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Alan Jones once seemed unassailable. What ended it was a peculiarly Sydney story of media, politics and power

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/denis-muller-1865">Denis Muller</a>, <a href="https://theconversation.com/institutions/the-university-of-melbourne-722">The University of Melbourne</a> For decades it seemed Alan Jones was unassailable. A finding against him of professional misconduct by the Australian Broadcasting Authority (2000); a <a href="https://www.smh.com.au/entertainment/tv-and-radio/tribunal-upholds-that-jones-incited-hatred-20121002-26x8h.html">finding</a> that he incited hatred, serious contempt and severe ridicule of Lebanese Muslims (2009); propositions of violence against two women prime ministers (<a href="https://www.abc.net.au/news/2011-10-20/alan-jones-says-gillard-remark-best-left-unsaid/3579658">2011</a> and <a href="https://www.abc.net.au/news/2020-05-21/alan-jones-breached-rules-in-jacinda-ardern-comment/12271476">2019</a>); verdicts against him and his employer amounting to millions of dollars in defamation actions (most notably <a href="https://www.abc.net.au/news/2018-09-12/alan-jones-defamed-wagners-court-decision-brisbane-qld/10230384">one for $3.75 million</a> in 2018): none of these ended his career. Quite the reverse. Only weeks after the Australian Broadcasting Authority found in its “cash for comments” inquiry that Jones and others had misled their listeners by presenting paid endorsements as editorial opinion, he was hosting an event for then prime minister John Howard. Howard was to become a fixture on the Jones program throughout the 11 years of his prime ministership. The day after the Australian Communications and Media Authority found Jones was likely to have encouraged violence and vilification of Australians of Lebanese and Middle Eastern background, Howard <a href="https://www.theage.com.au/national/jones-wins-friends-in-high-places-20070412-ge4n4f.html">described him</a> as “an outstanding broadcaster”. “I don’t think he’s a person who encourages prejudice in the Australian community, not for one moment, but he is a person who articulates what a lot of people think.” By 2001, Jones had become a kind of on-air policy-maker for the New South Wales government. In November that year, he dined with the then Labor premier, Bob Carr. They discussed a range of government policies, particularly policing. At that time, Jones was a relentless critic of the NSW police. The following week, <a href="https://www.abc.net.au/news/2012-10-01/newton-alan-jones/4288824">Carr dispatched</a> his police minister-designate, Michael Costa, to Jones’s home to discuss policing policy. In 2011 he said Julia Gillard, then Australia’s prime minister, should be taken out to sea and dumped in a chaff bag. In August 2019 he said Scott Morrison, who was then Australia’s prime minister, should “shove a sock” down the throat of his New Zealand counterpart Jacinda Ardern. He was an outspoken climate-change denier, and these grotesqueries were part of his campaign against political recognition of this reality. <figure><iframe src="https://www.youtube.com/embed/Od6I1YbrBoM?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Jones’s power, which made him so apparently untouchable, came from his weaponising of the microphone for conservative political ends in ways that resonated with his vast and rusted-on audience of largely working-class older people across Sydney’s sprawling western suburbs. These suburbs contain many marginal state and federal electorates where the fates of governments can be decided. Their populations provide fertile ground for seeding by right-wing radio shock jocks, of whom Jones and his rival John Laws were pre-eminent examples. In Australia, this is a peculiarly Sydney phenomenon. It is not seen to the same degree in any other capital city, even though they too have large areas of socioeconomic disadvantage like western Sydney. Why that should be so is a complex question, but there are aspects of Sydney life that mark it out as different. It is really two cities. One is the largely prosperous and scenically dazzling east and north. The other, much larger, consists of dreary tracts of increasingly crowded housing stretching for many kilometres to the west and southwest. In Sydney argot, the inhabitants of these respective worlds are called “silvertails” and “fibros”, the latter referring to the cladding of the homes that proliferated in western Sydney between and after the two world wars. This two-cities effect makes the gap between the “haves” and the “have-nots” highly visible in a way that has no parallel in other Australian capitals. It engenders deep-seated grievance and cynicism, which the likes of Jones, who lives in a multimillion-dollar apartment on Circular Quay, have relentlessly exploited. Jones coined the term “Struggle Street” to encapsulate the hardships of his listeners’ lives. To these powerless people, Jones and Laws gave a voice, and as their audiences grew, prime ministers and premiers courted and feared them. In the end, Jones’s impregnability was breached by not the power elite turning on one of their own, but by the journalism of a redoubtably tenacious Sydney Morning Herald investigative reporter, Kate McClymont. In December 2023, <a href="https://www.smh.com.au/national/he-d-go-the-grope-alan-jones-accused-of-indecently-assaulting-young-men-20231205-p5epai.html">she claimed</a> Jones had used his position of power, first as a teacher and later as the country’s top-rating radio broadcaster, to allegedly prey on a number of young men. In response to McClymont’s work, the NSW police set up Strike Force Bonnefin, run by the State Crime Command’s Child Abuse Squad, to conduct an investigation into Jones. <figure><iframe src="https://www.youtube.com/embed/0ExkpCtfmA8?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> On November 18 2024, Jones was arrested at his Circular Quay home and charged initially with 24 sexual offences against eight males. The following day, two <a href="https://www.abc.net.au/news/2024-11-19/alan-jones-charged-with-additional-offences-nsw-police/104617680">additional charges</a> were laid involving a ninth male. Through his lawyers, Jones has denied the charges and was bailed to appear in Sydney’s Downing Centre Local Court on December 18. He <a href="https://www.smh.com.au/national/alan-jones-arrested-over-allegations-he-indecently-assaulted-young-men-20241118-p5krdu.html">was ordered</a> to surrender his passport and not to contact or harass the alleged victims. The charges relate to offences alleged to have been committed by Jones between 2001 and 2019, the youngest alleged victim being 17 at the time. Those dates coincide almost exactly with Jones’s most influential years, from 2002 to 2020. McClymont <a href="https://www.smh.com.au/national/a-stunning-development-kate-mcclymont-on-alan-jones-arrest-and-what-s-next-20241118-p5krln.html">has spoken</a> about the reluctance of some of her interviewees to speak, for fear of what Jones might do: "People were too afraid to take on Alan Jones. Once a couple of people came forward, and some people were happy to be publicly named, that gave confidence for other people to come forward.<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/243942/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" />" <a href="https://theconversation.com/profiles/denis-muller-1865">Denis Muller</a>, Senior Research Fellow, Centre for Advancing Journalism, <a href="https://theconversation.com/institutions/the-university-of-melbourne-722">The University of Melbourne</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/alan-jones-once-seemed-unassailable-what-ended-it-was-a-peculiarly-sydney-story-of-media-politics-and-power-243942">original article</a>. </div>

Legal

Heroic kindergarten teacher identified after horror crash

A heroic kindergarten teacher who died saving preschoolers from an out-of-control water tanker that crashed through the school's playground has been identified. Mother-of-two Eleanor Bryant worked with children with special needs at the Macedon Ranges Montessori Pre-School in Riddells Creek in Melbourne’s northwest. Bryant tragically died at the scene after the crash, while a three-year-old boy was injured and was taken to the Royal Children’s Hospital with a serious upper-body injury following the incident, Ambulance Victoria said. The driver of the truck, 68, is thought to have had a medical episode and was taken to Royal Melbourne Hospital in a stable condition, but police are still investigating the incident. Sunrise reporter Teegan Dolling paid tribute to Bryant on Tuesday morning, saying, “She is the mum herself of two really young children. She’s been remembered this morning as a very happy speech pathologist, and mum who loved it here at the Macedon Ranges Montessori Pre-School." “What she did yesterday police are saying was heroic. She was working here at the school looking after a three-year-old boy. It was around 2.30pm when the water truck came hurtling down the road, smashed through the play equipment and it was playtime. “The preschoolers were out on the playground. She’s selflessly put herself in harm’s way … saving the life of the three-year-old. “Sadly, she died at the scene. A little boy was rushed to hospital. He’s got injuries to his upper body. As to why this has happened, the police are still investigating. “The scene is cleared here this morning. They believe the 68-year-old truck driver may have had a medical episode.” McKenzie Water owner Alan McKenzie confirmed that the truck belonged to his company and the driver was understood to have suffered a medical episode, adding that they were "devastated" by the crash and sending their "deepest sympathies" to those affected. Detective Senior Sergeant Christian Von Tunk said initial investigations led them to believe the truck lost control on a bridge about 120m from the kindergarten. “It appears there’s some contact with that bridge — we can see some debris,” he said. “There are also some signs on the left-hand side of the road that appear to have been struck as well." “It’s a tragic set of circumstances which actually could have been a lot worse. This is one of those close calls and I don’t know how only one person has died today.” Image credits: Seven

Caring

Filling the silences in family stories − how to think like a historian to uncover your family’s narrative

