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Is white rice bad for me? Can I make it lower GI or healthier?

<div class="theconversation-article-body"> <a href="https://theconversation.com/profiles/emma-beckett-22673">Emma Beckett</a>, <a href="https://theconversation.com/institutions/unsw-sydney-1414">UNSW Sydney</a> Rice is a <a href="http://www.ipni.net/publication/bci.nsf/0/42A2EA40E95CBD1385257BBA006531E9/$FILE/Better%20Crops%20International%202002-3%20p03.pdf">culinary staple</a> in Australia and around the world. It might seem like a given that brown rice is healthier than white and official <a href="https://www.eatforhealth.gov.au/eating-well/healthy-recipes/recipe-modification-tips">public health resources</a> often recommend brown rice instead of white as a “healthy swap”. But <a href="https://pubmed.ncbi.nlm.nih.gov/34441728/">Australians definitely prefer white rice</a> over brown. So, what’s the difference, and what do we need to know when choosing rice? <h2>What makes rice white or brown?</h2> Rice “grains” are technically seeds. A complete, whole rice seed is called a “paddy”, which has <a href="https://www.fao.org/4/t0567e/t0567e07.htm">multiple parts</a>: <ol> <li>the “hull” is the hard outer layer which protects the seed</li> <li>the “bran”, which is a softer protective layer containing the seed coat</li> <li>the “germ” or the embryo, which is the part of the seed that would develop into a new plant if was germinated</li> <li>the “endosperm”, which makes up most of the seed and is essentially the store of nutrients that feeds the developing plant as a seed grows into a plant.</li> </ol> Rice needs to be <a href="https://www.tandfonline.com/doi/pdf/10.1080/87559128509540778">processed</a> for humans to eat it. Along with cleaning and drying, the hard hulls are removed since we can’t digest them. This is how <a href="https://ift.onlinelibrary.wiley.com/doi/abs/10.1111/1541-4337.12449">brown rice is made</a>, with the other three parts of the rice remaining intact. This means brown rice is regarded as a “wholegrain”. White rice, however, is a “refined” grain, as it is <a href="https://ift.onlinelibrary.wiley.com/doi/abs/10.1111/1541-4337.12449">further polished</a> to remove the bran and germ, leaving just the endosperm. This is a mechanical and not a chemical process. <h2>What’s the difference, nutritionally?</h2> Keeping the bran and the germ means <a href="https://onlinelibrary.wiley.com/doi/abs/10.1002/cche.10322">brown rice has more</a> magnesium, phosphorus, potassium B vitamins (niacin, folate, riboflavin and pyridoxine), iron, zinc and fibre. The germ and the bran also contain more bioactives (compounds in foods that aren’t essential nutrients but have health benefits), like <a href="https://www.mdpi.com/1420-3049/28/2/532#:%7E:text=Brown%20rice%20(BR)%20is%20obtained,and%20phenolic%20compounds%20%5B3%5D.">oryzanols and phenolic compounds</a> which have antioxidant effects. But that doesn’t mean white rice is just empty calories. It <a href="https://www.glnc.org.au/wp-content/uploads/2011/04/GLNC_Rice-factsheet_WEB.pdf">still contains</a> vitamins, minerals and some fibre, and is low in fat and salt, and is naturally gluten-free. White and brown rice actually have <a href="https://ift.onlinelibrary.wiley.com/doi/abs/10.1111/1541-4337.12449">similar</a> amounts of calories (or kilojoules) and total carbohydrates. There are studies that show eating more white rice is linked to <a href="https://diabetesjournals.org/care/article/43/11/2625/35820/A-Global-Perspective-on-White-Rice-Consumption-and">a higher risk</a> of type 2 diabetes. But it is difficult to know if this is down to the rice itself, or other related factors such as socioeconomic variables or other dietary patterns. <h2>What about the glycaemic index?</h2> The higher fibre means brown rice has a <a href="https://www.sciencedirect.com/science/article/pii/S0002916523314862">lower glycaemic index</a> (GI), meaning it raises blood sugar levels more slowly. But this is highly variable between different rices within the white and brown categories. The <a href="https://www.betterhealth.vic.gov.au/health/healthyliving/carbohydrates-and-the-glycaemic-index#:%7E:text=The%20glycaemic%20index%20(GI)%20is,simple'%20or%20'complex'.">GI system</a> uses low (less than 55), medium (55–70) and high (above 70) categories. <a href="https://glycemicindex.com/gi-search/?food_name=rice&product_category=&country=&gi=&gi_filter=&serving_size_(g)=&serving_size_(g)_filter=&carbs_per_serve_(g)=&carbs_per_serve_(g)_filter=&gl=&gl_filter=">Brown rices</a> fall into the low and medium categories. <a href="https://glycemicindex.com/gi-search/?food_name=rice&product_category=&country=&gi=&gi_filter=&serving_size_(g)=&serving_size_(g)_filter=&carbs_per_serve_(g)=&carbs_per_serve_(g)_filter=&gl=&gl_filter=">White rices</a> fall in the medium and high. There are specific <a href="https://www.gisymbol.com/low-gi-products/sunrice-doongara-low-gi-white-clever-rice-1kg/">low-GI types available</a> for both white and brown types. You can also lower the GI of rice by <a href="https://pubs.acs.org/doi/abs/10.1021/jf503203r">heating and then cooling it</a>. This process converts some of the “available carbohydrates” into “resistant starch”, which then functions like dietary fibre. <h2>Are there any benefits to white rice?</h2> The <a href="https://www.realsimple.com/brown-rice-vs-white-rice-8417468#:%7E:text=The%20eating%20experience%20between%20these,chewier%20texture%20and%20nuttier%20flavor.">taste and textural qualities</a> of white and brown rices differ. White rice tends to have a softer texture and more mild or neutral flavour. Brown rice has a chewier texture and nuttier flavour. So, while you can technically substitute brown rice into most recipes, the experience will be different. Or other ingredients may need to be added or changed to create the desired texture. Removing more of the outer layers may also reduce the levels of <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10375490/">contaminants</a> such as pesticides. <h2>We don’t just eat rice</h2> Comparing white and brown rice seems like an easy way to boost nutritional value. But just because one food (brown rice) is more nutrient-dense doesn’t make the other food (white rice) “bad”. Ultimately, it’s not often that we eat just rice, so we don’t need the rice we choose to be the perfect one. Rice is typically the staple base of a more complex dish. So, it’s probably more important to think about what we eat with rice. Adding vegetables and lean proteins to rice-based dishes can easily add the micronutrients, bioactives and fibre that white rice is comparatively lacking, and this can likely do more to contribute to diet quality than eating brown rice instead.<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/236767/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/emma-beckett-22673">Emma Beckett</a>, Adjunct Senior Lecturer, Nutrition, Dietetics & Food Innovation - School of Health Sciences, <a href="https://theconversation.com/institutions/unsw-sydney-1414">UNSW Sydney</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/is-white-rice-bad-for-me-can-i-make-it-lower-gi-or-healthier-236767">original article</a>. </div>

Food & Wine

The surprising reason commercial planes are painted white

Up until the middle of the last century, airplanes would fly through the sky unpainted as shiny silver tubes. But now, we are so used to seeing plane bodies being painted white, with the exception of the airline’s logo and a splash of colour on the plane’s tail. But this drastic look isn’t just about style and uniformity, as there is a simple reason why plane bodies are left plain. First of all, white paint jobs will show wear and tear a lot quicker on huge commercial planes and while this might not be ideal for a car or house, it's perfect for planes. From takeoff to landing, a plane goes through a lot. While the aircrafts are always deemed safe for flying, it'll likely suffer minor cosmetic damages as it hurtles through the sky at 900 kilometres per hour. Due to the frequent minor chips and scratches a plane has inflicted, using the white paint helps engineers and maintenance teams to spot any of these issues with ease. Another reason that white is uniform in the skies is because white paint is going to fade at a much slower rate than a darker shade. As planes fly above the clouds, they're exposed to a lot of UV rays which speeds up the process of the paint fading. Lastly, it's been found that birds can spot planes against the sky easier when they're painted all-white, as sometimes in rare occasions, birds can pose a safety risk. It wasn’t until 50 years ago that airlines started painting their planes, with Air France being credited for starting the movement in the 1970s. "Since Air France introduced the first 'Euro-white' livery in 1976, the all-white fuselage look has become increasingly standard for the world's airlines," aviation historian Shea Oakley told Travel + Leisure. Image credits: Shutterstock

Travel Tips

Think $5.50 is too much for a flat white? Actually it’s too cheap, and our world-famous cafes are paying the price

