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AstraZeneca admits to Covid vaccine's deadly side effect

AstraZeneca has admitted that their Covid vaccine carries a very rare but deadly side effect, as "dozens" of class-action lawsuits pile up. The UK pharmaceutical giant could be facing damages of up to $38 million, as lawyers representing complainants whose loved ones who were injured or killed from the jab called the vaccine "defective". Those who received the AstraZeneca Covid-19 vaccine could be susceptible to a rare and potentially blood clotting disorder called thrombosis with thrombocytopenia syndrome, or TTS, in which patients suffer from blood clots as well as a low blood platelet count. While the side effect is rare, recent research from RMIT University and Monash University found Australia’s Covid-19 vaccination rollout likely prevented the death of 17,760 people aged over 50 in New South Wales between August 2021 and July 2022, with some researchers suggesting that AstraZeneca alone helped saved as many as six million lives worldwide, according to the <a title="nypost.com" href="https://nypost.com/2024/04/29/world-news/astrazeneca-cops-to-rare-deadly-side-effect-of-covid-jab-as-lawsuits-mount/">New York Post.</a> AstraZeneca, which is contesting the claims, acknowledged in a February legal document that its vaccine can “in very rare cases,” cause the clotting condition, while also acknowledging that the potential complication was listed as a side effect of the vaccine since its release. So far, 51 cases have been filed in London’s High Court, estimated to be worth around $190 million (GBP100 million) total, according to the UK newspaper<a title="www.telegraph.co.uk" href="https://www.telegraph.co.uk/news/2024/04/28/astrazeneca-admits-covid-vaccine-causes-rare-side-effect/"> The Telegraph</a>. However, thanks to a deal struck between AstraZeneca and the UK government during the worst of the pandemic, the drugmaker has been pre-emptively indemnified against future lawsuits – which means any successful claims for payouts will be born by taxpayers. One of the claimants is father-of-two Jamie Scott, who was left with a permanent brain injury after suffering a clot following receiving the vaccine in April 2021. His wife, Kate, told <a title="www.telegraph.co.uk" href="https://www.telegraph.co.uk/news/2024/04/28/astrazeneca-admits-covid-vaccine-causes-rare-side-effect/">The Telegraph </a>she’s hopeful the company’s admission will accelerate the outcome of their case. “We need an apology, fair compensation for our family and other families who have been affected. We have the truth on our side, and we are not going to give up.” Image credits: Getty Images

Legal

West Side Story returns to Handa Opera on Sydney Harbour

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

Domestic Travel

Four myths about the financial side of divorce

<a href="https://theconversation.com/profiles/emma-hitchings-388514">Emma Hitchings</a>, <a href="https://theconversation.com/institutions/university-of-bristol-1211">University of Bristol</a> and <a href="https://theconversation.com/profiles/gillian-douglas-1428314">Gillian Douglas</a>, <a href="https://theconversation.com/institutions/kings-college-london-1196">King's College London</a> It’s no wonder many people think divorce involves going to court, huge legal fees and decades of spousal payments, considering these are the cases that dominate our headlines. However, the kinds of divorce cases reported in the news involve the very rich, and are far removed from the reality for most couples. The Law Commission of England and Wales, the body responsible for law reform, <a href="https://www.lawcom.gov.uk/project/financial-remedies-on-divorce/">recently announced a review</a> of the law of finances on divorce, with a scoping report due in September 2024. Review of this law is much needed, given the legislation governing how couples in England and Wales sort out their financial affairs upon marriage breakdown mainly dates back to the 1970s (the <a href="https://www.legislation.gov.uk/ukpga/1973/18">Matrimonial Causes Act 1973</a>). The problem is that key politicians <a href="https://hansard.parliament.uk/lords/2023-03-08/debates/3AB3D708-24E5-4FF2-8481-05EFA27E2593/DivorceFinancialProvision">who have been calling for change</a> still rely on the issues raised in these <a href="https://hansard.parliament.uk/lords/2018-05-11/debates/89A33706-7DCD-4FA0-AE0D-B06E11FAF264/Divorce(FinancialProvision)Bill(HL)">exceptional, “big money” divorce cases</a>. We need to correct the misleading narrative about divorce if reform is to address the needs of the 110,000 couples <a href="https://www.gov.uk/government/statistics/family-court-statistics-quarterly-july-to-september-2022">who get divorced in England and Wales each year</a>. Although there is limited research about this issue, we do know enough to challenge the following myths. <h2>1. Spouses are often forced to fund costly legal battles</h2> Family courts grant divorces and the fee is currently £593. However, it is not mandatory for a divorcing couple to get an additional order regarding their finances, and there is no need for expensive court hearings. In fact, <a href="https://www.gov.uk/government/statistics/family-court-statistics-quarterly-july-to-september-2022">fewer than 40%</a> of those divorcing each year do so. While there is no authoritative data on average legal costs incurred in these cases, it seems that, for many couples, the costs of sorting out their financial arrangements need not be high because the courts are not involved. And even those couples who do use the courts for their financial matters overwhelmingly settle rather than fight their case, which limits their legal costs. Only <a href="https://www.gov.uk/government/statistics/family-court-statistics-quarterly-july-to-september-2022">13% of financial orders</a> made in a divorce are actually decided by a judge after contested litigation. The rest are consent orders: orders finalised by the judge on terms that have already been agreed by the divorcing couple. <h2>2. Everything is split 50/50</h2> The law does not lay down a principle of equal sharing of the marital assets on divorce. However, the courts <a href="https://www.lawteacher.net/cases/miller-v-miller-mcfarlane-v-mcfarlane.php">do accept this is a desirable goal</a> if this can be done while meeting both parties’ needs – and those of their children. Research suggests that, rather than rigidly applying a 50/50 split, couples focus on their needs first and <a href="https://research-information.bris.ac.uk/en/publications/financial-remedies-on-divorce-the-need-for-evidence-based-reform">particularly those of their children</a>. This can result in an unequal split of the value of the main asset most couples have – the former marital home. <h2>3. Men have to pay lifelong maintenance</h2> Some news media object to the current law as they claim it allows an ex-wife to be supported <a href="https://www.dailymail.co.uk/news/article-5965629/Surveyor-marriage-ended-16-years-ago-WINS-Supreme-Court-battle.html">for the rest of her life</a> by her former husband (or vice versa). The argument is that this casts ex-wives as dependants who cannot look after themselves, and prevents husbands from moving on after their divorce. In reality, lifelong maintenance is rare, and even limited ongoing financial support is uncommon. The most recent data found that only 16% of court orders involved any kind of ongoing spousal support – of which, two-thirds were for a fixed term. Nearly all such orders involved <a href="http://www.nuffieldfoundation.org/sites/default/files/files/briefing%20paper%20Jun%202018%20FINAL.pdf">dependant children</a>, with the order terminating when the youngest child reaches a certain age or stage of education. <h2>4. London is the divorce capital of the world</h2> Some news media <a href="https://www.theguardian.com/lifeandstyle/shortcuts/2015/feb/24/divorce-rich-husband-london-english-law">report</a> that the courts’ endorsement of the principle of equal sharing has led to some wives, married to oligarchs, sheikhs and tycoons, seeking divorce through an English court due to its “generous” treatment of them. For example in 2021, a High Court judge ordered Sheikh Mohammed bin Rashid al-Maktoum, the emir of Dubai, to pay a <a href="https://www.businessinsider.com/why-london-divorce-capital-world-for-mega-rich-2019-7?r=US&IR=T">£554 million divorce settlement</a> to his former wife, Princess Haya. By their nature, these cases are atypical – that’s why they make headlines. But why should the fact that English law takes spousal equality seriously be a matter for regret? The 1970s legislation aimed to ensure the non-financial contributions of spouses, such as home-making and caring, should be recognised. Judges have been clear <a href="https://uk.practicallaw.thomsonreuters.com/3-503-7596?transitionType=Default&contextData=(sc.Default)&firstPage=true">it is discriminatory to assume</a> the breadwinner spouse is making a greater contribution to the relationship and should keep a larger part of the wealth than the other who takes on the role of carer. Surely this is an enlightened position. That doesn’t mean we shouldn’t update the law, though. Working patterns have changed but women still earn, on average, <a href="https://www.ons.gov.uk/employmentandlabourmarket/peopleinwork/earningsandworkinghours/bulletins/genderpaygapintheuk/2022#:%7E:text=Image%20.csv%20.xls-,The%20gender%20pay%20gap%20has%20been%20declining%20slowly%20over%20time,up%20from%207.7%25%20in%202021.">less than men</a>. They are still more likely to assume the bulk of <a href="https://www.ons.gov.uk/employmentandlabourmarket/peopleinwork/employmentandemployeetypes/articles/familiesandthelabourmarketengland/2021">child care</a>, <a href="https://www.ons.gov.uk/employmentandlabourmarket/peopleinwork/employmentandemployeetypes/articles/familiesandthelabourmarketengland/2021">work part-time </a>, and, in consequence, have <a href="https://adviser.scottishwidows.co.uk/assets/literature/docs/women-retirement-report-2022-press-release.pdf">smaller pensions compared with men</a>. The result is that, far from being treated generously, women still come out of divorce <a href="https://ses.library.usyd.edu.au/bitstream/handle/2123/26207/Fisher_2018_AJFL_Final.pdf?sequence=1">financially worse off than men</a>. But there is still so much we don’t know about how divorced couples divide their assets. Since the norm is for couples to stay out of the courts, there is no official record of how the majority of the divorcing population arranges their finances. That’s why <a href="https://research-information.bris.ac.uk/en/persons/emma-hitchings">one of us</a> (Emma) is leading the Fair Shares Study, expected to publish in autumn 2023. This will provide the <a href="https://www.bristol.ac.uk/law/fair-shares-project/">first nationally representative picture</a> of couples’ finances on divorce. We need a law that meets the needs of all divorcing couples rather than the few wealthy exceptions, and a major corrective to the myths that abound in this area of family law.<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/202975/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/emma-hitchings-388514">Emma Hitchings</a>, Professor of Family Law, <a href="https://theconversation.com/institutions/university-of-bristol-1211">University of Bristol</a> and <a href="https://theconversation.com/profiles/gillian-douglas-1428314">Gillian Douglas</a>, Professor Emerita of Law, <a href="https://theconversation.com/institutions/kings-college-london-1196">King's College London</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/four-myths-about-the-financial-side-of-divorce-202975">original article</a>.

