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Menopause is having a moment. How a new generation of women are shaping cultural attitudes

<p><em><a href="https://theconversation.com/profiles/bridgette-glover-2232638">Bridgette Glover</a>, <a href="https://theconversation.com/institutions/university-of-new-england-919">University of New England</a></em></p> <p>From hot flashes to hysteria, <a href="https://rowman.com/ISBN/9780739170007/Periods-in-Pop-Culture-Menstruation-in-Film-and-Television">film and TV</a> have long represented menopause as scary, emotional and messy.</p> <p>Recently, celebrities have been sharing their personal menopause experiences on social media, helping to re-frame the conversation in popular culture.</p> <p>We are also seeing more stories about menopause on television, with real stories and depictions that show greater empathy for the person going through it.</p> <p>Menopause is having a moment. But will it help women?</p> <h2>The change onscreen</h2> <p>This is not what we’re used to seeing on our screens. Countless sitcoms, from All in the Family (1971–79) to Two and a Half Men (2003–15) have used the menopause madness trope for laughs.</p> <p>Retro sitcom That ‘70s Show (1998–2006) used mom Kitty’s menopause journey as comedic fodder for multiple episodes. When she mistakes a missed period for pregnancy, Kitty’s surprise menopause diagnosis results in an identity crisis alongside mood swings, hot flashes and irritability.</p> <p>But the audience is not meant to empathise. Instead, the focus is on how Kitty’s menopause impacts the men in her family. Having to navigate Kitty’s symptoms, her veteran husband likens the experience to war: “I haven’t been this frosty since Korea”.</p> <figure><iframe src="https://www.youtube.com/embed/mPLJBZiKV4U?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Even when male characters are not directly involved, women are determined to reject menopause because they see it as a marker of age that signals a loss of desirability and social worth. In Sex and the City (1998–2004), Samantha describes herself as “day-old bread” when she presumes her late period signifies menopause.</p> <p>This is a popular framing of menopause in <a href="https://www.tandfonline.com/doi/full/10.1080/14680777.2018.1409969">post-feminist TV</a> of the 1990s and early 2000s. While the <a href="https://www.tandfonline.com/doi/full/10.1080/14680777.2012.712373#d1e783">menstruating body</a> is constructed as uncontrollable and in need of management, the menopausal body requires management and maintenance to reject signals of collapse.</p> <p>These storylines erase the genuine experiences of confusion, discomfort and transformation that come with menopause.</p> <h2>A cultural moment arrives</h2> <p><a href="https://www.npr.org/sections/health-shots/2015/12/31/460726461/why-2015-was-the-year-of-the-period-and-we-dont-mean-punctuation">Since 2015</a>, stories of menstruation have increased in popular culture.</p> <p>Series like comedy Broad City (2014–19) and comedy-drama Better Things (2016–22) directly call out the lack of menopause representations. When Abbi in Broad City admits she “totally forgot about menopause”, a woman responds “Menopause isn’t represented in mainstream media. Like, no one wants to talk about it”.</p> <p>Similarly, in Better Things, while watching her three daughters stare at the TV Sam laments: “No one wants to hear about it, which is why nobody ever prepared you for it”.</p> <p>And lack of preparation becomes a key theme for perimenopausal Charlotte in the Sex and the City reboot, And Just Like That … (2021–) when she has a “flash period”.</p> <figure><iframe src="https://www.youtube.com/embed/9AmwXuHo-2w?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Fleabag (2016–19) included a groundbreaking monologue about menopause delivered by Kristen Scott-Thomas, playing a successful businesswoman. She describes menopause as “horrendous, but then it’s magnificent”.</p> <blockquote> <p>[…] your entire pelvic floor crumbles, and you get fucking hot, and no one cares. But then you’re free. No longer a slave. No longer a machine with parts.</p> </blockquote> <figure><iframe src="https://www.youtube.com/embed/RZrnHnASRV8?wmode=transparent&amp;start=13" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Scripted by Phoebe Waller-Bridge, this <a href="https://www.latimes.com/entertainment/la-et-menopause-20190524-story.html">celebrated</a> monologue critiques the post-feminist notion of striving to be the “<a href="https://www.tandfonline.com/doi/full/10.1080/14680777.2012.712373#d1e783">idealised feminine body</a>”. Through this new feminist lens, menopause is acknowledged as both painful – physically and emotionally – and necessary for liberation.</p> <h2>Today’s menopause on screen</h2> <p>Alongside more recent series like The Change (2023), multiple documentaries including <a href="https://www.tamsenfadal.com/the-m-factor">The (M) Factor</a> (2024), and <a href="https://theconversation.com/there-is-no-future-for-ageing-women-how-the-substance-uses-body-horror-in-a-feminist-critique-239729">arguably</a> even films like The Substance (2024), social media has become a prolific space for raising awareness about menopause.</p> <p>Celebrities use social media to share tales of perimenopause and menopause, often in real time.</p> <p>Last year, actor Drew Barrymore experienced her “first perimenopausal hot flash” during her talk show.</p> <p>And ABC News Breakfast guest host, Imogen Crump, had to pause her news segment, saying</p> <blockquote> <p>I could keep stumbling through, but I’m having such a perimenopausal hot flush right now, live on air.</p> </blockquote> <p>Both Barrymore and Crump shared clips of their live segments to their social media pages, to challenge stigma and create conversations. Crump even posted to <a href="https://www.linkedin.com/posts/imogen-crump-6b74b726_perimenopause-activity-7127788484861300736-mhHh/">LinkedIn</a> to raise awareness in a professional setting.</p> <p>In a podcast interview clip shared to Instagram, writer and skincare founder, Zoë Foster Blake describes perimenopause as a “real mental health thing”, because of the lack of awareness. Recalling conversations with other perimenopausal women, Foster Blake says “We all think we’re crazy. We don’t know what the fuck is going on”.</p> <p>Feeling “crazy” is a constant theme in these conversations. As actor and <a href="https://stripesbeauty.com/pages/founder-story">menopause awareness advocate</a> Naomi Watts points out, this is largely thanks to Hollywood. Despite the stigmatising media stereotype of “crazy lady that shouts”, <a href="https://www.youtube.com/watch?v=TQ3BN9rS_7g">Watts argues</a> that with “support and community”, women experiencing perimenopause and menopause “can thrive”.</p> <p>In fact, Watts believes menopause should be celebrated: “we know ourselves better, we’re wiser for our cumulative experiences”.</p> <p>Medical professionals like American doctors <a href="https://www.instagram.com/p/DBUCPW5OUTf/">Marie Clare Haver</a> and <a href="https://www.instagram.com/p/C7IfaHDgXMY/">Corinne Menn</a> have been well-positioned to share their expertise and experiences via social media. They are catching and helping fuel a wave of advocacy and awareness for midlife women’s health.</p> <h2>Building community</h2> <p>After watching the menopause madness trope on our screens for decades, we are now seeing perimenopause and menopause depicted with more empathy. These depictions allow viewers – those who menstruate, who have menstruated, and who know menstruators – to feel seen and be informed.</p> <p>By sharing their experiences on social media and adding to these new screen stories, celebrities are building a community that makes the menopausal journey less lonely and helps those on it remember their worth.<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/241784/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /></p> <p><em><a href="https://theconversation.com/profiles/bridgette-glover-2232638">Bridgette Glover</a>, PhD Candidate in Media and Communications, <a href="https://theconversation.com/institutions/university-of-new-england-919">University of New England</a></em></p> <p><em>Image credits: Shutterstock </em></p> <p><em>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/menopause-is-having-a-moment-how-a-new-generation-of-women-are-shaping-cultural-attitudes-241784">original article</a>.</em></p>

Body

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We know parents shape their children’s reading – but so can aunts, uncles and grandparents, by sharing beloved books

<p><em><a href="https://theconversation.com/profiles/emily-grace-baulch-1399683">Emily Grace Baulch</a>, <a href="https://theconversation.com/institutions/the-university-of-queensland-805">The University of Queensland</a></em></p> <p><a href="https://creative.gov.au/news/media-releases/revealing-reading-a-survey-of-australian-reading-habits/">Over 80%</a> of Australians with children encourage them to read. Children whose parents enjoy reading are <a href="https://www.booktrust.org.uk/news-and-features/news/news-2023/new-research-from-booktrust-reveals-the-impact-of-parental-reading-enjoyment-on-childrens-reading-habits/">20% more likely</a> to enjoy it too.</p> <p>My research has found parents aren’t the only family members who play an important role in developing a passion for reading – extended family, from grandparents to siblings, uncles and great-aunts, also influence readers’ connections to books.</p> <p>I surveyed 160 Australian readers about their home bookshelves and reading habits. More than 80% of them acknowledged the significant influence of family in what and how they read. Reading to children is often <a href="https://www.booktrust.org.uk/globalassets/resources/research/booktrust-family-survey-research-briefing-2-reading-influencers.pdf">the invisible workload of mothers</a>: 95% of mothers read to children, compared to 67% of fathers.</p> <p>Yet intriguingly, those I surveyed – whose ages ranged from their early 20s to their 70s – collectively talked about books being passed down across eight generations.</p> <p>Family members were associated with their most valued books – and their identities as readers.</p> <h2>Treasured possessions</h2> <p>Books passed down through generations often become treasured possessions, embodying a shared family history. One person discussed an old hardcover copy of <a href="https://www.harpercollins.com.au/9780732284350/blinky-bill/">Blinky Bill</a> by Dorothy Wall. Originally given to her father and his siblings by their great-aunt in 1961, the book’s pages are now discoloured and falling out.</p> <p>“Although I always think of my mother as having been my reading role model,” she wrote, “actually my father had an equally big impact, just in another way.” Her father is a central organising figure on her home bookshelf: she has dedicated a whole shelf to the books he liked.</p> <p>The story she tells about his old copy of Blinky Bill, however, crosses generations. The book’s battered state is a testament to its longevity and well-loved status. Its inscription to her family members makes the copy unique and irreplaceable.</p> <p>Another person remembered a set of Dickens’ novels, complete with margin notes and century-old newspaper clippings, carefully stored with her most special books. These volumes, initially owned by her great-great-grandmother and later gifted by her great-aunt, represent a reading bond passed down through generations.</p> <p>Such books can never be replaced, no matter how many copies might be in circulation. These books are closely associated with memories and experiences – they are invaluable for who they represent.</p> <p>A third person has her father’s “old” Anne McCaffrey’s <a href="https://www.goodreads.com/series/40323-dragonriders-of-pern">Dragonriders of Pern</a> series: he read it to her as a teenager, then passed it down. The book “sparked” her interest in science-fiction, and she now intends to pass it on to her own teenager. Her book, too, is “battered”, with “chunks falling out when you read it”. The cover is falling off.</p> <p>The deteriorating state of a book is part of the book’s legacy. It shows how loved it has been. Reading passions can be deliberately cultivated through family, but their value is less connected to reading comprehension or literacy than a sense of connection through sharing.</p> <p>Inherited, much-loved books bind families together. They can anchor absent family members to the present. These books can come to symbolise love, connection and loss.</p> <p>The family members who’ve passed down their books might not be physically present in children’s lives – they may not be reading aloud to them at bedtime – but through their books, they can have a strong presence in their loved ones’ memories. That indelible trace can be sustained into adulthood.</p> <h2>Buying books for the next generation</h2> <p>Another way relatives contribute to a family reading legacy is by buying new copies of much-loved books for the next generation. Theresa Sheen, from The Quick Brown Fox, a specialist children’s bookstore in Brisbane, notes that customers often ask for copies of books they had when they were younger.</p> <p>They may have read them to their children and now want them for their grandchildren. For example, <a href="https://www.goodreads.com/series/40767-the-baby-sitters-club">The Babysitters Club series</a> by Ann M. Martin was mentioned multiple times as a nostalgic favourite, now being sought after by grandparents.</p> <p>Readers’ habits of re-buying favourite books can affect the publishing industry. With older children’s classics still selling, publishers seek to update the text to reflect contemporary cultural mores. Enid Blyton is one author who endures through intergenerational love and nostalgia. However, her work is regularly <a href="https://www.news.com.au/entertainment/books-magazines/books/enid-blytons-famous-five-books-edited-to-remove-offensive-words/news-story/47a63bb79a5d870f19aed58b19469bb5">edited and bowdlerised</a> to update it.</p> <p>Books can be imbued with the voices and emotions of others. They are more than just physical objects – they are vessels of shared experiences that can be passed down, up and across generations. This enduring bond between family members does more than preserve individual stories. It actively shapes and sustains a vibrant reading culture.<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/232372/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /></p> <p><a href="https://theconversation.com/profiles/emily-grace-baulch-1399683"><em>Emily Grace Baulch</em></a><em>, Producer at Ludo Studio &amp; Freelance Editor, <a href="https://theconversation.com/institutions/the-university-of-queensland-805">The University of Queensland</a></em></p> <p><em>Image credits: Shutterstock </em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/we-know-parents-shape-their-childrens-reading-but-so-can-aunts-uncles-and-grandparents-by-sharing-beloved-books-232372">original article</a>.</em></p>

Family & Pets

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"I can only do so much": we asked fast-fashion shoppers how ethical concerns shape their choices

