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Hamlet: Experience the epic tragedy reimagined

Brett Dean and Matthew Jocelyn’s Hamlet has been one of the most universally applauded operas in recent memory, with successful performances at the Glyndebourne Festival, the Adelaide Festival, New York's Metropolitan Opera and the Bavarian State Opera. Now Opera Australia’s production of the incredible adaptation at the Sydney Opera House continues to bring new life to Shakespeare’s iconic tragedy. With its rich storytelling, the opera masterfully combines the profound themes of betrayal, revenge and madness with stunning musical compositions – but with a huge difference. For those familiar with Shakespeare’s work, this version of Hamlet provides a fresh perspective, blending the traditional elements of the play with operatic expression skilfully applied by Australian composer Brett Dean and Canadian librettist Matthew Jocelyn. Over60 was fortunate enough to secure an interview with librettist Matthew Jocelyn about his experience in adapting one of the world’s most famous plays into an opera. O60: Firstly, by way of an introduction, you’re a director and librettist – can you summarise your career and your current roles? Matthew: “I have led a particularly speckled career, navigating happily between directing theatre and opera, writing, teaching, running arts institutions in France and Canada, and walking. I always look forward to more of the latter. Right now I direct Koffler Arts, a gallery and multi-disciplinary arts project in Toronto, Canada, the first time I have had the opportunity to work directly with visual arts projects.” O60: How did you get involved with working on this production of Hamlet? Was this a project you’d be looking for or did an offer come as a surprise? Had you done a lot of work with Shakespeare works before this project? Matthew: “Brett Dean contacted me in 2013, through the recommendation of a couple of mutual friends in Berlin, a composer and a singer – both of whom I had worked with on a new opera in 2010. Brett was looking for someone crazy enough to embark on a project of adapting Hamlet for the opera. It was a cold call, but after a few conversations it was clear we shared similar ideas about what the opera could look like, and how to go about it.” O60: How did you approach turning Shakespeare’s famous lines into an opera? Did you write the libretto first or did Brett write the music first? Did you feel pressure making changes to the great Bard’s iconic piece? Matthew: “One of the most important decisions we made very early on was to use only Shakespeare’s own words to compose the libretto. But as three different versions of Hamlet were published during Shakespeare’s lifetime, or shortly after he died, there is no one definitive version – giving us both a multitude of choices for various lines, but also a deep sense that Shakespeare himself was continually rewriting his own text, giving us licence to continue doing the same. “The other major decision was to give ourselves freedom in who would say/sing each line. In our version, Hamlet may sing lines from Laertes or Ophelia, Ophelia sings lines from Polonius, Hamlet and Gertrude, lines get moved from one scene to another, and certain scenes appear in unexpected places for those who know the play. But at the end of the day – and this was the goal – the story is clear, and the emotions strong.” O60: You’ve collaborated with Brett Dean on other projects. What do you like about working with this Australian composer? Do you have future plans for work in Australia? Matthew: "Brett and I worked on numerous projects over a nearly ten-year period. This included chamber works, works for large orchestra with solo voices, and this opera. It was a rich and productive collaboration – with deeply thoughtful exchanges and a shared sense of play. Now we are both working on separate projects.” O60: What are your current projects / what’s coming up in the future? Matthew: “I am writing the libretto for a couple of new operas right now – one in Canada, one in France. And my most recent project, Cassandra by Belgian composer Bernard Foccoulle, will be performed at the Berlin Stadtsoper in June, 2025, after opening at the Théâtre Royal de la Monnaie in Brussels last autumn. Reconceiving Koffler Arts is also a bit of a passion project – I’m very lucky that way.” Attending Opera Australia’s Hamlet is not just a night out but an opportunity to witness a masterful adaptation of a classic story. Whether you’re a seasoned opera lover or new to the genre, this production promises to be an enthralling experience. Don’t miss the chance to see this exceptional interpretation of Hamlet and immerse yourself in the beauty and drama of opera at its finest. Visit <a href="https://opera.org.au/" target="_blank" rel="noopener">https://opera.org.au/</a> for more info. Images: Opera Australia \ Tony Hauser

Music

"No excuse": Olympic legend quits days before Paris Games commence

British dressage star Charlotte Dujardin has quit in disgrace just days before the Paris Olympics begins after disturbing footage emerged from a coaching session. The sporting legend, who is a three-time Olympic champion and joint most decorated British woman Olympian, has withdrawn from all competition while authorities investigate the incident of “an error of judgement”. The widely circulated video appears to show her hitting a horse on the legs during a slow-motion trot. “A video has emerged from four years ago which shows me making an error of judgement during a coaching session,” she said in a statement. “Understandably, the International Federation for Equestrian Sports (FEI) is investigating and I have made the decision to withdraw from all competition — including the Paris Olympics —while this process takes place." “What happened was completely out of character and does not reflect how I train my horses or coach my pupils, however there is no excuse. I am deeply ashamed and should have set a better example in that moment.” “I will cooperate fully with the FEI, British Equestrian Federation and British Dressage during their investigations, and will not be commenting further until the process is complete,” she said. This is not the first time Dujardin has been involved in controversy surrounding her treatment of horses, after she was eliminated from the European Championships in 2019 after blood was found on her horse in a post-competition check. Dujardin was due to compete in both the individual dressage and the team events in Paris, and is now set to be replaced in the team by Becky Moody. In recent years, Olympic and equestrian authorities have taken an increasingly strict line against alleged improprieties relating to the treatment of animals, with the entire equestrian sport undergoing a major overhaul after an incident during the Tokyo Olympics, in which a German coach was thrown out for striking a horse. Image credits: Instagram

Travel Trouble

"Miss you every single day": Patti Newton's touching birthday tribute to Bert

Patti Newton has shared a touching message to her late husband Bert Newton on what would've been his 86th birthday. The 79-year-old singer, actress and dancer shared a series of family photos on Instagram, with a special tribute to her husband. "To my darling Bert, Happy Birthday hope you're having a great time you have so many wonderful friends up there with you," Patti wrote alongside a photo of herself, her late husband and their grandchildren. "We all miss you every single day. Love you Mack xxx," she concluded, with a reference to the nickname he used to call her. She then shared a <a href="https://www.instagram.com/p/C9xNZyqzjkM/?hl=en" target="_blank" rel="noopener">photo</a> of her and Bert holding each other's arms with the message: "Goodnight my darling, sweet dreams xx". <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/C9w6-M5JKLJ/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/C9w6-M5JKLJ/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Patti Newton (@pattinewtonofficial)</a> </div> </blockquote> Fans took to the comments to share their birthday wishes to Bert and send their well-wishes to Patti. "Gorgeous photo Patti. Happy Heavenly Birthday to your darling Bert and the legend he always will be," wrote one fan. "Happy Birthday in the Sky to dear Bert- gosh he was FABULOUS!" added another. "Happy Heavenly Birthday to you Bert ❤️ lots of love to you Patti" wrote a third. Bert and Patti were married for 47 years until his death in 2021. They welcomed their son Matt Newton in 1977, three years after they got married and daughter Lauren Newton in 1979. They also have six grandchildren, Sam, Eva, Lola, Monty, Perla and Alby. Bert passed away in October 2021, aged 83 after a long battle with numerous illnesses and a few months after he had a leg amputation. Eighteen months after his death, Patti told 9honey: "I'll never get over him not being here. I've got photographs everywhere and I have a chat with him most nights." "We had a wonderful relationship. We had ups and downs like everybody has, but we did have a fabulous marriage," she said. "We came together and we always had a laugh and I think that's probably what I miss the most." Images: Instagram

Family & Pets

Compulsory voting in Australia is 100 years old. We should celebrate how special it makes our democracy

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/paul-strangio-1232">Paul Strangio</a>, <a href="https://theconversation.com/institutions/monash-university-1065">Monash University</a> For nearly 200 years, the notion of American political exceptionalism has had currency in the United States: it is an idea rooted in the nation’s status as the first modern republic. As we watch from afar, disturbed yet mesmerised by the latest chapter of violent political division in America, the country seems less a paragon than a symbol of democratic pathology. America’s certainty in its political uniqueness is symptomatic of a brash national chauvinism. By way of contrast, Australia is prone, if anything, to undue bashfulness about its democratic credentials. How else can we explain that this month marks the centenary of the most extraordinary feature of the country’s democratic architecture, and yet the anniversary is slipping by with neither comment nor reflection. I refer to compulsory voting, which was legislated in the federal parliament in July 1924. Compulsory voting is not unique to Australia. Calculating how many countries abide by the practice is notoriously difficult, since in around half the nations where compulsory voting exists in name it is not enforced. Most estimates, however, put the figure in the vicinity of 20 to 30. If not unique, Australia’s experience of compulsory voting is highly distinctive for a number of reasons. First, its emergence in the early 20th century was consistent with the nation’s larger tradition of innovation and experimentation when it came to electoral institutions and practices. This record is typically traced back to the pioneering in the 1850s of the secret ballot (sometimes called the “Australian ballot”) in a number of the Australian colonies and the embrace of other advanced democratic measures in the second half of the 19th century. These included manhood suffrage, payment of MPs and the extension of the franchise to women, beginning in South Australia in 1894. The innovations continued in the 20th century with such things as preferential voting and non-partisan bureaucratic electoral administration. Second, Australia is alone in embracing compulsory voting among the Anglophone democracies to which it typically compares itself. The electoral systems of Britain, Canada, New Zealand and the United States are all based on voluntary voting. Third, unlike many other compulsory voting countries, Australia does not pay lip service to its operation. Electoral authorities enforce compulsory voting, albeit leniently. It has been strongly upheld by the courts and is backed by a regime of sanctions for non-compliance. Fourth, compulsory voting has been consistently and unambiguously successful in achieving high voter turnout. Though there has been a slight downward trend in turnout at the past five national elections (it hit a low of 90.5% in 2022), it has not fallen below 90% since the adoption of compulsory voting a century ago. This is around 30% higher than the recent average turnout in countries with voluntary voting. It is also well above the recent average in countries with compulsory voting systems. Fifth, the public has strongly and consistently backed the practice. Evidence from more than half a century of opinion polls and election study surveys shows support hovering around the 70% mark. <h2>An impregnable practice</h2> Perhaps the most singular aspect of the nation’s experience of compulsory voting, however, is how seemingly impregnable is the practice if measured by its durability, the dearth of controversy over it, the consistency of its enforcement by authorities and the way citizens have dutifully complied with and supported it. Together these things make Australia an exemplar of compulsory voting internationally. This is not to say compulsory voting has been a sacred cow in Australia. In the final decades of the 20th century and first decade of this century, there was a concerted push to end the practice emanating principally from within the Liberal Party. The torchbearer of the agitation for voluntary voting was the avowed libertarian South Australian senator, Nick Minchin. <a href="https://classic.austlii.edu.au/au/journals/SGSocUphAUCon/2003/11.html">For Minchin</a>, compulsory voting was anathema: <blockquote> […] in relation to the most important single manifestation of democratic will, the act of voting, I profoundly detest Australia’s denial of individual choice. It seems to me that an essential part of a liberal democracy should be the citizen’s legal right to decide whether or not to vote. The denial of that right is an affront to democracy. </blockquote> Minchin had a number of like-minded supporters of voluntary voting in the Liberal Party. Among them, importantly, was John Howard, whose prime ministership coincided with the mobilisation to abolish compulsory voting. Howard had been on record as an opponent of the practice since his entry to the federal parliament in 1974. The Liberal Party campaign against compulsory voting manifested in, among other things: <ul> <li>the party’s federal council resolving in favour of voluntary voting</li> <li>shadow cabinet endorsing a recommendation for a change of policy to voluntary voting being placed before the joint Liberal-National party parliamentary room</li> <li>the introduction in the South Australian parliament of two bills to repeal compulsory voting by successive Liberal state governments</li> <li>Coalition members of the Joint Standing Committee on Electoral Matters repeatedly recommending the abolition of the practice.</li> </ul> In the end, these agitations achieved nought. The most fundamental reason was that the opponents of compulsory voting failed to generate community resentment towards the system. Howard, while restating his preference for voluntary voting, admitted as much in 2005 when shutting down debate on the issue in his government: <blockquote> As I move around the country, I don’t get people stopping me in the street and saying, “You’ve got to get rid of compulsory voting.” </blockquote> Indeed, election survey data suggests the Liberal campaign coincided with a firming of public support for compulsory voting. In the two decades since, opposition has been dormant. For the foreseeable future, Australia’s compulsory voting regime is secure. <h2>An Australian democratic exceptionalism?</h2> As noted above, compulsory voting has kept voter turnout at elections above 90% for the past century. Kindred democracies marvel at, and envy, this level of participation. It affords legitimacy to election outcomes in this country. Significantly, it also produces a socially even turnout. Compare this to the situation in this month’s United Kingdom election. Turnout <a href="https://www.theguardian.com/politics/article/2024/jul/12/lowest-turnout-in-uk-general-election-since-universal-suffrage-report-shows">is estimated</a> to have slumped to a record low 52%. There was a clear pattern of the “haves” exercising much greater say at the ballot box than the “have nots”. Those who stayed away from the polls were predominantly less well-off, non-homeowners, the young, the lower-educated and of minority ethnic background. Australia cannot be complacent in this regard. Low and declining turnout in remote electorates with high Indigenous populations is the most worrying chink in the performance of compulsory voting. In 2022, turnout in the Northern Territory seat of Lingiari fell to 66.8%. Even so, the practice largely succeeds in achieving inclusive voter participation across the country. Crucially, compulsory voting is also recognised as one reason the political centre holds better in Australia than in many comparable nations. It exercises a moderating influence because it ensures it is not only impassioned partisans at either end of the political spectrum who participate in elections. This in turn means they are not the chief focus of governments and political parties. Under a compulsory voting system, middle-of-the-road citizens and their concerns and sensibilities count. This inhibits the trend towards polarisation and grievance politics evident in other parts of the globe. It helps explain why Australia has been less receptive to the aggressive conservative populism that has taken root in the United States and Europe. Compulsory voting also goes hand in hand with other institutional bulwarks of the nation’s democracy. While there is plenty of evidence in Australia of increasing disaffection with politics, one thing that helps bolster faith in the democratic system is the politically independent national electoral authority, the Australian Electoral Commission. The AEC’s trusted impartial administration of the electoral system lends integrity to the democratic process. So do the many procedures it manages to facilitate voting. To name a few: Saturday election days, assistance for the ill, aged and those from non-English-speaking backgrounds, mobile polling stations, postal, absentee and early voting, and active and regular updating of registration. Indeed, Australia has been described as “the most voter-friendly country in the world”. Compulsory voting encourages this accessibility: if citizens are obliged to vote, then it becomes incumbent to smooth the path to them participating. The ease of voting in Australia contrasts with what goes on elsewhere, for example, the rampant state-based voter-suppression practices in the United States. Dare we suggest, then, that compulsory voting is a mainstay of an Australian democratic exceptionalism? That we little note, let alone extol, the practice is perhaps not only a product of an inherent national modesty but because it is second nature after 100 years. Habituated to being compelled to participate in elections, we are inured to its specialness. Let’s hope this casual familiarity does not induce apathy rather than vigilance when next the system is challenged.<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/234801/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/paul-strangio-1232">Paul Strangio</a>, Emeritus Professor of Politics, <a href="https://theconversation.com/institutions/monash-university-1065">Monash University</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/compulsory-voting-in-australia-is-100-years-old-we-should-celebrate-how-special-it-makes-our-democracy-234801">original article</a>. </div>

