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A young mum's inspiring journey through pregnancy and cancer

In the midst of life's unpredictable twists and turns, there are moments of pure joy that shine like beacons in the night. For Dani Donne, that radiant moment arrived when she discovered she was pregnant. It was a dream come true, a promise of new beginnings after the heartache of a previous miscarriage. Little did she know that this joyous revelation would be swiftly followed by a daunting diagnosis that would put her strength and resilience to the ultimate test. Just seven days after celebrating the news of her pregnancy, Dani received the devastating news: she had breast cancer. It was a staggering blow, one that shook her to her core. Fear gripped her heart as she worried for both her unborn child and herself. How could she face such a daunting battle while nurturing new life within her? But Dani's spirit refused to be dimmed by the darkness of uncertainty. With unwavering determination, she embarked on a journey that would challenge her in ways she never imagined. Surrounded by the compassionate care of specialists at Mater Hospital in Brisbane, Dani found a glimmer of hope among the shadows. Dr Catherine Shannon guided Dani through the complexities of her treatment. Diagnosed with HER2-positive breast cancer, Dani faced unique challenges as she navigated the delicate balance between her own health and the well-being of her unborn child. Yet, with the expertise of her medical team, Dani underwent surgery followed by a carefully orchestrated treatment plan that prioritised the safety of her precious baby. Throughout the ups and downs of her cancer journey, Dani found solace in the embrace of Mater Hospital's dedicated staff. Their unwavering support and encouragement served as a pillar of strength, bolstering her resolve during moments of doubt and fear. As she cradled her newborn daughter, Parker, in her arms, Dani reflected on the incredible journey that had brought them together. Despite the uncertainties that loomed on the horizon, Dani's story is one of triumph and resilience. With each step of her journey, she embodied the very essence of courage, facing adversity with grace and determination. And in the end, her unwavering spirit prevailed, ushering in a new chapter filled with boundless joy and endless possibilities. As Dani looks to the future with hope and gratitude, she serves as a beacon of inspiration for us all. Her story reminds us that even in the darkest of times, there is always light to be found. And with love, support and unwavering determination, we can overcome even the greatest of obstacles. Images: Mater Hospital

Caring

Spin cycle disaster: man puts winning Lotto ticket through the wash

In a harrowing tale that's sure to wring out a chuckle or two, a man in his late 20s from Belmont, Western Australia, narrowly escaped laundering his way out of a $2.8 million windfall – after nearly sacrificing his winning lottery ticket to the treacherous depths of his washing machine. It all started innocently enough at the Here's Luck Lottery Centre in Belmont Forum, where our hero – who very sensibly prefers to remain incognito – purchased what would turn out to be a life-changing ticket for the Saturday Lotto. Little did he know, his unassuming trousers would soon become the epicentre of a near-catastrophe. In a classic case of absentmindedness, our hero forgot to take his ticket out of his pants pocket before succumbing to the siren song of laundry day. "I forgot to take the ticket out of my trousers and put it in the washing machine," confessed the forgetful winner. "After five minutes I realised and stopped the washing machine to grab the ticket, fortunately, it was safe." Indeed, it was a race against the spin cycle as the man scrambled to rescue his potential fortune from a soapy demise. "I couldn’t think, I couldn’t sleep, I am still processing the win," he admitted with palpable relief. But our protagonist emerged victorious from this sudsy saga, managing to salvage his ticket just in the nick of time. With a sigh of relief, he made his way to Lotterywest HQ to claim his well-deserved prize. Lotterywest spokesman James Mooney chimed in, highlighting the importance of registering tickets to avoid potential mishaps of this magnitude. "For this player, it all came out of the wash okay, but it’s a reminder for players to register their ticket to prevent what could be a multimillion-dollar mistake," he wisely advised. Image: Getty

Money & Banking

"She saw it and dodged it": Incredible scenes as tree plunges through seat in Schoolies crash

In a harrowing incident on K'Gari, formerly known as Fraser Island, a group of teenage girls narrowly escaped a potentially tragic accident during their Schoolies celebration. The friends were exploring the picturesque island off the Queensland coast when a tree crashed through the windscreen of their car, plunging right through the headrest of the passenger seat. Miraculously, all occupants emerged unscathed from this near-miss, thanks to a combination of quick reflexes and the timely intervention of volunteers from the Fraser Coast Red Frogs. As the teens ventured through the island's terrain, their joyous celebration took a terrifying turn when a massive tree limb plummeted onto their vehicle. The impact shattered the glass directly in front of the passenger seat, creating a scene of devastation that could have resulted in serious injuries – or worse. Astonishingly, one of the girls was seated in the passenger seat at the time, and her quick thinking and agility allowed her to dodge the falling debris, narrowly avoiding a potentially life-threatening situation. Tim Winnington, the Fraser Coast Red Frogs coordinator, described the fortuitous nature of the escape, saying, "There was a girl actually sitting in the passenger seat. She saw it and dodged it. They were so lucky not to get injured." The Red Frogs, a charity organisation that provides support and education at events like Schoolies and music festivals, played a crucial role in the aftermath of the incident, with volunteers from the organisation waiting with the shaken teenagers until help arrived. Madhill Motor Group, the generous donor of the ute used by the Red Frogs team, highlighted the gravity of the situation with photos shared on Facebook to demonstrate just how close the call was. The teenagers, treated for shock by paramedics, were fortunate to walk away physically unharmed, a fact not lost on them or their friends. In the aftermath of the incident, a friend of the girls expressed heartfelt gratitude to the Red Frogs for their swift and effective response. “They were all so lucky to walk away with no one being injured, and very lucky the Red Frogs were on scene so quickly and helped them so much, getting them a room to stay, driving their car for them, cleaning up all the glass and calming them all down in this traumatic experience,” they wrote. “We are all extremely grateful that you were there.” Images: Facebook

Travel Trouble

The ‘yes’ Voice campaign is far outspending ‘no’ in online advertising, but is the message getting through?