<a href="https://theconversation.com/profiles/emma-felton-143029">Emma Felton</a>, <a href="https://theconversation.com/institutions/university-of-south-australia-1180">University of South Australia</a> Even in a stubborn cost-of-living crisis, it seems there’s one luxury most Australians <a href="https://www.comparethemarket.com.au/news/what-australians-wont-give-up-cost-of-living-crisis-report/">won’t sacrifice</a> – their daily cup of coffee. Coffee sales have largely <a href="https://www.statista.com/statistics/866543/australia-domestic-consumption-of-coffee/">remained stable</a>, even as financial pressures have bitten over the past few years. So too have prices. Though many of us became upset when prices began to creep up last year, they’ve since largely settled in the range between $4.00 and $5.50 for a basic drink. But this could soon have to change. By international standards, Australian coffee prices are low. No one wants to pay more for essentials, least of all right now. But our independent cafes are struggling. By not valuing coffee properly, we risk losing the <a href="https://bizcup.com.au/australian-coffee-culture/">internationally renowned</a> coffee culture we’ve worked so hard to create, and the phenomenal quality of cup we enjoy. <h2>Coffee is relatively cheap in Australia</h2> Our recent survey of Australian capital cities found the average price of a small takeaway flat white at speciality venues is A$4.78. But in <a href="https://pabloandrustys.com.au/blogs/drinkbettercoffee/global-coffee-prices">some international capitals</a>, it’s almost double this, even after adjusting for local <a href="https://www.investopedia.com/updates/purchasing-power-parity-ppp/">purchasing power parity</a>. <iframe id="gaplH" class="tc-infographic-datawrapper" style="border: none;" src="https://datawrapper.dwcdn.net/gaplH/" width="100%" height="400px" frameborder="0"></iframe> In London, a small flat white costs about A$6.96. Singapore, A$8.42. In Athens, as much as A$9.95. <h2>The cafe business is getting harder</h2> Over the past few decades, coffee prices haven’t kept pace with input costs. In the early 2000s, after wages, food costs, utilities and rent, many cafes <a href="https://www.coffeecommune.com.au/blog-why-are-cafes-so-expensive/">earned healthy profit margins</a> as high as 20%. The <a href="https://www.ibisworld.com/au/industry/cafes-coffee-shops/2015/">most recent data from IBISWorld</a> show that while Australian cafe net profits have recovered from a drop in 2020, at 7.6%, they remain much lower than the Australian <a href="https://www.money.com.au/research/australian-business-statistics">average business profit margin of 13.3%</a>. For an independent owner operating a cafe with the <a href="https://www.ibisworld.com/au/industry/cafes-coffee-shops/2015/">average turnover of A$300,000</a>, this would amount to a meagre A$22,800 annual net profit after all the bills are paid. <h2>What goes into a cup?</h2> Just looking at the cost of raw inputs – milk, beans, a cup and a lid – might make the margin seem lucrative. But they don’t paint the whole picture. <figure class="align-center "><img src="https://images.theconversation.com/files/584949/original/file-20240328-24-rlngpk.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/584949/original/file-20240328-24-rlngpk.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=600&fit=crop&dpr=1 600w, https://images.theconversation.com/files/584949/original/file-20240328-24-rlngpk.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=600&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/584949/original/file-20240328-24-rlngpk.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=600&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/584949/original/file-20240328-24-rlngpk.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=754&fit=crop&dpr=1 754w, https://images.theconversation.com/files/584949/original/file-20240328-24-rlngpk.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=754&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/584949/original/file-20240328-24-rlngpk.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=754&fit=crop&dpr=3 2262w" alt="A takeaway coffee cup showing the price inputs, with wages and operation costs making up over 65% of the cost of a coffee" /><figcaption>Chart: The Conversation. <a class="source" href="https://pabloandrustys.com.au/blogs/drinkbettercoffee/whats-in-the-cost-of-coffee">Data: Pablo and Rusty's Coffee Roasters</a>, <a class="license" href="http://creativecommons.org/licenses/by-sa/4.0/">CC BY-SA</a></figcaption></figure> Over the past few years, renting the building, keeping the lights on and paying staff have all become <a href="https://www.reuters.com/business/ground-down-australia-coffee-shops-an-early-inflation-casualty-2023-07-10/">much bigger factors</a> in the equation for coffee shop owners, and many of these pressures aren’t easing. 1. Green coffee price Increasingly <a href="https://www.aa.com.tr/en/environment/brewing-crisis-how-climate-change-is-reshaping-coffee-production/3113886">subject to the effects</a> of climate change, the baseline commodity price of green (unroasted) coffee is <a href="https://perfectdailygrind.com/2024/02/demand-for-robusta-prices-record-high/">going up</a>. Arabica – the higher quality bean you’re most likely drinking at specialty cafes – is a more expensive raw product. Despite levelling off from post-pandemic highs, its price is still trending up. In 2018, it <a href="https://www.statista.com/statistics/675807/average-prices-arabica-and-robusta-coffee-worldwide/">sold</a> for US$2.93 per kilogram, which is projected to increase to US$4.38 dollars in 2025. Robusta coffee is cheaper, and is the type <a href="https://www.lavazza.com.au/en/coffee-secrets/difference-type-arabica-robusta-coffee">typically used to make instant coffee</a>. But serious drought in Vietnam has just pushed the price of robusta to an <a href="https://www.barchart.com/story/news/25094367/coffee-rallies-with-robusta-at-a-record-high-on-shrinking-coffee-output-in-vietnam">all-time high</a>, putting pressure on the cost of coffee more broadly. 2. Milk prices The price of fresh milk has risen by <a href="https://cdn-prod.dairyaustralia.com.au/-/media/project/dairy-australia-sites/national-home/resources/reports/situation-and-outlook/situation-and-outlook-report-march-2024.pdf?rev=b0222df4b01b40d0ae36cf8ac7b01bc0">more than 20%</a> over the past two years, and remains at a peak. This has put sustained cost pressure on the production of our <a href="https://gitnux.org/australian-coffee-consumption-statistics/#:%7E:text=Coffee%20is%20a%20beloved%20beverage,approximately%206%20billion%20cups%20annually.">most popular drink orders</a>: cappuccinos and flat whites. 3. Wages and utilities Over the past year, Australian wages have grown at their <a href="https://ministers.treasury.gov.au/ministers/jim-chalmers-2022/media-releases/real-wages-growth-back">fastest rate</a> since 2009, which is welcome news for cafe staff, but tough on operators in a sector with low margins. Electricity prices remain elevated after significant inflation, but could <a href="https://www.sbs.com.au/news/article/heres-how-much-your-energy-bills-might-go-down-by-and-when/k8g00jheg">begin to fall mid-year</a>. <h2>Specialty vs. commodity coffee: why price expectations create an industry divide</h2> One of the key factors keeping prices low in Australia is consumer expectation. For many people coffee is a fundamental part of everyday life, a marker of livability. Unlike wine or other alcohol, coffee is not considered a luxury or even a treat, where one might expect to pay a little more, or reduce consumption when times are economically tough. We anchor on familiar prices. <iframe id="oDbah" class="tc-infographic-datawrapper" style="border: none;" src="https://datawrapper.dwcdn.net/oDbah/" width="100%" height="400px" frameborder="0"></iframe> Because of this, it really hurts cafe owners to put their prices up. In touch with their customer base almost every day, they’re acutely aware of how much inflation can hurt. But in Australia, a huge proportion of coffee companies are also passionate about creating a world-class product by only using “<a href="https://medium.com/@samandsunrise/why-is-specialty-coffee-so-expensive-6cf298935e4b#:%7E:text=Specialty%20Shops%20Feature%20High%20Grade%20Coffees&text=Their%20coffees%20are%20hand%2Dpicked,even%20on%20the%20same%20tree.">specialty coffee</a>”. Ranked at least 80 on a quality scale, specialty beans cost significant more than commodity grade, but their production offers better working conditions for farmers and encourages more sustainable growing practices. Although not commensurate with the wine industry, there are similarities. Single origin, high quality beans are often sourced from one farm and demand higher prices than commodity grade coffee, where cheaper sourced beans are often combined in a blend. Running a specialty cafe can also mean roasting your own beans, which requires a big investment in expertise and equipment. It’s an obvious example of doing the right thing by your suppliers and customers. But specialty cafes face much higher operating costs, and when they’re next to a commodity-grade competitor, customers are typically unwillingly to pay the difference. <h2>Approach price rises with curiosity, not defensiveness</h2> When cafe owners put up their prices, we often rush to accuse them of selfishness or profiteering. But they’re often just trying to survive. Given the quality of our coffee and its global reputation, it shouldn’t surprise us if we’re soon asked to pay a little bit more for our daily brew. If we are, we should afford the people who create one of our most important “<a href="https://theconversation.com/how-cafes-bars-gyms-barbershops-and-other-third-places-create-our-social-fabric-135530">third spaces</a>” kindness and curiosity as to why. <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/226015/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/emma-felton-143029">Emma Felton</a>, Adjunct Senior Researcher, <a href="https://theconversation.com/institutions/university-of-south-australia-1180">University of South Australia</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/think-5-50-is-too-much-for-a-flat-white-actually-its-too-cheap-and-our-world-famous-cafes-are-paying-the-price-226015">original article</a>.

