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Menopause is having a moment. How a new generation of women are shaping cultural attitudes

<div class="theconversation-article-body"><em><a href="https://theconversation.com/profiles/bridgette-glover-2232638">Bridgette Glover</a>, <a href="https://theconversation.com/institutions/university-of-new-england-919">University of New England</a></em></p> <p>From hot flashes to hysteria, <a href="https://rowman.com/ISBN/9780739170007/Periods-in-Pop-Culture-Menstruation-in-Film-and-Television">film and TV</a> have long represented menopause as scary, emotional and messy.</p> <p>Recently, celebrities have been sharing their personal menopause experiences on social media, helping to re-frame the conversation in popular culture.</p> <p>We are also seeing more stories about menopause on television, with real stories and depictions that show greater empathy for the person going through it.</p> <p>Menopause is having a moment. But will it help women?</p> <h2>The change onscreen</h2> <p>This is not what we’re used to seeing on our screens. Countless sitcoms, from All in the Family (1971–79) to Two and a Half Men (2003–15) have used the menopause madness trope for laughs.</p> <p>Retro sitcom That ‘70s Show (1998–2006) used mom Kitty’s menopause journey as comedic fodder for multiple episodes. When she mistakes a missed period for pregnancy, Kitty’s surprise menopause diagnosis results in an identity crisis alongside mood swings, hot flashes and irritability.</p> <p>But the audience is not meant to empathise. Instead, the focus is on how Kitty’s menopause impacts the men in her family. Having to navigate Kitty’s symptoms, her veteran husband likens the experience to war: “I haven’t been this frosty since Korea”.</p> <figure><iframe src="https://www.youtube.com/embed/mPLJBZiKV4U?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Even when male characters are not directly involved, women are determined to reject menopause because they see it as a marker of age that signals a loss of desirability and social worth. In Sex and the City (1998–2004), Samantha describes herself as “day-old bread” when she presumes her late period signifies menopause.</p> <p>This is a popular framing of menopause in <a href="https://www.tandfonline.com/doi/full/10.1080/14680777.2018.1409969">post-feminist TV</a> of the 1990s and early 2000s. While the <a href="https://www.tandfonline.com/doi/full/10.1080/14680777.2012.712373#d1e783">menstruating body</a> is constructed as uncontrollable and in need of management, the menopausal body requires management and maintenance to reject signals of collapse.</p> <p>These storylines erase the genuine experiences of confusion, discomfort and transformation that come with menopause.</p> <h2>A cultural moment arrives</h2> <p><a href="https://www.npr.org/sections/health-shots/2015/12/31/460726461/why-2015-was-the-year-of-the-period-and-we-dont-mean-punctuation">Since 2015</a>, stories of menstruation have increased in popular culture.</p> <p>Series like comedy Broad City (2014–19) and comedy-drama Better Things (2016–22) directly call out the lack of menopause representations. When Abbi in Broad City admits she “totally forgot about menopause”, a woman responds “Menopause isn’t represented in mainstream media. Like, no one wants to talk about it”.</p> <p>Similarly, in Better Things, while watching her three daughters stare at the TV Sam laments: “No one wants to hear about it, which is why nobody ever prepared you for it”.</p> <p>And lack of preparation becomes a key theme for perimenopausal Charlotte in the Sex and the City reboot, And Just Like That … (2021–) when she has a “flash period”.</p> <figure><iframe src="https://www.youtube.com/embed/9AmwXuHo-2w?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Fleabag (2016–19) included a groundbreaking monologue about menopause delivered by Kristen Scott-Thomas, playing a successful businesswoman. She describes menopause as “horrendous, but then it’s magnificent”.</p> <blockquote> <p>[…] your entire pelvic floor crumbles, and you get fucking hot, and no one cares. But then you’re free. No longer a slave. No longer a machine with parts.</p> </blockquote> <figure><iframe src="https://www.youtube.com/embed/RZrnHnASRV8?wmode=transparent&amp;start=13" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Scripted by Phoebe Waller-Bridge, this <a href="https://www.latimes.com/entertainment/la-et-menopause-20190524-story.html">celebrated</a> monologue critiques the post-feminist notion of striving to be the “<a href="https://www.tandfonline.com/doi/full/10.1080/14680777.2012.712373#d1e783">idealised feminine body</a>”. Through this new feminist lens, menopause is acknowledged as both painful – physically and emotionally – and necessary for liberation.</p> <h2>Today’s menopause on screen</h2> <p>Alongside more recent series like The Change (2023), multiple documentaries including <a href="https://www.tamsenfadal.com/the-m-factor">The (M) Factor</a> (2024), and <a href="https://theconversation.com/there-is-no-future-for-ageing-women-how-the-substance-uses-body-horror-in-a-feminist-critique-239729">arguably</a> even films like The Substance (2024), social media has become a prolific space for raising awareness about menopause.</p> <p>Celebrities use social media to share tales of perimenopause and menopause, often in real time.</p> <p>Last year, actor Drew Barrymore experienced her “first perimenopausal hot flash” during her talk show.</p> <p>And ABC News Breakfast guest host, Imogen Crump, had to pause her news segment, saying</p> <blockquote> <p>I could keep stumbling through, but I’m having such a perimenopausal hot flush right now, live on air.</p> </blockquote> <p>Both Barrymore and Crump shared clips of their live segments to their social media pages, to challenge stigma and create conversations. Crump even posted to <a href="https://www.linkedin.com/posts/imogen-crump-6b74b726_perimenopause-activity-7127788484861300736-mhHh/">LinkedIn</a> to raise awareness in a professional setting.</p> <p>In a podcast interview clip shared to Instagram, writer and skincare founder, Zoë Foster Blake describes perimenopause as a “real mental health thing”, because of the lack of awareness. Recalling conversations with other perimenopausal women, Foster Blake says “We all think we’re crazy. We don’t know what the fuck is going on”.</p> <p>Feeling “crazy” is a constant theme in these conversations. As actor and <a href="https://stripesbeauty.com/pages/founder-story">menopause awareness advocate</a> Naomi Watts points out, this is largely thanks to Hollywood. Despite the stigmatising media stereotype of “crazy lady that shouts”, <a href="https://www.youtube.com/watch?v=TQ3BN9rS_7g">Watts argues</a> that with “support and community”, women experiencing perimenopause and menopause “can thrive”.</p> <p>In fact, Watts believes menopause should be celebrated: “we know ourselves better, we’re wiser for our cumulative experiences”.</p> <p>Medical professionals like American doctors <a href="https://www.instagram.com/p/DBUCPW5OUTf/">Marie Clare Haver</a> and <a href="https://www.instagram.com/p/C7IfaHDgXMY/">Corinne Menn</a> have been well-positioned to share their expertise and experiences via social media. They are catching and helping fuel a wave of advocacy and awareness for midlife women’s health.</p> <h2>Building community</h2> <p>After watching the menopause madness trope on our screens for decades, we are now seeing perimenopause and menopause depicted with more empathy. These depictions allow viewers – those who menstruate, who have menstruated, and who know menstruators – to feel seen and be informed.</p> <p>By sharing their experiences on social media and adding to these new screen stories, celebrities are building a community that makes the menopausal journey less lonely and helps those on it remember their worth.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><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/241784/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p><em><a href="https://theconversation.com/profiles/bridgette-glover-2232638">Bridgette Glover</a>, PhD Candidate in Media and Communications, <a href="https://theconversation.com/institutions/university-of-new-england-919">University of New England</a></em></p> <p><em>Image credits: Shutterstock </em></p> <p><em>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/menopause-is-having-a-moment-how-a-new-generation-of-women-are-shaping-cultural-attitudes-241784">original article</a>.</em></p> </div>

Body

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Prince William pops up in Robert Irwin's socials

<p>Prince William has made a surprise appearance on Robert Irwin's Instagram as the pair team up for an important award ceremony in South Africa. </p> <p>The Prince of Wales and the wildlife warrior posted a video from Cape Town as they take part in the annual Earthshot Prize Awards: an initiative founded by William, of which Irwin is an ambassador.</p> <p>“G’day, it’s Robert here, with, of course, Prince William,” Irwin began the video. “Lovely to see you. How are you enjoying South Africa so far?”</p> <p>“Good thanks, really good, having a lovely time so far, loving it,” the prince responded.</p> <p>“Robert, you’ve been a fantastic ambassador for us at the moment, so looking forward to the Prize on Wednesday – tune in!”</p> <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/DB_C75lP9Wa/?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/DB_C75lP9Wa/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Robert Irwin (@robertirwinphotography)</a></p> </div> </blockquote> <p>Irwin said that the event was “going to be amazing” before asking William, “We’re in South Africa, one of the most amazing countries and continents for wildlife – do you have a favourite African animal?”</p> <p>The future King pointed out it was a “really tough question”, adding, “My children ask me this regularly. I think it’s going to have to be the cheetah.”</p> <p>“Cheetahs, OK. Very cool. It’s chameleons for me, the unsung hero, I love them,” Irwin told him, before signing off the video, “Thanks so much for having me, for having us, Earthshot Week has been amazing so far and I cannot wait for tomorrow night … South Africa rules!”</p> <p>On the second day of Prince William's four-day tour of South Africa, he joined Irwin for a walk together towards Cape Town's Signal Hill, as the royal and the Aussie conservationist met with a variety of local park rangers and firefighters, with Irwin telling media afterwards that they had both “fallen in love with Cape Town”.</p> <p><em>Image credits: Instagram</em> </p>

International Travel

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Readers response: What’s the most interesting cultural experience you've had while travelling?