<p>You’ve found the perfect dress. You’ve tried it on before and you know it looks great. Now it’s on sale, a discount so large the store is practically giving it away. Should you buy it?</p> <p>For some of us it’s a no-brainer. For others it’s an ethical dilemma whenever we shop for clothes. <a href="https://www.emerald.com/insight/content/doi/10.1108/JFMM-01-2019-0011/full/html">What matters more</a>? How the item was made or how much it costs? Is the most important information on the label or the price tag?</p> <p>Of the world’s industries that profit from worker exploitation, the <a href="https://www.globalslaveryindex.org/">fashion industry is notorious</a>, in part because of the sharp contrast between how fashion is made and how it is marketed. </p> <p>There are more people <a href="https://www.ilo.org/global/publications/books/WCMS_575479/lang--en/index.htm">working in exploitative conditions</a> than ever before. Globally, the garment industry employs millions of people, with <a href="https://www.ilo.org/wcmsp5/groups/public/---asia/---ro-bangkok/documents/briefingnote/wcms_758626.pdf">65 million garment sector workers in Asia alone</a>. The Clean Clothes Campaign estimates <a href="https://cleanclothes.org/poverty-wages">less than 1%</a> of what you pay for a typical garment goes to the workers who made it.</p> <h2>How much does a worker make on a $30 shirt?</h2> <p>Some work in conditions so exploitative they meet the definition of being <a href="https://www.commonobjective.co/article/modern-slavery-and-the-fashion-industry">modern slaves</a> – trapped in situations they can’t leave due to coercion and threats.</p> <p>But their plight is hidden by the distance between the worker and the buyer. Global supply chains have helped such exploitation to hide and thrive. </p> <p>Do we really care, and what can we do?</p> <p>We conducted <a href="https://doi.org/10.1108/JFMM-06-2021-0158">in-depth interviews</a> with 21 women who buy “fast fashion” – “on-trend” clothing made and sold at very low cost – to find out how much they think about the conditions of the workers who make their clothes, and and what effort they take to avoid slave-free clothing. Well-known fast-fashion brands include H&amp;M, Zara and Uniqlo.</p> <p>What they told us highlights the inadequacy of seeking to eradicate exploitation in the fashion industry by relying on consumers to do the heavy lifting. Struggling to seek reliable information on ethical practices, consumers are overwhelmed when trying to navigate ethical consumerism. </p> <h2>Out of sight, out of mind</h2> <p>The 21 participants in our research were women aged 18 to 55, from diverse backgrounds across Australia. We selected participants who were aware of exploitation in the fashion industry but had still bought fast fashion in the previous six months. This was not a survey but qualitative research involving in-depth interviews to understand the disconnect between awareness and action.</p> <p>Our <a href="https://doi.org/10.1108/JFMM-06-2021-0158">key finding </a> is that clothing consumers’ physical and cultural distance from those who make the clothes makes it difficult to relate to their experience. Even if we’ve seen images of sweatshops, it’s still hard to comprehend what the working conditions are truly like.</p> <p>As Fiona*, a woman in her late 30s, put it: “I don’t think people care [but] it’s not in a nasty way. It’s like an out of sight, out of mind situation.”</p> <p>This problem of geographic and cultural distance between garment workers and fashion shoppers highlights the paucity of solutions premised on driving change in the industry through consumer activism. </p> <h2>Who is responsible?</h2> <p>Australia’s Modern Slavery Act, for example, tackles the problem only by requiring large companies to report to a <a href="https://modernslaveryregister.gov.au/">public register</a>on their efforts to identify risks of modern slavery in their supply chains and what they are doing to eliminate these risks. </p> <p>While greater transparency is certainly a big step forward for the industry, the legislation still presumes that the threat of reputational damage is enough to get industry players to change their ways. </p> <p>The success of the legislation falls largely on the ability of activist organisations to sift through and publicise the performance of companies in an effort to encourage consumers to hold companies accountable.</p> <p>All our interviewees told us they felt unfairly burdened with the responsibility to seek information on working conditions and ethical practices to hold retailers to account or to feel empowered to make the “correct” ethical choice.</p> <p>“It’s too hard sometimes to actually track down the line of whether something’s made ethically,” said Zoe*, a woman in her early 20s.</p> <p>Given that many retailers are themselves ignorant about <a href="https://www.afr.com/wealth/investing/companies-risk-litigation-over-modern-slavery-ignorance-20201215-p56nix">their own supply chains</a>, it is asking a lot to expect the average consumer to unravel the truth and make ethical shopping choices.</p> <h2>Confusion + overwhelm = inaction</h2> <p>“We have to shop according to what we care about, what is in line with our values, family values, budget,” said Sarah*, who is in her early 40s. </p> <p>She said she copes with feeling overwhelmed by ignoring some issues and focus on the ethical actions she knew would make a difference. “I’m doing so many other good things,” she said. “We can’t be perfect, and I can only do so much.” </p> <p>Other participants also talked about juggling considerations about environmental and social impacts.</p> <p>“It’s made in Bangladesh, but it’s 100% cotton, so, I don’t know, is it ethical?” is how Lauren*, a woman in her early 20s, put it. “It depends on what qualifies as ethical […] and what is just marketing.”</p> <p>Comparatively, participants felt their actions to mitigate environmental harm made a tangible difference. They could see the impact and felt rewarded and empowered to continue making positive change. This was not the case for modern slavery and worker rights more generally.</p> <p>Fast fashion is a lucrative market, with <a href="https://www.businessinsider.com/the-billionaire-family-behind-fast-fashion-powerhouse-boohoo-2019-11?r=AU&amp;IR=T">billions in profits made</a>thanks to the work of the lowest paid workers in the world.</p> <p>There is no denying consumers wield a lot of power, and we shouldn’t absolve consumers of their part in creating demand for the cheapest clothes humanly – or inhumanly – possible. </p> <p>But consumer choice alone is insufficient. We need a system where all our clothing choices are ethical, where we don’t need to make a choice between what is right and what is cheap.</p> <p><em>Image credits: Shutterstock</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/i-can-only-do-so-much-we-asked-fast-fashion-shoppers-how-ethical-concerns-shape-their-choices-172978" target="_blank" rel="noopener">The Conversation</a>.</em></p>

Beauty & Style

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French Dispatch: four artists whose work was shaped by mental illness

<p>Wes Anderson’s film The French Dispatch is about the final issue of a magazine that specialises in long-form articles about the goings-on in the fictional town of Ennui-sur-Blasé. The film is an anthology of shorts representing three of the articles. </p> <p>A piece by the magazine’s art critic (Tilda Swinton) explores the life and late success of the abstract artist Moses Rosenthaler (Benicio Del Toro). Talented from a young age, Rosenthaler pursued art with a dogged determination that drove him to slowly lose his mind. In a fit of rage he commits a triple homicide that lands him in jail, where, after a long time away from art, he creates his best work aided by his prison guard and muse Simone (Léa Seydoux).</p> <p>Artists, like Rosenthaler, burdened with too great a <a href="https://youtu.be/WRjKDxdmdU0">lust for life</a>, or a <a href="https://youtu.be/4MUZ_UHJZGo">tragic taste for alcohol</a>, or even intense and murderous desires, are familiar figures in film and fiction. In some films <a href="https://youtu.be/XdAR-lK43YU">art itself is demonic</a>. </p> <p>Like everything else, mental illness is understood within the context of its time. In their study of melancholy and genius <a href="https://www.nyrb.com/products/born-under-saturn?variant=1094929357">Born Under Saturn</a>, the art historians Margot and Rudolf Wittkower show how Renaissance artists embraced mental alienation. This was shown by a <a href="https://www.metmuseum.org/art/collection/search/336228">withdrawn, slothful gloom</a>. Such heavy sadness was considered both the symptom and the price of divine inspiration. It was a means to distinguish their inspiration from the mere “know-how” of craft. A brush with madness was good PR.</p> <p>So well established did this association become, that if you look up “artist” in the index of writer Robert Burton’s 1620 compendium <a href="https://www.nyrb.com/products/the-anatomy-of-melancholy?_pos=1&amp;_sid=ffbb60c34&amp;_ss=r&amp;variant=1094931585">The Anatomy of Melancholy</a>, you will find one entry. It reads: “ARTISTS: madmen”. </p> <p>Today, the association of creativity and mental illness often implies regression from an adult and orderly state of mind to one that is primal, impulsive, or infantile. The artist in Anderson’s film is such an example: he is noisy, impetuous, and extravagantly mad. And it is while he is at his “maddest” that he paints his best work.</p> <p>Here I explore the work of four painters whose work has been shaped by various mental illnesses, highlighting how the idea of the “mad artist” need not be tied up with a loss of control but rather a bid to gain it. It is not always loud. It can be quiet, highly detailed or restrained – as the work of these artists shows.</p> <p><strong>Richard Dadd</strong></p> <p>One parallel to Rosenthaler is the Victorian painter <a href="https://www.tate.org.uk/art/artists/richard-dadd-130/richard-dadd-artist-and-asylum">Richard Dadd</a>. The career of this brilliant young artist was destroyed by a mental breakdown that today would probably be diagnosed as paranoid schizophrenia. </p> <p>Dadd killed his father, imagining him to be the devil incarnate. He was incarcerated in the criminal lunatic department of Bethlem Hospital. It was as a patient that he painted many of his obsessively detailed masterpieces, such as <a href="https://www.tate.org.uk/art/artworks/dadd-the-fairy-fellers-master-stroke-t00598">The Fairy Feller’s Master-Stroke</a>, (1855-64). The painting contains hidden details that not everyone can see. For instance, in the middle of the painting, I see a figure with a pallid face, wearing a purple cloak, and standing at right angles to the rest of the painting.</p> <p>It is the work of this period that Dadd is remembered for.</p> <p><strong>Edvard Munch</strong></p> <p>A less painful example can be found in the Norwegian painter, Edvard Munch.</p> <p>Munch’s famous work The Scream (1893) depicts a vision the artist had of “blood and tongues of fire” rising over a fjord. In the foreground, a cadaverous figure clasps his cheeks in agonised shock. A handwritten message on the top left-hand corner of this painting was recently shown to be in the <a href="https://www.bbc.co.uk/news/entertainment-arts-56127530">artist’s hand</a>. It reads: “Can only have been painted by a madman.” </p> <p>Munch saw it as a sign of health that he could express sickness and anxiety in art, and he embraced the idea that madness was a gift that granted him insights denied to others.</p> <p><strong>Mary Barnes</strong></p> <p>A striking example of “creative regression” can be found in the artist and poet <a href="https://spacestudios.org.uk/events/mary-barnes/">Mary Barnes</a>. Diagnosed with schizophrenia and refusing to take basic care of herself, Barnes was the first resident of Kingsley Hall, an experimental therapeutic community founded by the psychiatrist RD Laing. She started making images when she was there, initially using her excrement. As one of her <a href="https://www.jstor.org/stable/pdf/260398.pdf?refreqid=excelsior%3Af2d35a75183622c49dcd9c2746bcd14d">psychotherapists described, "</a>Mary smeared s**t with the skill of a Zen calligrapher. She liberated more energies in one of her many natural, spontaneous and unself-conscious strokes than most artists express in a lifetime of work. I marvelled at the elegance and eloquence of her imagery, while others saw only her smells."</p> <p>Barnes went on to have a <a href="https://www.theguardian.com/news/2001/jul/13/guardianobituaries.books">successful career</a> as an artist.</p> <p>The phrase “natural, spontaneous and unself-conscious” is a window into the belief that expressive creativity lies in primal regression. As the last example shows, this is certainly not necessarily the case.</p> <p><strong>Agnes Martin</strong></p> <p>The American painter Agnes Martin went through <a href="https://youtu.be/902YXjchQsk">two decades of experimentation</a> to achieve the lucid abstraction that she is known for. In her notes for a talk at the University of Pennsylvania in 1973, <a href="http://thecheapestuniversity.org/en/ressource/on-the-perfection-underlying-life/">she wrote, "</a>The work is so far from perfection because we ourselves are so far from perfection. The oftener we glimpse perfection or the more conscious we are in our awareness of it the farther away it seems to be."</p> <p>Martin suffered from auditory hallucinations and was diagnosed with paranoid schizophrenia. Her calm and methodical paintings, such as <a href="https://www.tate.org.uk/art/artworks/martin-faraway-love-ar00178">Faraway Love</a> (1999), depict abstract states of existence: innocence, happiness, and the sublime. They are as much meditations as visual experiences. </p> <p>“Sometimes”, she continued, “through hard work the dragon is weakened.”</p> <p>The example of Martin’s <a href="https://www.theguardian.com/artanddesign/2015/may/22/agnes-martin-the-artist-mystic-who-disappeared-into-the-desert">thoughtful and devoted life</a> is in stark contrast to the noisy stereotype of the impulsive and primal genius. </p> <p>While the paintings of the fictional Rosenthaler and the real Martin are both highly abstract, they sit in stark contrast to each other. Martin’s has a reserved, ordered quality while Rosenthaler’s is bold and unrestrained, splashing across whatever he is using as his canvas. Away from the romantic notions of the great artist expounded in film, as these artists show, most art is about gaining rather than losing control.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/french-dispatch-four-artists-whose-work-was-shaped-by-mental-illness-170302" target="_blank" rel="noopener">The Conversation</a>. </em></p>

Art

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How to find a hairstyle that best suits your face shape

<p>Booking in a hair appointment can bring on both feelings of excitement as well as anxiousness. Joy in the hope of getting the best haircut of your life. Anxiety surrounds the daunting task of entrusting your locks over to someone else and not being able to articulate what you’re after. More often than not, though, getting adequate time in the chair to chat through your current hairstyle concerns, what options will bring out your best features and what style you want to go with, is a luxury that doesn’t get the time it deserves. The result of this situation? You leave the salon with a mediocre cut you don’t love.</p> <p>Before your next haircut, spend time thinking about what suits your face shape. To help you make a considered choice, Over60 spoke to two hairdressers about how to make your locks best complement your bone structure. Aleks Abadia, co-founder and hair director at <a href="http://esstudio.com.au/" target="_blank" rel="noopener"><strong><span style="text-decoration: underline;">Esstudio Galleria</span></strong></a> along with hairstylist, educator and <a href="http://www.philips.com.au/" target="_blank" rel="noopener"><span style="text-decoration: underline;"><strong>Phillips</strong></span></a> HairCare ambassador, Lizzie Liros, offer their advice on what hairstyle will work best for you.</p> <p><strong>Round face</strong></p> <p>Both Aleks and Lizzie agree that in order to give more dimension to a round face, it’s all about creating layers and texture. Aleks suggests, “A side part or fringe gradually longer at the sides will help your face appear slender”. Lizzie, on the other hand, suggests a slightly more daring cut. “A short, pixie cut helps soften the roundness of the face and draws attention to facial features or the hairstyle itself, rather than the face shape. Or, a long bob that sits at the collarbone is another beautiful style for round faces, helping lengthen the face”.</p> <p>Whatever style you choose, be sure to work in texture or even colour variation in the form of highlights.</p> <p><strong>Square or heart-shaped face</strong></p> <p>For those with a square or heart-shaped face, it’s important to balance out your strong bone structure. Aleks says “layering at the front adds texture. A centre part and longer sides will also help to soften the face shape”.</p> <p>Lizzie’s ideal haircut for square-shaped faces is a mid-length, layered bob. “This style will help move attention away from the jawline, to the cheekbones. If you want to wear your hair longer, just ensure you add in lots of layers (or soft curls) to soften the sharper angles of a square face shape”.</p> <p><strong>Oval face</strong></p> <p>For those lucky oval-shaped beauties out there, we have good news. Aleks refers to this as “The perfect head” because “almost any style will suit and a sweeping bang will always add something a little extra to your style!”</p> <p>If you want to draw attention away from your “long face”, Lizzie says that any soft fringe with movement helps shorten the face and draws attention to features such as the eyes. “Layers, soft waves or curls on either long or mid-length styles help frame an oval face making the face appear more rounded. An all-in-one length would draw attention to the long facial shape.”</p> <p><strong>Oblong face</strong></p> <p>An oblong face shape is longer than an oval shape, so you can get away with heavy, dramatic fringes. Aleks warns about controlling the style though. “If hair is kept at one length, this will make the face appear longer. Layers, texture and volume is the way to go.”</p> <p>Lizzie agrees, explaining that “The body and wave will help soften the long, straight lines of the oblong face shape and create a really pretty overall finish”.</p> <p><strong>Diamond face</strong></p> <p>Lizzie explains, “With a diamond face shape we want to draw attention away from the wearers narrow chin, minimize the wide cheek-bones and shorten the face length”.</p> <p>According to Aleks, there are a few ways to do this. “They can do both short structured bold cuts or long cuts with lots of layers and movement.”</p> <p>What really works for diamond-face shapes is long sweeping layers, pulled back styles, deep side parts and soft fringes around the forehead. Just be sure to avoid too much volume at the crown or around the sides of the face. </p> <p><strong>Triangular face</strong></p> <p>For triangular faces, Aleks swears by “A blunt bob, with a face-framing bang”. This will soften the face with very subtle layers to add soft movement.</p> <p>However, Lizzie disagrees, arguing that you want to avoid styles that draw attention to your jawline, so blunt bobs are out! She instead suggests “long, soft layers styled with waves, a short pixie cut (fringe cut very short) or textured mid length styles with a soft layered fringe are all gorgeous styles for this face shape.”</p> <p><em>Image credits: Getty Images</em></p>