Money & Banking

Hundreds of mourners seek change after Vyleen White funeral

The tragic death of Vyleen White, a beloved grandmother from Queensland, has not only left a family grieving but has also ignited a fervent call for justice and societal change. As her loved ones gather to mourn her passing, they are steadfast in their determination to ensure that her memory is defined not by the senseless violence that took her life but by the love and compassion she embodied. Vyleen White's daughter, Cindy Micallef, eloquently captured the essence of her mother's life during an emotional eulogy at the funeral service on Thursday, saying that that her legacy will endure through the love she shared and the lives she touched. White, a vibrant 70-year-old known for her unwavering kindness, <a href="https://www.oversixty.com.au/health/caring/grandmother-fatally-stabbed-in-front-of-granddaughter" target="_blank" rel="noopener">was tragically stabbed</a> outside a shopping centre in Redbank Plains, sparking outrage and prompting a community-wide outcry against youth crime. Despite the profound grief felt by those who knew her, Micallef expressed a firm resolve to seek justice for her mother. With a steely determination, she declared that her family would not rest until those responsible were held accountable. “We want to move forward and mum’s legacy will live on and we’re not going to let that go,” Micallef said. “We’re going to make sure we get justice for mum and nothing will stop us until that happens.” The impact of White's death reverberated beyond her immediate circle, prompting widespread calls for reform in the Queensland community. Proposals for tougher youth justice measures, including "Vyleen's Law", seek to address the root causes of youth offending and ensure that perpetrators face appropriate consequences for their actions. Additionally, legislative changes aimed at improving transparency in court proceedings and restricting access to weapons underscore a commitment to preventing further violence. Amid the grief and outrage, White's family and friends fondly recalled her vibrant spirit and unwavering love. Whether it was her devotion to her beloved cat, her infectious laughter, or her boundless capacity for compassion, White's presence left an indelible mark on all who knew her. Image: Supplied.

Caring

"Move over": Vyleen White's daughter slams Queensland premier

The grieving daughter of Vyleen White, who was <a href="https://www.oversixty.com.au/health/caring/grandmother-fatally-stabbed-in-front-of-granddaughter" target="_blank" rel="noopener">fatally stabbed</a> in a shopping centre car park, has slammed the Queensland premier over his comments claiming her mother's death could not have been prevented. A 16-year-old boy from Bellbird Park has been <a href="https://www.oversixty.com.au/finance/legal/update-on-tragic-stabbing-of-queensland-grandmother" target="_blank" rel="noopener">charged with murder</a>, with four other teenagers charged with the unlawful use of a motor vehicle. Following the tragic incident, White's daughter, Cindy Micallef joined the Queensland African Communities Council (QACC) to call for "peace" and more action against youth violence, following <a href="https://www.dailymail.co.uk/news/article-13059179/Vyleen-White-Ipswich-stabbing-Family-white-grandmother-allegedly-murdered-South-Sudanese-boy-joins-African-community-plead-calm-racial-tensions-flare.html" target="_blank" rel="noopener">reports</a> of abuse and harassment towards the African-Australian community. Micallef said that while her family had been "torn apart from the heart", she did not want the community to react in anger. "Mum's legacy will live on in peace. She was never one to be prejudiced, she always looked for the best in people," she said at a media conference in Redbank Plains. Micallef has also called on Queensland Premier Steven Miles to take stronger action on crime prevention. "He promised to protect the community and make changes," she told the press conference. "There's no substance to what he says. "If this government isn't going to make a change move over, because we're going to get someone in to make the changes we need." This comes after the Queensland premier told reporters "nobody can seriously stand up and say they could have prevented this murder". Miles had reportedly been unaware that the accused teen had been out on bail at the time of the alleged murder. Micallef expressed her concern that the premier is not standing with them, so her and her family have joined the African community in calling for action. "You know what, I was really glad he said it because I'm like, 'You're not the man for the job if you can't reassure people in the community this is the utmost priority'," Micallef said. "We all need to feel safe." She also called for support for the African community. "You don't judge the whole community by a couple of bad apples," she said. This news comes just days after Vyleen White's <a href="https://www.oversixty.com.au/health/caring/tragic-new-details-emerge-as-vyleen-white-s-husband-speaks-out" target="_blank" rel="noopener">husband</a> spoke out on her death. Images: 9News

Family & Pets

Mother of Vyleen White's alleged killer speaks out

The mother of the teenager who allegedly stabbed Vyleen White has spoken out, sending her condolences to White's family. The woman's 16-year-old son has been accused of the <a href="https://oversixty.com.au/health/caring/grandmother-fatally-stabbed-in-front-of-granddaughter" target="_blank" rel="noopener">deadly stabbing</a> of the 70-year-old Queensland grandmother, who was fatally injured at a shopping centre while on an outing with her 6-year-old granddaughter. The mother, who cannot be identified, apologised to the victim's family, along with the greater community for what happened. "I'm sorry to the community because I didn't know that the kids do that," the mother said. She said her son told her "I love you mum" as police put him in handcuffs and led him away. The mother also apologised to White's family, saying, "I feel sorry about that, yeah, because it's so bad." It is believed the teenager was out on bail when he allegedly committed the stabbing, after being charged last year with stealing a car and three counts of armed robbery. Four other teenagers have also faced court in relation to the alleged murder of Ms White, all charged with unlawful use of a motor vehicle. The mother's statement comes after Vyleen's <a href="https://oversixty.com.au/health/caring/tragic-new-details-emerge-as-vyleen-white-s-husband-speaks-out" target="_blank" rel="noopener">husband</a> shared that they were preparing celebrations for their 50th wedding anniversary when his wife was brutally murdered. He told 7News, “I’m dealing with it the best way I can at the moment. When they stabbed her, they stabbed me.” Image credits: 9News

Legal

Tragic new details emerge as Vyleen White's husband speaks out

The tragic incident that occurred at a shopping centre carpark south of Brisbane over the weekend has left the community of Ipswich in shock and mourning as Vyleen White, a beloved grandmother, <a href="https://www.oversixty.com.au/health/caring/grandmother-fatally-stabbed-in-front-of-granddaughter" target="_blank" rel="noopener">lost her life</a> in what appears to be a random attack, leaving behind a devastated family and a grieving husband, Victor White. Mr White revealed tragic new details of the incident when <a href="https://7news.com.au/news/alleged-murder-victims-husband-says-he-should-be-planning-50th-wedding-anniversary-instead-he-is-planning-a-funeral--c-13487061" target="_blank" rel="noopener">speaking to 7News</a> recently, saying that they should in fact be celebrating their 50th wedding anniversary this year. “I’m dealing with it the best way I can at the moment. When they stabbed her, they stabbed me,” Mr White told reporters. Mrs White, aged 70, was shopping at Town Square Redbank Plains accompanied by her six-year-old granddaughter when she was allegedly attacked by a group of teenagers. The motive behind the attack, as stated by detective acting superintendent Heath McQueen, appears to simply have been the theft of her car, a Hyundai Getz. Tragically, Mrs White's injuries proved fatal, despite the efforts of first responders, including a doctor who was alerted by the young witness of the alleged attack. Mr White expressed his disbelief and sorrow over the senseless attack, saying he believes his wife had been stabbed under the arm, into her chest, and that she “couldn’t even lift her arms up” to defend herself because she suffered from arthritis in both of her shoulders. In the aftermath of this tragedy, a <a href="https://www.oversixty.com.au/finance/legal/update-on-tragic-stabbing-of-queensland-grandmother" target="_blank" rel="noopener">16-year-old boy from Bellbird Park has been charged</a> with Mrs White's murder, while four other teenagers face charges related to the theft of her vehicle. Premier Steven Miles visited the White family to offer condolences, though Mr White expressed his frustration with the government's perceived lack of action in addressing such acts of violence. Despite the outpouring of support from the community, Mr White remains in a state of shock, struggling to comprehend the reality of life without his beloved wife. As the investigation continues and the legal process unfolds, the memory of Vyleen White will be cherished by those who knew her, and her tragic passing serves as a stark reminder of the need for greater vigilance and community support in preventing such senseless acts of violence. Images: 7News / Facebook

Caring

“The system is too soft”: Ally Langdon fires up over stabbing death of Vyleen White