<p>When travelling abroad, we are often exposed to new and fascinating cultures that can open our eyes to different ways of life.</p> <p>We asked our readers to share the most interesting cultural experience they've had while travelling, and the response was overwhelming. Here's what they said.</p> <p><strong>Sandra Beckett</strong> - Staying overnight in a Ger in Mongolia miles from anywhere, listening to Throat singing accompanied by two traditionally dressed musicians playing Horsehead fiddles. Also, travelling across Russia by train, visiting the Galapagos islands, Skara Brae in the Orkneys, the Hagia Sophia in Istanbul.</p> <p><strong>Denise Ryan</strong> - Listening to glorious classical music played in Havana’s Plaza de la Catedral and attending a stunning performance of Swan Lake in the Grand Theatre of Havana.</p> <p><strong>Deedee Cullum</strong> - Visiting Ypres in Belgium and staying the night so we could see the evening ceremony at the Menin gate.</p> <p><strong>Alison Davenport</strong> - 50 years ago visiting a Fijian village made me realise everyone didn't live like I did. Have been amazed at all travel experiences since.</p> <p><strong>Glenn Turton</strong> - Staying in a farmhouse in Normandy for a week. Visiting D-Day beaches and Mont St Michel from there and local villages and markets on the days between. Back to the farmhouse each night to cook local produce and sit by an open fire.</p> <p><strong>Karen Psaila</strong> - Sitting in a small ally sipping black sweet tea in Egypt looking at the pyramids and sphinx whilst camels are strolling by. Amazing.</p> <p><strong>Patricia Watson</strong> - Darwin. Spending a day with First Nation Women and Children in the bush and learning about food that grows and is edible in that area.</p> <p><strong>James Langabeer</strong> - This are my three top three most interesting cultural experiences.</p> <p>1. Japan's Tea Ceremony: Attending a traditional tea ceremony in Kyoto, Japan, where I learned about the intricate rituals and Zen Buddhism's influence.</p> <p>2. Indian Holi Festival: Celebrating Holi, the Festival of Colors, in Mumbai, India, surrounded by vibrant colors, music, and joyful locals.</p> <p>3. Moroccan Hammam: Experiencing a traditional Moroccan bathhouse (hammam) in Marrakech, where I discovered local customs and relaxation techniques.</p> <p><strong>Margaret Mason</strong> - Staying for a couple of days in a small, traditional village in China.</p> <p><em>Image credits: Shutterstock </em></p>

International Travel

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Damning report exposes toxic workplace culture at Channel Nine

<p>A damning culture investigation has revealed a history of systemic bullying and harassment within the Channel Nine workplace. </p> <p>The <a href="https://www.nineforbrands.com.au/wp-content/uploads/2024/10/Intersection-Nine-Entertainment-2024-Report-FA.pdf" target="_blank" rel="noopener">report</a>, which was conducted by independent investigators, revealed their findings on Thursday, sharing the extent of the disturbing behaviour going on inside the network's offices.</p> <p>As stated in the report, Nine has “has a systemic issue with abuse of power and authority; bullying, discrimination and harassment; and sexual harassment”, with several employees sharing their own horror stories of working for the network. </p> <p>Dozens of female workers came forward with allegations of sexual assault, with one employee saying, “When I was in (location), (employee) tried to groom me. He also touched me on the bum at the Christmas party and at other times he would rub my legs under the table."</p> <p>“I saw him do it to other women.”</p> <p>Another staff member was warned not to let a senior male employee “touch (her) boobs”, adding, “His comments about my body were constant.”</p> <p>“He made me feel like I was just a piece of meat to be ogled at, and that he was the credible one just because he was the older man. Over time, this eroded my confidence. It just chipped away at it.”</p> <p>Other employees said the culture at Nine “destroyed (them) as a human being”, left them “broken” and a “shell” or gave them “debilitating” anxiety.</p> <p>“I was broken,” one former employee said. “I left the newsroom after a year. By the time I left my soul was gone.”</p> <p>If anyone complained about the toxic culture and inappropriate behaviour, they were allegedly sent to what was known as “punishment island”.</p> <p>“I have only been at the company a short time, but in my opinion there is a concerning culture among senior older men of sexual(ly) inappropriate jokes. There is sexual intimidation against young women and I find this completely unacceptable. I will always call them out,” another said.</p> <p>Others said talking about getting bullied at Nine had become commonplace, with one employee saying, “We used to talk about being bullied, harassed or publicly humiliated like you’d talk about the weather. Now when I look back it horrifies me how normalised it had become."</p> <p>Nine’s new chair Catherine West released a statement on Thursday after the report finding, saying, “We are deeply sorry ... I unreservedly apologise.”</p> <p>“Today is an incredibly difficult day for Nine as we confront these findings and reflect on serious cultural issues as an organisation."</p> <p>“The behaviour outlined in the report is unacceptable. Abuse of power, bullying, sexual harassment and inappropriate conduct is not OK. This behaviour has no place at Nine.”</p> <p>The report concluded with 22 recommendations to address the negative culture, including training, accountability and another external review in three years.</p> <p><em>Image credits: Shutterstock </em></p> <div class="hide-print ad-no-notice css-svlwa0-StyledAdUnitWrapper ezkyf1c0" style="box-sizing: border-box; caret-color: #292a33; color: #292a33; font-family: HeyWow, Montserrat, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 15px;"> </div>

Legal

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"Ridiculous and disrespectful": Groom goes viral for working on wedding day

<p>A wedding photo has gone viral for the wrong reasons after a groom was pictured working on his own wedding day. </p> <p>Torrey Leonard, the founder of US-based start-up company, Thoughtly, shared a photo of his co-founder, Casey Mackrell, pulling out a laptop at his own wedding to get some work done.</p> <p>“My co-founder Casey has built a reputation for himself as ‘the guy who sits on his laptop in bars’ from SF to NYC,”  he wrote in the post. </p> <p>“Last week Thoughtly brought on a customer that needed to launch within 2 weeks. He just so happened to be getting married within that 2 week window.</p> <p>“So, here he is wrapping up a pull request. At his own wedding. Congrats Casey – now please, go take some time off.”</p> <p>Hundreds of people were quick to comment on the post, labelling it “one of the most depressing LinkedIn posts to exist” and it was even shared to other social media pages. </p> <p>The groom himself eventually had to clarify saying:  “Don’t worry I got back to dancing and champagne 2 seconds later.” </p> <p>But that wasn't enough to appease fellow LinkedIn users. </p> <p>“So your company has such terrible work/life balance that you can’t have a WEDDING without having to work? That’s just sad as hell," one wrote. </p> <p>Another commenter quipped that it was "really sad" the groom didn't call off the wedding to focus on work, saying: “Someone who actually knows how to grind would have called it off the second the contract was signed." </p> <p>A few others questioned the authenticity of the post, saying that it had to be staged as they couldn’t believe that someone would be “that ridiculous and disrespectful to his bride and family”.</p> <p>“Aside from the fact that this is probably staged, pushing people to sacrifice their private life and mental health is not the flex you think it is," another added. </p> <p>In an interview with <em>news.com.au</em> Leonard defended his co-founder's decision and explained the situation. </p> <p>“As a company, what we do is very high-stakes. Every single one of our customers, they depend on us to function perfectly, 24-7, around the clock, no questions asked,”  he told the publication. </p> <p>“We work with many publicly traded companies across the globe, and we spend long hours of the night, early mornings awake, monitoring these calls, proactively fixing issues, fixing problems, building new features.</p> <p>“The context of this post, he had to solve a problem, and it was really only something that he could solve. It was a three- to five-minute task.</p> <p>“We understand that this lifestyle is not for everybody. It’s obviously something that is a lot of work, but it’s something that we love.”</p> <p>He also clarified that Mackrell's bride, Grace, did not have a problem with the brief interruption on their happy day. </p> <p>“They were dating for many years, so she’s seen him pull a laptop out at a restaurant dinner table. I mean, it looks crazy, but that’s just who Casey is. She’s obviously fine with it.”</p> <p><em>Images: LinkedIn</em></p> <p> </p>

Relationships

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Readers response: Have you ever experienced culture shock while travelling? How did you handle it?

<p>When it comes to travelling abroad, it's not uncommon to experience culture shocks as part of your holiday. </p> <p>Travelling to unique corners of the globe can often come with stumbling onto potentially uncomfortable and unusual situations. </p> <p>We asked our readers if they have ever experiences culture shocks and how they handled them, and the response was overwhelming. Here's what they said. </p> <p><span dir="auto"><strong>Alison Mahoney</strong> - Yes, in the mid 60s got fined for kissing my boyfriend in the street in Athens. How things have changed.</span></p> <p><span dir="auto"><span dir="auto"><strong>Margaret Godfrey</strong> - Yes, First time I went to Vietnam - from Hobart. </span></span>The heat, the sheer number of people just outside the airport door, being grabbed by stall holders in Ben Thanh Market and pulled into their stalls with "You Buy".</p> <p>Had a good cry later in my hotel, then a cup of tea with another woman on tour. After going to dinner with rest of group, got over myself &amp; thoroughly enjoyed the trip.</p> <p><strong>Val Beale</strong> - Cambodia was a culture shock for me. Lovely people but so much poverty. Felt overwhelmed. So glad I went though.</p> <p><strong>Jim Janush </strong>- Yes, the first time I went to South America, though not the first country there I was visiting. It was in the second country I had trouble accepting how different it was to what I was used to, the strange, backwards manner of simple organisation, almost everything.</p> <p>It grew on me, and after a few days it felt normal, and now it doesn’t feel anywhere near as bad. But the first couple of days were horrific.</p> <p><strong>Bruce Hopkins</strong> - On a USA Holiday, we took a Day Bus Trip from San Diego to Tijuana, what reality check it was seeing the Mexican/USA Border.</p> <p><strong>Judi Tracey</strong> - Definitely when l went into the Grand Bazaar in Turkey. It was full of males, drinking coffee, smoking and googling at women. I never felt so uncomfortable and concerned for my safety if a fire broke out!! I couldn’t leave quick enough.</p> <p><strong>Kristeen Bon</strong> - Bali. Went 25 years ago and hated it…..the heat, the constant harassment, the food, everything.</p> <p>Went back last year thinking maybe things had changed…..nope, still too bloody hot, locals still harassing you, streets, shops and resorts falling apart……..not even a single comfortable chair on one of the island resorts.</p> <p><em>Image credits: Shutterstock </em></p>