Beauty & Style

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The best way to part your hair for your face shape

<p><strong>Why your hair part matters</strong></p><p>One of the great equalisers in life is that we all have endured at least one hairstyle that just…didn’t work. For me, it was a centre-part bob in college that was supposed to accentuate my heart-shaped face, and oh boy, did it ever. My wavy type 2 hair fell equally on both sides of my face, and according to my generous brother, it gave me the appearance of a Lego head. Luckily, as the style grew into a lob, I was able to use the length to play around with different hair parts, and it is not an exaggeration to say that it changed my entire facial appearance.</p><p>Gen Z’ers recently declared side parts to be “over.” Perhaps they have not yet had this humbling experience, because anyone who has knows what a gift from heaven a side part can be, especially when recovering from a serious hairstyle mistake. It’s also a very forgiving type of part that works with most face shapes. But women with oblong and rectangular faces, beware: a deep side part can elongate a face, depending on your hair type, so if your hair skews straight as an arrow, it’s best to spritz a salt spray in first for some extra movement.</p><p><strong>Best part for a round face</strong></p><p>Visually lengthen your face by drawing more attention to the centre with curtain bangs, suggests hairstylist Matt Fugate. These bangs are parted in the centre and angle down to get longer toward your jawline. By leaving a bit of forehead exposed and tapering at your jaw, the eye focuses on the middle of your face instead of the round sides. “Instantly you change the [face] shape to more of a diamond,” says Fugate. If bangs aren’t your thing, try a deep side part, suggests stylist Mackenzie Day. Creating more volume at the top of your head will make your face seem longer.</p><p><strong>Best part for round with textured </strong></p><p>If you’re looking to use hair as an optical illusion to make your face appear slimmer, one definite no-no is having too many layers when sporting a middle part. Those layers will add volume, rather than elongate. If your hair type is a temperamental 2, celebrity stylist Larry Sims reminds us to first “check the weather before you invest in a blowout.” For dry, sunny days, rock a middle part with straight hair, but on a rainy or humid day, “lean into your natural hair” while opting for a deep side part to create a stylised look.</p><p><strong>Best part for an oval face</strong></p><p>A centred hair part can highlight any asymmetry in your face, but a deep or slightly off-centre part will look flattering, says Day. Women with oval face shapes can also take advantage of the fact that they can pull off tricky looks, like slicking a ponytail back to hide your part or trying blunt bangs, according to Fugate. “You want to do something architectural to show off your face,” he says. After you figure out the optimal way to part your hair, make sure you have the best eyebrows for your face shape.</p><p><strong>Best part for a heart-shaped face</strong></p><p>A centre part will draw attention to the middle of your face and make a pointy chin seem harsher. Bringing your part to the side, on the other hand, can create more balance for your features. “A slightly off-centre part would help create some softness in the hair and help break up the face a little more,” says Day.</p><p><strong>Best part for heart-shape with textured hair</strong></p><p>Sometimes the best way to part hair means forgoing a part altogether. For natural or Afro-textured hair, a no-part pixie is a fail-safe option to keep curls in check; just don’t be afraid to let it “morph” as the days go on, says Sims. “Start off with clean hair, and when you wake up, add oil, run your fingers through it, and allow it to be. You’ll get many more levels of different looks if you just let it go.” By lifting hair at the root for a hidden part, eyes are drawn to the heart shape’s high cheekbones.</p><p>A centre part also can also work wonders for those with heart-shaped faces and textured hair. That’s because hair in a centre part can enhance the natural flow of the face, bringing attention to the balance and symmetry of the heart.</p><p><strong>Best part for a square face</strong></p><p>Middle parts and blunt bangs exaggerate a strong jawline, so if you have a square-shaped face, keep the hair around your face soft and wispy, suggests Fugate. A deep or slight side part will help soften the look, says Day. “It doesn’t need to be drastic,” she notes. “You can create a really nice, soft face frame.”</p><p><strong>Best part for an oblong face</strong></p><p>An oblong face is longer and tends to have a wider forehead than an oval face. A hair part that swoops across your forehead from the side will create the right amount of movement and volume, says Fugate. To mix it up a bit, Day recommends a diagonal or zigzag part, depending on your hair type, to create visual interest by drawing the eye across your face, rather than up and down. But remember to stay away from a middle part, which does an oblong face no favours – it can make the forehead look extra elongated, starting from part’s beginning at the crown of the head and extending all the way down to the chin.</p><p><strong>Best part for a rectangular face</strong></p><p>Bangs or a full fringe go beautifully with gracefully long, rectangular faces. A strong, straight middle part at the crown works as an optical illusion to centre and frame the face in a seamless way before flowing into a full fringe, which evokes a playful vibe. Take Naomi Campbell’s famous fringe: her long bangs, which start at the crown of her head and sweep down to her eyebrows, keep the focus on the lower half of her face in a super glam way. This accentuates her cheekbones, jawline, and delicate chin. How can you make bangs look picture-perfect every time?</p><p><strong>Best part for an inverted triangle-shaped face</strong></p><p>“I love really strong shapes that showcase texture and the person’s features,” says hairstylist Stacey Ciceron, adding a reminder that the style should fit easily into your morning routine so that “you’re able to maintain your style on the go.” Tyra’s no-part part is the epitome of a wash, toss, and go hairstyle that looks expertly un-done in a totally done way, especially for an inverted triangle face shape. Warning: if you have this shape and part your hair unharmoniously, say, right down the centre, it can make your chin appear sharp and pointy.</p><p><strong>Best part for a diamond-shaped face</strong></p><p>If you have a diamond face shape, you have a sharp chin and high cheekbones, and your hair part should depend on how much you want to play those features up. A side part will soften your face, while a centre part will make them even more pronounced. “It all goes according to personality and style,” says Day. And one of the great things about a top-knotch hairstyle is the freedom to take your part either way, depending on whether you’re feeling cutting-edge with a straight-down-the-centre part, or a little more conservative and demure with a very flippable side part. It’s the summer, so play it up!</p><p><strong>Best part for a diamond shape with curly hair</strong></p><p>As we mentioned, a centre part can look sleek and edgy on a diamond-shaped face. Think Tracee Ellis Ross’ hint of a centre part amidst her full set of corkscrew curls. Bonus: “If you opt out of heat styles and do things that are proactive styles, like twists and going with natural curls, the style can last for days on end,” says Sims. “The frizzier it gets, the cooler it looks to me.”</p><p><em>Written by Kaitlin Clark. This article first appeared in <a href="https://www.readersdigest.co.nz/healthsmart/beauty/hair-and-nails/the-best-way-to-part-your-hair-for-your-face-shape" target="_blank" rel="noopener">Reader’s Digest</a>. For more of what you love from the world’s best-loved magazine, <a href="http://readersdigest.innovations.co.nz/c/readersdigestemailsubscribe?utm_source=over60&amp;utm_medium=articles&amp;utm_campaign=RDSUB&amp;keycode=WRA87V" target="_blank" rel="noopener">here’s our best subscription offer.</a></em></p><p><em>Image: Getty Images</em></p>

Beauty & Style

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The best sunglasses for your face shape

<p><strong>Best sunglasses for a round face</strong></p> <p><span>The thing to remember about selecting a frame style is that opposites are attractive, according to optician, Pete Hanlin. </span></p> <p><span>If you have a round face – defined by a wider forehead, rounded chin and full cheeks – like Adele, Michelle Williams, and Ginnifer Goodwin, a rectangular frame works beautifully to elongate the face and balance roundness.</span></p> <p><strong>Best sunglasses for an oval face</strong></p> <p><span>Oval faces are very balanced (lucky you!). Genetically blessed beauties like Carey Mulligan, Kerry Washington, Julianne Moore, and Kate Middleton can really wear any style sunnies. </span></p> <p><span>The most important thing is to pick a pair that is sized in proportion to your face. Wayfarers, butterfly, and square styles are all super flattering!</span></p> <p><strong>Best sunglasses for a heart-shaped face</strong></p> <p><span>Heart-shaped faces, like Reese Witherspoon, Halle Berry, and Zooey Deschanel, tend to have a broader forehead, high cheekbones, and narrower jaw with a more pronounced chin. </span></p> <p><span>“The best sunglasses for heart-shaped faces will de-emphasise the angle between the forehead and chin,” explains Catherine Brock, the founder and editor of <em>thebudgetfashionista.com</em>. </span></p> <p><span>Light-coloured frames and those with exaggerated bottoms direct attention downward and add width to lower part of the face.</span></p> <p><strong>Best sunglasses for a square face</strong></p> <p><span>Square faces are characterised by angular features and a strong jawline. Think Salma Hayek, Cameron Diaz, and Sandra Bullock. </span></p> <p><span>When shopping for sunglasses, look for thin, round, and oval shapes, which will help soften facial sharpness. </span></p> <p><span>Semi-rimless frames are also a great choice! “A half plastic, half metal combination frame works well,” says optometrist Dr Monica Nguyen.</span></p> <p><strong>Best sunglasses for a diamond-shaped face</strong></p> <p><span>“The goal when selecting sunglasses for diamond-shaped faces – see Keira Knightley and Viola Davis – is to use the frame to broaden the appearance of the forehead,” says optometrist Dr Barry Kay. </span></p> <p><span>Oval and cat-eye shapes help create balance by highlighting peepers and softening cheekbones. “Also, rimless frames are your friend, as this will really allow your cheekbones to shine,” notes model Victoria DiSorbo. </span></p> <p><span>Avoid frames with a dark bridge or darker lower rims, which tend to draw attention to the middle of the face.</span></p> <p><strong>Best sunglasses for an oblong face</strong></p> <p><span>f you have an oblong face, like Liv Tyler and Sarah Jessica Parker, wider sunglasses, like aviators – especially those with decorative temples, are a great choice. </span></p> <p><span>These styles give the illusion of a shorter, wider face. Planning to spend time poolside or beachfront? Look for a wrapped style, which offers greater UV protection.</span></p> <p><strong>Best sunglasses for a high forehead</strong></p> <p><span>If you’re self-conscious about your forehead, opt for tall lenses or oversized frames. </span></p> <p><span>“A good trick is to pick a pair of sunglasses with a really tall browline bridge, which lifts the face and takes attention away from a high forehead,” says designer Larisa Ginzburg.</span></p> <p><strong>Best sunglasses for a small face</strong></p> <p><span>If you have a smaller face a la Miley Cyrus, look for more petite rectangular and square shapes and thinner frames – both metal and thinner acrylic – look best on small faces, according to designer Eva Spitzer. </span></p> <p><span>What to avoid? Steer clear of big chunky hipster type glasses.</span></p> <p><strong>Best sunglasses for a prominent nose </strong></p> <p><span>For people with a large nose, Ginzburg recommends purchasing a pair of sunnies with adjustable nose pads and a broader nose bridge. </span></p> <p><span>A frame that has a floating nose bridge is also a good idea as it won’t leave marks on your skin from nose pads, and will sit comfortably.</span></p> <p><strong>Best sunglasses for wide-set eyes</strong></p> <p><span>If you have wide-set eyes, you may find a pilot-shaped frame more attractive than a retro cat-eye to complement your facial features,” explains Hanlin.</span></p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared in <a rel="noopener" href="https://www.readersdigest.co.nz/culture/the-best-sunglasses-for-your-face-shape" target="_blank">Reader's Digest</a>.</em></p>

Beauty & Style

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Remote-work visas will shape the future of work, travel and citizenship