Ally Langdon has called for an overhaul of the youth crime system in the wake of the violent death of Queensland grandmother Vyleen White. The A Current Affair host was discussing the death of the 70-year-old, as she became visibly frustrated while talking about the rising rates of youth crime. Langdon hinted at a nationwide issue, citing the recent stabbing death of young doctor Ash Gordon in Melbourne, who was also allegedly murdered by a teenager less than a month ago. “Whatever we’re doing to deal with youth crime, it’s failing,” she said. “The police do everything they can, but the system is too soft on serious crime, and we have lost faith in it and our politicians.” <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/C29TB0HvWGj/?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/C29TB0HvWGj/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by A Current Affair (@acurrentaffair9)</a> </div> </blockquote> Ms White’s daughter and widowed husband echoed Ally's sentiment thoughts on the program, saying, “Justice has to be done, not for my sake, for the memory of Vyleen.” “People want action and harsher laws for crimes they are committing,” her husband Victor said. “For several years (politicians) have been promising a lot, a lot of rubbish talk to the public out there, and nothing happens." “All you hear is increase of violence, car stealing … This is due to slackness in the law." “The law is weak as water.” Ms White’s daughter, Cindy Micallef said harsher penalties for youth crimes are needed. “Youth crime, I hate to say it, it’s like having a koala, it’s a protected species, there’s no action,” she said. “They do heinous crimes and it’s getting worse, I don’t care what nationality or race. “If we let people get away with this, it’s going to increase.” A 16-year-old boy was <a href="https://oversixty.com.au/finance/legal/update-on-tragic-stabbing-of-queensland-grandmother" target="_blank" rel="noopener">charged</a> with Ms White’s murder on Tuesday morning, and is also facing charges of unlawful use of a motor vehicle and stealing. Vyleen was <a href="https://www.oversixty.com.au/health/caring/grandmother-fatally-stabbed-in-front-of-granddaughter" target="_blank" rel="noopener">fatally stabbed</a> in the chest in Town Square Redbank Plains Shopping Centre’s underground carpark around 6pm on Saturday, while she was shopping with her granddaughter. Image credits: Facebook / A Current Affair

Legal

Breathtaking winners of the 2023 Black and White Photo Awards

The stunning finalists of the <a href="https://bwphotoawards.com/en/" target="_blank" rel="noopener">2023 Black and White Photo Awards</a> have been revealed, with the talented photographers stripping all the colour out of their work. Having run for several years now, the annual contest was established to "nurture the spirit of monochrome photography". This year, thousands of images were submitted by record-breaking numbers of photographers from 92 countries around the world, with photos submitted under five categories: architecture, street, portrait, fauna and flora, and landscape. "The results have exceeded all our expectations," the judges said of the winners and finalists. Some of the winning photos include an icy sculpture in Antarctica, a full moon over the Canadian rocky mountains, a lightning storm in Italy, volcanic craters in Iceland, and a crowded train in Bangladesh. All image credits: 2023 Black and White Photo Awards

International Travel

Bridgerton’s Adjoa Andoh responds to backlash for “terribly white” coronation comment

A star of the stage and screen, Adjoa Andoh HonFRSL, made waves around the world with her comments on the royal family’s post-coronation balcony appearance. Coverage of King Charles III’s coronation was available around the world from numerous providers, but it was the comments Bridgerton star Adjoa Andoh made during ITV’s extensive coverage in the UK that set the internet ablaze. To kick off their day, the network broadcast a special edition of their Good Morning Britain show, with a programme hosted by Tom Bradby and Julie Etchingham to follow. Their show saw them welcome a whole host of guests - including but not limited to reporters out on The Mall for the day’s festivities. Their coverage was going as planned until they cut to their temporary studio for the royals stepping out onto Buckingham Palace’s balcony. Bradby and Etchingham asked for thoughts from their guests, and it was then that Andoh shared her take, noting that “we have gone from the rich diversity of the Abbey to a terribly white balcony. I am very struck by that. “I am also looking at those younger generations and thinking ‘what are the nuances that they will inhabit when they grow?’” A clip from the show went viral on Twitter soon after it was uploaded, where it was met with mixed - and loud - response. The comment stunned the ITV presenters, and Myleene Klass was seen staring at the actor as she spoke. The clip was later shared on Twitter, where it received a mixed response. Some people criticised Andoh for her words, while others applauded her for speaking out. Dozens raced to submit complaints to OFCOM, claiming that Andoh’s take had stemmed from racist ideals, while others rose to her defence, thanking her for speaking out. As author and activist Dr Shola Mos-Shogbamimu wrote, Andoh “told no lies in factual observation of ‘terribly White’ (literal & symbolic) Buckingham palace balcony at #Coronation in contrast to tokenism of race diversity at Westminster Abbey & got branded ‘racist’”. Meanwhile, conservative commentator Darren Grimes demanded to know “why is it ok to dismiss a white family for being white?” They were only two of such comments flooding social media, and were the exact kind Andoh addressed in her next public appearance, when she joined Paddy O’Connnell on BBC Radio 4. “I think I upset a few people yesterday,” she noted. “I was talking about the day and how marvellous it was, and then looking at the balcony at the end and suddenly going ‘oh, it’s so white!’ because the day had been so mixed, and I didn’t mean to upset anybody.” However, it wasn’t quite enough to stem the tide of feedback, while users all across Twitter taking sides, and sharing their opinion on the latest round of comment. “There's an old saying: "Think before you speak". Andoh thought about it and said it anyway,” one said. “Spare us the crocodile tears. You knew exactly what you meant.” “She said the right thing they didn’t want to hear instead of the white thing they did want to hear,” another wrote. “The firm had an extraordinary opportunity to show progress and inclusion, not to mention the perfect ambassadors for the Commonwealth - and they ran them out of town.” Images: Getty

Stars lead the Met Gala carpet in stunning black and white

Often dubbed the “Super Bowl of fashion”, the annual Met Gala has once again showcased the best that high fashion has to offer. The Met Gala serves as the annual fundraiser for New York’s Metropolitan Museum of Art’s Costume Institute, and gives the whos-who of Hollywood the chance to experiment with their wildest fashion choices. This year, the annual affair celebrated the exhibition “<a href="https://www.vogue.com/article/karl-lagerfeld-a-line-of-beauty-will-be-the-metropolitan-museum-of-arts-spring-2023-costume-institute-exhibition" target="_blank" rel="noopener">Karl Lagerfeld: A Line of Beauty</a>,” which honours the legacy of the late designer who died in February 2019. Lagerfeld helmed fashion houses such as Chanel, Fendi, and his own eponymous line, and raised funds for The Met’s Costume Institute while having an immeasurable impact on the fashion industry. As a result of this year’s theme, the stars largely turned out in various designs of black and white, which was a class colour combination that became Lagerfeld’s signature. Some looks on the star-studded carpet included Lagerfeld’s staples such as Chanel tweed, pearl embellishments, seemingly conflicting texture and endless, endless tulle. Celebrities such as Nicole Kidman, Glenn Close, Hugh Jackman, Pedro Pascal, Naomi Campbell, Jessica Chastain, Salma Hayek, and many many more graced the carpet, posing up a storm and showing off their intricately designed looks. One of the more unusual looks on the carpet came from actor and musician Jared Leto, who ran with his own unique interpretation of the theme and arrived dressed as Karl Lagerfeld’s cat Choupette, which translates to “sweetie” in French. While many of the celebrities in attendance interpreted the theme in their own ways, there is no doubt that the Hollywood A-listers who were lucky enough to be invited know how to make an entrance. All image credits: Getty Images

Beauty & Style

White Lotus star's major announcement

Film and TV icon Jennifer Coolidge is heading to Australia to headline Vivid Sydney 2023 alongside The White Lotus’ writer, director and creator, Mike White. The American actress announced the exciting news on Instagram and TikTok in a short video. “Hey Australia, it’s Jennifer Coolidge and I just got really exciting news. Mike White and I are coming to Sydney on June 10 – we’ll see you there!” she said. <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/reel/Cq_Lm2ku_k8/?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/Cq_Lm2ku_k8/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Jennifer Coolidge (@jennifercoolidge)</a> </div> </blockquote> White and Coolidge are set to appear at the exclusive In Conversation event at Sydney’s International Convention Centre on June 10, where they'll share insider knowledge of the film and creative industries . “This exclusive event will allow audiences to see behind the curtain on what has become a massive cultural Zeitgeist and hear from two of the hottest figures in the creative industries right now,” said Vivid Sydney festival director Gill Minervini. The Vivid festival director has also said that securing these megastars “cements Vivid Sydney 2023 as the biggest and most culturally relevant program yet”. Vivid will run from Friday, May 26 until Saturday, June 17 with over 300 events. Tickets are now available at Vivid’s <a href="https://www.vividsydney.com/event/ideas/mike-white-jennifer-coolidge-in-conversation" target="_blank" rel="noopener">official website</a>. Image: Getty Images

Indigenous artist seeking white Australian to donate their “future deceased body” to an art installation

An Indigenous artist has put a call out for Australians of “British descent” to donate their “future deceased body” to an art installation. Nathan Maynard, a well known Palawa artist and playwright, put an advertisement for the unusual request in the weekend edition of The Age newspaper. Maynard signed the bizarre request as a “palawa” artist: one of the terms First Nations people from Tasmania use when referring to themselves. “Palawa artist wanting to find an Australian of British descent who is willing to donate their future deceased body to an art installation,” the notice read. “The work will speak to sacrifice for past sins perpetrated against the palawa. Potential applicants should see this opportunity as an honour.” “The body and memory of the successful applicant will be treated with the utmost respect at all stages of the project.” The call-out was quick to spark backlash when it was reposted on social media, with one writing, “You can’t just obtain bodies for display in newspapers now. This is very bizarre on multiple levels.” Others questioned the legality of the request, with one person writing, “I dunno that this would be legal, tampering with a corpse is a crime! You can donate your body to medical science, but I don’t think this.” Another wrote, “Borderline psychotic, definitely completely illegal.” Despite the criticism, Mr Maynard told Daily Mail Australia that since the notice went to print, he has received half a dozen applications for their body to be used in the installation in November. The artist said if white Australians are upset by the request, they should ask themselves why they didn't have the same reaction to the mass murder of Aboriginal people. “If you’re not an Aboriginal person and you’re upset by this, I think you should ask yourself why you’re not upset that there is still First Nations remains that have been stolen from their people, stolen from their country in institutions all around the world that are still not repatriated to their own communities,” he said. Nathan said the motivation behind his installation revolves around the fact that thousands of First Nations people were killed by colonists, with their remains being sent overseas to be displayed in institutions and museums without a proper ceremony. “So many Aboriginal people's remains are still overseas. People are trying to bring their ancestors home and they are being denied that right,” Mr Maynard said. “Human bodies are very sacred and they should be treated with respect.” “Whitefellas obviously don't know how to handle remains with respect, so I'm going to show them how,” he said. The artwork has already received support from the state-funded Tasmanian Museum and Gallery and the Hobart City Council, which has donated $15,000 to the unusual installation. The artwork has been commissioned to appear as part of an exhibition for the popular Hobart Current biennial exhibition in November 2023. Image credits: Facebook / The Age

Art

Can ‘voluntourism’ outgrow the white saviour stereotype and make a positive change post-pandemic?