<a href="https://theconversation.com/profiles/andrea-carson-924">Andrea Carson</a>, <a href="https://theconversation.com/institutions/la-trobe-university-842">La Trobe University</a>; <a href="https://theconversation.com/profiles/max-gromping-1466451">Max Grömping</a>, <a href="https://theconversation.com/institutions/griffith-university-828">Griffith University</a>; <a href="https://theconversation.com/profiles/rebecca-strating-129115">Rebecca Strating</a>, <a href="https://theconversation.com/institutions/la-trobe-university-842">La Trobe University</a>, and <a href="https://theconversation.com/profiles/simon-jackman-310245">Simon Jackman</a>, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> With early voting set to open next week for the Indigenous Voice to Parliament referendum, this is a critical time for campaigners to win over voters. If the <a href="https://press-files.anu.edu.au/downloads/press/n11054/pdf/ch01.pdf">2022 federal election</a> is anything to go by, Australians have developed a taste for early voting, with fewer than half of all voters actually going to a polling station on election day. If the same voting patterns apply to the referendum, this means more than half of Australians, particularly <a href="https://www.cambridge.org/core/journals/government-and-opposition/article/correlates-of-early-voting/49D19E94A1D26F9AFE1B72DCB56AFF3F">older voters</a>, may have cast a vote before voting day on October 14. <h2>What’s happening in the polls?</h2> Public polls indicate support for the “yes” campaign continues to decline, despite, as we’ve shown below, huge spending on advertising and extensive media coverage of its message. According to <a href="https://simonjackman.github.io/poll_averaging_voice_2023/poll_averaging.html">Professor Simon Jackman’s</a> averaging of the polls, “no” currently leads “yes” by 58% to 42% nationally. If this lead holds, the result would be <a href="https://www.aec.gov.au/elections/referendums/1999_referendum_reports_statistics/1999.htm">even more lopsided</a> than the 1999 republic referendum defeat, where the <a href="https://www.aec.gov.au/elections/referendums/1999_referendum_reports_statistics/summary_republic.htm">nationwide vote </a> was 55% “no” to 45% “yes”. The rate of decline in support for “yes” continues to be about 0.75 of a percentage point a week. If this trend continues, the “yes” vote would sit at 39.6% on October 14, 5.5 percentage points below the “yes” vote in the republic referendum. If “yes” were to prevail on October 14, it would take a colossal reversal in public sentiment, or it would indicate there’s been a stupendously large, collective polling error. Or perhaps both. <hr /> <iframe style="width: 100%;" src="https://simonjackman.github.io/poll_averaging_voice_2023/level_plot_standalone.html" width="100%" height="688"> </iframe> <hr /> <h2>What’s happening in the news and social media?</h2> Using Meltwater data, we have seen a massive spike in Voice media coverage since Prime Minister Anthony Albanese announced the referendum date at the end of August. In the most recent week we analysed, from September 14-21, we saw a huge jump of mentions of the Voice to Parliament (2.86 million) in print media, radio, TV and social media. This compares to about a quarter million mentions in the first week of the “yes” and “no” campaigns, which we documented in our <a href="https://theconversation.com/the-no-campaign-is-dominating-the-messaging-on-the-voice-referendum-on-tiktok-heres-why-212465">last report</a> of this series monitoring both campaigns. Voice coverage now constitutes 6.7% of all Australian media reporting, up from 4.2% in week one. To put that in perspective, mentions of Hugh Jackman’s marriage split from Deborra-Lee Furness comprised 1.5% of total weekly coverage, while mentions of the AFL and NRL amounted to 4.1% and 1.7%, respectively. Media coverage of the Voice peaked on September 17 with 38,000 mentions, thanks to widespread coverage of the “yes” rallies that day around the country. This was followed closely by 35,000 Voice mentions the next day, led by Opposition Leader Peter Dutton’s <a href="https://www.skynews.com.au/australia-news/voice-to-parliament/voice-will-see-lawyers-in-sydney-and-melbourne-get-richer-dutton/video/40349a54a9f0c2f48baec7ba7263a000">claim</a> on Sky News that a Voice to parliament would see lawyers in Sydney and Melbourne “get richer” through billions of dollars worth of treaty negotiations. Our analysis of X (formerly Twitter) data provides further insight to these trends, showing the nationwide “yes” rallies on September 17 received the most public engagement about the Voice during the week we analysed. <hr /> <figure class="align-center "><img src="https://images.theconversation.com/files/549754/original/file-20230922-21-tp54x2.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/549754/original/file-20230922-21-tp54x2.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=269&fit=crop&dpr=1 600w, https://images.theconversation.com/files/549754/original/file-20230922-21-tp54x2.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=269&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/549754/original/file-20230922-21-tp54x2.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=269&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/549754/original/file-20230922-21-tp54x2.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=338&fit=crop&dpr=1 754w, https://images.theconversation.com/files/549754/original/file-20230922-21-tp54x2.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=338&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/549754/original/file-20230922-21-tp54x2.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=338&fit=crop&dpr=3 2262w" alt="" /><figcaption>X (Twitter) data accessed via Meltwater. Author provided</figcaption></figure> <hr /> <h2>Who is advertising online?</h2> This week, we specifically turned our attention to the online advertising spending of the campaigns. We also examined the types of disinformation campaigns appearing on social media, some of which are aimed at the Australian Electoral Commission, similar to the anti-democratic disinformation campaigns that have roiled the US. The main online advertising spend is on Meta’s Facebook and Instagram platforms. We have real-time visibility of this spending thanks to the ad libraries of Meta and Google. The Yes23 campaign has far outspent any other Voice campaigner on these platforms. In the last three months, its advertising expenditure exceeds $1.1 million, compared to just under $100,000 for Fair Australia, the leading “no” campaign organisation. <hr /> <figure class="align-center "><img src="https://images.theconversation.com/files/549942/original/file-20230925-23-7tl134.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/549942/original/file-20230925-23-7tl134.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=241&fit=crop&dpr=1 600w, https://images.theconversation.com/files/549942/original/file-20230925-23-7tl134.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=241&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/549942/original/file-20230925-23-7tl134.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=241&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/549942/original/file-20230925-23-7tl134.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=303&fit=crop&dpr=1 754w, https://images.theconversation.com/files/549942/original/file-20230925-23-7tl134.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=303&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/549942/original/file-20230925-23-7tl134.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=303&fit=crop&dpr=3 2262w" alt="" /><figcaption>Top five Voice campaign spenders on Facebook and Instagram since June 2023. Meta ad library</figcaption></figure> <hr /> Yes23 has also released a far greater number of new ads in September (in excess of 3,200) on both platforms, compared to Fair Australia’s 52 new ads. The top five spenders from both sides are listed below. As early voting nears, this graph shows Yes23 ad spending outpaced Fair Australia on both Google and Meta platforms in week three, as well. <hr /> <figure class="align-center "><img src="https://images.theconversation.com/files/549762/original/file-20230922-23-1bi7ov.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/549762/original/file-20230922-23-1bi7ov.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=484&fit=crop&dpr=1 600w, https://images.theconversation.com/files/549762/original/file-20230922-23-1bi7ov.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=484&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/549762/original/file-20230922-23-1bi7ov.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=484&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/549762/original/file-20230922-23-1bi7ov.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=608&fit=crop&dpr=1 754w, https://images.theconversation.com/files/549762/original/file-20230922-23-1bi7ov.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=608&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/549762/original/file-20230922-23-1bi7ov.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=608&fit=crop&dpr=3 2262w" alt="" /><figcaption>Campaign ad spending on digital platforms from Sept. 14-21. Authors provided.</figcaption></figure> <hr /> The advertising spending data shows how drastically different the strategies of the two main campaigns are. Yes23’s approach is an ad blitz, blanketing the nation with hundreds of ads and experimenting with scores of different messages. In contrast, the “no” side has released far fewer ads with no experimentation. The central message is about “division”, mostly delivered by the lead “no” campaigner, Senator Jacinta Nampijinpa Price. All but eight of the ads released by the “no” side in September feature a personal message by Price arguing that the referendum is “divisive” and “the Voice threatens Aussie unity.” To win, “yes” requires a majority of voters nationwide, as well as a majority of voters in a majority of states. The “no” side is strategically targeting its ads to the two states it believes are most likely in play – South Australia and Tasmania. It only needs to win one of these states to ensure the “yes” side fails. <hr /> <figure class="align-center "><img src="https://images.theconversation.com/files/549949/original/file-20230925-20-zgr4wg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/549949/original/file-20230925-20-zgr4wg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=797&fit=crop&dpr=1 600w, https://images.theconversation.com/files/549949/original/file-20230925-20-zgr4wg.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=797&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/549949/original/file-20230925-20-zgr4wg.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=797&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/549949/original/file-20230925-20-zgr4wg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1001&fit=crop&dpr=1 754w, https://images.theconversation.com/files/549949/original/file-20230925-20-zgr4wg.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1001&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/549949/original/file-20230925-20-zgr4wg.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1001&fit=crop&dpr=3 2262w" alt="" /><figcaption>Campaign ad spend on Meta platforms across the states since mid-August. (Dark blue = greater the ad spend). Author provided</figcaption></figure> <hr /> <h2>Referendum disinformation</h2> The Meltwater data also reveal a surge in misinformation and disinformation targeting of the AEC with American-style attacks on the voting process. Studies show disinformation surrounding the referendum has been <a href="https://osf.io/qu2fb/">prevalent</a> on X since at least March. To mitigate the harms, the AEC has established a <a href="https://www.aec.gov.au/media/disinformation-register-ref.htm">disinformation register</a> to inform citizens about the referendum process and call out falsehoods. We’ve identified three types of disinformation campaigns in the campaign so far. The first includes attempts to redefine the issue agenda. Examples range from the false <a href="https://www.abc.net.au/news/2023-08-02/fact-check-indigenous-australians-support-for-the-voice/102673042">claims</a> that First Nations people do not overwhelmingly support the Voice to <a href="https://stephenreason.substack.com/p/the-voice-to-parliament-the-united">conspiracy myths</a> about the Voice being a globalist land grab. These falsehoods aim to influence vote choice. This disinformation type is not covered in the AEC’s register, as the organisation has no provisions to enforce truth in political advertising. The register does cover a second type of disinformation. This includes spurious claims about the voting process, such as that the referendum is voluntary. This false claim aims to depress voter turnout in yet another attempt to influence the outcome. Finally, a distinct set of messages targets the AEC directly. The aim is to undermine trust in the integrity of the vote. A most prominent example was Dutton’s <a href="https://www.afr.com/politics/federal/voice-voting-rules-confusion-stinks-dutton-20230824-p5dz41">suggestion</a> the voting process was “rigged” due to the established rule of counting a tick on the ballot as a vote for “yes”, while a cross will not be accepted as a formal vote for “no”. Sky News host Andrew Bolt <a href="https://www.facebook.com/watch/?v=1256952825005993">echoed</a> this claim in his podcast, which was repeated on social media, reaching 29,800 viewers in one post. Attention to the tick/cross issue spiked on August 25 when the AEC <a href="https://www.theguardian.com/australia-news/2023/aug/25/indigenous-voice-to-parliament-referendum-aec-poll-unfairness-claims-rejected">refuted</a> the claim (as can be seen in the chart below). Daily Telegraph columnist and climate change denialist Maurice Newman then linked the issue to potential <a href="https://www.dailytelegraph.com.au/news/opinion/maurice-newman-aec-rules-on-voting-could-create-confusion-uncertainty/news-story/c76bc3e1e031c2f349710dd1e9f3b51e?btr=15aad1c65d873d8f896d09618a96e228">voter fraud</a>, mimicking US-style attacks on the integrity of voting systems. <hr /> <figure class="align-center "><img src="https://images.theconversation.com/files/549852/original/file-20230924-23-ob3ltn.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/549852/original/file-20230924-23-ob3ltn.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=267&fit=crop&dpr=1 600w, https://images.theconversation.com/files/549852/original/file-20230924-23-ob3ltn.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=267&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/549852/original/file-20230924-23-ob3ltn.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=267&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/549852/original/file-20230924-23-ob3ltn.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=336&fit=crop&dpr=1 754w, https://images.theconversation.com/files/549852/original/file-20230924-23-ob3ltn.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=336&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/549852/original/file-20230924-23-ob3ltn.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=336&fit=crop&dpr=3 2262w" alt="" /><figcaption>Disinformation attacking AEC or referendum over past month. Authors provided</figcaption></figure> <hr /> The volume of mentions of obvious disinformation on media and social media may not be high compared to other mentions of the Voice. However, studies show disinformation disproportionately grabs people’s attention due to the <a href="https://www.nature.com/articles/s41599-019-0224-y">cognitive attraction</a> of pervasive negativity, the focus on threats or arousal of disgust. All three types of disinformation campaigns attacking this referendum should concern us deeply because they <a href="https://journals.sagepub.com/doi/10.1177/00104140231193008">threaten trust</a> in our political institutions, which undermines our vibrant democracy.<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/213749/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/andrea-carson-924">Andrea Carson</a>, Professor of Political Communication, Department of Politics, Media and Philosophy, <a href="https://theconversation.com/institutions/la-trobe-university-842">La Trobe University</a>; <a href="https://theconversation.com/profiles/max-gromping-1466451">Max Grömping</a>, Senior Lecturer, <a href="https://theconversation.com/institutions/griffith-university-828">Griffith University</a>; <a href="https://theconversation.com/profiles/rebecca-strating-129115">Rebecca Strating</a>, Director, La Trobe Asia and Associate Professor, La Trobe University, <a href="https://theconversation.com/institutions/la-trobe-university-842">La Trobe University</a>, and <a href="https://theconversation.com/profiles/simon-jackman-310245">Simon Jackman</a>, Professor, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of 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/the-yes-voice-campaign-is-far-outspending-no-in-online-advertising-but-is-the-message-getting-through-213749">original article</a>.