<p>During lockdown, travel was not only a distant dream, it was unlawful. Some even <a href="https://theconversation.com/coronavirus-is-a-once-in-a-lifetime-chance-to-reshape-how-we-travel-134764">predicted</a> that how we travel would change forever. Those in power that broke travel bans <a href="https://theconversation.com/could-the-dominic-cummings-affair-damage-boris-johnson-in-the-long-term-heres-what-history-tells-us-139514">caused scandals</a>. The empty skies and <a href="https://theconversation.com/coronavirus-should-give-us-hope-that-we-are-able-to-tackle-the-climate-crisis-133174">hopes</a> that climate change could be tackled were a silver lining, of sorts. COVID-19 has certainly made travel morally divisive.</p> <p>Amid these anxieties, many countries eased lockdown restrictions at the <a href="https://www.bbc.co.uk/news/business-532061480">exact time</a> the summer holiday season traditionally began. Many avoided flying, opting for staycations, and in mid-August 2020, global flights were <a href="https://www.statista.com/statistics/1104036/novel-coronavirus-weekly-flights-change-airlines-region/">down 47%</a> on the previous year. Even so, hundreds of thousands still holidayed abroad, only then to be caught out by sudden quarantine measures.</p> <p>In mid-August for example, <a href="https://www.bbc.co.uk/news/uk-politics-53773914">160,000 British holiday makers</a> were still in France when quarantine measures were imposed. On August 22, Croatia, Austria, and Trinidad and Tobago were added to the UK’s <a href="https://www.bbc.co.uk/news/uk-53871078">quarantine list</a>, then Switzerland, Jamaica and the Czech Republic <a href="https://www.bbc.co.uk/news/uk-53937997">the week after</a> – causing continued confusion and panic.</p> <p>This insistence on travelling abroad, with ensuing rushes to race home, has prompted much <a href="https://www.washingtonpost.com/world/europe/europe-travel-coronavirus/2020/08/20/a426b6e4-e23e-11ea-82d8-5e55d47e90ca_story.html">tut-tutting</a>. Some have predicted travel and tourism may cause winter lockdowns. Flight shaming is already a <a href="https://theconversation.com/flight-shaming-how-to-spread-the-campaign-that-made-swedes-give-up-flying-for-good-133842">cultural sport</a> in Sweden, and vacation shaming has even become <a href="https://www.washingtonpost.com/world/europe/europe-travel-coronavirus/2020/08/20/a426b6e4-e23e-11ea-82d8-5e55d47e90ca_story.html">a thing</a> in the US.</p> <p>Amid these moral panics, Barbados has reframed the conversation about travel by launching a “<a href="https://www.barbadoswelcomestamp.bb/">Barbados Welcome Stamp</a>” which allows visitors to stay and work remotely for up to 12 months.</p> <p>Prime Minister Mia Mottley explained the new visa has been prompted by COVID-19 making short-term visits difficult due to time-consuming testing and the potential for quarantine. But this isn’t a problem if you can visit for a few months and work through quarantine with the beach on your doorstep. This trend is rapidly spreading to other countries. <a href="https://forms.gov.bm/work-from-bermuda/">Bermuda</a>, <a href="https://e-resident.gov.ee/nomadvisa/">Estonia</a> and <a href="https://stopcov.ge/en/News/Article/Gov't_to_allow_int'l_citizens_to_work_remotely_from_Georgia">Georgia</a> have all launched remote work-friendly visas.</p> <p>I think these moves by smaller nations may change how we work and holiday forever. It could also change how many think about citizenship.</p> <p><strong>Digital nomads</strong></p> <p>This new take on visas and border controls may seem novel, but the idea of working remotely in paradise is not new. <a href="https://theconversation.com/digital-nomads-what-its-really-like-to-work-while-travelling-the-world-99345">Digital nomads</a> - often millennials engaged in mobile-friendly jobs such as e-commerce, copywriting and design - have been working in exotic destinations for the last decade. The <a href="https://www.telegraph.co.uk/news/features/11597145/Living-and-working-in-paradise-the-rise-of-the-digital-nomad.html">mainstream press</a> started covering them in the mid-2010s.</p> <p>Fascinated by this, I started <a href="https://link.springer.com/article/10.1007/s40558-020-00172-4">researching</a> the digital nomad lifestyle five years ago – and haven’t stopped. In 2015, digital nomads were seen as a niche but rising trend. Then COVID-19 paused the <a href="https://medium.com/age-of-awareness/has-covid-19-ruined-the-digital-nomad-ecf6772afda2">dream</a>. Digital nomad Marcus Dace was working in Bali when COVID-19 struck. His travel insurance was invalidated, and he’s now in a flat near Bristol wondering when he can travel.</p> <p>Dace’s story is common. He told me: “At least 50% of the nomads I knew returned to their home countries because of <a href="https://www.cdc.gov/">CDC</a> and <a href="https://www.gov.uk/government/organisations/foreign-commonwealth-office">Foreign Office</a> guidance.” Now this new burst of visa and border policy announcements has pulled digital nomads back into the <a href="https://www.thetimes.co.uk/article/how-to-be-a-digital-nomad-and-work-remotely-while-travelling-the-world-vn09rd7j6">headlines</a>.</p> <p>So, will the lines between digital nomads and remote workers <a href="https://theconversation.com/five-workplace-trends-will-shape-life-after-lockdown-138077">blur?</a> COVID-19 might still be making international travel difficult. But remote work – the other foundation of digital nomadism – is now firmly in the mainstream. So much so that remote work is considered by many to be <a href="https://theconversation.com/remote-working-the-new-normal-for-many-but-it-comes-with-hidden-risks-new-research-133989">here to stay</a>.</p> <p>Before COVID-19, office workers were geographically tethered to their offices, and it was mainly business travellers and the lucky few digital nomads who were able to take their work with them and travel while working. Since the start of the pandemic, many digital nomads had to work in a single location, and office workers have become remote workers – giving them a glimpse of the digital nomad lifestyle.</p> <p>COVID-19 has upended other old certainties. Before the pandemic, digital nomads would tell me that they <a href="https://link.springer.com/article/10.1007/s40558-020-00172-4">despised</a> being thought of as tourists. This is perhaps unsurprising: tourism was viewed as an escape from work. And other established norms have toppled: homes became offices, <a href="https://theconversation.com/after-coronavirus-how-seasonal-migration-and-empty-centres-might-change-our-cities-139439">city centres emptied</a>, and workers looked to <a href="https://www.rightmove.co.uk/press-centre/village-enquiries-double-as-city-dwellers-escape-to-the-country/">escape to the country</a>.</p> <p>Given this rate of change, it’s not such a leap of faith to accept tourist locations as remote work destinations.</p> <p><strong>A Japanese businessman predicted this</strong></p> <p>The idea of tourist destinations touting themselves as workplaces is not new. Japanese technologist <a href="https://ethw.org/Tsugio_Makimoto">Tsugio Makimoto</a> <a href="https://www.wiley.com/en-us/Digital+Nomad-p-9780471974994">predicted</a> the digital nomad phenomenon in 1997, decades before millennials Instagrammed themselves working remotely in Bali. He prophesied that the rise of remote working would force nation states “to compete for citizens”, and that digital nomadism would prompt “declines in materialism and nationalism”.</p> <p>Before COVID-19 – with populism and nationalism <a href="https://theconversation.com/the-new-right-how-a-frenchman-born-150-years-ago-inspired-the-extreme-nationalism-behind-brexit-and-donald-trump-117277">on the rise</a> – Makimoto’s prophecy seemed outlandish. Yet COVID-19 has turned <a href="https://theconversation.com/overtourism-a-growing-global-problem-100029">over-tourism</a> into under-tourism. And with a growing list of countries launching schemes, it seems nations are starting to “compete” for remote workers as well as tourists.</p> <p>The latest development is the Croatian government discussing a <a href="https://www.total-croatia-news.com/lifestyle/45869-croatian-bureaucracy-2-0">digital-nomad visa</a> – further upping the stakes. The effects of these changes are hard to predict. Will local businesses benefit more from long-term visitors than from hordes of cruise ship visitors swarming in for a day? Or will an influx of remote workers create Airbnb hotspots, <a href="https://qz.com/quartzy/1574182/ahead-of-its-ipo-what-even-is-airbnb-anymore/">pricing locals out</a> of popular destinations?</p> <p><strong>It’s down to employers</strong></p> <p>The real question is whether employers allow workers to switch country. It sounds far-fetched, but Google staff can already work remote until <a href="https://www.forbes.com/sites/jackkelly/2020/08/21/salesforce-joins-google-and-facebook-in-extending-work-from-home-to-next-summer/">summer 2021</a>. Twitter and 17 other companies have <a href="https://www.entrepreneur.com/article/354872">announced</a> employees can work remotely indefinitely.</p> <p>I’ve interviewed European workers in the UK during COVID-19 and some have been allowed to work remotely from home countries to be near family. At Microsoft’s <a href="https://www.microsoft.com/en-us/research/event/new-future-of-work/">The New Future of Work</a> conference, it was clear that most major companies were mobilising task forces and would launch <a href="https://theconversation.com/remote-working-is-here-to-stay-but-that-doesnt-mean-the-end-of-offices-or-city-centres-145414">new flexible working policies</a> in autumn 2020.</p> <p>Countries like Barbados will surely be watching closely to see which companies could be the first to launch employment contracts allowing workers to move countries. If this happens, the unspoken <a href="https://en.wikipedia.org/wiki/Social_contract#:%7E:text=The%20theory%20of%20an%20implicit,legitimacy%20to%20such%20a%20government">social contract</a> between employers and employees - that workers must stay in the same country – will be broken. Instead of booking a vacation, you might be soon booking a workcation.</p> <p><em>Written by Dave Cook. Republished with permission of <a href="https://theconversation.com/remote-work-visas-will-shape-the-future-of-work-travel-and-citizenship-145078">The Conversation.</a> </em></p> <p><em> </em></p>

Cruising

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Takeaway containers shape what (and how) we eat

<p>Home cooks have been trying out their skills during isolation. But the way food tastes depends on more than your ability to follow a recipe.</p> <p>Our <a href="https://pubmed.ncbi.nlm.nih.gov/25713964/">surroundings</a>, <a href="https://jamanetwork.com/journals/jamapediatrics/fullarticle/485781">the people</a> <a href="https://academic.oup.com/jpepsy/article/25/7/471/952605">we share food with</a> and the design of our tableware – our cups, bowls and plates, cutlery and containers – affect the way we experience food.</p> <p>For example, eating from a heavier bowl can make you feel food is <a href="https://www.sciencedirect.com/science/article/abs/pii/S0950329311000966?via%3Dihub">more filling and tastes better</a> than eating from a lighter one.</p> <p>Contrast this with fast food, which is most commonly served in lightweight disposable containers, which encourages <a href="https://www.sciencedirect.com/science/article/abs/pii/S0195666312001754">fast eating</a>, <a href="https://www.bmj.com/content/346/bmj.f2907">underestimating</a> how much food you’re eating, and has even been linked to becoming <a href="https://pubmed.ncbi.nlm.nih.gov/23773044/">impatient</a>.</p> <p>These are just some examples of the vital, but largely unconscious, relationship between the design of our tableware – including size, shape, weight and colour – and how we eat.</p> <p>In design, this relationship is referred to as an object’s “<a href="https://jnd.org/affordances_and_design/">affordances</a>”. Affordances guide interactions between objects and people.</p> <p>As Australian sociologist <a href="https://mitpress.mit.edu/books/how-artifacts-afford">Jenny Davis writes</a>, affordances:</p> <p><em>…push, pull, enable, and constrain. Affordances are how objects shape behaviour for socially situated subjects.</em></p> <p>Designed objects don’t <em>make</em> us do things.</p> <p><strong>The colour of your crockery</strong></p> <p>When you visit a restaurant, the chances are your dinner will be served on a plain white plate.</p> <p>But French chef Sebastien Lepinoy has staff <a href="https://books.google.com.au/books?id=-5gCBAAAQBAJ&amp;pg=PT118&amp;lpg=PT118&amp;dq=Sebastien+Lepinoy+paint+plates&amp;source=bl&amp;ots=8jc3yBavYd&amp;sig=ACfU3U0jRwMOQtM_NmOspLXcyXp9SiVTuQ&amp;hl=en&amp;sa=X&amp;ved=2ahUKEwjqzNzj3MPpAhUOxjgGHQnvDlEQ6AEwCnoECAkQAQ#v=onepage&amp;q=Sebastien%20Lepinoy%20paint%20plates&amp;f=false">paint the plates</a> to match the daily menu and “entice the appetite”.</p> <p>Research seems to back him up. Coloured plates can enhance flavours to actually change the dining experience.</p> <p>In <a href="https://www.ncbi.nlm.nih.gov/pubmed/22128561">one study</a>, salted popcorn eaten from a coloured bowl tasted sweeter than popcorn eaten from a white bowl. In <a href="https://www.semanticscholar.org/paper/Does-the-colour-of-the-mug-influence-the-taste-of-Doorn-Wuillemin/476e322e1de2c705e8691e14c72c814fd79e5e09">another</a>, a café latte served in a coloured mug tasted sweeter than one in a white mug.</p> <p>This association between colour and taste seems to apply to people from Germany to China.</p> <p>A review of <a href="https://flavourjournal.biomedcentral.com/articles/10.1186/s13411-015-0033-1">multiple studies</a> conducted in many countries over 30 years finds people consistently associated particular colours with specific tastes.</p> <p>Red, orange or pink is most often associated with sweetness, black with bitterness, yellow or green with sourness, and white and blue with saltiness.</p> <p><strong>The size of your plate</strong></p> <p>The influence of plate size on meal portions depends on the dining experience and whether you are <a href="https://www.deakin.edu.au/__data/assets/pdf_file/0011/897365/DUBELAAR-JACR-Plate-Size-Meta-Analysis-Paper-2016.pdf">serving yourself</a>. In a buffet, for example, people armed with a small plate may eat more because they can go back for multiple helpings.</p> <p>Nonetheless, average plate and portion sizes have <a href="https://www.theguardian.com/lifeandstyle/2016/apr/25/problem-portions-eating-too-much-food-control-cutting-down">increased</a> over the years. Back in her day, grandma used to serve meals on plates 25cm in diameter. Now, the average dinner plate is 28cm, and many restaurant dinner plates have expanded to <a href="https://www.nisbets.com.au/size-of-plates">30cm</a>.</p> <p>Our waistlines have also expanded. Research confirms we tend to <a href="https://www.sciencedirect.com/science/article/abs/pii/S0195666311006064">eat more calories</a> when our plates are larger, because a larger capacity plate affords a greater portion size.</p> <p><strong>Plastic is too often ignored</strong></p> <p>The pace of our busy lives has led many people to rely on those handy takeaways in disposable plastic food containers just ready to pop into the microwave. And it’s tempting to use plastic cutlery and cups at barbecues, picnics and kids’ birthday parties.</p> <p>In contrast to heavy, fragile ceramic tableware, plastic tableware is <a href="https://discardstudies.com/2019/05/21/disposability/">designed to be ignored</a>. It is so lightweight, ubiquitous and cheap we don’t notice it and pay little mind to its disposal.</p> <p>Plastics have also changed how we eat and drink. An aversion to the strong smell of plastic containers that once might have caused people to <a href="https://www.mitpressjournals.org/doi/abs/10.1162/0747936042312066?journalCode=desi">wrap their sandwiches before placing them in Tupperware</a> seems to have disappeared. We drink hot coffee though plastic lids.</p> <p>Australian economic sociologist Gay Hawkins and her colleagues argue lightweight, plastic water bottles have created entirely new habits, such as “<a href="https://www.westernsydney.edu.au/ics/news/news_archive/2015/history_of_bottled_water_focus_of_new_book">constant sipping</a>” on the go. New products are then designed to fit and reinforce this habit.</p> <p><strong>Aesthetics matter</strong></p> <p>Healthy eating is not only characterised by what we eat but how we eat.</p> <p>For instance, eating mindfully – more thoughtfully and slowly by focusing on the experience of eating – can help you feel <a href="https://www.health.harvard.edu/blog/why-eating-slowly-may-help-you-feel-full-faster-20101019605">full faster</a> and make a <a href="https://www.cambridge.org/core/services/aop-cambridge-core/content/view/351A3D01E43F49CC9794756BC950EFFC/S0954422417000154a.pdf/structured_literature_review_on_the_role_of_mindfulness_mindful_eating_and_intuitive_eating_in_changing_eating_behaviours_effectiveness_and_associated_potential_mechanisms.pdf">difference</a> to how we eat.</p> <p>And the Japanese cuisine <a href="https://guide.michelin.com/en/article/dining-out/kaiseki-cheatsheet-sg">Kaiseki</a> values this mindful, slower approach to eating. It consists of small portions of beautifully arranged food presented in a grouping of small, attractive, individual plates and bowls.</p> <p>This encourages the diner to eat more slowly and mindfully while appreciating not only the food but the variety and setting of the tableware.</p> <p>Japanese people’s slower eating practices even apply to “fast food”.</p> <p>One <a href="https://www.emerald.com/insight/content/doi/10.1108/00346651211277654/full/html">study</a> found Japanese people were more likely to eat in groups, to stay at fast food restaurants for longer and to share fast food, compared with their North American counterparts.</p> <p>Affordance theory is only now starting to account for <a href="https://journals.sagepub.com/doi/10.1177/0270467617714944">cultural diversity</a> in the ways in which designed objects shape practices and experiences.</p> <p>The studies we have reviewed show tableware influences how we eat. Size, shape, weight, colour and aesthetics all play a part in our experience of eating.</p> <p>This has wide implications for how we design for healthier eating – whether that’s to encourage eating well when we are out and about, or so we can better appreciate a tastier, healthier and more convivial meal at home.</p> <p><em>Written by Abby Mellick Lopes and Karen Weiss. Republished with permission of <a href="https://theconversation.com/plates-cups-and-takeaway-containers-shape-what-and-how-we-eat-137059">The Conversation</a>.</em></p> <p><em> </em></p>

