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Shock after true extent of Princess Kate's cancer battle revealed

Shocking new revelations have shed light on the true severity of Catherine, Princess of Wales’ private health battle, with reports now claiming the royal is “fortunate to even be speaking of recovery” following an intense and harrowing cancer fight throughout 2024. In June last year, the princess appeared poised and radiant at Trooping the Colour – waving to crowds and smiling with trademark composure. But hidden beneath her Jenny Packham dress was a semi-permanent port embedded in her chest, a small but vital medical device delivering life-saving chemotherapy. At the time, the extent of her illness remained entirely unknown to the public. Kensington Palace has never confirmed what type of cancer Kate was battling, nor offered a timeline beyond a brief video statement in March. But now, a deeply personal report by the Daily Mail’s royal editor Rebecca English has detailed just how critical her condition was – and the lengths the future queen went to maintain a sense of normalcy. English writes that the princess had already been “seriously unwell” before undergoing major abdominal surgery in January. Post-operative testing revealed cancer, prompting immediate chemotherapy and the insertion of the port – a direct line for potent treatment into a vein near the heart. “It was a literal lifeline,” English reported, “which offers no cast-iron guarantee of success, even if you are a royal.” Kate’s courage to appear publicly – even as she endured punishing side effects – was reportedly accompanied by deeply private suffering. Aides have since revealed she endured “months of hell” with multiple hospital visits conducted in secrecy, entering through side doors at London’s Royal Marsden Hospital. The new information arrives in the wake of a last-minute cancellation at Royal Ascot earlier this month, where palace insiders reportedly reacted with alarm after the princess withdrew just 30 minutes before her expected arrival. Rumours briefly swirled that she required urgent medical attention, a sign that her recovery remains fragile. Sources say the ordeal has prompted Kate to “recalibrate her entire life”, with royal duties to be dramatically scaled back for the rest of the year. She is still expected to attend Wimbledon and join the French state visit in July, but a broader return to public life appears uncertain. An overseas tour remains unlikely, and Prince William is expected to travel alone to Brazil in November for the Earthshot Prize. As one palace insider put it, the recent upheaval is “a good reminder that she was really seriously ill last year and underwent a significant period of chemo… It can take years [to recover].” While Kate is now said to be through treatment, the question of when – or if – she will return to a full royal workload remains unanswered. As English wrote earlier this year: “The Princess of Wales has been to hell and back.” Now, it’s clear just how far she had to travel – and how much strength it took to return. Images: Instagram

Caring

Win a free Legacy Film and capture a life story that matters

Have you ever wished you could freeze time – preserve a loved one’s stories, laughter and quiet reflections so they can be cherished for generations to come? Now you can. Danika Armytage, founder of <a href="https://www.bigstorieslittlefilms.com.au/" target="_blank" rel="noopener">Big Stories Little Films</a>, recently appeared on The Morning Show to share her mission: helping Australians preserve their life stories on film. And now, she’s giving one lucky person the chance to win a professionally made legacy film – completely free. Take a look: <iframe title="YouTube video player" src="https://www.youtube.com/embed/z1DPvQFmZFg?si=8yIDGnbaKRA20n_D" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe> A legacy film is a beautifully crafted short documentary film that captures a life story, family history, and the wisdom passed between generations – something to treasure forever. Nominations are open throughout April, with the winner to be announced in May. Valued at over $3,000, the film can feature the life story of an individual or a couple. So how will the winner be chosen? “The story doesn’t need to be defined by fame or accolades,” Danika says. “Maybe the person has led an extraordinary life, overcome big obstacles, or perhaps this film is simply something their family deeply wants to preserve. When choosing the winning nomination, it’s really about the story that matters to the people who love them.” While the giveaway is open to everyone, Danika adds that they’re especially mindful of those for whom the timing feels particularly important. “There are some stories that really can’t wait to be told,” she explains. “But truly, I encourage everyone to apply.” If you or someone you love has a story worth telling – and treasuring – head to <a href="https://www.bigstorieslittlefilms.com.au/" target="_blank" rel="noopener">bigstorieslittlefilms.com.au</a> to submit a nomination. And if you DO win, be sure to contact us via <a href="mailto:contact@oversixty.com.au" target="_blank" rel="noopener">contact@oversixty.com.au</a> so we can share it with the world! Images: Big Stories Little Films

Movies

Modern memories: Forget the memoir, create a life story film

Every single person has a story to share, and a growing number of older Australians are choosing to record their life memories as short films. While writing memoirs can take years, creating a life story film takes just a few hours—and the resulting films are far more vivid than writing or looking through photo albums. Television producer and director Danika Armytage, known for producing shows like The Block, River Cottage Australia, Travel Guides, and The Living Room, has launched a company called Big Stories Little Films, which specialises in creating life legacy films. Since its inception in 2024, Danika has been busy bringing people's stories to life in film. “Our films tell life stories, capture family ancestry, and allow wisdom to be passed between generations,” Danika explains. “They are often a gift between family members—either commissioned as a birthday present from the kids, or as a film gifted from the grandparents to their grandkids - it’s like a film heirloom to pass between generations.” “I’ve created life story films for people from all walks of life,” says Danika, “from Commodores in the Navy, restaurateurs, fifth-generation sheep farmers, to immigrants who were born in concentration camps or fled war-torn countries. The films and stories are as unique as the people in them.” Danika was inspired to start the company after filming an interview with her own grandmother, Halimah, before she passed away. “The film became priceless to my family, especially after Granny died. Now my own children can meet their great-grandmother and feel connected to our family history, even though they never met her in person. Memories fade, but films are a time capsule that safeguards stories, keeping them as vivid as if you're sitting at the kitchen bench hearing them directly from your grandparent.” <img src="https://oversixtydev.blob.core.windows.net/media/2025/02/Danika-and-gma.jpg" alt="" width="1280" height="720" /> Big Stories Little Films creator Danika Armytage (L) and her inspiration, her grandmother Halimah “One of my favourite films was about brother and sister Raymond and Jennice Kersh (A.M.), now in their 80s, who ran the iconic Sydney restaurant Edna’s Table and were pioneers in serving indigenous ingredients in the Sydney restaurant scene. It was one of the first restaurants to serve Indigenous ingredients. Their story is inspiring, and their recollections of growing up in Pyrmont in the 1940s, a suburb where ‘everyone was poor but no one was lonely’ are a perfect example of how these films capture living history.” “Another of my favourite films was the story of John French, a fifth-generation sheep farmer from Tumut, in regional NSW. John can trace his family history all the way back to 1840, when his ancestors arrived from Scotland to work as shepherds. He still lives and works on the same land at the age of 79. His film was a gift from his daughter.” <img src="https://oversixtydev.blob.core.windows.net/media/2025/02/Raymond-and-Jennice.jpg" alt="" width="1280" height="720" /> <span style="font-size: 16px; caret-color: #212529; color: #212529; font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji'; background-color: #ffffff;">Raymond and Jennice Kersh, who appeared in one of Danika's first films Big Stories Little Films began in Sydney but can film across Australia. To view examples of their films and learn more about their packages and pricing, visit their website: <a href="http://www.bigstorieslittlefilms.com.au">www.bigstorieslittlefilms.com.au</a>. Image credits: Supplied