Travel Trouble

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Still fab after 60 years: how The Beatles’ A Hard Day’s Night made pop cinema history

<div class="theconversation-article-body"><em><a href="https://theconversation.com/profiles/alison-blair-223267">Alison Blair</a>, <a href="https://theconversation.com/institutions/university-of-otago-1304">University of Otago</a></em></p> <p>I first saw A Hard Day’s Night at a film festival over 20 years ago, at the insistence of my mum. By then, it was already decades old, but I remember being enthralled by its high-spirited energy.</p> <p>A Beatles fan, mum had introduced me to the band’s records in my childhood. At home, we listened to Please Please Me, the band’s 1963 single, and the Rubber Soul album from 1965, which I loved.</p> <p>Television regularly showed old black-and-white scenes of Beatlemania that, to a ten-year-old in the neon-lit 1980s, seemed like ancient history. But then, I’d never seen a full-length Beatles film. I had no idea what I was in for.</p> <p>When the lights went down at Dunedin’s Regent Theatre, the opening chord of the film’s title song announced its intentions: an explosion of youthful vitality, rhythmic visuals, comical high jinks and the electrifying thrill of Beatlemania in 1964.</p> <p>This time, it didn’t seem ancient at all.</p> <p>Since that first viewing, I’ve returned to A Hard Day’s Night again and again. I now show it to my students as a historically significant example of pop music film making – visually inventive cinema, emblematic of a fresh era in youth culture, popular music and fandom.</p> <h2>Beatlemania on celluloid</h2> <p>A musical comedy depicting a chaotic 36 hours in the life of the Beatles, A Hard Day’s Night has now reached its 60th anniversary.</p> <p>Directed by <a href="https://www.imdb.com/name/nm0504513/">Richard Lester</a>, the film premiered in London on July 6 1964, with its first public screening a day later (incidentally, also Ringo Starr’s birthday), and the <a href="https://www.discogs.com/master/24003-The-Beatles-A-Hard-Days-Night">album of the same name</a> released on July 10.</p> <p>The band’s popularity was by then reaching dizzying heights of hysteria, all reflected in the film. The Beatles are chased by hordes of fans, take a train trip, appear on TV, run from the police in a Keystone Cops-style sequence, and play a televised concert in front of screaming real-life Beatles fans.</p> <p>Side one of the album provides the soundtrack, and the film inspired pop music film and video from then on, from the <a href="https://www.imdb.com/title/tt0060010/">Monkees TV series</a> (1966–68) to the Spice Girls’ <a href="https://www.imdb.com/title/tt0120185/">Spice World</a> (1997) and music videos as we know them today.</p> <h2>The original music video</h2> <p>Postwar teen culture and consumerism had been on the rise since the 1950s. In 1960s Britain, youth music TV programmes, notably <a href="https://www.imdb.com/title/tt0196287/">Ready Steady Go!</a> (1963–66), meant pop music now had a developing visual culture.</p> <p>The youthful zest and vitality of ‘60s London was reflected in the pop-cultural sensibility, modern satirical humour and crisp visual impact of A Hard Day’s Night.</p> <p>Influenced by <a href="https://nofilmschool.com/french-new-wave-cinema">French New Wave</a> film making, and particularly the early 1960s work of <a href="https://www.imdb.com/name/nm0000419/">Jean-Luc Godard</a>, A Hard Day’s Night employs <em><a href="https://indiefilmhustle.com/cinema-verite/">cinéma vérité</a></em>-style hand-held cinematography, brisk jump cuts, unusual framing and dynamic angles, high-spirited action, and a self-referential nonchalance.</p> <p>The film also breaks the “fourth wall”, with characters directly addressing the audience in closeup, and reveals the apparatus of the visual performance of music: cameras and TV monitors are all part of the frame.</p> <p>Cutting the shots to the beat of the music – as in the Can’t Buy Me Love sequence – lends a visual rhythm that would later become the norm in music video editing. Lester developed this technique further in the second Beatles film, <a href="https://www.imdb.com/title/tt0059260/">Help!</a> (1965).</p> <p>The closing sequence of A Hard Day’s Night is possibly the film’s most dynamic: photographic images of the band edited to the beat in the style of stop-motion animation. Sixty years on, it still feels fresh, especially as so much contemporary film making remains hidebound by formulaic Hollywood rules.</p> <figure class="align-center "><img src="https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=600&amp;h=453&amp;fit=crop&amp;dpr=1 600w, https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=600&amp;h=453&amp;fit=crop&amp;dpr=2 1200w, https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=600&amp;h=453&amp;fit=crop&amp;dpr=3 1800w, https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;h=569&amp;fit=crop&amp;dpr=1 754w, https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=754&amp;h=569&amp;fit=crop&amp;dpr=2 1508w, https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=754&amp;h=569&amp;fit=crop&amp;dpr=3 2262w" alt="A Hard Day's Night movie poster" /><figcaption><span class="caption">A new pop aesthetic: original film poster for A Hard Day’s Night.</span> <span class="attribution"><span class="source">Getty Images</span></span></figcaption></figure> <h2>Slapstick and class awareness</h2> <p>As with much popular culture from the past, the humour in A Hard Day’s Night doesn’t always doesn’t land the way it would have in 1964. And yet, there are moments that seem surprisingly modern in their razor-sharp irony.</p> <p>In particular, the band’s Liverpudlian working-class-lad jibes and chaotic energy contrast brilliantly with the film’s upper-class characters. Actor Victor Spinetti’s comically over-anxious TV director, constantly hand-wringing over the boys’ rebelliousness, underscores the era-defining change the Beatles represented.</p> <p>Corporate pop-culture consumerism is also satirised. John Lennon “snorts” from a Coca-Cola bottle, a moment so knowingly silly it registers as more contemporary than it really is. George Harrison deflects a journalist’s banal questions with scathingly witty answers, and cuts a fashion company down to size by describing their shirt designs as “grotesque”.</p> <p>And there is Paul McCartney’s running joke that his grandfather – played by Wilfred Brambell from groundbreaking sitcom <a href="https://www.imdb.com/title/tt0057785/">Steptoe and Son</a> (1962–74) – is “very clean”.</p> <p>Even the film’s old-fashioned visual slapstick still holds up in 2024. Showing the film to this year’s students, I didn’t expect quite as much laughter when Ringo’s attempts to be chivalrous result in a fall-down-a-hole mishap.</p> <p>In 2022, the <a href="https://www.criterion.com/">Criterion Collection</a> released a high-resolution restoration of the film, so today A Hard Day’s Night can be seen in all its fresh, black-and-white, youthful vigour.</p> <p>Happy 60th, A Hard Day’s Night. And happy 84th, Ringo. Both still as lively and energetic as ever.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><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/228598/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p><a href="https://theconversation.com/profiles/alison-blair-223267"><em>Alison Blair</em></a><em>, Teaching Fellow in Music, <a href="https://theconversation.com/institutions/university-of-otago-1304">University of Otago</a></em></p> <p><em>Image </em><em>credits: THA/Shutterstock Editorial </em></p> <p><em>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/still-fab-after-60-years-how-the-beatles-a-hard-days-night-made-pop-cinema-history-228598">original article</a>.</em></p> </div>

Movies

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

<p><em><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></em></p> <p>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.</p> <p>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>.</p> <p>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&amp;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.</p> <h2>A childhood inspiration</h2> <p>Feminist activists and scholars often describe the Mrs Banks character as a childhood inspiration.</p> <p>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."</p> <p>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.</p> <figure><iframe src="https://www.youtube.com/embed/K0SDECwO54E?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>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.</p> <p>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.</p> <figure class="align-right zoomable"><a href="https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=237&amp;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&amp;q=45&amp;auto=format&amp;w=600&amp;h=949&amp;fit=crop&amp;dpr=1 600w, https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&amp;q=30&amp;auto=format&amp;w=600&amp;h=949&amp;fit=crop&amp;dpr=2 1200w, https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&amp;q=15&amp;auto=format&amp;w=600&amp;h=949&amp;fit=crop&amp;dpr=3 1800w, https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;h=1193&amp;fit=crop&amp;dpr=1 754w, https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&amp;q=30&amp;auto=format&amp;w=754&amp;h=1193&amp;fit=crop&amp;dpr=2 1508w, https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&amp;q=15&amp;auto=format&amp;w=754&amp;h=1193&amp;fit=crop&amp;dpr=3 2262w" alt="" /></a><figcaption><span class="caption">This 1909 Dunston Weiler Lithograph Co. anti-suffrage postcard offers resonances of Mrs Banks and her household staff in Mary Poppins.</span> <span class="attribution"><a class="source" href="https://thesuffragepostcardproject.omeka.net/items/show/44">Catherine H. Palczewski Postcard Archive/The Suffrage Postcard Project</a></span></figcaption></figure> <p>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.</p> <p>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”.</p> <p>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.</p> <p>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.</p> <h2>A long career</h2> <p>Beyond Mary Poppins, her most prominent role was in Stephen Sondheim’s Broadway musical A Little Night Music (1973).</p> <p>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."</p> <p>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.”</p> <figure><iframe src="https://www.youtube.com/embed/OAl-EawVobY?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>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.</p> <p>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. <!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><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" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p><a href="https://theconversation.com/profiles/ana-stevenson-196768"><em>Ana Stevenson</em></a><em>, 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></em></p> <p><em>Image credits: Disney</em></p> <p><em>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>.</em></p>