Money & Banking

Ben Fordham's surprising new side hustle

Ben Fordham has shared that he has joined the large group of Aussies who have picked up a side hustle as the cost of living crisis continues. The 2GB radio host has signed up to be an Uber driver, with his first passenger leaving him a generous tip. Speaking to business and financial commentator Peter Switzer during the Money Report on Thursday morning, Fordham confirmed he'd taken his "first passenger in an Uber." "Wen was her name, lovely lady," he said. "I picked her up not far from 2GB and dropped her to work and she gave me five stars and, Switz, she gave me a $3 tip." "Mate, you're killing it," Switzer said. "That's like a 10 per cent rise for you." "It's so good, you just switch it on and go, 'Alright, I've got an hour to kill here, I may as well make a bit of money'," Fordham explained. He explained he decided to sign up for the gig following the record number of Australians who have taken up second jobs to help cope with inflation and growing cost of living pressures. It was during the start of the Covid pandemic that Fordham first told Switzer he planned to "get a side hustle" along with everyone else. "And I said I was going to become an Uber driver, and guess what I've done this week?" "You're kidding," Switzer reacted. Switzer, who used to work as a school teacher during a period of high interest rates, said he was also forced to take on additional work to make ends meet, creating a cleaning business and working at the local RSL where he "pulled beers." "So I'm not surprised to see this surge in jobs," he said. "In America, I reckon more than half of American workers have what they call a side hustle ... a second job, so lots of people are responding to inflation, responding to higher interest rates and looking for more and more jobs." Image credits: 2GB <div style="box-sizing: border-box; margin: 0px; padding: 0px; border: 0px; font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; font-weight: inherit; font-stretch: inherit; line-height: inherit; vertical-align: baseline;"> <div class="OUTBRAIN" style="box-sizing: border-box; margin: 0px; padding: 0px; border: 0px; font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; font-weight: inherit; font-stretch: inherit; line-height: inherit; vertical-align: baseline;" data-src="//honey.nine.com.au/latest/ben-fordham-new-side-hustle-uber-driving/c4f4d011-05f7-4879-b8af-93bc562144b8" data-widget-id="AR_8" data-external-id="556949cd9bf11d9567563f6b5d247e16"> </div> </div>

Money & Banking

"Spoil yourself and your bestie": Jackie O announces new side hustle

Jackie O Henderson has announced a new side hustle with her best friend of 20 years Gemma O’Neill. The radio star took to Instagram on Tuesday to announce her newest venture with O’Neill, a business fittingly named “Besties”. “We’ve been besties for over 20 years and have lived through terrible fashion choices, husbands, moving houses (again and again!), holidays, babies, novice tarot card readings, swimming with sharks, dancing around the living room to our favourite songs and of course lots of tears and lots more laughter,” she captioned the photo. The pair were pictured sharing a laugh in a beautiful photoshoot by the beach, presumably to promote their upcoming business. “Like any best friend duo, we've always dreamed of starting our own side hustle, and we're so thrilled to share the news of our newest venture, Besties,” she added in the caption. The KIIS star claims that the business will allow people to spend more time and create more memories with their best friends. <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/Cu0IqHpyEOW/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/Cu0IqHpyEOW/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Jackie O (@jackieo_official)</a> </div> </blockquote> The pair have thought out their mission well, vowing to bring friends closer to “extraordinary people” through their speaker events, provide trips to “breathtaking destinations” and offer a range of luxe products so you can “spoil yourself and your bestie”. She also revealed that this business venture was just an excuse for her to make more memories with her best friend. “We thought it was about time for a one-stop shop to celebrate each other,” she added. She also tagged an Instagram account for the business, which already boasts over 11 thousand followers. While both women are co-founders of the company, Jackie O will be the creative director while her best friend is the CEO. Images: Instagram

Money & Banking

Banksy mural on the side of dilapidated farmhouse destroyed

A dilapidated farmhouse, with a Banksy mural on its side, has been demolished in the seaside town of Herne Bay in Kent, England. The artwork, called Morning is Broken, features a young boy with a cat at his side opening corrugated iron curtains and staring at the world outside. The farmhouse was built in 1529, and was approved for demolition in late 2022, before anyone realised the importance of the mural. “We had no idea it was a Banksy. It made me feel sick realising it was a Banksy—we were gutted,” contractor George Caudwell told <a href="https://www.kentonline.co.uk/herne-bay/news/banksy-confirms-new-artwork-but-its-already-been-torn-dow-283771/">KentOnline</a>. “We started demolishing it yesterday. The landowner watched us do it and didn’t know either.” Banksy shared news of the demolition on his Instagram with a series of pictures, posting a photo of the destruction, simply writing over the image, “Morning is broken.” <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/p/CpzwGpPM56f/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CpzwGpPM56f/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Banksy (@banksy)</a> </div> </blockquote> One person who has a personal connection with the farmhouse left a comment for the elusive street artist, writing, “This was my grandma's farm house before it was left to ruins, I spent so many happy hours in the house and at the farm, this was even done on the room I used to sleep in with the farm cat.” “Thank you so much for this Mr Banksy, my grandparents would have been very proud ❤️”. The demolition comes just weeks after another Banksy artwork in the UK town of Margate was destroyed. The artist took up the theme of domestic violence against women in a piece titled Valentine’s Day Mascara, depicting a 1950s housewife with a missing tooth and a black eye as she packs a male body into a real-life freezer chest. Image credits: Instagram