Movies

True meaning behind common Aussie road sign

Thousands of drivers past this Australian road sign every day - but very few know what it means. A confused motorist took to Reddit to share an image of the road sign they spotted on the Northern Territory's Stuart Highway, which featured a picture of a hand. He and and his travel companion assumed the sign meant there was a spot to wash your hands or windows nearby, however they were both wrong. The sign, which was part of a larger rest area sign, indicates there is Aboriginal artwork in the area. "According to the Department for Infrastructure and Transport (South Australia), published in 'Road Sign Guidelines' issued 28/03/2023, it means 'Aboriginal Attractions'," one person commented "Yep, usually rock art or some other Aboriginal site," said another. It is often seen in national parks and is the same symbol used nationally. People shared their own hilarious assumptions with one writing: "Warning, jazz hands in 2km", while another commented: "Beware of swarming ants". "Love that it's for indigenous art, but my first thought was a warning to tourists to not put bare skin on the bitumen," another commented. Others admitted they never paid any particular attention to the sign. "Oh I've never seen this before! And think it's great. Honestly my brain went to kids craft area for some reason but why would a random regional picnic stop have a kids craft area," one wrote. "I genuinely thought someone had just spray painted the sign with their hand on it. i have never seen this," another commented. A third person added their own hilarious interpretation saying: "This is so cool, have never seen one of these before. I have to admit my first thought was 'car scene in the titanic' though." Image: Reddit/ Google

Domestic Travel

Former William Tyrrell suspect changes story

Paul Savage, an 80-year-old pensioner who was once questioned by detectives over the disappearance of William Tyrrell, has shared a different version of his actions to what he previously told police. Savage told news.com.au's podcast on the case Witness: William Tyrrell, that he spotted part of a child’s Spider-Man costume – matching the one William was famously last seen wearing – a day earlier than he had reported to police. In 2017, detectives ran a covert surveillance operation while Savage was being pursued as a person of interest. At the time, they set up a Spider Man suit on the bushtrack the pensioner walked each day near his Benaroon Dr home. On the first day of the sting, the surveillance team saw him stop and look in the direction of the suit for 12 seconds before continuing on. Detectives believed Savage had seen the suit, but he insisted that he did not see it until the second day it was there, saying: “I’ve never seen it the day before. “Why would I leave it a day and then go down and ring up? Why would I do that?” The 80-year-old has now told news.com.au that he did see part of the suit on the first day, but as it was only the top, he wasn't sure if it was William's and thought to himself “I don’t know about that”, he claimed. On the second day when he said he saw the whole suit, Savage "thought it was probably his [William's]." When asked why he didn't tell police of his sighting on the first day, he told the podcast: “I’ve left it a bit longer than I should have but it will come out eventually.” The podcast also revealed the secret police recordings made inside the pensioner's house, which were previously tendered in court. The police had been listening in to a bug in Savage's home and car for several weeks and continued to use audio surveillance on him until November 2017 following his police interview. Savage, who had lost his wife in his mid 70s, would often speak to himself or appeared to be talking to her. In one of the recordings after the police interview, he was recorded saying: "Make sure you don’t tell anyone, Love,” the court heard. “They’re right after me. Don’t tell anyone, Love. Please, they’re right after me. Sorry,” he continued. At other times he was heard saying: “I couldn’t hurt a kid,” and later “You’re sick. You bastards want to pin it on me. You can’t do your job so you want to pin it on me." Savage, who lives across the road from where William vanished, has never been charged and denies any knowledge of what happened to him. He also told the publication that police had not formally spoken with him after former lead detective Gary Jubelin, who questioned him, was taken off the case. He has never been officially informed whether he is still a person of interest in their investigation. Images: news.com.au