As the tourism industry emerges from pandemic shutdowns and border closures, so too is “voluntourism”, the sometimes controversial combination of overseas volunteer work and more traditional tourist experiences. Although hard to measure, pre-pandemic estimates suggest voluntourism was worth <a href="https://sites.lsa.umich.edu/mje/2022/01/22/the-paradox-of-voluntourism-how-international-volunteering-impacts-host-communities/">US$2 billion annually</a>, with up to <a href="https://www.cbi.eu/market-information/tourism/save-tourism/market-potential">ten million volunteers</a> globally. While COVID shut the practice down for the duration, it remains a <a href="https://roadbook.com/opinion/negative-effects-of-voluntourism/">multi-billion-dollar industry</a>, now poised to <a href="https://www.sbs.strath.ac.uk/blogs/SBS/post.aspx?id=1420">return and rebuild</a>. But volunteer tourism has met with considerable criticism. Voluntourists have been accused of putting <a href="https://www.stuff.co.nz/travel/news/109983663/nz-school-students-pay-thousands-to-visit-orphanages-and-volunteer-overseas">vulnerable people at risk</a> (<a href="https://drivingchange.org/do-no-harm-the-dark-side-of-voluntourism/">including children</a>), <a href="https://tourismteacher.com/commodification-volunteer-tourism/">commodifying volunteer work</a>, perpetuating <a href="https://darbymatt.medium.com/voluntourism-is-neo-colonialism-56b6a25f6924">neo-colonialism</a> and <a href="https://www.euronews.com/travel/2022/02/21/how-white-saviour-voluntourism-gets-you-famous-on-tiktok">reinforcing</a> a “white saviour” complex. Voluntourism is also <a href="https://www.thenewhumanitarian.org/2021/06/14/travel-opens-again-aid-voluntourism-needs-get-real">largely unregulated</a>, raising important <a href="https://journalofethics.ama-assn.org/article/voluntourism/2019-09">ethical questions</a> about who it really aims to serve – travellers or hosts. These issues are now being felt in the Pacific, where voluntourism is a relatively new but growing industry. As <a href="https://e-tangata.co.nz/reflections/the-problem-with-white-saviours/">Simone Kaho wrote</a> of her experience in Tonga: <blockquote> In many cases, voluntourism asks the local community to stand back, and allow themselves to be helped. It turns helping into a business model. </blockquote> <a href="https://blog.geographydirections.com/2019/09/03/global-encounters-voluntourism-in-fiji/">My research</a> in Fiji has also highlighted the problems associated with the commercialisation and commodification of volunteering. These are real and important issues that need close examination as tourism in general picks up. <blockquote class="twitter-tweet"> End voluntourism and the white saviour industrial complex <a href="https://t.co/gMHkZfTlsf">https://t.co/gMHkZfTlsf</a> via <a href="https://twitter.com/mailandguardian?ref_src=twsrc%5Etfw">@mailandguardian</a> — NGO Watch Africa (@NGOWatchAfrica) <a href="https://twitter.com/NGOWatchAfrica/status/1582376611449491457?ref_src=twsrc%5Etfw">October 18, 2022</a></blockquote> Behind the ‘bula smile’ The Fiji case study – conducted with an international, for-profit, specialist voluntourism agency – tells a complex story about the benefits and downsides of voluntourism. Volunteers are hosted by local families and included in household life, attending church or religious functions, learning to cook Fijian food, and spending time with children and other family members. Through this, they gain an understanding of life behind the famous “bula” smile. As one staff member said: <blockquote> The host may get angry with you if you leave the light on, you may feel like you are back living with mum and dad because they may give you a lunch box, things like that. But it’s important that they see the person who is paid to smile at the Hilton, what they are like at home with their kids, how they make ends meet, how they eat. </blockquote> Hosts often put considerable energy into sharing their way of life and teaching volunteers Fijian culture. Most hosts and staff took pride in helping travellers find their way around and teaching them Fijian ways. In turn, this helped Fijian staff build knowledge and pride in their own culture. <blockquote> Also the good thing is that we keep up with our culture. Because if you are talking about it every day and you show them and try to talk about it, then the history remains […] Now when we go to the village we do the sevusevu [kava ceremony] and all those things, and we go with the elders. It was our mothers that did that, but now we are doing it, the next generation. When we have volunteers in a Fijian village we will go to any lengths to give them what they want, to try and serve them […] But of course then the volunteers change to become more Fijian! </blockquote> <blockquote class="twitter-tweet"> Are you itching to start travelling, but want to do it with care? Listen to this week's <a href="https://twitter.com/hashtag/WisdomWalks?src=hash&ref_src=twsrc%5Etfw">#WisdomWalks</a> to discover how you can avoid traps like voluntourism and greenwashing when travelling. 🎧 27 mins.<a href="https://t.co/f366FJcyQG">https://t.co/f366FJcyQG</a> — Curio (@curioio) <a href="https://twitter.com/curioio/status/1587821837932797953?ref_src=twsrc%5Etfw">November 2, 2022</a></blockquote> A chance to improve voluntourism The growth of voluntourism in Fiji follows half a century of <a href="https://medium.com/tourism-geographic/paradise-the-noble-savage-and-the-white-savior-in-fiji-7ac7e302e5ec">mass tourism</a>, in which contact between Fijians and tourists has been largely limited and manufactured. Hosts embrace the opportunity to interact with tourists more directly and to build connections across the globe. However, the commercial nature of the encounter has the potential to significantly undermine these connections. The large fees paid by voluntourists mean they – like any tourist – are consumers. Volunteers have certain expectations, ranging from the mundane (internet access, good food and logistical support) to the more profound (a sense of accomplishment, a feeling they’ve made a difference). They will complain if these expectations aren’t met. The pandemic also raised questions about the sustainability of voluntourism. The organisation I studied cut its global workforce significantly. In Fiji it had provided jobs for about a dozen Fijian staff, as well as home-stay income for many households. While there is evidence that <a href="https://theconversation.com/traditional-skills-help-people-on-the-tourism-deprived-pacific-islands-survive-the-pandemic-148987">reliance on customary knowledge, systems and practices</a> helped tourism workers to survive and even thrive during the pandemic, the future for many is uncertain. COVID-19 has been something of a wake-up call that we need to move beyond voluntourism as a pseudo-development practice or as a commodified, profit-making experience. This is an opportunity for the industry to take on board the criticisms, examine past practice and reassess the role and impact of volunteering. Rather than rush back to business as usual, this is the perfect moment to look at reconfiguring the industry in line with the principles of sustainability and <a href="https://medium.com/activate-the-future/understanding-the-opportunity-of-regenerative-tourism-894136cafd3b">regenerative tourism</a>. In the process, perhaps voluntourism’s strengths – building cross-cultural relationships, learning and solidarity – can contribute more to meaningful social and environmental change.<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/195719/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> Writen by Sharon McLennan. Republished with permission from <a href="https://theconversation.com/can-voluntourism-outgrow-the-white-saviour-stereotype-and-make-a-positive-change-post-pandemic-195719" target="_blank" rel="noopener">The Conversation</a>. Image: Getty Images

