can be an antidote to capitalism

<a href="https://theconversation.com/profiles/stephen-dobson-1093706">Stephen Dobson</a>, <a href="https://theconversation.com/institutions/cquniversity-australia-2140">CQUniversity Australia</a> Do you remember what it was like to discover the magic of a city for the first time? Do you remember the noises, smells, flashing lights and pulsating crowds? Or do you mostly remember cities through the screen of your phone? In 1967, French philosopher and filmmaker Guy Debord <a href="https://files.libcom.org/files/The%20Society%20of%20the%20Spectacle%20Annotated%20Edition.pdf">publicised the need</a> to move away from living our lives as bystanders continually tempted by the power of images. Today, we might see this in a young person flicking from one TikTok to the next – echoing the hold images have on us. But adults aren’t adverse to this window-shopping experience, either. Debord notes we have a tendency to observe rather than engage. And this is to our detriment. Continually topping-up our image consumption leaves no space for the unplanned – the reveries to break the pattern of an ordered life. Debord was a member of a group called the <a href="https://www.britannica.com/topic/Situationist-International">Situationist International</a>, dedicated to new ways we could reflect upon and experience our cities. Active for about 15 years, they believed we should experience our cities as an act of resistance, in direct opposition to the (profit-motivated) capitalistic structures that demand our attention and productivity every waking hour. More than 50 years since the group dissolved, the Situationists’ philosophy points us to a continued need to attune ourselves – through our thoughts and senses – to the world we live in. We might consider them as early eco-warriors. And through better understanding their philosophy, we can develop a new relationship with our cities today. <h2>Understanding the ‘situation’</h2> The Situationist International movement was <a href="https://www.jstor.org/stable/j.ctt183p61x">formed</a> in 1957 in Cosio di Arroscia, Italy, and became active in several European countries. It brought together radical artists inspired by spontaneity, experimentalism, intellectualism, protest and hedonism. Central figures included Danish artist <a href="https://museumjorn.dk/en/">Asger Jorn</a>, French novelist <a href="https://mitpress.mit.edu/author/michele-bernstein-10219/">Michèle Bernstein</a> and Italian musician and composer <a href="https://en.wikipedia.org/wiki/Walter_Olmo">Walter Olmo</a>. The Situationists were driven by a <a href="https://encyclopedia.pub/entry/34141">libertarian form of Marxism</a> that resisted mass consumerism. One of the group’s early terms was “unitary urbanism”, which sought to join avant-garde art with the critique of mass production and technology. They rejected “urbanism’s” conventional emphasis on function, and instead thought about art and the environment as inexorably interrelated. By rebelling against the invasiveness of consumption, the Situationists proposed a turn towards artistically-inspired individuality and creativity. <h2>Think on your own two feet</h2> According to the 1960 <a href="https://hts3.files.wordpress.com/2010/12/situationist-international-manifesto.pdf">Situationist Manifesto</a> we are all to be artists of our own “situations”, crafting independent identities as we stand on our own two feet. They believed this could be achieved, in part, through “<a href="https://www.tate.org.uk/art/art-terms/p/psychogeography#:%7E:text=Psychogeography%20describes%20the%20effect%20of,emotions%20and%20behaviour%20of%20individuals">psychogeography</a>”: the idea that geographical locations exert a unique psychological effect on us. For instance, when you walk down a street, the architecture around you may be deliberately designed to encourage a certain kind of experience. Crossing a vibrant city square on a sunny morning evokes joy and a feeling of connection with others. There’s also usually a public event taking place. The Situationists valued drift, or dérive in French. This alludes to unplanned movement through a landscape during journeys on foot. By drifting aimlessly, we unintentionally redefine the traditional rules imposed by private or public land owners and property developers. We make ourselves open to the new unexpected and, in doing so, are liberated from the shackles of everyday routine. In <a href="https://link.springer.com/book/10.1007/978-981-10-8100-2">our research</a>, my colleagues and I consider cities as places in which “getting lost” means exposing yourself to discovering the new and taken-for-granted. <h2>Forge your own path</h2> By understanding the Situationists – by looking away from our phones and allowing ourselves to get lost – we can rediscover our cities. We can see them for what they are beneath the blankets of posters, billboards and advertisements. How might we take back the image and make it work for us? The practise of geo-tagging images on social media, and sharing our location with others, could be considered close to the spirit of the Situationists. Although it’s often met with claims of <a href="https://www.nationalgeographic.com/travel/article/when-why-not-to-use-geotagging-overtourism-security">over-fuelling tourism</a> (especially regarding idyllic or otherwise protected sites), geo-tagging could <a href="https://www.melaninbasecamp.com/trip-reports/2019/5/1/five-reasons-why-you-should-keep-geotagging">inspire us</a> to actively seek out new places through visiting the source of an image. This could lead to culturally respectful engagement, and new-found respect for the rights of traditional custodians as we experience their lands in real life, rather than just through images on our phones. Then there are uniquely personal and anarchistic forms of resistance, wherein we can learn about the world around us by interweaving ourselves with our histories. In doing so we offer a new meaning to a historical message, and a new purpose. The Situationists called this process <a href="https://www.theartstory.org/movement/situationist-international/">détournement</a>, or hijacking. For instance, from my grandfather I inherited a biscuit tin of black and white photographs I believe were taken in the 1960s. They showed images of parks and wildlife, perhaps even of the same park, and cityscapes of London with people, streets and buildings. I have spent many hours wandering the London streets tracking down the exact places these images were snapped. I was juxtaposing past with present, and experiencing both continuity and change in the dialogues I had with my grandfather. In this way, I used images to augment (rather than replace) my lived experience of the material world. Urban art installations can also be examples of detournment as they make us re-think everyday conceptions. <a href="https://www.cityartsydney.com.au/artwork/forgotten-songs/">Forgotten Songs</a> by Michael Hill is one such example. A canopy of empty birdcages commemorates the songs of 50 different birds once heard in central Sydney, but which are now lost due to habitat removal as a result of urban development. There are also a number of groups, often with a strong environmental or civic rights focus, that partake in detournment. <a href="https://popularresistance.org/dancing-revolution-how-90s-protests-used-rave-culture-to-reclaim-the-streets/">Reclaim the Streets</a> is a movement with a long history in Australia. The group advocates for communities having ownership of and agency within public spaces. They may, for instance, “invade” a highway to throw a “<a href="https://pasttenseblog.files.wordpress.com/2022/02/road-rave.pdf">road rave</a>” as an act of reclamation. <figure><iframe src="https://www.youtube.com/embed/bUL0C_T-Sqk?wmode=transparent&start=999" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> As French avant-garde philosopher <a href="https://www.themarginalian.org/2014/07/24/the-poetics-of-reverie-gaston-bachelard/">Gaston Bachelard</a> might have put it, when we’re bombarded by images there is no space left to daydream. We lose the opportunity to explore and question the world capitalism serves us through images. Perhaps now is a good time to set down the phone and follow in the Situationists’ footsteps. <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/221606/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/stephen-dobson-1093706">Stephen Dobson</a>, Professor and Dean of Education and the Arts, <a href="https://theconversation.com/institutions/cquniversity-australia-2140">CQUniversity Australia</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/the-art-of-getting-lost-how-re-discovering-your-city-can-be-an-antidote-to-capitalism-221606">original article</a>.