Legal

Aussie woman's horror assault in Paris days before Olympics

An Australian woman has claimed she was gang-raped in Paris just days before the highly anticipated Opening Ceremony of 2024 Olympics. The 25-year-old Aussie, who was meant to be returning to Australia before the Olympics start, told French police that she was raped by five men and sought refuge after the attack in a kebab shop in the early hours on Saturday morning just metres from the Moulin Rouge. Staff of the shop alleged to police that the young woman’s dress was on backwards and partially ripped, while the woman was in a state of shock and was struggling to speak, according to reports from French newspaper Le Figaro. The woman told staff at the shop on Boulevard de Clichy that she had allegedly been sexually assaulted by five men described as of African descent, although details on the exact location of the attack remain unclear. The woman was taken to the nearby Bichat-Claude Bernard Hospital for treatment and observation. The Paris Prosecutor’s Office said an investigation into the incident was underway. “The investigation into the charge of gang rape likely to have been committed on the night of July 19 to 20 has been entrusted to the second judicial police district,” Paris Prosecutor’s office said. The Alliance Paris police union said investigators will “do everything to quickly identify the individuals to justice”, according to newspaper Le Parisien. Image credits: Richard Ellis/UPI/Shutterstock Editorial

Legal

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

<div class="theconversation-article-body"> <a href="https://theconversation.com/profiles/lauren-ball-14718">Lauren Ball</a>, <a href="https://theconversation.com/institutions/the-university-of-queensland-805">The University of Queensland</a> and <a href="https://theconversation.com/profiles/emily-burch-438717">Emily Burch</a>, <a href="https://theconversation.com/institutions/southern-cross-university-1160">Southern Cross University</a> Many people are <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7230225/">drinking less</a> sugary soft drink than in the past. This is a great win for public health, given the <a href="https://jamanetwork.com/journals/jamainternalmedicine/fullarticle/2749350">recognised risks</a> of diets high in sugar-sweetened drinks. But over time, intake of diet soft drinks has <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7230225/">grown</a>. In fact, it’s so high that these products are now regularly <a href="https://www.sciencedirect.com/science/article/pii/S0160412020319188">detected in wastewater</a>. So what does the research say about how your health is affected in the long term if you drink them often? <h2>What makes diet soft drinks sweet?</h2> The World Health Organization (WHO) <a href="https://www.who.int/news/item/04-03-2015-who-calls-on-countries-to-reduce-sugars-intake-among-adults-and-children">advises</a> people “reduce their daily intake of free sugars to less than 10% of their total energy intake. A further reduction to below 5% or roughly 25 grams (six teaspoons) per day would provide additional health benefits.” But most regular soft drinks contain <a href="https://www.actiononsugar.org/surveys/2014/sugar-sweetened-beverages/">a lot of sugar</a>. A regular 335 millilitre can of original Coca-Cola contains at least <a href="https://www.coca-cola.com/ng/en/about-us/faq/how-much-sugar-is-in-cocacola-original-taste">seven</a> teaspoons of added sugar. Diet soft drinks are designed to taste similar to regular soft drinks but without the sugar. Instead of sugar, diet soft drinks contain artificial or natural sweeteners. The artificial sweeteners include aspartame, saccharin and sucralose. The natural sweeteners include stevia and monk fruit extract, which come from plant sources. Many artificial sweeteners are much sweeter than sugar so less is needed to provide the same burst of sweetness. Diet soft drinks are marketed as healthier alternatives to regular soft drinks, particularly for people who want to reduce their sugar intake or manage their weight. But while surveys of Australian <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7551593/">adults</a> and <a href="https://www.cambridge.org/core/journals/public-health-nutrition/article/adolescents-knowledge-and-beliefs-regarding-health-risks-of-soda-and-diet-soda-consumption/32F3E0FD6727F18F04C63F0390595131">adolescents</a> show most people understand the benefits of reducing their sugar intake, they often aren’t as aware about how diet drinks may affect health more broadly. <h2>What does the research say about aspartame?</h2> The artificial sweeteners in soft drinks are considered safe for consumption by food authorities, including in the <a href="https://www.fda.gov/food/food-additives-petitions/aspartame-and-other-sweeteners-food">US</a> and <a href="https://www.foodstandards.gov.au/consumer/additives/aspartame">Australia</a>. However, some <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4899993/">researchers</a> have raised concern about the long-term risks of consumption. People who drink diet soft drinks regularly and often are <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4446768/">more likely</a> to develop certain metabolic conditions (such as diabetes and heart disease) than those who don’t drink diet soft drinks. The link was found even after accounting for other dietary and lifestyle factors (such as physical activity). In 2023, the WHO announced reports had found aspartame – the main sweetener used in diet soft drinks – was “<a href="https://www.who.int/news/item/14-07-2023-aspartame-hazard-and-risk-assessment-results-released">possibly carcinogenic to humans</a>” (carcinogenic means cancer-causing). Importantly though, the report noted there is not enough current scientific evidence to be truly confident aspartame may increase the risk of cancer and emphasised it’s safe to consume occasionally. <h2>Will diet soft drinks help manage weight?</h2> Despite the word “diet” in the name, diet soft drinks are not strongly linked with weight management. In 2022, the WHO conducted a <a href="https://www.who.int/news/item/15-05-2023-who-advises-not-to-use-non-sugar-sweeteners-for-weight-control-in-newly-released-guideline">systematic review</a> (where researchers look at all available evidence on a topic) on whether the use of artificial sweeteners is beneficial for weight management. Overall, the randomised controlled trials they looked at suggested slightly more weight loss in people who used artificial sweeteners. But the observational studies (where no intervention occurs and participants are monitored over time) found people who consume high amounts of artificial sweeteners tended to have an increased risk of higher body mass index and a 76% increased likelihood of having obesity. In other words, artificial sweeteners may not directly help manage weight over the long term. This resulted in the WHO <a href="https://www.who.int/news/item/15-05-2023-who-advises-not-to-use-non-sugar-sweeteners-for-weight-control-in-newly-released-guideline">advising</a> artificial sweeteners should not be used to manage weight. <a href="http://www.cell.com/cell-metabolism/fulltext/S1550-4131(16)30296-0">Studies</a> in animals have suggested consuming high levels of artificial sweeteners can signal to the brain it is being starved of fuel, which can lead to more eating. However, the evidence for this happening in humans is still unproven. <h2>What about inflammation and dental issues?</h2> There is <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10817473/">some early evidence</a> artificial sweeteners may irritate the lining of the digestive system, causing inflammation and increasing the likelihood of diarrhoea, constipation, bloating and other symptoms often associated with irritable bowel syndrome. However, this study noted more research is needed. High amounts of diet soft drinks have <a href="https://bmcpublichealth.biomedcentral.com/articles/10.1186/s12889-023-17223-0">also been</a> linked with liver disease, which is based on inflammation. The consumption of diet soft drinks is also <a href="https://link.springer.com/article/10.1007/s40368-019-00458-0#:%7E:text=Diet%20soft%20drinks%20often%20have,2006">associated</a> with dental erosion. Many soft drinks contain phosphoric and citric acid, which can damage your tooth enamel and contribute to dental erosion. <h2>Moderation is key</h2> As with many aspects of nutrition, moderation is key with diet soft drinks. Drinking diet soft drinks occasionally is unlikely to harm your health, but frequent or excessive intake may increase health risks in the longer term. Plain water, infused water, sparkling water, herbal teas or milks remain the best options for hydration.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/233438/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/lauren-ball-14718">Lauren Ball</a>, Professor of Community Health and Wellbeing, <a href="https://theconversation.com/institutions/the-university-of-queensland-805">The University of Queensland</a> and <a href="https://theconversation.com/profiles/emily-burch-438717">Emily Burch</a>, Accredited Practising Dietitian and Lecturer, <a href="https://theconversation.com/institutions/southern-cross-university-1160">Southern Cross University</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/cheeky-diet-soft-drink-getting-you-through-the-work-day-heres-what-that-may-mean-for-your-health-233438">original article</a>. </div>

Food & Wine

Beyond the Barrier Reef: Australia’s 3 other World Heritage reefs are also in trouble