International Travel

Wimbledon to make key change to all-white dress code

<a href="https://oversixty.com.au/lifestyle/beauty-style/female-tennis-stars-speak-out-against-all-white-wimbledon-dress-code" target="_blank" rel="noopener">Wimbledon’s controversial all-white dress code</a> is expected to undergo a major change after the prestigious tennis competition faced months of pressure from female athletes. The 1880s rule restricts players to wearing only white clothing - including undergarments such as underwear and bras - and has been the subject of criticism for the toll it takes on female players in relation to their periods. Current guidelines require players to wear all-white, with undergarments that can be seen during play or because of sweat only allowed to have a “single trim of colour no wider than one centimetre”. Now, Wimbledon bosses are due to scrap the undergarments rule for female players, which will come into effect from 2023 and will allow for different coloured underwear and bras to be worn. The archaic rule became the subject of widespread attention after stars spoke about the anxiety around getting their period while competing, including Australian player Daria Saville who admitted she has needed to skip her period altogether and British star Heather Watson revealing she would likely take birth control to stop her period ahead of Wimbledon. <blockquote class="twitter-tweet"> Hey <a href="https://twitter.com/Wimbledon?ref_src=twsrc%5Etfw">@Wimbledon</a>, wanna chat periods? <a href="https://twitter.com/hashtag/AddressTheDressCode?src=hash&ref_src=twsrc%5Etfw">#AddressTheDressCode</a><a href="https://twitter.com/hashtag/Wimbledon2022?src=hash&ref_src=twsrc%5Etfw">#Wimbledon2022</a> <a href="https://t.co/mcjAioqMw4">pic.twitter.com/mcjAioqMw4</a> — gabs (@gabriellaholmez) <a href="https://twitter.com/gabriellaholmez/status/1543197239182508033?ref_src=twsrc%5Etfw">July 2, 2022</a></blockquote> At the same time,the rule drew fresh criticism when Romanian player Mihaela Buzarnescu was forced to swap her bra for her coach’s prior to her first-round match in July, after officials noticed hers was too dark. "My bustier was too black and could be seen up here," she told Eurosport at the time. "The white one I had was too transparent and you could see everything underneath and I couldn't wear it, so I borrowed from my coach, I took her bustier.” A group of protestors also made headlines during the ladies’ singles final, gathering outside Wimbledon dressed in white shirts and red undershorts with signs reading “About bloody time”, “Address the dress code” and “You can do it Ian Hewitt”, referring to the All England Club chairman. Gabriella Holmes and Holly Gordon, who organised the campaign Address the Dress Code to highlight the anxiety women face while competing in all-white, were among those protesting, telling <a href="https://www.theguardian.com/sport/2022/jul/09/protesters-at-wimbledon-urge-end-to-all-white-dress-code-due-to-period-concerns#:~:text=3%20months%20old-,Protesters%20at%20Wimbledon%20urge%20end%20to%20all%2Dwhite,code%20due%20to%20period%20concerns&text=Campaigners%20are%20urging%20Wimbledon%20organisers,female%20players%20who%20are%20menstruating." target="_blank" rel="noopener">The Guardian</a> they began calling for change after opening up to each other about the challenges of playing sport while menstruating. “We’ve come down today because we want Wimbledon to address the white dress code that doesn’t take into consideration female athletes on their periods,” Holmes said at the time. <img src="https://oversixtydev.blob.core.windows.net/media/2022/11/wimbledon-protest.jpg" alt="" width="1280" height="720" /> Members of the public have begun calling for action too, including Gabriella Holmes and Holly Gordon, the women who started the campaign Address the Dress Code. Image: Getty Images “We want to make it really known to Wimbledon that the rules they are making at the top, they’re all already filtering down to grassroots levels. We are already seeing tons of young girls who drop out of sports when they start their period or by the time they’ve hit puberty they’ve stopped sports altogether. “We think it’s the time to address those barriers for young girls getting into the sport and it starts at the top, so that’s Wimbledon. We want women to be able to focus on the tennis and on the sport and not have to worry about other factors when competing at this level.” More athletes have since spoken out about the issue, with Andy Murray’s mother and coach Judy describing it as a “traumatic experience” and noting that other sports had already dropped similar rules. “One of the biggest problems previously in sport was that it was always white shorts, white kit and so on in lots of different sports,” Murray told the Daily Mail. “Everything was white. Nearly all sports have moved over to colour now. “I think it’s certainly a much more open talking point, if you are wearing all white and then possibly have a leak while you’re playing. “I cannot think of a much more traumatic experience than that.” <blockquote class="twitter-tweet"> Indeed, it is time to address the dress code in sports and especially in Tennis competitions like Wimbledon. #<a href="https://twitter.com/hashtag/AddressTheDressCode?src=hash&ref_src=twsrc%5Etfw">#AddressTheDressCode</a> <a href="https://t.co/ZMD9OXg1iN">https://t.co/ZMD9OXg1iN</a> — OJEApads (@OJEApads) <a href="https://twitter.com/OJEApads/status/1555134095717441541?ref_src=twsrc%5Etfw">August 4, 2022</a></blockquote> Since the announcement of the rule change, tennis icon Billie Jean King has slammed the rule, saying it was one of her biggest “pet peeves”. “My generation, we always worried because we wore all white all the time,” she told CNN. “And it’s what you wear underneath that’s important for your menstrual period. “And we’re always checking whether we’re showing. You get tense about it because the first thing we are is entertainers and you want whatever you wear to look immaculate, look great. We’re entertainers. We’re bringing it to the people.” In a statement, the All England Club stated they were in discussions over ways to support players and prioritise women’s health. “Prioritising women’s health and supporting players based on their individual needs is very important to us, and we are in discussions with the WTA, with manufacturers and with the medical teams about the ways in which we can do that,” the statement read. Image: Getty Images

Beauty & Style

Loretta Lynn was more than a great songwriter – she was a spokeswoman for white rural working-class women

Loretta Lynn’s <a href="https://www.nytimes.com/2022/10/04/arts/music/loretta-lynn-dead.html">death at the age of 90</a> marks the end of a remarkable life of achievement in country music. Her dramatic life story – retold in the 1980 award-winning film “<a href="https://www.imdb.com/title/tt0080549/">Coal Miner’s Daughter</a>,” based on <a href="https://www.grandcentralpublishing.com/titles/loretta-lynn/coal-miners-daughter/9781538701690/">Lynn’s 1976 biography</a> – made Lynn a household name. She grew up in poverty in a small Kentucky mining town, marrying and starting a family as a teenager before reaching unprecedented heights of commercial success as a recording artist of modern country music. But as a <a href="https://arts-sciences.buffalo.edu/music/faculty/faculty-directory.host.html/content/shared/arts-sciences/music/new-faculty-profiles/vander-wel-stephanie.html">scholar of gender and country music</a> and author of “<a href="https://www.press.uillinois.edu/books/?id=p084959">Hillbilly Maidens, Okies, and Cowgirls: Women’s Country Music, 1930-1960</a>,” I know that Lynn represented more than just star power and fame in country music – she spoke to the concerns of women, especially white working-class women in rural and suburban America. <h2>Speaking up, singing out</h2> Lynn’s rise in the 1960s took place when country music appeared tied to conservative politics. It was a time when Merle Haggard’s “<a href="https://academic.oup.com/california-scholarship-online/book/28551/chapter-abstract/238414028?redirectedFrom=fulltext">Okie from Muskogee</a>,” with its attacks on counterculture, marijuana and draft-card burning, became a populist anthem for the country’s cultural conservatives. In contrast, Lynn’s songwriting continued the legacy of <a href="https://www.latimes.com/local/obituaries/la-me-kitty-wells-20120717-story.html">Kitty Wells</a>, <a href="https://www.tennessean.com/story/entertainment/music/2016/09/25/country-music-hall-famer-jean-shepard-dead-82/76568704/">Jean Shepard</a> and other women in country music who were willing to speak up about the concerns of American women. Lynn’s songs defied societal expectations by connecting her musical representations of working-class and rural women to broader social issues affecting women across the U.S. She aimed for her music to articulate the fears, dreams and anger of women living in a patriarchal society. It railed against those who idealized women’s domestic roles and demonized outspoken feminists. <h2>‘There’s gonna be some changes’</h2> Specifically, for a generation of predominantly white women in the 1960s and 1970s who did not identify as urban or college-educated feminists, Lynn’s music offered candid conversations about their private lives as wives and mothers. As Lynn <a href="https://www.grandcentralpublishing.com/titles/loretta-lynn/coal-miners-daughter/9781538701690/">stated in her autobiography</a>, her audience recognized her as a “mother and a wife and a daughter, who had feelings just like other women.” She did this through clever and witty songwriting and lyrical techniques that combined the vernacular of her audience with her resonant voice. Meanwhile, the song arrangements of Owen Bradley of Decca Records directed Lynn’s musical talents to a broad audience. He combined the edgier sound of honky-tonk instrumentation – electric guitars, pedal steels and fiddles – with the polish of the Nashville sound by including the smooth sounding vocal harmonies of the vocal quartet the <a href="http://www.jordanaires.net/">Jordanaires</a>, as heard in numerous country, gospel and rock ‘n’ roll recordings. This provided a sound of strength and conviction to accompany Lynn’s bold and forthright songs as she laid bare the double standards of gender roles. With her assertive and resonant voice, Lynn, in her 1966 track “<a href="https://www.rollingstone.com/music/music-lists/loretta-lynn-best-lyrics-songwriting-175002/">Don’t Come Home A Drinkin’ (With Lovin’ on Your Mind)</a>,” warns men not to expect women to be waiting at home, sexually available for them after they’d spent the night drinking: <blockquote> Well, you thought I’d be waitin’ up when you came home last night You’d been out with all the boys and you ended up half tight Liquor and love, they just don’t mix Leave that bottle or me behind And don’t come home a drinkin’ with lovin’ on your mind </blockquote> In a similar vein, Lynn, who <a href="https://www.grandcentralpublishing.com/titles/loretta-lynn/coal-miners-daughter/9781538701690/">claimed that her songs about wayward husbands</a> were inspired by her fraught marriage to Oliver “Doolittle” Lynn, confronted the “other woman” in songs such as 1966’s “You Ain’t Woman Enough” and 1968’s “Fist City.” <h2>A lasting legacy</h2> Fully aware that her personalized accounts became political messages for her fan base of women, Lynn co-wrote and recorded “<a href="https://www.washingtonpost.com/music/2022/10/04/loretta-lynn-the-pill/">The Pill</a>” in 1975. It was a rare foray into the topic of women’s reproductive rights for country music. In typical fashion, though, Lynn approached the issue from the perspective of a rural working-class woman: <blockquote> I’m tired of all your crowin’ How you and your hens play While holdin’ a couple in my arms Another’s on the way This chicken’s done tore up her nest And I’m ready to make a deal And ya can’t afford to turn it down ‘Cause you know I’ve got the pill </blockquote> The song’s sexual innuendos about cavorting roosters and hens incorporated the double entendres and humor of early blues and country, while providing a frank discussion about female sexual pleasure. It also addressed the right for women to take control over their bodies and reproduction. The song came out just two years after <a href="https://supreme.justia.com/cases/federal/us/410/113/">the Supreme Court passed Roe v. Wade</a>, granting women the ability to govern their own reproductive health through abortion. Indeed, Lynn commented on the Supreme Court’s ruling in her autobiography “Personally, I think you should prevent unwanted pregnancy rather than get an abortion. It would be wrong for me. But I’m thinking of all the poor girls who get pregnant when they don’t want to be, and how they should have a choice instead of leaving it up to some politician or doctor who don’t have to raise the baby.” Her recording “<a href="https://www.washingtonpost.com/music/2022/10/04/loretta-lynn-the-pill/">The Pill</a>” spoke to married women who wanted to be able to space out their children and prevent unwanted pregnancies so that they could pursue educational and professional opportunities. In interviews, Lynn discussed at length how female listeners flocked to her after concerts, relieved to find a public figure with whom they felt comfortable to discuss birth control. Not everyone was thrilled, though. Male country <a href="https://www.thedailybeast.com/after-country-stations-banned-loretta-lynns-the-pill-it-became-her-biggest-pop-hit">disc jockeys banned</a> “The Pill” from the airwaves. Nonetheless, the recording became her biggest seller in 1975 and furthered Lynn’s reputation as a spokeswoman for white rural working-class women. Her music also inspired the women in country music who followed her to further explore issues of gender roles. Lynn’s legacy lives on in the music of female country artists – such as <a href="https://www.reba.com/">Reba McEntire</a> and <a href="https://www.mirandalambert.com/">Miranda Lambert</a> – who learned from Lynn how to create music that confronts and triumphs over the societal obstacles that women face. While all of country music will mourn the death of Lynn, it is perhaps her female fans who will feel the loss more acutely. Lynn gave them a social and political voice, and helped make country music a genre relevant to the complexities of women’s lives. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/loretta-lynn-was-more-than-a-great-songwriter-she-was-a-spokeswoman-for-white-rural-working-class-women-191932" target="_blank" rel="noopener">The Conversation</a>.