Travel Tips

"Lost everything": Retirees left homeless after houseboat destroyed

Two grandparents from South Australia have lost everything after a tree fell on their houseboat during a wild storm. Pam, 77, and David, 82, moved into their two-bedroom houseboat on the Murray River when they first retired over 20 years ago, after finally living out their dream of living on the water. During a storm on February 13th, when their houseboat was moored about 700m from the Renmark boat ramp, their lives were changed forever when a tree fell through their roof. Their granddaughter Shenay Harris said it was a miracle the pair escaped with only minor injuries. “They’re both sitting in their armchairs next to each other. My nan was actually stuck. Her legs were pinned from all the rubble of the roof caving in, and my pop managed to be able to stand up and reach for the phone to call emergency services,” Harris told <a href="https://7news.com.au/news/south-australian-grandparents-lose-everything-after-tree-falls-on-houseboat-in-murray-river-during-storm--c-13615764" target="_blank" rel="noopener">7News</a>. “Looking at the boat and where they were sitting and everything, we have no idea how they are still with us. It’s just absolutely amazing that they’re still here, and they’re OK.” Shenay said her grandparents were now feeling lost about their future, while also grieving the loss of their retirement home. “My pop, he’s absolutely shattered. He’s said to us ‘it’s all over now’ ... (we’re) trying to reassure him (that) ‘no, it’s just a new beginning’,” Harris said. “They’ve been on that boat for 23 years, so it’s been my whole childhood and life with them living on the boat." The houseboat was not insured at the time of the accident, leaving both of the retirees homeless, with no hope for a replacement boat or a payout to get them back on their feet. “They’ve literally just lost everything they’ve got, you know, no assets, nowhere to go, no money,” Shenay said. An <a href="https://www.gofundme.com/f/riverland-houseboat-tragedy-pamelas-joy?cdn-cache=0" target="_blank" rel="noopener">online fundraiser</a> has been set up to support the couple as they figure out the next stage of their life, so far raising $3,000. “They’re both pensioners, they’ve really got nothing to their name now, having lost the boat. So really just to get them back on their feet.” Image credits: GoFundMe / 7News