Money & Banking

Coles praised for helping small town through cost of living crisis

Coles has been praised for the innovative way they are helping a small Aussie town to combat the ongoing cost of living crisis. The supermarket giant has started contributing to a community pantry in the coastal town of Ulladulla, 200km south of Sydney, which gives struggling locals basic grocery staples. The Little Free Food Pantry in Ulladulla was set up by local woman Coralie Smith and her mother Melissa, who were on a mission to reduce food waste, while also give back to their community as the cost of living continues to take hold. The motto "take what you need, give what you can" is plastered along the top of the pantry, set up outside the local scout hall, designed for people to help themselves to food to feed their families. Most of the food in the community cupboard has been donated by the local Coles supermarket, which provides a range of baked items, meats and fresh produce daily. Woolworths has also contributed items to the pantry every week, while also being topped up by generous locals. One local woman named Michelle has been using the service for almost three months. Before the pantry was established, Michelle was only able to afford to eat just one meal a day. "I'm working three jobs because of the high interest rates and the cost of living," she told Yahoo News Australia. "When I collected my first hamper all I could do is cry". The first time she was offered food she felt extremely "overwhelmed" but "now I'm definitely eating more, and am able to keep up with my mortgage and bills". Image credits: Facebook / Shutterstock

Money & Banking

How 1920s high society fashion pushed gender boundaries through ‘freaking’ parties

<a href="https://theconversation.com/profiles/dominic-janes-347508">Dominic Janes</a>, <a href="https://theconversation.com/institutions/keele-university-1012">Keele University</a> The 1920s brought about a rise in androgynous fashion among a high society set that broke boundaries and caused controversy. This drew on a subculture that had existed for decades, perhaps centuries, but after the first world war gender-bending fashions became front page news. It was a time of upheaval. Established regimes were toppling across Europe. In Britain, women over 30 had finally been given the vote and there was widespread concern about the new hedonism of their younger “flapper” sisters. There was also a new market for novels, such as Radcylffe Hall’s <a href="https://www.pbs.org/wgbh/roadshow/stories/articles/2019/4/1/radclyffe-hall-well-of-loneliness-legacy#:%7E:text=On%20November%2016%2C%201928%2C%20Biron,its%20immediate%20removal%20from%20circulation.">banned book</a> <a href="https://www.bbc.com/culture/article/20221121-the-well-of-loneliness-the-most-corrosive-book-ever">The Well of Loneliness</a> (1928) that focused on, rather than merely hinted at, queer lives. Daring male university students <a href="https://doi.org/10.1093/tcbh/hwab036">started wearing makeup</a>. One of these was <a href="https://www.vam.ac.uk/articles/cecil-beaton-an-introduction">Cecil Beaton</a>, the future celebrity photographer, who <a href="https://www.digitaltransgenderarchive.net/files/ht24wj66t">delighted in cross-dressing</a> both on stage and off. Beaton became part of a set of high society socialites who were known as the “<a href="https://www.npg.org.uk/whatson/cecil-beaton-bright-young-things/exhibition">bright young things</a>”. They were often socially privileged, many of them were queer and their antics were <a href="https://djtaylorwriter.co.uk/page10.htm">widely followed in the media</a> with a mixture of horror and fascination. The “things” took partying seriously and paid great attention to their outfits. They dressed to transgress. In 1920, high society magazine <a href="https://www.bloomsbury.com/uk/freak-to-chic-9781350172609/">The Sketch reported</a> that what it termed “freak parties” were suddenly in vogue with the younger set. Before the war, <a href="https://www.bloomsbury.com/uk/freak-to-chic-9781350172609/">articles had appeared</a> condemning unusual styles as “freak fashions”, but suddenly “<a href="https://www.bloomsbury.com/uk/freak-to-chic-9781350248083/">freaking</a>” was all the rage. Until this point, menswear had been heavily circumscribed. Black was the default colour for formal occasions and tweed for informal settings. But suddenly there was a circle who were keen to try out new looks, no matter how bizarre – or queer-looking – the results. <h2>Queer parties, queer fashions</h2> These styles were often worn as fancy dress, but they borrowed looks from marginalised queer communities such as feminine-styled queer men, some of whom made a living by selling sexual services. One such man was Quentin Crisp, whose memoir <a href="https://www.penguinrandomhouse.com/books/324730/the-naked-civil-servant-by-quentin-crisp/">The Naked Civil Servant</a> (1968) was dramatised as a <a href="http://www.crisperanto.org/news/NCSusa2007.html">pioneering TV drama</a>. Another source of inspiration was the <a href="https://press.uchicago.edu/ucp/books/book/chicago/S/bo3682948.html">freak show</a>. These displays, horrifying from a 21st century point of view, were a popular element of circuses at the time. They featured such stock characters as the muscled giant and the bearded lady, some of whom <a href="https://www.thehumanmarvels.com/annie-jones-the-esau-woman/">became celebrities</a> in their own right. Masquerade and fancy dress parties had long been a feature of urban social life, but the bright young things innovated in that they impressed less through the expense of their outfits and more through their queer implications. Many such parties were themed, such as a Greek-themed freak party that was hailed as the greatest “Dionysia” of 1929 (Dionysus being the Greek god of sex and pleasure). Androgynous and cross dressing looks were common and men such as Beaton designed their own frocks. In July 1927, <a href="https://www.routledge.com/Her-Husband-was-a-Woman-Womens-Gender-Crossing-in-Modern-British-Popular/Oram/p/book/9780415400077">one magazine declared</a> that an event attended by Beaton’s friend Stephen Tennant dressed as the Queen of Sheba and bisexual actress Tallulah Bankhead dressed as a male tennis star was: “one of the queerest of all the ‘freak’ parties ever given in London”. <h2>The party’s over</h2> The Wall Street crash of 1929 led to a rapid shift in public mood. Economic recession led people to favour sobriety over flamboyance. Money for the parties ran out and media attention faltered. Gender-bending style vanished from the fashionable arena, although it persisted on inner cities streets. Quentin Crisp’s mode of <a href="https://bodleianshop.co.uk/products/british-dandies">queer dandyism</a> was daring for its time, but it only became extraordinary by virtue of his unwillingness to modernise. Seemingly he, and pretty much he alone, continued to wear the queer looks of the interwar period into the television age. He duly <a href="http://www.crisperanto.org/news/AnEnglishmanInNYmovie.html">became a transatlantic celebrity</a> late in life when he became the inspiration for Sting’s song <a href="https://www.sting.com/discography/album/189/Singles">Englishman in New York</a> in 1987. Cecil Beaton, meanwhile, became a leading photographer for Vogue magazine and was commissioned to take official <a href="https://www.rct.uk/cecil-beaton-1904-80">coronation portraits of Elizabeth II</a>. He also designed the fantastic dresses worn by Audrey Hepburn in the film <a href="https://www.tatler.com/article/in-cecil-beatons-show-stopping-designs-for-my-fair-lady-lies-a-story-of-tantrums-and-top-hats">My Fair Lady</a> (1964), inspired by the gowns he and his compatriots had dreamed up for themselves some 40 years earlier.<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/205893/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/dominic-janes-347508">Dominic Janes</a>, Professor of Modern History, <a href="https://theconversation.com/institutions/keele-university-1012">Keele University</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/how-1920s-high-society-fashion-pushed-gender-boundaries-through-freaking-parties-205893">original article</a>.