Caring

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“This should be illegal”: Pop icon sends fans into a tizzy over shirtless pics

<p dir="ltr">Harry Styles has sent his fans into a tizzy after he was snapped cooling off on a scorching day in London.</p> <p dir="ltr">The 29-year-old pop star was spotted enjoying a much needed break from his two-year run on the road with his Love on Tour concerts, as he soaked in the sunshine in the UK heatwave. </p> <p dir="ltr">Styles went shirtless and showed off his tattoos as he dived into a public bathing pond in Hampstead, North London, as temperatures soared above 30 degrees for the sixth day in a row.</p> <p dir="ltr">“He kept a low profile and went mostly unrecognised. He was swimming laps and practising his diving,” an onlooker told <em><a href="https://www.the-sun.com/entertainment/9050688/harry-styles-abs-swimming-heatwave/" target="_blank" rel="noopener">The Sun</a></em>.</p> <p dir="ltr">The steamy pics have sent diehard fans into a frenzy, with several fan accounts reposting the photos, with one fan writing, “He’s so hot, this should be illegal.”</p> <p dir="ltr">Styles has been spotted around London several times over the last few weeks while on his break from tour, with fans recently seeing him cycling around the city centre with James Corden. </p> <p dir="ltr">Styles and Corden were also seen at the National Theatre together, watching a performance of The Effect, starring Canadian actress Taylor Russell, who is rumoured to be Styles’ new girlfriend. </p> <p dir="ltr">Following the performance, Styles and Russell were soon canoodling with other cast members. </p> <p dir="ltr">“It looked like they were holding hands,” a source told Page Six at the time.</p> <p dir="ltr">“Harry stayed by Taylor’s side the whole time. He introduced her to James and was whispering to her and laughing and smiling.”</p> <p><em>Image credits: Instagram</em></p>

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2001: A Space Odyssey still leaves an indelible mark on our culture 55 years on

<p><em><a href="https://theconversation.com/profiles/nathan-abrams-122305">Nathan Abrams</a>, <a href="https://theconversation.com/institutions/bangor-university-1221">Bangor University</a></em></p> <p>2001: A Space Odyssey is a landmark film in the history of cinema. It is a work of extraordinary imagination that has transcended film history to become something of a cultural marker. And since 1968, it has penetrated the psyche of not only other filmmakers but society in general.</p> <p>It is not an exaggeration to say that 2001 single-handedly reinvented the science fiction genre. The visuals, music and themes of 2001 left an inedible mark on subsequent science fiction that is still evident today.</p> <p>When <a href="https://www.simonandschuster.com/books/Kubrick/Robert-P-Kolker/9781639366248">Stanley Kubrick</a> began work on 2001 in the mid-1960s, he was told by studio executive Lew Wasserman: “Kid, you don’t spend over a million dollars on science fiction movies. You just don’t do that.”</p> <p>By that point, the golden age of science fiction film had run its course. During its heyday, there was a considerable variety of content within the overarching genre. There had been serious attempts to foretell space travel. Destination Moon, directed by Irving Pichel and produced by George Pal in 1950, and, in mid-century, Byron Haskin’s Conquest of Space both fantasised space travel and, in Haskin’s film, a space station, which Kubrick would elaborate on in 2001.</p> <figure><iframe src="https://www.youtube.com/embed/oR_e9y-bka0?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption><span class="caption">The trailer for 2001: A Space Odyssey.</span></figcaption></figure> <p>Most 1950s science fiction films, though, were cheap B-movie fare and looked it. They involved alien invasions with an ideological and allegorical subtext. They were cultural, cinematic imaginations of the danger of communism, which in the overheated political atmosphere of the time was seen as an imminent threat to the American way of life.</p> <p>The aliens in most science fiction films were out simply to destroy or take over humanity; they were expressions, to use the title of a Susan Sontag essay, of “<a href="https://americanfuturesiup.files.wordpress.com/2013/01/sontag-the-imagination-of-disaster.pdf">the imagination of disaster</a>”. There were some exceptions, including Byron Haskin’s film version of The War of the Worlds and Robert Wise’s The Day the Earth Stood Still.</p> <p>By 1968, then, as the lights went down, very few people knew what was about to transpire and they certainly were not prepared for what did. The film opened in near darkness as the strains of Thus Spake Zarathustra by Richard Strauss were heard. The cinema was dazzled into light, as if Kubrick had <a href="https://www.rutgersuniversitypress.org/stanley-kubrick/9780813587110">remade Genesis</a>.</p> <p>The subsequent 160 or so minutes (the length of his original cut before he edited 19 minutes out of it) took the viewer on what was marketed as “the ultimate trip”. Kubrick had excised almost every element of explanation leaving an elusive, ambiguous and thoroughly unclear film. His decisions contributed to long silent scenes, offered without elucidation. It contributed to the film’s almost immediate critical failure but its ultimate success. It was practically a silent movie.</p> <p>2001 was an experiment in film form and content. It exploded the conventional narrative form, restructuring the conventions of the three-act drama. The narrative was linear, but radically, spanning aeons and ending in a timeless realm, all without a conventional movie score. Kubrick used 19th-century and modernist music, such as Strauss, György Ligeti and Aram Khachaturian.</p> <h2>Vietnam</h2> <p>The movie was made during a tumultuous period of American history, which it seemingly ignored. The war in Vietnam was already a highly divisive issue and was spiralling into a crisis. The <a href="https://www.britannica.com/topic/Tet-Offensive">Tet offensive</a>, which began on January 31 1968, had claimed tens of thousands of lives. As US involvement in Vietnam escalated, domestic unrest and violence at home intensified.</p> <p>Increasingly, young Americans expected their artists to address the chaos that roared around them. But in exploring the origins of humanity’s propensity for violence and its future destiny, 2001 dealt with the big questions and ones that were burning at the time of its release. They fuelled what Variety magazine called the “coffee cup debate” over “what the film means”, which is still ongoing today.</p> <p>The design of the film has touched many other films. Silent Running by Douglas Trumbull (who worked on 2001’s special effects) owes the most obvious debt but Star Wars would be also unthinkable without it. Popular culture is full of imagery from the film. The <a href="https://faroutmagazine.co.uk/stanley-kubrick-2001-a-space-odyssey-music/">music</a> Kubrick used in the film, especially Strauss’s The Blue Danube, is now considered <a href="https://theweek.com/articles/702734/planetarium-brief-history-space-music">“space music”</a>.</p> <p>Images from the movie have appeared <a href="https://www.youtube.com/watch?v=kfK9pEQZyy0">in iPhone adverts</a>, in The Simpsons and even the trailer for the new <a href="https://metro.co.uk/2022/12/16/trailer-for-greta-gerwigs-barbie-spoofs-classic-film-in-best-way-17951854/">Barbie movie</a>.</p> <figure><iframe src="https://www.youtube.com/embed/8zIf0XvoL9Y?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption><span class="caption">2001: A Space Odyssey’s influence on this Barbie movie trailer couldn’t be more obvious.</span></figcaption></figure> <p>The warnings of the danger of technology embodied in the film’s murderous supercomputer HAL-9000 can be felt in the “tech noir” films of the late 1970s and 1980s, such as Westworld, <a href="https://theconversation.com/how-alien-mutated-from-a-sci-fi-horror-film-into-a-multimedia-universe-204567">Alien</a>, Blade Runner and Terminator.</p> <p>HAL’s single red eye can be seen in the children’s series, Q Pootle 5, and Pixar’s animated feature, Wall-E. HAL has become shorthand for the untrammelled march of artificial intelligence (AI).</p> <p>In the age of ChatGPT and other AI, the metaphor of Kubrick’s computer is <a href="https://www.nytimes.com/2023/02/22/movies/ai-movies-microsoft-bing-robots.html">frequently evoked</a>. But why when there have been so many other images such as Frankenstein, Prometheus, terminators and other murderous cyborgs? Because there is something so uncanny and human about HAL who was deliberately designed to be more <a href="https://www.tandfonline.com/doi/abs/10.1080/01439685.2017.1342328?journalCode=chjf20">empathic and human than the people in the film</a>.</p> <p>In making 2001, Stanley Kubrick created a cultural phenomenon that continues to speak to us eloquently today.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><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/209152/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p><em><a href="https://theconversation.com/profiles/nathan-abrams-122305">Nathan Abrams</a>, Professor of Film Studies, <a href="https://theconversation.com/institutions/bangor-university-1221">Bangor University</a></em></p> <p><em>Image credits: Getty Images</em></p> <p><em>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/2001-a-space-odyssey-still-leaves-an-indelible-mark-on-our-culture-55-years-on-209152">original article</a>.</em></p>

Movies

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Pop star discovered tragically dead at 33 in the wake of scandal