Travel Tips

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Shaved, shaped and slit - eyebrows through the ages

<p>Eyebrows can turn a smile into a leer, a grumpy pout into a come hither beckoning, and sad, downturned lips into a comedic grimace.</p> <p>So, it’s little wonder these communicative markers of facial punctuation have been such a feature of beauty and fashion since the earliest days of recorded civilisation.</p> <p>From completely shaved mounds to thick, furry lines, eyebrows are a part of the face we <a href="https://www.smh.com.au/lifestyle/beauty/what-you-get-for-40-120-or-1000-worth-of-eyebrow-care-20191113-p53acj.html">continue</a> to experiment with. We seek to hide, exacerbate and embellish them. And today, every shopping strip and mall has professionals ready to assist us with wax, thread and ink.</p> <p><strong>Minimising distraction</strong></p> <p>In the court of Elizabeth I, to draw attention to the perceived focal point of a woman’s body – her breasts – the monarch would pluck her eyebrows into thin lines or remove them completely, as well as shaving off hair at the top of her forehead.</p> <p>This was an attempt to make her face plain and blank, thereby directing the viewer’s gaze lower to her substantial <a href="https://books.google.com.au/books?id=mNLZkzxmiEIC&amp;pg=PA107&amp;dq=eyebrows+breasts+elizabethan&amp;hl=en&amp;sa=X&amp;ved=0ahUKEwjrq9p1t_lAhUTXisKHffJCSYQ6AEIKDAA#v=onepage&amp;q=eyebrows%20breasts%20elizabethan&amp;f=false">décolletage</a>.</p> <p>Although the intentions were different, nonexistent or needle-thin brows had also been common in ancient China and other Asian cultures, where women plucked their eyebrows to resemble specific shapes with designated names such as “distant mountain” (likely referring to a central and distinctive point in the brow), “drooping pearl” and “willow branch”.</p> <p>In ancient China, as well as in India and the Middle East, the technique of threading - the removal of hairs by twisting strands of cotton <a href="https://onlinelibrary.wiley.com/doi/pdf/10.1046/j.1365-4362.1997.00189.x">thread</a> - was popular for its accuracy. The technique, referred to as “khite” in Arabic and “fatlah” in Egyptian, is enjoying renewed <a href="https://journals.lww.com/dermatologicsurgery/Abstract/2011/06280/Eyebrow_Epilation_by_Threading__An_Increasingly.26.aspx">popularity</a> today.</p> <p>In Japan between 794 and 1185, both men and women plucked their eyebrows out almost entirely and replaced them with new pencilled lines higher up on the <a href="https://books.google.com.au/books?id=9Z6vCGbf66YC&amp;pg=PA120&amp;dq=eyebrows+robyn+cosio&amp;hl=en&amp;sa=X&amp;ved=0ahUKEwiJ1uCXx-TkAhU0IbcAHSc3D_IQ6AEIPjAD#v=onepage&amp;q&amp;f=false">forehead</a>.</p> <p>Eyebrows of Ancient Greece and Rome, on the other hand, are frozen in contemplation.</p> <p>They are often represented in sculptures through expressive mounds devoid of individual or even vaguely suggested hairs: in men they are strong and masterful furrows above a purposeful gaze; in women, soft and emotive.</p> <p>This lack of detail demonstrates a fondness, in some corners of ancient Greek and Roman society, for joined or “continuous” brows.</p> <p>Poet of tenderness, Theocritus, openly admired eyebrows “<a href="https://books.google.com.au/books?id=37MDAAAAQAAJ&amp;pg=PP9&amp;dq=The+British+Poets,+including+Translations+in+One+Hundred+Volumes:+Theocritus&amp;hl=en&amp;sa=X&amp;ved=0ahUKEwjw-fiWjoLlAhXBXisKHfPBC50Q6AEIMjAB#v=onepage&amp;q=The%20British%20Poets%2C%20including%20Translations%20in%20One%20Hundred%20Volumes%3A%20Theocritus&amp;f=false">joined over the nose</a>” like his own, as did Byzantine Isaac Porphyrogenitus.</p> <p><strong>Brows as barometers</strong></p> <p>For much of the 19th century, cosmetics for women were viewed with suspicion, principally as the province of actresses and prostitutes. This meant facial enhancement was subtle and eyebrows, though gently shaped, were kept relatively natural.</p> <p>Despite this restraint, a certain amount of effort still went into cultivation. A newspaper <a href="https://trove.nla.gov.au/newspaper/article/189261094?searchTerm=%22If%20a%20child%27s%20eyebrows%20threaten%22&amp;searchLimits=">article</a> from 1871 suggested intervention during childhood to thicken them:</p> <p><em>If a child’s eyebrows threaten to be thin, brush them softly every night with a little coconut oil, and they will gradually become strong and full; and, in order to give them a curve, press them gently between the thumb and forefinger after every ablution of the face or hands.</em></p> <p>As fashions became freer after the first world war, attention was once again focused more overtly on the eyes and eyebrows.</p> <p>This was partly to do with the development of beauty salons during the 1920s, many of which offered classes in makeup application so women could create new, bold looks at home.</p> <p>The fashion for very thin eyebrows was popularised by silent film stars such as Buster Keaton and Louise Brooks, for whom thick kohl was a professional necessity and allowed a clearer vision of the eyebrows – so crucial, after all, for nonverbal expression on screen.</p> <p>The amount of attention paid to eyebrows continued to change according to specific global events.</p> <p>In the 1940s, women began to favour thicker, natural brows after several decades of rigorous plucking to achieve pencil-thin lines. Considering the outbreak of the second world war had forced many out of a wholly domestic existence and into the workforce, it stands to reason they had less time to spend in front of the mirror, wielding a pair of tweezers and eyebrow pencil.</p> <p>The post-war 1950s saw wide, yet more firmly defined brows and from the 1960s onwards various shapes, sizes and thicknesses were experimented with, accompanied by a firm emphasis on individuality and personal preference.</p> <p><strong>More than mono</strong></p> <p>When Dwight Edwards Marvin’s <a href="https://www.bartleby.com/346/14.html">collection</a> of adages and maxims, Curiosities in Proverbs, was published in 1916 it included the old English advice:</p> <p><em>If your eyebrows meet across your nose, you’ll never live to wear your wedding clothes.</em></p> <p>The “mono-” or “uni-brow” had become suggestive of a lack of self care, particularly in women.</p> <p>Research undertaken in 2004 reported American women felt judged and evaluated as “dirty”, “gross” or even “repulsive” if they did not shave their underarm or leg hair, or pluck and shape their <a href="https://books.google.com.au/books?id=y5Enl3JamIgC&amp;printsec=frontcover&amp;dq=Embodied+Resistance:+Challenging+the+Norms,+Breaking+the+Rules,&amp;hl=en&amp;sa=X&amp;ved=0ahUKEwi54bWkjoLlAhVs7nMBHSOJCe8Q6AEIKDAA#v=onepage&amp;q=Embodied%20Resistance%3A%20Challenging%20the%20Norms%2C%20Breaking%20the%20Rules%2C&amp;f=false">eyebrows</a>. As the most visible of these areas, untamed eyebrows perhaps point to the bravest exhibition of natural hair.</p> <p>Today, model Sophia Hadjipanteli sports a pair of impressively large, dark joined eyebrows, and has assertively fought back against the legion of online trolls who have abused her for this point of difference.</p> <p>A reference back to the distinctive brows of Frida Kahlo, Hadjipanteli’s look is linked to an ongoing debate surrounding women’s body hair.</p> <p><strong>Giving a pluck</strong></p> <p>For many, excessive plucking and shaping has become emblematic of the myriad requirements women are expected to comply with to satisfy restrictive societal beauty norms.</p> <p>Still, plenty of people with eyebrows are dedicating time and money to their upkeep. In Australia, the personal waxing and nail salon industry has grown steadily over five years to be worth an estimated <a href="https://www.ibisworld.com.au/industry-trends/specialised-market-research-reports/consumer-goods-services/personal-waxing-nail-salons.html">A$1.3 billion</a> and employ more than 20,000 people.</p> <p>Over this time, social media has offered a diverse and changing menu of brow choices and displays.</p> <p>One choice: the “eyebrow slit” – thin vertical cuts in eyebrow hair – has re-emerged online and in suburban high schools. It’s important to emphasise <em>re-emerged</em> because, with beauty as with clothing, what goes around comes around.</p> <p>The eyebrow slit was especially popular amongst hip hop artists in the 1990s, and draws appeal due to its flexibility: there are no firm rules as to the number or width of the slits, which originally were meant to suggest scarring from a recent fight or gangsta adventure. More recent converts have been accused of <a href="https://www.teenvogue.com/story/eyebrow-cuts-cultural-appropriation">cultural appropriation</a>.</p> <p>Some have experimented by replacing plain slits with other shapes, such as hearts or stars, though plucking or shaving brows into unusual shapes is – as we have seen – by no means new either.</p> <p><strong>Facing the day</strong></p> <p>If the popularity of recent trends is anything to go by, eyebrow fashion will remain on the lush side for some time.</p> <p>The “<a href="http://fashion.telegraph.co.uk/news-features/TMG8997240/Scouse-Brow-a-beginners-guide.html">Scouse</a>” brow (very thick, wide and angular eyebrows emphasised with highly defined dark pencil shapes: named after natives of Liverpool in the United Kingdom) is still trending.</p> <p>The “Instagram eyebrow” (thick brows plucked and painted to create a gradient, going from light to very dark as the brow ends) is inescapable on the platform and beyond. Makeup for brows is therefore also likely to continue, providing a clear linear connection through nearly all the eyebrow ideals since ancient times.</p> <p>The latest offering to those seeking a groomed look is “<a href="https://www.elle.com.au/beauty/eyebrow-lamination-22517">eyebrow lamination</a>”, a chemical treatment that uses keratin to straighten individual hairs - a kind of anti-perm for your brow.</p> <p>Those still searching for their eyebrow aesthetic may benefit from some wisdom shared by crime and society reporter Viola Rodgers in an 1898 edition of the San Francisco Call newspaper.</p> <p>Eyebrow slits? We can only imagine what Viola would think.</p> <p><em>Written by Lydia Edwards. Republished with permission of <a href="https://theconversation.com/friday-essay-shaved-shaped-and-slit-eyebrows-through-the-ages-123872">The Conversation.</a></em></p>

Beauty & Style

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How Scorsese cinema boycott will shape the future of movies

