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Most popular wedding song revealed

A classic 1980s hit has been crowned the most popular wedding song according to a recent study. According to the new research by Breezit, an online wedding vendor search tool that collates data, Whitney Houston’s pop ballad I Wanna Dance With Somebody is the most popular song for couples tying the knot. The 1987 hit, which was on Houston’s second studio album, ‘Whitney’, appeared 484 times across the 2,000 wedding-themed Spotify playlists the company poured through, which contained a total of 49,091 songs. Among thousands of playlists, I Wanna Dance With Somebody featured on more than 24 per cent of those nuptial-centric compilations. Coming in second on the list of most popular wedding songs was ABBA’s 1976 worldwide hit Dancing Queen. “Music plays an incredibly important role in wedding celebrations, and it’s fascinating to see which songs are still hailed as wedding classics, even years after their initial release,” Arturas Asakavicius, co-founder and CEO of Breezit, told <a href="https://www.brides.com/all-time-most-popular-wedding-song-new-study-8733497">Brides</a>. “Wedding playlists can help create lasting memories” he added, “capturing both the joy of the dance floor and the romance of walking down the aisle. Certain songs have become intertwined with the celebration of a wedding, which is why some have become timeless classics for many couples’ big day.” Image credits: Shutterstock

Music

Music and dementia: researchers are still making discoveries about how songs can help sufferers