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/andrea-kaston-tange-1417052">Andrea Kaston Tange</a>, <a href="https://theconversation.com/institutions/macalester-college-2632">Macalester College</a> Great-grandmothers. We all have them. But most of us will never know them except through glimpses of fading bits of paper: sepia photographs, recipe cards, letters in handwriting traced by a fountain pen dispensing cocoa-colored ink. What does it take to build coherent stories out of such tantalizing fragments of lives? I face this question routinely in my career as a <a href="https://www.macalester.edu/english/facultystaff/andreakastontange/">professor of 19th-century literature and culture</a>. Recently, I’ve turned that experience to writing a book about my own family. When I inherited my great-grandmother’s diary, a repurposed teacher’s planner in which she chronicled the family’s 1926 move from Michigan to Miami, I found a wedding portrait tucked inside. The angled profile showcases her youthful skin and a dress too elaborate for a Midwestern schoolteacher’s daily wear. It is easy to imagine that she took pleasure in inscribing her new name on the picture’s reverse: Faith Avery. I stared at her beautiful image for years, as if details of her satin gown could explain why a woman widowed in 1918 would, for the rest of her life, refuse to admit to having had that first husband and yet carefully preserve this portrait. And then, because archives have been at the center of my scholarly work, I turned to research. I located marriage records and draft cards, pored over maps, found family members in censuses and obituaries. Within those documents lay answers both surprising and poignant. What did I look for? How might anyone with a half-told family story begin to uncover more truths? And what does it take to make sense of them? <h2>The digging</h2> Questions that begin with “why” can rarely be answered easily. Researchers thus often prefer to start with “who” and “when” and “how,” locating a person in one spot and then tracing them through time. This adventure down a rabbit hole follows a method. Make a list of unknowns. These may be facts or enticing tidbits of incomplete family lore. My mother, trying to be helpful, told me things like, “Faith always said there was a horse thief in the family, but she was too mortified to reveal his name” and “I think Aunt Harriette (Faith’s sister) was married once briefly.” Do precise, not general, searches. Typing “horse thief Avery” into Google yields nothing useful, but many other sources contain rich information about old-fashioned exploits. The New York Public Library’s <a href="https://www.nypl.org/blog/2019/03/25/genealogy-guide-books">guide for family research</a> introduces some options. The <a href="https://www.loc.gov/pictures/">Library of Congress print and photograph collection</a> can also help you envision your ancestors’ world. Physical libraries contain historic photographs, maps, local records and digitized newspapers not available online. Historical societies and state universities typically allow free, in-person use of their collections. Know that sometimes you will fail and need to change course. I spent several days looking for the horse thief to no avail, much to my mother’s disappointment. But when I turned to Aunt Harriette’s marriage, I found a character no less fascinating, one I now think of as “Four Wives Frank.” Read old documents knowing they were produced by a patchwork of individuals who took information on trust. The handwritten birth, death, marriage and <a href="https://www.archives.gov/research/census/about">census records</a> of past centuries relied on self-reported data that required no verification. They can be plagued by carelessness in the name of efficiency. One hurried census-taker recorded Faith’s mother Cara as “Cora,” another renamed her brother Horace “Harris.” Frank offered up a variety of birth years, countries of origin and maiden names for his mother as he worked his way west. He must have been charming. Who but a charming man could have convinced woman after woman to marry him, each thinking she was, at most, his second wife? Marriage register officers and census-takers, not to mention his trail of brides, were none the wiser. Which leads me to this: Cross-check information. I knew I had the right Frank because he had the same three sons in multiple records. Inconsistencies across those records, in conjunction with the trajectory of his life, made this conclusion inevitable: The man purposefully reinvented himself. <h2>The assembly</h2> My academic work has taught me that most <a href="https://doi.org/10.2979/victorianstudies.63.2.02">archival answers lead to more questions</a>. As a result, I expect multiple phases of collecting. I gathered everything I could find about Faith’s early life, in hopes something might explain her reticence about her first marriage. As her story emerged, I periodically hit holes in the narrative that sent me back for more digging. Understanding people is easier if you are familiar with their world. For background, I read histories of Miami in the 1920s and researched details in Faith’s diary that might reveal her personality or motivations. Exploring her reading lists showed me a woman who enjoyed popular entertainment, such as 1926’s blockbuster “<a href="https://www.imdb.com/title/tt0016598/">Aloma of the South Seas</a>.” Primers of <a href="https://libraryguides.missouri.edu/pricesandwages/1920-1929">1920s wages and prices</a> explained the family’s economic worries. As I got to know Faith, I revisited documents with new questions. To figure out whether Harriette’s husband Frank had anything to do with Faith, I made timelines for both sisters. To ponder the emotional underpinnings of those events, I reread Faith’s diary, paying particular attention to entries about Harriette and about Faith’s second husband. Because every pile of documents contains multiple stories, the key to a coherent narrative is locating a through line that addresses the biggest conundrums while identifying the tangents. I let go of the horse thief. <h2>The results</h2> The detective-style plots of what I call “<a href="https://www.writersdigest.com/be-inspired/lilly-dancyger-memoir-as-detective-novel">investigative memoir</a>” may inspire you to do your own family research. Genealogy sites such as <a href="https://www.ancestry.com/">Ancestry.com</a> and <a href="https://www.familysearch.org/en/united-states/">FamilySearch.org</a> can help. But it’s worth remembering that secondary reading will add richness to any family story. And local librarians are extraordinary at helping patrons navigate the search process. Improbable as it might seem, Four Wives Frank helped me understand the extent of Faith’s secrets and that she harbored them in hopes that her children’s lives would be easier. Such self-sacrifices are common for mothers. And yet, their particulars are as individual as the faintly silvered portrait of the soft young woman who married Harold Avery in 1911, and whose story requires an entire book to tell properly.<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/234341/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/andrea-kaston-tange-1417052">Andrea Kaston Tange</a>, Professor of English, <a href="https://theconversation.com/institutions/macalester-college-2632">Macalester College</a> Image credits: Shutterstock 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/filling-the-silences-in-family-stories-how-to-think-like-a-historian-to-uncover-your-familys-narrative-234341">original article</a>. </div>

Family & Pets

6 reasons why people enjoy horror movies

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/shane-rogers-575838">Shane Rogers</a>, <a href="https://theconversation.com/institutions/edith-cowan-university-720">Edith Cowan University</a>; <a href="https://theconversation.com/profiles/coltan-scrivner-1475716">Coltan Scrivner</a>, <a href="https://theconversation.com/institutions/arizona-state-university-730">Arizona State University</a>, and <a href="https://theconversation.com/profiles/shannon-muir-2237282">Shannon Muir</a>, <a href="https://theconversation.com/institutions/edith-cowan-university-720">Edith Cowan University</a> The creeping shadows and haunting decorations transform the everyday into something eerie at Halloween. And you might be thinking about scaring yourself with a <a href="https://editorial.rottentomatoes.com/guide/best-horror-movies-of-all-time/">good horror movie</a>. Grotesque imagery, extreme violence, startling jump scares and menacing characters are common elements, making viewers feel fear, dread and disgust. We generally aim to avoid these <a href="https://www.frontiersin.org/journals/psychology/articles/10.3389/fpsyg.2023.1321053/full">negative emotions</a> in our everyday lives. So why would some people seek them out, and enjoy them, in horror movies? <h2>1. Fear can be thrilling</h2> There is lots of <a href="https://www.sciencedirect.com/science/article/abs/pii/S0149763423002063">overlap</a> between the emotions of fear and <a href="https://www.nature.com/articles/s41598-024-53533-y">excitement</a>. In both, <a href="https://www.annualreviews.org/content/journals/10.1146/annurev.neuro.051508.135620">stress hormones</a> are released that can produce physical symptoms such as increased heart and breathing rates, sweating and muscle tension. People also feel <a href="https://www.verywellmind.com/the-psychology-of-fear-2671696">more alert</a> and “on edge”. Research has <a href="https://www.frontiersin.org/articles/10.3389/fpsyg.2019.02298/full">consistently shown</a> people with personalities that crave intense emotional experiences, including fear and excitement, tend to enjoy horror movies. But for more fearful people, the jump scares and violent scenes can be <a href="https://doi.org/10.1093/oso/9780197535899.001.0001">too intense</a>. This can result in <a href="https://journals.sagepub.com/doi/full/10.1177/0956797620972116">coping behaviours</a> such as looking away or putting their hands over the ears, especially if they are <a href="https://doi.org/10.1037/ebs0000152">highly immersed</a> in the movie. Although, if they also happen to enjoy intense emotion, they may still enjoy the thrill of the ride. <figure><iframe src="https://www.youtube.com/embed/llpsjbNQIns?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>Movie makers work hard to get these ‘jump scares’ just right. And viewers enjoy the thrill.</figcaption></figure> <h2>2. There’s a sense of relief</h2> People may enjoy horror movies because of a <a href="https://osf.io/preprints/psyarxiv/7uh6f">sense of relief</a> after a <a href="https://www.the-scientist.com/ts-digest/issue/science-experiments-from-the-afterlife-24-14?utm_campaign=TS_TS%20Digest%202.0%20Promotion&utm_medium=email&_hsmi=329250194&utm_content=329250194&utm_source=hs_email#why-do-some-people-enjoy-horror-movies-72181">scary moment has passed</a>. Watching a horror movie can be a bit of an emotional rollercoaster, with distinct <a href="https://www.sciencedirect.com/science/article/pii/S1053811920300094">peaks and troughs</a> of fear and relief over the course of the film. For example, in the <a href="https://www.imdb.com/title/tt1396484/">2017 movie It</a> the main protagonists survive a series of scary encounters with a demonic clown. The scary moments are separated by calmer scenes, prompting a rollercoaster of emotions. In the classic <a href="https://www.imdb.com/title/tt0073195/">1975 movie Jaws</a>, viewers experience relief from the scary moments, only to be scared again and again. <figure><iframe src="https://www.youtube.com/embed/yFXG5QQYOvg?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>Jaws is a rollercoaster of emotions.</figcaption></figure> <h2>3. They satisfy our morbid curiosity</h2> Many horror movies feature supernatural themes and characters such as zombies, werewolves and vampires. So horror movies can help satiate a <a href="https://www.sciencedirect.com/science/article/abs/pii/S0191886921005183">morbid curiosity</a>. The violence, death, destruction and grotesque elements can provide curious people a safe space to explore things that are not safe (or socially appropriate) in the real world. <figure><iframe src="https://www.youtube.com/embed/ZbdMMI6ty0o?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>Horror movies can help people satisfy their curiosity about death. But why are they curious in the first place?</figcaption></figure> <h2>4. We can work out our limits</h2> Horror movies can reflect our deepest fears and prompt introspection about our personal thresholds of fear and disgust. So some people may enjoy watching them to get a <a href="https://osf.io/preprints/psyarxiv/sdxe6">better understanding</a> of their own limits. Watching horror might also be a way to push personal boundaries to potentially become <a href="https://osf.io/preprints/psyarxiv/7uh6f">less fearful</a> or grossed out by things in real life. In a <a href="https://doi.org/10.1016/j.paid.2020.110397">study</a> one of us (Coltan) conducted, horror movie fans reported less psychological distress during the early months of the COVID pandemic compared with people not identifying as a horror movie fan. <h2>5. They can be social</h2> Some people say the <a href="https://doi.org/10.1037/ebs0000152">social aspect</a> of watching horror movies with others is a big part of their appeal. Watching with others might help some people feel safer. Alternatively, this might help <a href="https://osf.io/preprints/psyarxiv/b8tgs">amplify</a> the emotional experience by <a href="https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0223259">feeding off the emotions</a> of people around them. Horror movies are also a common pick as a <a href="https://www.imdb.com/list/ls023286138/">date night</a> movie. Being <a href="https://doi.org/10.1037/0022-3514.51.3.586">scared together</a> gives a good excuse to snuggle and take comfort in each other. <h2>6. They give us pleasure in other people’s misery</h2> Horror movies can provide the pleasurable emotion we feel when witnessing the misfortune of others, known as <a href="https://www.sciencedirect.com/topics/neuroscience/schadenfreude">schadenfreude</a>. This occurs most when we feel the person experiencing misfortune deserves it. In many horror movies the characters that suffer a gruesome fate are only side characters. Much of the time these unfortunate souls are made out to be unlikeable and often make foolish choices before their grisly end. For example, in the 1996 teen witch movie <a href="https://www.imdb.com/title/tt0115963/">The Craft</a>, the character Chris Hooker is portrayed as being cruel to women. Then he dies by being blasted out of a window. Despite the grisly nature of horror movies, a <a href="https://psycnet.apa.org/record/2024-43893-001">study</a> by one of us (Coltan) found horror fans seem to have the same levels of empathy as anyone else. <figure><iframe src="https://www.youtube.com/embed/ZvLmyts6cEY?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>In The Craft, viewers enjoy witnessing the misfortune of others, particularly if the character is a ‘baddy’.</figcaption></figure> <h2>What do I make of all this?</h2> Horror movies allow us to confront our deepest fears through the <a href="https://doi.org/10.1027/1864-1105/a000354">safety of make-believe</a>. People enjoy them for lots of different reasons. And the precise combination of reasons differs depending on the specific movie, and the person or people watching it. What is certain though, is the <a href="https://www.the-numbers.com/market/genres">increasing popularity</a> of horror movies, with <a href="https://editorial.rottentomatoes.com/guide/best-horror-movies-of-all-time/">many</a> to choose from.<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/241480/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/shane-rogers-575838">Shane Rogers</a>, Lecturer in Psychology, <a href="https://theconversation.com/institutions/edith-cowan-university-720">Edith Cowan University</a>; <a href="https://theconversation.com/profiles/coltan-scrivner-1475716">Coltan Scrivner</a>, Behavioral Scientist, <a href="https://theconversation.com/institutions/arizona-state-university-730">Arizona State University</a>, and <a href="https://theconversation.com/profiles/shannon-muir-2237282">Shannon Muir</a>, Lecturer in psychology, <a href="https://theconversation.com/institutions/edith-cowan-university-720">Edith Cowan University</a> Image credits: Shutterstock 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/6-reasons-why-people-enjoy-horror-movies-241480">original article</a>. </div>