Retirement Life

"They lost it": Margot Robbie's surprise encounter with Barbie fans

Margot Robbie has recalled a sweet story about when she overheard a group of men talking about the Barbie movie, before giving them the surprise of their life. At a screening of the Barbie movie in Los Angeles, the Aussie actress told the audience of the heartwarming moment she encountered in Scotland, shortly after the film's release last July. At the SAG-AFTRA screening of the blockbuster movie, Robbie began, “I had this brilliant experience.” “I was in a pub in the middle of nowhere in Scotland and I listened for about 30 minutes to a group of guys on a bachelor party discussing the Barbie movie, not knowing that I was sitting two or three feet away from them.” Robbie continued, “It was just truly fascinating. There were people at the table who refused to see the Barbie movie." “One guy was like, ‘Dude, it is a cultural moment, don’t you want to be a part of culture?’ And the other guy was like, ‘I’ll never see it,’ and by the end he did want to see it. It was a whole thing." “I wasn’t going to go up to them, but then I did.” Before leaving the pub, Robbie casually waltzed up to the group of men who “lost it” when they discovered Barbie herself had overheard their conversation. “At the last minute as I was walking out I went to their table and I went ‘Thank you for seeing the Barbie movie’,” she added. “It was very funny, they lost it. It took a full minute for them to realise and I was practically out the door and they went ‘Ohhhh’. “People’s reactions to the movie have been the biggest reward of this entire experience.” The heartwarming story comes fresh on the heels of Margot being <a href="https://oversixty.com.au/entertainment/movies/margot-robbie-snubbed-as-oscar-nominations-announced" target="_blank" rel="noopener">snubbed</a> for a Best Actress nomination at this year's Oscars for the Barbie movie, which caused an uproar on social media. Margot addressed the snub at the LA screening, saying there's “no way to feel sad when you’re this blessed.” “Obviously, I think Greta should be nominated as a director,” she added. “What she did is a once-in-a-career, once-in-a-lifetime thing. What she pulled off, it really is." “We set out to do something that would shift culture, affect culture, just make some sort of impact. And it’s already done that and some, way more than we ever dreamt it would. And that is truly the biggest reward that could come out of all of this.” Image credits: Getty Images

Movies

"Each bauble represents a life lost": Haunting Christmas tree sends powerful message

As the holiday season approaches, a haunting symbol of despair has once again taken root at Victoria Police headquarters – carrying with it a message of melancholy that we are unaccustomed to at this normally festive time of year. Instead of joyous ornaments and twinkling lights, a Christmas tree adorned with glistening blue baubles now stands as a remarkably poignant testament to the road death carnage that has befallen the state throughout 2023. These beautiful baubles, each etched with the name and age of those lost on Victoria's roads this year, tell a grim tale of grief and loss. With the toll reaching 274 by December 6, it marks the darkest year for the state since 2008. In a moving video accompanying the dressing of the tree, Road Policing Assistant Commissioner Glenn Weir implored the public to drive cautiously during the Christmas period, desperately hoping to prevent the addition of any more baubles to this sorrowful tree. "This Christmas tree is unlike any other; it's one we don't want to see decorated," Commissioner Weir soberly explained. "Each bauble represents a life lost, a stark reminder of the importance of road safety. Please, drive safely this festive period. Take care, have conversations with your loved ones, and remember the responsibility you bear when behind the wheel." November alone witnessed the loss of 35 lives on Victorian roads, marking it as the worst month this year. In response, the police are intensifying road policing operations throughout December in an attempt to curb further tragedies. In a bid to address the escalating death toll, the Transport Accident Commission (TAC) has launched the initiative "Stop kidding yourself. If you drink, don't drive," running from December 4 to the end of January. Shockingly, it has also been revealed that one in five individuals killed on Victorian roads had a blood alcohol concentration of .05 or higher. TAC CEO Tracey Slatter also called on the urgent need for a cultural shift, challenging the notion that driving after consuming any amount of alcohol should be deemed "normal". "Many people think they can manage their blood-alcohol level with vague rules handed down through generations," she said. "But the only way to avoid the risk entirely is to completely separate drinking and driving." As the Christmas tree of remembrance continues to grow with each passing day, it stands as a poignant symbol of the lives lost on Victoria's roads, imploring society to reflect, change and prioritise the safety of every journey. Images: Victoria Police