<p>Cinema has always been a medium in crisis. After the so-called golden age of Hollywood came television: why go to the movies when you can sit in the comfort of your home, watching recycled movies in letterbox format? Yet cinemas adapted and survived.</p> <p>This week, <a href="https://www.theguardian.com/film/2019/nov/07/why-martin-scorseses-the-irishman-wont-be-coming-to-a-cinema-near-you">major cinema chains</a> said they would not run Martin Scorsese’s upcoming film <a href="https://www.imdb.com/title/tt1302006/">The Irishman</a> because Netflix - who partially funded production and own distribution rights - were restricting its theatre run to four weeks before it hit small screens.</p> <p>The news signals a looming threat to cinema as we know it.</p> <h2>Big screen blues</h2> <p>Television made movies a commodity audiences could consume on their own terms. Yet cinema survived. In fact, it became a global mass cultural medium in the late 1970s and in the <a href="https://blog.scienceandmediamuseum.org.uk/very-short-history-of-cinema/">multiplexes</a> of the 1980s.</p> <p>Even the turbulent digital turn that brought cinema to a second crisis point in the early 2000s was navigated by the major Hollywood studios with the rebirth of the blockbuster in pristine form: <a href="https://www.imdb.com/title/tt0499549/?ref_=nv_sr_2?ref_=nv_sr_2">Avatar</a> (2009) in stereoscopic 3-D, the high-tech Marvel <a href="https://hbr.org/2019/07/marvels-blockbuster-machine">cinematic universe</a>.</p> <p>This is all to say that cinema, for the time being, is alive and well.</p> <p>But shrinking diversity in cinema offerings - Scorsese is <a href="https://www.theguardian.com/film/2019/nov/05/martin-scorsese-superhero-marvel-movies-debate-sadness">no Marvel fan</a> - has forced even big name directors to seek funding from alternative sources. This is especially necessary when their movie <a href="https://www.nytimes.com/2019/08/21/business/media/netflix-scorsese-the-irishman.html">costs US$159 million</a> (A$230 million) to make. Enter television streaming giant Netflix.</p> <h2>Are you talking to me?</h2> <p>The Irishman, Scorsese’s eagerly anticipated gangster epic, opened this week in a number of independent <a href="https://www.businessinsider.com.au/the-irishman-australian-cinemas-2019-11">Australian cinemas</a>.</p> <p style="text-align: center;"><iframe width="440" height="260" src="https://www.youtube.com/embed/WHXxVmeGQUc?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p style="text-align: center;"><span class="caption">The Irishman tells the story of war veteran Frank Sheeran (Robert De Niro) who worked as a hitman alongside Jimmy Hoffa (Al Pacino).</span></p> <p>Scorsese is perhaps America’s greatest living auteur, the director of films including <a href="https://www.imdb.com/title/tt0075314/?ref_=nv_sr_1?ref_=nv_sr_1">Taxi Driver</a> (1976), <a href="https://www.imdb.com/title/tt0081398/?ref_=fn_al_tt_1">Raging Bull</a> (1980), <a href="https://www.imdb.com/title/tt0099685/?ref_=fn_al_tt_1">Goodfellas</a> (1990), and <a href="https://www.imdb.com/title/tt0112641/?ref_=fn_al_tt_1">Casino</a> (1995).</p> <p>But what makes The Irishman unlike any other Scorsese film is that it is being distributed by Netflix. After its short theatre run it will be distributed to our homes, where it will do its major business.</p> <p>In February, the tension between Netflix and theatrical distributors escalated with the nomination of Alfonso Cuarón’s Netflix-distributed <a href="https://www.imdb.com/title/tt6155172/?ref_=fn_al_tt_2">Roma</a> for a Best Picture Oscar. Director Steven Spielberg subsequently <a href="https://www.theatlantic.com/entertainment/archive/2018/03/steven-spielbergs-netflix-fears/556550/">declared</a> a Netflix film might “deserve an Emmy, but not an Oscar”.</p> <p>A Netflix production – whether David Fincher’s monumental longform series, <a href="https://www.imdb.com/title/tt5290382/?ref_=fn_al_tt_1">Mindhunter</a>, or Scorsese’s The Irishman – was television and therefore not cinema.</p> <h2>Goodfellas or bad guys?</h2> <p>Netflix represents a very real threat to theatrically screened cinema and its distribution apparatus, which is why several large cinema chains in the US (and, indeed, Australia) are boycotting The Irishman.</p> <p>While Netflix has consistently produced high quality content either through internal production or by acquiring and distributing titles, its assimilation of an auteur picture – a Scorsese gangster epic, no less - signals an aggressive move into the once sacrosanct domain of cinema entertainment.</p> <p>One wonders: if Scorsese capitulates to the economic strictures of the contemporary studio system, what will independent filmmakers do? How will low budget features be funded in an era in which Netflix colonises the large and small-scale productions alike?</p> <p><iframe width="440" height="260" src="https://www.youtube.com/embed/SshqfhmmtSE?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe> <span class="caption">Scorsese has directed many of the greatest characters of modern cinema.</span></p> <p>Netflix is not cinema, but neither is it television. Directors such as Spielberg struggle to understand that the new media entertainment regime is far removed from the projection (theatre) or broadcast (television) media environment of a predigital era.</p> <p>Instead of declaring a Netflix production unworthy of an Oscar, we could invert this measure: perhaps it is the Oscar that is increasingly outmoded as an artistic and cultural mark of value.</p> <h2>‘The End’, roll credits</h2> <p>The digital economic currents that carry Netflix intuitively seek expansion into proximate markets, and cinema is a natural fit. Netflix’s move into cinema distribution – with Scorsese at the helm – is therefore a smart negotiation. Even if Scorsese is an unwilling participant, it sets a clear precedent.</p> <p>It seems unlikely that cinema will end in any formal sense, at least within the next few decades.</p> <p>But a Netflix-distributed Scorsese film gives us cause to lament the ailing cinema experience. Christopher Nolan’s <a href="https://www.imdb.com/title/tt5013056/?ref_=nv_sr_1?ref_=nv_sr_1">Dunkirk</a> (2017) exemplified cinema’s ability to assault us with big screen images and jolt our bodies with a powerful soundscape. Only a grand technological scale can provide this kind of visceral experience.</p> <p>And yet, like Scorsese, I’m tired of Marvel. I’m tired of the rigidity of formulaic narrative and image structures intrinsic to the contemporary studio system. I’m disappointed at Hollywood’s capitulation to an instrumental economic model. Could a studio have produced The Irishman? They had a chance, and they <a href="https://variety.com/2019/film/news/theater-chief-blasts-netflix-over-handling-of-martin-scorseses-irishman-its-a-disgrace-1203390726/">turned it down</a>.</p> <p>Hollywood - and media entertainment structures more generally - will need to find a way for the big and small screen distributors to get along in order to keep the dynasty alive.<!-- 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; text-shadow: none !important;" src="https://counter.theconversation.com/content/126598/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: http://theconversation.com/republishing-guidelines --></p> <p><em>Written by <span>Bruce Isaacs, Senior Lecturer in Film Studies, University of Sydney</span>. Republished with permission of </em><a rel="noopener" href="https://theconversation.com/pass-the-popcorn-scorsese-cinema-boycott-will-shape-the-future-of-movies-126598" target="_blank"><em>The Conversation</em></a><em>. </em></p>

Movies

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Ship shape to Australia

<p> “This morning we will cruise past the Sydney Opera House and under the Sydney Harbour Bridge to tie up at White Bay in the suburb of Balmain,” the captain declared.</p> <p>These are some of the most welcome words in travel. Sydney Harbour is simply one of the world’s most spectacular inlets and the best way to see it is from the deck of a ship. The highlight is passing under the Bridge when it looms close overhead.</p> <p>Sadly, many ships sailing into Sydney are too big to fit under the Bridge and that’s their loss. In May 2017 the Australian Cruise Lines International released a report revealing that the three most popular destinations for the rapidly growing group of Australian cruisers (1.3 million last year) are the Pacific, Australia and New Zealand, passing Europe for the first time.</p> <p>While there are many vessels to choose from, the Azamara Journey has to be one of the most appealing. Carrying less than 700 passengers (served by 400 crew) and being only 30,000 tonnes, it’s a relatively small ship. That means it can visit ports that larger ships can’t and embarking and disembarking is relatively fast and painless.</p> <p>The ship looks stylish and functions rather like a floating contemporary country club – but one where drinks are included. There’s a range of dining venues plus several bars, a small casino and the Cabaret Lounge.</p> <p>In a substantial refit last year, every part of the ship was revamped. Impressively, there is now bow-to-stern full strength wifi coverage. There’s a range of accommodation options from interior cabins to spacious suites. Our Ocean-view cabin had a decent sized window (that didn’t open) and enough space for the two of us (and lots of under-bed storage for our suitcases). But the bathroom was rather small, especially the shower stall, and on a return visit I’d aim for a room with a balcony.</p> <p>The quality of the food onboard was impressive. The main Discoveries restaurant changes menus for lunch and dinner every day and there are window tables on three sides of the restaurant. Or, for an extra charge, there’s the Mediterranean Aqualina Restaurant or the steak and seafood restaurant Prime C. The indoor/outdoor Windows Café was light and airy and we mainly visited for breakfast or a quick dinner.</p> <p><a href="https://www.azamaraclubcruises.com/en-au">Azamara Club Cruises</a> has the tag line “Stay Longer. Experience more”, which was reflected in our itinerary: 12 days from Wellington NZ to Sydney. There were two days in each of Wellington and Picton and very full days in Akaroa (for Christchurch), Dunedin, Milford Sound (and others) and Hobart. Even Sydney was unhurried – we stayed on for an extra night, basically a relaxed staycation in our own town.</p> <p><strong>Voyage highlights</strong> <br />The cruise got away to a very good start with an evening of entertainment at Te Papa, the impressive national museum in Wellington. It included a private tour of the museum’s brilliant Gallipoli exhibition that utilised <em>The Lord of the Rings</em> team to bring the conflict to life as it never has before.</p> <p>The time in Picton was sufficient to visit NZ’s best vineyards, a glow-worm gully, Abel Tasman National Park, and the Peter Jackson-supported <a href="http://omaka.org.nz/">Omaka Aviation Heritage Centre</a> that has some amazing old aircraft and pieces of the Red Baron’s aircraft.</p> <p>Arkaroa on the volcanic Banks Peninsula is a worthwhile destination in its own right. But it’s also only a coach ride away from Christchurch, which is going through a rebuild with admirably positive spirit.</p> <p>Dunedin was a delightful surprise that deserves its own thorough review. Albatross, a castle with a sad family history, penguins and seals, a chocolate factory (soon to close), beautiful gardens, street art and a rapidly developing urban renewal that matches the world’s best make it well worth a visit.</p> <p>We had a day scheduled in New Zealand’s glorious southern fiordland and the weather cooperated with blue skies and great visibility. Our master, Captain Johannes Tysse showed both his Norwegian heritage and the Azamara Journey’s ability to manoeuvre in tight situations.</p> <p>In the early morning we came into Dusky Sound then passed through the narrow Acheron Passage into Breaksea Sound. On our last afternoon in NZ we did a ship tour through Milford Sound. The captain manoeuvred the ship almost under the waterfall and up to village who’d taken an overnight excursion to play golf across the South Island.</p> <p>Two full sea days on the way to Tasmania gave a welcome break to simply enjoy ship life. In Hobart, on a Sunday, we took in a street market before cycling down Mt Wellington. The views from the top are wonderful and little peddling is required on the downhill leg all the way to the Cascade Brewery then into the city via Battery Point.</p> <p>Sailing down the Derwent as we left Hobart almost made me wish that I’d done a Sydney-Hobart race to appreciate this great scenery at the end of the race.</p> <p>Finally, we sailed past Bondi Beach and turned to port into Sydney Harbour.</p> <p>The rapid growth in interest in sailing from New Zealand to Australia seems rather incomprehensible at first glance. What is there that you could do by flight and rental car? However, after doing it I’m hooked. It was wonderful to see the highlights of the South Island then return to our cabin each evening before enjoying the luxuries of life on the Azamara Journey.</p> <p>Fiordland can only be appreciated from the water and Hobart is a great cruise destination. The Azamara Journey was the perfect vessel for this voyage. It was small enough that we never felt just one of the crowd and soon staff were recognising us around the ship. Yet the ship was very stable on the crossing of the Tasman Sea. The Azamara Journey will revisit the route in February 2018. The almost-identical Azamara Quest will be in Australia in early 2019.</p> <p><em>Written by David McGonigal. Republished with permission of <a href="https://www.wyza.com.au/articles/travel/ship-shape-to-australia.aspx">Wyza.com.au</a>. </em></p>

Cruising

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Is there really a single ideal body shape for women?