Beauty & Style

5 ways to get through the airport faster

There’s a reason they say get to the airport at least two hours early. From checking your luggage to getting processed by customs, catching an international flight can be a tedious, at times frustrating task, particularly when pressed for time in a crowded airport. It doesn’t have to be this way, though. We’ve put together a useful list containing five handy airport tips to help you get to your gate faster. 1. Check in online This can be a major time-saver, particularly if you’re not checking bags. Most airlines have now made checking in online a relatively simple, fool-proof process and even offer automated check in services when you arrive if you can’t get to a computer. Airlines these days also generally have an easy to use flight status feature, so you can be aware of any unexpected delays before you actually rock up. 2. Weigh your bags The person who’s been standing in line for 20 minutes only to suddenly realise when they’ve reached the counter that they need to frantically move clothes from one bag to another to make the weight limit isn’t the most popular person at the airport. Make sure you know the weight of your bags before you arrive. Many airports have scales installed near the entrance for a last minute check. 3. Have your important documents ready Make sure you’re ready to go when you hit the front of the line by having your boarding pass, ID/passport and credit card stored in an easily accessible part of your wallet or bag. This may seem like a small detail, but it means you won’t waste time rifling through your possessions when you get to the front of the line and decreases the chance of leaving something important at home. 4. Passing through customs and immigration These processes can be streamlined by just being a little bit cooperative. Have your documentation ready, fill out any paperwork and answer any questions the officials may have in an honest, clear manner. Making sure you pay attention to little details like this also decreases your chances of having to face a grilling from a surly customs official, which is just as fun as it sounds. 5. Figure out the gate your flight is departing from While you generally have plenty of time to pick up a nice duty-free bargain after customs, don’t be complacent. Even if it’s just a quick glance at the departure times, make sure you know the actual gate your flight is departing from. Nobody likes to hear their name over the airport loudspeaker, particularly if the voice is directing you to a gate that’s on the other side of the terminal. Don’t let long, potentially mood-killing lines at the airport derail the start of your trip. With a little bit of advance planning you can get through the airport quickly and avoid the unnecessary stress. Image credits: Getty Images

Travel Tips

How one brave mum is shedding light on postnatal depression through the healing power of music

Warning: This article contains sensitive content which some readers may find distressing. It’s no secret that having a baby changes your life in every way. From sleepless nights and feeding routines, to nappy changes and seemingly endless crying, starting a family is, put simply, a life-altering experience. And while the early days of having a newborn can bring love and chaos in equal parts, for some, the days, weeks and months after giving birth can welcome a whole new set of challenges. While most parents are privy to the “baby blues” and a rough day here and there, those struggling with postnatal depression can often be overlooked. Postnatal depression is common, with one in five mums, and one in 10 dads, experiencing postnatal depression symptoms after their baby is born. For Lija (pronounced Le-ah), postnatal depression completely changed her life. Lija, a music teacher from the Central Coast of New South Wales, welcomed her first child, a beautiful daughter named Harper, into the world at the end of 2017. When Lija discovered she was going to become a mum, she was overcome with fear. Lija spoke exclusively with OverSixty about her journey with postnatal depression, and how her feelings of anxiety began as soon as she fell pregnant. “There was this lie in my head that I could not give birth… That I would die. You feel like you can’t make a way through it and you’re predicting all these complications. [Lija’s friends’ traumatic birth experience] confirmed all these feelings and i just thought ‘Maybe you die from this’.” As soon as Lija and her husband began to celebrate the news of their growing family, she quickly began to “spiral” into self-doubt and depressive episodes. “When I found out I was pregnant, it was a spiral. I didn’t think I was good enough, I was crying so much… I didn’t feel like I could tell anyone because I was so gripped in fear.” “It took me about seven months to accept that I was having a kid.” Over the course of her pregnancy, Lija’s mental health continued to plummet with her feelings of fear and self-doubt, which led her down an even darker path. “The worst part was I was suicidal. There were moments where I wanted to end my life because I just felt like my time was up.” These feelings of helplessness led Lija to reach out to a counsellor, who helped manage her mental health symptoms for the rest of her pregnancy and introduced her to hypnobirthing. Her sessions with a hypnobirthing specialist gave Lija the boost she needed to be in tune with her body, and get her through to Harper’s birth with a sense of confidence. “If I’ve grown a baby, I can give birth to a baby. It was all just focus.” When Harper was born, Lija remembers healthcare professionals warning her husband that her mental health could decline, but she was never spoken to directly. “Apparently nurses were talking to my husband after the birth saying ‘She’s going to be prone to postnatal depression, you need to watch her’, but no one told me I was going to be so lonely.” “I was so focused on the birth going well that I hadn’t thought about what happens after, and I didn’t know what postnatal depression was.” When Lija and her husband brought baby Harper home, as they encountered perfectly common issues around sleep and breastfeeding, Lija thought she had failed as a first-time mum. “I felt like I failed as a mum because I couldn't give Harper everything she needed. And that started all these terrible thoughts and I just started to mentally spiral down again. But I didn’t know for about six months that I had postnatal depression.” During the first few months of Harper’s life, Lija began to find simple day-to-day tasks very difficult. “My poor husband… I was a psycho. It began when I said no one was allowed to come over because I was constantly in my pyjamas and I felt ashamed that my house wasn’t clean.” Lija shared that as she began to settle into the reality of being a mum, Harper’s needs always came first. “I was just in such a routine. I needed to have my baby follow a good structure, which meant my mental health took a backseat. So I just kept spiralling and spiralling.” As Lija tried to better herself, she quickly found out that comparing yourself to other new parents is a slippery slope that welcomes thoughts of self-doubt. “I tried to go to a mum’s club and they all seemed so perfect. I feel like they weren’t real. It was like Instagram mums. So to try and look good, I was spending all this money to try and keep up appearances.” As Lija’s mental health continued to suffer, she said it wasn’t until a difficult conversation with her husband that she realised she needed professional help. “I wasn’t being the normal me. There was no joy, there was no laughter, and I felt like I failed as a mother and as a wife. So my husband said ‘I’ve booked you in for a therapy session’, and that was the start of it.” “I wanted to be better for Harper. I wanted to be a good mum for her. So I had to start working on myself.” Now, five years on, Lija is reflecting on her experience with postnatal depression in the best way she knows how: through her music. Lija’s debut single Save Me details her journey of becoming a mum and bettering herself, while painting an honest portrait of the first months of motherhood. <iframe title="YouTube video player" src="https://www.youtube.com/embed/tmHTlybb-rM" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe> After being a musician for most of her life, Lija’s passion took a backseat when she became a mother. “I started to miss my music, because I've done music my whole life. It was so hard to walk past my studio and see the guitar going to waste. I started to miss the other half of me as a musician.” After working on Save Me for several years, Lija believes it is the right time to put her story out there in order to help and inspire other parents struggling with postnatal depression. “It’s okay to be vulnerable. Be real, because you can help others with your honesty.” “It’s also important to remember that babies aren’t going to remember the best outfits they were in, or if they had the best pram. They're going to remember if they were loved or not.” Lija has long been a champion of music and its healing power, which became a saviour in her darkest times through her postnatal depression journey. “I went back to teaching music three months after having Harper. I worked one day a week and these kids and teenagers that were singing to me were actually healing me with their music and their talent.” “Music is something I have always turned to. It has always spoken to me, and I thought if I write a song about my journey, that could heal me too. I thought ‘It’s time to kick fear in the butt and write about life’.” Musical talent is something that runs in the family, with Harper’s singing talents already at “the next level”. “I swear she came out singing! Her ability to hear pitch is insane. In lockdown, she would be singing scales while I was teaching music classes over Zoom. She is just so joyous, and she is like my healing.” Lija’s debut single Save Me is out on now. Don't go it alone. Please reach out for help. Lifeline: 13 11 14 or <a href="http://lifeline.org.au/">lifeline.org.au</a> Beyond Blue: 1300 22 4636 or <a href="http://beyondblue.org.au/">beyondblue.org.au</a> Headspace: 1800 650 890 or <a href="http://headspace.org.au/">headspace.org.au</a> PANDA (Perinatal Anxiety & Depression Australia): 1300 726 306 or <a href="https://panda.org.au/">panda.org.au</a> Image credits: Instagram

Music

Devoted son grows out hair for mum going through chemo

An Arizona woman battling with brain cancer lost her hair while undergoing radiation treatment and her son has gone the extra mile to help. Speaking with Today in 2022, Melanie Shaha, 61-year-old mother of six, said that doctors discovered a benign brain tumour in her pituitary gland in 2003. Ms Shaha had surgery to remove the tumour, which grew to be the size of a plum, according to Today, but she underwent a second procedure when it returned. In 2017, Ms Shaha’s tumour returned once more and she was prescribed radiation treatment. "Not having hair, you stick out like a sore thumb and well-meaning people can say things that break your heart," she told Today. "I don't mind being sick but I mind looking sick. I'd rather blend in and not stand out at the store." Today revealed that back in 2018, Ms Shaha’s 28-year-old son Matt made a joke that sparked an idea during a family lunch. "I said, 'Why don't I grow out my hair to make a wig for you?’” Matt told the outlet. Although Ms Shaha was hesitant to take her son up on his offer, he persisted and grew 12 inches of hair by March 2022. KSAZ, a local news station in Phoenix Arizona reported that Matt grew his hair out for two and a half years. <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/CgfqMtWvqYe/?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/CgfqMtWvqYe/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Mercedes Berg (@mercedesmberg)</a> </div> </blockquote> Matt chopped off his long locks with the help of his coworkers, according to Today. "We were super pumped and when they started cutting, we bawled," Ms Shaha told the outlet. They then shipped the hair to Compassionate Creations in Newport Beach, California where it was constructed into a hand-stitched wig. KSAZ reported that the wig cost $2,000. "The colour is spectacular and we had it cut and styled with a hairdresser," Ms Shaha told Today. ”Matt said it looks great on me.” "It's a no-brainer," Matt told KSAZ. "She gave me the hair in the first place." Image credit: Instagram