Movies

Freddy Krueger at 40 – the ultimate horror movie monster (and Halloween costume)

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/adam-daniel-301018">Adam Daniel</a>, <a href="https://theconversation.com/institutions/western-sydney-university-1092">Western Sydney University</a> Movie monsters have captivated audiences since the days of early cinema. They evoke fascination and terror, allowing audiences to confront their fears from the safety of the movie theatre or living room. Arguably one of the most enduring and captivating of these monsters is Freddy Krueger, the villain of the <a href="https://www.imdb.com/title/tt0087800/">A Nightmare on Elm Street</a> series who celebrates his 40th screen birthday this November. Memorably played by Robert Englund, Freddy quickly became a cultural icon of the 1980s and 1990s. Beyond his burned face and iconic bladed glove, Freddy’s dark humour and acidic personality set him apart from other silent, faceless killers of the era, such as Michael Myers in <a href="https://www.imdb.com/title/tt0077651/?ref_=nv_sr_srsg_2_tt_6_nm_0_in_0_q_halloween">Halloween</a> or Jason Vorhees in <a href="https://www.imdb.com/title/tt0080761/?ref_=fn_al_tt_1">Friday the 13th</a>. Written and directed by horror maven <a href="https://theconversation.com/wes-craven-the-scream-of-our-times-46915">Wes Craven</a>, 1984’s A Nightmare on Elm Street garnered positive reviews for its innovative concept: Freddy stalked and attacked his victims in their dreams, making him inescapable and allowing him to tap into their deepest fears. The series (seven films plus a 2010 remake and <a href="https://www.imdb.com/title/tt0329101/?ref_=fn_al_tt_1">Freddy vs. Jason</a> spin offs) blended supernatural horror and surrealism with a dark and twisted sense of humour. <h2>Scary … but funny</h2> Humour was key to Freddy’s “popularity”. Both sinister and strangely charismatic, Freddy’s psychological torture of his adolescent victims often oscillated between terrifying and amusing. A famous kill scene from 1987’s <a href="https://www.imdb.com/title/tt0093629/?ref_=fn_al_tt_1">A Nightmare on Elm Street 3: Dream Warriors</a> demonstrates this paradox. Aspiring actress Jennifer drifts off to sleep while watching a talk show on TV. In her dream, the host of the talk show suddenly transforms into Freddy, who attacks his guest before the TV blinks out. When Jennifer timidly approaches the TV set, Freddy’s head and clawed hands emerge from the device, snatching her while delivering an iconic one-liner: “This is it, Jennifer – your big break in TV!” Freddy turns his victims’ fears or aspirations – their dreams – against them. <figure><iframe src="https://www.youtube.com/embed/dCVh4lBfW-c?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>‘Whatever you do, don’t fall asleep.’</figcaption></figure> <h2>Creating a monster</h2> Craven has shared how the character of Krueger came to life in <a href="https://www.imdb.com/title/tt1510985/?ref_=fn_al_tt_1">Never Sleep Again: The Elm Street Legacy</a>, an oral history of the series. He described a childhood experience of seeing a strange mumbling man walking past his childhood home. The man stopped, he said, and looked directly at him “with a sick sense of malice”. This deeply unsettling experience helped shape Freddy’s menacing presence. The character’s creation also emerged from the filmmaker’s interest in <a href="https://www.iflscience.com/nightmare-on-elm-street-was-inspired-by-a-real-life-medical-mystery-60527">numerous reports of Southeast Asian refugees dying in their sleep</a> after experiencing vivid nightmares. In the film, Krueger’s origin story reveals him as a child murderer who was apprehended but released due to a technicality in his arrest. Seeking justice, the parents of his victims take matters into their own hands, and form a vigilante mob. They corner him in his boiler room and burn him alive. But Freddy’s spirit survives to haunt and kill the children of his executioners. <h2>Cultural repression, expressed on film</h2> Film critic and essayist <a href="https://www.cineaste.com/summer2019/robin-wood-on-horror-film-collected-essays-and-reviews#:%7E:text=Freudian%20theory%2C%20a%20crucial%20theoretical,the%20horror%20film%20perpetually%20enacts.">Robin Wood argued</a> horror films often bring to the surface elements society has repressed. These fears, desires, or cultural taboos are not openly acknowledged. But movie monsters act as manifestations of what society suppresses, such as sexuality, violence or deviant behaviour. American academic <a href="https://www.tandfonline.com/doi/abs/10.1080/01956051.1995.9943696">Gary Heba</a> argues Freddy is: <blockquote> an example of America’s political unconscious violently unleashed upon itself, manifesting everything that is unspeakable and repressed in the master narrative (perversion, child abuse and murder, vigilantism, the breakdown of rationality, order, and the family, among others), but still always present in the collective unconscious of the dominant culture. </blockquote> <figure><iframe src="https://www.youtube.com/embed/UBrl4H0Uzng?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>Actor Robert Englund calls Freddy Krueger ‘the gift that keeps on giving’.</figcaption></figure> <h2>The monster decades</h2> The 1970s and 1980s marked a golden era for the creation of horror film nasties like Krueger, Myers, <a href="https://www.imdb.com/title/tt0072271/?ref_=fn_al_tt_3">The Texas Chainsaw Massacre</a>’s Leatherface and <a href="https://www.imdb.com/title/tt0094862/?ref_=fn_al_tt_19">killer doll Chucky</a>. Since then, the landscape of horror has shifted, with fewer singular monsters emerging. The diversification of horror sub-genres (zombie virus horror, anyone?), the rise of psychological horror (<a href="https://www.imdb.com/title/tt7784604/?ref_=nv_sr_srsg_2_tt_4_nm_2_in_0_q_heredi">Hereditary</a>), and an emphasis on human-driven terror (<a href="https://www.imdb.com/title/tt0416315/?ref_=nv_sr_srsg_1_tt_7_nm_0_in_0_q_wolf%2520creek">Wolf Creek</a>) or supernatural forces all contribute to this shift. While modern horror continues to thrive, few characters have achieved the same iconic status as Freddy – although some would argue Art the Clown from the recent <a href="https://www.imdb.com/title/tt4281724/">Terrifier</a> franchise and the reinvigorated Pennywise from <a href="https://www.imdb.com/title/tt1396484/?ref_=nv_sr_srsg_1_tt_6_nm_1_in_0_q_it">IT</a> could join this exclusive group. <figure><iframe src="https://www.youtube.com/embed/ZuYoEtEI_go?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>‘Five, six, grab your crucifix.’ A 2010 Nightmare on Elm St reboot failed to fire.</figcaption></figure> <h2>Happy Halloween!</h2> Despite a <a href="https://www.imdb.com/title/tt1179056/">failed reboot in 2010</a>, the legacy of A Nightmare on Elm Street is strong, having influenced numerous filmmakers with its skilful mix of surrealism and slasher horror. However, it’s the orchestrator of the titular nightmares whose legacy is perhaps the strongest. With each Halloween, new fans choose Freddy for their costume. All it takes is a tattered striped sweater, a brown fedora hat, and a glove with sharp, finger-lengthening blades. Don’t forget makeup to re-create Krueger’s grisly facial burns. Sweet dreams!<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/240905/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/adam-daniel-301018">Adam Daniel</a>, Associate Lecturer in Communications, <a href="https://theconversation.com/institutions/western-sydney-university-1092">Western Sydney University</a> Image credits: New Line Cinema - IMDB 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/freddy-krueger-at-40-the-ultimate-horror-movie-monster-and-halloween-costume-240905">original article</a>. </div>