Music

How whiteness was invented and fashioned in Britain’s colonial age of expansion

Fashion <a href="https://www.routledge.com/The-Force-of-Fashion-in-Politics-and-Society-Global-Perspectives-from-Early/Lemire/p/book/9781138274228">is political — today as in the past</a>. As Britain’s Empire dramatically expanded, people of all ranks lived with clothing and everyday objects in startlingly different ways than generations before. The years between 1660 and 1820 saw the expansion of the British empire and commercial capitalism. The <a href="https://www.bloomsbury.com/ca/cotton-9781845202996">social politics of Britain’s cotton trade</a> mirrored profound global transformations bound up with technological and industrial revolutions, social modernization, colonialism and slavery. As history educators and researchers Abdul Mohamud and Robin Whitburn note, the British “<a href="https://www.bl.uk/restoration-18th-century-literature/articles/britains-involvement-with-new-world-slavery-and-the-transatlantic-slave-trade">monarchy started the large-scale involvement of the English in the slave trade</a>” after 1660. Vast <a href="https://www.routledge.com/The-British-Cotton-Trade-1660-1815-Vol-2/Lemire/p/book/9781138757943">profits poured in from areas of plantation slavery</a>, particularly from the Caribbean. The mass enslavement of Africans was at the heart of this brutal system, with laws and policing enforcing Black subjugation <a href="https://schoolshistory.org.uk/topics/british-empire/economic-consequences-of-empire/slave-resistance/">in the face of repeated resistance from enslaved</a> people. Western fashion reflected the racialized politics that infused this period. Indian cottons and European linens <a href="https://www.cambridge.org/core/books/global-trade-and-the-transformation-of-consumer-cultures/A7517EB8FB5003114662BA428501AB79">were now traded in ever-rising volumes</a>, feeding the vogue for lighter and potentially whiter textiles, ever more in demand. My scholarship explores dimensions of whiteness through material histories — how whiteness was fashioned in labour structures, routines, esthetics and everyday practices. <h2>Whiteness on many scales</h2> Enslaved men and women were never given white clothes, unless as part of livery (servants’ uniforms, which were sometimes very luxurious). Wearing white textiles became a marker of status in urban centres, in colonizing nations and in colonies. Textile whiteness was a transient state demanding constant renewal, shaping ecologies of style. The resulting Black/white dichotomy hardened as profits from enslavement soared, with a striking impact on culture. Whiteness in clothing, decor and fashion was amplified, becoming a marker of status. Elaborate washing techniques were used to achieve material goals. British sociologist Vron Ware emphasizes “<a href="https://doi.org/10.1215/9780822381044-009">the importance of thinking about whiteness on many different scales</a>,” including “as an interconnected global system, having different inflections and implications depending on where and when it has been produced.” Accordingly, fabrics, laundry and fashion were entangled in imperial aims. <h2>Pristine whiteness in garments</h2> Laundering was codified in household manuals from the late 1660s, a chore overseen by housewives and housekeepers. Women with fewer options sweated over washtubs, engaged in ubiquitous labour with the aim of pristine whiteness. In colonial and plantation regions, where lightweight fabrics were key, Black enslaved women were tasked with this never-ending drudgery. Only a few profited personally from their fashioning skills. This workforce was vast. Yet few museums have invited visitors to consider the processes of soaking, bleaching, washing, blueing, starching and ironing required by historic garments. A recent exhibit at <a href="https://agnes.queensu.ca/connect/about-agnes/#about-agnes">Agnes Etherington Art Centre</a> at Queen’s University <a href="https://www.youtube.com/watch?v=5bDY3oy0tbA">curated by Jason Cyrus, a researcher who analyzes fashion and textile history</a>, examined <a href="https://agnes.queensu.ca/digital-agnes/video/black-bodies-white-gold-unpacking-slavery-and-north-american-cotton-production">slavery and North American cotton production</a>. <h2>Laundry labour of enslaved women</h2> The skilled labour of enslaved women was a core component of every plantation and an essential colonial urban trade, given the resident population and many thousands of seafarers and sojourners arriving annually in the Caribbean — all wanting clothes refreshed. Ports throughout the Atlantic were stocked with wash tubs and women labouring over them. Orderly material whiteness was the aim. Mary Prince recorded her thoughts about a demanding mistress in Antigua, who gave the enslaved Prince weekly “<a href="https://www.jstor.org/stable/10.5149/9781469633299_prince">two bundles of clothes, as much as a boy could help me lift; but I could give no satisfaction</a>.” Prince only earned money laundering for ships’ captains during her “owners’” absence. Within port cities, including the Caribbean and imperial centres, this trade allowed some enslaved women mobility and sometimes self-emancipation. But fashioning whiteness was a fraught process, with many historical threads. <h2>Colour scrubbed from recovered statues</h2> From the 1750s, European fashion and artistic style was increasingly inspired by perceptions of the classical past. Countless portraits were painted of wealthy people as Greek gods, the classical past becoming, as cultural theorist Stuart Hall observed, a “myth reservoir.” These became sources <a href="https://doi.org/10.1515/9781478021223-023">for imagining Europe’s origins</a> and destiny. European scholars and the educated public viewed this cultural lineage as white. <a href="https://www.rom.on.ca/en/exhibitions-galleries/exhibitions/kore-670">Remnants of polychrome colouring was scrubbed</a> from recovered <a href="https://www.smithsonianmag.com/smart-news/see-the-vibrant-long-overlooked-colors-of-classical-sculptures-180980321/">Greek sculptures</a>. This supposed heritage of a white classical past defined <a href="https://mymodernmet.com/what-is-neoclassicism/">what became known as neoclassical</a> styles further expanding the craze for light, white gowns, a political fashion needing endless care. In this era, “the term classical was not neutral,” as art historian Charmaine Nelson explains, “<a href="https://www.jstor.org/stable/42631206">but a racialized term</a> …” Nelson states that the category “classical” also defined the marginalization of Blackness as its antithesis. Today, some scholars are wrestling <a href="https://www.famsf.org/about/publications/gods-color-polychromy-ancient-world">with the legacy of racism built into classical studies</a>. <h2>Racialized masquerade</h2> Neoclassical gowns reflected this zeitgeist, as ladies disported themselves as Greek goddesses. Ladies’ magazines urged readers to play-act as deities. Simple socializing en vogue would not suffice. Fashion required a wider stage. Masquerade balls became the venue where whiteness and empire aligned, as goddesses robed in white mingled with guests in blackface or regalia appropriated from colonized peoples. Masquerades became staple occasions, revels led by royals, nobles and those enriched through trade and slave labour. <h2>Race hierarchies enforced</h2> Seemingly banal routines (and stylish affairs) reveal cultural facets of empire where race hierarchies were reinforced. In this era, everyday dress and celebratory fashions demanded relentless attention. These routines were enmeshed with empire and race, whether in the colonial Caribbean or a London grand masquerade. The proliferation of white linens and cottons were purposefully employed to enforce hierarchies. The rise of white clothing and neoclassical style can be better understood by addressing mass enslavement as an economic, political and cultural force shaping styles, determining vogues and promoting the fashions of whiteness. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/how-whiteness-was-invented-and-fashioned-in-britains-colonial-age-of-expansion-175027" target="_blank" rel="noopener">The Conversation</a>.