Legal

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

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

Legal

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

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/andrea-kaston-tange-1417052">Andrea Kaston Tange</a>, <a href="https://theconversation.com/institutions/macalester-college-2632">Macalester College</a> Great-grandmothers. We all have them. But most of us will never know them except through glimpses of fading bits of paper: sepia photographs, recipe cards, letters in handwriting traced by a fountain pen dispensing cocoa-colored ink. What does it take to build coherent stories out of such tantalizing fragments of lives? I face this question routinely in my career as a <a href="https://www.macalester.edu/english/facultystaff/andreakastontange/">professor of 19th-century literature and culture</a>. Recently, I’ve turned that experience to writing a book about my own family. When I inherited my great-grandmother’s diary, a repurposed teacher’s planner in which she chronicled the family’s 1926 move from Michigan to Miami, I found a wedding portrait tucked inside. The angled profile showcases her youthful skin and a dress too elaborate for a Midwestern schoolteacher’s daily wear. It is easy to imagine that she took pleasure in inscribing her new name on the picture’s reverse: Faith Avery. I stared at her beautiful image for years, as if details of her satin gown could explain why a woman widowed in 1918 would, for the rest of her life, refuse to admit to having had that first husband and yet carefully preserve this portrait. And then, because archives have been at the center of my scholarly work, I turned to research. I located marriage records and draft cards, pored over maps, found family members in censuses and obituaries. Within those documents lay answers both surprising and poignant. What did I look for? How might anyone with a half-told family story begin to uncover more truths? And what does it take to make sense of them? <h2>The digging</h2> Questions that begin with “why” can rarely be answered easily. Researchers thus often prefer to start with “who” and “when” and “how,” locating a person in one spot and then tracing them through time. This adventure down a rabbit hole follows a method. Make a list of unknowns. These may be facts or enticing tidbits of incomplete family lore. My mother, trying to be helpful, told me things like, “Faith always said there was a horse thief in the family, but she was too mortified to reveal his name” and “I think Aunt Harriette (Faith’s sister) was married once briefly.” Do precise, not general, searches. Typing “horse thief Avery” into Google yields nothing useful, but many other sources contain rich information about old-fashioned exploits. The New York Public Library’s <a href="https://www.nypl.org/blog/2019/03/25/genealogy-guide-books">guide for family research</a> introduces some options. The <a href="https://www.loc.gov/pictures/">Library of Congress print and photograph collection</a> can also help you envision your ancestors’ world. Physical libraries contain historic photographs, maps, local records and digitized newspapers not available online. Historical societies and state universities typically allow free, in-person use of their collections. Know that sometimes you will fail and need to change course. I spent several days looking for the horse thief to no avail, much to my mother’s disappointment. But when I turned to Aunt Harriette’s marriage, I found a character no less fascinating, one I now think of as “Four Wives Frank.” Read old documents knowing they were produced by a patchwork of individuals who took information on trust. The handwritten birth, death, marriage and <a href="https://www.archives.gov/research/census/about">census records</a> of past centuries relied on self-reported data that required no verification. They can be plagued by carelessness in the name of efficiency. One hurried census-taker recorded Faith’s mother Cara as “Cora,” another renamed her brother Horace “Harris.” Frank offered up a variety of birth years, countries of origin and maiden names for his mother as he worked his way west. He must have been charming. Who but a charming man could have convinced woman after woman to marry him, each thinking she was, at most, his second wife? Marriage register officers and census-takers, not to mention his trail of brides, were none the wiser. Which leads me to this: Cross-check information. I knew I had the right Frank because he had the same three sons in multiple records. Inconsistencies across those records, in conjunction with the trajectory of his life, made this conclusion inevitable: The man purposefully reinvented himself. <h2>The assembly</h2> My academic work has taught me that most <a href="https://doi.org/10.2979/victorianstudies.63.2.02">archival answers lead to more questions</a>. As a result, I expect multiple phases of collecting. I gathered everything I could find about Faith’s early life, in hopes something might explain her reticence about her first marriage. As her story emerged, I periodically hit holes in the narrative that sent me back for more digging. Understanding people is easier if you are familiar with their world. For background, I read histories of Miami in the 1920s and researched details in Faith’s diary that might reveal her personality or motivations. Exploring her reading lists showed me a woman who enjoyed popular entertainment, such as 1926’s blockbuster “<a href="https://www.imdb.com/title/tt0016598/">Aloma of the South Seas</a>.” Primers of <a href="https://libraryguides.missouri.edu/pricesandwages/1920-1929">1920s wages and prices</a> explained the family’s economic worries. As I got to know Faith, I revisited documents with new questions. To figure out whether Harriette’s husband Frank had anything to do with Faith, I made timelines for both sisters. To ponder the emotional underpinnings of those events, I reread Faith’s diary, paying particular attention to entries about Harriette and about Faith’s second husband. Because every pile of documents contains multiple stories, the key to a coherent narrative is locating a through line that addresses the biggest conundrums while identifying the tangents. I let go of the horse thief. <h2>The results</h2> The detective-style plots of what I call “<a href="https://www.writersdigest.com/be-inspired/lilly-dancyger-memoir-as-detective-novel">investigative memoir</a>” may inspire you to do your own family research. Genealogy sites such as <a href="https://www.ancestry.com/">Ancestry.com</a> and <a href="https://www.familysearch.org/en/united-states/">FamilySearch.org</a> can help. But it’s worth remembering that secondary reading will add richness to any family story. And local librarians are extraordinary at helping patrons navigate the search process. Improbable as it might seem, Four Wives Frank helped me understand the extent of Faith’s secrets and that she harbored them in hopes that her children’s lives would be easier. Such self-sacrifices are common for mothers. And yet, their particulars are as individual as the faintly silvered portrait of the soft young woman who married Harold Avery in 1911, and whose story requires an entire book to tell properly.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/234341/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/andrea-kaston-tange-1417052">Andrea Kaston Tange</a>, Professor of English, <a href="https://theconversation.com/institutions/macalester-college-2632">Macalester College</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/filling-the-silences-in-family-stories-how-to-think-like-a-historian-to-uncover-your-familys-narrative-234341">original article</a>. </div>

Family & Pets

"A true fighter": Tragic loss to Australian media

Trailblazing journalist and editor Judith Whelan has passed away at the age of 63. The ABC confirmed Whelan's death, saying she died on Wednesday after a long battle with cancer. ABC managing director David Anderson was among the first to pay tribute to the “loved and respected” Whelan, confirming her death. “We have lost a great friend and journalism has lost a true fighter,” <a href="https://www.abc.net.au/about/media-centre/statements-and-responses/judith-whelan-announcement/104027286?utm_content=link&utm_medium=content_shared" target="_blank" rel="noopener">he said in a statement</a> released by the public broadcaster. “Judith always had the instincts that made her such a formidable journalist. She carried with her a commitment to truth and accountability and instilled these values in those who worked with her." “A valued mentor to younger journalists, Judith nurtured while leading by example. Judith was tough but caring and wanted those around her to succeed. Young reporters knew Judith would champion their work if the story needed to be told.” Sydney Morning Herald editor Bevan Shields said Whelan will always remain a beloved part of their team. “Judith was a wonderful editor, colleague and friend. She was at the Herald for more than three decades and remains part of our DNA. We are heartbroken by her death,” he told the Herald. “She had a finely tuned news radar but also revelled in journalism that could entertain and inform readers. She was a natural leader and a beautiful person. Our thoughts are with Chris, Sophia and Patrick.” Whelan first joined the ABC in 2016, where she was first appointed Director of Regional and Local News before taking the role of ABC editorial director in 2022. Prior to her work at the public broadcaster, Whelan worked for several other publications, including Sydney Morning Herald, where she also served as news director and editor of its weekend edition. The talented media executive was one of just three female editors in the SMH’s history. Well respected in her field, Whelan’s career also saw her stationed in both the Pacific and Europe as a foreign correspondent, and she was also nominated for a Walkley Award for her news and feature writing. Image credits: ABC