Family & Pets

Rod Stewart’s son blows through inheritance

Rod Stewart’s son, Sean Stewart, has allegedly spent all of his inheritance in an attempt to rebrand his clothing line. A source told Page Six Style exclusively that Sean had “cashed out” the funds he would have received upon his father’s death in order to salvage the failing Dirty Weekend brand. “It’s insane because this is the third time I think he’s relaunching Dirty Weekend,” the source revealed. “Maybe third time’s the charm.” Reps for Sean and Dirty Weekend did not return Page Six Style’s requests for comment. In March, the son of the British rockstar posted about his company’s rebrand and credited artist Hector De Marquez for helping him with the relaunch. “Really proud of the work me and @hectordemarquez have put into rebranding dirty weekend,” the 42-year-old captioned the Instagram post. “Someone who finally sees my vision. What makes a successful business and entrepreneur is the team you have behind you.” The brand was originally launched in 2022. He also recently married his partner Jody Weintraub in Las Vegas on Valentine’s Day. He had known his now-wife, also 42, since high school. She is the daughter of late producer Jerry Weintraub. The pair eloped and made their way back to Los Angeles to celebrate the special day with the infamous musician and his ex-wife Alana Stewart, who is Sean’s mother. The British icon married Alana in 1979 but they divorced after five years. Stewart, 78, has been married to his current wife, Penny Lancaster, for 14 years. During Stewart’s 2023 Australian tour, the lovebirds <a href="https://www.oversixty.com.au/lifestyle/relationships/rod-stewart-s-secret-ceremony" target="_blank" rel="noopener">renewed their vows</a> in a secret ceremony. Image credit: Instagram

Money & Banking

“I went through hell and back”: Jelena Dokic reveals tragic truth behind old photo

Former tennis star Jelena Dokic has revealed the tragic truth behind her physical transformation. Dokic shared an old photo on Instagram of herself during the peak of her tennis career next to a current photo, revealing the extent of the abuse she suffered at the hands of her father. “What is the most common comment I see when it comes to my body, size and weight? ‘What happened to her? I can barely recognise her’,” Dokic started in the caption. “Really? What happened? You can’t recognise me? Let me tell you what happened. “I survived being a refugee twice, I was bullied, I lived in a domestic violence filled home for 15 years and I was beaten unconscious, I was abused physically and emotionally and got beaten for the first time when I was six years, I was called a whore and a cow since I was as young as 11. I had to escape home, I battled anxiety, depression, PTSD and trauma and I almost committed suicide,” she shared. The 39-year-old has always been open about her struggles with depression, online abuse, body shaming, and the family violence she suffered throughout her career. In the photo, Dokic has a visible bruise on her leg, and added that despite everything she’s been through and achieved, the most important thing to her was that she survived. “I still managed to do pretty well, I managed to be top five in the world as a tennis player and a grand slam finalist, I am a best-selling author, commentator and speaker but most importantly I survived”. <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/CrLAQi8pKo0/?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/CrLAQi8pKo0/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by JELENA DOKIC 🇦🇺🇦🇺🇦🇺 (@dokic_jelena)</a> </div> </blockquote> She slammed body shamers who only saw “weight and size change” by sharing that she is much happier being a size 16 compared to a size 4. “I will tell you the difference between these two images. The one on the left is a size four, scared to death, beaten unconscious and that bulge on my shins is from being kicked all night,” she wrote. “The one on the right is me at size 16, I have survived it all and I am here healing from my trauma and thriving. “I will take the size 16 over the size 4 any day if it means I am happy. “If it means I turned to food to try and survive, then so be it. But I am here, I am happy and most importantly I made it through. “So, there is the answer, once and for all. I went through hell and back and I survived and today I try to help others. That’s what happened. And for those that still don’t get the point, well that says everything about you,” Dokic concluded in her post. Many have shared their support for Dokic and her courage to tell her story. “You’re so inspiring Jelena 👏🙌 Keep up the great work!!” commented one follower. “You don’t need to justify anything to anyone. Most of us know a warrior when we see one. I’m so glad you’ve made it through and continue to stand up for yourself time and time again ❤️” wrote another. “Thank you, Jelena 💙 We are all worth so much more than our bodies 🦋” chimed a third. Images: Getty, Instagram

Body

‘We are only passing through’: stories about memory, mortality and the effort of being alive

Chris Flynn’s <a href="https://www.uqp.com.au/books/here-be-leviathans">Here Be Leviathans</a> is a collection of short stories that seems quirky and light-hearted, propelled by its creative use of perspective. Each story is established from a surprising vantage point and so the world as Flynn imagines it becomes topsy-turvy – anything at all might be alive and sentient. Animals, chairs, boats, you name it. <hr /> Review: Here Be Leviathans – Chris Flynn (UQP) and The Tower – Carol Lefevre (Spinifex) <hr /> A bear eats a teenager, and thus inherits the boy’s memories. An airplane seat describes its last day at work. A hotel room observes its favourite couple, who return over the years. A monkey details a trip into outer space. But these stories are driven by more than quirky inspiration. The point-of-view might offer an interesting hook, and Flynn’s tone may be jaunty at times, but the stories are propelled by deeper themes of mortality, death and existential pointlessness. Flynn uses perspective to reflect and question the way we think about things. <h2>Memory and mortality</h2> Many of the characters in this collection die, have died or are about to die – but there’s also a counter-theme of connection. The bear may eat the teenager, and so the ranger is hunting him down; we enter a hide-and-seek game for survival. But it’s the connection the bear and ranger have, the mutual respect they share, that becomes the message of the first story, Inheritance. <figure class="align-right zoomable"><a href="https://images.theconversation.com/files/497560/original/file-20221128-26-5t8y8o.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/497560/original/file-20221128-26-5t8y8o.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/497560/original/file-20221128-26-5t8y8o.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=896&fit=crop&dpr=1 600w, https://images.theconversation.com/files/497560/original/file-20221128-26-5t8y8o.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=896&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/497560/original/file-20221128-26-5t8y8o.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=896&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/497560/original/file-20221128-26-5t8y8o.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1126&fit=crop&dpr=1 754w, https://images.theconversation.com/files/497560/original/file-20221128-26-5t8y8o.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1126&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/497560/original/file-20221128-26-5t8y8o.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1126&fit=crop&dpr=3 2262w" alt="" /></a><figcaption></figcaption></figure> Flynn also explores ideas of memory transference, and this imbues the story with lingering, thoughtful hope: something that pervades the whole collection. In Flynn’s world, death can be a means to existence – as long as our memories keep living, our experiences and perspectives continue to exist. Flynn’s use of unexpected points of view allows him to avoid the sentimental. In 22F, he tells the story of an airplane seat abandoned in the jungle and we’re left with the superb image of moss growing up and over the upholstery, claiming the seat for the natural domain. We learn about the seat’s history, the work-politics of neighbouring seats, and observations of the passengers who have sat in them. We see glimpses of these human cargoes that simultaneously show the banality and profundity of life. The collection took Flynn ten years to write, and he includes notes at the end about his process and the stories’ origins. For instance, he describes how 22F was inspired by the Werner Herzog documentary <a href="https://letterboxd.com/film/wings-of-hope/">Wings of Hope</a>, which interviewed Juliane Koepcke, the sole survivor of a 1971 airplane crash. Together, Herzog and Koepcke journey to the site of the crash and find parts of the airplane in the jungle. Flynn says the story is about: <blockquote> Memory and place. A reminder that we are only passing through and that everything is part of something larger. </blockquote> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/497575/original/file-20221128-21-v71muf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/497575/original/file-20221128-21-v71muf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/497575/original/file-20221128-21-v71muf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/497575/original/file-20221128-21-v71muf.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/497575/original/file-20221128-21-v71muf.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/497575/original/file-20221128-21-v71muf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/497575/original/file-20221128-21-v71muf.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/497575/original/file-20221128-21-v71muf.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>One of Chris Flynn’s stories is told from the perspective of an airplane seat abandoned in the jungle. Leslie Cross/Unsplash, <a class="license" href="http://creativecommons.org/licenses/by/4.0/">CC BY</a></figcaption></figure> The importance of memory and place is further explored in the story A Beautiful and Unexpected Turn, where we follow the perspective of a hotel room that takes a special interest in its guests, Diane and Hector. We see the waxing and waning and waxing of their relationship. At the end, the room says: <blockquote> We are places of passage, of transience […] Eventually, I would be demolished, perhaps to make way for another hotel or an apartment block, or nothing […] I would become rubble, and then dust. </blockquote> This could be the larger message of the book – our lives are transient and then we become dust. The connections we experience and inspire are what give us meaning in the moment. <h2>Complications of care</h2> Carol Lefevre’s <a href="https://www.spinifexpress.com.au/shop/p/9781925950625">The Tower</a> also emphasises place. This thoughtful collection of short stories is very different from Flynn’s in tone and focus, but it too grounds storytelling in the themes of place and mortality. <figure class="align-left zoomable"><a href="https://images.theconversation.com/files/497573/original/file-20221128-14-p18sux.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/497573/original/file-20221128-14-p18sux.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/497573/original/file-20221128-14-p18sux.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=928&fit=crop&dpr=1 600w, https://images.theconversation.com/files/497573/original/file-20221128-14-p18sux.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=928&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/497573/original/file-20221128-14-p18sux.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=928&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/497573/original/file-20221128-14-p18sux.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1166&fit=crop&dpr=1 754w, https://images.theconversation.com/files/497573/original/file-20221128-14-p18sux.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1166&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/497573/original/file-20221128-14-p18sux.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1166&fit=crop&dpr=3 2262w" alt="" /></a><figcaption></figcaption></figure> The Tower is structured around a series of interlocking narratives about Dorelia MacCraith – in the very first story, after losing her husband Geordie, she sells her house and buys a new one, with a tower. Her children, who she does not consult, are suspicious of this defiant act. Straight away, the reader is thrust into the negotiations and complications of care. People who Dorelia once cared for are now asserting (or trying to assert) forms of reverse care. And many stories in the collection reverberate with related themes – women caring for children and partners and parents, or making decisions about their positions as carers, especially in the context of trying (or deciding not) to have children. The interconnected stories about Dorelia and her tower are the centrepiece of the collection. Yet Dorelia finds this house of her own by accident, when driving her dear friend and fellow artist Elizabeth Bunting to an appointment: <blockquote> they took a wrong turn, and then another, until at the end of the a quiet cul-de-sac, set among sheltering trees, stood the most adorable house […] and above the porch rose a small tower. </blockquote> I appreciate that it is the women’s friendship – their spark of connection and humour are immediate and inviting – that enables Dorelia to find her tower oasis. I also appreciate that this critical act occurs during a moment of generosity and care: Dorelia is driving Elizabeth to an appointment. While Dorelia may find her tower by accident, we never feel Lefevre is accidental in rendering the lives of these women on the page. The prose is carefully controlled, as is the detail and world-building – and the deeper reflections of the stories kaleidoscope through one another, building in nuanced ways. <h2>Reimagining the crone</h2> Of course, symbolic permutations resonate throughout this text – a tower of one’s own harks to <a href="https://theconversation.com/skin-and-sinew-and-breath-and-longing-reimagining-the-lives-of-queer-artists-and-activists-from-sappho-to-virginia-woolf-184459">Virginia Woolf</a> and Rapunzel. Dorelia reimagines the crone from the Rapunzel <a href="https://theconversation.com/reader-beware-the-nasty-new-edition-of-the-brothers-grimm-34537">fairy tale</a> as central and heroic. This rewriting and revision of the crone – and her motives and backstory – seems key to recognising women’s narratives more generally, and prioritising a multiplicity of stories and experiences within the Australian literary canon. In this sense, it feels like Lefevre is in conversation with authors such as Drusilla Modjeska, <a href="https://theconversation.com/intellectual-fearlessness-politics-and-the-spiritual-impulse-the-remarkable-career-of-amanda-lohrey-187354">Amanda Lohrey</a> and Charlotte Wood. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/496662/original/file-20221122-23-obj24f.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/496662/original/file-20221122-23-obj24f.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/496662/original/file-20221122-23-obj24f.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=319&fit=crop&dpr=1 600w, https://images.theconversation.com/files/496662/original/file-20221122-23-obj24f.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=319&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/496662/original/file-20221122-23-obj24f.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=319&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/496662/original/file-20221122-23-obj24f.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=401&fit=crop&dpr=1 754w, https://images.theconversation.com/files/496662/original/file-20221122-23-obj24f.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=401&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/496662/original/file-20221122-23-obj24f.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=401&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>The main, recurring narrator of The Tower reimagines the crone from the Rapunzel fairytale as central and heroic.</figcaption></figure> In <a href="https://theconversation.com/tarot-resurgence-is-less-about-occult-than-fun-and-self-help-just-like-throughout-history-139448">tarot</a> mythology, the card of The Tower considers the collapse of old structures. We get a sense of this in the reflexivity of the text, as well as in its story-world – as Dorelia faces life without her husband Geordie. Indeed, old age itself collapses life as she’s known it. The interplay between the textual and the intertextual resonates in this collection, making this book as enjoyable to later ponder as it was to actually read. Here Be Leviathans and The Tower are two very different short-story collections to consider in tandem. They vary in voice, tone and style. Yet both engage with the precariousness and effort that is at the foundation of being alive, and making meaning from our short time on the planet.<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/193628/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/shady-cosgrove-153726">Shady Cosgrove</a>, Associate Professor, Creative Writing, <a href="https://theconversation.com/institutions/university-of-wollongong-711">University of Wollongong</a> This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/we-are-only-passing-through-stories-about-memory-mortality-and-the-effort-of-being-alive-193628">original article</a>. Image: Getty