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/kate-marie-quigley-1400512">Kate Marie Quigley</a>, <a href="https://theconversation.com/institutions/james-cook-university-1167">James Cook University</a> and <a href="https://theconversation.com/profiles/andrew-hamilton-baird-11285">Andrew Hamilton Baird</a>, <a href="https://theconversation.com/institutions/james-cook-university-1167">James Cook University</a> The Great Barrier Reef is world famous – it’s the largest coral reef system in the world and home to tens of thousands of species. No wonder it is World Heritage listed. But Australia has three lower profile reefs which are also World Heritage listed – Ningaloo and Shark Bay in Western Australia, and Lord Howe Island, 600 kilometres off the New South Wales coast, the <a href="https://www.guinnessworldrecords.com/world-records/612288-most-southerly-coral-reef">southernmost coral</a> in the world. Ningaloo has 260km of coral reef, while the reefs of Shark Bay have less coral but are home to ancient stromatolites, vast seagrass beds and iconic species such as dugongs. This month, the World Heritage Committee will meet in New Delhi. On the agenda will be how the world’s natural World Heritage sites are faring. The Australian government will be under increased scrutiny to prove it has upheld its <a href="https://www.dcceew.gov.au/parks-heritage/heritage/about/world/management-australias-world-heritage-listed/managing-world-heritage-australia/protecting-world-heritage#regulation">international commitments</a> to protecting these reefs. Our <a href="https://onlinelibrary.wiley.com/doi/10.1111/gcb.17407">new research</a> has found all four of these reefs are in greater danger than we thought – even those in subtropical waters, such as Lord Howe Island. Our two Indian Ocean reefs at <a href="https://whc.unesco.org/en/list/578/">Shark Bay</a> and Ningaloo actually face more species and function loss than the Great Barrier Reef. At 1.5°C of warming, we are likely to lose about 20% of the 400-odd coral species which currently live across these four reefs (equating to about 70 extinctions). At 2°C warming, our modelling of species abundance and ecosystem functions predict an almost complete collapse in reef ecosystems – even for the subtropical reefs. This aligns with <a href="https://www.annualreviews.org/docserver/fulltext/animal/12/1/annurev-animal-021122-093315.pdf?expires=1721002489&id=id&accname=guest&checksum=A9A203CC0F3AEB7D1FE9420F50EDF69A,%20https://backend.orbit.dtu.dk/ws/files/238807594/AGR2020.pdf">predictions</a> by the Intergovernmental Panel on Climate Change for the future of coral reefs. We believe our work adds to the need to consider whether Australia’s four iconic reefs should be <a href="https://whc.unesco.org/en/danger/">on the list</a> of World Heritage sites in danger. <h2>What does it mean when a reef is World Heritage listed?</h2> Declaring a natural or cultural site as World Heritage is done to encourage the preservation of locations of immense ecological and cultural value. Nations have to <a href="https://whc.unesco.org/en/nominations/">nominate sites</a> they think are worthy of protection. Australia has 20 World Heritage sites, <a href="https://www.dcceew.gov.au/parks-heritage/heritage/places/world-heritage-list">of which</a> 12 are natural. When sites are formally listed, the United Nations Educational, Scientific and Cultural Organization (UNESCO) requires the country’s government to look after it. If the site is degrading, it can be listed as in danger. UNESCO has considered listing the Great Barrier Reef as in danger twice, in 2021 and again in <a href="https://www.theguardian.com/environment/article/2024/jun/24/set-more-ambitious-climate-targets-to-save-great-barrier-reef-unesco-urges-australia">June this year</a>. For the reef to keep its World Heritage status, the government must prove its policies are sufficient to keep the reefs in <a href="https://www.dcceew.gov.au/parks-heritage/heritage/about/world-heritage/outstanding-universal-value">good health</a>. In the debate over the Great Barrier Reef, two things have been missed – first, any mention of Australia’s other World Heritage reefs, and second, whether the federal government’s current policies to cut greenhouse gases are enough to protect the reefs into the future. <h2>What did we find?</h2> Our new results suggest all four reefs are in trouble. Given current warming trends, they will only deteriorate further in the future if we stay on this course. While the Barrier Reef has drawn a great deal of attention, it’s actually the ecosystems at Ningaloo, Shark Bay and Lord Howe Island which are projected to warm the most. When standardised to park boundaries, temperatures here are projected to increase by up to 1.3°C by the end of the century. (This temperature estimate is for sea temperatures, not the overall surface temperature which we use as shorthand when we talk about 1.5°C or 2°C of warming). While that might not sound like much, it will be enough to push many corals to potential extinction. Many coral species already exist within 1-2°C of the maximum temperature they can tolerate. Our modelling shows Shark Bay and Ningaloo actually face a greater risk of species and function loss than the Barrier Reef. It also suggests the ability of our reefs to bounce back will be overcome when warming tips over 1.5°C globally. While these models incorporate the baseline heat tolerance of coral species on these reefs, they don’t yet include their <a href="https://www.annualreviews.org/content/journals/10.1146/annurev-animal-021122-093315;jsessionid=mfIBuwjZ-ru5bkBMhWXDjumNnsvZgxkl02fPAg63.annurevlive-10-241-10-101">potential for genetic adaptation</a>. The question of whether some corals could adapt to this rapid warming is still open. A lot is riding on their ability to do so. <h2>Looming danger</h2> This year, the <a href="https://theconversation.com/sentinels-of-the-sea-ancient-boulder-corals-are-key-to-reef-survival-in-a-warmer-world-223207">Great Barrier Reef</a> and <a href="https://www.theguardian.com/australia-news/2024/mar/06/lord-howe-island-coral-bleaching-moving-south-fears-ocean-temperatures">Lord Howe Island</a> have suffered intense stress from high sea temperatures – the direct result of burning fossil fuels and producing heat-trapping greenhouse gases. This year is <a href="https://www.reuters.com/business/environment/2024-could-be-worlds-hottest-year-june-breaks-records-2024-07-08/#:%7E:text=The%20latest%20data%20suggest%202024,so%20far%2C%20some%20scientists%20said.">on track</a> to again be the hottest year on record, overtaking the previous record holder of 2023. Australia is already in the midst of an extinction crisis. Australia has one of the worst track records for extinctions. Since European colonisation, 34-38 mammal species have <a href="https://www.science.org/doi/abs/10.1126/science.adg7870">gone extinct</a> compared to just one from the contiguous United States, which covers a similar area. You might have read that coral cover – a measure of how much coral there is in an area – <a href="https://link.springer.com/article/10.1007/s00338-024-02498-5">hit historic highs</a> on the Great Barrier Reef last year. Coral cover is a helpful and important metric, but it’s <a href="https://theconversation.com/record-coral-cover-doesnt-necessarily-mean-the-great-barrier-reef-is-in-good-health-despite-what-you-may-have-heard-188233">not perfect</a>. For instance, fast-growing heat tolerant coral species might expand as less heat tolerant species die off. Importantly, relying on coral cover alone can mask significant changes in how the <a href="https://royalsocietypublishing.org/doi/10.1098/rspb.2019.2628">reef is functioning</a>. It’s hard to assess how species in our oceans are doing, given the difficulty of access and the large number of species, including many <a href="https://theconversation.com/the-first-step-to-conserving-the-great-barrier-reef-is-understanding-what-lives-there-146097">unknown to science</a>. If warming continues unabated, we will likely start to lose species before we have even documented them. Our results are based on “moderate” climate models of global surface temperature changes. Australia has committed to cutting emissions by 43% below 2005 levels by 2030. While that sounds good, it’s not enough – this decrease is compatible with <a href="https://environment.govt.nz/what-you-can-do/climate-scenarios-toolkit/climate-scenarios-list/ipccs-ssp-rcp-scenarios/">hitting 3.2ºC by 2100</a>. To limit warming to 1.5ºC or below by 2050, we would need to commit to much greater cuts in emissions – 90% below 2005 levels by 2030. Our results clearly suggest Australia’s four World Heritage reefs will be dramatically affected by warming in the near future. They will no longer qualify as being maintained under “conditions of integrity”. It’s hard to see how they can avoid being added to the in danger list.<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/234268/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/kate-marie-quigley-1400512">Kate Marie Quigley</a>, DECRA Research Fellow in molecular ecology, <a href="https://theconversation.com/institutions/james-cook-university-1167">James Cook University</a> and <a href="https://theconversation.com/profiles/andrew-hamilton-baird-11285">Andrew Hamilton Baird</a>, Professorial fellow in coral reef ecology, <a href="https://theconversation.com/institutions/james-cook-university-1167">James Cook University</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/beyond-the-barrier-reef-australias-3-other-world-heritage-reefs-are-also-in-trouble-234268">original article</a>. </div>

Domestic Travel

Aussies expose massive flaw with new passports

Aussies who have received their new passport have called out a major flaw with the travel documents, that now cost $398. As of July 1st, Australian travellers will have to fork out the hefty fee to renew their passports, with the cost jumping from $346. Some Aussies have received their new passports, with many slamming the quality of the new R series passports, which have been issued since September 2022. Many have taken to social media to share their fears that the new documents may not last the intended 10 years because the covers appear to bend before they have even been used. Aussie woman Greta was one of many who shared her thoughts on TikTok, which has attracted more than 145,000 views. She initially said she liked the "epic" new design which features images of iconic landmarks, but was later disappointed by how flimsy the document was. "I recently got the new Australian passport. I was very excited but then, I had a few people tell me I had to put a paperweight on it because it bends," she said. <div class="embed" style="font-size: 16px; box-sizing: inherit; margin: 0px; padding: 0px; border: 0px; vertical-align: baseline; outline: currentcolor !important;"><iframe class="embedly-embed" style="box-sizing: inherit; margin: 0px; padding: 0px; border-width: 0px; border-style: none; vertical-align: baseline; width: 600px; max-width: 100%; outline: currentcolor !important;" title="tiktok embed" src="https://cdn.embedly.com/widgets/media.html?src=https%3A%2F%2Fwww.tiktok.com%2Fembed%2Fv2%2F7391654333999320321&display_name=tiktok&url=https%3A%2F%2Fwww.tiktok.com%2F%40the_gretaway%2Fvideo%2F7391654333999320321&image=https%3A%2F%2Fp16-sign-sg.tiktokcdn.com%2Ftos-alisg-p-0037%2F8ec5048b25b44feaad62942a9ab7932a_1721003662%7Etplv-dmt-logom%3Atos-alisg-i-0068%2FoEyzmMdFAAA8AIVEwEiMSbOBEfSsdojiACBCUI.image%3Flk3s%3Db59d6b55%26nonce%3D29172%26refresh_token%3D52b34ece20849688562e0cdd271d06f2%26x-expires%3D1721354400%26x-signature%3DVdRtUv8AHtWwirQkxbPH3zMl2EA%253D%26shp%3Db59d6b55%26shcp%3D-&key=59e3ae3acaa649a5a98672932445e203&type=text%2Fhtml&schema=tiktok" width="340" height="700" frameborder="0" scrolling="no" allowfullscreen="allowfullscreen"></iframe></div> She showed her new "curving" passport in comparison to her old heavily used one side by side. "You're not wrong... This passport is brand new. It has not seen a different country," she explained. "Considering this is one of the world's most expensive passports, what happened?" Many of Greta's TikTok viewers agreed, as travellers were concerned that the new passport's curvy nature could be problematic or stop them from travelling. "Get a passport cover... utterly ridiculous that they do that,' a viewer commented." Another added, "My new one is so bent Heathrow almost didn't accept it." Despite the online comments, the Australian Passport Office assures travellers that general "normal wear and tear should not be a problem." "You may notice a slight curling on the cover of your R Series passport. This occasionally occurs due to changes in humidity," the website states. "It's not a manufacturing defect and doesn't affect the validity of your passport. Keeping your passport tightly secured will help prevent this curling." Image credits: TikTok / Shutterstock

