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Child dies after car crashes through school gate

One child has died and another four kids have been left injured after a car crash through a school gate in the east Melbourne suburb of Auburn. Emergency services were called to Auburn South Primary School in Hawthorn East on Tuesday afternoon after a car veered off the road and into the primary school's gate. The car collided with a table where five children were sitting. Two 11-year-old girls, one 10-year-old girl and a 10-year-old boy were all taken to hospital with serious injuries. An 11-year-old boy was taken to hospital with critical injuries, and later died. The driver of the vehicle was identified as a 40-year-old woman who was local to the area, and was arrested at the scene. A primary school-aged was also in the car at the time of the crash but remained unharmed. Victoria Police Inspector Craig McEvoy said the driver was attempting a U-turn before veering off the road, and it appeared the crash was an accident. "It's tragic circumstances ... really tough for everyone involved," McEvoy said. "It's always a tough time when children are involved." "The ongoing investigation will take days, weeks, months," Inspector McEvoy added. Premier Jacinta Allan also commented on the incident, saying it should have been an "unremarkable sunny day" at the school. "Instead, a dark shadow has been cast over our city and state," she wrote on X. "I'm sending my love and thoughts to the students, their families and the whole school communityAnd my thanks to the first responders on the scene," she said. "I know tonight Victorians will be thinking of Auburn South Primary, and holding our kids even closer." Image credits: ABC News / Nine News

Caring

Readers response: What’s the most unexpected thing you’ve learned about yourself through travel?

When it comes to travelling, it's not uncommon to have revelations about yourself while self-reflecting in a new place. We asked our readers what the most unexpected thing they've learned about themselves is through travel, and the response was overwhelming. Here's what they said. Penny Corbin - I don't need the cathedrals, monuments, the tours, I just love walking in the space and finding my own beauty wherever it leads me. Dom Cimino - That I really love meeting people of all backgrounds. Jenny Halkett - To treat it as an adventure, and don’t be afraid to ask a qualified person for advice. Kristeen Collison - That I’m more adventurous than I thought. Angie Jansen - That I love it. Just new places, culture, food, history, the wonderful people, the adventures you have and the memories, it’s the experiencing new things and learning, exploring, being amazed. Just so grateful I can still do it. Palma Hemer - To have a sense of humour, rain hail or shine. Anne Jenkin - That I can enjoy the travel by myself but I do like meeting new people on these trips. Kath Sheppard - To try to learn basic phrases when travelling. It's definitely appreciated. Kerry Fischer - Soak up the vibe wherever you are! Every place has beauty! Jacqueline Buchanan - That a smile speaks many languages. Martin Drake - That there is just too much to see and not enough time. Image credits: Shutterstock

Travel Tips

REVIEW: Feel supported and comfortable through every stride with ASICS

Finding the right sports shoe can be a challenge, whether you’re an avid runner, Sunday afternoon walker, or just want the extra support when going from A to B. Then there’s the added difficulty of your foot shape, and finding what works best for you and your circumstances, and when there are so many sports shoes on the market, it’s easy to feel overwhelmed. One of those many brands are ASICS, who are a much loved and trusted staple in the world of activewear for both your body and feet. In July, ASICS announced the launch of their new shoe the GEL-KAYANO 31: a classic shoe in the ASICS range with updated and advanced comfort and support to help you move easier. I was lucky enough to try out the GEL-KAYANO 31, and as one of the many people who have long struggled to find the right shoes for me, these shoes were one hell of a treat. While the GEL-KAYANO shoes are marketed as a “running shoe”, the only running I do is when I’m sprinting to the bus, so as a regular park walker, I put my new shoes to the test. From walking 20 minutes to the shops, to going for an hours-long stroll through the park these shoes did not let me down. The new technical engineered upper material (the bit of the shoe that hugs your ankle) sits a lot higher than other sports shoes, making this shoe so supportive, as you truly feel enclosed and in control. The PureGEL technology, which is designed to improve softness and shock absorption to reduce the impact on your joints and keep you moving comfortably, is second to none, after all my walks my feet felt comfortable, cool, and ready to walk even further. The GEL-KAYANO 31 also features FF BLAST PLUS ECO foam to deliver a softer landing through your movement and energised cushioning to keep you feeling comfortable on harder surfaces. And while I may not fall into the over sixty age as many of you reading this, my dodgy hip and knee would have me feeling very differently, and through my mild mobility issues, these shoes took the pressure off my joints and supported every step. ASICS have also updated the shoe’s outsole with a HYBRID ASICSGRIP rubber material, as the shoe helps provide better traction throughout your movement, to strengthen the shoe’s stability, helping you feel more comfortable for longer. And if that wasn’t enough, ASICS shoes are the only brand of sports footwear to be recommended by Sports Medicine Australia, who are instrumental in working with the brand to address specific biomechanical requirements. Junichiro Tateishi, General Manager of Product Function Research Department, at ASICS said, “We believe the GEL-KAYANO™ 31 shoe not only provides the stability the shoe is famous for, but also delivers a truly impressive level of comfort to help runners go further. We are also proud that GEL-KAYANO™ 31 shoe continues to display its CO2e emissions, printed on its insole as 10.6kg per pair, which shows ASICS’ ongoing commitment to transparency regarding the CO2e emissions, so that runners can feel confident about their choices when purchasing the GEL-KAYANO™ 31 shoe.” “The GEL-KAYANO is a legendary running shoe for a reason, and we’re excited to see how fans of the series enjoy this added comfort when they try the shoe. Our hope is that it helps everyone feel comfortable, confident and uplifted,” said Tateishi. The <a href="https://www.asics.com/au/en-au/gel-kayano-31/p/AOP_1012B670-300.html">GEL-KAYANO 31</a> shoe is available now for men and women from <a href="https://www.asics.com/au/en-au/">ASICS</a> retail, online stores and official ASICS stockists for $280 AUD. If you’re in the market for a long-lasting, supportive, stylish and comfortable pair of walking/running shoes, the ASICS GEL-KAYANO 31 will revolutionise the way you move, keeping you supported with every stride. Image credits: Supplied