Retirement Life

"You always shone through": PM's fond farewell to Carrie Bickmore

Aussie PM Anthony Albanese has come forward to praise Carrie Bickmore during her last appearance on The Project. Carrie, 41, was quite emotional as the PM offered a heart-felt farewell tribute, delivered live via video link. Anthony Albanese gushed with sincerity and pride, as he told Carrie how her work on the Channel 10 panel has meant the world to viewers. "I just wanted to say just a big shout out for your warmth and your humanity that just shone through," Mr. Albanese began. “You talk about stories, but you always shone through with the people behind the stories, and what it really meant,” he said. “And that made a difference.” The Prime Minister continued: "That's why people feel like they know you, because you weren't frightened of showing people a lot of yourself on screen and in the way that you interviewed people" A montage played early in the show, which paid homage to Carrie's outstanding efforts to raise awareness and funds to fight brain cancer, after her husband Greg passed away with the disease in 2010. The Prime Minister praised Carrie's advocacy work, telling the star that her efforts in the health area were "extraordinary". She used her reply to thank Mr. Albanese, before urging the PM to keep funding "the brain cancer mission". The beloved TV presenter fought back tears as she told viewers last month that it was the hardest decision she has had to make in her professional life. Image: Network 10

Puttin’ on the Ritz and improving well-being with older adults through virtual music theatre