Movies

Young woman dies after horror cruise fall

A woman in her 20s has died after plunging from the MSC Virtuosa cruise ship in the middle of the night. The cruise ship was travelling from Lisbon to Southampton when disaster struck at around 2am on October 12. While air ambulance successfully winched her out of the English Channel, she was pronounced dead at the hospital despite the best efforts of medics. British and French police are now probing the unidentified woman's death, The Sun reported. The ship originally sounded a Man Overboard alert and spotlights were then used to light up the sea, as aircraft from France and the Channel Islands attended the sea. Infra-red cameras were used to locate the woman, who would've struggled to survive in the cold water. At around 3am French time, an emergency alert was issued saying that a person was missing, a coast guard told The Sun. A helicopter was sent to a search area just north Les Casquets rocks, near the Channel Island of Alderney, while a plane from Channel Islands Air Search was sent to the scene from Guernsey, along with lifeboat crews. The £650 million ($A1.2 billion) vessel, which has a crew of more than 1500 and can carry up to 6300 passengers, remained in the area before making its way to Southampton. “A guest on board MSC Virtuosa went overboard on 12 October, while the ship was sailing to Southampton,” a Virtuosa spokesperson said. “The body was later recovered with the involvement of the authorities. “We are deeply saddened by this tragic event, and our thoughts are with the family during this difficult time. “Out of respect for their privacy, we will not be providing further details.” A Hampshire Police spokesperson added: “The investigation is not being managed by UK authorities.” Images: P.Cartwright / Shutterstock.com/ Channel Islands Air Search

Travel Trouble

"Fresh start" for scalded baby after horror attack

The family of a 10-month-old baby, who suffered severe burns after an unknown man <a href="https://www.oversixty.com.au/health/caring/new-details-and-pics-emerge-after-baby-scalded-by-stranger-in-brisbane-park" target="_blank" rel="noopener">threw a thermos of hot coffee on him</a> in a Brisbane park, is urging police to release more information about the suspect, who is believed to have fled overseas. Queensland Police have been investigating the case since the attack, which took place in Stones Corner, Brisbane. While authorities have confirmed that international law enforcement is assisting with the search, the baby’s parents are asking for more transparency on the case. The family, who has chosen to remain anonymous, visited the park for the first time since the incident on Thursday. Burns from the attack are still visible on their young son's body. “He’s really strong and resilient and brave,” the baby’s mother <a href="https://7news.com.au/news/fresh-calls-from-family-of-baby-attacked-with-hot-coffee-in-brisbane-park-c-16190532" target="_blank" rel="noopener">told 7NEWS</a>. The visit came just weeks after their son was rushed to Queensland Children’s Hospital with burns to his face and chest. In celebration of the baby reaching 10 months old, he wore a miniature police uniform given to him by the squad working on his case. Despite the police’s efforts, the parents are concerned about the lack of information being shared with them and the public. “We would just like a bit of assurance that we are on the right track, and (that the offender) is going to get caught,” the father told 7NEWS. He also questioned the process of bringing the suspect back, asking, “How (do) they plan on bringing him back? And if they know where he is in that particular country, is that country working with us?” Queensland Police acting commissioner Shane Chelepy stated that while the police are actively working on the case, they are being strategic with the release of information. “We need to balance our investigative strategies with the need for the community to know what’s going on,” Chelepy explained. As the investigation continues, the family is moving into a new home, hoping for a fresh start after the traumatic event. “I think it’ll just be a nice, new, fresh start after such a difficult month,” the mother said. The father added, “We can’t believe how well he’s doing. He’s so happy and he’s hitting all his milestones.” Police remain committed to locating the suspect and are collaborating with international authorities to bring him to justice. Images: 7News / Nine Network

Caring

Hunter Valley bus driver finally speaks out over horror crash

The man who was behind the wheel of the deadly Hunter Valley bus crash in June 2023 has finally taken the stand, saying he is deeply sorry for the hurt he has caused the victims and their families. Brett Button, 59, was transporting wedding guests from the reception ceremony at the Wandin Valley Estate back to Singleton when the bus flipped, causing the deaths of 10 people and injuring 25 others. After pleading guilty to 19 charges, including dangerous driving occasioning death and grievous bodily harm, Button appeared before Newcastle District Court on Tuesday to hear emotional <a href="https://oversixty.com.au/health/caring/hunter-valley-crash-survivor-s-demands-of-killer-bus-driver" target="_blank" rel="noopener">victim statements</a> from survivors and family members of those who were killed. On Wednesday, Button finally broke his silence on the fatal crash, issuing an emotional apology to all those impacted by the devastating crash. "I've tried to figure out the words to say I'm sorry, but how do you say you're sorry for such a horrible tragic event that has ruined the lives of hundreds of people," he told the court. <div data-component="EmphasisedText"> "I can't forgive myself. I can't believe I caused this, I never meant to cause it and every single person that died and was injured and everyone involved in this, I truly wish it never happened and I could apologise where people actually believe me." </div> "I live with this every day and I hate myself. I've caused parents to have to bury their children, which has been my biggest nightmare all my life, and now I've done it to so many families." "I'm sorry to everyone involved, including the police and everyone, my family — I've shamed everyone." Button also shared with the court that he had been taking the opioid tramadol since 1994, and admitted on the day of the crash, he had taken “in excess” of his prescribed dose of painkillers. When asked by his barrister Paul Rosser KC if he felt he was addicted, Button said he was "certainly dependent", adding that a pain specialist warned Button one year before the crash that he was at risk of addiction. When further questioned, Mr Button said he had no perception on that night the drug had impaired his driving. "I take responsibility for the death and injuries, it was no way purposeful and I wasn't negligent," he told the court. "I didn't do it deliberately." Andrew Scott, 35, and wife Lynan Scott, 33, Nadene McBride, 52, daughter Kyah McBride, 22, and her partner, Kane Symons, 21, Darcy Bulman, 30, Rebecca Mullen, 26, Zachary Bray, 29, Tori Cowburn, 29, and Angus Craig, 28, were killed in the crash on June 11th 2023, with the crash now known as one of Australia's worst ever fatal road incidents. Judge Roy Ellis will consider 40 victim impact statements as part of his sentencing. Image credits: 7News

Legal

Pilot identified after horror helicopter crash

The young pilot who died after his helicopter plummeted into the roof of a Cairns hotel has been identified. Blake Wilson, a 23-year-old from New Zealand, was flying the twin-engine chopper for only a few minutes before it crashed into the roof of the DoubleTree Hotel by Hilton in Far North Queensland. Wilson had been celebrating a farewell party with co-workers just hours before the horror incident. Nautilus Aviation, the company that owned the helicopter, confirmed the pilot had worked for them as a ground crew member for about four months and had been celebrating one final day with colleagues before moving to another air base. In an updated statement on Tuesday night, police said initial investigations suggested Mr Wilson, who died at the scene, was the sole occupant of the helicopter at the time of the crash. Following his tragic death, Nautilus Aviation issued a statement saying, “We would like to address rumours regarding a gathering of some Nautilus Aviation employees, including off-duty pilots, on Sunday night.” “We can confirm this event did occur and was a privately organised send-off for the individual involved in Monday morning’s incident, who was recently promoted to a ground crew position at another one of our bases." While the company did not identify the pilot the time, they did reveal they held a New Zealand pilot’s licence. “Although the employee held a New Zealand CPL (H) pilot’s licence, they have never flown in Australia or for Nautilus Aviation and were not authorised to fly Nautilus Aviation helicopters,” company statement read. “We offer our heartfelt condolences to the individual’s family and all who have been affected by this tragedy and continue to offer our support to our employees during this very challenging period.” Mr Wilson had moved from New Zealand to Cairns for his flying training to follow his dreams of being a pilot at Christchurch Helicopters. Image credits: Facebook