Caring

How to write creative non-fiction history

Discovering an old photo album from the 1920s, celebrated author and adjunct professor Paul Ashton embarked on a journey to turn historical research into engaging creative non-fiction, blending meticulous evidence with captivating storytelling. Here he shares he insights on the fascinating process. One afternoon my elderly father and niece came to my home for lunch. On their way they had seen something on a council clean up. ‘We thought you might be interested in this,’ said my father handing me a small, brown photo album. I was. The album contained around 100 undated black and white photographs. It became apparent quickly that this was the record of a road trip done in the 1920s or 1930s. A boy, two women and a man had gone on a trip from Sydney up through New England, to Tamworth then to Brisbane and back to Sydney. Shadows in some of the images indicate that they were taken by the man and at least one of the women. The album provided the basis for my first children’s book, Palmer’s Mystery Hikes. One photograph stood out for me. Hundreds of people were gathered somewhere in the bush. In the far left-hand corner in the background was an elevated table covered with a large white tablecloth. With a magnifying glass I could just make out ‘Palmers [something] Hike’. In 1932 Palmer’s men and boys’ department store, in Park Street in Sydney, had established a hiking club to promote the sale of hiking apparel. You bought a ‘mystery’ ticket from New South Wales Railways with which Palmer had an arrangement; turned up at Central Station on Sunday morning; and were taken to a mystery destination. From there you did a ten-mile hike to another station and were then trained back to Sydney. There were five hikes. The third one to the Hawkesbury River attracted over 8,000 people. Turning historical research into believable fiction or creative non-fiction has certain demands. How do you strike a balance between historical research and evidence and the narrative form? This is a big question and will ultimately depend on many things, including the availability of primary and secondary sources and the nature of the particular narrative. But perhaps the most important question is: how do writers use the past to give their work historical dimensions and insights? For me, the most critical element is context. And it’s the thing most missing in much historically based fictional literature. Evoking people, places and periods involves understandings of things such as continuity and change over time, historical process – like colonisation and suburbanisation – ideologies and superstitions. Where appropriate, these should form subtle backgrounds to the narrative. Fiction and creative non-fiction as historical modes of presenting history should also show – not tell. My edited collection, If It’s not True It Should Be (Halstead Press), explores writing history using fictional techniques. As Peter Stanley has written in that book, ‘those who seek to illuminate the past through the imaginative recreation of historical fiction … [are] motivated by the fundamental conviction that what links the fidelity of the historian and the imagination of the historical novelist is that the work of both should be offered and read as if it were true.’ ABOUT THE AUTHOR Paul Ashton is adjunct professor and co-founder of the Australian Centre for Public History at the University of Technology Sydney and adjunct professor at the University of Canberra and Macquarie University. He has authored, co-authored, edited and co-edited over 40 books and is editor of the journal Public History Review. His series of creative non-fiction children’s histories – Accidental Histories – is being published by Halstead Press. Images: Supplied

Books

Marcia Hines reveals the true cause of her collapse

Australian Idol judge and iconic singer Marcia Hines has recently disclosed the harrowing details behind her backstage collapse on the eve of the show's Grand Finale. The 70-year-old singing legend was <a href="https://www.oversixty.com.au/health/caring/marcia-hines-rushed-to-hospital" target="_blank" rel="noopener">rushed to the hospital</a> after collapsing in her dressing room at the Sydney Coliseum Theatre on March 24, sending shockwaves through the entertainment industry and leaving fans concerned for her well-being. Initially, speculation surrounded the incident, with many attributing it to her well-known battle with diabetes. However, in an exclusive interview with The Daily Telegraph, Hines unveiled the true cause – a urinary tract infection (UTI). "I don't know what happened," she shared, recounting the frightening moment. "I was about to go and do the semi-final for Australian Idol... I was sitting down, stood up, and fell over." “I had a urinary tract infection,” she added, referring to it as a “chick thing”. UTIs can wreak havoc on one's health, particularly in older individuals like Hines. They can lead to complications such as low blood pressure, resulting in dizziness, weakness and fainting – precisely the symptoms Hines experienced. Following her collapse, she required stitches on her forehead, but her determination to <a href="https://www.oversixty.com.au/entertainment/tv/marcia-hines-returns-as-australian-idol-fans-cry-foul-over-upset-win" target="_blank" rel="noopener">return for the show's final episode</a> was unwavering. Despite pleas from her doctor to take it easy, Hines leveraged her "bargaining power" and convinced him to allow her to fulfil her commitment to Australian Idol. "That's show business," she quipped. Following the Grand Finale, Hines did return to the hospital for further treatment, where she remained under observation for several days. Reflecting on the ordeal, Hines expressed gratitude for the outpouring of support she received from fans, friends and medical professionals. In an Instagram post, she acknowledged the exceptional healthcare system in Australia, particularly praising the efforts of the hospital staff who attended to her during her stay. Additionally, she extended her appreciation to the Australian Idol team and her colleagues at Grease: The Musical, where she holds a cameo role. Looking ahead, with her Idol commitments concluded for the year, Hines now shifts her focus to her role in Grease: The Musical, which is currently captivating audiences in Sydney before embarking on a tour to Perth. Images: Instagram

Caring

West Side Story returns to Handa Opera on Sydney Harbour

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

Domestic Travel

Aussie love story from WWII immortalised in the war memorial

An Australian couple's love story that defied the odds of time and distance has been immortalised in the war memorial. The Australian War Memorial is calling for volunteers to help transcribe thousands of love letters sent from soldiers in the war, to their loved ones back at home. Launching on Valentine's Day, the project will see the digital release of hundreds of thousands of personal letters, diaries and other handwritten documents kept safe for decades. Among those stories is the tale of Mac and Dot, two lovebirds separated by World War II. Their love story began in 1939, when Mac was 17 and Dorothy was 14. Dorothy - or as Mac referred to her, his Darling Dot - was forbidden to go on a date with Mac after her father refused to give his blessing. "He kept on asking me to go out but my father wouldn't let me," Dorothy laughed as she told Ally Langdon on A Current Affair. <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/reel/C3Rj4g9vjIS/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/reel/C3Rj4g9vjIS/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by A Current Affair (@acurrentaffair9)</a> </div> </blockquote> Mac was soon off to war, but his plan was always to return home to Dot. "He said to me, 'When I come back home...Will you come out with me then?'" Dorothy reminisced. "I said, 'Of course I will, Mac!' And then he gave me a kiss and went to war." The young couple then continued to write each other letters every week for five long years, until Mac was captured by the German army and held as a prisoner of war. Despite his capture, Mac held onto every letter Dot had ever written him, as he remained determined to get home to his beloved. "I hated him being away, and when the letters came back oh gee they were wonderful," Dorothy said. "A letter meant he was still alive, you see, so it was so exciting." In April 1945, Dot received the best letter of all: Mac had escaped and was coming home. "Hello my darling. What does one say in a moment such as this?" Dot wrote on April 30th 1945. "I have butterflies in my stomach, love in my heart and few words that make sense in my mind. Well Mac, it's really coming at last. You're almost home". And Mac wrote back to that, "Hello darling. I miss you more now than ever." "Unfortunately I can't find a boat to take me back to you. If they don't hurry I guess I'll just have to pinch a rowing boat and see what I can do!" When Mac returned home, he brought with him half a decade's worth of those love letters from Dot, as well as a portrait of himself painted by another prisoner of war. It hangs proudly at the end of Dorothy's bed and is the first thing she sees when she wakes. Now Robyn Van Dyke and Terrie-Anne Simmonds from the Australian War Memorial are sifting through thousands of donated love letters, including Mac's and Dorothy's. "He not only managed to escape, but he managed to take all her letters with him and that blows me away because it's not a small amount of letters," Robyn said. The team is looking for <a href="https://transcribe.awm.gov.au" target="_blank" rel="noopener">volunteers</a> to help ensure those stories, and all that love, live forever. Dorothy, who is now 101 years old, had more than 70 wonderful years with Mac before he died in 2014. "He was nearly 90, you know. And me I just kept on going and going and going!" she said. "He'd be up there watching every minute I bet. We had such fun. Oh dear we did have fun. We laughed a lot and we cried a lot." "But we lived - and that was the main thing." Image credits: A Current Affair <p style="box-sizing: border-box; margin: 24px 0px 0px; padding: 0px; border: 0px; font-stretch: inherit; font-size: 18px; line-height: 1.333; font-family: 'Proxima Nova', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size-adjust: inherit; font-kerning: inherit; font-variant-alternates: inherit; font-variant-ligatures: inherit; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-variant-position: inherit; font-feature-settings: inherit; font-optical-sizing: inherit; font-variation-settings: inherit; vertical-align: baseline; caret-color: #333333; color: #333333; letter-spacing: 0.25px;">