Digital programming and virtual interactions, initially considered to be stop-gap measures during the first few waves of the pandemic, may now be an important part of supporting many people’s health and well-being — including the well-being of older adults. During the COVID-19 pandemic, group musical activities moved online, prompting a wave of <a href="https://ericwhitacre.com/the-virtual-choir">virtual choir</a> experiments and <a href="https://www.youtube.com/watch?v=5rzZ2F18MwI">virtual orchestra</a> offerings. These and other online communities weren’t limited to students. A <a href="https://www150.statcan.gc.ca/n1/pub/45-28-0001/2021001/article/00027-eng.htm">Statistics Canada survey</a> found that more than half of Canadians between the ages of 64 and 74 increased their participation in online activities during the pandemic by connecting with family and friends through video conferencing, or accessing entertainment online. Virtual opportunities in the <a href="https://doi.org/10.1371/journal.pone.0252956">performing arts are ripe with potential</a> for older adults to foster skills and creativity, and to improve well-being. <h2>Social connection</h2> <figure><figcaption> </figcaption>Going digital serves many purposes, the most important of which may be social connection. Since <a href="https://doi.org/10.1080/23748834.2020.1788770">connecting with others</a> remains important for older adults, this can be achieved through, or in addition to, virtual leisure or entertainment opportunities.</figure> Our research has revealed that <a href="https://storage.googleapis.com/wzukusers/user-20563976/documents/598184972c66407e9334c5df1b37bb91/Renihan%2C%20Brook%2C%20Draisey-Collishaw.pdf">virtual music theatre — music theatre online — allows for a more accessible and a less exclusive way to engage with this art form</a> with many benefits for participants. <h2>Online performing arts</h2> The performing arts allow performers and audiences to feel, be creative in community, express themselves and communicate or play through song, movement or storytelling. Benefits associated with participation in the arts include <a href="https://apps.who.int/iris/handle/10665/329834">improved mood and well-being</a> and sense of <a href="https://www.pbs.org/parents/thrive/turn-to-the-arts-to-boost-self-esteem">belonging</a>. Research has also documented associations between seniors’ participation in the arts and improved <a href="https://doi.org/10.1159/000499402">mobility</a> and <a href="https://doi.org/10.1016/j.archger.2018.02.012">vocal health</a>. Before the pandemic erupted, we had started leading a program, <a href="http://www.riseshinesing.ca/">Rise, Shine, Sing!</a>, that created opportunities for local citizens typically excluded from the creation of music theatre due to age, ability and access. The program was mostly attended by older adults, some with Parkinson’s Disease or other chronic conditions. <figure><iframe src="https://www.youtube.com/embed/59MTQnoi2hU?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>A trailer for the ‘Rise, Shine, Sing!’ program.</figcaption></figure> We held three weekly face-to-face sessions from the end of February 2020, until mid-March, and then moved the program online (via Zoom) for 12 sessions from April until June 2020. The program continues to be offered, with many participants indicating a preference to continue virtually. Somewhat to our surprise, when the program moved online, the fact that participants could only hear the facilitator and themselves singing was not a deterrent to participating. Participants enjoyed singing, dancing and creating characters using costumes and props based on cues and feedback from facilitators. <h2>Paradigm shift for music theatre</h2> Virtual music theatre presents a serious paradigm shift for the genre. Most of the time when people think of music theatre, they think of live bodies moving in perfect synchrony <a href="https://www.americantheatre.org/2022/02/04/what-can-be-said-with-and-about-broadway-dance/">to choreographed movement</a>, and voices singing in perfect harmony while performers are physically present together. Researchers have examined how group singing and movement fosters togetherness, <a href="https://doi.org/10.1057/s41599-020-00549-0">community</a> and <a href="https://doi.org/10.3389/fpsyg.2014.01096">social bonding</a>. Music theatre has made strides to become more inclusive over the course of the 21st century. <a href="https://www.deafwest.org/">Los-Angeles based Deaf West Theatre</a>, for example, creates works of music theatre that can be experienced and performed by members of the Deaf and hearing communities. <figure><iframe src="https://www.youtube.com/embed/k08lV8GO43w?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>ASL version of ‘We Don’t Talk About Bruno,’ from Disney’s ‘Encanto’ with Deaf West.</figcaption></figure> A multitude of new works, stagings and casting practices are highlighting and supporting the experiences of marginalized groups, by <a href="https://www.blackoperaalliance.org/">diversifying</a> and <a href="https://doi.org/10.3390/arts9020069">queering</a> the field, for example. Such works offer resistance and new stories to an industry that has traditionally been ableist, white and ageist. But despite a healthy <a href="https://global.oup.com/academic/product/beyond-broadway-9780190639525?cc=ca&lang=en&">community music theatre scene</a> in North America, most opportunities still leave out many people due to issues related to social anxiety, experience, mobility, family life and/or finances. <h2>Music theatre meets universal design</h2> We drew on the intersection of <a href="https://muse.jhu.edu/article/629960/pdf">music theatre performance</a> and <a href="https://www.cast.org/impact/universal-design-for-learning-udl">universal design for learning</a> to develop a model where success could look different from person to person. In terms of the movement, participants could synchronize with the facilitator and/or other members of the group. They were equally welcome and encouraged to customize or adapt their movements to suit their own needs and interests. We embraced dancing from both a seated and standing position, to explore different levels and to accommodate different mobility capabilities. Participants controlled how much they shared by deciding how visible they wanted to be on camera. <h2>Classics and newer numbers</h2> We drew on musical classics or standards from <a href="https://www.britannica.com/topic/Singin-in-the-Rain-film-1952">Singin’ in the Rain</a>, the Sound of Music, <a href="https://www.thestar.com/entertainment/stage/2022/08/23/joseph-and-the-amazing-technicolor-dreamcoat-coming-to-toronto-as-a-test-run-for-possible-broadway-revival.html">Joseph and The Amazing Technicolour Dreamcoat</a> — as well as newer numbers from Wicked and other popular songs. <figure class="align-left zoomable"><figcaption></figcaption></figure> We also <a href="http://www.riseshinesing.ca/glow.html">co-created our own songs</a> by combining our shared memories or inspirations through image, lyrics and movements to explore themes of joy and resilience in difficult times. While the program was led virtually, before sessions, leaders dropped off or mailed prop boxes to all participants. These were filled with costumes including small scarves and ribbons that could be used for choreography. <h2>Promise of virtual musical theatre</h2> Virtual music theatre has shown incredible promise, even in the short time we have been exploring it. Digital connections reframe being together at the same time and in the same space. This adds new unexpected dimensions to <a href="https://doi.org/10.1111/j.1749-6632.2012.06530.x">making music in a group</a>. First, goals and expectations of uniformity are replaced with goals of individual empowerment and creative exploration. Second, participants remain committed to the community and group endeavour, but are also free to tailor and adapt the ways they engage with the material and with one another. If group members invite friends or family in other cities to participate virtually, as some in our group did, the virtual community also expands in meaningful ways. Finally, participants can also adjust their personal comfort by sharing as much or little of themselves with the group without feeling like they are letting the group down. <h2>Our hybrid future</h2> The pandemic catalyzed the need for virtual interaction. While we know that <a href="https://doi.org/10.1093/occmed/kqab041">Zoom fatigue</a> is pervasive, virtual opportunities for music theatre participation and creation offer a new paradigm of artistic experience. These opportunities also offer striking promise for bringing performers some of the <a href="https://doi.org/10.3389/fpsyg.2019.00778">same benefits</a> as in-person music theatre experiences. In some cases, they also facilitate new access to music in community, and allow participants to engage with the art form and one another in ways that support personal agency and independence, while also maintaining social connection and interactivity. <a href="https://www.lyrics.com/lyric/6358131/George+Gershwin/I+Got+Rhythm">Who could ask for anything more</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/188690/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/julia-brook-1064153">Julia Brook</a>, Director and Associate Professor, DAN School of Drama and Music, <a href="https://theconversation.com/institutions/queens-university-ontario-1154">Queen's University, Ontario</a> and <a href="https://theconversation.com/profiles/colleen-renihan-1044307">Colleen Renihan</a>, Associate Professor and Queen's National Scholar in Music Theatre and Opera, <a href="https://theconversation.com/institutions/queens-university-ontario-1154">Queen's University, Ontario</a> This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/puttin-on-the-ritz-and-improving-well-being-with-older-adults-through-virtual-music-theatre-188690">original article</a>.

Music

Lucid dying - what some patients experience as they’re going through CPR

A study of people who received cardiopulmonary resuscitation (CPR) in hospital has found that some of them had what’s being dubbed “lucid experiences of death,” accompanied by spikes in brain activity. The research found that roughly one in five CPR survivors described unique experiences, including feeling separated from their bodies, observing the events without pain or distress, and a meaningful evaluation of life. These experiences were different to hallucinations, dreams, or CPR-induced consciousness, according to the researchers, who presented their findings at the American Heart Association’s Scientific Sessions 2022 conference. The international team of researchers collected data on 567 patients whose hearts stopped beating, in UK and US hospitals, between May 2017 and March 2020. While they were all treated immediately, fewer than 10% of these people were ultimately discharged from hospital. In addition to hearing the patients’ experiences, the researchers observed spikes in brain activity – specifically, in so-called gamma, delta, theta, alpha and beta waves. In some cases, these activity spikes were observed when CPR had been going on for up to an hour. “These recalled experiences and brain wave changes may be the first signs of the so-called near-death experience, and we have captured them for the first time in a large study,” says lead investigator Dr Sam Parnia, an intensive care physician and associate professor in the Department of Medicine at New York University Langone Health, US. “Our results offer evidence that while on the brink of death and in a coma, people undergo a unique inner conscious experience, including awareness without distress.” While plenty of people have personal accounts of near-death experiences before, they’re difficult to judge empirically. “These lucid experiences cannot be considered a trick of a disordered or dying brain, but rather a unique human experience that emerges on the brink of death,” says Parnia. It may be linked to disinhibition – the release of barriers in the brain as it shuts down. The researchers are keen to investigate the lucid dying experiences further. This article originally appeared on <a href="https://cosmosmagazine.com/health/lucid-dying-cpr/" target="_blank" rel="noopener">cosmosmagazine.com</a> and was written by Ellen Phiddian. Image: Shutterstock

Mind

"She's been amazing": The friendship helping Johnny Ruffo through cancer treatment

Johnny Ruffo said he owes everything to his girlfriend Tahnee Sims for constantly being by his side as he battles through his terminal brain cancer. But behind-the-scenes is one more person that the former Home and Away star has to thank for her support. Lynne McGranger, who plays Irene Roberts, has also been a rock in Johnny’s life as he pushes through his chemotherapy. "She's been amazing," the former X-Factor star told TV Week. "She constantly checks in and asks how I'm doing. She always wants to go out for dinner. "I can't stress enough how people like her help get through tough times. She's just a wonderful person. Having people like that to say 'Oh, how are you feeling this week?' and little sweet things like that make all the difference. It's a great support network." When it comes to Tahnee, Johnny admits that he wouldn’t have been able to go through his diagnosis without her. "Having Tahnee by my side every step of the way, literally and metaphorically, she's incredible. I couldn't do it without her,” he previously said. "She does it just as hard as I do. She's having to deal with all the doctors and what they're saying, and then she has to deal with me once we get home as well.” The singer is going through chemotherapy once every three weeks and said he wanted to give gave as the holiday season creeps up. Ruffo partnered with Amazon Australia to help twelve superhero children from the Starlight Children’s Foundation to become official toy testers for the festive season. "It brings such joy to me. It's a privilege to be able to know that you are helping them forget about everything that they're going through," he said in the Starlight Children's Foundation campaign. "I feel like I get as much out of it as the kids. It's quite cathartic for me to be able to bring joy to these children who are somewhat in a similar position." The 34-year-old was first diagnosed with brain cancer in 2017 after struggling with multiple headaches. Ruffo then announced in 2019 that he was in remission, but by November 2020 the cancer had returned, before confirming in 2022 that his illness is terminal. He has also recently released a memoir called No Finish Line, dedicated to his girlfriend, in which he details his experiences recording music, acting, his family and loved ones. The title, he explains, is that “it wasn’t the end”. Images: Instagram

Caring

Finding a legal resolution through mediation

To say legal disputes can get messy is quite an understatement. And court is the last place you want to be with someone that you were previously close with. The good news is that there are alternatives. We’re going to look at mediation, an effective legal process that can be used to handle complicated disputes when there’s a need to preserve the relationship. We’re going to look at the ins and outs of this process, so you can figure out whether or not it’s in your best interest for your particular dispute. What is mediation? In a basic sense, mediation is a structured negotiation process with a third party involved. The third, independent party is known as the mediator and is brought in to help assist the groups identify and assess the different options they have for resolving disputes. Mediation is useful if there is a need for parties to find a way to preserve their relationship and the possibility that a judge’s decision won’t resolve the dispute. It also has the following advantages: <ul> <li>Time – mediation tends to resolve disputes much quicker than a trial.</li> <li>Cost – mediation avoids the costs of preparing and running a trial entirely.</li> <li>Flexibility – mediation gives both parties more control over the outcome. </li> <li>Stress – mediation is less formal, and a much more relaxed environment.</li> <li>Confidentiality – mediation by its nature is private and a judge is not informed.</li> <li>Satisfaction – because both parties have had an influence in the decisions it’s more likely to please everybody.</li> <li>Finality – the settlement can only be modified with agreement of all parties.</li> </ul> How does it work? Basically, before a mediation commences, the mediator will consult both parties with a view to figure out the best process for coming to a dispute. This will also generally involve a discussion about the background of the matter and issues involved. The process itself is flexible and tailored to the circumstances. Mediators may assist the flow of negotiations and offer different perspectives. In the end if the parties come to an agreement the matter is settled in full or in part or if a conclusion is unable to be reached a trial may be necessary depending on the circumstances of the dispute. Have you ever found yourself in a legal dispute and how did you cope? Do you think mediation is an option you might look into exploring now? Image: Shutterstock