Beauty & Style

Cheeky diet soft drink getting you through the work day? Here’s what that may mean for your health

<div class="theconversation-article-body"> <a href="https://theconversation.com/profiles/lauren-ball-14718">Lauren Ball</a>, <a href="https://theconversation.com/institutions/the-university-of-queensland-805">The University of Queensland</a> and <a href="https://theconversation.com/profiles/emily-burch-438717">Emily Burch</a>, <a href="https://theconversation.com/institutions/southern-cross-university-1160">Southern Cross University</a> Many people are <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7230225/">drinking less</a> sugary soft drink than in the past. This is a great win for public health, given the <a href="https://jamanetwork.com/journals/jamainternalmedicine/fullarticle/2749350">recognised risks</a> of diets high in sugar-sweetened drinks. But over time, intake of diet soft drinks has <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7230225/">grown</a>. In fact, it’s so high that these products are now regularly <a href="https://www.sciencedirect.com/science/article/pii/S0160412020319188">detected in wastewater</a>. So what does the research say about how your health is affected in the long term if you drink them often? <h2>What makes diet soft drinks sweet?</h2> The World Health Organization (WHO) <a href="https://www.who.int/news/item/04-03-2015-who-calls-on-countries-to-reduce-sugars-intake-among-adults-and-children">advises</a> people “reduce their daily intake of free sugars to less than 10% of their total energy intake. A further reduction to below 5% or roughly 25 grams (six teaspoons) per day would provide additional health benefits.” But most regular soft drinks contain <a href="https://www.actiononsugar.org/surveys/2014/sugar-sweetened-beverages/">a lot of sugar</a>. A regular 335 millilitre can of original Coca-Cola contains at least <a href="https://www.coca-cola.com/ng/en/about-us/faq/how-much-sugar-is-in-cocacola-original-taste">seven</a> teaspoons of added sugar. Diet soft drinks are designed to taste similar to regular soft drinks but without the sugar. Instead of sugar, diet soft drinks contain artificial or natural sweeteners. The artificial sweeteners include aspartame, saccharin and sucralose. The natural sweeteners include stevia and monk fruit extract, which come from plant sources. Many artificial sweeteners are much sweeter than sugar so less is needed to provide the same burst of sweetness. Diet soft drinks are marketed as healthier alternatives to regular soft drinks, particularly for people who want to reduce their sugar intake or manage their weight. But while surveys of Australian <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7551593/">adults</a> and <a href="https://www.cambridge.org/core/journals/public-health-nutrition/article/adolescents-knowledge-and-beliefs-regarding-health-risks-of-soda-and-diet-soda-consumption/32F3E0FD6727F18F04C63F0390595131">adolescents</a> show most people understand the benefits of reducing their sugar intake, they often aren’t as aware about how diet drinks may affect health more broadly. <h2>What does the research say about aspartame?</h2> The artificial sweeteners in soft drinks are considered safe for consumption by food authorities, including in the <a href="https://www.fda.gov/food/food-additives-petitions/aspartame-and-other-sweeteners-food">US</a> and <a href="https://www.foodstandards.gov.au/consumer/additives/aspartame">Australia</a>. However, some <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4899993/">researchers</a> have raised concern about the long-term risks of consumption. People who drink diet soft drinks regularly and often are <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4446768/">more likely</a> to develop certain metabolic conditions (such as diabetes and heart disease) than those who don’t drink diet soft drinks. The link was found even after accounting for other dietary and lifestyle factors (such as physical activity). In 2023, the WHO announced reports had found aspartame – the main sweetener used in diet soft drinks – was “<a href="https://www.who.int/news/item/14-07-2023-aspartame-hazard-and-risk-assessment-results-released">possibly carcinogenic to humans</a>” (carcinogenic means cancer-causing). Importantly though, the report noted there is not enough current scientific evidence to be truly confident aspartame may increase the risk of cancer and emphasised it’s safe to consume occasionally. <h2>Will diet soft drinks help manage weight?</h2> Despite the word “diet” in the name, diet soft drinks are not strongly linked with weight management. In 2022, the WHO conducted a <a href="https://www.who.int/news/item/15-05-2023-who-advises-not-to-use-non-sugar-sweeteners-for-weight-control-in-newly-released-guideline">systematic review</a> (where researchers look at all available evidence on a topic) on whether the use of artificial sweeteners is beneficial for weight management. Overall, the randomised controlled trials they looked at suggested slightly more weight loss in people who used artificial sweeteners. But the observational studies (where no intervention occurs and participants are monitored over time) found people who consume high amounts of artificial sweeteners tended to have an increased risk of higher body mass index and a 76% increased likelihood of having obesity. In other words, artificial sweeteners may not directly help manage weight over the long term. This resulted in the WHO <a href="https://www.who.int/news/item/15-05-2023-who-advises-not-to-use-non-sugar-sweeteners-for-weight-control-in-newly-released-guideline">advising</a> artificial sweeteners should not be used to manage weight. <a href="http://www.cell.com/cell-metabolism/fulltext/S1550-4131(16)30296-0">Studies</a> in animals have suggested consuming high levels of artificial sweeteners can signal to the brain it is being starved of fuel, which can lead to more eating. However, the evidence for this happening in humans is still unproven. <h2>What about inflammation and dental issues?</h2> There is <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10817473/">some early evidence</a> artificial sweeteners may irritate the lining of the digestive system, causing inflammation and increasing the likelihood of diarrhoea, constipation, bloating and other symptoms often associated with irritable bowel syndrome. However, this study noted more research is needed. High amounts of diet soft drinks have <a href="https://bmcpublichealth.biomedcentral.com/articles/10.1186/s12889-023-17223-0">also been</a> linked with liver disease, which is based on inflammation. The consumption of diet soft drinks is also <a href="https://link.springer.com/article/10.1007/s40368-019-00458-0#:%7E:text=Diet%20soft%20drinks%20often%20have,2006">associated</a> with dental erosion. Many soft drinks contain phosphoric and citric acid, which can damage your tooth enamel and contribute to dental erosion. <h2>Moderation is key</h2> As with many aspects of nutrition, moderation is key with diet soft drinks. Drinking diet soft drinks occasionally is unlikely to harm your health, but frequent or excessive intake may increase health risks in the longer term. Plain water, infused water, sparkling water, herbal teas or milks remain the best options for hydration.<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/233438/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/lauren-ball-14718">Lauren Ball</a>, Professor of Community Health and Wellbeing, <a href="https://theconversation.com/institutions/the-university-of-queensland-805">The University of Queensland</a> and <a href="https://theconversation.com/profiles/emily-burch-438717">Emily Burch</a>, Accredited Practising Dietitian and Lecturer, <a href="https://theconversation.com/institutions/southern-cross-university-1160">Southern Cross University</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/cheeky-diet-soft-drink-getting-you-through-the-work-day-heres-what-that-may-mean-for-your-health-233438">original article</a>. </div>