Travel Trouble

"This is crazy": MasterChef Australia 2024 winner crowned

MasterChef Australia has crowned its 2024 winner! Nat Thaipun has emerged as the winner of the coveted title and took home a whopping $250,000. In the intense finale, the final two contestants Josh Perry and Nat Thaipun had 75 minutes to cook up something spectacular for the judges using black peppercorns as the key ingredient. While Perry went with a rib-eye with some brussels sprouts and peppercorn sauce, with a spin on the vegees and some pureed sauce, Thaipun went with a Thai twist on a hearty pub meal, the scotch egg. In the first round, Thapun managed to secure a total of 36/40, while Perry walked away from round one with 33/40. In the second round, the contestants were asked to recreate renowned British chef Claire Smith's "Core-teaser", an incredibly detailed version of the classic Malteaser, with 113 steps to follow. Both contestants struggled with the dessert, but Perry ended up struggling the most with one of the dish's key elements which resulted in his malt sugar ball going "pear-shaped". Perry "absolutely nailed it" despite missing an element of the dessert, and Thaipun was "pretty bang on" with the flavours of the dish, but the judges thought her texture was off. Despite this, it was the extra points in the first round that gave Thaipun the advantage of winning the show. <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/C9e3cmaP66A/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/C9e3cmaP66A/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by MasterChef Australia (@masterchefau)</a> </div> </blockquote> Speaking about her huge win, she told the judges: “I feel so good. This is crazy, it feels like a dream, but it’s not!” Former MasterChef winner Julie Goodwin congratulated Thaipun on her win on Instagram. "Congratulations Nat and to all who competed. Best wishes for whatever adventures come next!" she wrote. Fans also congratulated Thaipun. "From the immunity pin winner to the Masterchef winner !!! 👏👏👏" wrote one. "Omg, congratulations! She's so consistent and strong and clever innovative from start to the grand finale!🙌" added another. "What a great finale cook!!! Truly enjoyed this season. So many talented cooks but so delighted Nat won 💛" a third wrote. Images: Channel 10/ Instagram

Food & Wine

King Charles and Queen Camilla's Australia tour confirmed

King Charles and Queen Camilla are officially coming to Australia! Buckingham Palace confirmed on Monday morning that the monarch and his wife will embark on their first royal tour of Australia as King and Queen in October, with stops including New South Wales and the Australian Capital Territory. They will also visit Samoa, where they will attend the 2024 Commonwealth Heads of Government Meeting. This marks the first time a reigning monarch has visited since the late Queen Elizabeth's trip in 2011. However, Charles and Camilla will not be visiting New Zealand based on the advice of doctors, according to the Palace. "The King's doctors have advised that such an extended programme should be avoided at this time, to prioritise His Majesty's continued recovery," a Palace spokesperson said. "In close consultation with the Australian and New Zealand Prime Ministers, and with due regard for the pressures of time and logistics, it has therefore been agreed to limit the visit to Samoa and Australia only," the spokesperson continued. "Their Majesties send their warmest thanks and good wishes to all parties for their continued support and understanding." Charles' programme in both Australia and Samoa will also "be subject to doctors' advice", and his itinerary may also change according to his health. The royals are expected to spend six days in Australia, before heading to Samoa for the meeting. The last time the couple visited Australia was in 2018, when Charles was still a prince. Image: The Royal Family Instagram

International Travel

“Miracle”: 1-year-old baby survives two days beside highway during hurricane

A one-year-old baby has been found alive on the side of a highway after surviving two days of dangerous hurricane conditions between the Texas and Louisiana border in the US. A truck driver spotted the one-year-old on a major highway, just a few kilometres where the boy's four-year-old brother was tragically found dead in a lake. The one-year-old had to survive stormy weather as Hurricane Beryl inundated the area with heavy rain and high winds, but was relatively unscathed when he was found. The truck driver recalled the moment he found the child to local news station KPLC, saying, "There was a little boy sitting down in the embankment there." "As I approached him, he smiled at me and then he started crying and walked toward me. Once he walked toward me, I grabbed his hand and he stopped crying at that point." Calcasieu Parish Sheriff Gary “Stitch” Guillory said the baby had a few insect bites, but otherwise seemed well. “This kid spent two days out in the weather on the side of the highway,” Guillory said while becoming emotional. “Thank God that trucker seen him. When you look at the video, here he was, you know, crawling toward the highway." “We look at this one-year-old as our miracle baby because he was still alive.” The children’s mother, 25-year-old Aaliyah Jack of Lake Charles, has been charged with failing to report a missing child, while the child's grandmother is fighting for custody of the infant. Image credits: News15

Caring

From lettuce fields to opera stages – the brilliant journey of Helen Sherman

How does a young girl growing up on a lettuce farm in rural New South Wales, surrounded by the quiet rustle of leaves and the hum of daily farm life, go on to become such a powerful voice on the operatic scene? This is the unlikely beginning of Helen Sherman, the Australian-British mezzo-soprano who has taken the world of opera by storm. Sherman’s musical journey began at the Sydney Conservatorium of Music, where her extraordinary voice started to attract attention. It wasn't long before her ambition led her to the prestigious Royal Northern College of Music (RNCM) in the UK. There, she honed her craft, setting the stage for a remarkable career that would see her representing Australia at the BBC Cardiff Singer of the World competition and the Francisco Viñas International Singing Competition. Sherman's rise to operatic fame has been nothing short of meteoric. Her versatility and talent have seen her perform a wide range of roles across the globe. Recent highlights include Flora in La traviata at the Royal Opera House, Covent Garden, and Octavian in Der Rosenkavalier and Cherubino in Le nozze di Figaro with Opera North. Her portrayal of Tamiri in Farnace with Pinchgut Opera and Dorabella in Così fan tutte at Teatru Manoel in Malta further cemented her reputation as a mezzo-soprano of extraordinary range and depth. One of Sherman’s standout performances was her interpretation of the title role in Carmen with the State Opera South Australia. Her embodiment of Carmen’s fiery spirit and complex emotions captivated audiences and critics alike. Equally compelling was her portrayal of Giulio Cesare with Bury Court Opera, a role that showcased her ability to navigate the demanding vocal and dramatic challenges of baroque opera. In 2024, Sherman’s calendar is as busy as ever, as she will be singing Dorabella in Così fan tutte and Mistress of the Novices in Suor Angelica for Opera Australia, roles that promise to highlight her versatility and emotional depth. <p style="box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; color: #212529; font-family: -apple-system, 'system-ui', 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji'; font-size: 16px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">Over60 was lucky enough to be able to interview Sherman in the lead-up to her Sydney performances of <a href="https://opera.org.au/productions/il-trittico-sydney/" target="_blank" rel="noopener">Il Trittico</a> and <a href="https://opera.org.au/productions/cosi-fan-tutte-sydney/" target="_blank" rel="noopener">Così fan tutte</a>: O60: How did you become an opera singer after growing up on a lettuce farm in rural NSW? “It was quite a journey. My father was an incredible piano accordionist (think Flight of the Bumblebee, Malagueña etc). In the 1970s his teaching studio in Bathurst peaked at about 40 accordion students, which I think is quite remarkable. After his father died, Dad stepped back from his teaching to take over the family farm, though he still plays to this day. “My mother is a music lover, and wanted her children to have the opportunity to explore creative outlets that she wasn't fortunate enough to explore in her youth, so my brother, sister and I all had lessons in piano accordion, piano, dancing, drama and singing. We were fortunate to live in a town that had many thriving arts organisations, such as the Dolly McKinnon School of Dance, Bathurst Eisteddfod Society and Mitchell Conservatorium of Music. “Bathurst's Carillon Theatrical Society (for which my dad's cousin, the late, great, Carole Eastment, was choreographer) afforded us the opportunity to be part of full-scale classic musical productions. I was also fortunate to attend MacKillop College, a local Catholic high school of humble proportions, that had a very passionate and resourceful music teacher, Mr David Eyles. Thanks to him, students like me were able to star in wittily re-written and orchestrated G&S productions. With such a plethora of opportunities at my feet, my love of the stage was pretty much pre-determined. “Upon graduating high school, aged seventeen, I moved to Sydney to take up a place at the Sydney Conservatorium of Music, where I completed a Bachelor of Music and a post graduate diploma in opera. At this stage, I wasn't really in love with opera, that came later, when I found myself covering third novice in OA's 2007 production of Suor Angelica. “During the last studio run of the show, mere metres away from me, star soprano Cheryl Barker was singing the final solo notes of the title role: ‘Madonna! Madonna! Salva me! Salva me!’, tears streaming down her face, and the most incredible voice soaring out; I had chills all over my body and in my soul, and I have loved opera ever since.” O60: You were based in London for years; how did you find the opera world overseas versus in Australia – in both your studies and performing? “I guess the main differences are that the UK scene is a bigger one with more companies and more music schools; a more international one, that students and professionals from around the world flock to, and one with – historically – more financial backing and patronage. However, the scene in the UK has suffered dramatically in the last few years, particularly with the effects of Brexit compounded by COVID, cost-of-living crisis and embarrassingly ignorant cuts made by the Arts Council. “Generally, abroad, there are many more opportunities for musicians, but many, many more musicians competing for them. It is an awe-inspiring thing to meet and work with musical idols like Roger Vignols, Julius Drake, Yvonne Kenny etcetera, to sing a piece of music in the venue in which it premiered or was composed for; to tread the same cobblestones that the likes of Mozart and Handel trod and to delight in the discovery that the shoes or trousers you're wearing in a production bear the name of the likes of Dame Sarah Connolly.” “However, I would say that there is plenty of exciting stuff going on in Australia and an optimism and openness in the Australian people, which is impactful on our industry and its creative output. “More needs to be done in our country to insure all children are given creative learning outlets for the benefit of their development, their communities and for the future of our industry.” O60: Why did you return to Sydney and how are you enjoying it? Any future plans to head back overseas? “After a health scare in 2022 that forced me to cancel all my work, my husband received a job offer to relocate to Sydney. It felt like the universe was opening a door for us, so we gladly walked through it, and onto a flight to Sydney in mid 2023. I have felt welcomed (back!) with open arms both personally and professionally and I have no imminent plans to return abroad, at this stage.” O60: You’ve appeared in many staged productions as well as concerts. What do you like about these two types of performances? “Concert performances are a chance to home in on the music and the words without worrying about physical action. Staged productions afford the performer the luxury of inhabiting and exploring a character, physically, right down to their shoes and petticoats. Both are wonderful ways of working and some works naturally lend themselves to one or the other – though, I think for opera, context is key, and can be a challenge to properly manufacture on the concert platform.” O60: Tell us about your two characters and how do you prepare for performing two roles in different operas in the same season? “I've been playing the role of Mistress of Novices in Suor Angelica and am currently preparing the role of Dorabella in Così fan Tutte. One is a senior nun and the other an excitable teenage girl, so they are rather disparate. “The big challenge is in the early days of learning and memorising the role. Once you have a grasp of the music, the libretto and who you are, it's about showing up and reacting to your world. Preparing disparate roles concurrently can be a vocal challenge, since tessitura and vocal gesture have a big impact on how one might approach a score. I like to keep in touch, daily, with technical exercises that encourage economy and flexibility in my voice, especially when I'm working on contrasting roles. Thankfully, the human voice is a very sensitive instrument and responds intuitively to intention and emotion, so developing the character arc and subtext helps a lot with that. O60: What should audiences be watching and/or listening out for Il Trittico versus in Così fan tutte? “There's so much to enjoy so let it wash over you in broad, beautiful, very human brushstrokes!! Or, if you love little details, in Il Trittico see if you can spot which singers appear in all three operas and watch out for Frugola's bag of strange objects in Il Tabarro. You'll learn a lot from the body language and small glances between characters in the world of Suor Angelica, and in Gianni Schicchi, well, I am told there is a very interesting door stop! “In Così fan Tutte, listen out for the way Mozart creates subtext for his characters; tiny details, like Dorabella needing to sing a third higher than Fiordiligi (because she is the competitive younger sister!) when emotionally fraught in some of their act one recitatives! Mozart is a genius of musical detail!” O60: Do you have any dream roles you’re yet to perform? “There are too many to list, but I adore the role of Octavian in der Rosenkavalier by Strauss (a role I have sung, but would love to revisit) and I would love to sing Ariodante by Händel.” --- <p style="box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; color: #212529; font-family: -apple-system, 'system-ui', 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji'; font-size: 16px; background-color: #ffffff;"><span style="color: #212529; font-family: -apple-system, 'system-ui', 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji'; font-size: 16px;">Click here for more information on <a href="https://opera.org.au/productions/il-trittico-sydney/" target="_blank" rel="noopener">Il Trittico</a> and <a href="https://opera.org.au/productions/cosi-fan-tutte-sydney/" target="_blank" rel="noopener">Così fan tutte</a>.

