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Sam Kerr’s alleged comments may have had a racial element, but they were not ‘racist’

<p><a href="https://theconversation.com/profiles/mario-peucker-192086">Mario Peucker</a>, <em><a href="https://theconversation.com/institutions/victoria-university-1175">Victoria University</a></em></p> <p>Footballer Sam Kerr has been charged with “racially aggravated harassment” over a January 2023 incident in which she allegedly insulted a London police officer. According to <a href="https://www.theguardian.com/football/2024/mar/06/sam-kerr-allegedly-called-police-officer-a-stupid-white-bastard-source-says">widespread media reports</a>, she is said to have called the officer a “stupid white bastard”.</p> <p>Kerr has pleaded not guilty to the charge and has <a href="https://www.9news.com.au/world/sam-kerr-legal-team-reportedly-challenge-allegations-of-police-harassment/744598ef-75f9-4e03-acb5-7b37aecde8d1">reportedly denied</a> using the word “bastard”.</p> <p>According to section 33 of the British Crime and Disorder Act, to be found guilty of such an offence, the conduct would have had to cause – or have intended to cause – alarm or distress.</p> <p>Regardless of the court’s ultimate verdict, one big question seems to occupy the minds of many: does the phrase attributed to Kerr constitute racism?</p> <p>Kerr was born in Western Australia, and has Indian ancestry on her father’s side. Can she be racist towards a white person, and more specifically to a white police officer?</p> <p>Assuming it is true Kerr used the term “white”, there is a racial element. But “racial” is not the same as “racist”.</p> <h2>Definitions of racism</h2> <p>It is important to note here that “race” is not a biological category (there is only one human race). Race is a <a href="https://www.scientificamerican.com/article/race-is-a-social-construct-scientists-argue/">social construct</a>, invented and cemented centuries ago to legitimise colonial atrocities, oppression and forms of subjugation including slavery.</p> <p>There are many definitions of racism, but there has been a broad consensus for decades that racism is more than “just” prejudice and discriminatory behaviour. It is not simply a matter of less favourable treatment of an individual or group of people based on their actual or ascribed ethnic background, skin colour, origin or related characteristics.</p> <p>Racism also reflects and manifests as systemic exclusion and marginalisation based on historically rooted power imbalances and racial hierarchies that put white people at the top.</p> <p>To put it very simply, the scholarly (if not the legal) definition is that “<a href="https://psycnet.apa.org/record/1998-07453-002">racism equals power plus prejudice</a>”.</p> <p>In a vicious cycle, everyday racism and discrimination are shaped and justified by racial hierarchies, while they operate continuously in a way that cements power imbalances and racial marginalisation.</p> <p>This may sound a bit abstract, but if we do not recognise this power dynamic, we trivialise racism as little more than name-calling. We will fail to understand how racism operates and how it continues to affect people from racially marginalised groups in their daily lives.</p> <p>One way to illustrate the systemic nature of racism is to look at the persistent lack of representation of people of colour in leadership positions in the corporate sector, the media and governments in Australia and elsewhere.</p> <p>In the United Kingdom, where the alleged incident occurred, institutional racism – including within the police force – has been recognised since the release of the <a href="https://www.gov.uk/government/publications/the-stephen-lawrence-inquiry">Macpherson report</a> in 1999. It was reaffirmed in 2023 by the <a href="https://www.met.police.uk/SysSiteAssets/media/downloads/met/about-us/baroness-casey-review/update-march-2023/baroness-casey-review-march-2023a.pdf">Baroness Casey Review</a>, despite some political pushback.</p> <p>The review found “Met officers are 82% White and 71% male, and the majority do not live in the city they police. As such, the Met does not look like the majority of Londoners.”</p> <h2>Reverse racism?</h2> <p>Anti-discrimination legislation in the UK and Australia usually does not speak explicitly of “racism”. It outlaws certain acts that are motivated, partially or wholly, by a person’s race (or other personal identity markers).</p> <p>Legislators introduced these laws with the intention of enhancing the legal protections for those who were considered vulnerable to racism. In Australia, for example, the <a href="https://www.legislation.gov.au/C2004A00274/latest/text">Racial Discrimination Act</a> (1975) is often celebrated as a legal cornerstone in the country’s journey away from its racist “White Australia” history towards a modern multicultural society.</p> <p>The United Nations’ <a href="https://www.ohchr.org/en/instruments-mechanisms/instruments/international-convention-elimination-all-forms-racial">International Convention on the Elimination of All Forms of Racial Discrimination</a> (1965), ratified by Australia in 1975 and the UK in 1969, makes its intention explicit when it calls on all state parties to make it an offence to disseminate “ideas based on racial superiority”.</p> <p>The issue of power structures should also be seen through an institutional lens. It is difficult to imagine a person on the streets of London with more institutional power than a white police officer.