Food & Wine

A young mum's inspiring journey through pregnancy and cancer

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

Caring

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

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

Money & Banking

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

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

Travel Trouble

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

<a href="https://theconversation.com/profiles/andrea-carson-924">Andrea Carson</a>, <a href="https://theconversation.com/institutions/la-trobe-university-842">La Trobe University</a>; <a href="https://theconversation.com/profiles/max-gromping-1466451">Max Grömping</a>, <a href="https://theconversation.com/institutions/griffith-university-828">Griffith University</a>; <a href="https://theconversation.com/profiles/rebecca-strating-129115">Rebecca Strating</a>, <a href="https://theconversation.com/institutions/la-trobe-university-842">La Trobe University</a>, and <a href="https://theconversation.com/profiles/simon-jackman-310245">Simon Jackman</a>, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> With early voting set to open next week for the Indigenous Voice to Parliament referendum, this is a critical time for campaigners to win over voters. If the <a href="https://press-files.anu.edu.au/downloads/press/n11054/pdf/ch01.pdf">2022 federal election</a> is anything to go by, Australians have developed a taste for early voting, with fewer than half of all voters actually going to a polling station on election day. If the same voting patterns apply to the referendum, this means more than half of Australians, particularly <a href="https://www.cambridge.org/core/journals/government-and-opposition/article/correlates-of-early-voting/49D19E94A1D26F9AFE1B72DCB56AFF3F">older voters</a>, may have cast a vote before voting day on October 14. <h2>What’s happening in the polls?</h2> Public polls indicate support for the “yes” campaign continues to decline, despite, as we’ve shown below, huge spending on advertising and extensive media coverage of its message. According to <a href="https://simonjackman.github.io/poll_averaging_voice_2023/poll_averaging.html">Professor Simon Jackman’s</a> averaging of the polls, “no” currently leads “yes” by 58% to 42% nationally. If this lead holds, the result would be <a href="https://www.aec.gov.au/elections/referendums/1999_referendum_reports_statistics/1999.htm">even more lopsided</a> than the 1999 republic referendum defeat, where the <a href="https://www.aec.gov.au/elections/referendums/1999_referendum_reports_statistics/summary_republic.htm">nationwide vote </a> was 55% “no” to 45% “yes”. The rate of decline in support for “yes” continues to be about 0.75 of a percentage point a week. If this trend continues, the “yes” vote would sit at 39.6% on October 14, 5.5 percentage points below the “yes” vote in the republic referendum. If “yes” were to prevail on October 14, it would take a colossal reversal in public sentiment, or it would indicate there’s been a stupendously large, collective polling error. Or perhaps both. <hr /> <iframe style="width: 100%;" src="https://simonjackman.github.io/poll_averaging_voice_2023/level_plot_standalone.html" width="100%" height="688"> </iframe> <hr /> <h2>What’s happening in the news and social media?</h2> Using Meltwater data, we have seen a massive spike in Voice media coverage since Prime Minister Anthony Albanese announced the referendum date at the end of August. In the most recent week we analysed, from September 14-21, we saw a huge jump of mentions of the Voice to Parliament (2.86 million) in print media, radio, TV and social media. This compares to about a quarter million mentions in the first week of the “yes” and “no” campaigns, which we documented in our <a href="https://theconversation.com/the-no-campaign-is-dominating-the-messaging-on-the-voice-referendum-on-tiktok-heres-why-212465">last report</a> of this series monitoring both campaigns. Voice coverage now constitutes 6.7% of all Australian media reporting, up from 4.2% in week one. To put that in perspective, mentions of Hugh Jackman’s marriage split from Deborra-Lee Furness comprised 1.5% of total weekly coverage, while mentions of the AFL and NRL amounted to 4.1% and 1.7%, respectively. Media coverage of the Voice peaked on September 17 with 38,000 mentions, thanks to widespread coverage of the “yes” rallies that day around the country. This was followed closely by 35,000 Voice mentions the next day, led by Opposition Leader Peter Dutton’s <a href="https://www.skynews.com.au/australia-news/voice-to-parliament/voice-will-see-lawyers-in-sydney-and-melbourne-get-richer-dutton/video/40349a54a9f0c2f48baec7ba7263a000">claim</a> on Sky News that a Voice to parliament would see lawyers in Sydney and Melbourne “get richer” through billions of dollars worth of treaty negotiations. Our analysis of X (formerly Twitter) data provides further insight to these trends, showing the nationwide “yes” rallies on September 17 received the most public engagement about the Voice during the week we analysed. <hr /> <figure class="align-center "><img src="https://images.theconversation.com/files/549754/original/file-20230922-21-tp54x2.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/549754/original/file-20230922-21-tp54x2.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=269&fit=crop&dpr=1 600w, https://images.theconversation.com/files/549754/original/file-20230922-21-tp54x2.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=269&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/549754/original/file-20230922-21-tp54x2.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=269&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/549754/original/file-20230922-21-tp54x2.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=338&fit=crop&dpr=1 754w, https://images.theconversation.com/files/549754/original/file-20230922-21-tp54x2.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=338&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/549754/original/file-20230922-21-tp54x2.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=338&fit=crop&dpr=3 2262w" alt="" /><figcaption>X (Twitter) data accessed via Meltwater. Author provided</figcaption></figure> <hr /> <h2>Who is advertising online?</h2> This week, we specifically turned our attention to the online advertising spending of the campaigns. We also examined the types of disinformation campaigns appearing on social media, some of which are aimed at the Australian Electoral Commission, similar to the anti-democratic disinformation campaigns that have roiled the US. The main online advertising spend is on Meta’s Facebook and Instagram platforms. We have real-time visibility of this spending thanks to the ad libraries of Meta and Google. The Yes23 campaign has far outspent any other Voice campaigner on these platforms. In the last three months, its advertising expenditure exceeds $1.1 million, compared to just under $100,000 for Fair Australia, the leading “no” campaign organisation. <hr /> <figure class="align-center "><img src="https://images.theconversation.com/files/549942/original/file-20230925-23-7tl134.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/549942/original/file-20230925-23-7tl134.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=241&fit=crop&dpr=1 600w, https://images.theconversation.com/files/549942/original/file-20230925-23-7tl134.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=241&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/549942/original/file-20230925-23-7tl134.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=241&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/549942/original/file-20230925-23-7tl134.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=303&fit=crop&dpr=1 754w, https://images.theconversation.com/files/549942/original/file-20230925-23-7tl134.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=303&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/549942/original/file-20230925-23-7tl134.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=303&fit=crop&dpr=3 2262w" alt="" /><figcaption>Top five Voice campaign spenders on Facebook and Instagram since June 2023. Meta ad library</figcaption></figure> <hr /> Yes23 has also released a far greater number of new ads in September (in excess of 3,200) on both platforms, compared to Fair Australia’s 52 new ads. The top five spenders from both sides are listed below. As early voting nears, this graph shows Yes23 ad spending outpaced Fair Australia on both Google and Meta platforms in week three, as well. <hr /> <figure class="align-center "><img src="https://images.theconversation.com/files/549762/original/file-20230922-23-1bi7ov.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/549762/original/file-20230922-23-1bi7ov.