Travel Trouble

Man arrested over horror crash that left 11-year-old orphaned

A British man has been arrested over a horror crash that left an 11-year-old girl orphaned. Shannen Morgan and Shane Roller have died alongside their two young daughters Rubie, 9, and Lillie, four, when their car collided with a motorbike as the family were travelling home from a walk on Sunday. Christopher Barton, 56, and his wife Janine, 48, who were on the motorbike were also both killed. The couple's son, Lewis, 21 has now been left without his parents, along with Shane and Shannen's 11-year-old daughter Poppie. Shocking pictures taken after the horror crash between Barnsley and Wakefield in northern England, showed the burnt out wreckage of the family's car, who were all declared dead at the scene. Police have confirmed a man has been arrested on suspicion of causing death by dangerous driving, according to The Sun. Poppie managed to escape the tragic accident because she had gone to a friend's house for dinner, and Lewis was on holiday in Thailand when he found out about his parents death. The 11-year-old was being looked after by family friend, Paul Hepple, at the time, and he said that they were just tucking into a roast dinner when the phone rang with the devastating news. “Her mum actually contacted us and asked if we could watch her because she didn’t want to go on the walk that they went on,” he told Mail Online. “She was with our daughter having fun. And on their way home, that’s when the accident happened. “We were having Sunday dinner as a family, and Poppie's aunty was with us and obviously, Poppie was as well. And then she got a phone call and she ended up leaving really quickly to go and see what happened.” Hepple, has set up a <a href="https://www.gofundme.com/f/support-for-poppie" target="_blank" rel="noopener">GoFundMe</a> page for Poppie and has raised almost £380,000 (about $745,000 Australian dollars) to put towards her education, emotional support and future care. The family friend has described Poppie as a “bright and resilient young girl” who has turned to Taylor Swift’s music to find comfort after she “lost her whole world in an instant”. “Despite her unimaginable loss, she shows incredible strength every day,” he wrote on the fundraiser. “Poppie now faces an uncertain future. With her immediate family gone, she needs support to ensure she has a stable, loving environment where she can heal and grow.” Shannen and Shane's devastated friends and family have shared their tributes on social media, vowing to look after Poppie. Shane’s brother Callum said he was “lost for words”, adding: “I’m absolutely heartbroken. I’m gonna miss all of you! You all had a heart of gold. My heart is ripped into a million pieces!” Shannen's friend Chelsea Element wrote: “You are and always will be one of my closest friends. “There are no words to describe the utter loss this has created for family/friends and the community around us. I hope you’re at peace Shannen Morgan and Shane Roller, with your beautiful girls. “Everyone will always look after Poppie, she will never want for anything she has the love of everyone.” Her cousin Beth Brittain said: “My heart just hurts my brain won’t accept what’s happened. “Shannen you were always my extra sister not just my cousin, we grew together. I just can’t speak. No words. Sleep tight my little Roller family your memory will live on for eternity.” Christopher and Janine’s son Lewis, is believed to have flown home immediately after finding out about his parents death. The couple had recently celebrated their 25th wedding anniversary, according to West Yorkshire Police, and they were just 20 minutes from home when the devastating accident occurred. In a tribute released through the police, the couple were described by their son as “a loving, caring mum and dad who always put me before everything else”. Superintendent Alan Travis of Wakefield District Police has urged anyone who has dashcam, doorbell or CCTV footage of the car to contact them and assist with their investigation. They have also issued a public plea for anyone who saw a grey coloured Porsche 911 at the time of the crash to come forward. “This is an absolutely tragic incident which has resulted in the loss of six lives," the Superintendent said. “Our thoughts go out to the families of those who have died who we are working with to provide support at this time.” Images: news.com.au

Caring

Aussie woman's horror assault in Paris days before Olympics

An Australian woman has claimed she was gang-raped in Paris just days before the highly anticipated Opening Ceremony of 2024 Olympics. The 25-year-old Aussie, who was meant to be returning to Australia before the Olympics start, told French police that she was raped by five men and sought refuge after the attack in a kebab shop in the early hours on Saturday morning just metres from the Moulin Rouge. Staff of the shop alleged to police that the young woman’s dress was on backwards and partially ripped, while the woman was in a state of shock and was struggling to speak, according to reports from French newspaper Le Figaro. The woman told staff at the shop on Boulevard de Clichy that she had allegedly been sexually assaulted by five men described as of African descent, although details on the exact location of the attack remain unclear. The woman was taken to the nearby Bichat-Claude Bernard Hospital for treatment and observation. The Paris Prosecutor’s Office said an investigation into the incident was underway. “The investigation into the charge of gang rape likely to have been committed on the night of July 19 to 20 has been entrusted to the second judicial police district,” Paris Prosecutor’s office said. The Alliance Paris police union said investigators will “do everything to quickly identify the individuals to justice”, according to newspaper Le Parisien. Image credits: Richard Ellis/UPI/Shutterstock Editorial

Legal

"Absolute carnage": Injured Aussie reveals turbulence horror

An Aussie man who was onboard the Singapore Airlines flight that plunged <a href="https://www.oversixty.com.au/travel/travel-trouble/victim-identified-after-plane-hits-deadly-turbulence" target="_blank" rel="noopener">6000 feet</a>, leaving one dead and dozens injured, has spoken out for the first time. A heavily bandaged Keith Davis told Today that he is still in shock over what happened, and shared graphic detail of what happened straight from his hospital bed in Thailand. "We'd just finished a fantastic holiday in the UK and were one more flight away, nearly home - and this comes along," he said. The flight took off from London Heathrow on Monday night and bound for Singapore with 211 passengers on board. Davis and his wife were among the 56 Australian passengers when the plane was struck by severe turbulence just minutes into the beginning of the breakfast service. "It was absolute carnage, instantly, it was absolutely surreal and there was no warning," he recalled. "When you come into turbulence, there is usually some warning, but this was just a freefall and before we knew it - we were on the ceiling and then bang, we are on the ground." Despite looking battered and bruised, Davis said that his wounds were just superficial, and his wife had an even longer road to recovery ahead. "(My wife) fell into the aisle and she didn't move from then on," he said. "She hit the ground so hard and you know, I leant over her and said, 'hey honey, you're okay', I could see she was breathing and she could speak, but when someone hits the ground, they're going to try and get up and that wasn't happening. "And then I realised I was pouring blood all over her and I thought, wow, we're in a lot of serious trouble here.' Davis said that his wife remained conscious the whole way through, which he said was a blessing as she doesn't have a brain injury. "She's had a severe spinal injury and she has no sensation from her waist down," he said. "She's got all of her wits about her, she's strong and we just just want to get home." Nine Australians remain in the Bangkok hospital, and three are in the ICU with severe injuries. Doctors have also confirmed that a lot of those injured have got spinal issues after hitting their head and landing so hard on the ground, with several of them requiring surgery after showing signs of paralysis. Image: Today

Travel Trouble

West Side Story returns to Handa Opera on Sydney Harbour

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

Domestic Travel

Aussie love story from WWII immortalised in the war memorial

An Australian couple's love story that defied the odds of time and distance has been immortalised in the war memorial. The Australian War Memorial is calling for volunteers to help transcribe thousands of love letters sent from soldiers in the war, to their loved ones back at home. Launching on Valentine's Day, the project will see the digital release of hundreds of thousands of personal letters, diaries and other handwritten documents kept safe for decades. Among those stories is the tale of Mac and Dot, two lovebirds separated by World War II. Their love story began in 1939, when Mac was 17 and Dorothy was 14. Dorothy - or as Mac referred to her, his Darling Dot - was forbidden to go on a date with Mac after her father refused to give his blessing. "He kept on asking me to go out but my father wouldn't let me," Dorothy laughed as she told Ally Langdon on A Current Affair. <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-permalink="https://www.instagram.com/reel/C3Rj4g9vjIS/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/reel/C3Rj4g9vjIS/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by A Current Affair (@acurrentaffair9)</a> </div> </blockquote> Mac was soon off to war, but his plan was always to return home to Dot. "He said to me, 'When I come back home...Will you come out with me then?'" Dorothy reminisced. "I said, 'Of course I will, Mac!' And then he gave me a kiss and went to war." The young couple then continued to write each other letters every week for five long years, until Mac was captured by the German army and held as a prisoner of war. Despite his capture, Mac held onto every letter Dot had ever written him, as he remained determined to get home to his beloved. "I hated him being away, and when the letters came back oh gee they were wonderful," Dorothy said. "A letter meant he was still alive, you see, so it was so exciting." In April 1945, Dot received the best letter of all: Mac had escaped and was coming home. "Hello my darling. What does one say in a moment such as this?" Dot wrote on April 30th 1945. "I have butterflies in my stomach, love in my heart and few words that make sense in my mind. Well Mac, it's really coming at last. You're almost home". And Mac wrote back to that, "Hello darling. I miss you more now than ever." "Unfortunately I can't find a boat to take me back to you. If they don't hurry I guess I'll just have to pinch a rowing boat and see what I can do!" When Mac returned home, he brought with him half a decade's worth of those love letters from Dot, as well as a portrait of himself painted by another prisoner of war. It hangs proudly at the end of Dorothy's bed and is the first thing she sees when she wakes. Now Robyn Van Dyke and Terrie-Anne Simmonds from the Australian War Memorial are sifting through thousands of donated love letters, including Mac's and Dorothy's. "He not only managed to escape, but he managed to take all her letters with him and that blows me away because it's not a small amount of letters," Robyn said. The team is looking for <a href="https://transcribe.awm.gov.au" target="_blank" rel="noopener">volunteers</a> to help ensure those stories, and all that love, live forever. Dorothy, who is now 101 years old, had more than 70 wonderful years with Mac before he died in 2014. "He was nearly 90, you know. And me I just kept on going and going and going!" she said. "He'd be up there watching every minute I bet. We had such fun. Oh dear we did have fun. We laughed a lot and we cried a lot." "But we lived - and that was the main thing." Image credits: A Current Affair <p style="box-sizing: border-box; margin: 24px 0px 0px; padding: 0px; border: 0px; font-stretch: inherit; font-size: 18px; line-height: 1.333; font-family: 'Proxima Nova', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size-adjust: inherit; font-kerning: inherit; font-variant-alternates: inherit; font-variant-ligatures: inherit; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-variant-position: inherit; font-feature-settings: inherit; font-optical-sizing: inherit; font-variation-settings: inherit; vertical-align: baseline; caret-color: #333333; color: #333333; letter-spacing: 0.25px;">