Travel Trouble

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

"I've lost complete blood flow": Robert Irwin's near miss with python

Young wildlife warrior Robert Irwin suffered a near miss during a rescue mission over the weekend, when he tried to relocate a carpet python off the road. The 19-year-old took to Instagram on Sunday to share a video of him almost getting bit by the wild snake. "Gee, that gets the heart rate up - he missed me by that much," he said when the snake struck at him. "He's grumpy... he's really keen on biting me... what a gorgeous snake, he's big, he's not venomous but... they're designed to constrict," he said as the python began wrapping its body around his arm to ''constrict" him. "He's got a good grip there, I've lost complete blood flow to my hand, it's completely blue.. and I have no feeling left in my hand," he added. He eventually managed to rescue the snake, and relocated it to a safe spot in the bush the day after. "Near miss! Definitely had a good laugh with this grumpy carpet python - but great to get him rescued off the road and relocated to a much safer spot!" he captioned the post. <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/reel/C0Fc3k-hiy9/?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/reel/C0Fc3k-hiy9/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Robert Irwin (@robertirwinphotography)</a> </div> </blockquote> Fans shared their shock and couldn't help but comment on how much the young conservationist was like his late father, Steve Irwin. "Dude you are killing us with these like-father-like-son bits," one fan wrote. "Holy crap. I actually thought I was watching Steve for a second and it took me back a moment. He's very much still alive in his family. No doubt about that," another added. "This is precarious yet hiss-terical !😂 all at the same time. Thank you for helping snakey dude slither to safety! 👍🏼💕" added a fellow conservationist. Images: Instagram

Travel Trouble

"It breaks my heart": Robbie Williams' dedication to fallen Sydney fan

Robbie Williams has dedicated an emotional song to the woman who passed away after an incident at his concert in Sydney. Robyn Hall, a woman in her 70s, died after spending a week in an induced coma, after she suffered a serious head injury at Williams' show at Allianz stadium on November 16th. Performing in Melbourne on Thursday, Williams addressed the devastating incident and dedicated his hit song Angels to Robyn and her family. He said on stage to the crowd at AAMI Park, “It breaks my heart and I’ve been thinking about it an awful lot and I’ve thought about it through the show tonight.” <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: 600px; 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%2F7304437214732094728&display_name=tiktok&url=https%3A%2F%2Fwww.tiktok.com%2F%40theageaustralia%2Fvideo%2F7304437214732094728%3Fembed_source%3D121355059%252C121351166%252C121331973%252C120811592%252C120810756%253Bnull%253Bembed_masking%26refer%3Dembed%26referer_url%3Ddk79lclgtez2i.cloudfront.net%252FPyWtRc2%253Fapp%253D1%2526v%253D1%2526img%253D1%2526lazy%253D1%26referer_video_id%3D7304437214732094728&image=https%3A%2F%2Fp16-sign-sg.tiktokcdn.com%2Ftos-alisg-p-0037%2Fo8cJDW8MgQerjBKI3SeYVvhS6CfAUQUwXD1FgA%7Etplv-dmt-logom%3Atos-alisg-i-0068%2FocfI48S6IAgjMyAgAEvQA5EgSDvWQfdeKwXIAF.image%3Fx-expires%3D1700949600%26x-signature%3DfCsDz4T93Vyn5CSPoqnmFZJY%252FOc%253D&key=59e3ae3acaa649a5a98672932445e203&type=text%2Fhtml&schema=tiktok" width="340" height="700" frameborder="0" scrolling="no" allowfullscreen="allowfullscreen"></iframe></div> “I just want to give a big shout out and lots of love from me and my band to Robyn and Robyn’s family." “Let’s all sing up, she was somebody just like you who came to the gig just like you did tonight, this is for her.” After Robyn <a href="https://oversixty.com.au/health/caring/sydney-woman-who-died-at-robbie-williams-concert-identified" target="_blank" rel="noopener">tragically died</a> in St Vincent's Hospital, her son Michael paid tribute to his mum on Facebook, saying he had lost his "best friend". “I haven’t got the words to say what my mum meant to me,” he said. “Taken from under me and my best friend is no longer with me … I love you forever.” <p style="font-size: 16px; box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; caret-color: #212529; color: #212529; font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji';">A family friend said Hall loved the British singer and had “thoroughly” enjoyed the evening before tragedy struck. <p style="font-size: 16px; box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; caret-color: #212529; color: #212529; font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji';">“She was one of those ones who looked 50 but was 70. She took care of herself and didn’t need carers,” he said. <p style="font-size: 16px; box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; caret-color: #212529; color: #212529; font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji';">“Robyn was the most beautiful human I have ever met. Through all adversity, she smiled, hugged and laughed her way through,” he said. <p style="font-size: 16px; box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; caret-color: #212529; color: #212529; font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji';">“Broken hearts amongst all her family and friends, she will be missed by all who knew her.” <p style="font-size: 16px; box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; caret-color: #212529; color: #212529; font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji';">Image credits: Facebook / Getty Images <div id="fuse-injected-22953829264-1" class="fuse-slot-dynamic publift-video-ad" style="box-sizing: border-box; padding-top: 24px; padding-bottom: 24px; display: flex; justify-content: center;" data-fuse="22953829264" data-fuse-injected-at="1700777022430" data-fuse-code="fuse-slot-22953829264-1" data-fuse-zone-instance="zone-instance-22953829264-1" data-fuse-slot="fuse-slot-22953829264-1" data-fuse-processed-at="892"> <div id="fuse-slot-22953829264-1" class="fuse-slot" style="box-sizing: border-box; max-width: inherit; max-height: inherit;"></div> </div>