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=484&fit=crop&dpr=1 600w, https://images.theconversation.com/files/549762/original/file-20230922-23-1bi7ov.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=484&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/549762/original/file-20230922-23-1bi7ov.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=484&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/549762/original/file-20230922-23-1bi7ov.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=608&fit=crop&dpr=1 754w, https://images.theconversation.com/files/549762/original/file-20230922-23-1bi7ov.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=608&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/549762/original/file-20230922-23-1bi7ov.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=608&fit=crop&dpr=3 2262w" alt="" /><figcaption>Campaign ad spending on digital platforms from Sept. 14-21. Authors provided.</figcaption></figure> <hr /> The advertising spending data shows how drastically different the strategies of the two main campaigns are. Yes23’s approach is an ad blitz, blanketing the nation with hundreds of ads and experimenting with scores of different messages. In contrast, the “no” side has released far fewer ads with no experimentation. The central message is about “division”, mostly delivered by the lead “no” campaigner, Senator Jacinta Nampijinpa Price. All but eight of the ads released by the “no” side in September feature a personal message by Price arguing that the referendum is “divisive” and “the Voice threatens Aussie unity.” To win, “yes” requires a majority of voters nationwide, as well as a majority of voters in a majority of states. The “no” side is strategically targeting its ads to the two states it believes are most likely in play – South Australia and Tasmania. It only needs to win one of these states to ensure the “yes” side fails. <hr /> <figure class="align-center "><img src="https://images.theconversation.com/files/549949/original/file-20230925-20-zgr4wg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/549949/original/file-20230925-20-zgr4wg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=797&fit=crop&dpr=1 600w, https://images.theconversation.com/files/549949/original/file-20230925-20-zgr4wg.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=797&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/549949/original/file-20230925-20-zgr4wg.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=797&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/549949/original/file-20230925-20-zgr4wg.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1001&fit=crop&dpr=1 754w, https://images.theconversation.com/files/549949/original/file-20230925-20-zgr4wg.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1001&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/549949/original/file-20230925-20-zgr4wg.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1001&fit=crop&dpr=3 2262w" alt="" /><figcaption>Campaign ad spend on Meta platforms across the states since mid-August. (Dark blue = greater the ad spend). Author provided</figcaption></figure> <hr /> <h2>Referendum disinformation</h2> The Meltwater data also reveal a surge in misinformation and disinformation targeting of the AEC with American-style attacks on the voting process. Studies show disinformation surrounding the referendum has been <a href="https://osf.io/qu2fb/">prevalent</a> on X since at least March. To mitigate the harms, the AEC has established a <a href="https://www.aec.gov.au/media/disinformation-register-ref.htm">disinformation register</a> to inform citizens about the referendum process and call out falsehoods. We’ve identified three types of disinformation campaigns in the campaign so far. The first includes attempts to redefine the issue agenda. Examples range from the false <a href="https://www.abc.net.au/news/2023-08-02/fact-check-indigenous-australians-support-for-the-voice/102673042">claims</a> that First Nations people do not overwhelmingly support the Voice to <a href="https://stephenreason.substack.com/p/the-voice-to-parliament-the-united">conspiracy myths</a> about the Voice being a globalist land grab. These falsehoods aim to influence vote choice. This disinformation type is not covered in the AEC’s register, as the organisation has no provisions to enforce truth in political advertising. The register does cover a second type of disinformation. This includes spurious claims about the voting process, such as that the referendum is voluntary. This false claim aims to depress voter turnout in yet another attempt to influence the outcome. Finally, a distinct set of messages targets the AEC directly. The aim is to undermine trust in the integrity of the vote. A most prominent example was Dutton’s <a href="https://www.afr.com/politics/federal/voice-voting-rules-confusion-stinks-dutton-20230824-p5dz41">suggestion</a> the voting process was “rigged” due to the established rule of counting a tick on the ballot as a vote for “yes”, while a cross will not be accepted as a formal vote for “no”. Sky News host Andrew Bolt <a href="https://www.facebook.com/watch/?v=1256952825005993">echoed</a> this claim in his podcast, which was repeated on social media, reaching 29,800 viewers in one post. Attention to the tick/cross issue spiked on August 25 when the AEC <a href="https://www.theguardian.com/australia-news/2023/aug/25/indigenous-voice-to-parliament-referendum-aec-poll-unfairness-claims-rejected">refuted</a> the claim (as can be seen in the chart below). Daily Telegraph columnist and climate change denialist Maurice Newman then linked the issue to potential <a href="https://www.dailytelegraph.com.au/news/opinion/maurice-newman-aec-rules-on-voting-could-create-confusion-uncertainty/news-story/c76bc3e1e031c2f349710dd1e9f3b51e?btr=15aad1c65d873d8f896d09618a96e228">voter fraud</a>, mimicking US-style attacks on the integrity of voting systems. <hr /> <figure class="align-center "><img src="https://images.theconversation.com/files/549852/original/file-20230924-23-ob3ltn.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/549852/original/file-20230924-23-ob3ltn.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=267&fit=crop&dpr=1 600w, https://images.theconversation.com/files/549852/original/file-20230924-23-ob3ltn.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=267&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/549852/original/file-20230924-23-ob3ltn.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=267&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/549852/original/file-20230924-23-ob3ltn.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=336&fit=crop&dpr=1 754w, https://images.theconversation.com/files/549852/original/file-20230924-23-ob3ltn.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=336&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/549852/original/file-20230924-23-ob3ltn.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=336&fit=crop&dpr=3 2262w" alt="" /><figcaption>Disinformation attacking AEC or referendum over past month. Authors provided</figcaption></figure> <hr /> The volume of mentions of obvious disinformation on media and social media may not be high compared to other mentions of the Voice. However, studies show disinformation disproportionately grabs people’s attention due to the <a href="https://www.nature.com/articles/s41599-019-0224-y">cognitive attraction</a> of pervasive negativity, the focus on threats or arousal of disgust. All three types of disinformation campaigns attacking this referendum should concern us deeply because they <a href="https://journals.sagepub.com/doi/10.1177/00104140231193008">threaten trust</a> in our political institutions, which undermines our vibrant democracy.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/213749/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/andrea-carson-924">Andrea Carson</a>, Professor of Political Communication, Department of Politics, Media and Philosophy, <a href="https://theconversation.com/institutions/la-trobe-university-842">La Trobe University</a>; <a href="https://theconversation.com/profiles/max-gromping-1466451">Max Grömping</a>, Senior Lecturer, <a href="https://theconversation.com/institutions/griffith-university-828">Griffith University</a>; <a href="https://theconversation.com/profiles/rebecca-strating-129115">Rebecca Strating</a>, Director, La Trobe Asia and Associate Professor, La Trobe University, <a href="https://theconversation.com/institutions/la-trobe-university-842">La Trobe University</a>, and <a href="https://theconversation.com/profiles/simon-jackman-310245">Simon Jackman</a>, Professor, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/the-yes-voice-campaign-is-far-outspending-no-in-online-advertising-but-is-the-message-getting-through-213749">original article</a>.