Relationships

Vale ‘sister suffragette’: how Glynis Johns became a pop-culture icon in the story of votes for women

<a href="https://theconversation.com/profiles/ana-stevenson-196768">Ana Stevenson</a>, <a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a> and <a href="https://theconversation.com/profiles/lindsay-helwig-1500979">Lindsay Helwig</a>, <a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a> Glynis Johns, most famous for her role as the suffragette mother Mrs Winifred Banks in Disney’s Mary Poppins (1964), passed away last week at the age of 100. A fourth-generation performer who made her <a href="https://www.latimes.com/archives/la-xpm-1991-04-17-ca-126-story.html">stage debut</a> in London when she was only three weeks old, Johns inherited her Welsh father’s love of acting. She appeared with him in The Halfway House (1944) and The Sundowners (1960) and argued for the establishment of a Welsh National Theatre <a href="https://twitter.com/huwthomas/status/791367871242862592">as early as 1971</a>. Johns’s career spanned eight decades in Hollywood, Broadway and the British stage and screen. As Palm Springs’s Desert Sun <a href="https://cdnc.ucr.edu/?a=d&d=DS19630426.2.50">reported</a> in 1962, her “husky voice and big blue eyes” were her hallmarks. But it was her portrayal of Mrs Banks in Mary Poppins which would make her a pop culture icon. <h2>A childhood inspiration</h2> Feminist activists and scholars often describe the Mrs Banks character as a childhood inspiration. As feminist communications scholar Amanda Firestone <a href="https://www.google.com.au/books/edition/Resist_and_Persist/s5HiDwAAQBAJ">reflects</a> on the film: "I especially loved […] Mrs Banks (Glynis Johns), who marches around the family home, putting Votes for Women sashes onto the housekeeper, cook, and the (departing) nanny. Of course, as a kid, I had no idea that the people and events embedded in the song’s lyrics were actual parts of history, but I did find a kind of joy in a vague notion of women’s empowerment." Set in 1910, the symbolism associated with Mrs Banks references the history of the British suffragettes. Johns’ musical showstopper, Sister Suffragette, directly refers to <a href="https://www.thehistorypress.co.uk/articles/the-pankhursts-politics-protest-and-passion/">Emmeline Pankhurst</a>, who founded the militant Women’s Social and Political Union in 1903. In 1906 British newspapers <a href="https://doi.org/10.1017/S0020859007003239">coined</a> the moniker “suffragette” to mock the union. <figure><iframe src="https://www.youtube.com/embed/K0SDECwO54E?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> This ambivalence continued into the 1960s. Historian Laura E. Nym Mayhall <a href="https://www.jstor.org/stable/4316653">argues</a> that American concern over the impact of women’s public roles on their domestic responsibilities influenced the film’s depiction of Mrs Banks, especially her movement from a public suffragette back into an involved mother at the film’s end. For Mayhall, the figure of the suffragette emerges in popular culture as “a symbol of modernity”: a harbinger of democracy and political progress whose characterisation would elide ongoing struggles such as the civil rights movement. <figure class="align-right zoomable"><a href="https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?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/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=949&fit=crop&dpr=1 600w, https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=949&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=949&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1193&fit=crop&dpr=1 754w, https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1193&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1193&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>This 1909 Dunston Weiler Lithograph Co. anti-suffrage postcard offers resonances of Mrs Banks and her household staff in Mary Poppins. <a class="source" href="https://thesuffragepostcardproject.omeka.net/items/show/44">Catherine H. Palczewski Postcard Archive/The Suffrage Postcard Project</a></figcaption></figure> While some see the character of the suffragette mother as <a href="https://www.google.com.au/books/edition/Mary_Poppins/BLujEAAAQBAJ">supporting</a> women’s votes during the 1910s and women’s liberation during the 1960s, other readings of the film suggest a more satirical representation of the suffrage movement. Some historians even find <a href="https://doi.org/10.1215/02705346-6923118">resonances</a> of anti-suffrage propaganda in Mrs Banks, including in her usage of her Votes for Women sash as the tail of a kite in the film’s final scene. Looking back at film reviews offers insight into how audiences received this character – and, by extension, Johns as an actor. American studies scholar Lori Kenschaft <a href="https://books.google.com.au/books/about/Girls_Boys_Books_Toys.html?id=Or13vhnA_W4C">suggests</a> that film critics who saw Mrs Banks as a “nutty suffragette mother” reiterated popular stereotypes about suffragettes and feminists being “mentally unbalanced”. Such stereotypes may have been reinforced by the film’s depiction of motherhood and the nuclear family. Involved parenting emerged as the bedrock of the 1960s nuclear family, an idea both supported and actively promoted by Walt Disney in both his films and his theme parks, as <a href="https://www.google.com.au/books/edition/Children_Childhood_and_Musical_Theater/XHrRDwAAQBAJ">argued</a> by American musicologist William A. Everett. As Mrs Banks, Johns embodied the transition from the distant, uninvolved parenting of the British middle-class in the earlier 20th century to the involved mother who facilitated the stable nuclear family. As women’s studies scholar Anne McLeer <a href="https://www.jstor.org/stable/4316893">argues</a>, Mary Poppins, through Johns’ portrayal of Mrs Banks, demonstrated the liberated woman of the 1960s could be contained within the nuclear family: the bedrock for a Western capitalist economy. <h2>A long career</h2> Beyond Mary Poppins, her most prominent role was in Stephen Sondheim’s Broadway musical A Little Night Music (1973). Johns originated the character of ageing actress Desiree Armfeldt, becoming the first to sing Send in the Clowns. As she <a href="https://www.latimes.com/archives/la-xpm-1991-04-17-ca-126-story.html">reflected</a> of the classic in 1991: "It’s still part of me. And when you’ve got a song like Send in the Clowns, it’s timeless." Sondheim composed this song with Johns’s famously husky voice in mind. Yet some were less enamoured with her performance. One 1973 theatre critic <a href="https://www.jstor.org/stable/3850619">described</a> Johns as “a now somewhat overage tomboy, kittenish and raspy-voiced, precise and amusing in her delivery of lines but utterly, utterly unseductive.” <figure><iframe src="https://www.youtube.com/embed/OAl-EawVobY?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> A veteran of stage and screen, Johns appeared in more than 60 films and 30 plays. In 1998, she was honoured with a Disney Legends Award for her role as Mrs Banks. Johns also received critical acclaim throughout her career, including a Laurel Award for Mary Poppins and a Tony Award and Drama Desk Award for A Little Night Music. Regardless of how incongruous her status as a “<a href="https://www.abc.net.au/news/2024-01-05/glynis-johns-mary-poppins-send-in-the-clowns/103287036">Disney feminist icon</a>” may be, Johns’s extraordinary influence upon the 20th century’s cultural memory is a remarkable legacy. <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/220766/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/ana-stevenson-196768">Ana Stevenson</a>, Senior Lecturer, <a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a> and <a href="https://theconversation.com/profiles/lindsay-helwig-1500979">Lindsay Helwig</a>, Lecturer in Pathways, <a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a> Image credits: Disney 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/vale-sister-suffragette-how-glynis-johns-became-a-pop-culture-icon-in-the-story-of-votes-for-women-220766">original article</a>.