<p>Many scholars of Renaissance art <a href="http://www.visual-arts-cork.com/famous-paintings/birth-of-venus.htm">tell us</a> that Botticelli’s Birth of Venus captures the tension between the celestial perfection of divine beauty and its flawed earthly manifestation. As classical ideas blossomed anew in 15th-century Florence, Botticelli could not have missed the popular <a href="http://www.iep.utm.edu/neoplato/#H5">Neoplatonic notion</a> that contemplating earthly beauty teaches us about the divine.</p> <p>Evolutionary biologists aren’t all that Neoplatonic. Like most scientists, we’ve long stopped contemplating the celestial, having – to appropriate <a href="http://www.quantumdiaries.org/2011/09/16/there-is-no-need-for-god-as-a-hypothesis/">Laplace’s immortal words to Napoleon</a> – “no need of that hypothesis”. It is the messy imperfection of the real world that interests us on its own terms.</p> <p>My <a href="https://theconversation.com/columns/rob-brooks-1343">own speciality concerns</a> the messy conflicts that inhere to love, sex and beauty. Attempts to cultivate a simple understanding of beauty – one that can fill a 200-word magazine ad promoting age-reversing snake oil, for example – tend to consistently come up short.</p> <p><strong>Waist to hip</strong></p> <p>Nowhere does the barren distinction between biology and culture grow more physically obvious than in the discussion of women’s body shapes and attractiveness. The biological study of body shape has, for two decades, been preoccupied with the ratio of waist to hip circumference.</p> <p>With clever experimental manipulations of line drawings, Devendra Singh <a href="http://www.femininebeauty.info/i/singh.pdf">famously demonstrated</a> that images of women with waists 70% as big as their hips tend to be most attractive. This 0.7:1 waist-to-hip ratio (WHR), it turns out, also reflects a distribution of abdominal fat associated with good <a href="http://www.ncbi.nlm.nih.gov/pubmed/3874840">health</a> and <a href="https://scholar.google.com.au/citations?view_op=view_citation&amp;hl=en&amp;user=w2qTGfoAAAAJ&amp;citation_for_view=w2qTGfoAAAAJ:TQgYirikUcIC">fertility</a>.</p> <p>Singh also showed that Miss America pageant winners and Playboy playmates tended to have a WHR of 0.7 despite changes in the general slenderness of these two samples of women thought to embody American beauty ideals.</p> <p>Singh’s experiments were repeated in a variety of countries and societies that differ in both average body shape and apparent ideals. The results weren’t unanimous, but a waist-to-hip ratio of 0.7 came up as most attractive more often than not. The idea of an optimal ratio is so appealing in its simplicity that it became a staple factoid for magazines such as <a href="http://www.cosmopolitan.com.au/health-lifestyle/healthy-eating/2010/8/female-attractiveness-relates-to-waist-size/#_">Cosmo</a>.</p> <p>There’s plenty to argue about with waist-hip ratio research. Some researchers have found that other indices, like <a href="http://www.ncbi.nlm.nih.gov/pmc/articles/PMC1691155/">Body Mass Index</a> (BMI) explain body attractiveness more effectively.</p> <p>But others reject the reductionism of measures like WHR and BMI altogether. This rejection reaches its extremes in the notion that ideas of body attractiveness are entirely <a href="http://www.socwomen.org/wp-content/uploads/2010/05/fact_04-2008-wom-size.pdf">culturally constructed and arbitrary</a>. Or, more sinisterly, designed by our capitalist overlords in the diet industry to be inherently unattainable.</p> <p>The evidence? The observation that women’s bodies differ, on average, between places or times. That’s the idea animating the following video, long on production values, short on scholarship and truly astronomic on the number of hits (21 million-plus at the time of writing):</p> <div class="embed-responsive embed-responsive-16by9"><iframe class="embed-responsive-item" src="https://www.youtube.com/embed/Xrp0zJZu0a4"></iframe></div> <p><span class="caption">This rather questionable video, called ‘Women’s Ideal Body Types Throughout History’, is getting a lot of airplay on YouTube.</span></p> <p>I note that Botticelli’s Venus looks more at home in the 20th Century than among the more full-figured Renaissance “ideals”. So do the Goddesses and Graces in <a href="http://www.uffizi.org/artworks/la-primavera-allegory-of-spring-by-sandro-botticelli/">La Primavera</a>. Perhaps there was room for more than one kind of attractive body in the Florentine Renaissance? Or is the relationship between attractiveness and body shape less changeable and more variegated than videos like the one above would have us believe?</p> <p>Not that I’m down on body shape diversity. Despite the fact that there seems to be only one way to make a supermodel, real women differ dramatically and quite different body types can be equally attractive. The science of attractiveness must grapple with variation, both within societies and among cultures.</p> <p><strong>Enter the BodyLab</strong></p> <p>For some years our <a href="http://www.robbrooks.net/">research group</a> has wrestled with exactly these issues, and with the fact that bodies vary in <a href="http://www.ncbi.nlm.nih.gov/pubmed/20840313">so many more dimensions</a> than just their waists and their hips. To that end, we established the <a href="http://www.bodylab.biz">BodyLab</a> project, a “digital ecosystem” in which people from all over the internet rate the attractiveness of curious-looking bodies like the male example below.</p> <p><a href="https://images.theconversation.com/files/73884/original/image-20150305-1931-14hs705.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img style="display: block; margin-left: auto; margin-right: auto;" src="https://images.theconversation.com/files/73884/original/image-20150305-1931-14hs705.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" alt="" /></a> <span class="caption">Example image from the BodyLab ‘digital ecosystem’. The VW Beetle is provided as the universal symbol of something-slightly-shorter-than-an-adult-human. Faces pixellated to preserve any grey people’s anonymity.</span> <span class="attribution"><span class="source">Rob Brooks/BodyLab.biz</span></span></p> <p>We call it a “digital ecosystem” not to maximise pretentiousness, but because this experiment involved multiple generations of selection and evolution. We started with measurements of 20 American women, a sample representing a wide variety of body shapes.</p> <p>We then “mutated” those measures, adding or subtracting small amounts of random variation to each of 24 traits. Taking these newly mutated measures we built digital bodies, giving them an attractive middle-grey skin tone in an attempt to keep variation in skin colour, texture etc out of the already complex story.</p> <blockquote> <p>If you want to help out with our second study, on male bodies, visit <a href="http://www.bodylab.biz/Experiments.aspx">BodyLab</a> and click through to <em>Body Shape Study</em> and then <em>Rate Males (Generation 6)</em>.</p> </blockquote> <p>This all involved considerable technologic innovation, resulting in an experiment unlike any other. We had a population of bodies (120 per generation) that we could select after a few thousand people had rated them for attractiveness. We then “bred” from the most attractive half of all models and released the new generation into the digital ecosystem.</p> <p>What did we find? In a paper just published at <a href="http://bit.ly/1EOQcOl">Evolution &amp; Human Behavior</a>, the most dramatic result was that the average model became more slender with each generation. Almost every measure of girth decreased dramatically, whereas legs and arms evolved to be longer.</p> <p><a href="https://images.theconversation.com/files/73901/original/image-20150305-1942-103dem4.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img style="display: block; margin-left: auto; margin-right: auto;" src="https://images.theconversation.com/files/73901/original/image-20150305-1942-103dem4.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" alt="" /></a> <span class="caption">In eight generations, the average body became more slender. Waist, seat, collar, bust, underbust, forearm, bicep, calf and thigh girth all decreased by more than one standard deviation. At the same time, leg length (inseam) rose by 1.4 standard deviations.</span> <span class="attribution"><span class="source">Rob Brooks</span></span></p> <p>That may not seem surprising, particularly because the families “bred” from the most overweight individuals at the start of the experiment were eliminated in the first few generations.</p> <p>But, after that, more families remained in the digital ecosystem, surviving generation after generation of selection, than we would have expected if there was a single most attractive body type. The Darwinian process we imposed on our bodies had started acting on the mutations we added during the breeding process.</p> <p><strong>More meaningful than the mean</strong></p> <p>Those “mutations” that we introduced allowed bodies to evolve free from all the developmental constraints that apply to real-world bodies. For example, leg lengths could evolve independently of arm lengths. Waists could get smaller even as thighs got bigger.</p> <p>When we examined those five families that lasted longest as our digital ecosystem evolved, we observed a couple of interesting nuances.</p> <p>First, selection targeted waist size itself, rather than waist-hip ratio. No statistical model involving hip size (either on its own or in waist-hip ratio) could come close to explaining attractiveness as well as waist size alone. Our subjects liked the look of slender models with especially slender waists. There was nothing magical about a 0.7 waist-to-hip ratio.</p> <p>Second, within attractive families, which were the more slender families to begin with, evolution bucked the population-wide trend. These bodies began evolving to be more shapely, with bigger busts and more substantial curves.</p> <p>It turns out there’s more than one way to make an attractive body, and those different body types evolve to be well-integrated. That’s a liberating message for most of us: evolutionary biology has more to offer our understanding of diversity than the idea that only one “most attractive” body (or face, or personality) always wins out.</p> <p>What about the cultural constructionists? Are body ideals arbitrary, or tools of the patriarchal-commercial complex?</p> <p>Our results suggest that the similarities between places, and even between male and female raters, are pretty strong: the 60,000 or so people who viewed and rated our images held broadly similar ideas of what was hot and what was not. But their tastes weren’t uniform. We think most individuals could see beauty in variety, if not in the full scope of diversity on offer.</p> <p>What’s cool about our evolving bodies, however, is that we can run the experiment again and again. We can do so with different groups of subjects, or even using the same subjects before and after they’ve experienced some kind of intervention (perhaps body-image consciousness-raising?). I’m hoping we can use them to look, in unprecedented depth, at the intricate ways in which experience, culture and biology interact.<!-- 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; text-shadow: none !important;" src="https://counter.theconversation.com/content/38432/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: http://theconversation.com/republishing-guidelines --></p> <p><em>Written by <span>Rob Brooks, Scientia Professor of Evolutionary Ecology; Director, Evolution &amp; Ecology Research Centre, UNSW</span>. Republished with permission of </em><a rel="noopener" href="https://theconversation.com/is-there-really-a-single-ideal-body-shape-for-women-38432" target="_blank"><em>The Conversation</em></a><em>. </em></p>

Body

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Perfect for every body shape: The $181 Serena Williams dress fans can't get enough of

<p>Apart from her stellar tennis career, Serena Williams has continued to make headlines with her bold outfits both on and off the court.</p> <p>Now, the 23-time grand slam winner is once again making waves after a new dress from her clothing line gets so popular it’s nearly sold out.</p> <p>The Twist Front Dress, priced at US$120 (NZ$181), is described as an “endlessly elegant” midi dress. The apparel has long sleeves and a front-twist detail, and is made of 95 per cent polyester and 5 per cent spandex.</p> <p>“I designed the Twist Front Dress for everybody and every BODY,” Williams wrote on her Instagram account.</p> <blockquote 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);" class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/B0a8uvFHpQ8/" data-instgrm-version="12"> <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> <p style="margin: 8px 0 0 0; padding: 0 4px;"><a style="color: #000; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" rel="noopener" href="https://www.instagram.com/p/B0a8uvFHpQ8/" target="_blank">We’re having a red hot summer over @serena. I designed the Twist Front Dress for everybody and every ✨BODY✨ P.S. Have you checked out the Serena IGTV channel? New content coming every week 💥 #BeSeenBeHeard . Score by @thefrontrunnaz</a></p> <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 post shared by <a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" rel="noopener" href="https://www.instagram.com/serenawilliams/" target="_blank"> Serena Williams</a> (@serenawilliams) on Jul 27, 2019 at 6:01am PDT</p> </div> </blockquote> <p>In a clip, the 37-year-old explained how the same dress can flatter different body types, showcasing the piece on her and six other women with varying heights and body shapes.</p> <p>“No one in the world looks exactly the same,” Williams said. “We all look different and we’ve got to bring our personalities out.”</p> <p>On her fashion brand’s website, the dress is sold in red and black. Look out if you’re looking to score the red one – it has sold out in all sizes but 2X and 3X.</p> <p>The popularity of the dress has led to some shoppers’ frustration. </p> <blockquote class="twitter-tweet" data-lang="en"> <p dir="ltr">TFW the Serena Williams dress is sold out online in your size... <a href="https://t.co/Jcgxxu9klL">https://t.co/Jcgxxu9klL</a> <a href="https://t.co/mb8CaDVboo">pic.twitter.com/mb8CaDVboo</a></p> — Elizabeth Cherneff (@echerneff) <a href="https://twitter.com/echerneff/status/1155936885899816961?ref_src=twsrc%5Etfw">July 29, 2019</a></blockquote> <p>“[That feeling when] the Serena Williams dress is sold out online in your size…” a disappointed woman posted on Twitter.</p> <p>Scroll through the gallery above to see the $181 dress that's perfect for every body shape. </p>

Body

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Lyndey Milan's white chocolate ganache hearts

<p>Create delightful melt-in-your-mouth moments with Lyndey Milan's unbelievably easy white chocolate treats. Make it with just three ingredients!</p> <p><strong>Time to prepare:</strong> 5 minutes</p> <p><strong>Cooking time:</strong><strong> </strong>3 minutes</p> <p><strong>Ingredients</strong></p> <p>190g white chocolate (which will melt not bits)</p> <p>1½ tablespoons thick cream</p> <p>3 teaspoons (15ml) Kahlua or Baileys (optional)</p> <p><strong>Directions</strong></p> <p>1. Heat cream in a very small saucepan or microwave and boil until it reduces by half. Stir in the liqueur if using. Pour over broken white chocolate in a dry heatproof bowl and either microwave for 1-2 minutes on 50% power until chocolate has melted; or place over a saucepan of simmering water until chocolate has melted. Do not overheat the chocolate.</p> <p>2. Stir until combined but do not overbeat. Refrigerate and stir occasionally until it is firming up evenly.</p> <p>3. Put into a piping bag with a plain wide nozzle and pipe into the<span> </span><a rel="noopener" href="http://lyndeymilan.com/bakeware-range/" target="_blank"><span>heart shaped petite mould</span></a>. Alternatively spoon in. Level off any excess with a spatula. Refrigerate until firm then turn out.</p> <p><strong>Tip:</strong> If for some reason your chocolate mixture seizes, add a little more very hot cream.</p> <p><em>Written by Wyza. Republished with permission of <a href="https://www.wyza.com.au/recipes/lyndey-milan-white-chocolate-ganache-hearts.aspx">Wyza.com.au.</a></em></p>

Food & Wine

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The "peculiar" incident in Prince Philip’s childhood that shaped his entire life

<p>Prince Philip’s childhood was what one would describe as rocky, and when the royal was only a toddler, an incident occurred that would shape his entire life from that moment onwards.</p> <p>Being a part of the Greek royal family at the time, Philip and his family had to flee the country during the war against Turkey.</p> <p>Due to this, his uncle King Constantine I abdicated the throne, forcing Prince Philip’s father, Prince Andrew of Greece and Denmark, to be exiled from the country.</p> <p>In what one could only describe as manic, the Prince’s father and mother, Princess Alice of Battenberg, smuggled their daughters and baby boy out of the country.</p> <p><img style="width: 500px; height: 281.25px;" src="https://oversixtydev.blob.core.windows.net/media/7823192/philip2.jpg" alt="" data-udi="umb://media/184a59c6236148289114a3c90294956d" /></p> <p style="text-align: center;"><em>Prince Philip's parents Prince Andrew of Greece and Denmark and Princess Alice of Battenberg</em></p> <p>“He was only 18 months old, and I think he was, the story goes, he was smuggled out of the country in an orange crate,” said <a rel="noopener" href="https://honey.nine.com.au/2019/01/31/20/25/the-windsors-prince-philip-peculiar-childhood-incident-greece" target="_blank"><em>9Honey’s</em></a> royal columnist, Victoria Arbiter, in <em>The Windsors </em>podcast.</p> <p>“So, it was quite an auspicious beginning to his life,” she said.</p> <p>Growing up in the Parisian town of Saint-Cloud, the blonde hair, blue-eyed boy stayed with his immediate family for a few years before moving.</p> <p>At the age of seven, Prince Philip travelled to London to live with his maternal grandmother, Victoria Mountbatten, in 1928. At the time, she was residing at Kensington Palace – the home of his grandchildren years later.</p> <p>During this time, the Prince formed a close relationship with his uncle, Lord Louis Mountbatten, the man he credits for his marriage to the then Princess Elizabeth.</p> <p>“He was raised by the Mountbatten family and passed from pillar-to-post a little bit, he had a bit of a rackety childhood,” said Juliet Rieden, author of <em>The Royals in Australia</em>.</p> <p>“Philip really grew up in and out of boarding schools,” said Victoria, going on to say, “He didn’t have a warm family life – his father was largely estranged, it was his uncle Louis Mountbatten who raised him.</p> <p>“It was a difficult childhood and I think that’s really where Philip became a survivor.</p> <p>“It was quite a tragic childhood for someone in his position,” Ms Rieden told the podcast.</p> <p>“You would think, ‘Oh, he’s born a Royal, he must have had an easy life, it must have been a great early start.’ But it really wasn’t, it was a very difficult life.”</p> <p><img style="width: 500px; height: 281.25px;" src="https://oversixtydev.blob.core.windows.net/media/7823193/phillip1.jpg" alt="" data-udi="umb://media/ba33af8af8fb41df89fb30c61e233171" /></p> <p style="text-align: center;"><em>Prince Philip at Gordonstoun School in Scotland</em></p> <p>Philip went on to study at Gordonstoun School in Scotland, an all-boys boarding school which proved to be tough but surprisingly, the Prince enjoyed it.</p> <p>“Philip embraced everything Gordonstoun had to offer. He killed it in sports, he killed it in academics, he was so well respected there, it spoke to his philosophy and embraced every element of it,” said Victoria.</p> <p>“I think that’s where he really came in to his own.”</p>