</p> <p>Being called a “stupid bastard” might hurt someone’s feelings. But while I’m in no position to judge whether Sam Kerr’s alleged actions have caused “distress” to the officer – as the law would require – labelling the incident as racist is clearly not in line with what racism means.</p> <p>Such a definition would not align with the concept’s institutional and systemic dimensions. It is not what anti-discrimination laws were intended to outlaw.</p> <p>Claims of anti-white or “reverse” racism are based on a shallow, misguided and inaccurate understanding of what racism really constitutes.</p> <p>If Kerr’s court case fails to acknowledge the deeper purpose of anti-racism legislation by equating “racial” with “racist”, it risks setting a highly problematic precedent that would undermine efforts to acknowledge and tackle racism in all its forms.</p> <p>What would be the message to those millions of people in the UK, Australia and elsewhere who have to face racism every day without recognition of the harm it causes and without the support and capacity to sue the perpetrators?</p> <p>What would they think about their right to equality and their place in society?<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><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/225267/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p><a href="https://theconversation.com/profiles/mario-peucker-192086">Mario Peucker</a>, Associate Professor and Principal Research Fellow, Institute for Sustainable Industries and Liveable Cities, <em><a href="https://theconversation.com/institutions/victoria-university-1175">Victoria University</a></em></p> <p>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/sam-kerrs-alleged-comments-may-have-had-a-racial-element-but-they-were-not-racist-225267">original article</a>.</p>

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Happy songs: these are the musical elements that make us feel good

<p>Music has a unique power <a href="https://www.researchgate.net/profile/Daniel-Vaestfjaell/publication/258173113_Emotion_Induction_through_Music_A_Review_of_the_Musical_Mood_Induction_Procedure/links/02e7e527c81174366e000000/Emotion-Induction-through-Music-A-Review-of-the-Musical-Mood-Induction-Procedure.pdf">to affect the way people feel</a> and many people use music to enhance or change their mood, channel emotions and for psychological support. </p> <p>The strong emotional impact of music is derived from its profound physical and psychological effects. For example, listening to relaxing music often has a positive impact on the <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1959222/">autonomic nervous system</a> (which regulates many key bodily functions), by slowing breathing, regulating heart rate, lowering blood pressure and reducing muscle tension.</p> <p>Listening to music also affects us at a deep physiological level, as it has a strong impact on the <a href="http://www.downloads.imune.net/medicalbooks/Neurochemistry%20of%20music.pdf">endocrine system</a>, which is responsible for hormone production. </p> <p>Music can stimulate the release of the neurotransmitters which affect experiences of pleasure by increasing the production of dopamine (the reward hormone), reducing levels of cortisol (the stress hormone) and increasing salivary immunoglobulin A – an antibody responsible for strengthening the immune system.</p> <p>Of course, these benefits are only experienced if we listen to music that we enjoy. <a href="http://www.brainvitge.org/papers/Science-2013-Salimpoor-216-9.pdf">Familiarity</a> also affects enjoyment, but even new music can stimulate positive physical and psychological responses if it is similar to other music that we like.</p> <p>Music we don’t like can have a strong adverse effect upon mood and wellbeing. Individual differences mean emotional <a href="https://journals.sagepub.com/doi/abs/10.1177/0305735618754688?journalCode=poma">reactions to songs differ</a> depending on the participant’s preferences and associations they might have with the music. If we don’t like the song (or it brings back negative memories), it won’t make us happy, regardless of the quality.</p> <h2>Creating a personal soundscape</h2> <p>Portable listening devices and music streaming platforms have made it possible to choose from an unprecedented selection of musical styles. People can now listen to their favourite music any time, anywhere. </p> <p>This means music can be used to create a personal soundscape. This is common when using public transport, for example, as many passengers use headphones to create an individualised sonic environment as a distraction from the less pleasant aspects of travelling on crowded and noisy transport systems.</p> <p>In a <a href="https://www.prnewsblog.com/news/health-wellbeing/15034/music-psychologist-reveals-the-formula-for-the-happiest-song-ever/">recent survey</a>, 71% of 2,000 participants reported that music was the strongest influence on their mood and almost 75% regularly listened to music to cheer themselves up. In response to these findings, I conducted a review of published research, to find out which musical features tend to be present in “happy” songs.