Caring

Explore. Dream. Discover: An Over60 Reader's epic journey

Many people travel to all corners of the earth, seeking new and exciting experiences, especially when we retire and are able to do so. Sometimes we can be pushed beyond the boundaries of our comfort zone but usually the experience is positive and often transformational. One popular destination for travellers who enjoy adventure is Sedona in Arizona, a town that nestles in a desert on the edge of red rock canyons. Nearby is Hopiland, home to the Hopi Indians. One of my most treasured memories occurred in this part of the world in 1990, on top of a desert mountain known as a mesa. The mesa rose thousands of feet above ground level and I climbed up there with a group of friends from Australia. As we reached the top, we began to hear the sound of drums and chanting coming from an underground cave. Our travel guide informed us that inside the cave, Hopi women and children huddled together on the dirt floor to watch their menfolk perform legendary rituals honouring their ancient ancestors. Since the ceremony was forbidden to tourists, we were given an hour to explore the top of the mesa. Moving a short distance away from the rest of the group, I sat down on a rock to fully absorb the nearby pulse of drums and chanting. A few minutes later, three young Hopi boys appeared and attempted to converse with me. Initially, I found it difficult to understand what they were saying until I realised they were actually inviting me to accompany them underground to join their tribal family. Throwing caution to the wind, I followed them down a rickety wooden ladder poking out of a hole in the ground. The atmosphere inside the cave was thick with burning sage combined with swirling dust from the pounding feet of men dancing, their heads hidden inside huge masks. Barefooted women and children squatted on the dirt floor and I felt very much an intruder as I squeezed myself amongst them. But, reassured by friendly smiles and head-nodding, I began to relax, absorbing the magical rituals of times past. Eventually the ancient ceremony ended, and I climbed the ladder back into the twentieth century, overcome by a newfound sense of humility and realisation of just how unimportant the wealth and material greed of Western society is. One can often rely on the unexpected to occur when travelling. During a visit to Egypt one year, our group emerged from the Temple of Isis to settle down and meditate on the bank of a nearby river when a military policeman appeared out of the bushes, clutching a large submachine gun. His other hand appeared to conceal something behind his back and as he drew closer, we noticed he had a second gun tucked into his belt. Terrified, we leapt to our feet. Then, his face breaking into a smile, he held out the hand from behind his back. Lying in its brown sinewy palm were eleven pink oleander blossoms, one for each of us. A moment of sheer terror switched instantly to one of absolute delight. Another example of ‘the unexpected’ occurred a few days later for a member of our group who had just turned eighty. All her life she had suffered with claustrophobia and its related anxiety and panic attacks. Consequently, when we visited the Great Pyramid to ascend the steep tunnel inside which would take us up to the King’s Chamber, we arranged for her to remain outside with our tour guide. But at the last minute she changed her mind, not wanting to miss out on such a special experience. By slowly crawling through the tunnel all the way up inside the Great Pyramid, she managed to achieve something she had never in her life believed possible. We celebrated her victory that night with champagne, lots of laughs and some hilarious attempts at belly dancing. A travel memory that always makes my grandchildren laugh is when I was visiting my friend Palden Jenkins, an historian who lives in Glastonbury. One day we set off for Snowdonia, North Wales, for a holiday. As we pulled up outside the 500-year-old stone cottage a farmer approached, urging us to be sure to leave a pot of tea outside every night for the Booka, the name given to Welsh brownies or elves. If we did this, he said, we would be assured of a hassle-free holiday. The Booka would not trouble us if we kept the cottage clean, left out the tea and didn’t have long noses. Words cannot describe the fun we two ‘grown-ups’ had in brewing tea every evening over an open fire to cater to the whims of Snowdonia’s faerie folk. Travelling the world can create change in our lives that we will never regret, opening our hearts, broadening our minds, and sometimes transforming our lives forever. To quote Mark Twain, ‘Twenty years from now you will be more disappointed by the things you did not do than by the ones you did. So, sail away from the safe harbour. Explore. Dream. Discover.’ This wonderful story, including the images, was sent in by Over60 Reader Jo Buchanan. Thank you, Jo, for sharing your adventure with us! If you have a Reader Story you would like to contribute to Over60, please send it to the editor via <a href="mailto:greg@oversixty.com.au" target="_blank" rel="noopener">greg@oversixty.com.au</a>.

International Travel

Two men arrested after fleeing horror crash that killed teens

In a heart-wrenching incident that has sent shockwaves through the community, two teenagers <a href="https://www.oversixty.com.au/finance/legal/manhunt-as-two-men-who-fled-scene-of-fatal-car-crash-identified" target="_blank" rel="noopener">lost their lives</a> in a horrific car crash in Sydney's southwest. The tragic incident unfolded on Maxwells Ave, Ashcroft, claiming the lives of a 13-year-old boy and a 14-year-old boy. The two victims were reportedly best friends, with one of them having recently celebrated his 13th birthday just the day before the fateful crash. The terrible accident occurred when the car they were in collided with a tree and a power pole outside a residential property. The two boys were seated in the back of the vehicle, and the impact of the crash was devastating. One of the boys was ejected from the car on impact, while the other remained trapped by his seatbelt. Authorities suspect that speed was a contributing factor to the accident, highlighting the importance of safe driving practices, especially when minors are involved. As news of the incident spread, tributes began pouring in for the two young victims online. Friends, family members, and community members expressed their grief and sorrow, describing the accident as "heartbreaking". The loss of two bright young lives has left a lasting impact on the tight-knit community. CCTV footage captured the entire incident, shedding light on the events that unfolded after the crash. The footage revealed the shocking actions of the two men who had been in the vehicle, namely the driver, Nicholas Thew, and his surviving passenger, Anthony Morris. It is believed that these men were either family members or friends of the two boys. In the footage, a dirt bike rider who had been following the car approached the crash scene and discovered one of the boys' lifeless bodies. The rider then checked on the two men in the front of the vehicle before one of the men emerged from the wreck. Afterward, the dirt bike rider departed the scene. The man who emerged from the wreck assisted in unbuckling one of the boys from his seatbelt and helped the other male out of the vehicle. Shockingly, the pair then fled the scene. Following an extensive investigation and manhunt, the police arrested two men, aged 23 and 27, on Tuesday around 12:30pm. Both individuals were taken to Liverpool Hospital under police guard for assessment and treatment of injuries they allegedly sustained during the crash. While the legal process is in motion, the community is left to grapple with the immense loss of two young lives, taken too soon. The 27-year-old man has been charged with nine offences – two counts of aggravated dangerous driving occasioning death with a speed of 45 km over; two counts of dangerous driving occasioning death – drive manner dangerous; two counts of failing to stop and assist after vehicle impact causing death; never licensed person drive vehicle on road; cause bodily harm by misconduct; and negligent driving (occasioning death). No charges have yet been laid for the 23-year-old man. The grief-stricken families and friends of the victims, as well as the community at large, are rallying together to provide support and comfort during this devastating time. The investigation into the crash continues, and authorities are urging anyone with information to come forward and contact Crime Stoppers. As the community mourns the loss of these two young lives, they are also seeking closure and justice for the tragic events that unfolded on that fateful morning in Ashcroft. Images: Nine News

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“There were bodies everywhere”: Five people dead in horror pub crash

Disturbing details have emerged from a horror crash where five people have died after a BMW crashed into a beer garden at a pub in regional Victoria. On Sunday evening in Daylesford, north of Melbourne, families were enjoying the last of the weekend at the Royal Hotel when a BMW X5 crashed into the busy venue. The pub was filled with hundreds of patrons in the hours before the crash due to the unofficial long weekend before Tuesday’s Melbourne Cup public holiday in Victoria. Superintendent John Fitzpatrick confirmed on Sunday night about 11pm four people had died at the scene: two men and a woman and a six-year-old boy, while a fifth person, a teenage girl, later died in hospital. Four others were injured, while a boy is fighting for his life in hospital. “I haven’t seen anything this drastic for a long time,” he said. “Any time you have five people die at a particular scene, it’s horrible.” “There are families that have got loved ones that are no longer going to be around.” “We don’t like to see anyone lose their life but to see a child – you don’t ever want to see anything like that.” The driver of the BMW, a 66-year-old man, was taken to hospital with non-life-threatening injuries. "The exact circumstances surrounding the collision are yet to be determined and investigations remain ongoing," Superintendent Fitzpatrick said. “We are waiting to speak to him… It’s a very complex scene.” A woman who was working at the business next door to the pub witnessed the horrific moment, recalling how she and her staff saw bodies lying on the pavement. “We’re all pretty shocked,” she said. “It’s pretty bad, I’ve never seen anything so traumatic in my life.” “There were bodies everywhere, it was horrifying,” she said. “I watched the whole crash. The car went up into the sky. I thought it was just dust. It’s only now I know it was bodies.” Infrastructure Minister Catherine King, whose electorate Ballarat includes Daylesford, said the community was “devastated” by the incident. “Five people have lost their lives, and their families’ lives have changed forever. “It will really have shocked a lot of people, and I think we’re really only just coming to terms with what happened today.” “These sort of terrible accidents, the sort of level of trauma goes on for a long period of time, and people will need a lot of support and care, and the police obviously will need to undertake a significant investigation into what’s happened.” Image credits: Nine News

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Even in a housing crisis, Australians can’t get enough of renovation stories on TV. Why?