Caring

The enduring appeal of Friends, and why so many of us feel we’ve lost a personal friend in Matthew Perry

<a href="https://theconversation.com/profiles/adam-gerace-325968">Adam Gerace</a>, <a href="https://theconversation.com/institutions/cquniversity-australia-2140">CQUniversity Australia</a> The <a href="https://www.9news.com.au/videos/world/friends-star-matthew-perry-dies-aged-54/cloatn0ae00ea0jqbpdz0h8td">death of Matthew Perry</a>, best known for his role as Chandler Bing in the television series Friends, has seen an outpouring of grief from fans and the Hollywood community. His passing at age 54 has shocked both those who admired his acting work, as well as those who followed his efforts to bring awareness to <a href="https://people.com/tv/matthew-perry-opens-up-about-addiction-new-memoir/">the pains of addiction</a>. Tributes to Perry have understandably focused on his star-making turn on the incredibly popular television sitcom. Scenes, catchphrases, and his character’s lines have been lovingly repurposed across the internet to memorialise the gifted actor. Meanwhile, many viewers have situated their <a href="https://variety.com/2023/tv/news/friends-fans-mourn-matthew-perry-new-york-apartment-1235772520/">recollections</a> of Perry and the series within the context of their own experiences. Viewers who came of age, or were the characters’ ages during the show’s original run, have reminisced about what the work of Perry and his co-stars meant to them at formative times in their lives. Newer viewers have similarly shared how important the series has been to them – their relationship with the show often beginning long after production ended. For many, Friends was the television equivalent of the soundtrack to their lives. To appreciate the staying power of the series for original and <a href="https://www.etonline.com/streaming-friends-how-a-90s-sitcom-became-gen-zs-new-favorite-show-132624">newer viewers alike</a> almost 30 years since it debuted, we need to consider what functions television viewing serves and the bonds we form with its characters. <h2>Enduring appeal</h2> Part of Friends’ popularity lies in its timing. The show premiered in 1994, a period when network television was still dominant. By its end a decade later, while the power of the big television networks had <a href="https://doi.org/10.1080/08838150701820924">eroded</a>, the series had maintained <a href="https://www.ratingsryan.com/2022/09/friends-nbc-ratings-recap.html">an average</a> of more than 20 million viewers each season. The 2004 finale brought in a <a href="https://www.nytimes.com/2004/05/08/arts/friends-finale-s-audience-is-the-fourth-biggest-ever.html">record-breaking</a> 52.5 million viewers in the United States. The series then entered repeats around the world. It hasn’t left our screens since. The late 90s and early 2000s have sometimes been referred to as the end of monoculture. While a <a href="https://www.vox.com/the-goods/2019/12/17/21024439/monoculture-algorithm-netflix-spotify">contested and controversial idea</a> because of, among other concerns, who was included and excluded on our screens, monoculture meant we watched <a href="https://www.npr.org/sections/bestmusic2012/2012/12/21/167836852/the-year-in-pop-charts-return-of-the-monoculture">many of the same things</a>. One of the most popular shows of its era, Friends brought people together. It was a show we watched with our families or friends, spoke about the next day with colleagues, and it provided a common connection. It allowed bonding with real friends as much as fictional ones. Friends did not only reflect style of the time; it also frequently created it. Jennifer Aniston’s haircut, coined “<a href="https://www.bustle.com/style/the-rachel-haircut">The Rachel</a>”, or Perry’s lovable smart-alecky cadence, typified with Chandler’s catchphrase of “Could I be any more…”, were endlessly imitated. I know I attempted to replicate Chandler’s <a href="https://www.gq.com.au/style/celebrity/unexpectedly-great-fashion-inspiration-courtesy-of-friends/image-gallery/f55ac75cc180e31c462525da961295fc">sweater vests</a> and light blue denim look. Participation provided viewers <a href="https://doi.org/10.1111/j.1540-5931.2011.00866.x">a sense</a> of identity. As people enter their 30s and 40s, they often <a href="https://doi.org/10.1371/journal.pone.0208595">gravitate</a> towards the memories made during their formative adolescent and young adult years. So perhaps it’s no surprise Friends endures for original viewers as it represents – and was a part of – their lives at this important time. <h2>Likeable characters</h2> Television and other fictional media meet our needs for <a href="https://doi.org/10.1111/j.1468-2958.2009.01368.x">both</a> pleasure and extracting meaning. We get excited, entertained and moved by television. As part of this, we bond with fictional characters. We cannot help but <a href="https://doi.org/10.1207/S15327825MCS0403_01">empathise</a> with them. A series like Friends with its characters and their combinations of breakups, makeups and other mishaps allowed us to safely use our empathy muscles to cheer on and sometimes commiserate with the group of six. It helped that each character was flawed but inherently likeable. Fictional characters also allow us to <a href="https://theconversation.com/neighbours-vs-friends-we-found-out-which-beloved-show-fans-mourned-more-when-it-ended-212843">experience lifestyles</a> we might not otherwise. In the case of Friends, who didn’t want to live in a rent-controlled apartment like Monica’s, or regularly meet their supportive and funny pals for coffee at Central Perk? As a teen, I imagined such a world for myself in the not-too-distant future. Younger generations might be more aware of how out-of-reach that lifestyle was, or find the show’s <a href="https://ew.com/tv/jennifer-aniston-friends-offensive-new-generation/">humour sometimes dated</a>. But the idea of what the friends’ lifestyle represented – possibility, freedom, a chosen family – evidently still holds appeal. <h2>Fictional relationships, but real sadness</h2> In forming relationships with fictional characters, we form bonds with the performers who bring them to life. The lines between character and creator become blurry, both because of the knowledge about actors’ lives celebrity culture affords us, but also because their characters seem so real. When the actors pass away, we <a href="https://doi.org/10.1016/j.chb.2016.06.042">feel real grief</a>. It’s important for fans of Matthew Perry to <a href="https://womensagenda.com.au/latest/why-with-all-the-sht-happening-in-the-world-its-still-okay-to-grieve-a-celebritys-death/">acknowledge</a> their loss. Even though his character is fictional, and you didn’t know him personally, you can still feel sad. Watching the series may be difficult right now. With time, it will become easier. Matthew Perry wanted <a href="https://www.independent.co.uk/voices/matthew-perry-death-addiction-alcoholism-drugs-b2437980.html">his legacy</a> to be awareness of addiction and the help he provided to people struggling with this disorder. Hopefully what will be felt now, alongside collective sadness, is an empathy for those facing addiction. That may be the power of television, and of a character named Chandler, and the actor who brought him to life, who many considered their friend.<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/216626/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/adam-gerace-325968">Adam Gerace</a>, Senior Lecturer and Head of Course - Positive Psychology, <a href="https://theconversation.com/institutions/cquniversity-australia-2140">CQUniversity Australia</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/the-enduring-appeal-of-friends-and-why-so-many-of-us-feel-weve-lost-a-personal-friend-in-matthew-perry-216626">original article</a>.