<a href="https://theconversation.com/profiles/rebecca-atkinson-1288605">Rebecca Atkinson</a>, <a href="https://theconversation.com/institutions/anglia-ruskin-university-1887">Anglia Ruskin University</a> and <a href="https://theconversation.com/profiles/ming-hung-hsu-2215063">Ming-Hung Hsu</a>, <a href="https://theconversation.com/institutions/anglia-ruskin-university-1887">Anglia Ruskin University</a> Music is woven into the fabric of our everyday lives. Whether it’s lifting our spirits, pushing us to run faster or soothing us to sleep, we can all <a href="https://www.frontiersin.org/journals/psychology/articles/10.3389/fpsyg.2021.713818/full">recognise its power</a>. So it’s no wonder it is increasingly being used in medical treatment. As well as proving very useful in <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3863265/">cancer treatment</a>, managing <a href="https://www.sciencedirect.com/science/article/pii/S1526590022000153">chronic pain</a> and even helping the brain <a href="https://www.frontiersin.org/articles/10.3389/fnhum.2014.00245/full">recover after a stroke</a>, researchers have also been making great strides in using music to help patients with dementia. It reduces patients’ <a href="https://www.cochranelibrary.com/cdsr/doi/10.1002/14651858.CD003477/full">anxiety and depression</a>, and <a href="https://www.thelancet.com/journals/eclinm/article/PIIS2589-5370(23)00401-7/fulltext">improves wellbeing</a> both for them and their carers <a href="https://www.cambridge.org/core/journals/the-british-journal-of-psychiatry/article/individual-music-therapy-for-depression-randomised-controlled-trial/A1CD72904929CECCB956F4F3B09605AF">by enhancing</a> everyone’s ability to adapt and cope with adversity or stress. <a href="https://www.bamt.org">Music therapy</a> in the form of playing, singing or listening to music can also have a <a href="https://journals.sagepub.com/doi/abs/10.1177/1362361309105660">positive effect</a> on cognitive function – particularly for <a href="https://link.springer.com/article/10.1186/1472-6882-10-39">older adults</a> either with dementia or memory issues. So why does music appear to have such a powerful effect for people with dementia? <h2>Music and the brain</h2> About a decade ago, <a href="https://www.sciencedirect.com/science/article/abs/pii/S1053811911013000">researchers discovered that</a> when people listened to music, multiple areas of the brain were involved in processing it. These included the limbic (which processes emotions and memory), cognitive (involved with perception, learning and reaction) and motor areas (responsible for voluntary movement). This challenged preconceptions that music was processed more narrowly in the brain – and helped explain why it has such a unique neurological impact. Not only that, research has shown that music might help <a href="https://www.sciencedirect.com/science/article/abs/pii/S0306987708002880">regenerate the brain</a> and its connections. Many <a href="https://www.nhs.uk/conditions/dementia/about-dementia/causes/">causes of dementia</a> centre around cell death in the brain, raising the possibility that music could help people with dementia by mending or strengthening damaged neural connections and cells. It’s not just any music that has a regenerative effect on the brain, though. <a href="https://www.frontiersin.org/articles/10.3389/fnhum.2016.00103/full">Familiar and favourite music</a> has been shown to have the biggest impact on the way we feel, and is closely linked with memory and emotions. This is because listening to our favourite songs <a href="https://www.nature.com/articles/nn.2726">releases feel-good hormones</a> that give us a sense of pleasure. Curated music playlists of favourite music could be the key in helping us deal with the <a href="https://journals.sagepub.com/doi/full/10.1177/10298649211030318">stress of everyday life</a>. This is relevant to Alzheimer’s and other forms of dementia because researchers have discovered that parts of the brain linked with <a href="https://academic.oup.com/brain/article/138/8/2438/330016">musical memories</a> are less affected by these conditions than other areas of the brain. This explains why memories and experiences that are linked to <a href="https://link.springer.com/article/10.14283/jpad.2018.19">favourite music</a> are often preserved for people with such conditions. Listening to music can also <a href="https://pubmed.ncbi.nlm.nih.gov/34346261/">help manage</a> their experiences of distress, agitation and “<a href="https://www.alzheimers.org.uk/about-dementia/symptoms-and-diagnosis/symptoms/sundowning">sundowning</a>” – where a person is more confused in the afternoon and evening. In a <a href="https://www.sciencedirect.com/science/article/pii/S0197457224002209?utm_campaign=STMJ_219742_AUTH_SERV_PA&utm_medium=email&utm_acid=224973760&SIS_ID=&dgcid=STMJ_219742_AUTH_SERV_PA&CMX_ID=&utm_in=DM500444&utm_source=AC_">small study</a> conducted by us and our colleagues at the Cambridge Institute for Music Therapy Research, we showed just how great of an effect listening to music can have for people with dementia. We found that when people with dementia repeatedly listened to their favourite music, their heart rate and movements changed in direct response. This showed that people’s physical responses were affected by musical features like rhythm and arrangement. Their heart rate also changed when they sang along to music, or when they began reminiscing about old memories or stories while listening to a song or thinking about the music. These changes are important because they show how music affects movement, emotions and memory recall. Studies have also shown that during and after listening to music, people with dementia <a href="https://www.mdpi.com/2076-3425/13/7/1103">experienced less agitation</a>, aggression and anxiety, and their general mood was improved. They even needed less medication when they had regular music sessions. Other researchers have even begun testing the effects of <a href="https://onlinelibrary.wiley.com/doi/abs/10.1002/gps.4721?casa_token=VufeKQP7aNsAAAAA%3AMSOgiwUQYKqmmrLsUFv9glmSnc5BMxoqeMmmt3HX4BJX2Fs2UKeXjnN2850o1Umz0j1NvmrpQ3W3Pw">music training programmes</a> to support cognition for people with dementia. Results have been promising so far – with adults in the study showing improved executive functioning (problem solving, emotion regulation and attention) compared to those who took part in just physical exercise. So, music is likely to continue to be a useful medical treatment for people with dementia. But based on what we know so far, it’s important that it comes from the patient’s own music collection – and is used alongside other management techniques such as using drugs that can slow the progression of dementia or help manage symptoms to support self-care and wellbeing.<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/239446/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/rebecca-atkinson-1288605">Rebecca Atkinson</a>, Researcher in Music Therapy, <a href="https://theconversation.com/institutions/anglia-ruskin-university-1887">Anglia Ruskin University</a> and <a href="https://theconversation.com/profiles/ming-hung-hsu-2215063">Ming-Hung Hsu</a>, Senior Research Fellow, Music Therapy, <a href="https://theconversation.com/institutions/anglia-ruskin-university-1887">Anglia Ruskin University</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/music-and-dementia-researchers-are-still-making-discoveries-about-how-songs-can-help-sufferers-239446">original article</a>.