<a href="https://theconversation.com/profiles/ella-jeffery-1459839">Ella Jeffery</a>, <a href="https://theconversation.com/institutions/griffith-university-828">Griffith University</a> The Block has begun its 19th season this month, <a href="https://9now.nine.com.au/the-block/2023-season-block-confirmed-location-details-scott-cam-season-19-explainer/b4d5fa4e-690f-4755-90da-caba77925836">billed as</a> “a Block that’s entirely relatable to people right around Australia”. This year, contestants renovate five “authentic ’50s dream homes” in “the perfectly named Charming Street, in Melbourne’s Hampton East”. But if the median price for a four-bedroom house in Hampton East is <a href="https://www.domain.com.au/suburb-profile/hampton-east-vic-3188">around A$1.6 million</a> and the nation’s <a href="https://www.theguardian.com/australia-news/2023/aug/03/more-than-1600-australians-pushed-into-homelessness-each-month-as-housing-crisis-deepens-report-finds">housing crisis</a> shows no signs of easing, who is The Block relatable to? And why do audiences keep coming back to renovation stories? Home ownership is becoming <a href="https://www.aph.gov.au/About_Parliament/Parliamentary_Departments/Parliamentary_Library/pubs/BriefingBook46p/HomeOwnership">less accessible</a> and more people than ever are renting, but stories about renovation on TV, in film and in literature continue to have a powerful effect on us. Why? One reason they can be so captivating is that they invoke the idea of the dream home. <figure><iframe src="https://www.youtube.com/embed/KadU7z8GHoE?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>Season 19 of The Block promises to ‘transform these little time capsules into two-storey mansions’.</figcaption></figure> <h2>Home makeovers are ultimately about us too</h2> Ask anyone you know about their dream home – something I did regularly when I was <a href="https://eprints.qut.edu.au/122955/">writing my PhD</a> on renovation stories – and you’ll get an incredible array of different styles, sizes, locations. Maybe it overlooks the ocean, maybe it has the newest appliances, maybe it has a pool, maybe it’s just a house without a <a href="https://www.theguardian.com/australia-news/2022/apr/29/this-isnt-safe-nsw-renters-fight-twin-battles-against-mould-and-landlords">mould problem</a>. The idea of the dream home is deeply rooted in our shared imagination. The philosopher Gaston Bachelard wrote in <a href="https://www.goodreads.com/book/show/13269.The_Poetics_of_Space">The Poetics of Space</a> (1958) that our houses – both the ones we live in and the ones we dream of – “move in both directions: they are in us as much as we are in them”. Bachelard suggests that in even “the humblest dwelling” our memories, desires and dreams are gathered, and this is why houses are so central to who we are. If houses can be expressions of self, our dream houses say a lot about our desires. While it might no longer look like a <a href="https://www.domain.com.au/news/is-the-aussie-dream-of-a-quarter-acre-block-dead-1221913/">house on a quarter-acre block</a>, the dream still exists. Renovation stories are so compelling because in them, as <a href="https://us.sagepub.com/en-us/nam/ordinary-television/book205099#contents">researchers</a> have noted, home improvement often represents self-improvement – a dream life, not just a dream house. This is especially important in programs like <a href="https://www.imdb.com/title/tt0388595/">Extreme Makeover: Home Edition</a> (2003–20) and <a href="https://www.imdb.com/title/tt0243688/">Backyard Blitz</a> (2000–), which often focus on people presented as hard-done-by whose lives are changed by renovations that solve their day-to-day problems. <h2>Better house, better life</h2> Reality TV isn’t the only place we find this type of story about transformation and self-improvement. In Frances Mayes’ bestselling memoir Under the Tuscan Sun (1996), Mayes travels to Italy and buys an abandoned villa, Bramasole, which she renovates. In the process, she gains a new outlook on life. There’s a similar story in Peter Mayle’s A Year in Provence (1989). Mayle, a UK advertising executive, buys a 200-year-old farmhouse in France and renovates it. Both books were exceptionally successful, inspiring an entire genre of renovation memoirs about wealthy middle-class people able to travel abroad, buy charmingly rundown properties in beautiful locations, and renovate them while enjoying the local lifestyle. In them, renovation is a clear symbol of self-transformation, if only for people rich enough to afford it: renovating houses leads to a greater appreciation of life’s pleasures and a new way of seeing the world. This idea of the renovated life can be especially compelling in a world that increasingly feels <a href="https://theconversation.com/the-doomsday-clock-is-now-at-90-seconds-to-midnight-the-closest-we-have-ever-been-to-global-catastrophe-198457">frightening and overwhelming</a>. Researchers like <a href="https://catalogue.nla.gov.au/catalog/4273551">Fiona Allon</a> argue that renovation stories allow us to turn away from the alarming outside world – with its violence, looming recessions, pandemics, climate crises – and focus on the smaller, more controllable world of the home. Maggie Smith’s viral poem <a href="https://www.poetryfoundation.org/poems/89897/good-bones">Good Bones</a> (2016) plays with this idea. The poem is about a mother trying to convince her children (and herself) that despite being a scary place, the world can be improved. To do this, she uses the analogy of a real estate agent selling a fixer-upper. The poem ends with lines that present renovation as an opportunity for change: "This place could be beautiful, Right? You could make this place beautiful." This optimism is what makes renovation excellent fodder for love stories. In the Nancy Meyers rom-com It’s Complicated (2009), Meryl Streep plays a divorcee looking for a fresh start, who renovates her home and falls in love with her architect, Adam. In The Notebook (2004), Ryan Gosling’s Noah transforms an old plantation estate into his lover Allie’s dream home, a gesture that reveals his enduring love. Renovation stories are always about change (although in <a href="https://www.imdb.com/title/tt5109784/">some</a> the change doesn’t last). Even if, as may be the case for the increasing number of people who are renting, having a house of our own is itself a fantasy. <h2>Renovate? In this economy?</h2> Many renovation stories can be seen as escapist media that trade on the image of the dream home to sell ideas about wealth, taste and style to audiences unable to afford such things. The Block may involve contestants from a range of backgrounds, but few people can afford the multimillion-dollar houses they build. The Block’s viewership has had ups and downs in its two-decade history, but the show (and many others) continues because, despite being about <a href="https://thenewdaily.com.au/entertainment/2023/03/29/the-block-controversy-grand-designs/">profiting from the housing market</a>, it sells the idea of transformation and change, not just in our houses but in our lives. Renovation stories invite audiences to indulge in a fantasy where we become our best selves living in dream homes that protect us from a volatile and threatening world. The dream home might remain a dream, but in renovation stories we escape reality and envision life in a Tuscan villa, or having a butler’s pantry or plunge pool, or simply owning a house of our own.<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/211334/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/ella-jeffery-1459839">Ella Jeffery</a>, Lecturer in Creative Writing, <a href="https://theconversation.com/institutions/griffith-university-828">Griffith University</a> Image credits: Instagram - The Block 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/even-in-a-housing-crisis-australians-cant-get-enough-of-renovation-stories-on-tv-why-211334">original article</a>.

Australia’s life expectancy is up, but healthy years are a different story

Australians have added six years to their life expectancy since 1990 – a world-leading increase – but some measurements paint a less rosy picture of the nation’s health. The data is the subject of a major feature in the respected British Medical journal <a href="https://www.sciencedirect.com/science/article/pii/S2468266723001238" target="_blank" rel="noreferrer noopener">The Lancet.</a> Overall, the data shows <a href="https://cosmosmagazine.com/people/society/aussies-are-living-longer-but-just-how-much/" target="_blank" rel="noreferrer noopener">life expectancy in Australia improved</a> from 77 years in 1990 to 83 in 2019. Although heart disease and stroke remain the nation’s biggest killers, both have seen major reductions in deaths since 1990 – down 68% and 58% respectively. In its analysis of data published in the <a href="https://www.healthdata.org/research-analysis/gbd" target="_blank" rel="noreferrer noopener">2019 Global Burden of Disease Study</a>, the research also found: <ul> <li>90% of people die from non-communicable diseases.</li> <li>Lung cancers remain the third biggest killers, though substantial reductions have been recorded since 1990.</li> <li>Alzheimer’s and other dementias are now the fourth most frequent causes of death.</li> <li>Chronic kidney disease, pancreatic cancer, falls, leukaemia and liver cancer now kill more people than they did 30 years ago.</li> </ul> The biggest improvement has been the big drop in the number of road fatalities, which in 1990 was the seventh leading cause of death in Australia. There had been a 63% reduction in the number of deaths per 100,000 people (15.5 to 5.7) by 2019; now ranking it as the 17th most frequent cause of death. The data also explored the non-fatal disease burden in the population. These, says the study’s lead author Dr Shariful Islam from Deakin University’s Institute for Physical Activity and Nutrition, add to the burden on Australia’s economy both in financial and productivity terms. “These might not cause a lot of death, but they’re definitely causing a lot of disability-adjusted life years,” Islam says. The nation ranks better than similar countries for the non-fatal disease burden from diabetes and non-fatal stroke. Conversely, its relative ranking has worsened for drug use, anxiety and depressive disorders. Risk factors that diminish the years of healthy life a person might experience like these have seen big jumps over the last 30 years. “It also causes a lot of economic issues, because when a person has musculoskeletal or low back pain, or especially anxiety or depression, they will often be absent from work, they will be less productive – this costs money.” <h2>Two-speed health improvements</h2> The data also shows the burden of disease is inequitably spread across the nation. People from lower socioeconomic backgrounds were found to have a higher risk of death-causing disease, and account for larger proportions of smokers and those with obesity. Aboriginal and Torres Strait Islander peoples are disproportionately represented in these groups. High blood pressure remains the leading risk factor for mortality, though it accounts for nearly half as many deaths in 2019 (as a proportion of the total) than it did 30 years prior. And while body mass index (BMI) has been shelved in recent years as an individual health indicator in favour of metrics like waist measurements, at a population level, it remains a top-three mortality risk factor. That, says Islam, is because those with high BMI likely carry other major risk factors. “With High BMI you’ll often [also] see high blood pressure, high blood glucose, often sedentary lifestyles,” he says. Islam and his colleagues highlight universal healthcare programs like Medicare, regulatory and broader healthcare systems as the strengths driving the overall positive outcomes in life expectancy. But they argue the nation’s performance in delivering preventative and supportive treatment for non-fatal conditions, and promoting healthy lifestyles to its ageing population will be important to continue a sustained trajectory. This view is supported by a comment by University of Sydney-affiliated public health experts Michelle Dickson, Cheryl Jones, Terry Slevin, and Jaime Miranda. While they say the study highlights Australia as a “public health exemplar”, they highlight the deficiencies bridging the health gap for Aboriginal and Torres Strait Islander peoples and those from lower socioeconomic backgrounds as an important public responsibility. “Australia has a world-class health care and public health system that has been conducive to major population gains, at least in life expectancy,” they write. “Yet, work remains to be done to marry such gains with strategies and policies to prevent or reduce disease burden during the entire lifecourse, and to reduce inequalities. This will be essential to sustain this world-class health system and to promote healthier societies.” Image credits: Getty Images <a href="https://cosmosmagazine.com/people/society/australias-life-expectancy-is-up-but-healthy-years-are-a-different-story/" target="_blank" rel="noopener">This article</a> originally appeared on <a href="https://cosmosmagazine.com" target="_blank" rel="noopener">Cosmos Magazine</a> and was written by Matthew Ward Agius.

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