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

Top End tourism surge after massive search for fake Aussie town

In an absolute boon to Top End tourism, it appears that Google users have been working overtime trying to locate a little slice of Northern Territory paradise known as Agnes Bluff and its nearby neighbour Mia Tukurta National Park. Why, you ask? Because they're convinced it's the next hidden holiday hotspot. But here's the catch: it's completely made up. This newfound obsession with Agnes Bluff and Mia Tukurta National Park is all thanks to Amazon Prime's latest hit series, The Lost Flowers Of Alice Hart. People have been binge-watching the show and drooling over the stunning landscapes, causing Google searches for these places to shoot up like a rocket on a sugar rush. According to <a href="https://www.news.com.au/travel/australian-holidays/northern-territory/google-searches-surge-for-agnes-bluff-an-aussie-town-that-doesnt-exist/news-story/59f00cc1e89074de0e6464c0072ae4b8" target="_blank" rel="noopener">news.com.au</a>, Google searches for Agnes Bluff skyrocketed by a whopping 1640 per cent between July and August in Australia, and then another 40 per cent in September, all thanks to the series. And it's not just our fellow Aussies on the hunt for these mystical places – folks from Spain, Canada, the UK, the United States and Italy are also joining the imaginary treasure hunt. Can we blame them for trying to uncover these hidden gems? After all, in the show, Agnes Bluff and Mia Tukurta National Park look so darn spectacular that even the Loch Ness Monster might want to visit. But chin up, dear travellers! While you can't exactly book a one-way ticket to Fantasyland, you can still visit the real-life locations that inspired the series. This show was born from the creative genius of Aussie author Holly Ringland, who drew inspiration from her time living on Anangu land in Australia's Western Desert. In her news.com.au interview, she said, "To know people are Googling these places I fictionalised feels like a shot of joy straight to my heart – I don't know that there could be a greater compliment given to my writing." So, where was the series actually filmed? Well, it turns out they filmed all over Central Australia, including places like the Alice Springs Desert Park, Simpsons Gap, Ooraminna Station, Standley Chasm and Ormiston Gorge – just to name a few. And that crater that had everyone drooling? It's called Tnorala, or Gosses Bluff, and it's a mere 175km from Alice Springs. In fact, search interest in Gosses Bluff crater has hit a 15-year high in Australia, increasing by a whopping 500 per cent in August alone – so, it seems like people are genuinely eager to find their own piece of Alice Hart's world. Now, if you're wondering about the burning question that's on everyone's minds, it's this: "What is the crater in The Lost Flowers for Alice Hart?" And let me tell you, Gosses Bluff, or Tnorala, is the crater-du-jour. But here's the best part – this place is absolutely real; it's not a mirage or a figment of some writer's imagination. You can actually go there, touch it (not the crater itself, though), and breathe in the stunning views. Sure, you can't frolic inside the crater, but there are viewing points that will have you oohing and aahing like a kid in a candy store. And so, while Agnes Bluff and Mia Tukurta National Park might be the stuff of dreams, Gosses Bluff is the real deal. So it could be ime to pack your bags, grab your camera and get ready for an adventure that's so real, it'll make your Google searches feel like a distant dream. Images: Prime Video