Money & Banking

Coles praised for helping small town through cost of living crisis

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

Money & Banking

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

<a href="https://theconversation.com/profiles/dominic-janes-347508">Dominic Janes</a>, <a href="https://theconversation.com/institutions/keele-university-1012">Keele University</a> The 1920s brought about a rise in androgynous fashion among a high society set that broke boundaries and caused controversy. This drew on a subculture that had existed for decades, perhaps centuries, but after the first world war gender-bending fashions became front page news. It was a time of upheaval. Established regimes were toppling across Europe. In Britain, women over 30 had finally been given the vote and there was widespread concern about the new hedonism of their younger “flapper” sisters. There was also a new market for novels, such as Radcylffe Hall’s <a href="https://www.pbs.org/wgbh/roadshow/stories/articles/2019/4/1/radclyffe-hall-well-of-loneliness-legacy#:%7E:text=On%20November%2016%2C%201928%2C%20Biron,its%20immediate%20removal%20from%20circulation.">banned book</a> <a href="https://www.bbc.com/culture/article/20221121-the-well-of-loneliness-the-most-corrosive-book-ever">The Well of Loneliness</a> (1928) that focused on, rather than merely hinted at, queer lives. Daring male university students <a href="https://doi.org/10.1093/tcbh/hwab036">started wearing makeup</a>. One of these was <a href="https://www.vam.ac.uk/articles/cecil-beaton-an-introduction">Cecil Beaton</a>, the future celebrity photographer, who <a href="https://www.digitaltransgenderarchive.net/files/ht24wj66t">delighted in cross-dressing</a> both on stage and off. Beaton became part of a set of high society socialites who were known as the “<a href="https://www.npg.org.uk/whatson/cecil-beaton-bright-young-things/exhibition">bright young things</a>”. They were often socially privileged, many of them were queer and their antics were <a href="https://djtaylorwriter.co.uk/page10.htm">widely followed in the media</a> with a mixture of horror and fascination. The “things” took partying seriously and paid great attention to their outfits. They dressed to transgress. In 1920, high society magazine <a href="https://www.bloomsbury.com/uk/freak-to-chic-9781350172609/">The Sketch reported</a> that what it termed “freak parties” were suddenly in vogue with the younger set. Before the war, <a href="https://www.bloomsbury.com/uk/freak-to-chic-9781350172609/">articles had appeared</a> condemning unusual styles as “freak fashions”, but suddenly “<a href="https://www.bloomsbury.com/uk/freak-to-chic-9781350248083/">freaking</a>” was all the rage. Until this point, menswear had been heavily circumscribed. Black was the default colour for formal occasions and tweed for informal settings. But suddenly there was a circle who were keen to try out new looks, no matter how bizarre – or queer-looking – the results. <h2>Queer parties, queer fashions</h2> These styles were often worn as fancy dress, but they borrowed looks from marginalised queer communities such as feminine-styled queer men, some of whom made a living by selling sexual services. One such man was Quentin Crisp, whose memoir <a href="https://www.penguinrandomhouse.com/books/324730/the-naked-civil-servant-by-quentin-crisp/">The Naked Civil Servant</a> (1968) was dramatised as a <a href="http://www.crisperanto.org/news/NCSusa2007.html">pioneering TV drama</a>. Another source of inspiration was the <a href="https://press.uchicago.edu/ucp/books/book/chicago/S/bo3682948.html">freak show</a>. These displays, horrifying from a 21st century point of view, were a popular element of circuses at the time. They featured such stock characters as the muscled giant and the bearded lady, some of whom <a href="https://www.thehumanmarvels.com/annie-jones-the-esau-woman/">became celebrities</a> in their own right. Masquerade and fancy dress parties had long been a feature of urban social life, but the bright young things innovated in that they impressed less through the expense of their outfits and more through their queer implications. Many such parties were themed, such as a Greek-themed freak party that was hailed as the greatest “Dionysia” of 1929 (Dionysus being the Greek god of sex and pleasure). Androgynous and cross dressing looks were common and men such as Beaton designed their own frocks. In July 1927, <a href="https://www.routledge.com/Her-Husband-was-a-Woman-Womens-Gender-Crossing-in-Modern-British-Popular/Oram/p/book/9780415400077">one magazine declared</a> that an event attended by Beaton’s friend Stephen Tennant dressed as the Queen of Sheba and bisexual actress Tallulah Bankhead dressed as a male tennis star was: “one of the queerest of all the ‘freak’ parties ever given in London”. <h2>The party’s over</h2> The Wall Street crash of 1929 led to a rapid shift in public mood. Economic recession led people to favour sobriety over flamboyance. Money for the parties ran out and media attention faltered. Gender-bending style vanished from the fashionable arena, although it persisted on inner cities streets. Quentin Crisp’s mode of <a href="https://bodleianshop.co.uk/products/british-dandies">queer dandyism</a> was daring for its time, but it only became extraordinary by virtue of his unwillingness to modernise. Seemingly he, and pretty much he alone, continued to wear the queer looks of the interwar period into the television age. He duly <a href="http://www.crisperanto.org/news/AnEnglishmanInNYmovie.html">became a transatlantic celebrity</a> late in life when he became the inspiration for Sting’s song <a href="https://www.sting.com/discography/album/189/Singles">Englishman in New York</a> in 1987. Cecil Beaton, meanwhile, became a leading photographer for Vogue magazine and was commissioned to take official <a href="https://www.rct.uk/cecil-beaton-1904-80">coronation portraits of Elizabeth II</a>. He also designed the fantastic dresses worn by Audrey Hepburn in the film <a href="https://www.tatler.com/article/in-cecil-beatons-show-stopping-designs-for-my-fair-lady-lies-a-story-of-tantrums-and-top-hats">My Fair Lady</a> (1964), inspired by the gowns he and his compatriots had dreamed up for themselves some 40 years earlier.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/205893/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/dominic-janes-347508">Dominic Janes</a>, Professor of Modern History, <a href="https://theconversation.com/institutions/keele-university-1012">Keele University</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/how-1920s-high-society-fashion-pushed-gender-boundaries-through-freaking-parties-205893">original article</a>.

Beauty & Style

5 ways to get through the airport faster

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

Travel Tips

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

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

Music

Devoted son grows out hair for mum going through chemo

An Arizona woman battling with brain cancer lost her hair while undergoing radiation treatment and her son has gone the extra mile to help. Speaking with Today in 2022, Melanie Shaha, 61-year-old mother of six, said that doctors discovered a benign brain tumour in her pituitary gland in 2003. Ms Shaha had surgery to remove the tumour, which grew to be the size of a plum, according to Today, but she underwent a second procedure when it returned. In 2017, Ms Shaha’s tumour returned once more and she was prescribed radiation treatment. "Not having hair, you stick out like a sore thumb and well-meaning people can say things that break your heart," she told Today. "I don't mind being sick but I mind looking sick. I'd rather blend in and not stand out at the store." Today revealed that back in 2018, Ms Shaha’s 28-year-old son Matt made a joke that sparked an idea during a family lunch. "I said, 'Why don't I grow out my hair to make a wig for you?’” Matt told the outlet. Although Ms Shaha was hesitant to take her son up on his offer, he persisted and grew 12 inches of hair by March 2022. KSAZ, a local news station in Phoenix Arizona reported that Matt grew his hair out for two and a half years. <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/CgfqMtWvqYe/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CgfqMtWvqYe/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Mercedes Berg (@mercedesmberg)</a> </div> </blockquote> Matt chopped off his long locks with the help of his coworkers, according to Today. "We were super pumped and when they started cutting, we bawled," Ms Shaha told the outlet. They then shipped the hair to Compassionate Creations in Newport Beach, California where it was constructed into a hand-stitched wig. KSAZ reported that the wig cost $2,000. "The colour is spectacular and we had it cut and styled with a hairdresser," Ms Shaha told Today. ”Matt said it looks great on me.” "It's a no-brainer," Matt told KSAZ. "She gave me the hair in the first place." Image credit: Instagram