</p> <p>It should be remembered that musical preferences and expectations are culture dependent. For example, some Asian cultures have different associations between positive/negative emotions and major/minor chords, so <a href="https://royalsocietypublishing.org/doi/10.1098/rsos.170952">western “happy songs” may not be globally interpreted as such.</a></p> <p>Within western cultures, there are certain components of popular music which are commonly linked with positive emotions. Music that is perceived as “happy” is usually written in a major key with a bright tone, featuring instruments with a bright timbre, such as trumpets or electric guitars.</p> <p>“Happy” music usually adds <a href="https://royalsocietypublishing.org/doi/10.1098/rsos.170952">the seventh note of the scale</a> to the main three notes in the chord. This creates a brief feeling of tension – or pleasurable expectation – followed by relief or resolution when the harmonic progression proceeds as our previous listening experience predicts.</p> <p>For many people, listening to music becomes an immersive <a href="https://www.frontiersin.org/articles/10.3389/fpsyg.2015.00906/full">flow experience</a> which can distract from everyday concerns. Active musical participation through dancing or singing along brings additional enjoyment. </p> <p>A simple, consistent rhythm based on two or four beats in a bar increases a song’s “<a href="https://mashable.com/ad/feature/science-of-pop-music">danceability</a>”, while a binary structure – verse-chorus-verse-chorus – helps to establish familiarity so the song quickly becomes “<a href="https://www.york.ac.uk/news-and-events/features/pop-science/">sing-alongable</a>”.</p> <p>People generally <a href="https://mashable.com/ad/feature/science-of-pop-music">prefer familiar music</a>, or music which quickly becomes memorable. The most enjoyable songs are likely to be those which strike a satisfying <a href="https://www.sciencedirect.com/science/article/pii/S0960982219312588">balance between predictability and surprise</a>, providing an experience familiar enough to be pleasurable while avoiding being too simplistic or formulaic.</p> <p>Unexpected changes can intensify emotional responses. Listeners often derive the most pleasure from music when they are fairly sure about what will happen next but then an unexpected chord progression or key change provides a surprise.</p> <p>Based on previous experiences, listeners develop expectations about a piece of music. While familiar music tends to give the most pleasure, it also needs to contain enough “surprise” elements to retain enough interest to create a state of flow. This explains the use of a bridge or the middle eight (a section which is different from the verse and chorus) in many songs.</p> <p>Although “happy songs” are usually written in a <a href="https://www.researchgate.net/publication/301724912_Beyond_Happiness_and_Sadness_Affective_Associations_of_Lyrics_with_Modality_and_Dynamics">major key</a>, they sometimes include a section in a minor key to add interest. </p> <p>Good Vibrations by the Beach Boys begins with a verse in a minor key and then creates a strong emotional uplift as it switches into a bright major key for the chorus.</p> <h2>The speed of happiness</h2> <p>Faster music tends to induce more positive emotions than slower music. Research suggests that music that is perceived as happy is usually performed at a tempo between <a href="https://mymodernmet.com/10-happy-songs/">140 and 150 beats per minute (BPM)</a>. Songs people have said they use to <a href="https://open.spotify.com/playlist/7k00dawKjXgBBuq2nZyHmO">improve their mood</a> include Queen’s Don’t Stop Me Now at 156 BPM.</p> <p>Tempo is a confounding variable because <a href="https://journals.sagepub.com/doi/abs/10.1177/0305735618754688?journalCode=poma">faster music increases arousal/excitement</a>, but this may not always be associated with happiness. There may also be <a href="https://www.anderson.ucla.edu/documents/areas/fac/marketing/mogilner/Mogilner_Shifting_Meaning_of_Happiness_SPPS_2011.pdf">age-related differences</a> in interpretation. </p> <p>What is certain is that music can have a profound effect on our sense of wellbeing. Just stick on <a href="https://www.youtube.com/watch?v=pTdihu-mp90">James Brown’s I Got You</a> (or whatever might tempt you to do a happy dance) and start to feel good.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/happy-songs-these-are-the-musical-elements-that-make-us-feel-good-201342" target="_blank" rel="noopener">The Conversation</a>. </em></p>

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5 key elements you need to create a timeless interior

<p>“If you can create something time cannot erode, something that ignores the eccentricities of particular eras or moments, something truly timeless… this is ultimate victory.” – Dr Ferry Porsche.<br />    <br /> When attempting to create a timeless interior, it’s important to be clear about your interior decorating style, while also considering past, present and future trends.  Here are five key elements that will enable you to create a timeless foundation that you can develop – or easily reinvent – over time.</p> <p><strong>1. Choose open-plan design</strong><br /> Open-plan living provides a seamless transition through different areas of the home and allows a unified approach to interior design. Particularly notable is the relationship between the kitchen, dining and living areas. To create a <span style="text-decoration: underline;"><strong><a href="https://www.houzz.com.au/ideabooks/52781767" target="_blank">seamless relationship between zones</a></strong></span>, consider carrying your flooring, colour scheme, any motifs or lighting styles through both spaces.