Domestic Travel

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

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

"Their memories will live on forever": Tragic twist as young brothers lost in car crash identified

Two young lives were tragically cut short in a devastating car crash in the southern part of Sydney. The victims, young brothers Xavier and Peter Abreu, aged ten and nine, are being remembered for their innocence and vibrancy as the community mourns their loss. The incident occurred on Friday night August 25 when the Subaru WRX they were travelling in collided with a tree along Grand Parade in Monterey at approximately 9:50pm. The boys' relative, Jimmy Martin Brito, 33, who was also driving the vehicle and is the father of a nine-year-old girl who was a passenger and sustained minor injuries, has been taken into custody and charged in connection to the incident. He faces charges including two counts of dangerous driving causing death and one count of causing bodily harm by misconduct. In the wake of this tragic event, the boys' stepmother, Jivonne Garrido, has established a fundraising campaign to support the grieving family. She expressed in a <a href="https://www.gofundme.com/f/xavier-abreu-and-peter-abreu" target="_blank" rel="noopener">GoFundMe</a> post on Sunday that while the boys' lives were tragically cut short, their memories will forever remain with the family. "The beautiful boys lost their lives in tragic circumstances however their memories will live on forever with the family Father Samuel Mother Olivia, brothers Alex and Jacob along with Auntie Joanne and Grandmother Dimitria." "We thank everyone who has already shown the size of their hearts with heartfelt messages and flowers at the site and call for assistance from the public that this event may resonate with. We thank you from the bottom of our hearts." The legal proceedings surrounding the incident have begun, with police alleging that Brito was operating the vehicle recklessly, leading to the fatal crash. Brito was expected to appear in court for a hearing, but it was adjourned due to his ongoing recovery from injuries sustained in the crash. His defence lawyer, Fahim Arya, conveyed that his client has had limited communication with his sister, the mother of the two boys who passed away while he was in the hospital. Despite her distress, the mother is reportedly standing by Brito. Mr Arya said the mother was 'distraught and distressed' but 'still supports and stands by him.' He added that Brito was 'fresh out of surgery' and on medication as he begins his long road to recovery. 'I don't know if he knows the two little ones have lost their lives,' Mr Arya said. While the legal process unfolds, the community has united in grief, visiting the crash site to pay their respects to the young brothers. A makeshift memorial has been established at the tree where the accident occurred, adorned with flowers and teddy bears. The profound impact of the crash is evident, with marks etched into the tree and debris scattered around the area. Authorities are looking into the possibility of street racing playing a role in the tragedy. They are particularly interested in locating a grey sedan believed to have been present during the incident, as captured by CCTV. The investigation aims to determine whether the Subaru and the grey sedan were involved in street racing prior to the collision. For anyone with relevant information, dash cam footage, or CCTV recordings, the police urge you to come forward and assist with the ongoing investigation. Information can be shared with the authorities or Crime Stoppers at 1800 333 000. Image: GoFundMe

News

Censorship or sensible: is it bad to listen to Fat Bottomed Girls with your kids?