Music

Happy Days star's warning to tourists after costly mistake

Happy Days star Henry Winkler has issued a warning to fans about rickshaw rides in London, after he was charged £134 (AU$250) for a short trip. The star revealed on X, formerly Twitter, that he was left with the huge bill after taking a ride on the pedicab, and attached a picture from the back of the rickshaw. “TRAVEL TIP: Do not take one of these bicycle taxis without absolutely negotiating the price first. This person in London rode us around in circles then finally to our destination seven blocks away … for $170 US!" he wrote. “My fault, I paid, but passenger beware! A few hours later, he reiterated his point and added: "Can NOT say this enough." Fans were quick to back the veteran actor, with one saying: “How can the guy do The Fonz like that?” Others urged him to take the tube or a cab instead, with one writing: "I would've taken you for free." <blockquote class="twitter-tweet"> TRAVEL TIP: DO NOT take one of these bicycle taxis without absolutely negotiating the price first. This person in London rode us around in circles then finally to our destination 7 blocks away...for $170 US! My fault, I paid, but passenger beware! <a href="https://t.co/l9yxNUkOuM">pic.twitter.com/l9yxNUkOuM</a> — Henry Winkler (@hwinkler4real) <a href="https://twitter.com/hwinkler4real/status/1808556199824273671?ref_src=twsrc%5Etfw">July 3, 2024</a></blockquote> Another former cab driver added: "London cabbies are known for being honest, knowledgeable, and decent-It takes a full year for someone to gain all the Knowledge necessary to become a cab driver. I believe they drive black cars. Anyway, this is a former cabbie telling you to grab a real cab." To which Winkler replied: "I did all the time. For that moment I LOST my mind." According to the U.K's Local Government Association, pedicabs have been able to charge extortionate prices because they are "exempt from the regulations which cover taxis and private hire vehicles. "They do not need a [license] to operate, are able to set their own prices and are not subject to checks on the safety and ability of their drivers, or the road worthiness of their vehicles." However, Transport for London is stepping in to license rickshaw riders and regulate their fares to bring it into line with other forms of transport in the city. Image: Mark Doyle/ Shutterstock Editorial

Travel Trouble

Southern Australia is freezing. How can it be so cold in a warming climate?

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/andrew-king-103126">Andrew King</a>, <a href="https://theconversation.com/institutions/the-university-of-melbourne-722">The University of Melbourne</a> People living in southern Australia won’t have failed to notice how cold it is. Frosty nights and chilly days have been the weather for many of us since the start of July. As winter continues, we are left wondering how unusual the cold is and whether we can expect several more months of this. Warmer conditions are in the forecast but winter has a long way to go. Further cold snaps could occur. Cold conditions have been in place across southern Australia for the past few days. Temperatures have fallen below zero overnight in many places. It’s not just the nights that have been cold. Maximum temperatures have also been below or well below average across most of the country. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/604809/original/file-20240704-20-l50kpt.gif?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/604809/original/file-20240704-20-l50kpt.gif?ixlib=rb-4.1.0&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/604809/original/file-20240704-20-l50kpt.gif?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=412&fit=crop&dpr=1 600w, https://images.theconversation.com/files/604809/original/file-20240704-20-l50kpt.gif?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=412&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/604809/original/file-20240704-20-l50kpt.gif?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=412&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/604809/original/file-20240704-20-l50kpt.gif?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=518&fit=crop&dpr=1 754w, https://images.theconversation.com/files/604809/original/file-20240704-20-l50kpt.gif?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=518&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/604809/original/file-20240704-20-l50kpt.gif?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=518&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>Maximum temperatures have been below average across most of the continent since the last day of June. <a class="source" href="http://www.bom.gov.au/jsp/awap/temp/index.jsp">Bureau of Meteorology</a>, <a class="license" href="http://creativecommons.org/licenses/by/4.0/">CC BY</a></figcaption></figure> <h2>What’s causing the cold?</h2> A <a href="http://www.bom.gov.au/australia/charts/synoptic_col.shtml">persistent and strong high-pressure system</a> has been hanging around over southeast Australia. The atmospheric pressure was so high it approached the Australian record of 1,044.3 hPa set on June 7 1967. An <a href="https://www.abc.net.au/news/2024-07-04/australias-highest-air-pressure-recorded-weather/104055462">initial observation</a> of a new record has since been disregarded, but nonetheless this is an exceptional, near-record high-pressure pattern. This high-pressure system has kept the weather dry but clear nights have allowed strong cooling of the land surface. The long nights and short days of early July mean that temperatures struggle to rise during the day and can fall quickly in the evenings. In winter we expect cold weather across most of Australia and occasional cold snaps that bring widespread frosty and icy conditions. However, this current cold weather is pretty unusual and we are seeing some records fall. Notably, Tasmania has had its <a href="https://www.weatherzone.com.au/news/tasmanias-2ndcoldest-night-on-record/1889603">lowest July temperature on record</a> and the second-lowest minimum temperature for any time of year with –13.5°C at Liawenee in central Tasmania early on Thursday morning. While Tasmania has produced the most remarkable records, the cold conditions have been unusual elsewhere too. Adelaide recorded its lowest temperature in 18 years on Wednesday morning. And many suburbs of Melbourne experienced a sub-zero night and consecutive nights of <a href="https://www.metoffice.gov.uk/weather/learn-about/weather/types-of-weather/frost-and-ice/frost">ground frost</a>. <h2>Winters are warming but cold spells still occur</h2> As the world is warming, it might seem surprising we can still break cold records. Indeed, across Australia <a href="http://www.bom.gov.au/cgi-bin/climate/change/timeseries.cgi?graph=tmean&area=aus&season=0608&ave_yr=0&ave_period=6190">winters have been warming</a>. The <a href="http://www.bom.gov.au/cgi-bin/climate/change/extremes/trendmaps.cgi?map=CN05&period=1950">frequency</a> and <a href="http://www.bom.gov.au/cgi-bin/climate/change/extremes/trendmaps.cgi?map=TNmn&period=1950">intensity</a> of very low temperatures have been decreasing over the past few decades. We also see many more hot records than cold records being set in Australia and around the globe. This is <a href="https://theconversation.com/why-hot-weather-records-continue-to-tumble-worldwide-86158">due to human-caused climate change</a>. However, when we have the right weather conditions, cold records are still occasionally broken locally. As we continue to warm the planet, it’s getting harder for us to find cold records, particularly over larger regions or longer time periods. While we still see record cold temperatures at individual weather stations, we won’t see another cold record in the global average temperature and probably not even in the Australian average temperature. As this week shows, we still occasionally get daily cold records in the current climate. But it’s much harder to get record cold months, and record cold years at a given location are almost impossible. As we average weather conditions across locations or over time, the climate change signal becomes clearer over background weather variability. It makes new cold records much less likely to occur. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/605048/original/file-20240704-21-7ep1rt.png?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/605048/original/file-20240704-21-7ep1rt.png?ixlib=rb-4.1.0&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/605048/original/file-20240704-21-7ep1rt.png?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=426&fit=crop&dpr=1 600w, https://images.theconversation.com/files/605048/original/file-20240704-21-7ep1rt.png?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=426&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/605048/original/file-20240704-21-7ep1rt.png?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=426&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/605048/original/file-20240704-21-7ep1rt.png?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=536&fit=crop&dpr=1 754w, https://images.theconversation.com/files/605048/original/file-20240704-21-7ep1rt.png?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=536&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/605048/original/file-20240704-21-7ep1rt.png?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=536&fit=crop&dpr=3 2262w" alt="A graphic showing the increase in annual average temperature for Australia from 1910 to 2023" /></a><figcaption>The climate change signal is becoming clearer as Australia’s annual average temperature continues to increase with each decade, widening the difference from the long-term mean. <a class="source" href="http://www.bom.gov.au/climate/current/annual/aus/#tabs=Temperature">Bureau of Meteorology</a>, <a class="license" href="http://creativecommons.org/licenses/by/4.0/">CC BY</a></figcaption></figure> <h2>How much longer will this cold snap last?</h2> Southern Australia is experiencing a cold snap at close to the coldest time of year. It’s not long after the winter solstice, when we experience the longest night of the year. We still have a few more cold days and nights ahead in parts of southeastern Australia. By early next week, the forecast suggests <a href="http://www.bom.gov.au/australia/charts/viewer/index.shtml">warmer conditions</a> will return as the high-pressure system moves east and winds turn northerly. The outlook for the rest of winter points firmly to <a href="http://www.bom.gov.au/climate/outlooks/#/overview/summary">above-average daytime and night-time temperatures</a>. This is partly because a historical average (1981–2018) is used and warming since then means above-average temperatures are going to happen most of the time. In any winter, Australia has cold outbreaks. So, even if the next few months are likely to be warmer than normal, we should expect a few cold days and nights at some point. Learning to live with the cold and improving the <a href="https://www.theguardian.com/news/ng-interactive/2024/jul/03/why-so-many-australian-homes-are-either-too-hot-or-too-cold">quality of insulation in Australian homes</a> would help make our winter cold snaps seem a lot less harsh.<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/233977/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/andrew-king-103126">Andrew King</a>, Senior Lecturer in Climate Science, <a href="https://theconversation.com/institutions/the-university-of-melbourne-722">The University of Melbourne</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/southern-australia-is-freezing-how-can-it-be-so-cold-in-a-warming-climate-233977">original article</a>. </div>