Art

"Exploring my feminine side": Jack Vidgen's new look

Jack Vidgen has shared the reasoning behind his new look, as he explores his "feminine side" with a radical new style. The former Australia’s Got Talent star has been turning heads with his last few red carpet appearances, stepping out with a full face of perfectly crafted makeup, a selection of hyper-feminine outfits, and towering high heels. In a recent post on Instagram, Vidgen explained that he still uses he/him pronouns, and is "just having fun" breaking down the gender binary rules of fashion. “Just wanted to say a major thank you to everyone who’s been hyping me up/cheering me on while I’ve been glamming it up lately and exploring my feminine side,” he began. <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/p/CpzVViJJLXy/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CpzVViJJLXy/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by jack vidgen (@jack.vidgen)</a> </div> </blockquote> “For everyone wondering I still identify as He/Him. I’m literally just having fun. We as a society have gendered fashion and the more I’m dressing like this, the more I’m uncovering and releasing myself of my own internalised homophobia as a gay man.” While most of his fans have been supportive of his fashion journey, Vidgen admitted he has also copped a lot of negativity online – mostly via his TikTok account – and posted a screenshot showing a selection of the vile comments. “You’re a bloke … stop kidding yourself,” reads one. “FFS this is what’s wrong with this world,” said another. But the singer, who shot to fame at the age of 14 after winning Australia’s Got Talent and appeared on other reality singing shows, said comments about his looks “really don’t phase me at all anymore.” “The media were so vicious about how I looked when I was on The Voice a few years ago, I’ve become almost completely desensitised to it but I think of all the young queer people who see it and that makes me sad.” Vidgen told his followers he would “continue to push the boundaries and break the mould” with how he dresses, not bothering about his public perception. “No one should have to tone themselves down to make the rest feel comfortable. We don’t belong in their boxes!” Image credits: Getty Images / Instagram

Beauty & Style

The Dark Side of the Moon at 50: how Marx, trauma and compassion all influenced Pink Floyd’s masterpiece

Dixi et salvavi animam meam. This Latin phrase – I have spoken and saved my soul – sits at the end of Karl Marx’s <a href="https://www.marxists.org/archive/marx/works/1875/gotha/">Critique of the Gotha Programme</a>. Written in 1875, this text imagines a communist society that will come about “after the enslaving of the individual to the division of labour, and thereby also the antithesis between mental and physical labour has vanished”. Only then, Marx argues, “can the narrow horizon of bourgeois right be completely transcended and society inscribe on its banners: from each according to his abilities, to each according to his needs!” Roger Waters – bassist, lyricist and conceptual mastermind behind Pink Floyd’s 1973 album The Dark Side of the Moon, released 50 years ago today – knows Marx’s Critique. Indeed, he quotes it when discussing the record with music journalist John Harris. “Making The Dark Side of the Moon, we were all trying to do as much as we possibly could,” Waters <a href="https://www.goodreads.com/en/book/show/301401">told</a> Harris. "It was a very communal thing. What’s that old Marxist maxim? ‘From each according to his ability, to each according to his need.’ That’s sort of the way the band worked at that point." Assertions about solidarity, cooperation and shared “unity of purpose” – as Waters says – situate Dark Side in the context of Pink Floyd’s <a href="https://faroutmagazine.co.uk/pink-floyd-roger-waters-david-gilmour-feud/">notoriously fractious</a> recording career and helps us understand the album’s enduring appeal. <h2>Shine on you crazy diamond</h2> Pink Floyd formed in London in 1965. Led by the charismatic songwriter, guitarist and lead vocalist Syd Barrett, the group established itself as a leader in the <a href="https://en.wikipedia.org/wiki/UK_underground">London underground music scene</a>. They released their debut album The Piper at the Gates of Dawn in 1967. <a href="https://en.wikipedia.org/wiki/Soft_Machine">Soft Machine</a> member Kevin Ayers <a href="https://www.bloomsbury.com/au/pink-floyds-the-piper-at-the-gates-of-dawn-9781441185174/">described</a> The Piper at the Gates of Dawn as “something magical, but it was in Syd Barrett”. Not long after the record’s release, Barrett suffered a catastrophic, LSD-induced breakdown. In response, the band recruited David Gilmour on guitar and recorded a second album, A Saucerful of Secrets, as a five-piece in 1968. Around this time, the increasingly unstable Barrett was unceremoniously ousted by the rest of the band. After Barrett left, says Ayers, “Pink Floyd became something else totally”. There are different versions of Pink Floyd. The recordings released after Barrett left the band in 1968 bear little resemblance to the first. Dark Side sounds nothing like the whimsical Piper. But it is obvious the record is in large part preoccupied with the loss of Barrett. This preoccupation comes to the fore in the album’s penultimate track. <a href="https://www.youtube.com/watch?v=g1OOQP1-wOE&ab_channel=HDPinkFloyd">Brain Damage</a>, written and sung by Waters, references Barrett’s adolescence (“Remembering games and daisy chains and laughs”), alludes to his illness (“And if the dam breaks open many years too soon”), and acknowledges his leaving the group (“And if the band you’re in starts playing different tunes; I’ll see you on the dark side of the Moon”). Drummer Nick Mason confirms the group didn’t want to lose Barrett. In his <a href="https://www.goodreads.com/book/show/265734.Inside_Out">autobiography</a>, he writes, "He was our songwriter, singer, guitarist, and – although you might not have known from our less than sympathetic treatment of him – he was our friend." <h2>If the dam breaks open many years too soon</h2> What we hear on The Dark Side of the Moon is a band dealing with trauma. In this sense, Dark Side represents the start of a reckoning with the past – a process that culminated with the band’s next record, 1975’s elegiac <a href="https://faroutmagazine.co.uk/wish-you-were-here-pink-floyd-seminal-ode-to-the-tragic-life-of-syd-barrett/">Wish You Were Here</a>. Culmination is a useful term when it comes to Dark Side more generally. On this record, all the avant-garde techniques and tendencies the band had toyed with in the post-Barrett period – <a href="https://en.wikipedia.org/wiki/Musique_concr%C3%A8te">musique concrète</a>, sonic manipulation, extended improvisation, analogue tape manipulation – come together to spectacular effect. <a href="https://www.youtube.com/watch?v=-0kcet4aPpQ">Money</a> – with its anti-capitalist lyrics penned by Waters (“Money, it’s a crime; share it fairly, but don’t take a slice of my pie”), odd time signature, and handmade tape-loops mimicking the sounds of cash tills, bags of coins being dropped from great height and bank notes being torn up – is one of the stranger hit singles in pop music history. Be that as it may, Money and the album from which it is taken, of which <a href="https://www.pinkfloyd.com/tdsotm50/">more than 50 million copies</a> have been sold, continue to resonate with listeners worldwide, five decades on from its initial release. <h2>The enormous risk of being truly banal</h2> “I made a conscious effort when I was writing the lyrics for Dark Side of the Moon to take the enormous risk of being truly banal about a lot of it,” Waters told John Harris, “in order that the ideas should be expressed as simply and plainly as possible.” On this point, <a href="https://www.loudersound.com/news/david-gilmour-says-its-pretty-unlikely-he-and-roger-waters-will-resolve-pink-floyd-feud">if nothing else</a>, David Gilmour agrees. He told Harris, "There was definitely a feeling that the words were going to be very clear and specific. That was a leap forward. Things would mean what they meant. That was a distinct step away from what we had done before." Mortality, insanity, conflict, affluence, poverty and, in another nod to Marx, <a href="https://en.wikipedia.org/wiki/Marx%27s_theory_of_alienation">alienation</a> are some of the themes presented on the record. The need – and this brings us full circle – for compassion, if not outright solidarity, is another. This is an album about the importance of understanding, as Waters <a href="https://www.goodreads.com/en/book/show/301401">insists, "T</a>he potential that human beings have for recognising each other’s humanity and responding to it, with empathy rather than antipathy." Given the sorry state of the world in 2023, about which Roger Waters has many <a href="https://www.bbc.com/news/entertainment-arts-64580688">contentious</a> and <a href="https://www.theguardian.com/music/2023/feb/07/pink-floyd-lyricist-calls-roger-waters-an-antisemite-and-putin-apologist">problematic</a> things to say, I wager Pink Floyd’s masterwork will continue to resonate with listeners for a while yet. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/the-dark-side-of-the-moon-at-50-how-marx-trauma-and-compassion-all-influenced-pink-floyds-masterpiece-198400" target="_blank" rel="noopener">The Conversation</a>.