</p> <p><strong>2. Go for white walls and ceilings</strong><br /> White walls and ceilings create continuity in open-plan spaces, while providing a blank canvas to evolve your decor at any time.</p> <p>With so many variations of white paint available, it’s important to select the white that best suits your interior style and the feeling you want to create in your home.</p> <p><span style="text-decoration: underline;">Cool whites</span>: Ideal for neutralising bright light in spaces abundant with natural light, the crispness of cool whites also makes them a popular choice for modern and minimalist decorating styles. With a black or blue base, start your search with Dulux “Vivid White” or Porter’s Paints “Milk”.</p> <p><span style="text-decoration: underline;">Warm whites</span>: If you want to make a room feel more inviting or have a lot of natural textures in your home, then warm whites are for you. With yellow, brown or red bases, my favourite is Dulux “Antique White USA”, but other popular warm whites include Taubmans “Plain Vanilla” and Porter’s Paints “Long Grain”.  </p> <p>As you start to <span style="text-decoration: underline;"><strong><a href="https://www.houzz.com.au/ideabooks/66783321" target="_blank">investigate whites</a></strong></span> you may also be drawn to greys. Cool greys are ideal for glamorous spaces, whereas warm greys set a more relaxed tone.</p> <p><strong>3. Think about your flooring</strong></p> <p>We’ve moved past the days where carpet dominated flooring choices at home. As hard flooring takes its place, texture is moving to the forefront. Here are some good textural options:<br /> <br /> <span style="text-decoration: underline;">Timber</span>: Oak is a popular timber choice as its grain adds just the right amount of texture to suit any interior style. From the blonde oaks that are seen in Scandinavian decorating styles to dark chocolate tones that amp up the glamour, the variation of tints make oak easy to team with your style. Spotted gum, blackbutt and other Australian species are growing in popularity, and their distinctive grains and colours make them a good match for timeless interiors.</p> <p><span style="text-decoration: underline;">Polished concrete, stone or tiles</span>: These look classic in various shades of grey. Selected in this instance as an alternative to timber, they are also useful in wet areas of the home, such as laundries and bathrooms, where timber flooring is not as suitable.</p> <p><span style="text-decoration: underline;">Carpet</span>: Carpet provides a luxurious foundation to sink your feet into and works particularly well in bedrooms or other secluded areas of the home that aren’t high in traffic and suit softness underfoot. With timelessness in mind, it’s hard go to past twist or textured carpet designs. While both styles are easy to maintain and work well with all interior styles, a twist carpet is ideal if you have pets, as their claws are less likely to get stuck in the fibres.</p> <p><span style="text-decoration: underline;">Rugs</span>: Rugs enable you to enhance your interior style, while softening the sound, and defining zones within a larger area. When it comes to rug fibres and textures, it’s best to be guided by the look and feel you want to create – keeping in mind that timelessness is about quality not quantity.<br /> <br /> Tip: Selecting the right size rug for your space is key and one of the best ways to determine this is by using a sheet. Simply place a sheet down in the area you want to place a rug in and play with the size of the sheet and placement of your furniture until you find a balance you’re happy with.</p> <p><strong>4. Move to metals</strong><br /> From stainless steel and chrome, to copper and rose gold, metallic finishes have a lifelong appeal. Ideal for lamps, fixtures, vases and other smaller accessories, keeping metallics as accents within your interior scheme will allow it to remain timeless while <span style="text-decoration: underline;"><strong><a href="https://www.houzz.com.au/photos/industrial/australia" target="_blank">adding character</a></strong></span> to your home.</p> <p>Although it’s important to stay true to your interior style, don’t be afraid to challenge conventional thinking by mixing different metallic finishes in the same space.  This kitchen provides a good example as the stainless-steel appliances and fittings recede into the background while the copper light fittings take centre stage.</p> <p><strong>5. Select clean, simple lines</strong><br /> Choosing streamlined fixtures, fittings and appliances allows them to seamlessly tie into your interior. You can either:</p> <p>Make your fixtures fit in with your wall colour: If you prefer a minimalistic approach or have selected statement pieces throughout your space, then consider following the lead of this interior, which ties the tones and textures of the kitchen cupboards and stainless steel appliances into the hue on the walls.</p> <p>Or mix it up: If your decorating style embraces different textures, or you’re looking to do something a little different to the norm, then select a different material, colour and/or texture (timber, metallic, glass or statement colour) for cupboards, splashbacks, benches, or fixtures and other fittings.</p> <p>This kitchen is a good example, utilising American oak veneer (un-stained with a sprayed clear coat) for the cupboards and extended ceiling in addition to a black veneer bench, the streamlined design creates a statement within the home while not overpowering the rest of the interior. It is this balance, between statement and a complementary streamlined design – that makes it timeless.</p> <p>As you combine these five key elements with your interior style, you’ll find you’ve created a timeless home to sit back and enjoy.</p> <p><em>Written by Emma Bolger. First appeared on <a href="http://www.domain.com.au" target="_blank"><strong><span style="text-decoration: underline;">Domain.com.au</span></strong></a>.</em></p>