<a href="https://theconversation.com/profiles/liz-giuffre-105499">Liz Giuffre</a>, <a href="https://theconversation.com/institutions/university-of-technology-sydney-936">University of Technology Sydney</a> International music press has reported this week that Queen’s song Fat Bottomed Girls <a href="https://www.billboard.com/music/music-news/queen-fat-bottomed-girls-greatest-hits-1235396348/">has not been included</a> in a greatest hits compilation aimed at children. While there was no formal justification given, presumably lyrics “fat bottomed” and “big fat fatty” were the problem, and even the very singable hook, “Oh, won’t you take me home tonight”. Predictably, The Daily Mail and similar outlets used it as an excuse to bemoan cancel culture, political correctness and the like, with the headline “<a href="https://www.dailymail.co.uk/tvshowbiz/article-12424449/We-woke-Classic-Queen-song-Fat-Bottomed-Girls-mysteriously-dropped-groups-new-Greatest-Hits-collection.html">We Will Woke You</a>” quickly out of the gate. Joke headlines aside, should children be exposed to music with questionable themes or lyrics? The answer is not a hard yes or no. My colleague Shelley Brunt and I studied a range of factors and practices relating to <a href="https://www.routledge.com/Popular-Music-and-Parenting/Brunt-Giuffre/p/book/9780367367138">Popular Music and Parenting</a>, and we found that more important than individual songs or concerts is the support children are given when they’re listening or participating. A parent or caregiver should always be part of a conversation and some sort of relationship when engaging with music. This can involve practical things like making sure developing ears aren’t exposed to too harsh a volume or that they know how to find a trusted adult at a concert. But this also extends to the basics of media and cultural literacy, like what images and stories are being presented in popular music, and how we want to consider those in our own lives. In the same way you’d hope someone would talk to a child to remind them that superheroes can’t actually fly (and subsequently if you’re dressed as a superhero for book week don’t go leaping off tall buildings!), popular music of all types needs to be contextualised. <figure><iframe src="https://www.youtube.com/embed/VMnjF1O4eH0?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>Should we censor, or change, the way popular music is presented for kids?</h2> There is certainly a long tradition of amending popular songs to make them child or family friendly. On television, this has happened as long as the medium has been around, with some lyrics and dance moves toned down to appease concerned parents and tastemakers about the potential evils of pop. Famously, <a href="https://www.youtube.com/watch?v=oim51kUg748">Elvis Presley serenaded a literal Hound Dog</a> rather than the metaphorical villain of his 1950s hit. In Australia, the local TV version of <a href="https://nostalgiacentral.com/music/music-on-film-and-tv/bandstand-australia/">Bandstand</a> from the 1970s featured local artists singing clean versions of international pop songs while <a href="https://www.youtube.com/watch?v=guembJBOOyI">wearing modest hems and neck lines</a>. This continued with actual children also re-performing pop music, from the Mickey Mouse Club versions of songs from the US to our own wonderful star factory that was <a href="https://theconversation.com/all-my-loving-young-talent-time-still-glows-50-years-since-first-airing-on-australian-tv-159533">Young Talent Time</a>. The tradition continues today with family-friendly, popular music-based programming like The Voice and The Masked Singer. <figure><iframe src="https://www.youtube.com/embed/oim51kUg748?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> In America, there is a huge industry for children’s versions of pop music via the Kidz Bop franchise. Its formula of child performers covering current hits has been wildly successful for over 20 years. Some perhaps obvious substitutions are made – the <a href="https://www.youtube.com/watch?v=zkctByJbtNY">cover of Lizzo’s About Damn Time</a> is now “About That Time”, with the opening lyric changed to “Kidz Bop O’Clock” rather than “Bad Bitch O’Clock”. In some other Kidz Bop songs, though, <a href="https://pudding.cool/2020/04/kidz-bop/">references to violence and drugs have been left in</a>. Other longer-standing children’s franchises have also made amendments to pop lyrics, but arguably with a bit more creativity and fun. The Muppets’ cover of Bohemian Rhapsody, replacing the original murder with a rant from Animal, is divine. <figure><iframe src="https://www.youtube.com/embed/tgbNymZ7vqY?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>Should music ever just be for kids?</h2> Context is key when deciding what is for children or for adults. And hopefully we’re always listening (in some way) together. Caregivers should be able to make an informed decision about whether a particular song is appropriate for their child, however they consider that in terms of context. By the same token, the resurgence of <a href="https://www.theguardian.com/music/2022/apr/05/how-the-wiggles-took-over-the-world-and-got-the-cool-kids-on-side-too">millennial love</a> for The Wiggles has shown us no one should be considered “too old” for Hot Potato or Fruit Salad. <figure><iframe src="https://www.youtube.com/embed/quHus3DwN4Q?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> When considering potential harm for younger listeners, factors like <a href="https://kidsafeqld.com.au/risks-noise-exposure-baby/">volume and tone</a> can be more dangerous than whether or not there’s a questionable lyric. Let’s remember, too, lots of “nursery rhymes” aimed at children are also quite violent if you listen to their words closely. French writer Jacques José Attali <a href="https://www.google.com.au/books/edition/Noise/OHe7AAAAIAAJ?hl=en">famously argued</a> the relationship between music, noise and harm is politics and power – even your most beloved song can become just noise if played too loudly or somewhere where you shouldn’t be hearing it. As an academic, parent and fat-bottomed girl myself, my advice is to keep having conversations with the children in your life about what you and they are listening to. Just like reminding your little superhero to only pretend to fly rather than to actually jump – when we sing along to Queen, we remember that using a word like “fat” and even “girl” isn’t how everyone likes to be treated these days.<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/212093/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/liz-giuffre-105499">Liz Giuffre</a>, Senior Lecturer in Communication, <a href="https://theconversation.com/institutions/university-of-technology-sydney-936">University of Technology Sydney</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/censorship-or-sensible-is-it-bad-to-listen-to-fat-bottomed-girls-with-your-kids-212093">original article</a>.

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

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"I am so lost without you": Sam Rubin's son speaks out

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

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

"Their memories will live on forever": Tragic twist as young brothers lost in car crash identified

Censorship or sensible: is it bad to listen to Fat Bottomed Girls with your kids?

Country music star's "racist" song divides audience

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