Music

Kate Middleton flexes her competitive side against Prince William

Prince William and Kate Middleton have gone head to head in a seemingly friendly competition as the royal couple attended a spin class in South Wales. The Prince and Princess of Wales took each other on in a 45-second spin class sprint at the Aberavon Leisure and Fitness Centre in Port Talbot, with Kate leaving her husband in the metaphorical dust. Much to her surprise, the princess took out the title in the "Tour de Aberavon" and was handed a little gold cup, which she looked at proudly. Kate's win was made even more impressive as she competed while wearing a black-and-white houndstooth-print skirt, which was paired with Gianvito Rossi suede boots with a 10-centimetre heel. For the competition, Prince William was dressed in a navy suit and suede lace-up shoes for the series of engagements the couple made on the trip ahead of St David's Day – a day celebrating the nation's patron saint. The virtual race was themed to be an uphill ride through the Italian mountains, as Prince William told others in the room, "Sorry for ruining your spin class." As he climbed on the stationary bike, the royal realised his wife's shoes, pointing out, "You have got high heels on". Kate agreed, saying, "Not sure I am dressed for this." However, once on her bike the mum-of-three was seen adjusting the gears, asking as she laughed, "Can I make it harder?" Kate was visibly catching her breath at the end of the race, while Prince William gasped for air. "Talk to you in a minute," he joked to the class. The competitive dad-of-three, who has regularly been spotted cycling with his kids near their Norfolk home, had everyone laughing soon after. "I think I tore my pants!" he said. The couple visited the fitness centre to hear about how the facility was helping the local community with mental health through exercise. Image credits: Getty Images

Beauty & Style

Take a walk on the wild side with the Wildlife Photographer of the Year awards

The People’s Choice Award winners of the 2022 Wildlife Photographer of the Year awards have been revealed, featuring stunning images of some of the world’s most majestic creatures. Competition for the coveted People’s Choice Award was fierce, with over 39,000 images submitted for consideration. 25 pictures were shortlisted from there, and a staggering 60,466 votes were received to crown the winner: German photographer Sascha Fonseca. Sascha’s image, titled “World of the snow leopard”, presents a snow leopard at sunset in Ladakh in northern India, with a breathtaking snow-covered mountain range backdrop. “Thick snow blankets the ground, but the big cat’s dense coat and furry footpads keep it warm,” the image was captioned. “Sascha captured this image during a three-year bait-free camera-trap project high up in the Indian Himalayas. He has always been fascinated by snow leopards, not only because of their incredible stealth but also because of their remote environment, making them one of the most difficult large cats to photograph in the wild.” The winning images, selected for their “artistic composition, technical innovation, and truthful interpretation of the natural world”, boast not only a winner, but four other highly commended finalists as well. "This year’s record number of votes illustrates how wildlife photography can engage and inspire audiences with the wonder of nature,” said Director of the Natural History Museum Douglas Gurr. The other finalist feature a leopard with some unexpected cargo titled “Holding on” by Igor Altuna, a moment of “Fox affection” in the snow by Brittany Crossman, a polar bear basking in the sun “Among the flowers” by Martin Gregus, and a magnificent “Portrait of Olobor” the lion by Maasai Mara. The Wildlife Photographer of the Year competition, produced by the Natural History Museum, provides amateur and professional photographers from around the world with a global platform for their work. 2022 marked the 58th year of competition, and the 59th is currently being judged, with the 2023 winners to be announced in October. All image credits: Wildlife Photographer of the Year awards

International Travel

Former MP reveals "devastating" Covid vaccine side effects

Former federal MP Dr Kerryn Phelps has revealed both she and her wife have suffered continual health issues after receiving the Covid vaccine, while implying the true rate of adverse effects is higher than reported. In an explosive submission to Parliament’s Long Covid inquiry, the former Australian Medical Association (AMA) president has broken her silence about the "devastating" experience. “This is an issue that I have witnessed first-hand with my wife who suffered a severe neurological reaction to her first Pfizer vaccine within minutes, including burning face and gums, paraesethesiae, and numb hands and feet, while under observation by myself, another doctor and a registered nurse at the time of immunisation,” the 65-year-old said. “I continue to observe the devastating effects a year-and-a-half later with the addition of fatigue and additional neurological symptoms including nerve pains, altered sense of smell, visual disturbance and musculoskeletal inflammation. The diagnosis and causation has been confirmed by several specialists who have told me that they have seen ‘a lot’ of patients in a similar situation.” “Jackie [Kerryn's wife] asked me to include her story to raise awareness for others,” she said. “We did a lot of homework before having the vaccine, particularly about choice of vaccine at the time. In asking about adverse side effects, we were told that ‘the worst thing that could happen would be anaphylaxis’ and that severe reactions such as myocarditis and pericarditis were ‘rare’.” Dr Phelps revealed she was also diagnosed with a <a href="https://www.news.com.au/finance/economy/federal-budget/covid-vaccine-injury-payouts-explode-to-77-million-budget-reveals/news-story/df39fcf430c6cadb487a9914df7a3422" target="_self" data-tgev="event119" data-tgev-container="bodylink" data-tgev-order="df39fcf430c6cadb487a9914df7a3422" data-tgev-label="finance" data-tgev-metric="ev">vaccine injury</a> from her second dose of Pfizer in July 2021, “with the diagnosis and causation confirmed by specialist colleagues”. Dr Phelps said both reactions were reported to the Therapeutic Goods Administration (TGA) “but never followed up”. She revealed she had spoken with other doctors “who have themselves experienced a serious and persistent adverse event” but that “vaccine injury is a subject that few in the medical profession have wanted to talk about”. “Regulators of the medical profession have censored public discussion about adverse events following immunisation, with threats to doctors not to make any public statements about anything that ‘might undermine the government’s vaccine rollout’ or risk suspension or loss of their registration,” she said. “There has been a delay in recognition of vaccine injury, partly because of under-reporting, concerns about vaccine hesitancy in the context of managing a global pandemic, and needing to find the balance between risks and benefits on a population level.” According to the TGA’s most recent <a href="https://www.tga.gov.au/news/covid-19-vaccine-safety-reports/covid-19-vaccine-safety-report-15-12-2022" target="_self">safety update</a>, there have been a total of 137,141 adverse event reports from nearly 64.4 million doses — a rate of 0.2 per cent. There have been 819 reports “assessed as likely to be myocarditis” from 49.8 million doses of Pfizer and Moderna. Fourteen deaths have officially been linked to vaccination — 13 after AstraZeneca and one after Pfizer. Image credits: Getty Images

News

New photos show human side of Queen’s famed guards

Rare, recently released photos have shown a behind-the-scenes look at the lives of the Queen’s guards in between lengthy shifts standing watch during her lying-in-state. The guards, known for their bearskin hats and stoic expressions, were guarding the Queen’s coffin around the clock in the lead-up to her funeral on Monday. But, recent photos shared by the UK Ministry of Defence show a more human side to them, with shots of them resting between shifts with their shoes and jackets off, napping and lounging in the parliament building, and dressing each other. “The UK Armed Forces are continuing to honour their Commander-in-Chief of 70 years, Her Majesty The Queen,” the Ministry captioned the photos. <blockquote class="twitter-tweet"> The UK Armed Forces are continuing to honour their Commander-in-Chief of 70 years, Her Majesty The Queen, as they stand vigil alongside The King's Body Guard. <a href="https://t.co/1iJi4xGGbJ">pic.twitter.com/1iJi4xGGbJ</a> — Ministry of Defence 🇬🇧 (@DefenceHQ) <a href="https://twitter.com/DefenceHQ/status/1571454159404109830?ref_src=twsrc%5Etfw">September 18, 2022</a></blockquote> Members of His Majesty’s Body Guard of the Honourable Corps of Gentlemen at Arms, the Royal Company of Archers and the Yeomen of the Guard guarded the Queen’s coffin during vigils and her funeral and switched places every 20 minutes during her lying-in-state. The new photos come after footage shared earlier this week captured the moment a member of the Royal Guard collapsed near the Queen’s coffin in front of mourners, falling face forward towards the stone floor and bracing himself at the last second. During Her Majesty’s funeral, Lance Sergeant Wordsworth of the First Battalion Coldstream Guards described the preparations made for the service, involving days of standing guard and rehearsals. "For the funeral of Her Majesty, I am involved in doing the street lining. We're also lining the route to St George's Chapel for when the Queen comes down," he said to the Ministry of Defence. "On Wednesday, September 14, I was part of the Guard of Honour at Buckingham Palace when the coffin was received, and then when Her Majesty left to be taken in the procession to Westminster Hall. "Obviously this has been planned for, and you can see how many people are with us, how it is trying to get them working in unison, but as a battalion. This is our bread and butter." The soldier added that it was an immense honour to take part in the late monarch’s funeral and a defining moment in any guard member’s career. "This is one of the biggest occasions, as sad as it may be, you're not going to define anything more in your army career than starting as a Queen's guard and probably finishing as a King's guard." Images: @DefenceHQ (Twitter)