Mind

What to claim for lost, delayed or damaged bags on overseas flights

<a href="https://theconversation.com/profiles/rebecca-johnston-123333">Rebecca Johnston</a>, <a href="https://theconversation.com/institutions/university-of-notre-dame-australia-852">University of Notre Dame Australia</a> and <a href="https://theconversation.com/profiles/david-hodgkinson-6574">David Hodgkinson</a>, <a href="https://theconversation.com/institutions/the-university-of-western-australia-1067">The University of Western Australia</a> If you get on a plane and your baggage ends up being delayed, damaged or lost, who’s responsible: you or the airline? And what rules apply when you’re flying between different countries – even if you don’t have travel insurance? Airlines (otherwise known as carriers) generally include baggage requirements in their terms and conditions of carriage, which are set out or referred to on your ticket. These are the rules that apply to the journey that you have booked. But for international flights, a carrier’s liability for damage, loss or delay of baggage is governed by a number of overarching international treaties, which many passengers aren’t aware of. <h2>International agreements</h2> The <a href="http://www.jus.uio.no/lm/air.carriage.warsaw.convention.1929/doc.html">Warsaw Convention</a> of 1929 was the first of these treaties, and the latest is the passenger-friendly 1999 <a href="http://www.jus.uio.no/lm/air.carriage.unification.convention.montreal.1999/">Montreal Convention</a>. In order for one of these treaties to apply to a particular journey, the same treaty must be in place at the point of departure and the passenger’s final destination. For many trips, the agreement that will apply will be the Montreal Convention, which has to date <a href="http://www.icao.int/secretariat/legal/List%20of%20Parties/Mtl99_EN.pdf">108 state parties</a>, covering everywhere from Albania and Australia to Zambia. In time, the Montreal Convention is expected to apply to almost all air travel. The Warsaw Convention (as amended by the <a href="http://www.jus.uio.no/lm/air.carriage.warsaw.convention.hague.protocol.1955/doc.html">Hague Protocol</a> and <a href="http://www.jus.uio.no/lm/air.carriage.warsaw.convention.montreal.protocol.4.1975/doc.html">Montreal Protocol No. 4</a>) will generally apply where the Montreal Convention does not. It is less favourable to passengers. All these treaties have similar provisions to deal with baggage claims – but very different limits to what you might get if you need to make a claim. <h2>What the airline is responsible for</h2> A carrier is liable if your checked baggage is lost, delayed or damaged regardless of fault. This is so unless the damage resulted from the inherent defect or quality of the baggage or, in terms of delay, if it proves that it took all reasonable measures to avoid the damage occasioned by that delay. As for unchecked baggage (that is, carry-on baggage), the carrier is only liable if the damage is due to the fault of the carrier or its agents. Unless otherwise specified, reference to “baggage” includes both checked and unchecked baggage. <h2>Calculating baggage compensation</h2> Under the Warsaw Convention (as amended by the <a href="http://www.jus.uio.no/lm/air.carriage.warsaw.convention.hague.protocol.1955/doc.html">Hague Protocol</a> and <a href="http://www.jus.uio.no/lm/air.carriage.warsaw.convention.montreal.protocol.4.1975/doc.html">Montreal Protocol No. 4</a>) and the Montreal Convention, liability limits are expressed in <a href="http://www.imf.org/external/np/exr/facts/sdr.HTM">special drawing rights</a> (SDRs). An SDR is a type of foreign exchange reserve asset created by the International Monetary Fund. Its value is based on an artificial basket of currencies consisting of the US dollar, the euro, the pound and the Japanese yen. The liability limits are reviewed every five years. As of October 16, 2014, the <a href="http://www.imf.org/external/np/fin/data/param_rms_mth.aspx">value of an SDR</a> is about US$1.49, £0.93 or A$1.70. Current SDR values for other currencies are also listed <a href="http://www.imf.org/external/np/fin/data/param_rms_mth.aspx">here</a>. <h2>So what is your baggage worth?</h2> In terms of baggage liability limits, the Warsaw Convention is of relatively little assistance to passengers. If your international travel is subject to Warsaw (for example, if you flew out of the United States on a one way ticket to Guatemala), liability for delayed, damaged or lost baggage is limited to 17 SDRs (about US$25.33, £15.81 or A$28.90) per kilogram per passenger for checked baggage and 332 SDRs (about US$494.68, £308.76 or A$564.40) per passenger for unchecked baggage. In contrast, a carrier is liable to pay far greater damages if the Montreal Convention applies. For any travel covered by Montreal, the carrier’s liability for baggage is limited to 1131 SDRs per passenger (US$1685.19, £1051.83 or A$1922.70), unless otherwise declared. The carrier is not liable for damages caused by delay if the carrier took all reasonable measures, or if it was impossible for it to take such measures. <h2>Time limits on baggage claims</h2> Time limits are imposed on making a claim for delayed, damaged or lost baggage. Any potential claims should be made to a carrier in writing within these specified limits. Article 26 of Warsaw provides that any complaint as to delay of baggage must be made at the latest within 21 days from the date the baggage was placed at the passenger’s disposal. <figure class="align-right zoomable"></figure> Similarly, under Article 31 of Montreal, a complaint must be made within 21 days of a passenger receiving their baggage. With respect to damaged baggage, under Warsaw, any claim must be made “forthwith” after the discovery of the damage and at most seven days from the date of receipt of the baggage. Montreal also gives passengers seven days from receipt of checked bags to report a damage claim. Neither convention imposes a time limit for reporting lost baggage claims. But it is advisable that you make your complaint as soon as possible. Warsaw does not state when baggage is considered “lost”, leaving it up to carriers to make that ruling. Under Montreal, baggage is only considered lost after 21 days or if the carrier admits that they have lost it. If a passenger fails to make a complaint within the specified times, the carrier will not be liable unless there has been fraud on the carrier’s part. <h2>Insurance alternatives</h2> If you are concerned that the contents of your baggage exceed the liability limits outlined above, you can make a special declaration of the value of your baggage prior to check-in and pay any additional fee (if required). In this case, the carrier will be liable to pay a higher amount, unless it is proved that the declared amount is greater than the actual value of your baggage. Alternatively, prior to travelling, check with your insurance company as to whether your travel insurance covers any excess from delayed, damaged or lost baggage. You might also want to <a href="http://www.icao.int/secretariat/legal/List%20of%20Parties/Mtl99_EN.pdf">check this list</a> to see whether the places you’re departing from and finally arriving at are parties to the Montreal Convention. If not, you might just find yourself out of pocket.<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/32111/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/rebecca-johnston-123333">Rebecca Johnston</a>, Adjunct Lecturer, Law School, <a href="https://theconversation.com/institutions/university-of-notre-dame-australia-852">University of Notre Dame Australia</a> and <a href="https://theconversation.com/profiles/david-hodgkinson-6574">David Hodgkinson</a>, Associate Professor, Law School, <a href="https://theconversation.com/institutions/the-university-of-western-australia-1067">The University of Western Australia</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/what-to-claim-for-lost-delayed-or-damaged-bags-on-overseas-flights-32111">original article</a>.