Domestic Travel

Breast cancer screening in Australia may change. Here’s what we know so far

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/brooke-nickel-200747">Brooke Nickel</a>, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> and <a href="https://theconversation.com/profiles/katy-bell-134554">Katy Bell</a>, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> The way women are screened for breast cancer in Australia may <a href="https://www.cancer.org.au/about-us/policy-and-advocacy/early-detection/breast-cancer/rosa/key-findings">change</a>. There’s international debate on the <a href="https://www.bmj.com/content/385/bmj.q1353">age</a> women should be invited for screening. But an even larger change being considered worldwide is whether to screen women at <a href="https://www.nature.com/articles/s41416-021-01550-3">high and low risk</a> of breast cancer differently. But what such a “risk-based” approach to screening might look like in Australia is not yet clear. Here’s why researchers and public health officials are floating a change to breast cancer screening in Australia, and what any changes might mean. <h2>Why breast cancer screening may need to change</h2> Mass screening (known as population-based screening) for breast cancer was introduced in Australia and many other developed countries in the 1980s and 90s. This was based on <a href="https://pubmed.ncbi.nlm.nih.gov/26756588/">robust research</a> that found early detection and treatment of cancers before there were symptoms prevented some women from dying from breast cancer. These programs offer regular breast cancer screening to women within a specific age group. For example, <a href="https://www.aihw.gov.au/reports/cancer-screening/national-cancer-screening-programs-participation/contents/breastscreen-australia">in Australia</a>, women aged 40-74 years can have free mammograms (x-rays of the breasts) every two years. The BreastScreen program sends invitations for screening to those aged 50-74. However, evidence has been mounting that mammography screening could be inadvertently causing <a href="https://www.thelancet.com/journals/lancet/article/PIIS0140-6736(12)61611-0/abstract">harm</a> for some women. For some, screening causes a false alarm that may cause anxiety, and unnecessary tests and procedures. Even though these tests rule out cancer, these women may remain anxious and perceive something is wrong <a href="https://bmjopen.bmj.com/content/13/4/e072188">for many years</a>. A more insidious harm is <a href="https://theconversation.com/five-warning-signs-of-overdiagnosis-110895">overdiagnosis</a>, where screening detects a non-growing or slow-growing lesion that looks like “cancer” under the microscope, but would not have progressed or caused harm if it had been left alone. This means some women are having unnecessary surgery, radiotherapy and hormone therapy that will not benefit them, but may harm. Although trials have shown screening reduces the risk of dying from breast cancer, questions are being raised about how much it <a href="https://www.bmj.com/content/352/bmj.h6080.abstract">saves lives overall</a>. That is, it’s uncertain how much the reduced risk of dying from breast cancer translates into improvements in a woman’s overall survival. <h2>How about better targeting women?</h2> One idea is to target screening to those most likely to benefit. Under such a “<a href="https://www.nature.com/articles/s41416-021-01550-3">risk-based</a>” approach, a women’s personal risk of breast cancer is estimated. This may be based on her age and many other factors that may include breast density, family history of breast cancer, body-mass index, genetics, age she started and stopped her periods, and the number of children she’s had. Women who are at higher risk would be recommended to start screening at a younger age and to screen more frequently or to use different, more sensitive, imaging tests. Women at lower risk would be recommended to start later and to screen less often. The idea of this more “precise” approach to screening is to direct efforts and resources towards the smaller number of women most likely to benefit from screening via the early detection of cancer. At the same time, this approach would reduce the risk of harm from false positives (detection of an anomaly but no cancer is present) and overdiagnosis (detection of a non-growing or slow-growing cancer) for the larger number of women who are <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6230256/">unlikely to benefit</a>. On face value this sounds like a good idea, and could be a favourable change for breast cancer screening. <h2>But there’s much we don’t know</h2> However, it’s uncertain how this would play out in practice. For one thing, someone’s future risk of a cancer diagnosis includes the risk of detecting both <a href="https://www.acpjournals.org/doi/10.7326/m17-2792">overdiagnosed cancers</a> as well as potentially lethal ones. This is proving to be a problem in risk-based screening for <a href="https://www.nature.com/articles/s41698-022-00266-8">prostate cancer</a>, another cancer prone to overdiagnosis. Ideally, we’d want to predict someone’s risk of <a href="https://www.thelancet.com/journals/landig/article/PIIS2589-7500(23)00113-9/fulltext">potentially lethal cancers</a> as these are the ones we want to catch early. It is also still uncertain how many women found to be at <a href="https://pubmed.ncbi.nlm.nih.gov/31701797/">low risk</a> will accept a recommendation for <a href="https://pubmed.ncbi.nlm.nih.gov/23092125/">less screening</a>. These uncertainties mean we need robust evidence the benefits outweigh the harms for Australian women before we make changes to the breast cancer screening program. There are several international <a href="https://www.nature.com/articles/s41416-021-01550-3">randomised controlled trials</a> (the gold standard for research) under way to evaluate the effectiveness of risk-based screening compared to current practice. So it may be prudent to wait for their findings before making changes to policy or practice. Even if such trials did give us robust evidence, there are still a number of issues to address before implementing a risk-based approach. One key issue is having enough staff to run the program, including people with the skills and time to discuss with women any concerns they have about their calculated risk. <h2>How about breast density?</h2> Women with dense breasts are at <a href="https://www.sciencedirect.com/science/article/pii/S0960977622001618#:%7E:text=Mammographic%20density%20is%20a%20well,increased%20risk%20of%20breast%20cancer.">higher risk of breast cancer</a>. So notifying women about their breast density has been proposed as a “first step” on the pathway to risk-based screening. However, this ignores the many other factors that determine a woman’s risk of breast cancer. Legislation in the <a href="https://www.fda.gov/radiation-emitting-products/mammography-quality-standards-act-and-program">United States</a> and changes in some <a href="https://australianbreastcancer.org.au/news-stories/latest-news/breast-density-reporting-at-all-sa-clinics/">Australian states</a> mean some women are already being notified about their breast density. The idea is to enhance their knowledge about their breast cancer risk so they can make informed decisions about future screening. But this has happened before we know what the best options are for such women. An <a href="https://www.mja.com.au/journal/2023/219/9/psychosocial-outcomes-and-health-service-use-after-notifying-women-participating">ongoing Australian trial</a> is investigating the effects that breast density notification has on individual women and the health system. <h2>What next?</h2> Robust evidence and careful planning are needed before risk-based screening or other changes are made to Australia’s breast cancer screening program. Where changes are made, there needs to be early evaluation of both the <a href="https://www.bmj.com/content/350/bmj.h1566.abstract">benefits and harms</a>. Programs also need <a href="https://www.bmj.com/content/374/bmj.n2049.long">independent, regular re-evaluation</a> in the longer term.<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/231917/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/brooke-nickel-200747">Brooke Nickel</a>, NHMRC Emerging Leader Research Fellow, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> and <a href="https://theconversation.com/profiles/katy-bell-134554">Katy Bell</a>, Professor in Clinical Epidemiology, Sydney School of Public Health, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of 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/breast-cancer-screening-in-australia-may-change-heres-what-we-know-so-far-231917">original article</a>. </div>

Body

Ambulance ramping is getting worse in Australia. Here’s why – and what we can do about it

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/jonathan-karnon-290">Jonathan Karnon</a>, <a href="https://theconversation.com/institutions/flinders-university-972">Flinders University</a> and <a href="https://theconversation.com/profiles/andrew-partington-93821">Andrew Partington</a>, <a href="https://theconversation.com/institutions/flinders-university-972">Flinders University</a> We’ve seen countless <a href="https://www.heraldsun.com.au/leader/ballarat/ambulance-ramping-leaves-paramedics-unable-to-respond-to-emergencies-says-union/news-story/54b6fee380eb7b7f1c9b2784edf3d2cd">media reports</a> in recent days, weeks and months about the <a href="https://www.couriermail.com.au/news/queensland/qld-politics/worst-cases-of-ambulance-ramping-at-queensland-hospitals-revealed/news-story/bcf4833b5197774329cf983029d77cb4">ramping of ambulances</a> at <a href="https://thewest.com.au/news/health/ambulance-ramping-reaches-record-levels-in-june-as-hospitals-struggle-with-surging-winter-demand-c-15192504">hospital emergency departments</a> (EDs) around Australia. Ambulance ramping occurs when paramedics are made to wait at the hospital’s entrance and are unable to transfer their patient into the emergency department within an appropriate time frame – defined as <a href="https://www.sahealth.sa.gov.au/wps/wcm/connect/public+content/sa+health+internet/about+us/our+performance/ambulance+waiting+times">30 minutes</a> in South Australia. Ramping is an indicator of hospital stress. It means patients are waiting longer to receive care in the emergency department, and patients requiring inpatient care are waiting longer to access a hospital bed. Research suggests <a href="https://www.mja.com.au/journal/2022/217/5/influence-ambulance-offload-time-30-day-risks-death-and-re-presentation-patients">ambulance ramping</a> and <a href="https://onlinelibrary.wiley.com/doi/10.1111/1742-6723.13699">having to wait longer</a> for a hospital bed are associated with a greater risk of patients dying up to 30 days after their initial presentation. So why is ambulance ramping still a problem? And what can we do to fix it? <h2>Ramping is getting worse</h2> Available data indicate the problem has become worse over time. In <a href="https://www.sahealth.sa.gov.au/wps/wcm/connect/public+content/sa+health+internet/about+us/our+performance/ambulance+waiting+times">South Australia</a>, for example, ramping has been steadily increasing since 2017, from around 500 hours “ramped” per month to around 4,000 hours per month in 2024. This is the sum of the time ambulances spend waiting beyond 30 minutes after arriving at the hospital. In <a href="https://www.bhi.nsw.gov.au/data-portal">New South Wales</a>, we calculate the numbers of patients being ramped increased from around 44,000 patients per month in early 2022 to more than 50,000 in early 2024. <h2>What’s driving the increase in ramping?</h2> The ambulance ramping bottleneck reflects an imbalance between the number of people presenting at emergency departments and the capacity to treat patients and transfer those requiring inpatient care to a ward. Potential drivers of this imbalance are increased emergency department presentations and reduced availability of inpatient beds. The latter may reflect increased demand for beds, including longer hospital stays. Between the financial years 2018–19 and 2022–23 (the latest period for which figures are available), Australian Institute of Health and Welfare data show the numbers of more serious presentations (triage categories 1 to 3) increased by <a href="https://www.aihw.gov.au/reports-data/myhospitals/sectors/emergency-department-care">almost 700,000</a> across Australia. Some 100,000 fewer patients who presented to an emergency department were <a href="https://www.aihw.gov.au/reports-data/myhospitals/sectors/admitted-patients">admitted as inpatients</a> during this period, but the additional presentations will nonetheless have contributed to more ramping. In the same period, admissions to inpatient beds that did not come through an emergency department increased by <a href="https://www.aihw.gov.au/reports-data/myhospitals/sectors/admitted-patients">almost 400,000</a> across the country. These include admissions for the management of chronic conditions (such as diabetes, heart disease, asthma and so on) and infections and viruses (COVID, flu, RSV and others). Further, COVID and other viruses are likely to have contributed to increased hospital stress via <a href="https://www.aihw.gov.au/reports/workforce/health-workforce">workforce shortages</a>. This has possibly led to delays in seeing patients in the emergency department and in discharging patients from hospital. There has not been a significant increase in <a href="https://www.aihw.gov.au/reports-data/myhospitals/sectors/admitted-patients">patients’ time in hospital</a> receiving required care, but there appear to be increasing numbers of patients waiting for placement in an aged care facility or for home care services after their treatment <a href="https://www.ama.com.au/sites/default/files/2023-02/Hospital%20exit%20block%20-%20a%20symptom%20of%20a%20sick%20health%20system_Final.pdf">has finished</a>. <h2>Many admissions may be preventable</h2> Increased vaccination rates could reduce the impact of viruses. For example, only <a href="https://www.aihw.gov.au/reports/australias-health/immunisation-and-vaccination">21% of Australians</a> aged 65 to 74 received the 2023 COVID booster recommended for their age group. We know there were significant increases in people delaying or avoiding seeing a GP <a href="https://www.abs.gov.au/media-centre/media-releases/more-people-putting-seeing-health-professionals-due-cost">due to cost</a> in 2022–23, which can put extra pressure on hospitals. The government is trying to address this issue by increasing <a href="https://www.health.gov.au/our-work/increases-to-bulk-billing-incentive-payments">incentives to GPs</a> to reduce costs to patients. Meanwhile, government health departments may not have been provided with enough funding to meet increasing demand for health care. Year on year the gap between supply and demand grows. <a href="https://www.theguardian.com/australia-news/article/2024/jun/27/victoria-hospitals-recruitment-freeze-cost-cuts-premier-jacinta-allan">Victorian hospitals</a> are reportedly scrambling to reduce spending in light of proposed budget cuts. <h2>What are the solutions?</h2> The creation of new hospital beds is not the only option for increasing capacity. Governments should design, implement and scale up services that free up hospital capacity by providing appropriate and cost-effective out-of-hospital care. For example, there is further scope to care for patients admitted to hospital in their own homes with the support of digital technologies. Programs such as <a href="https://www.sahealth.sa.gov.au/wps/wcm/connect/public+content/sa+health+internet/services/hospitals/my+home+hospital/my+home+hospital">My Home Hospital</a> in South Australia aim to provide an alternative to inpatient care. Across Australia, such “hospital in the home” care was provided 150,000 times in 2022–23, compared to <a href="https://www.aihw.gov.au/reports-data/myhospitals/sectors/admitted-patients">6.8 million episodes of care</a> in public hospitals. Virtual ED services are a growing phenomenon across Australia, using <a href="https://theconversation.com/what-is-a-virtual-emergency-department-and-when-should-you-visit-one-228098">virtual consultations</a> to identify patients for whom urgent care can be provided outside hospital. The Victorian virtual ED service is targeting a capacity of <a href="https://www.afr.com/policy/health-and-education/meet-the-two-doctors-revolutionising-emergency-healthcare-20240415-p5fjud">1,000 consults</a> per day. Longer-term solutions require co-operation between state and territory governments and the federal government to prevent and better manage chronic conditions, such as diabetes and heart disease, outside hospital. This includes boosting access to GPs and improving communication between GPs and hospitals. Greater investment in well-designed policies and programs to support healthy ageing would also likely help, as well as improving access to required out-of-hospital aged care and disability services for patients waiting to leave hospital. All these measures could ease the pressure on hospitals and reduce the likelihood of patients waiting in an ambulance, unable to get inside and receive the care they need.<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/232720/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/jonathan-karnon-290">Jonathan Karnon</a>, Professor of Health Economics, <a href="https://theconversation.com/institutions/flinders-university-972">Flinders University</a> and <a href="https://theconversation.com/profiles/andrew-partington-93821">Andrew Partington</a>, Research Fellow (Health Economics), <a href="https://theconversation.com/institutions/flinders-university-972">Flinders University</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/ambulance-ramping-is-getting-worse-in-australia-heres-why-and-what-we-can-do-about-it-232720">original article</a>. </div>