<p>South Korean pop star Choi Sung-bong, who was caught running a notorious cancer scam has passed away at age 33.</p> <p><em>The Korean Times</em> reported that Choi was found by police at his Seoul home on the morning of June 20. He was pronounced dead soon after.</p> <p>Authorities have reportedly ruled the singer’s cause of death as a suicide.</p> <p>According to the Hollywood Reporter, after years of online fame stemming from a 2011 performance on Korea’s Got Talent, Choi confessed he had tricked his fans into donating money to him after claiming he needed funds for cancer treatment.</p> <p>Choi had claimed he had been battling multiple forms of cancer to obtain the donations, however, his claims were later exposed as a hoax.</p> <p>He also claimed he had returned all donated funds from a false fundraiser.</p> <p>Choi later issued a grovelling apology and vowed to return all of the donations sent by his fans.</p> <p>One day before his alleged suicide, Choi posted a note on his YouTube channel apologising for “foolish mistakes” in the past, according to The Mirror.</p> <p>The chilling letter said he needed to "repay for his sins with his life” and showed the address of where his body would be after taking his life.</p> <p>“My body can be found at [his home location]. I don’t know how to write a final message, so I will just write it in my own style. Even though my breath may have stopped now, I have no regrets about the brilliant journey of my life. I have lived my life to the fullest and made efforts to find happiness every day. Age thirty-four," (as per Korean age system), he said.</p> <p>Choi was best known for competing in Korea’s Got Talent in 2011, coming in at second place.</p> <p><a href="https://www.youtube.com/watch?v=vIy99OT2BAQ" target="_blank" rel="noopener"><iframe src="https://www.youtube.com/embed/vIy99OT2BAQ"></iframe></a></p> <p>A clip of him singing a cover of Nella Fantasia by Ennio Morricone quickly went viral online, thrusting him into the spotlight  – <span style="font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen, Ubuntu, Cantarell, 'Open Sans', 'Helvetica Neue', sans-serif;">with singing sensation Justin Bieber even acknowledging his talent.</span></p> <p><em>Image credit: YouTube</em></p>

Caring

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Inspiration, influence and theft: what the Ed Sheeran case can tell us about 70 years of pop music

<p>a US court <a href="https://www.theguardian.com/music/2023/may/04/ed-sheeran-verdict-not-liable-copyright-lawsuit-marvin-gaye">ruled in favour of singer-songwriter Ed Sheeran</a>, agreeing his song <em>Thinking Out Loud</em> did not breach musical copyright. </p> <p>The high-profile court case, brought by the estate of soul singer Marvin Gaye, claimed Sheeran’s song was too similar to Gaye’s song <em>Let’s Get It On</em>.</p> <p>On the stand, Sheeran <a href="https://www.theguardian.com/music/2023/apr/28/ed-sheeran-sings-in-court-as-part-of-marvin-gaye-copyright-case">defended his songwriting process</a>, stating: “I draw inspiration from a lot from things in my life and family.”</p> <p>Sheeran’s case brought up some difficult questions around what we understand as inspiration and influence, and what we may hear as theft.</p> <p>Musical copyright cases are part of songwriting history. Radiohead’s <em>Creep</em> was found to be <a href="https://entertainment.time.com/2013/08/22/11-suspiciously-sound-alike-songs/slide/the-hollies-the-air-that-i-breathe-1974-vs-radiohead-creep-1992/">too similar</a> to the Hollies’ <em>The Air That I Breathe</em>, and in 2018, Lana Del Rey’s <em>Get Free</em> <a href="https://variety.com/2018/biz/news/lana-del-rey-claims-lawsuit-with-radiohead-is-over-watch-1202736177/">was found to plagiarise Creep</a>. </p> <p>Mark Ronson and Bruno Mars altered the credits to <em>Uptown Funk</em> to <a href="https://www.rollingstone.com/music/music-news/lawsuit-bmg-uptown-funk-royalties-gap-band-heirs-1234660379/">acknowledge the similarity</a> to The Gap Band’s <em>Oops Upside Your Head</em>. </p> <p>Here in Australia, the flute solo in Men at Work’s <em>Down Under</em>, which quoted the melody of folk song <em>Kookaburra Sits in the Old Gum Tree</em>, was <a href="https://www.theguardian.com/music/2010/jul/06/men-at-work-down-under">ruled as plagiarism</a>.</p> <p>In this case against Sheeran, the song’s chord progression was at the heart of the claim. The prosecution argued Sheeran’s chord progression was too similar to the chord progression of Gaye’s.</p> <p>But can we copyright a chord progression if it is used extensively in other pop songs? </p> <p>Gaye’s song uses four chords that gradually move upward (I-iii-IV-V). These same chords can be heard in the Beach Boys’ <em>I Can Hear Music</em>, the Seekers’ <em>Georgy Girl</em>, the Beatles’ <em>I Feel Fine</em>, in the Motown tune <em>This Old Heart of Mine</em> by the Isley Brothers, Elvis Presley’s <em>Suspicious Minds</em>, Cher’s <em>Believe</em> and ABBA’s <em>Knowing Me Knowing You</em>, among many others. </p> <p>This chord progression and many others are part of the songwriting toolkit of rock and pop and have been heard continuously over the past 70 years. </p> <h2>The 12 bar blues</h2> <p>A chord progression is the main instrumental part you hear in most pop music, usually played by a guitar, piano or synth. </p> <p>One of the oldest chord progressions in pop is the 12-bar blues – a looping pattern of three chords that is very identifiable. </p> <p>As the name suggests, this set of chords stems from early blues and was a way for musicians to easily play together and improvise. A version of this progression can be heard in Muddy Waters’ I<em>’m Your Hoochie Coochie Man</em> or John Lee Hooker’s <em>Boom Boom</em>. </p> <p>You can also hear this progression in a number of other pop songs – listen to verses of Queen’s <em>I Want to Break Free</em> and <em>Kiss</em> by Prince – both use the same chord progression, but sound very different to each other. </p> <p>More recently, Lizzo’s <em>Better in Colour</em> uses the 12-bar blues in a way that makes an old formula fresh.</p> <h2>The ‘doo-wop’ progression</h2> <p>The “doo-wop” progression has appeared in pop music for close to 80 years, and is named because most doo-wop songs feature this chord progression – it was an essential part of its sound. </p> <p>You can hear it in 1950s hits such as the Penguins’ <em>Earth Angel</em> and Frankie Lymon and the Teenagers’ <em>Why Do Fools Fall in Love?</em>.</p> <p>The strength of these chords means they are used in pop music of all kinds, including ELO’s <em>Telephone Line</em>, <em>Don’t Dream it’s Over</em> by Crowded House, Destiny’s Child’s <em>Say My Name</em>, <em>Blank Space</em> by Taylor Swift, and <em>Flowers</em> by Miley Cyrus. </p> <p>Despite its consistent use, these chords still cross genres and eras, and still catch our ears. </p> <p>Comedy act Axis of Awesome use a similar progression in their video for 4 Chords, where they cleverly play almost 50 different songs with a variation on these four simple chords.</p> <p><iframe title="YouTube video player" src="https://www.youtube.com/embed/oOlDewpCfZQ" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe></p> <h2>The I-IV-V (the ‘one, four, five’)</h2> <p>Perhaps the most common chord progressions in rock and pop are those that use the I, IV and V chords in various combinations.</p> <p>They’re usually the first three chords you learn on an instrument and open up thousands of songs to play – from the rock and roll of <em>Summertime Blues</em> by Eddie Cochran, the garage rock of <em>Wild Thing</em> by the Troggs, the bubblegum of Hanson’s <em>Mmmbop</em> and the indie rock of Coldplay’s <em>Yellow</em>, to the modern pop of <em>bad guy</em> by Billie Eilish and <em>good 4 u</em> by Olivia Rodrigo.</p> <h2>Going forward</h2> <p>Rock, pop, blues, doo wop and other musical genres can often be defined by their use of repeated chord progressions. These chord progressions are part of a songwriter’s toolkit in a similar way to how an artist may use different paint brushes. </p> <p>As Sheeran’s lawyer Ilene Farkas <a href="https://www.theguardian.com/music/2023/may/04/ed-sheeran-verdict-not-liable-copyright-lawsuit-marvin-gaye">noted</a>, chord progressions are, "the letters of the alphabet of music […] these are basic musical building blocks that songwriters now and forever must be free to use."</p> <p>It is how these “building blocks” are used, and in what combinations, that gives us a great variety of pop songs over many decades. The true craft of great pop music is to take these formulas and turn them into something unique (while simultaneously making it sound easy).</p> <p>The ruling in Sheeran’s case supports the rights of musical artists to continue to use these progressions as part of a songwriter’s toolkit, and to build from the artists who came before them. It also acknowledges that influence and inspiration from previous works are part of the construction of the pop music we love.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/inspiration-influence-and-theft-what-the-ed-sheeran-case-can-tell-us-about-70-years-of-pop-music-204747" target="_blank" rel="noopener">The Conversation</a>. </em></p>

Music

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Everything A-OK? New history shows the way to Sesame Street wasn’t always easy outside US