Relationships

"Too good to be true": Bank teller saves couple from losing $40k

A Tasmanian couple have been saved from losing $40k into an online investment scam after a bank teller noticed the red flags. The couple visited the NAB branch in Rosny, Hobart after their account was blocked during an attempt to transfer the money to an ‘online investment firm’ in Perth. The payment was the first of two instalments that they were set to pay the "firm" but NAB Customer Advisor Erin Bugg saved them from a massive loss. Bugg became suspicious of the firm after they promised a 12 per cent return on their term deposit and a guaranteed pay out if the firm went bust. “If there was a scam red flags bingo card, ‘online investment opportunity’ would be top of the list,” the NAB Customer Advisor said. “Immediately, alarm bells went off for me. It sounded like an investment scam and I was concerned this couple could lose their life savings.” The couple, however, insisted that they weren't being scammed so Bugg decided to look into the matter further and found a website and article about the firm. When she looked into the rates they offered she realised it “was literally too good to be true." “No one likes to be told they’re being lied to, especially when they feel like they’ve done all the right things. They had done their own research, and even spoken to the company on the phone,” she said. She added that "alarm bells" started ringing when the wife explained that a man from the firm kept calling her to thank her for the investment and encourage her to open an account. The couple then rang the "firm" in front of Bugg to try and convince her it was real. “I declined to speak to the ‘firm’, but I could hear them telling the customers, ‘Oh, NAB always flags us as a scam’,’” she recalled. NAB’s fraud team then informed them that the firm had a bank account at another bank, and to call the bank to confirm whether it was legit. After calling the other bank, they found that the account was not connected to the investment firm and suggested them to not transfer anything. “It was such a relief to hear from the customer that they’d avoided being scammed,” Bugg said. This comes after Scamwatch received over 7,000 reports of investment scams collectively costing Aussies over $275 million in the last year. Image: NAB

Money & Banking

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

<a href="https://theconversation.com/profiles/ana-stevenson-196768">Ana Stevenson</a>, <a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a> and <a href="https://theconversation.com/profiles/lindsay-helwig-1500979">Lindsay Helwig</a>, <a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a> Glynis Johns, most famous for her role as the suffragette mother Mrs Winifred Banks in Disney’s Mary Poppins (1964), passed away last week at the age of 100. A fourth-generation performer who made her <a href="https://www.latimes.com/archives/la-xpm-1991-04-17-ca-126-story.html">stage debut</a> in London when she was only three weeks old, Johns inherited her Welsh father’s love of acting. She appeared with him in The Halfway House (1944) and The Sundowners (1960) and argued for the establishment of a Welsh National Theatre <a href="https://twitter.com/huwthomas/status/791367871242862592">as early as 1971</a>. Johns’s career spanned eight decades in Hollywood, Broadway and the British stage and screen. As Palm Springs’s Desert Sun <a href="https://cdnc.ucr.edu/?a=d&d=DS19630426.2.50">reported</a> in 1962, her “husky voice and big blue eyes” were her hallmarks. But it was her portrayal of Mrs Banks in Mary Poppins which would make her a pop culture icon. <h2>A childhood inspiration</h2> Feminist activists and scholars often describe the Mrs Banks character as a childhood inspiration. As feminist communications scholar Amanda Firestone <a href="https://www.google.com.au/books/edition/Resist_and_Persist/s5HiDwAAQBAJ">reflects</a> on the film: "I especially loved […] Mrs Banks (Glynis Johns), who marches around the family home, putting Votes for Women sashes onto the housekeeper, cook, and the (departing) nanny. Of course, as a kid, I had no idea that the people and events embedded in the song’s lyrics were actual parts of history, but I did find a kind of joy in a vague notion of women’s empowerment." Set in 1910, the symbolism associated with Mrs Banks references the history of the British suffragettes. Johns’ musical showstopper, Sister Suffragette, directly refers to <a href="https://www.thehistorypress.co.uk/articles/the-pankhursts-politics-protest-and-passion/">Emmeline Pankhurst</a>, who founded the militant Women’s Social and Political Union in 1903. In 1906 British newspapers <a href="https://doi.org/10.1017/S0020859007003239">coined</a> the moniker “suffragette” to mock the union. <figure><iframe src="https://www.youtube.com/embed/K0SDECwO54E?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> This ambivalence continued into the 1960s. Historian Laura E. Nym Mayhall <a href="https://www.jstor.org/stable/4316653">argues</a> that American concern over the impact of women’s public roles on their domestic responsibilities influenced the film’s depiction of Mrs Banks, especially her movement from a public suffragette back into an involved mother at the film’s end. For Mayhall, the figure of the suffragette emerges in popular culture as “a symbol of modernity”: a harbinger of democracy and political progress whose characterisation would elide ongoing struggles such as the civil rights movement. <figure class="align-right zoomable"><a href="https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=949&fit=crop&dpr=1 600w, https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=949&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=949&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1193&fit=crop&dpr=1 754w, https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1193&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1193&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>This 1909 Dunston Weiler Lithograph Co. anti-suffrage postcard offers resonances of Mrs Banks and her household staff in Mary Poppins. <a class="source" href="https://thesuffragepostcardproject.omeka.net/items/show/44">Catherine H. Palczewski Postcard Archive/The Suffrage Postcard Project</a></figcaption></figure> While some see the character of the suffragette mother as <a href="https://www.google.com.au/books/edition/Mary_Poppins/BLujEAAAQBAJ">supporting</a> women’s votes during the 1910s and women’s liberation during the 1960s, other readings of the film suggest a more satirical representation of the suffrage movement. Some historians even find <a href="https://doi.org/10.1215/02705346-6923118">resonances</a> of anti-suffrage propaganda in Mrs Banks, including in her usage of her Votes for Women sash as the tail of a kite in the film’s final scene. Looking back at film reviews offers insight into how audiences received this character – and, by extension, Johns as an actor. American studies scholar Lori Kenschaft <a href="https://books.google.com.au/books/about/Girls_Boys_Books_Toys.html?id=Or13vhnA_W4C">suggests</a> that film critics who saw Mrs Banks as a “nutty suffragette mother” reiterated popular stereotypes about suffragettes and feminists being “mentally unbalanced”. Such stereotypes may have been reinforced by the film’s depiction of motherhood and the nuclear family. Involved parenting emerged as the bedrock of the 1960s nuclear family, an idea both supported and actively promoted by Walt Disney in both his films and his theme parks, as <a href="https://www.google.com.au/books/edition/Children_Childhood_and_Musical_Theater/XHrRDwAAQBAJ">argued</a> by American musicologist William A. Everett. As Mrs Banks, Johns embodied the transition from the distant, uninvolved parenting of the British middle-class in the earlier 20th century to the involved mother who facilitated the stable nuclear family. As women’s studies scholar Anne McLeer <a href="https://www.jstor.org/stable/4316893">argues</a>, Mary Poppins, through Johns’ portrayal of Mrs Banks, demonstrated the liberated woman of the 1960s could be contained within the nuclear family: the bedrock for a Western capitalist economy. <h2>A long career</h2> Beyond Mary Poppins, her most prominent role was in Stephen Sondheim’s Broadway musical A Little Night Music (1973). Johns originated the character of ageing actress Desiree Armfeldt, becoming the first to sing Send in the Clowns. As she <a href="https://www.latimes.com/archives/la-xpm-1991-04-17-ca-126-story.html">reflected</a> of the classic in 1991: "It’s still part of me. And when you’ve got a song like Send in the Clowns, it’s timeless." Sondheim composed this song with Johns’s famously husky voice in mind. Yet some were less enamoured with her performance. One 1973 theatre critic <a href="https://www.jstor.org/stable/3850619">described</a> Johns as “a now somewhat overage tomboy, kittenish and raspy-voiced, precise and amusing in her delivery of lines but utterly, utterly unseductive.” <figure><iframe src="https://www.youtube.com/embed/OAl-EawVobY?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> A veteran of stage and screen, Johns appeared in more than 60 films and 30 plays. In 1998, she was honoured with a Disney Legends Award for her role as Mrs Banks. Johns also received critical acclaim throughout her career, including a Laurel Award for Mary Poppins and a Tony Award and Drama Desk Award for A Little Night Music. Regardless of how incongruous her status as a “<a href="https://www.abc.net.au/news/2024-01-05/glynis-johns-mary-poppins-send-in-the-clowns/103287036">Disney feminist icon</a>” may be, Johns’s extraordinary influence upon the 20th century’s cultural memory is a remarkable legacy. <img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/220766/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/ana-stevenson-196768">Ana Stevenson</a>, Senior Lecturer, <a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a> and <a href="https://theconversation.com/profiles/lindsay-helwig-1500979">Lindsay Helwig</a>, Lecturer in Pathways, <a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a> Image credits: Disney This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/vale-sister-suffragette-how-glynis-johns-became-a-pop-culture-icon-in-the-story-of-votes-for-women-220766">original article</a>.