Family & Pets

Rod Stewart’s son blows through inheritance

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

Money & Banking

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

Former tennis star Jelena Dokic has revealed the tragic truth behind her physical transformation. Dokic shared an old photo on Instagram of herself during the peak of her tennis career next to a current photo, revealing the extent of the abuse she suffered at the hands of her father. “What is the most common comment I see when it comes to my body, size and weight? ‘What happened to her? I can barely recognise her’,” Dokic started in the caption. “Really? What happened? You can’t recognise me? Let me tell you what happened. “I survived being a refugee twice, I was bullied, I lived in a domestic violence filled home for 15 years and I was beaten unconscious, I was abused physically and emotionally and got beaten for the first time when I was six years, I was called a whore and a cow since I was as young as 11. I had to escape home, I battled anxiety, depression, PTSD and trauma and I almost committed suicide,” she shared. The 39-year-old has always been open about her struggles with depression, online abuse, body shaming, and the family violence she suffered throughout her career. In the photo, Dokic has a visible bruise on her leg, and added that despite everything she’s been through and achieved, the most important thing to her was that she survived. “I still managed to do pretty well, I managed to be top five in the world as a tennis player and a grand slam finalist, I am a best-selling author, commentator and speaker but most importantly I survived”. <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/CrLAQi8pKo0/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CrLAQi8pKo0/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by JELENA DOKIC 🇦🇺🇦🇺🇦🇺 (@dokic_jelena)</a> </div> </blockquote> She slammed body shamers who only saw “weight and size change” by sharing that she is much happier being a size 16 compared to a size 4. “I will tell you the difference between these two images. The one on the left is a size four, scared to death, beaten unconscious and that bulge on my shins is from being kicked all night,” she wrote. “The one on the right is me at size 16, I have survived it all and I am here healing from my trauma and thriving. “I will take the size 16 over the size 4 any day if it means I am happy. “If it means I turned to food to try and survive, then so be it. But I am here, I am happy and most importantly I made it through. “So, there is the answer, once and for all. I went through hell and back and I survived and today I try to help others. That’s what happened. And for those that still don’t get the point, well that says everything about you,” Dokic concluded in her post. Many have shared their support for Dokic and her courage to tell her story. “You’re so inspiring Jelena 👏🙌 Keep up the great work!!” commented one follower. “You don’t need to justify anything to anyone. Most of us know a warrior when we see one. I’m so glad you’ve made it through and continue to stand up for yourself time and time again ❤️” wrote another. “Thank you, Jelena 💙 We are all worth so much more than our bodies 🦋” chimed a third. Images: Getty, Instagram