<p><span style="font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen, Ubuntu, Cantarell, 'Open Sans', 'Helvetica Neue', sans-serif;">Associate Professor Helle Strandgaard Jensen based at Denmark’s Aarhus University, says while </span><em style="font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen, Ubuntu, Cantarell, 'Open Sans', 'Helvetica Neue', sans-serif;">Sesame Street</em><span style="font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen, Ubuntu, Cantarell, 'Open Sans', 'Helvetica Neue', sans-serif;"> producers presented their content as both diverse and universal, the underpinning US values and assumptions about children often led to cultural clashes in other countries.</span></p> <div class="copy"> <p>With children’s culture again at the centre of debates about <a href="https://www.theguardian.com/books/2023/feb/26/censorship-or-context-australian-book-industry-wrestles-with-how-to-refresh-outdated-classics" target="_blank" rel="noreferrer noopener">banning or re-writing books</a> and what makes for <a href="https://www.news.com.au/national/politics/abc-accused-of-grooming-kids-after-drag-queen-appeared-on-play-school/news-story/efc1dd82aa4fb6b01a4c575e2f40e589" target="_blank" rel="noreferrer noopener">appropriate children’s television</a>, Jensen says a historical approach can provide the opportunity for more informed discussions.</p> <p><em>Sesame Street</em> debuted on television in the US in 1969 (it came to Australia in 1971) and according to its US website: “…has made a positive impact in children’s lives ever since.”</p> <p>The show says: “<em>Sesame Street</em> brings critical early education to children in 150+ countries”. </p> <p>While <em>Sesame Street’s</em> universality was marketed to international audiences, Jensen says the show is shaped by US assumptions about children’s role in society, cognitive psychology and the role of media in education.</p> <p>In European countries like the UK, Germany and Scandinavia there was a more progressive view about children, she says.</p> <p>As a result, the program was sometimes met with hostility by foreign television producers and broadcasters.</p> <p>In Jensen’s home of Denmark, Danish broadcasters rejected the show outright. Instead adapting their own children’s program <em>Legestue </em>to <a href="https://www.shcy.org/features/commentaries/helle-strandgaard-jensen-on-kermits-chubby-danish-cousin/" target="_blank" rel="noreferrer noopener">incorporate a frog</a> named Kaj inspired by Kermit, but one that “loves jazz and talks back to adult authority”, she says.</p> <p>In Germany, where <a href="https://muppet.fandom.com/wiki/Sesamstrasse" target="_blank" rel="noreferrer noopener">‘Sesamestraße’</a> is celebrating its 50<sup>th</sup> anniversary, local co-producers made their own content spliced together with US content, and added their own puppets including a piglet Purk, a snail Finchen and Leniemienie the mouse.</p> <p>German produced content portrays the child at the centre, encouraging them to question authority, and often revealing the hypocrisy or flaws of adults, Jensen says. It was an approach that sometimes resulted in pushback from the US based Childrens Television Workshop, she says.</p> <p>For instance, in one local clip, an adult is attending to some flowers in their garden, mowing an area of grass containing different flowers. The children ask, ‘which flowers are the good flowers?’</p> <p>In another, a woman walks past a child having to do an emergency wee in public. ‘That’s disgusting!’ the woman says. But as she walks further, her dog relieves itself on the pavement, and the woman doesn’t pick it up the waste.</p> <p>German Ministry of Education guides to accompany the show rejected traditional gender roles, taught children about the body and emphasised society based on collaboration, including unions.</p> <figure class="wp-block-embed is-type-rich is-provider-twitter wp-block-embed-twitter"> <div class="wp-block-embed__wrapper"> <div class="embed-wrapper"> <div class="inner"> <div class="twitter-tweet twitter-tweet-rendered" style="display: flex; max-width: 500px; width: 100%; margin-top: 10px; margin-bottom: 10px;" data-spai-bg-prepared="1"><iframe id="twitter-widget-0" class="" style="position: static; visibility: visible; width: 400px; height: 656px; display: block; flex-grow: 1;" title="Twitter Tweet" src="https://platform.twitter.com/embed/Tweet.html?creatorScreenName=cosmosmagazine&amp;dnt=true&amp;embedId=twitter-widget-0&amp;features=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%3D%3D&amp;frame=false&amp;hideCard=false&amp;hideThread=false&amp;id=1612139711304273922&amp;lang=en&amp;origin=https%3A%2F%2Fcosmosmagazine.com%2Fpeople%2Fhistory-sesame-street%2F&amp;sessionId=6d9a2d118b670e8e312cee283ceca4c065b3acf7&amp;siteScreenName=cosmosmagazine&amp;theme=light&amp;widgetsVersion=aaf4084522e3a%3A1674595607486&amp;width=500px" frameborder="0" scrolling="no" allowfullscreen="allowfullscreen" data-spai-bg-prepared="1" data-tweet-id="1612139711304273922"></iframe></div> </div> </div> </div> </figure> <p>In Europe, children’s television was seen as offering something separate to school, a way to empower children and support their own understanding of the world. The European view was more based in sociology and journalism – asking children directly about what they wanted – rather than cognitive psychology, Jensen says.</p> <p>For example in the UK, television producers would survey children about what they were interested in, their views, and make content based on that. </p> <p>Another key difference was the highly commercial landscape of television in the US, Jensen says. This was different to Europe and places like Australia where public broadcasters could afford to produce content for children that was more experimental.</p> <p>She says reflecting on the past is important as children’s viewing is increasingly dominated by streaming platforms, many of which are based in the US and dominated by American programming. </p> <p>The ABC began broadcasting <em>Sesame Street</em> twice-daily in 1971.</p> <p>While Jensen’s book doesn’t specifically address the response to the show in Australia, she says a lot of her archival research included information shared between the public broadcasters the ABC and BBC, which had a strong co-production tradition. </p> <p>“One of the ways the BBC learned about what happened in the Children’s Television Workshop and making <em>Sesame Street</em> was via their Australian friends in the ABC,” she says. </p> <p>Jensen says as early as 1970 an Australian journalist at <em>The Bulletin </em>was questioning whether the show imposed American culture on children in other countries.</p> <p>In the article, ‘Entertaining Australians to be Americans’, <em>Sesame Street</em> founder Joan Ganz Cooney says she had few reservations about imposing US culture on Australian audiences. “For good or ill the whole world is being Americanised,” she says. </p> <p>Children’s Television Workshop describes the sale of <em>Sesame Street</em> to 26 foreign countries, including Australia, as an opportunity to study the universality of the program, according to <em>The Bulletin</em>. </p> <p><em>Sesame Street: A Transnational History </em>is set for <a href="https://academic.oup.com/book/45872/chapter-abstract/400828941?redirectedFrom=fulltext" target="_blank" rel="noreferrer noopener">release in Australia in May</a>.</p> <figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio"> <div class="wp-block-embed__wrapper"> <div class="embed-wrapper"> <div class="inner"><iframe title="SESAMSTRASSE Folge 1 (Teil 1)" src="https://www.youtube.com/embed/6-sJKRPuaiM?feature=oembed" width="500" height="375" frameborder="0" allowfullscreen="allowfullscreen"></iframe></div> </div> </div> </figure> <p> <!-- Start of tracking content syndication. Please do not remove this section as it allows us to keep track of republished articles --> <img id="cosmos-post-tracker" style="opacity: 0; height: 1px!important; width: 1px!important; border: 0!important; position: absolute!important; z-index: -1!important;" src="https://syndication.cosmosmagazine.com/?id=245054&amp;title=Everything+A-OK%3F+New+history+shows+the+way+to+Sesame+Street+wasn%26%238217%3Bt+always+easy+outside+US" width="1" height="1" data-spai-target="src" data-spai-orig="" data-spai-exclude="nocdn" /> <!-- End of tracking content syndication --></p> <div class="in-content-area more-on"> </div> </div> <div id="contributors"> <p><a href="https://cosmosmagazine.com/people/history-sesame-street/">This article</a> was originally published on <a href="https://cosmosmagazine.com">Cosmos Magazine</a> and was written by <a href="https://cosmosmagazine.com/contributor/petra-stock">Petra Stock</a>. Petra Stock has a degree in environmental engineering and a Masters in Journalism from University of Melbourne. She has previously worked as a climate and energy analyst.</p> </div>

TV

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"RIP Pop": Michael Clarke reveals further heartbreak

<p>Former Aussie cricket captain Michael Clarke is mourning the loss of his “best mate”.</p> <p>Clarke revealed the extent of his heartache on social media after his grandfather Ray Fox passed away.</p> <p>In a touching post uploaded to Instagram, Clarke can be seen with one hand on the coffin as he walked away from the podium after delivering a eulogy at his grandfather’s funeral.</p> <p>“Never gets any easier,” Clarke wrote.</p> <p>“In losing my Grandfather, I lost a best mate. I feel blessed to be surrounded by so much love on an extremely tough day.</p> <p>“RIP Pop.”</p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/CqSAtDtJ9OZ/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CqSAtDtJ9OZ/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank" rel="noopener">A post shared by Michael Clarke AO (@michaelclarkeofficial)</a></p> </div> </blockquote> <p>Friends and family were quick to pass on their condolences and support during this tumultuous time for Clarke.</p> <p>“Sorry to hear that news, mate,” Channel 7’s Larry Emdur commented. “Wishing you and the family all the best.”</p> <p>Businesswoman Erina Peters wrote, “I’m so sorry Michael! He truly loved you so much.</p> <p>“I have so many funny memories with him over the years and he was never short of a cheeky comeback.”</p> <p>Clarke previously said his grandfather was his inspiration behind playing cricket and the hardest part of retiring from the sport was telling Ray.</p> <p>“Definitely telling my grandfather was perhaps the hardest part and he was very emotional,” he said in 2015.</p> <p>“Pop’s made it clear to me over the past 10 years that watching me play cricket is a big part of what keeps him going.”</p> <p><em>Image credit: Instagram</em></p>

Caring

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Expat shares her five biggest culture shocks since moving to Australia