Caring

Woman launches true crime podcast to find her father's killer

21 years ago, Madison McGhee's father was shot in cold blood. Madison was just six years old when her dad, John "JC" Cornelius McGhee, died, and was originally told he had passed away from a heart attack. However, when Madison was in high school, she began to ask questions about what really happened that night. "When I was 16 I had a weird feeling that something else was going on, so I asked my mum about a weird connection between my cousin and the death of my father," Madison told <a href="https://9now.nine.com.au/today/ice-cold-case-podcaster-hoping-to-solve-fathers-21-year-murder-mystery/a873da03-0198-4e34-b65c-cc3ced6e8cca" target="_blank" rel="noopener">Today Extra</a>. "And that's when my mum told me that there was another side of the story and that my dad had actually been murdered and it was a cold case, completely unsolved." Madison's father, who was a recovering drug addict and police informant, was shot in the head in the early hours of July 11th 2002 at his home in Ohio. His 16-year-old daughter and Madison's half-sister, Alyssa, was home at the time and found her father's body on the ground with a bullet hole in a nearby wall. Police investigated his death, but failed to find any evidence that could convict someone of his murder. After Madison discovered the real nature of her father's death, she began digging into the cold case and decided to try and solve the crime herself. In her efforts to find her father's killer, she launched a podcast called Ice Cold Case. "I started asking questions, diving into it and that's when I realised it was much more layered than even I could have imagined," she said. One line of theory by investigators was that JC's death was a home invasion gone wrong, but Madison said things just don't add up to support that. "When you dive into the police files, it's very clear that this is suspicious," she said. "A home invasion to my knowledge is usually very quick and something of value is stolen, but nothing was taken and this home invasion lasted for over 30 minutes. "It just seemed suspicious that someone would feel so comfortable to break into a house and stick around for that long and not steal anything at all - it feels like it was planned and very intentional." Madison admitted that is has been jarring looking into the death of her father, especially when no one has been held accountable, but she has put her own fears aside in the hopes of finding out what really happened. "I do feel a little uneasy putting myself out there in this very public way, but I just feel like justice for my dad is so much more important than worrying about my own safety if his killer is still out there," she said. "But I really want to find out what happened for him and for my own closure, so I have sort of pushed that to the side." Image credits: Today Extra