Body

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

Chris Flynn’s <a href="https://www.uqp.com.au/books/here-be-leviathans">Here Be Leviathans</a> is a collection of short stories that seems quirky and light-hearted, propelled by its creative use of perspective. Each story is established from a surprising vantage point and so the world as Flynn imagines it becomes topsy-turvy – anything at all might be alive and sentient. Animals, chairs, boats, you name it. <hr /> Review: Here Be Leviathans – Chris Flynn (UQP) and The Tower – Carol Lefevre (Spinifex) <hr /> A bear eats a teenager, and thus inherits the boy’s memories. An airplane seat describes its last day at work. A hotel room observes its favourite couple, who return over the years. A monkey details a trip into outer space. But these stories are driven by more than quirky inspiration. The point-of-view might offer an interesting hook, and Flynn’s tone may be jaunty at times, but the stories are propelled by deeper themes of mortality, death and existential pointlessness. Flynn uses perspective to reflect and question the way we think about things. <h2>Memory and mortality</h2> Many of the characters in this collection die, have died or are about to die – but there’s also a counter-theme of connection. The bear may eat the teenager, and so the ranger is hunting him down; we enter a hide-and-seek game for survival. But it’s the connection the bear and ranger have, the mutual respect they share, that becomes the message of the first story, Inheritance. <figure class="align-right zoomable"><a href="https://images.theconversation.com/files/497560/original/file-20221128-26-5t8y8o.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/497560/original/file-20221128-26-5t8y8o.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/497560/original/file-20221128-26-5t8y8o.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=896&fit=crop&dpr=1 600w, https://images.theconversation.com/files/497560/original/file-20221128-26-5t8y8o.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=896&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/497560/original/file-20221128-26-5t8y8o.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=896&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/497560/original/file-20221128-26-5t8y8o.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1126&fit=crop&dpr=1 754w, https://images.theconversation.com/files/497560/original/file-20221128-26-5t8y8o.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1126&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/497560/original/file-20221128-26-5t8y8o.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1126&fit=crop&dpr=3 2262w" alt="" /></a><figcaption></figcaption></figure> Flynn also explores ideas of memory transference, and this imbues the story with lingering, thoughtful hope: something that pervades the whole collection. In Flynn’s world, death can be a means to existence – as long as our memories keep living, our experiences and perspectives continue to exist. Flynn’s use of unexpected points of view allows him to avoid the sentimental. In 22F, he tells the story of an airplane seat abandoned in the jungle and we’re left with the superb image of moss growing up and over the upholstery, claiming the seat for the natural domain. We learn about the seat’s history, the work-politics of neighbouring seats, and observations of the passengers who have sat in them. We see glimpses of these human cargoes that simultaneously show the banality and profundity of life. The collection took Flynn ten years to write, and he includes notes at the end about his process and the stories’ origins. For instance, he describes how 22F was inspired by the Werner Herzog documentary <a href="https://letterboxd.com/film/wings-of-hope/">Wings of Hope</a>, which interviewed Juliane Koepcke, the sole survivor of a 1971 airplane crash. Together, Herzog and Koepcke journey to the site of the crash and find parts of the airplane in the jungle. Flynn says the story is about: <blockquote> Memory and place. A reminder that we are only passing through and that everything is part of something larger. </blockquote> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/497575/original/file-20221128-21-v71muf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/497575/original/file-20221128-21-v71muf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/497575/original/file-20221128-21-v71muf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/497575/original/file-20221128-21-v71muf.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/497575/original/file-20221128-21-v71muf.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/497575/original/file-20221128-21-v71muf.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/497575/original/file-20221128-21-v71muf.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/497575/original/file-20221128-21-v71muf.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>One of Chris Flynn’s stories is told from the perspective of an airplane seat abandoned in the jungle. Leslie Cross/Unsplash, <a class="license" href="http://creativecommons.org/licenses/by/4.0/">CC BY</a></figcaption></figure> The importance of memory and place is further explored in the story A Beautiful and Unexpected Turn, where we follow the perspective of a hotel room that takes a special interest in its guests, Diane and Hector. We see the waxing and waning and waxing of their relationship. At the end, the room says: <blockquote> We are places of passage, of transience […] Eventually, I would be demolished, perhaps to make way for another hotel or an apartment block, or nothing […] I would become rubble, and then dust. </blockquote> This could be the larger message of the book – our lives are transient and then we become dust. The connections we experience and inspire are what give us meaning in the moment. <h2>Complications of care</h2> Carol Lefevre’s <a href="https://www.spinifexpress.com.au/shop/p/9781925950625">The Tower</a> also emphasises place. This thoughtful collection of short stories is very different from Flynn’s in tone and focus, but it too grounds storytelling in the themes of place and mortality. <figure class="align-left zoomable"><a href="https://images.theconversation.com/files/497573/original/file-20221128-14-p18sux.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/497573/original/file-20221128-14-p18sux.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/497573/original/file-20221128-14-p18sux.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=928&fit=crop&dpr=1 600w, https://images.theconversation.com/files/497573/original/file-20221128-14-p18sux.