Body

Tommy Little reveals a wild side to co-host Lisa Wilkinson

The Project’s Tommy Little has revealed that his co-host, Lisa Wilkinson, has a wild side not many people know about. Little, who is known for his X-rated jokes on the show, shared the revelation with <a href="https://www.news.com.au/entertainment/tv/current-affairs/tommy-littles-surprisingly-racy-lisa-wilkinson-confession/news-story/a15990784840c831713d45b151c6be3e" target="_blank" rel="noopener">news.com.au</a> in an interview for their upcoming podcast, I’ve Got News For You, which is due to be released in full on Monday. “I don’t think Wilko is actually offended, I think she has to appear to be not on-board with the many c**k jokes,” Little began, with podcast host Andrew Bucklow pressing for more details about Wilkinson. Little then claimed the former Today host “loves the strippers”. “That is not something I was expecting when I started to work with her,” the 37-year-old said. “We’ve been out for dinner a few times, and she’s a great host. I’ve been over [to her house] for dinner, and it always gets to a certain point when Lisa gets a sparkle in her eye and says, ‘Should we go to the strippers?’ “I say, ‘Wilko, no, this has clearly been a problem for you in the past and tonight, no, you’ve gotta rein it in’.” Elsewhere in the interview, Little revealed he was the “most complained about cast member” on the show and that he was “told off all the time”. “I assume they have to, if they get enough complaints I guess they have to tell me at some point.” Image: news.com.au

Andy Warhol’s Marilyn Monroe portraits expose the darker side of the 60s

“If you remember the ‘60s, you weren’t really there”. This <a href="https://quoteinvestigator.com/2010/05/07/remember-1960s/">famous quip</a> says much about our rose-tinted nostalgia for the decade. The fun-loving hedonism of Woodstock and Beatlemania may be etched into cultural memory, but Andy Warhol’s Marilyn Monroe portraits reveal a darker side to the swinging 60s that turns our nostalgia on its head. Warhol’s iconic Marilyn Monroe portrait <a href="https://www.nytimes.com/2022/03/21/arts/design/christies-andy-warhol-marilyn-monroe.html">Shot Sage Blue Marilyn</a>, due to go on sale at Christie’s in May, is expected to fetch record-breaking bids of $200 million (£153 million), making it the most expensive 20th century artwork ever auctioned. Nearly 60 years after they were first created, Warhol’s portraits of the ill-fated Hollywood star continue to fascinate us. According to <a href="https://www.nytimes.com/2022/03/21/arts/design/christies-andy-warhol-marilyn-monroe.html">Alex Rotter</a>, Christie’s chairman for 20th and 21st century art, Warhol’s Marilyn is “the absolute pinnacle of American Pop and the promise of the American dream, encapsulating optimism, fragility, celebrity and iconography all at once”. Hollywood stars were great sources of inspiration for the <a href="https://www.tate.org.uk/art/art-terms/p/pop-art">Pop art</a> movement. Monroe was a recurring motif, not only in the work of Warhol but in the work of his contemporaries, including James Rosenquist’s <a href="https://www.moma.org/learn/moma_learning/james-rosenquist-marilyn-monroe-i-1962/">Marilyn Monroe, I</a> and Pauline Boty’s <a href="https://www.artfund.org/supporting-museums/art-weve-helped-buy/artwork/11953/colour-her-gone">Colour Her Gone</a> and <a href="https://www.tate.org.uk/art/artworks/boty-the-only-blonde-in-the-world-t07496">The Only Blonde in the World</a>. <h2>Mourning Marilyn</h2> Born Norma Jeane Mortenson but renamed Marilyn Monroe by 20th Century Fox, the actress went on to become one of the most illustrious stars of Hollywood history, famed for her roles in classic films like <a href="https://www.imdb.com/title/tt0045810/">Gentlemen Prefer Blondes</a> and <a href="https://www.imdb.com/title/tt0053291/">Some Like It Hot</a>. She epitomised the glitzy world of consumerism and celebrity that Pop artists thought was emblematic of 1950s and 1960s American culture. While Rotter’s statement may be true to some extent, there is also a sinister edge to the Marilyns because many were produced in the months following her unexpected death in 1962. On the surface, the works may look like a tribute to a much-loved icon, but themes of death, decay and even violence lurk within these canvases. Clues can often be found in the production techniques. One of the collection’s most famous pieces, <a href="https://www.tate.org.uk/art/artworks/warhol-marilyn-diptych-t03093">Marilyn Diptych</a>, uses flaws from the silkscreen process to create the effect of a decaying portrait. Warhol’s <a href="https://news.masterworksfineart.com/2019/11/26/andy-warhols-shot-marilyns">The Shot Marilyns</a> consists of four canvases shot through the forehead with a single bullet. In this, the creation of Warhol’s art is as important as the artwork itself. <h2>Death and Disaster</h2> At a glance, the surface level glamour of Warhol’s Marilyn immortalises the actress as a blonde bombshell of Hollywood’s bygone era. It is easy to forget the tragedy behind the image, yet part of our enduring fascination with Marilyn Monroe is her tragedy. Her mental health struggles, her tempestuous personal life and the mystery surrounding her death have been well documented in countless biographies, films and television shows, including Netflix’s documentary <a href="https://www.imdb.com/title/tt19034332/">The Mystery of Marilyn Monroe: The Unheard Tapes</a> and upcoming biopic <a href="https://www.imdb.com/title/tt1655389/">Blonde</a>. She epitomises the familiar narrative of the tragic icon that is doomed to keep repeating itself – something that Warhol understood all too well after surviving a shooting by <a href="https://www.artnews.com/art-news/news/who-was-valerie-solanas-andy-warhol-1202689740/">Valerie Solanas</a> in 1968. The death at the heart of Warhol’s Marilyns is not just rooted in grief but is also a reflection of the wider cultural landscape. The 1960s was a remarkably dark period in 20th century American history. A brief look at the context in which Warhol was producing these images reveals a decade plagued by a series of traumatic events. <a href="https://www.life.com/">Life Magazine</a> published violent photographs of the Vietnam War. Television broadcasts exposed shocking police brutality during civil rights marches. America was shaken by the assassinations of John F Kennedy, Robert Kennedy and Martin Luther King Jr. Footage of JFK’s death captured by bystander Abraham Zapruder was repeatedly broadcast on television. Celebrated Hollywood stars were dying young and in tragic circumstances, from Marilyn Monroe and Judy Garland to Jayne Mansfield and Sharon Tate. This image of the 1960s is echoed by the postmodern theorist <a href="https://www.jstor.org/stable/466541">Fredric Jameson</a>, who describes the decade as a “virtual nightmare” and a “historical and countercultural bad trip”. Stars like Monroe were not as flawless as they may appear in Warhol’s portraits, but were “notorious cases of burnout and self-destruction”. Warhol understood this more than anyone. His <a href="https://publicdelivery.org/andy-warhol-death-disaster/#:%7E:text=Andy%20Warhol%20created%20a%20series,repetition%20to%20communicate%20his%20ideas.">Death and Disaster</a> series explores the spectacle of death in America and affirms the 1960s as a time of anxiety, terror and crisis. The series consists of a vast collection of silkscreened photographs of real-life disasters including car crashes, suicides and executions taken from newspapers and police archives. Famous deaths are also a central theme of the series, including portraits of Marilyn Monroe, Elizabeth Taylor and Jackie Kennedy – all of whom are associated with significant deaths or near-death experiences. Death and Disaster came about in 1962 when Warhol’s collaborator <a href="https://www.google.co.uk/books/edition/Andy_Warhol/-sotEAAAQBAJ?hl=en&gbpv=1&dq=Maybe+everything+isn%27t+always+so+fabulous+in+America.+It%E2%80%99s+time+for+some+death.+This+is+what%E2%80%99s+really+happening.&pg=PT32&printsec=frontcover">Henry Geldzahler</a> suggested that the artist should stop producing “affirmation of life” and instead explore the dark side of American culture, "Maybe everything isn’t always so fabulous in America. It’s time for some death. This is what’s really happening." He handed Warhol a copy of the New York Daily News, which led to the first disaster painting <a href="https://artimage.org.uk/6123/andy-warhol/129-die-in-jet--plane-crash---1962">129 Die in Jet!</a>. The recent hype around the auctioning of the Marilyn portrait reveals as much about our time as it does about our nostalgia for the 1960s. We choose to remember the decade in all its glorious technicolour, but uncovering its darker moments provides room for reconsideration. Perhaps Warhol’s Marilyn is not just a symbol of the swinging 60s, but an artefact from a time that was as turbulent and uncertain as our own. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/andy-warhols-marilyn-monroe-portraits-expose-the-darker-side-of-the-60s-181213" target="_blank" rel="noopener">The Conversation</a>.