Caring

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

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/alison-blair-223267">Alison Blair</a>, <a href="https://theconversation.com/institutions/university-of-otago-1304">University of Otago</a> I first saw A Hard Day’s Night at a film festival over 20 years ago, at the insistence of my mum. By then, it was already decades old, but I remember being enthralled by its high-spirited energy. A Beatles fan, mum had introduced me to the band’s records in my childhood. At home, we listened to Please Please Me, the band’s 1963 single, and the Rubber Soul album from 1965, which I loved. Television regularly showed old black-and-white scenes of Beatlemania that, to a ten-year-old in the neon-lit 1980s, seemed like ancient history. But then, I’d never seen a full-length Beatles film. I had no idea what I was in for. When the lights went down at Dunedin’s Regent Theatre, the opening chord of the film’s title song announced its intentions: an explosion of youthful vitality, rhythmic visuals, comical high jinks and the electrifying thrill of Beatlemania in 1964. This time, it didn’t seem ancient at all. Since that first viewing, I’ve returned to A Hard Day’s Night again and again. I now show it to my students as a historically significant example of pop music film making – visually inventive cinema, emblematic of a fresh era in youth culture, popular music and fandom. <h2>Beatlemania on celluloid</h2> A musical comedy depicting a chaotic 36 hours in the life of the Beatles, A Hard Day’s Night has now reached its 60th anniversary. Directed by <a href="https://www.imdb.com/name/nm0504513/">Richard Lester</a>, the film premiered in London on July 6 1964, with its first public screening a day later (incidentally, also Ringo Starr’s birthday), and the <a href="https://www.discogs.com/master/24003-The-Beatles-A-Hard-Days-Night">album of the same name</a> released on July 10. The band’s popularity was by then reaching dizzying heights of hysteria, all reflected in the film. The Beatles are chased by hordes of fans, take a train trip, appear on TV, run from the police in a Keystone Cops-style sequence, and play a televised concert in front of screaming real-life Beatles fans. Side one of the album provides the soundtrack, and the film inspired pop music film and video from then on, from the <a href="https://www.imdb.com/title/tt0060010/">Monkees TV series</a> (1966–68) to the Spice Girls’ <a href="https://www.imdb.com/title/tt0120185/">Spice World</a> (1997) and music videos as we know them today. <h2>The original music video</h2> Postwar teen culture and consumerism had been on the rise since the 1950s. In 1960s Britain, youth music TV programmes, notably <a href="https://www.imdb.com/title/tt0196287/">Ready Steady Go!</a> (1963–66), meant pop music now had a developing visual culture. The youthful zest and vitality of ‘60s London was reflected in the pop-cultural sensibility, modern satirical humour and crisp visual impact of A Hard Day’s Night. Influenced by <a href="https://nofilmschool.com/french-new-wave-cinema">French New Wave</a> film making, and particularly the early 1960s work of <a href="https://www.imdb.com/name/nm0000419/">Jean-Luc Godard</a>, A Hard Day’s Night employs <a href="https://indiefilmhustle.com/cinema-verite/">cinéma vérité</a>-style hand-held cinematography, brisk jump cuts, unusual framing and dynamic angles, high-spirited action, and a self-referential nonchalance. The film also breaks the “fourth wall”, with characters directly addressing the audience in closeup, and reveals the apparatus of the visual performance of music: cameras and TV monitors are all part of the frame. Cutting the shots to the beat of the music – as in the Can’t Buy Me Love sequence – lends a visual rhythm that would later become the norm in music video editing. Lester developed this technique further in the second Beatles film, <a href="https://www.imdb.com/title/tt0059260/">Help!</a> (1965). The closing sequence of A Hard Day’s Night is possibly the film’s most dynamic: photographic images of the band edited to the beat in the style of stop-motion animation. Sixty years on, it still feels fresh, especially as so much contemporary film making remains hidebound by formulaic Hollywood rules. <figure class="align-center "><img src="https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&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/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=453&fit=crop&dpr=1 600w, https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=453&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=453&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=569&fit=crop&dpr=1 754w, https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=569&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=569&fit=crop&dpr=3 2262w" alt="A Hard Day's Night movie poster" /><figcaption>A new pop aesthetic: original film poster for A Hard Day’s Night. Getty Images</figcaption></figure> <h2>Slapstick and class awareness</h2> As with much popular culture from the past, the humour in A Hard Day’s Night doesn’t always doesn’t land the way it would have in 1964. And yet, there are moments that seem surprisingly modern in their razor-sharp irony. In particular, the band’s Liverpudlian working-class-lad jibes and chaotic energy contrast brilliantly with the film’s upper-class characters. Actor Victor Spinetti’s comically over-anxious TV director, constantly hand-wringing over the boys’ rebelliousness, underscores the era-defining change the Beatles represented. Corporate pop-culture consumerism is also satirised. John Lennon “snorts” from a Coca-Cola bottle, a moment so knowingly silly it registers as more contemporary than it really is. George Harrison deflects a journalist’s banal questions with scathingly witty answers, and cuts a fashion company down to size by describing their shirt designs as “grotesque”. And there is Paul McCartney’s running joke that his grandfather – played by Wilfred Brambell from groundbreaking sitcom <a href="https://www.imdb.com/title/tt0057785/">Steptoe and Son</a> (1962–74) – is “very clean”. Even the film’s old-fashioned visual slapstick still holds up in 2024. Showing the film to this year’s students, I didn’t expect quite as much laughter when Ringo’s attempts to be chivalrous result in a fall-down-a-hole mishap. In 2022, the <a href="https://www.criterion.com/">Criterion Collection</a> released a high-resolution restoration of the film, so today A Hard Day’s Night can be seen in all its fresh, black-and-white, youthful vigour. Happy 60th, A Hard Day’s Night. And happy 84th, Ringo. Both still as lively and energetic as ever.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/228598/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/alison-blair-223267">Alison Blair</a>, Teaching Fellow in Music, <a href="https://theconversation.com/institutions/university-of-otago-1304">University of Otago</a> Image credits: THA/Shutterstock Editorial This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/still-fab-after-60-years-how-the-beatles-a-hard-days-night-made-pop-cinema-history-228598">original article</a>. </div>

Movies

"Worst nightmare": Teen dies one day after flu diagnosis

William Jones was complaining of a sore throat and cough last month and when his mum called the doctor, they were told that it was most likely the flu. However, the following morning when Rebecca Rollason went to check on her 16-year-old son, he was found unresponsive in his bed in their Wellington home. "We ask ourselves how what started as a sore throat, snotty nose and a cough on Tuesday to no longer with us three days later," the grieving mum told the NZ Herald. "No one understands, we don't know what happened... it feels like the worst nightmare that we cannot wake from." Rollason explained that her family have to "wait for results" in hopes of understanding what happened and how the teenager, who was barely sick, passed away so suddenly. "We just don’t understand how this can happen to a boy who was barely ever sick and was very healthy," she said. "It is an incredibly hard and devastating time for us." A family friend has helped set up a <a href="https://givealittle.co.nz/cause/rebecca-lost-her-son-william-last-friday" target="_blank" rel="noopener">fundraising page</a> to help relieve the financial pressure on her and William's two brothers while they grieve. "It is every parents worst nightmare and a shocking tragedy to lose a healthy child from a sudden and brief illness," a statement from the fundraising page read. "The money will help the family with funeral costs and ease Financial burden while they grieve and come to terms with Williams passing." On July 1 they shared an update on the fundraising page, saying: "Rebecca and family would like all to know that are incredibly grateful for all the support and kindness." Image: Givealittle

Caring

Cheaper mortgages, tamed inflation and even higher home prices: how 29 forecasters see Australia’s economic recovery in 2024-25