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=928&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/497573/original/file-20221128-14-p18sux.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=928&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/497573/original/file-20221128-14-p18sux.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1166&fit=crop&dpr=1 754w, https://images.theconversation.com/files/497573/original/file-20221128-14-p18sux.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1166&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/497573/original/file-20221128-14-p18sux.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1166&fit=crop&dpr=3 2262w" alt="" /></a><figcaption></figcaption></figure> The Tower is structured around a series of interlocking narratives about Dorelia MacCraith – in the very first story, after losing her husband Geordie, she sells her house and buys a new one, with a tower. Her children, who she does not consult, are suspicious of this defiant act. Straight away, the reader is thrust into the negotiations and complications of care. People who Dorelia once cared for are now asserting (or trying to assert) forms of reverse care. And many stories in the collection reverberate with related themes – women caring for children and partners and parents, or making decisions about their positions as carers, especially in the context of trying (or deciding not) to have children. The interconnected stories about Dorelia and her tower are the centrepiece of the collection. Yet Dorelia finds this house of her own by accident, when driving her dear friend and fellow artist Elizabeth Bunting to an appointment: <blockquote> they took a wrong turn, and then another, until at the end of the a quiet cul-de-sac, set among sheltering trees, stood the most adorable house […] and above the porch rose a small tower. </blockquote> I appreciate that it is the women’s friendship – their spark of connection and humour are immediate and inviting – that enables Dorelia to find her tower oasis. I also appreciate that this critical act occurs during a moment of generosity and care: Dorelia is driving Elizabeth to an appointment. While Dorelia may find her tower by accident, we never feel Lefevre is accidental in rendering the lives of these women on the page. The prose is carefully controlled, as is the detail and world-building – and the deeper reflections of the stories kaleidoscope through one another, building in nuanced ways. <h2>Reimagining the crone</h2> Of course, symbolic permutations resonate throughout this text – a tower of one’s own harks to <a href="https://theconversation.com/skin-and-sinew-and-breath-and-longing-reimagining-the-lives-of-queer-artists-and-activists-from-sappho-to-virginia-woolf-184459">Virginia Woolf</a> and Rapunzel. Dorelia reimagines the crone from the Rapunzel <a href="https://theconversation.com/reader-beware-the-nasty-new-edition-of-the-brothers-grimm-34537">fairy tale</a> as central and heroic. This rewriting and revision of the crone – and her motives and backstory – seems key to recognising women’s narratives more generally, and prioritising a multiplicity of stories and experiences within the Australian literary canon. In this sense, it feels like Lefevre is in conversation with authors such as Drusilla Modjeska, <a href="https://theconversation.com/intellectual-fearlessness-politics-and-the-spiritual-impulse-the-remarkable-career-of-amanda-lohrey-187354">Amanda Lohrey</a> and Charlotte Wood. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/496662/original/file-20221122-23-obj24f.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/496662/original/file-20221122-23-obj24f.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/496662/original/file-20221122-23-obj24f.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=319&fit=crop&dpr=1 600w, https://images.theconversation.com/files/496662/original/file-20221122-23-obj24f.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=319&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/496662/original/file-20221122-23-obj24f.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=319&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/496662/original/file-20221122-23-obj24f.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=401&fit=crop&dpr=1 754w, https://images.theconversation.com/files/496662/original/file-20221122-23-obj24f.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=401&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/496662/original/file-20221122-23-obj24f.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=401&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>The main, recurring narrator of The Tower reimagines the crone from the Rapunzel fairytale as central and heroic.</figcaption></figure> In <a href="https://theconversation.com/tarot-resurgence-is-less-about-occult-than-fun-and-self-help-just-like-throughout-history-139448">tarot</a> mythology, the card of The Tower considers the collapse of old structures. We get a sense of this in the reflexivity of the text, as well as in its story-world – as Dorelia faces life without her husband Geordie. Indeed, old age itself collapses life as she’s known it. The interplay between the textual and the intertextual resonates in this collection, making this book as enjoyable to later ponder as it was to actually read. Here Be Leviathans and The Tower are two very different short-story collections to consider in tandem. They vary in voice, tone and style. Yet both engage with the precariousness and effort that is at the foundation of being alive, and making meaning from our short time on the planet.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/193628/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/shady-cosgrove-153726">Shady Cosgrove</a>, Associate Professor, Creative Writing, <a href="https://theconversation.com/institutions/university-of-wollongong-711">University of Wollongong</a> This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/we-are-only-passing-through-stories-about-memory-mortality-and-the-effort-of-being-alive-193628">original article</a>. Image: Getty

Retirement Life

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

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

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

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

Music

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

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

Mind

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

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

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