Art

One side-splitting moment made crowd lose it at Shane Warne’s memorial

Amid feelings of joy and teary despair, there was one moment at Shane Warne’s memorial service that saw the crowd erupt with laughter, per <a href="https://www.news.com.au/sport/cricket/moment-that-made-the-crowd-lose-it-at-shane-warnes-memorial/news-story/ae03125ea937033e231e46399634d7c9" target="_blank" rel="noopener">news.com.au</a>. A panel of Warnie’s good friends - including former St Kilda player Aaron Hamill - were asked about his fashion choices, including the Peaky Blinders inspired hats he had been wearing in recent years. Hamill explained how the late cricketer’s love of old school hats led to him making an unusual request. “[Shane] said, ‘I’ve got this great idea’, as he always did,” Hamill recalled. Warne decided to email the producers of Peaky Blinders, which follows a family of gangsters in 1900s England, to say that he was a keen fan of the show and ask if he could be on it. “So he did that and he rang me back and said, ‘I got the email back’,” Hamill continued. “I said, ‘Please, read it out to me’. “‘Dear Shane, thanks very much. We love your enthusiasm, but unfortunately porcelain veneers weren’t around in Birmingham in 1931. But we love your support. Thank you very much.’” With many fans likely picturing Warne’s great big smile in their minds, they burst out laughing. “But that’s what he was like,” Hamill said. “He was ambitious. He was driven. He wouldn’t take no for an answer.” The panel, hosted by Andy Lee, attracted the most laughs the whole night, which saw more than 55,000 gather at the MCG while a billion people watched it from around the world. “He would be gobsmacked by this,” footy great Sam Newman said of the memorial while he appeared on the panel alongside cricketer Dimitri Mascarenhas, and comedian and actor Glenn Robbins. “I’ll tell you what, I’m finding it hard to get over, the United Nations are a part of this. “I thought, ‘that is extraordinary. He’s actually infiltrated the United Nations and they are here. That is staggering.’” A United Nations representative spoke earlier in the service of Warne’s involvement with a wildlife conservation initiative called The Lion’s Share. They also announced a new “Shane Warne conservation grant” to “memorialise his service and catalyse more action”. As much as there were laughs during the night, there were also plenty of tears and spine-tingling moments. MC Eddie McGuire read out a letter written by Warne’s brother Jason 30 years ago, in which he predicted the legacy Warne would leave behind. “Now is the time to put everything, and I mean everything, into it and make it work for you,” the letter said. “So, come on, make some more sacrifices and give people the opportunity in 20 years’ time to say ‘Remember Shane Warne. We’ll never get another leggie like him. He was the best spinner Australia ever had’.” Warne’s three children - Summer, Jackson and Brooke - also spoke about their love for their dad and how much they missed him, and fans could be seen wiping away tears. “It has been exactly 26 days since you went to heaven and I miss you more than anything in the whole world,” Summer said, as the first of the three to speak to the crowd. “I’ve had to come to terms with the fact that you won’t be able to walk me down the aisle on my special day. You’re not going to meet your grandchildren that you’re going to have someday, but instead you will be someone I will tell my kids about and how much of an amazing father you were to me. How good of a grandfather you would have made and how they would have loved and adored you just like I do.” The tears were later replaced by cheers as the siblings unveiled the Shane Warne Stand for the first time. Image: Getty Images

Caring

West Side Story actress snubbed from Oscars

West Side Story actress Rachel Zegler claims she was not invited to the 2022 Oscars, despite the film receiving seven nominations. When a fan commented on Rachel's Instagram expressing their excitement over seeing the actress's Academy Award outfit, the breakout actress replied, “I’m not invited, so sweatpants and my boyfriend’s flannel.” Rachel's followers immediately jumped to her defence with messages of shock and surprise, considering the film she is starring in received a Best Picture nomination. “Breaks my heart. You were the best part of that movie. Surely Steven Spielberg could do something about this,” one fan wrote, referencing the film’s legendary director, who is also nominated. “Step up to the mic? How’s the leading actress of a movie that’s up for seven Academy Awards not invited? How does that make any sense?” another commented. After the influx of confused comments, 20-year-old Rachel said she didn't understand the snub either, but she would still be cheering on the musical from home. “IDK y’all I have tried it all but it doesn’t seem to be happening,” she wrote in a second comment. “I will root for West Side Story from my couch and be proud of the work we so tirelessly did three years ago.” The young actress has already won a Golden Globe award for her portrayal of Maria Vasquez this award season, stumping movie fans even more. Despite the outrage, she also thanked her fans for their shock over the apparent snub, saying, “I hope some last minute miracle occurs and I can celebrate our film in person but hey, that’s how it goes sometimes, I guess.” “I’m disappointed, too. But that’s OK. So proud of our movie.” Image credits: Getty Images

Movies

Most common side effect of booster jab explained

Image: Getty As more Aussies are rolling up their sleeves for their Covid-19 booster shots, reports are emerging of <a rel="noopener" href="https://www.oversixty.com.au/health/body/woman-reports-bizarre-side-effect-of-covid-jab" target="_blank">all kinds of bizarre side effects</a>. But there is one in particular that is proving the most common. Most who have received both doses already have an idea of some of the side-effects that can occur, including pain at injection site, tiredness, fever, chills and headaches. However, the more common adverse effect from the third Covid vaccine appear to be swollen lymph nodes. These are the small lumps of tissue that contain white blood cells to help you fight infection by attacking and destroying germs that are carried through the lymph fluid. There are hundreds of lymph nodes throughout the body including in the neck, armpit, chest, abdomen and groin. “Swollen lymph nodes are a normal and known side effect of vaccines and occurs when the immune system is stimulated,” the TGA said, adding it was observed during clinical trials for the Covid-19 vaccines. For Pfizer, it has been found to occur more frequently after a third dose, with about 5% of people reporting experiencing swollen lymph nodes. This is compared to the less than 1% of people who reported this side effect after the first or second doses in the clinical trials. For Moderna, this side effect occurred in up to 10% of people. Swelling may be noticed near the injection site within a few days of the vaccination, for example in an armpit where the lymph nodes are located. What causes the swelling? The Covid-19 vaccines contain spike proteins that start to build when injected into your body. These proteins are then carrying into the lymph nodes, activating some of the white blood cells. Immunology researcher at the Walter and Eliza Hall Institute (WEHI), Joanna Groom, told the ABC some of the white blood cells that are stimulator are known “effector” cells and pump out antibodies that neutralise the virus and therefore multiplying, possibly leading to inflammation. It appears that a fourth Covid-19 booster shot could be on the cards for Australians, with the country’s most senior health official dropping a big hint about additional vaccine doses. Earlier this month, Israel became the first country to begin rolling out a fourth dose of the vaccine. A fourth dose is already recommended for immunocompromised people in Australia.