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/peter-martin-682709">Peter Martin</a>, <a href="https://theconversation.com/institutions/crawford-school-of-public-policy-australian-national-university-3292">Crawford School of Public Policy, Australian National University</a> Australia’s top economic forecasters expect the Reserve Bank to start cutting interest rates by March next year, taking 0.35 points of its cash rate by June. If passed on in full, the cut would take $125 off the monthly cost of servicing a $600,000 variable-rate mortgage, with more to come. The panel of 29 forecasters assembled by The Conversation expects a further cut of 0.3 points by the end of 2025. This would take the cash rate down from the current 4.35% to 3.75% and produce a total cut in monthly payments on a $600,000 mortgage of $335. The forecasts were produced after last week’s news of a higher than expected <a href="https://theconversation.com/australias-inflation-rate-jumps-to-4-putting-an-rba-rate-rise-back-on-the-agenda-233331">monthly consumers price index</a>. Several of those surveyed revised up their predictions for interest rates in the year ahead, while continuing to predict cuts by mid next year. Only two expect higher rates by mid next year. Only four expect no change. <hr /> <iframe id="6eIe8" class="tc-infographic-datawrapper" style="border: none;" src="https://datawrapper.dwcdn.net/6eIe8/" width="100%" height="400px" frameborder="0"></iframe> <hr /> Now in its sixth year, The Conversation survey draws on the expertise of leading forecasters in 22 Australian universities, think tanks and financial institutions – among them economic modellers, former Treasury and Reserve Bank officials and a former member of the Reserve Bank board. Eight of the 29 expect the first cut to come this year, by either November or December. One of them is Luci Ellis, who was until recently assistant governor (economic) at the Reserve Bank and is now at Westpac. She and her team are forecasting three interest rate cuts by the middle of next year, taking the cash rate from 4.35% to 3.6%. <h2>Reserve Bank a ‘reluctant hiker’</h2> Ellis says inflation isn’t falling fast enough for the bank to be confident of being able to cut before November. But after that, even if inflation isn’t completely back within the bank’s target band but is merely moving towards it, a “forward-looking” board would want to start easing interest rates. Another forecaster, Su-Lin Ong of RBC Capital Markets, says in her view the bank should hike at its next board meeting in August after the release of figures likely to show inflation is still too high. But she says the bank is a “reluctant hiker” and keen to keep unemployment low. Although several panellists expect the Reserve Bank to hike rates in the months ahead, almost all expect rates to be lower in a year’s time than they are today. <hr /> <iframe id="2xF3M" class="tc-infographic-datawrapper" style="border: none;" src="https://datawrapper.dwcdn.net/2xF3M/" width="100%" height="400px" frameborder="0"></iframe> <hr /> The panel expects inflation to be back within the Reserve Bank’s 2-3% target band by June next year, and to be close to it (3.3%) by the end of this year. Twelve of the panel expect inflation to climb further when the official figures are released at the end of this month, but none expect it to climb further beyond that. And all expect inflation to be lower by the end of the financial year than it is today. One, Percy Allan, a former head of the NSW Treasury, cautions that the tax cuts and other government support measures due to start this month run the risk of boosting spending and falling progress on inflation. <hr /> <iframe id="LGJa7" class="tc-infographic-datawrapper" style="border: none;" src="https://datawrapper.dwcdn.net/LGJa7/" width="100%" height="400px" frameborder="0"></iframe> <hr /> The panel expects wages growth to fall from 4% to 3.5% over the year ahead, contributing to downward pressure on inflation, but to remain higher than prices growth, producing gains in so-called <a href="https://www.investopedia.com/terms/r/realincome.asp">real wages</a>. It expects wages growth to moderate further, to 3.2%, in 2025-26. <hr /> <iframe id="iV7mZ" class="tc-infographic-datawrapper" style="border: none;" src="https://datawrapper.dwcdn.net/iV7mZ/" width="100%" height="400px" frameborder="0"></iframe> <hr /> Consumer spending is expected to remain unusually weak, growing by only 1.7% in real terms over the next 12 months, up from 1.3% in the latest national accounts. Mala Raghavan, from the University of Tasmania, said even though inflation was falling, previous price rises meant the prices of essentials remained high. AMP chief economist Shane Oliver expected the boost from the <a href="https://treasury.gov.au/tax-cuts">Stage 3 tax cuts</a> to be offset by the depressing effect of a weaker labour market. <h2>Unemployment to climb modestly</h2> The panel expects Australia’s unemployment rate to climb steadily from its present historically low 4% to 4.4%. Moodys Analytics economist Harry Murphy Cruise said although the increase wasn’t big, the effect on pay packets would be bigger. Employers were shaving hours and easing back on hiring rather than letting go of workers. <hr /> <iframe id="SM8PI" class="tc-infographic-datawrapper" style="border: none;" src="https://datawrapper.dwcdn.net/SM8PI/" width="100%" height="400px" frameborder="0"></iframe> <hr /> Panellists expect China’s economic growth to slip from 5.3% to 5% and US growth to slip from 2.9% to 2.4%. Australia’s economic growth is expected to climb from the present very low 1.1% to 1.3% by the end of this year and to 2% by the end of next year. Although none of the panel are forecasting a recession, most of those who offered an opinion said if there was a recession, it would start this year when the economy was weak. Some said we might later discover that we have been in a recession if the very weak economic growth of 0.1% recorded in the March quarter is revised and turns negative when updated figures are released in September. <hr /> <iframe id="3I49o" class="tc-infographic-datawrapper" style="border: none;" src="https://datawrapper.dwcdn.net/3I49o/1/" width="100%" height="400px" frameborder="0"></iframe> <hr /> Home prices are expected to continue to climb notwithstanding economic weakness. Sydney prices are expected to increase a further 5% in the year ahead after climbing 7.4% in the year to May. Melbourne prices are expected to rise a further 2.8% after climbing 1.8% in the year to May. Percy Allan said Sydney had fewer homes available than Melbourne, and Victoria’s decisions to extend land tax and boost rights for tenants had upset landlords, many of whom were offloading their holdings. <h2>Home prices to climb further</h2> Julie Toth, chief economist at property information firm PEXA, said rapid population growth was colliding with an ongoing decline in household size since COVID. At the same time, fewer new homes were being commissioned and long delays and high construction costs were also keeping supply tight. <hr /> <iframe id="JzLaY" class="tc-infographic-datawrapper" style="border: none;" src="https://datawrapper.dwcdn.net/JzLaY/" width="100%" height="400px" frameborder="0"></iframe> <hr /> The panel expects non-mining business investment to continue to climb in the year ahead, by 5.2%, down from 6.9%. It expects the Australian share market to climb by a further 5.6% Read the answers on <a href="https://cdn.theconversation.com/static_files/files/3350/2024-25_The_Conversation_AU_Forecasting_Survey.pdf">PDF</a>, download as <a href="https://cdn.theconversation.com/static_files/files/3351/2024-25_The_Conversation_AU_forecasting_survey.xlsx?1719478737">XLS</a> <hr /> <h2>The Conversation’s Economic Panel</h2> Click on economist to see full profile. <iframe id="tc-infographic-1066" class="tc-infographic" style="border: none;" src="https://cdn.theconversation.com/infographics/1066/93fb29ba32e178ec2dcda111f014a50cf7ea1f49/site/index.html" width="100%" height="400px" frameborder="0"></iframe><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/233244/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/peter-martin-682709">Peter Martin</a>, Visiting Fellow, <a href="https://theconversation.com/institutions/crawford-school-of-public-policy-australian-national-university-3292">Crawford School of Public Policy, Australian National University</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/cheaper-mortgages-tamed-inflation-and-even-higher-home-prices-how-29-forecasters-see-australias-economic-recovery-in-2024-25-233244">original article</a>. </div>

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What it's like to play the baddest opera villain in the world

As we mark the 100th anniversary of Giacomo Puccini’s passing, Opera Australia is pulling out all the stops to celebrate the legendary Italian composer with two of his most celebrated works at the iconic Sydney Opera House this winter. Kicking off the season is Edward Dick’s five-star production of Tosca, which had its opening night on June 25. This electrifying new take on Puccini’s action-packed thriller is captivating audiences with its compelling narrative and intense emotional depth. Tosca unfolds over a swift 24-hour period, weaving a tale of passion and power, jealousy and betrayal, love and tragedy. It's a perfect introduction to opera for newcomers and a beloved classic for seasoned fans, promising an edge-of-your-seat experience. Renowned for his ability to breathe fresh life into classic works, Director Edward Dick has assembled an award-winning creative team to deliver a visually stunning production. Tom Scutt's set design brilliantly juxtaposes Renaissance grandeur with contemporary elegance, featuring a suspended gilded dome revealing a breathtaking Renaissance fresco. BAFTA-winning costume designer Fotini Dimou dresses the performers in chic, modern attire, while Lee Curran's stadium-style lighting adds a dramatic flair. The cast is equally stellar. Making her Opera Australia debut, Northern Irish soprano Giselle Allen has taken on the titular role of Tosca, sharing the stage with OA favourite Karah Son, who received critical acclaim for her performance in Melbourne. Joining them is Korean tenor Young Woo Kim, debuting at the Sydney Opera House as the love-struck painter Cavaradossi. The role of the villainous Scarpia will be portrayed for the first half of the show's run by Armenian dramatic baritone Gevorg Hakobyan, also making his OA debut, until award-winning local baritone Warwick Fyfe takes over the role for the second half of the run, beginning on July 31 until the run's conclusion on August 16. Over60 was thrilled to be given the chance to interview Fyfe in the lead-up to his Sydney performance. O60: Firstly, by way of an introduction to Warwick Fyfe the Australian Helden bass baritone – can you summarise your career? Fyfe: “In Yes, Minister, Sir Humphrey once – referring to Bernard – used the expression “a low flyer supported by occasional gusts of hot air”. I suppose I’m a bit like that. But I have a single major achievement, to wit: I’m still here! Over several decades I’ve seen hot shots come and go and change careers but I’m still earning a living at singing. Moreover, I think I might at last be getting the hang of it.” O60: What is your history with this opera Tosca by Puccini? Fyfe: “I sang the Sacristan in the 1995 Victoria State Opera production. That was the start. The director John Copley was very supportive and taught me a lot. Also, I got to know the great John Wegner, having previously only seen him from the auditorium. He was a great influence even though he and I were very different. I’d watch him every night from the wings during Act 2. Then years later, having done countless Sacristans, I did a Scarpia of my own, taking over from John at the tail end of a season. Then in 2022 I was to sing Scarpia for West Australian Opera. Alas, the season was severely damaged when I caught Covid. I only did the first and last shows and not very well. This current production allows me at last to put my stamp on the role and do it properly. It went well in the Melbourne run.” O60: How do you approach learning the role of Scarpia and connecting with a villainous character? Fyfe: “Tosca is very standard repertoire and additionally I was the Sacristan early in my career so that I had an osmotically acquired sense of the thing from early on. Also, the donkey work of learning and memorising the notes and words is a task of only moderate proportions with this role. So one just sits down at the piano and starts hacking away at it. “The other two bits of the equation (which can’t actually be separated) are the singing of the role and the inhabiting of the character. Vocally, it requires that I be at peak form. I can sing it much better than when I was young but it requires much more conscious effort to sustain it. My teacher Christina Henson Hayes has helped me enormously on that front. “Dramatically, it’s almost always possible to find in some dark recess of oneself something which is reflected in the character. Having found this way in, one can push it and stretch it and eventually pop out like a newborn into the new fictional world where that person lives. But equally important, especially for the in-the-round, creaturely and not at all stylised characters of verismo, one needs to have lived and absorbed that which is around one. Read good books, watch great actors – not in an ad hoc sense but generally. Be a cultural sponge. Make reading good books and watching great actors as constant and inevitable a part of life as eating. Read everything, listen to everything, observe everything. If the singer has no cultural hinterland, it is to be hoped that the director is a magician!” O6O: You recently performed in this production in Melbourne’s Margaret Court Arena – the first opera to be staged on the tennis court. How did you find that experience and will anything about your performance be different for the Sydney season? “Well, it was lovely because all my colleagues were lovely. As well as all my Opera Australia chums, there were people new to me such as Nadine Benjamin and Young Woo Kim – people so warm and friendly, not to mention talented, that one feels almost abashed and instinctively tries in response to be the best colleague one knows how to be. “Nevertheless, I’m a traditionalist who believes that opera will always be better for all concerned in a conventional, properly appointed theatre. Opera singers do not like being miked. For me, however good the technicians, the sense of one’s sound being only partially in one’s own control is uncomfortable. On the other hand, feeling one’s voice commanding a huge space as if one were a Rabelaisian giant is quite thrilling and of course it opens up possibilities for the company commercially.” O60: Opera Australia is presenting several Puccini works this year in celebration of the legendary composer as 2024 marks the 100th anniversary of Puccini’s death, so let’s chat about Puccini’s contribution to the world of opera. He was a champion of verismo; can you explain what that means? What should audiences expect from the performance? “Verismo is simply realism. Characters presented in the round rather than as two-dimensional types or figures of heightened allegory. In place of a stylised, artificial or high-flown approach, the composers wished to present real people in plausible dramatic settings. Of course this presents an apparent contradiction because in real life we don’t sing at each other. However, in practice you can have your cake and eat it because the genius of Puccini, from a starting point of a verisimilitudinous situation and story, can take it to another plane of intensity and power. But the roots in reality are unbroken. That reality is in the DNA of every cell of the artwork which rises majestically from those roots. Hence the opera feels real despite the built-in artificiality of the art form. By contrast, a composer of another era and school might take his subject away from reality to a more rarefied place. Audiences should expect an intense, purely human drama.” O60: Puccini is known for his innovative use of the orchestra and an expansive use of instruments; what should audiences be listening for when they come to Tosca? “Different composers have their preferred palettes. This also varies on national as well as individual lines. As Puccini is the supreme figure in verismo, he IS the archetype so that I can answer the question in a circular way by saying that it will sound very Italian, very verismo. Lush, yes, but a Puccinian version thereof rather than a Straussian one. “There are also exquisite touches, sort of musical special effects used judiciously and sparingly enough so as not to seem gimmicky. For example, the bells and spoken Latin of the Te Deum or the distanced effect of the oratorio in Act 2. The arias are of course high points but much of the interest lies in the meat connecting those moments.” O60: Which of Puccini’s works is your preferred or do you find one most revolutionary? “For brutal intensity, Tosca represents the high-water mark, especially Act 2. I love the kaleidoscopic richness of Turandot. The story is horrible but this is not a negative if one accepts it as a fable which has different rules from those applying to a pungently realistic tale. Also, Turandot is structurally flawed because he didn’t finish it. It is, however, musically astonishingly good. If you said I had to see a Puccini opera tonight but I could choose which one, I’d definitely choose La Fanciulla del West. Not only is it a masterpiece, it doesn’t get done nearly enough.” --- Don't miss this extraordinary celebration of Puccini's legacy. Whether you're an opera aficionado or a first-time attendee, this production of Tosca is set to be an unforgettable highlight of the cultural calendar. Get ready to be swept off your feet by the sheer drama, passion, and beauty of Puccini’s masterpiece. Visit <a href="https://opera.org.au/" target="_blank" rel="noopener">https://opera.org.au/</a> for more info. Images: Opera Australia

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Shop

Catalogues

Newspaper

Contests

Entertainment

Travel

Health

Lifestyle

Finance

Property

Compare

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Information

Keep up to date

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Hamlet: Experience the epic tragedy reimagined

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What it's like to play the baddest opera villain in the world

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