Legal

World mourns the passing of one of the true greats of cinema

Renowned British-Irish actor, Sir Michael Gambon, celebrated worldwide for his iconic portrayal of Albus Dumbledore in the beloved Harry Potter film series, has passed away at the age of 82. In an official statement relayed by his publicist, it was confirmed that he succumbed to pneumonia, leaving his family and fans heartbroken. The statement issued by his family reads, "We are devastated to announce the loss of Sir Michael Gambon. Beloved husband and father, Michael died peacefully in the hospital with his wife Anne and son Fergus by his side." Michael Gambon's acting journey spanned more than half a century, with one of his most significant milestones being his assumption of the role of Dumbledore in the Harry Potter series, succeeding the late Richard Harris in 2004. In characteristic humility, Gambon downplayed his performance, often remarking that he merely portrayed himself "with a stuck-on beard and a long robe". The Harry Potter franchise expressed its grief, stating, "He brought immeasurable joy to Harry Potter fans from all over the world with his humour, kindness, and grace. We will forever hold his memory in our hearts." <blockquote class="twitter-tweet"> We are incredibly saddened to hear of the passing of Sir Michael Gambon. He brought immeasurable joy to Harry Potter fans from all over the world with his humour, kindness and grace. We will forever hold his memory in our hearts. <a href="https://t.co/1CoTF3zeTo">pic.twitter.com/1CoTF3zeTo</a> — Harry Potter (@harrypotter) <a href="https://twitter.com/harrypotter/status/1707371391866028071?ref_src=twsrc%5Etfw">September 28, 2023</a></blockquote> James Phelps, known for his portrayal of Fred Weasley in the series, shared a touching anecdote on Instagram, recounting how Gambon generously helped him rehearse a script during the filming of "Harry Potter and the Half-Blood Prince". Phelps hailed Gambon as both a legend on and off the camera, describing him as funny and always willing to share his knowledge. Gambon embarked on his acting career in the early 1960s, initially treading the boards of the stage before transitioning to television and film. His filmography boasted remarkable performances, such as his portrayal of a psychotic mob leader in Peter Greenaway's The Cook, the Thief, His Wife & Her Lover in 1989 and his portrayal of the elderly King George V in Tom Hooper's The King's Speech in 2010. Despite an early start in engineering apprenticeship, Gambon's passion for acting remained unwavering. He recounted to The Herald newspaper in 2004 that he always knew he would become an actor. His breakthrough came in 1962 when he auditioned for the legendary Laurence Olivier, who subsequently appointed him as one of the founding members of the National Theatre at the Old Vic, alongside emerging talents like Derek Jacobi and Maggie Smith. Gambon's reputation soared on the stage, with his portrayal of Galileo in John Dexter's Life of Galileo in 1980 being a standout moment. In the 1980s, his lead role in the TV series The Singing Detective garnered widespread acclaim, earning him one of his four BAFTA Awards. Additionally, he clinched three Olivier Awards and two Screen Actors Guild Awards for ensemble cast performances in Gosford Park (2001) and The King's Speech. Acknowledged for his contributions to drama, Gambon was honoured as a Commander of the British Empire in 1992 and subsequently knighted in 1998. Despite these prestigious titles, he often displayed a mischievous side, weaving tales such as showing fellow actors a forged signed photograph of Robert De Niro, among other playful antics. In 2015, Gambon retired from the stage due to long-term memory issues, yet he continued to grace the screen with his talent until 2019. In a 2002 interview, he expressed that his work made him feel "the luckiest man in the world". Images: Getty / Instagram

News

5 bizarre – but true – things regular exercise does to your body

You feel like someone is stabbing a knife into your ribs Experts don’t know exactly what causes those sharp, fleeting pains called side stitches, but many believe they’re due to diaphragm spasms triggered by rapid breathing, says Tom Holland, exercise physiologist and author of Beat the Gym. Eating too close to your workout may play a role. And side stitches occur more frequently in novice exercisers. What to try: To stop a stitch, slow your pace and take deep breaths while contracting your abdominal muscles. Stretch your arms overhead or to the side. To prevent a stitch: Eat light pre-exercise meals, and wait at least 30 minutes after eating before you work out. Always warm up for five to ten minutes; gradually increase workout intensity. Your nose is suddenly a dripping tap Exercise, especially in cold, dry air, can trigger a runny, congested nose, a condition known as exercise-induced rhinitis. “Increased nasal breathing during exercise dries out the nose’s mucous membranes, which makes the nose secrete more mucus to protect the nasal airway,” says Dr William Silvers, an asthma, allergy and immunology specialist . What to try: If your nose is really interfering with your workout, ask your doctor to prescribe a nasal spray, and use it at least 30 minutes before you exercise. Pack plenty of tissues in your pockets. You have to go to the bathroom Badly. It’s called runner’s trots, but don’t be fooled by the name: Even walkers can experience loose bowels, especially when logging long distances. During exercise, your body directs blood flow away from your gut to working muscles, which can trigger diarrhoea, Holland says. Dehydration and pre-race anxiety may exacerbate the problem. What to try: Don’t eat anything for two hours before exercising. Skip high-fibre and high-fat foods, caffeine and artificial sweeteners, all of which can make things worse. Drink plenty of fluids before, during, and after exercise. Begin your workouts after bowel movements, and make sure you have access to a restroom. Your face turns as red as a stop sign Blame your capillaries, small blood vessels near the skin’s surface that dilate during exercise to help you stay cool. People with sensitive skin may flush more and stay red longer. What to try: Spritz cold water on your skin frequently or switch to activities in air-conditioned locations. The flush usually disappears about 30 minutes after you stop exercising, but if you have persistent redness, you may have rosacea, a skin disease that causes flushing, redness, bumps and pimples. It can be treated with oral and topical medications. You break out in hives Yes, you really could be allergic to exercise. Urticaria is often triggered by sweating and an elevated body temperature. What to try: See a specialist to rule out other conditions. If it is urticaria, your doctor may recommend taking an antihistamine treatment before exercise. Working out in cooler conditions may help. Image credits: Shutterstock This article originally appeared on <a href="https://www.readersdigest.com.au/healthsmart/5-bizarre-things-exercise-does-to-your-body" target="_blank" rel="noopener">Reader's Digest</a>.