Body

Woman reports bizarre side effect of Covid jab

After receiving her booster dose of the COVID-19 vaccine, a Sydney woman has given it credit for an unusual side effect - removing two persistent warts on her hands. Erin Riley <a rel="noopener" href="https://www.nzherald.co.nz/lifestyle/covid-19-omicron-outbreak-mrna-vaccine-credited-with-removing-warts-in-weird-booster-side-effect/QOCD7UJGXU25S6K5D4A2ELRXTE/" target="_blank">shared</a> her medical discovery on Twitter, two weeks after receiving an mRNA Covid vaccine. “I have had two warts on my hands for the last 5 years,” she wrote. “Tried wart off- they kept coming back. But in the two weeks since I had my booster shot (my first mRNA vaccine as my first two were AZ), they have disappeared completely. “As in, you can’t even tell they were there.” <blockquote class="twitter-tweet"> I have had two warts on my hands for the last 5 years. Tried wart off- they kept coming back. But in the two weeks since I had my booster shot (my first mRMA vaccine as my first two were AZ), they have disappeared completely. As in, you can’t even tell they were there. — Erin Riley (@erinrileyau) <a href="https://twitter.com/erinrileyau/status/1480094264994402308?ref_src=twsrc%5Etfw">January 9, 2022</a></blockquote> Several people have since commented on Ms Riley’s tweet with their own, similar experiences, including some who noticed effects after receiving just their first dose. “I just checked and yes a wart I’ve had on my finger for at least 20 yrs is gone. Not even a mark,” one person shared. “OH MY GOD I just checked and one on my toe is significantly smaller?! It’s been there maybe 15 years,” another wrote. Others have shared experiences of disappearing corns and moles. “OK so this is weird but had a mole just above my eyebrow that (has) been developing very slowly, now it’s almost gone … so that’s unexpected. Not a wart but a mole,” they wrote. Although most warts are harmless, viral warts are generally caused by one of the 150 different strains of the human papillomaviruses (HPV). <blockquote class="twitter-tweet"> OH MY GOD I just checked and one on my toe is significantly smaller?! It’s been there maybe 15 years. 🤯🤯🤯🤯🤯 — Isobel Roe (@isobelroe) <a href="https://twitter.com/isobelroe/status/1480119614335963137?ref_src=twsrc%5Etfw">January 9, 2022</a></blockquote> A study from the <a rel="noopener" href="https://onlinelibrary.wiley.com/doi/full/10.1111/jdv.17771?casa_token=un9AON3sN5wAAAAA%3AZd0_bHa49HTkAV2PGy23u1I-04yMSxYDG02FjPAWiF_miSXv2E8096OHbaVqy_fyy-CTRIbYOzdEShwv" target="_blank">Journal of the European Academy of Dermatology and Venereology</a> has reported on the effect of COVID-19 vaccines and viral warts, though the effect is yet to be well-established. The researchers cited a potential explanation that could involve activation of a person’s immune response after getting the jab. However, they said more research is needed to confirm the link. The team also noted that the effect was interesting, as other vaccines for measles, mumps and rubella have also been used to treat viral warts. They added that though warts can disappear “spontaneously”, a similar effect has been seen in some patients who received the HPV vaccine. Unlike the Oxford-AstraZeneca vaccine - which uses weakened viral material to trigger an immune response - mRNA vaccines such as Moderna and Pfizer use messenger RNA (mRNA) to trigger the response. The mRNAin the vaccine teaches your immune system how to make the S protein found in the COVID-19 virus, allowing your body to create antibodies specifically to fight the virus which can protect you from future infection. Image: Getty Images

Body

From Chicago to West Side Story, how to successfully adapt a musical from stage to screen

The second half of 2021 is proving to be a peak time for movie musical-goers, with the release of critically acclaimed In the Heights, disastrously received Dear Evan Hansen, and Steven Spielberg’s hotly anticipated West Side Story. These films lead to reflection on one of the stranger sub-genres of film history — the musical stage-to-screen adaptation. To film a stage show (as in the recent professionally shot films of Hamilton and Come from Away), or merely to create bigger stage sets in a studio (there are many examples of this, from Guys and Dolls to The Producers) is not truly to adapt a musical to film. Instead, adaptors should use the tools unique to film to re-interpret the musical in this different medium. To help us through the vicissitudes of adaptation, here is an idiosyncratic list of a few DOs and DON’Ts. <h2>DO use real locations creatively</h2> Location shooting is a frequent tool used to enhance the realism of film musicals, but placing the un-realism of song and dance in a real place can backfire and create an uncanny valley. Locations are best used in a super-realistic way. A successful recent example of this is In the Heights. Director Jon Chu and his production team shot much of the film in Washington Heights in Manhattan, but in a way that the neighbourhood seems a natural place for music-making: very careful lighting, colour-timing, and the occasional unobtrusive effects shot lift the story out of the mundane. <a href="https://images.theconversation.com/files/437093/original/file-20211213-21-hr5jsr.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437093/original/file-20211213-21-hr5jsr.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> In The Heights (2021) is a love letter to the Washington Heights area of NYC. IMDB In the number When the Sun Goes Down, lovers Benny and Nina begin singing naturalistically on a fire escape, but then a set on hydraulics, green screen, and “magic hour” lighting come together to enable a gravity-defying dance across the rooftops and walls of the apartment buildings. See also: Fiddler on the Roof, Jesus Christ Superstar, On the Town <h2>DON’T ghettoise all of the musical numbers to a stark dreamland covered in artistic scaffolding</h2> Counter to the previous guideline about using real locations for musical numbers, some film musicals go too far in the opposite direction. Two musicals directed by Rob Marshall, Chicago and Nine, puzzlingly use the same solution to try and hedge their bets: the dialogue scenes happen in realistic locations (1920s Chicago and 1960s Rome, respectively) but the musical numbers are relegated to their characters’ internal fantasies, which in both cases means studio-like settings that allow for dancers to be placed in aesthetically pleasing formations. <a href="https://images.theconversation.com/files/437098/original/file-20211213-27-qhe4i9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437098/original/file-20211213-27-qhe4i9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> Chicago (2002), features musical numbers entirely set within the character’s internal fantasies. IMDB This strategy gets the filmmakers out of having to bridge the gap between speech time and music time, but the narrative innovations of both shows are smoothed out on screen. That makes for a less interesting filmgoing experience. The exception that proves the rule here is Cabaret, in which director Bob Fosse removed all of the “book” songs and kept only those performed in the titular cabaret. Through innovative intercutting and montage the cabaret songs pervade the whole texture of the film, however, resulting in one of the most “musical” of all musicals. <h2>DO fix problems with the dramatic unfolding of the source material</h2> Show Boat was the first stage musical to attempt a truly epic form, covering twenty years of story time and locations all along the Mississippi River. In 1927, stage mechanics had not caught up with librettist Oscar Hammerstein II and composer Jerome Kern’s ambitions, and the musical, brilliant and groundbreaking as it was, suffered from overlength and a dramatically clumsy second act. The production team fixed these issues in the 1936 film version, as the technologies of montage, dissolve, and cross-cutting that were possible on film allowed for a more effective unfolding of time and place. The 1965 film version of The Sound of Music similarly fixes problems in the stage version; another epic musical, the stage version feels hemmed-in and stifled. <a href="https://images.theconversation.com/files/437103/original/file-20211213-21-1maqjdh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437103/original/file-20211213-21-1maqjdh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> The Sound of Music (1965) uses film techniques and editing to improve on a ‘stifled’ stage musical. IMDB It is allowed to breathe on film, and the songs are moved around to better reflect what they are actually about (My Favourite Things on stage is sung by the Mother Abbess to cheer up Maria before she leaves the convent!) See also: Hair, Hairspray, Tick Tick Boom <h2>DON’T adapt a musical to film that didn’t work on stage</h2> Poor Alan Jay Lerner. After the extraordinary success of the film version of My Fair Lady, Lerner attempted film adaptations of three of his other musicals that had been less successful on stage. Camelot, which had a healthy run on Broadway because of its star actors (Julie Andrews, Richard Burton, and Robert Goulet), its Oliver Smith production designs, and a few excellent songs, rather more than for its unconvincing storyline and structure, was a natural for screen adaptation. But non-singer stars (Richard Harris, Vanessa Redgrave, and Franco Nero), unconvincing plot revisions, and dull direction by Joshua Logan caused it to be an inert behemoth on screen. Lerner tried again with Paint Your Wagon in 1969, based on a much earlier stage musical that had been only mildly successful with a few hit songs (notably They Call the Wind Maria). But once more, non-singer stars (Lee Marvin, Clint Eastwood, and Jean Seberg), unconvincing plot revisions, and dull direction by (again!) Joshua Logan resulted in yet another inert behemoth. <a href="https://images.theconversation.com/files/437105/original/file-20211213-27-1dca0r1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437105/original/file-20211213-27-1dca0r1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> Paint Your Wagon (1969) is generally acknowledged as a poor example of a film musical, and a stage musical. IMDB Third time was not a charm, with On a Clear Day You Can See Forever. This time the stars were singers: Barbra Streisand and Yves Montand. Unfortunately, their talents were hidden by another poorly revised screenplay and, unlike the other two films, this one could have used more of everything, especially music. Writing this has made me realise that successful stage-to-screen adaptations are quite rare. For every Cabaret there are two Annies and a Man of La Mancha. Spielberg’s new West Side Story will be the first musical he has directed in his long career, and musical-lovers everywhere are optimistic that he will do this classic musical justice. I merely hope that the only scaffolding to be found is on the fire escapes of 1950s Manhattan!<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; text-shadow: none !important;" src="https://counter.theconversation.com/content/169946/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/gregory-camp-1280180">Gregory Camp</a>, Senior Lecturer, <a href="https://theconversation.com/institutions/university-of-auckland-1305">University of Auckland</a> This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/from-chicago-to-west-side-story-how-to-successfully-adapt-a-musical-from-stage-to-screen-169946">original article</a>. Image: 20th Century Studios