Legal

Hotel worker busted going through traveller’s luggage

A traveller has shared a hotel story from hell, revealing he secretly filmed a hotel worker going through his possessions after he checked in and unpacked. The guest captured the footage of a housekeeper appearing to sift through his belongings and look in his safe, after he utilised the hidden webcam on his laptop. Sharing the video on TikTok, the traveller issued a warning to his followers, with the caption, “Pro travel tip: you can turn your laptop into a security camera.” The video then shows the housekeeper helping himself to a beverage out of the mini fridge, before starting to rummage through the wardrobe. “Be careful when you’re travelling. This was the first time I set up a camera and caught this.” Luckily, the housekeeper didn’t take any belongings from the savvy traveller, although they still reported the incident to hotel management. They said the hotel “managed the situation professionally”, and the housekeeper was fired “on the spot”. The guest said when booking the hotel, they noticed a series of reviews mentioning thefts but weren’t able to find any proof, hence they felt the need to set up the camera. The video has racked up over 170,000 likes, with many people in the comment section saying they rely on similar technology to keep their belongings secure. One nervous traveller commented, “This is exactly why I barely take anything out of my suitcase, always keep my lock on it and always travel with the keys.” Image credits: TikTok

Travel Tips

"Anger resonates through me": AFL rocked by accusations of historical racial abuse

Warning: This article contains distressing content which some readers may find confronting. A damning report has exposed alleged racism, bullying and abuse within the Hawthorn AFL club, with several players coming forward and sharing their devastating stories of trauma during their time as part of the team. In the report conducted by <a href="https://www.abc.net.au/news/2022-09-21/alastair-clarkson-and-chris-fagan-named-in-hawks-review/101452320" target="_blank" rel="noopener">ABC Sport</a>, coaches Alastair Clarkson and Chris Fagan were named among a group of AFL leaders for allegedly encouraging an Indigenous player to convince his partner to terminate their pregnancy and then split from her, for the sake of the player's career. The report initially began as an investigation into the club's treatment of Indigenous players, and quickly unearthed a much greater issue within the club. An unidentified player, who was allegedly told to encourage his partner to terminate a pregnancy, claimed it was Clarkson who “leaned over me and demanded that I needed to get rid of my unborn child and my partner”. “I was then manipulated and convinced to remove my SIM card from my phone, so there was no further contact between my family and me,” the footballer told the ABC. “He told me to kill my unborn kid.” The player was then allegedly moved from his home, which he shared with his partner and child, prompting a series of suicide attempts from the player. “They broke me as a man, a footballer and as a family man,” he told the ABC. In a similar instance, another player was allegedly forced to live away from his partner and newborn child for months at a time, which triggered a "mental health crisis" for the recent draftee, who also attempted suicide five times. A third player also came forward against the club, saying Clarkson and Fagan allegedly came to his house at night to relocate him from his pregnant partner, whom he was then unable to contact. When his partner unfortunately miscarried weeks later, he was informed by the coaches at a training session “in a ‘by the way’ kind of comment”. Following the publishing of the damning report, Hawthorn responded to the allegations in a lengthy statement. “The club places the best interests and welfare of our players and staff as our number one priority," the statement read. It went on to say further investigation is required into the historical allegations, and further First Nations training and development programs "should be strengthened". “Given the matters raised are confidential, the club will not provide any further comment at this time,” the statement concludes. The AFL also released a statement, declaring the re-investigation of the claims. “The AFL is committed to providing a safe, welcoming and culturally appropriate environment for all players and staff throughout the industry, ensuring that physical, mental and emotional welfare is a key priority for all in our sport,” it said. “The experiences outlined in the document are extremely serious and require further and full examination." “We are committed to the welfare of all involved. Once we have spoken to those who have shared their experiences, we will be able to provide an update on the next steps in the investigation.” After hearing the findings of the report, sports commentators around Australia chimed in, with Indigenous football media personality Shelley Ware writing “anger resonates through me”. “I will be watching for what happens next for Clarkson, Fagan and Burt closely as I have my wishes,” she posted in a comment online. Australian journalist Alan Sunderland wrote, “The ramifications of this story can and should go far beyond just Hawthorn", while The ABC’s Penny Timms wrote, “This is beyond horrific. Action must be taken against those responsible”. Image credits: Getty Images

News

Why the value of these coins has shot through the roof

Aussies around the country will be racing to check their wallets in light of the revelation that the value of two rare $2 coins has exploded virtually overnight. Leading Australian coin expert Joel Kandiah has shared that two coins in particular have shot up in value following the Queen’s death. The Perth based teacher is an avid coin collector and has racked up a huge following on Instagram and TikTok with his page, The History of Money. In a recent video he shared the 2012 Red Poppy coin and the 2013 Purple Coronation coin are now worth a combined total of $550. The increase in demand for these rare $2 coins is of course all due to the Queen’s passing. “The market has been hot for these two $2 coins, which are the lowest minted coloured $2 coins in Australian history,” Mr Kandiah explained in the video. The 2013 Purple Coronation $2 coin has a slightly higher mintage of 995,000, but its value has also soared. If the coins are in mint condition they could go for an even higher price. A simple search on Ebay will reveal a number of Red Poppy coins selling in recent days for between $390 and $434, while the 50c coin released for the Queen’s Platinum Jubilee initially sold for $12.50, but is now valued at $100. The 2019 “Effigies Over Time” collector set has also seen a huge spike in demand, with the price soaring from $50 two weeks ago to $250 in the current market. “I’ve been collecting for 27 years and I’ve never seen price rises like that ever,” Mr Kandiah said. According to Mr Kandiah, the 5c coin could also soon be taken out of circulation. The Royal Australian Mint disclosed that 5c coins currently cost 12c to make due to high metal prices. It also costs 24c to make a 10c coin and 48c to make a 20c. The cost is simply unfeasible for a coin everyone hates, Mr Kandiah said. The Queen’s death was the perfect time for authorities to reset a flawed system, according to the coin expert. Image: TikTok

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A young mum's inspiring journey through pregnancy and cancer

Spin cycle disaster: man puts winning Lotto ticket through the wash

"She saw it and dodged it": Incredible scenes as tree plunges through seat in Schoolies crash

The ‘yes’ Voice campaign is far outspending ‘no’ in online advertising, but is the message getting through?

Coles praised for helping small town through cost of living crisis

How 1920s high society fashion pushed gender boundaries through ‘freaking’ parties

5 ways to get through the airport faster

How one brave mum is shedding light on postnatal depression through the healing power of music

Devoted son grows out hair for mum going through chemo

Rod Stewart’s son blows through inheritance

“I went through hell and back”: Jelena Dokic reveals tragic truth behind old photo

‘We are only passing through’: stories about memory, mortality and the effort of being alive

"You always shone through": PM's fond farewell to Carrie Bickmore

Puttin’ on the Ritz and improving well-being with older adults through virtual music theatre

Lucid dying - what some patients experience as they’re going through CPR

"She's been amazing": The friendship helping Johnny Ruffo through cancer treatment

Finding a legal resolution through mediation

Hotel worker busted going through traveller’s luggage

"Anger resonates through me": AFL rocked by accusations of historical racial abuse

Why the value of these coins has shot through the roof

Our Partners

News

Shop

Catalogues

Newspaper

Contests

Entertainment

Travel

Health

Lifestyle

Finance

Property

Compare

Games

Information

Keep up to date

Search

A young mum's inspiring journey through pregnancy and cancer

Spin cycle disaster: man puts winning Lotto ticket through the wash

"She saw it and dodged it": Incredible scenes as tree plunges through seat in Schoolies crash

The ‘yes’ Voice campaign is far outspending ‘no’ in online advertising, but is the message getting through?

Coles praised for helping small town through cost of living crisis

How 1920s high society fashion pushed gender boundaries through ‘freaking’ parties

5 ways to get through the airport faster

How one brave mum is shedding light on postnatal depression through the healing power of music

Devoted son grows out hair for mum going through chemo

Rod Stewart’s son blows through inheritance

“I went through hell and back”: Jelena Dokic reveals tragic truth behind old photo

‘We are only passing through’: stories about memory, mortality and the effort of being alive

"You always shone through": PM's fond farewell to Carrie Bickmore

Puttin’ on the Ritz and improving well-being with older adults through virtual music theatre

Lucid dying - what some patients experience as they’re going through CPR

"She's been amazing": The friendship helping Johnny Ruffo through cancer treatment

Finding a legal resolution through mediation

Hotel worker busted going through traveller’s luggage

"Anger resonates through me": AFL rocked by accusations of historical racial abuse

Why the value of these coins has shot through the roof

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