Body

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

<a href="https://theconversation.com/profiles/ella-jeffery-1459839">Ella Jeffery</a>, <a href="https://theconversation.com/institutions/griffith-university-828">Griffith University</a> The Block has begun its 19th season this month, <a href="https://9now.nine.com.au/the-block/2023-season-block-confirmed-location-details-scott-cam-season-19-explainer/b4d5fa4e-690f-4755-90da-caba77925836">billed as</a> “a Block that’s entirely relatable to people right around Australia”. This year, contestants renovate five “authentic ’50s dream homes” in “the perfectly named Charming Street, in Melbourne’s Hampton East”. But if the median price for a four-bedroom house in Hampton East is <a href="https://www.domain.com.au/suburb-profile/hampton-east-vic-3188">around A$1.6 million</a> and the nation’s <a href="https://www.theguardian.com/australia-news/2023/aug/03/more-than-1600-australians-pushed-into-homelessness-each-month-as-housing-crisis-deepens-report-finds">housing crisis</a> shows no signs of easing, who is The Block relatable to? And why do audiences keep coming back to renovation stories? Home ownership is becoming <a href="https://www.aph.gov.au/About_Parliament/Parliamentary_Departments/Parliamentary_Library/pubs/BriefingBook46p/HomeOwnership">less accessible</a> and more people than ever are renting, but stories about renovation on TV, in film and in literature continue to have a powerful effect on us. Why? One reason they can be so captivating is that they invoke the idea of the dream home. <figure><iframe src="https://www.youtube.com/embed/KadU7z8GHoE?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>Season 19 of The Block promises to ‘transform these little time capsules into two-storey mansions’.</figcaption></figure> <h2>Home makeovers are ultimately about us too</h2> Ask anyone you know about their dream home – something I did regularly when I was <a href="https://eprints.qut.edu.au/122955/">writing my PhD</a> on renovation stories – and you’ll get an incredible array of different styles, sizes, locations. Maybe it overlooks the ocean, maybe it has the newest appliances, maybe it has a pool, maybe it’s just a house without a <a href="https://www.theguardian.com/australia-news/2022/apr/29/this-isnt-safe-nsw-renters-fight-twin-battles-against-mould-and-landlords">mould problem</a>. The idea of the dream home is deeply rooted in our shared imagination. The philosopher Gaston Bachelard wrote in <a href="https://www.goodreads.com/book/show/13269.The_Poetics_of_Space">The Poetics of Space</a> (1958) that our houses – both the ones we live in and the ones we dream of – “move in both directions: they are in us as much as we are in them”. Bachelard suggests that in even “the humblest dwelling” our memories, desires and dreams are gathered, and this is why houses are so central to who we are. If houses can be expressions of self, our dream houses say a lot about our desires. While it might no longer look like a <a href="https://www.domain.com.au/news/is-the-aussie-dream-of-a-quarter-acre-block-dead-1221913/">house on a quarter-acre block</a>, the dream still exists. Renovation stories are so compelling because in them, as <a href="https://us.sagepub.com/en-us/nam/ordinary-television/book205099#contents">researchers</a> have noted, home improvement often represents self-improvement – a dream life, not just a dream house. This is especially important in programs like <a href="https://www.imdb.com/title/tt0388595/">Extreme Makeover: Home Edition</a> (2003–20) and <a href="https://www.imdb.com/title/tt0243688/">Backyard Blitz</a> (2000–), which often focus on people presented as hard-done-by whose lives are changed by renovations that solve their day-to-day problems. <h2>Better house, better life</h2> Reality TV isn’t the only place we find this type of story about transformation and self-improvement. In Frances Mayes’ bestselling memoir Under the Tuscan Sun (1996), Mayes travels to Italy and buys an abandoned villa, Bramasole, which she renovates. In the process, she gains a new outlook on life. There’s a similar story in Peter Mayle’s A Year in Provence (1989). Mayle, a UK advertising executive, buys a 200-year-old farmhouse in France and renovates it. Both books were exceptionally successful, inspiring an entire genre of renovation memoirs about wealthy middle-class people able to travel abroad, buy charmingly rundown properties in beautiful locations, and renovate them while enjoying the local lifestyle. In them, renovation is a clear symbol of self-transformation, if only for people rich enough to afford it: renovating houses leads to a greater appreciation of life’s pleasures and a new way of seeing the world. This idea of the renovated life can be especially compelling in a world that increasingly feels <a href="https://theconversation.com/the-doomsday-clock-is-now-at-90-seconds-to-midnight-the-closest-we-have-ever-been-to-global-catastrophe-198457">frightening and overwhelming</a>. Researchers like <a href="https://catalogue.nla.gov.au/catalog/4273551">Fiona Allon</a> argue that renovation stories allow us to turn away from the alarming outside world – with its violence, looming recessions, pandemics, climate crises – and focus on the smaller, more controllable world of the home. Maggie Smith’s viral poem <a href="https://www.poetryfoundation.org/poems/89897/good-bones">Good Bones</a> (2016) plays with this idea. The poem is about a mother trying to convince her children (and herself) that despite being a scary place, the world can be improved. To do this, she uses the analogy of a real estate agent selling a fixer-upper. The poem ends with lines that present renovation as an opportunity for change: "This place could be beautiful, Right? You could make this place beautiful." This optimism is what makes renovation excellent fodder for love stories. In the Nancy Meyers rom-com It’s Complicated (2009), Meryl Streep plays a divorcee looking for a fresh start, who renovates her home and falls in love with her architect, Adam. In The Notebook (2004), Ryan Gosling’s Noah transforms an old plantation estate into his lover Allie’s dream home, a gesture that reveals his enduring love. Renovation stories are always about change (although in <a href="https://www.imdb.com/title/tt5109784/">some</a> the change doesn’t last). Even if, as may be the case for the increasing number of people who are renting, having a house of our own is itself a fantasy. <h2>Renovate? In this economy?</h2> Many renovation stories can be seen as escapist media that trade on the image of the dream home to sell ideas about wealth, taste and style to audiences unable to afford such things. The Block may involve contestants from a range of backgrounds, but few people can afford the multimillion-dollar houses they build. The Block’s viewership has had ups and downs in its two-decade history, but the show (and many others) continues because, despite being about <a href="https://thenewdaily.com.au/entertainment/2023/03/29/the-block-controversy-grand-designs/">profiting from the housing market</a>, it sells the idea of transformation and change, not just in our houses but in our lives. Renovation stories invite audiences to indulge in a fantasy where we become our best selves living in dream homes that protect us from a volatile and threatening world. The dream home might remain a dream, but in renovation stories we escape reality and envision life in a Tuscan villa, or having a butler’s pantry or plunge pool, or simply owning a house of our own.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/211334/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/ella-jeffery-1459839">Ella Jeffery</a>, Lecturer in Creative Writing, <a href="https://theconversation.com/institutions/griffith-university-828">Griffith University</a> Image credits: Instagram - The Block This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/even-in-a-housing-crisis-australians-cant-get-enough-of-renovation-stories-on-tv-why-211334">original article</a>.

"Unbelievable but true": Tourist outraged over shocking restaurant fee

A tourist in Italy has been hit with a shocking fee from an upscale eatery after he asked for his sandwich to be cut in half. The anonymous man was travelling in Italy's picturesque Lake Como region, and stopped in at Bar Pace in Gera Lario, at the lake’s northern end, for a vegetarian sandwich and fries for lunch. Travelling with a friend, the man asked for the meal to be cut in half so they could share. After polishing off their lunch, the traveller was shocked when he was given the bill, noticing a charge he had never seen before. The man paid without arguing, but later took to TripAdvisor to leave a negative review. “Unbelievable but true,” the man captioned a photo of the receipt on TripAdvisor. The receipt lists the sandwich for €7.50 ($12.60), Coca Cola for €3.50 ($5.90), water for €1.50 ($2.50) and espresso for €1.20 ($2), along with the debated “diviso da meta”, or “cutting in half” fee, amounting to 2 euros, or $3.40. The confused customer gave the restaurant one star on TripAdvisor, far below the average of four and a half stars, based on over 100 reviews. After the review garnered a lot of unexpected attention, the restaurant's owner defended the fee to a local news outlet. “Additional requests have a cost,” owner Cristina Biacchi told La Repubblica. “We had to use two plates instead of one and the time to wash them is doubled, and then two placemats. It wasn’t a simple toasted sandwich, there were also French fries inside. It took us time to cut it in two.” She also noted that the customer did not complain or question the charge and clarified that she would have removed the charge from the bill, if someone had raised an issue. The extra charge is not unheard of in expensive cities and popular tourist destinations, with some cities in the United States are sometimes hitting diners with a share charge, or a split plate charge, to make up for the lower check average at a table, while some New York City eateries even ban the practice of sharing all together. Image credit: TripAdvisor

Travel Trouble

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

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

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