Movies

From Chicago to West Side Story, how to successfully adapt a musical from stage to screen

The second half of 2021 is proving to be a peak time for movie musical-goers, with the release of critically acclaimed In the Heights, disastrously received Dear Evan Hansen, and Steven Spielberg’s hotly anticipated West Side Story. These films lead to reflection on one of the stranger sub-genres of film history — the musical stage-to-screen adaptation. To film a stage show (as in the recent professionally shot films of Hamilton and Come from Away), or merely to create bigger stage sets in a studio (there are many examples of this, from Guys and Dolls to The Producers) is not truly to adapt a musical to film. Instead, adaptors should use the tools unique to film to re-interpret the musical in this different medium. To help us through the vicissitudes of adaptation, here is an idiosyncratic list of a few DOs and DON’Ts. DO use real locations creatively Location shooting is a frequent tool used to enhance the realism of film musicals, but placing the un-realism of song and dance in a real place can backfire and create an uncanny valley. Locations are best used in a super-realistic way. A successful recent example of this is In the Heights. Director Jon Chu and his production team shot much of the film in Washington Heights in Manhattan, but in a way that the neighbourhood seems a natural place for music-making: very careful lighting, colour-timing, and the occasional unobtrusive effects shot lift the story out of the mundane. <a href="https://images.theconversation.com/files/437093/original/file-20211213-21-hr5jsr.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437093/original/file-20211213-21-hr5jsr.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> In The Heights (2021) is a love letter to the Washington Heights area of NYC. IMDB In the number When the Sun Goes Down, lovers Benny and Nina begin singing naturalistically on a fire escape, but then a set on hydraulics, green screen, and “magic hour” lighting come together to enable a gravity-defying dance across the rooftops and walls of the apartment buildings. See also: Fiddler on the Roof, Jesus Christ Superstar, On the Town DON’T ghettoise all of the musical numbers to a stark dreamland covered in artistic scaffolding Counter to the previous guideline about using real locations for musical numbers, some film musicals go too far in the opposite direction. Two musicals directed by Rob Marshall, Chicago and Nine, puzzlingly use the same solution to try and hedge their bets: the dialogue scenes happen in realistic locations (1920s Chicago and 1960s Rome, respectively) but the musical numbers are relegated to their characters’ internal fantasies, which in both cases means studio-like settings that allow for dancers to be placed in aesthetically pleasing formations. <a href="https://images.theconversation.com/files/437098/original/file-20211213-27-qhe4i9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437098/original/file-20211213-27-qhe4i9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> Chicago (2002), features musical numbers entirely set within the character’s internal fantasies. IMDB This strategy gets the filmmakers out of having to bridge the gap between speech time and music time, but the narrative innovations of both shows are smoothed out on screen. That makes for a less interesting filmgoing experience. The exception that proves the rule here is Cabaret, in which director Bob Fosse removed all of the “book” songs and kept only those performed in the titular cabaret. Through innovative intercutting and montage the cabaret songs pervade the whole texture of the film, however, resulting in one of the most “musical” of all musicals. DO fix problems with the dramatic unfolding of the source material Show Boat was the first stage musical to attempt a truly epic form, covering twenty years of story time and locations all along the Mississippi River. In 1927, stage mechanics had not caught up with librettist Oscar Hammerstein II and composer Jerome Kern’s ambitions, and the musical, brilliant and groundbreaking as it was, suffered from overlength and a dramatically clumsy second act. The production team fixed these issues in the 1936 film version, as the technologies of montage, dissolve, and cross-cutting that were possible on film allowed for a more effective unfolding of time and place. The 1965 film version of The Sound of Music similarly fixes problems in the stage version; another epic musical, the stage version feels hemmed-in and stifled. <a href="https://images.theconversation.com/files/437103/original/file-20211213-21-1maqjdh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437103/original/file-20211213-21-1maqjdh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> The Sound of Music (1965) uses film techniques and editing to improve on a ‘stifled’ stage musical. IMDB It is allowed to breathe on film, and the songs are moved around to better reflect what they are actually about (My Favourite Things on stage is sung by the Mother Abbess to cheer up Maria before she leaves the convent!) See also: Hair, Hairspray, Tick Tick Boom DON’T adapt a musical to film that didn’t work on stage Poor Alan Jay Lerner. After the extraordinary success of the film version of My Fair Lady, Lerner attempted film adaptations of three of his other musicals that had been less successful on stage. Camelot, which had a healthy run on Broadway because of its star actors (Julie Andrews, Richard Burton, and Robert Goulet), its Oliver Smith production designs, and a few excellent songs, rather more than for its unconvincing storyline and structure, was a natural for screen adaptation. But non-singer stars (Richard Harris, Vanessa Redgrave, and Franco Nero), unconvincing plot revisions, and dull direction by Joshua Logan caused it to be an inert behemoth on screen. Lerner tried again with Paint Your Wagon in 1969, based on a much earlier stage musical that had been only mildly successful with a few hit songs (notably They Call the Wind Maria). But once more, non-singer stars (Lee Marvin, Clint Eastwood, and Jean Seberg), unconvincing plot revisions, and dull direction by (again!) Joshua Logan resulted in yet another inert behemoth. <a href="https://images.theconversation.com/files/437105/original/file-20211213-27-1dca0r1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437105/original/file-20211213-27-1dca0r1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> Paint Your Wagon (1969) is generally acknowledged as a poor example of a film musical, and a stage musical. IMDB Third time was not a charm, with On a Clear Day You Can See Forever. This time the stars were singers: Barbra Streisand and Yves Montand. Unfortunately, their talents were hidden by another poorly revised screenplay and, unlike the other two films, this one could have used more of everything, especially music. Writing this has made me realise that successful stage-to-screen adaptations are quite rare. For every Cabaret there are two Annies and a Man of La Mancha. Spielberg’s new West Side Story will be the first musical he has directed in his long career, and musical-lovers everywhere are optimistic that he will do this classic musical justice. I merely hope that the only scaffolding to be found is on the fire escapes of 1950s Manhattan!<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; text-shadow: none !important;" src="https://counter.theconversation.com/content/169946/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a rel="noopener" href="https://theconversation.com/profiles/gregory-camp-1280180" target="_blank">Gregory Camp</a>, Senior Lecturer, <a rel="noopener" href="https://theconversation.com/institutions/university-of-auckland-1305" target="_blank">University of Auckland</a> This article is republished from <a rel="noopener" href="https://theconversation.com" target="_blank">The Conversation</a> under a Creative Commons license. Read the <a rel="noopener" href="https://theconversation.com/from-chicago-to-west-side-story-how-to-successfully-adapt-a-musical-from-stage-to-screen-169946" target="_blank">original article</a>. Image: 20th Century Studios

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From Chicago to West Side Story, how to successfully adapt a musical from stage to screen

From Chicago to West Side Story, how to successfully adapt a musical from stage to screen

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