<p>A British expat has listed the five biggest culture shocks she experienced since moving to Australia.</p> <p>Robyn Turner, who now lives in Melbourne, has been adjusting to her new life in Australia over the last five years.</p> <p>In a funny TikTok video, the personal trainer said there are five things she never knew existed until she relocated to Australia - including people walking bare feet in public, lemon lime bitters and 42°C days.</p> <p>“This is Australian things that sent me into a coma when I first moved here from the UK,” she said.</p> <p>The first thing of her list that caught her by surprise was people walking around bare feet at indoor public places.</p> <p>“People walking around the supermarket or any other store in bare feet, shocked me,” she said.</p> <p>“You would never catch anyone that wasn’t on a beach with bare feet in the UK.</p> <p>“It doesn’t appeal to me but I mean, you do you, I just won’t look at the floor.”</p> <p>Robyn said she was confused when she couldn’t find an aisle dedicated to alcohol inside supermarkets.</p> <p>“I had no idea this wasn’t a thing,” she said.</p> <p>“I was first like, ‘Where do I go and buy some wine from?’ and someone was like, ‘the bottle-O’ and I was like, ‘What’s a bottle-O?’</p> <p>“I had no idea, shocked me to the bones.”</p> <p>The third overwhelming thing she couldn’t handle was the scorching weather, especially summer days that reach high temperatures of 42°C.</p> <p>“When I first lived here, I lived in Sydney and it wiped me out,” she said.</p> <p>“Absolutely killed me.”</p> <blockquote class="tiktok-embed" style="max-width: 605px; min-width: 325px;" cite="https://www.tiktok.com/@r0bynturner/video/7176424965128899842" data-video-id="7176424965128899842"> <section><a title="@r0bynturner" href="https://www.tiktok.com/@r0bynturner?refer=embed" target="_blank" rel="noopener">@r0bynturner</a> Australian things that sent me (a brit) into a coma <a title="australiatravel" href="https://www.tiktok.com/tag/australiatravel?refer=embed" target="_blank" rel="noopener">#australiatravel</a> <a title="sydneytravel" href="https://www.tiktok.com/tag/sydneytravel?refer=embed" target="_blank" rel="noopener">#sydneytravel</a> <a title="uktoaustralia" href="https://www.tiktok.com/tag/uktoaustralia?refer=embed" target="_blank" rel="noopener">#uktoaustralia</a> <a title="britinaustralia" href="https://www.tiktok.com/tag/britinaustralia?refer=embed" target="_blank" rel="noopener">#britinaustralia</a> <a title="melbournetravel" href="https://www.tiktok.com/tag/melbournetravel?refer=embed" target="_blank" rel="noopener">#melbournetravel</a> <a title="backpackingaustralia" href="https://www.tiktok.com/tag/backpackingaustralia?refer=embed" target="_blank" rel="noopener">#backpackingaustralia</a> <a title="♬ original sound - Robyn" href="https://www.tiktok.com/music/original-sound-7176425241798068993?refer=embed" target="_blank" rel="noopener">♬ original sound - Robyn</a></section> </blockquote> <p>Despite the culture shocks, she expressed her approval for lemon lime bitters, a popular cocktail in Australia that consists of lemonade, lime cordial, and Angostura bitters.</p> <p>“This surprise was in the best way possible,” she said.</p> <p>“Thank you for introducing me to lemon lime bitters. That is amazing stuff, it’s like liquid gold.</p> <p>“You (Aussies) are the ultimate gatekeepers not letting the rest of the world know about it.”</p> <p>Robyn said she also couldn’t get enough of espresso martinis after her friend introduced the cocktail to her.</p> <p>“It’s so good,” she said.</p> <p>Her video has been viewed over 600,000 times - with many agreeing with her culture shocks.</p> <p>Images: TikTok</p>

Travel Trouble

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Female artists earn less than men. Coming from a diverse cultural background incurs even more of a penalty – but there is good news, too

<p>Artists all over the world, regardless of their gender, earn <a href="https://www.sciencedirect.com/handbook/handbook-of-the-economics-of-art-and-culture">considerably less</a> than professionals in occupations requiring similar levels of education and qualifications. </p> <p>But there’s an additional income penalty for artists who are female. </p> <p>In an analysis of gender differences in the incomes of professional artists in Australia that <a href="https://australiacouncil.gov.au/advocacy-and-research/the-gender-pay-gap-among-australian-artists/">we undertook in 2020</a>, we found the creative incomes of women were 30% less than those of men. </p> <p>This is true even after allowing for differences in such things as hours worked, education and training, time spent in childcare and so on. This income penalty on women artists was greater than the gender pay gap of 16% experienced in the overall Australian workforce at the time.</p> <p><a href="https://theconversation.com/screen-australia-celebrates-its-work-in-gender-equality-but-things-are-far-from-equal-122266">Some sectors</a> of the arts have tried to redress this problem. However, women continue to suffer serious and unexplained gender-based discrimination in the artistic workplace.</p> <p>Cultural differences are <a href="https://www.nber.org/papers/w27725">also known</a> to influence pay gaps in many countries. </p> <p>In new research <a href="https://australiacouncil.gov.au/advocacy-and-research/culture-and-the-gender-pay-gap-for-australian-artists">out today</a>, we considered whether cultural factors might also affect the gender pay gap of artists in Australia. In addition, we analysed the gender pay gap for remote Indigenous artists for the first time.</p> <h2>A larger gap for women from a non-English speaking background</h2> <p>In our <a href="https://australiacouncil.gov.au/advocacy-and-research/making-art-work/">2016 survey of 826 professional artists</a> working in metropolitan, regional and rural Australia, we asked participants if they came from a non-English speaking background. </p> <p>Only a relatively small proportion of artists – 10% – came from a non-English-speaking background, compared to 18% for the Australian labour force as a whole. </p> <p>A non-English-speaking background appears to carry an income penalty only for women artists, not for men. </p> <p>We found the annual creative earnings of female artists from a non-English-speaking background are about 71% of the creative incomes of female artists whose first language is English. But there is little difference between the corresponding incomes of male artists.</p> <p>Within the group of artists from language backgrounds other than English, the annual creative earnings of female artists are about half (53%) those of their male counterparts. </p> <p>By contrast, the ratio of female to male creative earnings among English-speaking background artists is 73%. </p> <p>These results suggest that women artists from a non-English-speaking background suffer a triple earnings penalty – from being an artist (and hence as a group earning less than comparable professionals), from their gender, and from their cultural background.</p> <p>Despite this earnings disadvantage, 63% of artists who identified as having a first language other than English thought their background had a positive impact on their artistic practice. Only 16% thought it had a negative impact.</p> <p>When artists were asked whether being from a non-English speaking background was a restricting factor in their professional artistic development, 17% of women answered “yes”, compared to only 5% of men from a similar background. </p> <p>Nevertheless, like their male colleagues, these women artists continue to celebrate their cultural background in their art. They contribute to the increasingly multicultural content of the arts in Australia, holding up a mirror to trends in Australian society at large.</p> <h2>No gender gap in remote Indigenous communities</h2> <p>For First Nations artists working in remote communities, a different picture emerges. </p> <p>For this research, we used results for remote communities in three regions of northern Australia drawn from our <a href="https://apo.org.au/node/257301">National Survey of Remote Aboriginal and Torres Strait Islander Artists</a>.</p> <p>The gender gap is not replicated among remotely practising First Nations artists. </p> <p>There are some minor variations in this finding for subgroups in different regions, depending in part on differences in the mix of visual and performing artists in the population. But whatever other differentials may exist between female and male earnings, they do not appear to be attributable to the sorts of systemic gender-based discrimination that affects the residual gender gap for other Australian artists.</p> <p>A possible reason relates to fundamental differences between the cultural norms, values and inherited traditions that apply in remote and very remote First Nations communities. </p> <p>Gender roles in Aboriginal and Torres Strait Islander communities have been <a href="https://anthrosource.onlinelibrary.wiley.com/doi/10.1525/can.1992.7.2.02a00020">described</a> by researchers as distinctively different, rather than superior or inferior. The importance of both women and men as bearers of culture has been clearly articulated. </p> <p>The unique cultural content of Aboriginal and Torres Strait Islander music, dance, visual art and literature is an essential feature of the work of these artists. These characteristics pass through to the marketplace, and there does not appear to be any obvious gender gap in the way the art from these remote communities is received. </p> <p>There is always differentiation between the art produced in different remote regions of Australia which varies depending on the complexities of different inherited cultural traditions. But there is no indication of any gender-based discrimination associated with these regional differences.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/female-artists-earn-less-than-men-coming-from-a-diverse-cultural-background-incurs-even-more-of-a-penalty-but-there-is-good-news-too-195646" target="_blank" rel="noopener">The Conversation</a>. </em></p>

Art

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When it comes to music, not all cultures share the same emotional associations