Family & Pets

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How the weather has shaped and influenced my life

<p><em>Catch up on the series here: <span style="text-decoration: underline;"><strong><a href="https://www.oversixty.com.au/lifestyle/family-pets/2018/02/growing-up-on-a-farm-in-1950s-australia/" target="_blank">Chapter 1: Aussie Summers – 1950s</a></strong></span>, <span style="text-decoration: underline;"><strong><a href="https://www.oversixty.com.au/lifestyle/family-pets/2018/02/growing-up-on-a-farm-in-1950s-australia-part-2/" target="_blank">Chapter 2: Aussie Winters – 1950s</a></strong></span>, <span style="text-decoration: underline;"><strong><a href="https://www.oversixty.com.au/lifestyle/family-pets/2018/03/a-time-of-great-change-in-my-childhood/" target="_blank">Chapter 3: Aussie Winters – 1960s</a></strong></span>, and <span style="text-decoration: underline;"><strong><a href="https://www.oversixty.com.au/lifestyle/family-pets/2018/04/saying-goodbye-to-my-family-farm-in-the-1960s/" target="_blank">Chapter 4: Aussie Summers – 1960s </a></strong></span></em></p> <p>Having moved to New Zealand almost 40 years ago, it soon became apparent, that the weather this side of the ditch is considerably different, to what I experienced in Australia.</p> <p>Upon arrival in this country, I worked on several North Island farms. It was really enjoyable, especially working on several dairy farms, in much higher rainfall than I had previously experienced. This was a totally new adventure for me. We had grown up purchasing milk from a neighbour who milked a few cows, about a mile away.</p> <p>It soon became apparent to me that most Kiwi farmers had a different attitude to farming regarding the weather. In my experience the Kiwi farmer EXPECTED to receive the average amount of rain when required and farmed accordingly. Sometimes they were not as well prepared for a dryer spell, especially those in the normally high rainfall areas.</p> <p>The Aussie farmer HOPED for rain but farmed more cautiously in case of an extended dry spell. They could soon adapt and adjust if they received more rainfall than was normal, which did happen, sometimes. This was my opinion at the time, and I think still largely applies even today. However, I could be mistaken.</p> <p>After leaving farming, I was employed at various North Island meat processing plants in various capacities. Again, the number of livestock (especially lambs) processed annually was dictated by the weather. Freezing cold temperatures, heavy rain or snowfall could decimate newly born lambs, if it fell at lambing time.</p> <p>From a personal point of view, I found the weather in the North Island far cooler but more humid than I had experienced in South Australia. Many years ago, I returned home in March for my father’s birthday. As with most Australian homes, my parent’s home was fully air conditioned. This particular day was hot, but not exceptionally so. I opened the outside door with the intention of walking around the garden. However, as I stepped to go out, I was faced with what felt like opening an oven door, and quickly retreated to the cooler inside temperature. My parents laughed at my reaction and commented, “You have been in NZ for too long”, to which I only grinned and nodded in agreement and returned to the more acceptable temperature inside the house. Going outside would have to wait until it was cooler.</p> <p>About 20 years ago, I moved further south to the top of the South Island, where the summers tended to be hot and dry and the winters quite mild, which reminded me of home. I had grown up with vineyards and the Barossa Valley a short distance away, and here I was virtually surrounded by what seemed like never ending vineyards. Living in that region, reminded me most of the South Australian weather I had left, many years previously.      </p> <p>On the move again, to North Canterbury, just north of Christchurch, where I met and married, an amazing woman. Again, changes in the weather soon quickly became apparent, with cooler summers, much colder winters, and sometimes, very windy days, especially during early spring. If the temperature reaches 30 degrees we think we are experiencing a heatwave, but if I inform Aussie friends and relatives, they generally laugh at me, or begin to explain what a real heatwave is like.</p> <p>In a small area of our lifestyle block, we have approximately 150 mature pine trees. Almost four years ago in early spring, we had gale force NW winds which blew off the Southern Alps and lasted for several hours. It happened at night but because of the dreadful noise, we were unable to sleep. I was terrified and felt certain the roof was going to lift off the house at any time. The storm covered a huge area, and many households were severely affected for many days due to power losses, caused by trees blowing onto power lines. We later heard that wind gusts had reached 150kms per hour. At first light we went outside to assess the damage. Fortunately, we only found some branches blown off trees. Everything else had escaped unscathed. However, when we saw the mature trees, it was a different story with many of them either uprooted entirely or badly blown over. At least we will not have to worry about firewood for the next few years.</p> <p>As mild as the summers are, the winters are entirely different. Yes, we still get the heavy, white frosts which are quite common in many regions. What sets us apart from some other areas is the snow we can receive. Most years we have had at least one snowfall every year, some quite light which barely covers the ground. Some however can be 30cms or so deep. It is those heavy falls which can make life interesting for us.</p> <p>We have a large bird aviary which ranges in height from 2-3 metres. When we receive a heavy snowfall, it tends to gather on the bird netting. This snow causes the netting to stretch severely under the weight and eventually the aviary will collapse if not dislodged. So how do we rectify the problem? My dear wife normally informs me it is my job! With a thick, woolly hat, raincoat and gumboots and a wide metal, garden rake I go into the aviary. I push the flat, wide part of the rake against the snow to dislodge it. The really difficult part is to do so, without the snow going down the back of my neck or inside my gumboots. During a prolonged snowfall, this procedure has to be performed a number of times. Each time I ask my wife, “Would you like to take care of the snow in the aviary?” but at times like that, she has “selective hearing” and only smiles at me.</p> <p>One year, we had spent the day out with one of Kay’s numerous sisters and husband, who were visiting us at the time. The evening was relatively mild and calm for that time of the year. A cooler southerly change was expected during the night. Early next morning we woke at 4.45am which was our normal, weekday time for getting up. Upon opening the curtains, realised that it had snowed heavily during the night and was continuing to do so.</p> <p>With a heavy, white blanket of snow covering everything, we quickly realised that to drive to work would be foolhardy and extremely dangerous, so we did not risk it. We both phoned our work places, advised them of our situation, and were advised to stay home. Later, we were to realise the snow had blanketed a large area of the East Coast, right down to sea level in many cases. As soon as it was light enough to see, I again asked my wife regarding the bird aviary, and immediately realised to continue the conversation would be futile! Eventually, it stopped snowing and the cold wintery sunlight began to filter its way through the broken clouds. It looked amazingly beautiful with the thick snow glistening brightly. It was picture postcard brilliant, and reminded me of amazing photos we have often seen in Northern Europe and America. This outstanding beauty was equally matched by the stillness and quietness. In a beautiful, almost magical way, the silence was almost deafening. Yes, we had neighbours some as close as 150 metres away with young children, but at that moment in time, not a sound could be heard in the district. It appeared everyone was in total awe of nature at its finest. It seemed almost surreal, and a world away from the previous day. Every now and then we would hear, what sounded like the crack of a rifle shot, to discover it was a branch from a tree, collapsing under the weight of the snow.</p> <p>A little later, I went out to dislodge the snow from many of our smaller trees and shrubs, so they would not be damaged, and collapse under the weight. My wife was preoccupied playing Scrabble with her sister (both of whom were cheating) in front of a roaring fire to initially offer assistance. They are very close in all respects. I could hear them laughing, and totally oblivious to what I was doing. It was like winding back the clock many decades. At the completion of their game, they came outside and helped me, which was much appreciated. Eventually, the snow melted and caused very little damage to our property. We were not affected by power outages although some inland people living in isolated areas were without power for many days.</p> <p>One time, we had an even heavier (but brief) snowfall which was at least 30cms deep, and filled my gumboot as soon as I walked to the aviary. Very soon, I could feel my feet begin to freeze. I yelled out desperately for warm water to my wife who was cosy and warm inside by the fire. I then poured the water inside my boot, hoping it would melt the snow enough for me to withdraw my (now) frozen feet. Fortunately, it proved successful with no long term ill effects.</p> <p>While we were working, it was those types of really wintery, cold, snowy days that we dreaded. The snow and ice on the road made the road very slippery for driving, and extra care was needed. Walking along the footpath in cold, wet windy weather usually in the dark, for about 10-15 minutes we dreaded but endured because there was no other alternative. We were always relieved to finally enter our warm workplace.</p> <p>We noticed, especially during the winter, that the weather could be vastly different between Christchurch, and our home, less than an hour’s drive away, across the plains, towards the foothills. Having now retired, we no longer have to face those kinds of problems. It doesn’t matter if we are farmers or not. To some degree whatever we choose to do with our lives, or wherever we go, the weather will always play a part in our everyday lives.</p> <p>My sincere wish is that you have enjoyed the journey I have attempted to take you on, regarding how the weather has shaped and influenced my life, in both Australia and New Zealand, and I’m sure, will continue to do so.</p>

Family & Pets

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How to find the right sunglasses for your face shape

<p>Whether your face is heart shaped, round, rectangular or otherwise, there are some specific types of sunglasses that will suit you (or not!).</p> <p><strong>1. Square</strong></p> <p>Try to soften your strong jaw line or wide forehead by choosing styles with rounded edges and curves. Think Tom Cruise aviators or round John Lennon style circular frames. This face shape also suits cat’s eye frames as they are wider than the cheekbones.</p> <p><strong>2. Round</strong></p> <p>In the opposite way, a round face will want to avoid glasses with too many curves or circles as these will accentuate the circular face shape rather than complement it. Focus on styles with thin sharp lines and edges (like square or rectangle frames) to elongate your face and make it appear thinner.</p> <p><strong>3. Diamond</strong></p> <p>With a narrow forehead and jaw line, diamond shaped faces need to ensure their frames aren’t wider than their cheekbones. Go for oval styles and round glasses that complement the face.</p> <p><strong>4. Heart</strong></p> <p>This face shape is widest at the forehead with a narrow chin. Many styles suit the heart shaped face, including wrap around glasses, aviators or Jackie O style butterfly shaped frames (which are wider at the top of the glasses). Try to find glasses with thin arms to enhance the symmetry of the face shape.</p> <p><strong>3. Oval</strong></p> <p>These are the symmetrical people who look good in almost any style. Try to avoid larger than life frames though as these will drown your favourable face shape. Try to find frames that cover your eyebrows as this looks best with this face shape. Have fun with bright colours and fun styles that you love.</p> <p><strong>6. Rectangle</strong></p> <p>There are lots of options for the oblong or rectangular face shape, with most large sunnies working well (while small frames don’t work at all). Think wayfarers, wrap-around or shield styles, square and rectangle frames.</p> <p>Do you consider face shape when choosing sunglasses? We would love to hear from you in the comments.</p>

Beauty & Style

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The women who shaped my life

<p>Not everyone is lucky enough to grow up with a loving mum to guide them through the hard times in life, but most people will agree there’s one (or more) special lady in their lives who’s shaped the person they are today. With Mother’s Day just around the corner, let’s take the opportunity to celebrate these inspirational women.</p> <p><strong>1. Miss Sherwell</strong></p> <p>“Miss Sherwell, the last lady who looked after me in care. She saw something in me that no one else did. She taught me scrabble, allowed me to stay up and listen to plays on the BBC and the odd TV show, encouraged me all the time, when I got picked to go on a TV quiz she was so proud of me. I was the first girl to go to ballet lessons because she asked the matron who gave in to her nagging, I wrote to this lady for 40 years and when she passed over, her friend sent me her trinkets and a year later some money arrived. I will never forget her. It wasn’t always easy as being in care, but she never gave up on me. I loved her.” – Rose Marie Quinn</p> <p><strong>2. Myself</strong></p> <p>“Me. I have inspired myself to never give up, to push through whatever has come my way, to believe and achieve in oneself, go for what you want and never listen to doubters – something my parents never gave to me.” – Pat Wilson</p> <p><strong>3. My aunt</strong></p> <p>“Most people would nominate their mother or even a teacher, but my mentor was my mother's sister, my aunt. From age eight, my parents were in conflict but remained together ‘for the sake of the children’ (me and two younger brothers). I had no one to confide in, living as we did in an isolated country town in NSW, so I struck up a correspondence with my aunt who lived far away in Queensland. She was never critical, but taught me great values and to think for myself. She saw me through my education, my marriage, becoming a mother, my mother's death and every milestone in my life. She died just a few years ago, aged in her 90s and I miss her terribly.” – Bev Maybury</p> <p><strong>4. My grandmother</strong></p> <p>“My grandmother on my father’s side. Old fashioned, down to earth, with good morals. Taught me how to bake, cook, sew and do domestic chores. She made me admit my mistakes in life and apologise to whom I did wrong. A kind, loving lady.” – Marcella Louise Curtis</p> <p><strong>5. My great-grandmother</strong></p> <p>“I never met her, but my great-grandmother inspired my mum and me in turn. She took on the task of raising 5 of her 6 grandchildren (only a few of many) when my grandfather was killed in WWII (my grandmother had already died of a heart condition when mum was 12 or 13 years of age). She was a feisty lady, kept those kids in check, made sure they were educated properly, taught them right from wrong and was always there for them. If I could meet anyone to have conversations with she would be the one I would choose.” – Shirley Lynch</p>

Family & Pets