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Why the best journeys have an element of risk

<p>My first great journey was, in the scheme of things, not that great after all. It was a school excursion by plane and coach to Hobart from Melbourne.</p> <p>I was no Isabelle Eberhardt, who roamed the 19th-century Arab world dressed as a man. I travelled with a gaggle of school friends and two teachers and the wildest things we saw were Tasmanian devils behind a fence.</p> <p>Nor was it exactly intrepid, although the Cadbury's factory, in the days when samples were handed out extravagantly, offered plenty of calorific dangers and made chocolate addicts out of us all.</p> <p>It was not a heroic trip on an Odyssian scale, but it was the first time I travelled away from home, flew on a plane, crossed a sea and slept in a hotel bed (the old Astor in Hobart.)</p> <p>In years to come, I would cross deserts, too, and sail in ships that battled 10-metre seas, but the great journey to Hobart with all its "firsts" counts as one of my favourite adventures.</p> <p>We might think of a great journey as a physical one that consumes time and much effort, traversing continents by foot and other means, climbing mountains, hiking plains, sailing around blustery capes, or plunging into wild and unknown territories.</p> <p>There are journeys for the physically adventurous – riding the Trans Siberian railway, joining the 35-day pilgrimage to Santiago de Compostela, trekking across the Sahara Desert, biking the Congo Nile Trail, hiking the Inca Trail, climbing Mount Kilimanjaro.</p> <p>There are journeys of a more inspirational kind, which follow in the footsteps of a favourite author or artist – Paul and Jane Bowles' Morocco, Gauguin's Tahiti, Gabriel Garcia Marquez's Colombia, Hemingway's Cuba perhaps.</p> <p>And there are journeys of the interior kind. Before she left war-scarred Europe on her first trip to New York in 1947, French author Simone de Beauvoir wrote, "I feel I'm leaving my life behind. I don't know if it will be through anger or hope, but something is going to be revealed – a world so full, so rich, and so unexpected that I'll have the extraordinary adventure of becoming a different me."</p> <p>I don't think a journey can be truly "great" unless it is all these things – inspirational, emotional and transformational as much as it is physical. Some trips are enjoyable and fun but don't resonate beyond those moments; others deeply affect people for the rest of their lives.</p> <p>I have been thinking about all the wonderful journeys I have been on throughout my life and those that I value the most are those where I felt something changed in me and my understanding of the world and humanity at large, through my exposure to new people and ideas and to majestic landscapes where I felt a sense of myself as a small part of a greater natural universe.</p> <p>The best journeys had an element of risk or the unknown to them. When I went to China in 1984, the entire two-week trip, while organised by a China expert, was chaotic, arduous and sometimes terrifying, especially the notoriously unsafe internal flights and the presence of military everywhere.</p> <p>But how could I forget the Great Wall when there were few people on it, or arriving in a country where everyone wore the same uniform, or herding buffalo in the feudal countryside for a photograph?</p> <p>In China in 1984 I saw things I had never seen before, but I also came back humbled by the familiarity of the exotic. Even within a culture that was completely alien to me I found much in common with the people I met. Our tour guide, a young woman just out of university, could easily have been an Australian graduate – she had the same desires for herself that any Australian young woman might have. This was pre-Tiananmen Square and you could see that a major disruption was coming.</p> <p>So that great journey taught me about politics as well as humanitarian issues. It was a difficult trip but great journeys often are, demanding courage, even if at a modest level.</p> <p>These days there are many, many companies who will package your great journey for you and fill brochures with the words "inspiring" and "life-changing". The whole world is accessible, so few of us will forge new territory like the 19th-century adventurers. But all of us have our own "unknowns". A great journey begins and ends with the desire to confront those.</p> <p>Do you agree that the best trips have an element of risk?</p> <p><em>Written by Lee Tulloch. First appeared on <a href="http://www.stuff.co.nz/" target="_blank"><strong><span style="text-decoration: underline;">Stuff.co.nz</span></strong></a>.</em></p>

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