<div class="copy"> <p>Most of us have deep emotional reactions to <a href="https://cosmosmagazine.com/science/physics/recent-musical-research-of-note/" target="_blank" rel="noreferrer noopener" data-type="URL" data-id="https://cosmosmagazine.com/science/physics/recent-musical-research-of-note/">music</a>, which is <a href="https://cosmosmagazine.com/people/culture/music-really-is-a-universal-language/" target="_blank" rel="noreferrer noopener" data-type="URL" data-id="https://cosmosmagazine.com/people/culture/music-really-is-a-universal-language/">a central part of human cultures</a> around the world. But our ideas about what makes music sound happy or sad are not universal, suggests <a href="https://doi.org/10.1371/journal.pone.0269597" target="_blank" rel="noreferrer noopener">new research</a> published today in <em>PLoS One</em>.</p> <p>The Australian-led study mainly focused on differences in people’s emotional perceptions of music in major and minor keys. In Western cultures, music in a major key is almost universally perceived as happy, and music in a minor key as sad. Transposing a melody from major to minor seems to instantly introduce a mournful or ominous feel, as demonstrated by this rendition of the “Happy birthday” song.</p> <figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"> <div class="wp-block-embed__wrapper"> <div class="entry-content-asset"> <div class="embed-wrapper"> <div class="inner"><iframe title="Happy Birthday in C Minor" src="https://www.youtube.com/embed/ipyVmkcUXPM?feature=oembed" width="500" height="281" frameborder="0" allowfullscreen="allowfullscreen"></iframe></div> </div> </div> </div> </figure> <p>However, the study found that these emotional associations were not shared by some remote communities in Papua New Guinea (PNG) who had little exposure to Western music.</p> <p>“The most important finding of the study is that the degree of familiarity with major and minor music plays a large role in people attributing happiness to major and sadness to minor,” says Eline Smit, who led the study as part of her PhD at Western Sydney University.</p> <p>For the new study, Smit and her colleagues investigated emotional associations of major and minor keys in people living in Sydney and in several villages in Uruwa River Valley in PNG. The valley is only accessible via small plane or multi-day hike, and the villages have similar musical traditions but varying levels of exposure to Western-style music.</p> <p>The researchers played various recordings pairing one major and one minor melody or cadence (a series of chords) to the participants, who were asked to indicate which tune made them feel happy. </p> <div style="position: relative; display: block; max-width: 100%;"> <div style="padding-top: 56.25%;"><iframe style="position: absolute; top: 0px; right: 0px; bottom: 0px; left: 0px; width: 100%; height: 100%;" src="https://players.brightcove.net/5483960636001/HJH3i8Guf_default/index.html?videoId=6308675222112" allowfullscreen="allowfullscreen"></iframe></div> </div> <p class="caption">An example of a recording played to research participants in the study. The musical samples are preceded by the word “ingguk” (one) or “yoi” (two). In this example, the first music sample is in a major key and the second in a minor key. <a href="https://osf.io/c3e9y/" target="_blank" rel="noreferrer noopener" data-type="URL" data-id="https://osf.io/c3e9y/">Media courtesy Eline Smit</a>.</p> <p>“Western listeners and the PNG groups exposed to Western music were more likely to say the major cadence or melody was the happy one,” Smit explains. That is, these groups were likely to say that the first melody in the example above sounded happy.</p> <p>“However, the PNG group with minimal exposure to Western music showed no preference for choosing major as the happy cadence or melody,” Smit continues. “They were just as likely to choose the minor version.”</p> <div style="position: relative; display: block; max-width: 100%;"> <div style="padding-top: 56.25%;"><iframe style="position: absolute; top: 0px; right: 0px; bottom: 0px; left: 0px; width: 100%; height: 100%;" src="https://players.brightcove.net/5483960636001/HJH3i8Guf_default/index.html?videoId=6308677000112" allowfullscreen="allowfullscreen"></iframe></div> </div> <p class="caption">Another example of a recording from the study. In this example, the first music sample is in a minor key and the second in a major key. <a href="https://osf.io/c3e9y/" target="_blank" rel="noreferrer noopener" data-type="URL" data-id="https://osf.io/c3e9y/">Media courtesy Eline Smit</a>.</p> <p>Smit, who is also a trained classical pianist, became interested in <a href="https://cosmosmagazine.com/people/social-sciences/musical-instruments-can-mimic-speech/" target="_blank" rel="noreferrer noopener" data-type="URL" data-id="https://cosmosmagazine.com/people/social-sciences/musical-instruments-can-mimic-speech/">the relationship between music and emotions</a> during her PhD. Her research focuses on people’s emotional responses to unfamiliar musical systems.</p> <p>“This study has shown some more insight into the role of the degree of familiarity on having particular emotional responses to music, but this does not mean that there are not any universal responses,” she says. “For the future, it would be interesting to further disentangle the impact of prior exposure and familiarity on responses to music.”</p> <p><em>Image credits: Getty Images </em></p> <p><em><!-- Start of tracking content syndication. Please do not remove this section as it allows us to keep track of republished articles --> <img id="cosmos-post-tracker" style="opacity: 0; height: 1px!important; width: 1px!important; border: 0!important; position: absolute!important; z-index: -1!important;" src="https://syndication.cosmosmagazine.com/?id=196349&amp;title=When+it+comes+to+music%2C+not+all+cultures+share+the+same+emotional+associations" width="1" height="1" data-spai-target="src" data-spai-orig="" data-spai-exclude="nocdn" /> <!-- End of tracking content syndication --></em></div> <div id="contributors"> <p><em>This article was originally published on <a href="https://cosmosmagazine.com/people/emotional-reactions-to-music-cultural/" target="_blank" rel="noopener">cosmosmagazine.com</a> and was written by Matilda Handsley-Davis.</em> </p> </div>

Music

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10 of the world’s strangest food museums

<p> </p> <p><strong>Le Musée Art du Chocolat de Lisle sur Tarn, Lisle-sur-Tarn, France</strong></p> <p>A weird and wonderful tribute to the sweet stuff, the Le Musée Art du Chocolat de Lisle sur Tarn is dedicated to the world of chocolate art. Chocolate elephants? Check. Chocolate candle holders? Check. There’s even a chocolate fountain – and by that, we mean one made entirely from chocolate. The sculptures, some of which weigh around 100 kilograms, are displayed in three halls. Must-sees include the life-sized chocolate woman and the huge white chocolate of the main character of the comic series The Adventures of Tintin. We’re getting a sugar rush just thinking about it.</p> <p><strong>Dutch Cheese Museum, Alkmaar, Netherlands</strong></p> <p>Thought tulips were the Netherlands’ biggest export? Think again, it’s cheese, more specifically, Edam and Gouda. Learn more at this brilliant Dutch Cheese Museum, which explores the history of the cheeses and how they’re made. It’s tucked inside one of Alkmaar’s oldest buildings, the 16th century Cheese Weigh House in Waagplein Square. Our favourite bit? The bright yellow, cheese-inspired decor and the super-sized model cow, designed to provide visitors with an insight into the milking process.</p> <p><strong>Cup Noodle Museum, Yokohama, Japan</strong></p> <p>Amazingly, the Cup Noodle Museum is one of several museums in Japan dedicated to instant noodles, otherwise known as ramen. The sheer size of this museum is a reminder of the nation’s love of the foodstuff – there are several enormous halls, including one containing a replica of the shed in which the first type of ramen was invented (it was chicken-based if you were wondering). There’s plenty for younger visitors, who can whiz down slides in a noodle-themed playground and swim through a ball pool resembling a cup of ramen soup. Don’t forget to check the noodle-themed marble run, either, it features 4,000 marbles and represents the various stages of ramen production.</p> <p><strong>Friet Museum, Bruges, Belgium</strong></p> <p>The Friet Museum is, perhaps unsurprisingly, the world’s only museum dedicated to what is widely known as French fries, but which are known as Belgian friet in this part of the world. Visit this Bruges attraction and you’ll learn all about the humble potato (first grown in Peru 10,000 years ago) and can admire various friet-related masterpieces, including drawings of the city’s famous Frituur chip stalls. The strangest exhibit? The enormous – but weirdly beautiful – display of friet fryers.</p> <p><strong>Carpigiani Gelato Museum, Carpigiani, Italy</strong></p> <p>The Italians are serious about how they make their ice cream, proof of which is the Carpigiani Gelato Museum in Bologna. You’ll find it inside what was once a factory owned by Carpigiani, the manufacturer of the world’s first ice cream-making machine. Exhibits include the ornate tin-plated boxes used by Italy’s first gelato sellers, along with a huge selection of gelato-related gadgets. There’s also a large workshop where you can sign up for lessons in gelatology, possibly the world’s coolest subject.</p> <p><strong>The Herring Era Museum, Siglufjörður, Iceland</strong></p> <p>Herrings might not sound like a very exciting item of food, but visitors to The Herring Era Museum will certainly leave with a new appreciation of the small, oily fish. The museum, inside a former salting station, looks at how, in the 20th century, the herring industry transformed this tiny village into a thriving town, with 23 herring salting stations and five herring processing plants. Sadly, over-exploitation of stocks meant the industry ground to a halt, but the tiny museum is a reminder of a period of time referred to by locals as the Atlantic <em>Klondike</em>.</p> <p><strong>Pizza Hut Museum, Kansas, USA</strong></p> <p>The Pizza Hut Museum opened in Wichita, Kansas in 2017, on the very same site of the first Pizza Hut restaurant. It’s packed full of pizza-related memorabilia, including the first Pizza Hut pizza pan used in 1958, when the restaurant opened. Other rare items include Pizza Hut Barbie dolls, menus, staff lists from the 1950s, and signage from the first restaurant. You’ll also be able to admire the original recipe for the brand’s famous sauce, scrawled on a napkin by the employee who perfected it.</p> <p><strong>Poli Grappa Museum, Bassano del Grappa, Italy</strong></p> <p>It’s probably a good idea to leave the car at home before a visit to the Poli Grappa Museum because samples of Italy’s famous liquor certainly aren’t in short supply. The museum is small but well laid out, with three rooms filled with exhibits relating to the famous Italian grape-based brandy. One notable highlight is the beautiful collection of antique stills, although many visitors make a beeline for the third room in order to sample some of the varieties produced by the nearby Poli Distillery.</p> <p><strong>The Idaho Potato Museum, Idaho, USA</strong></p> <p>America’s favourite tuber is the star of the show at The Idaho Potato Museum, which is home to both the world’s largest potato and the world’s largest potato chip, along with a wealth of potato-related facts. There are entire sections dedicated to tools used to harvest potatoes in the early 1900s, along with the world’s largest collection of mashers. And don’t forget to visit the café, where you can indulge in a chocolate-dipped potato.</p> <p><strong>The Spam Museum, Minnesota, USA</strong></p> <p>Learn about the world’s most divisive processed meat with a visit to The Spam Museum, a huge attraction examining the food’s rise to global domination. Not convinced? Check out the exhibit relating to its role in WWII, when Spam became a staple for servicemen and women. Then there’s the display of 15 varieties of Spam sold around the world. There are plenty of opportunities for taste tests, just look for one of the museum’s guides known as Spambassadors.</p> <p><em><span id="docs-internal-guid-665b11ed-7fff-7b7e-ab71-5c7bc9f7bd68">Written by Tamara Hinson. This article first appeared in <a href="https://www.readersdigest.com.au/culture/10-of-the-worlds-strangest-food-museums" target="_blank" rel="noopener">Reader’s Digest</a>. For more of what you love from the world’s best-loved magazine, <a href="http://readersdigest.innovations.com.au/c/readersdigestemailsubscribe?utm_source=over60&amp;utm_medium=articles&amp;utm_campaign=RDSUB&amp;keycode=WRA87V" target="_blank" rel="noopener">here’s our best subscription offer.</a></span></em></p> <p><em>Image: Courtesy </em><em>Friet Museum</em></p>

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