Art

White, female, and high rates of mental illness: new diversity research offers a snapshot of the publishing industry

Books are fundamental to our society: they shape our culture, education and ideas. To do this well, books should reflect the amazing and varied world we occupy. Those who create books – publishers and publishing industry workers – are the gatekeepers. If those industry professionals are diverse and work within an industry that is inclusive, then there is a better chance that books will represent a wider range of experiences. But how diverse is Australian publishing? The 2022 <a href="https://www.publishers.asn.au//WorkplaceSurvey2022" target="_blank" rel="noopener">Australian Publishing Industry Workforce Survey on Diversity and Inclusion</a>, produced by the Australian Publishers Association and the University of Melbourne, shows there is work to be done. The industry needs to be more culturally diverse: fewer than 1% of Australian publishing professionals are First Nations and only 8.5% have an Asian cultural identity. Perhaps the most startling finding of the survey is the high proportion of publishing workers experiencing mental illness. 35.4% of respondents were experiencing mental health conditions. This compares with 25% of respondents to a similar survey of the UK publishing industry in 2021, an increase from 20% in 2020. While the reasons for the high rate of mental illness are no doubt complex, the message for publishers is clear: staff need support. The industry can also be more inclusive for those with disabilities. 24.7% of publishing professionals reported having a long-term health condition or disability, including a physical or mental health condition, with just over 5% of respondents identifying as living with disability. <h2>Shortfalls of diversity</h2> The Australian survey was a response to Radhiah Chowdhury’s groundbreaking <a href="https://www.publishers.asn.au/common/Uploaded%20files/APA%20Resources/Research/BDEF/BDEF%202019-2020%20Report%20-%20Radhiah%20Chowdhury.pdf" target="_blank" rel="noopener">2020 APA-funded report</a> on lessons in diverse and inclusive publishing from the UK, which reverberated around the industry. Chowdhury called for more empirical data to sit alongside qualitative accounts of working in publishing, noting “a paucity of research on the demographic composition of the industry, as well as of our national trade publishing output”. Our survey was launched in March this year and received close to 1000 responses from across the sector. These came from small, medium and large organisations, micro-publishers and freelancers. The broad uptake gives us confidence in the survey as a snapshot of Australian publishing today. It also shows a widespread recognition of the importance of diversity and inclusion within the publishing industry, and a commitment to positive change. What the initial survey reveals is perhaps not surprising for those who work in and around publishing. The industry is largely white, including a high percentage who identify as British. The proportion of those who identify as having Asian or European backgrounds is lower than in the general population. Very few Australian publishing professionals identify as First Nations. This matters, because it suggests publishing is not an industry of choice for Australians of diverse cultural backgrounds, and because it limits the industry’s capacity to produce books that speak to readers of different cultural identities. In other areas, the publishing industry is more inclusive. Survey respondents identify as LGBTQ+ at around twice the representation in the Australian population (21% compared to population estimates of 11%). The majority of LGBTQ+ respondents are open or partially open about their sexuality at work. Women make up the majority of the Australian publishing workforce: 84% of the survey respondents were women. But representation of women and non-binary people shrinks in more senior positions in the industry. There is also work to be done in breaking down the class dynamics of publishing. A minority (33.6%) of publishing workers come from family backgrounds that could be described as working or lower middle class. Only 24.7% are located outside of Sydney or Melbourne. More than 85% of those working in publishing hold a bachelor degree and more than half also hold at least one postgraduate degree. 48% of publishing industry respondents attended private schools, compared to around 30% of the Australian population. <h2>Potential for change</h2> The potential for change in the Australian publishing industry is now evident. The industry would benefit from focusing on how to include workers with disabilities of all kinds and ensure workplaces are accessible. It also has work to do in encouraging participation from around Australia, and in opening up pathways for entry that recognise a range of relevant skills and experiences. This initial survey sets a baseline. It provides the necessary data that will allow initiatives to be targeted. It is already driving practical steps towards change. The industry has committed to act on the results. The Australian Publishing Association has established a Diversity and Inclusion Working Group to monitor progress and target the gaps highlighted in the survey. It has renewed support for paid internship schemes as inclusion initiatives. In response to the survey, President of the Australian Publishing Association James Kellow said: <blockquote> We have a highly able and committed workforce, but our workforce doesn’t always represent the breadth of our culture. This plays into what and how we publish and the extent to which we reach, or don’t reach, all potential readers […] This survey’s hard data tells us we have a great deal of work ahead and provides a solid base from which we can lead change. </blockquote> A better understanding of the book publishing industry can help to improve working environments and, ultimately, diversity in cultural products in Australia. Future surveys will allow changes to be tracked and progress to be measured. We look forward to seeing positive change in the publishing industry and in the good work publishing people are doing. This article originally appeared in <a href="https://theconversation.com/white-female-and-high-rates-of-mental-illness-new-diversity-research-offers-a-snapshot-of-the-publishing-industry-189679" target="_blank" rel="noopener">The Conversation</a>. Image: Shutterstock

Books

Dua Lipa wears stunning white gown to friend's wedding – here's why it's totally OK

Dua Lipa wore a stunning floor-length sheer white gown to her friend’s wedding and was not berated for it. It’s an unspoken faux pas to NEVER wear white to a wedding but in Dua’s case it was allowed because she actually got permission from one of the grooms who designed the dress. The 27-year-old UK pop star attended the nuptials of French designer Simon Porte Jacquemus and his long-term partner Marco Maestri in Charleval, France on August 27. Simon gave the singer permission to wear the white see-through dress that had beautiful flower detailing, a thigh-high slit, matching underwear and capped sleeves dress because it was part of his autumn/winter collection. Other than the fact that it was a gay wedding which obviously meant there was no bride there to be wearing white. Dua first shot to fame following the successful release of her self titled 2017 album Dua Lipa and has since headlined multiple shows around the world. She is set to arrive in Australia in November for her Future Nostalgia Tour. Images: Getty

Beauty & Style

"Whitewashed white noise": Grace Tame unloads on parliament

Grace Tame has launched a scathing attack on the Albanese government in a series of posts to her Instagram story. The former Australian of the Year, and vocal supporter of the new Labor government, slammed the parliament for not letting an Auslan interpreter on the floor of the House of Representatives and preventing a disabled MP from chairing the NDIS committee. Ms Tame then described politicians as "old" and "ableist" in the social media slating. "Must be such a slog for these poor old, elected, ableist toffs to breathe in there, for all the privilege stifling the parliament," she wrote. "What a crock of w***." The online rant came after the Government and Opposition had denied independent senator David Pocock's request to have an Auslan interpreter stand next to him during his maiden speech. The major parties turned down his request to have a "stranger" on the floor of parliament because of "precedent" it may set. Instead they allowed TV screens in the senate to display a live Auslan translation. The two major parties also ganged up to deny the Greens' request for disabled senator Jordon Steele-John to chair the Joint Standing Committee on the National Disability Insurance Scheme. Ms Tame sarcastically wrote, "The general public apologises for making any attempt to try and increase engagement." "We'll happily go back to ignoring your echo chamber of whitewashed white noise, if that's what you'd prefer." Grace Tame has long been a supporter of Albanese and his government, as her distain of Scott Morrison culminated her infamous stone-faced photo with the former PM. Image credits: Instagram / Twitter

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