Travel Trouble

Lost touch with someone? Reach out – your friend will likely appreciate it more than you think

<a href="https://theconversation.com/profiles/peggy-liu-818769">Peggy Liu</a>, <a href="https://theconversation.com/institutions/university-of-pittsburgh-854">University of Pittsburgh</a> and <a href="https://theconversation.com/profiles/lauren-min-1354136">Lauren Min</a>, <a href="https://theconversation.com/institutions/university-of-kansas-1588">University of Kansas</a> <h2>The big idea</h2> The next time you wonder whether to reach out to a friend, family member, classmate or other person who’s been out of touch for a long time, go ahead and do it. According to <a href="https://doi.org/10.1037/pspi0000402">our just-published research</a>, it’s likely they’ll appreciate it more than you think. In a series of 13 experiments involving over 5,900 participants, we – along with colleagues <a href="https://scholar.google.com/citations?user=0Stzf1cAAAAJ&hl=en">SoYon Rim</a> and <a href="https://scholar.google.com/citations?user=TZQefJAAAAAJ&hl=en">Kate Min</a> – wanted to investigate whether people accurately predict <a href="https://doi.org/10.1037/pspi0000402">how much their social contacts appreciate being reached out to</a>. In one experiment we conducted, college students wrote a note “to check in and say hello” to a classmate they hadn’t interacted with in a while. Then we asked them how much they thought their classmate would appreciate receiving this note. Next, we delivered these notes to their classmates and asked the recipients how much they appreciated receiving them. We found that the students who received the notes were much more appreciative of the gesture than the students who wrote them had anticipated. Other experiments varied the scenario by involving older adults as participants rather than college students, switching the written message to a small gift – such as cookies or coffee – and comparing how much the sender underestimated the appreciation that an emotionally distant contact would feel compared with a close contact. Overall they yielded the same basic finding: People tended to underestimate how much others appreciated hearing from them. What drives this underestimation? Our results suggest that it’s related to how little the people reaching out factor in the surprise felt by those being contacted. When we asked recipients what they focused on when indicating how appreciative they felt, they reported paying a lot of attention to their positive feelings of surprise, which were linked to how appreciative they felt. Comparatively, potential senders did not report focusing much on recipients’ positive feelings of surprise. It also mattered whether the two parties were already in a close relationship. People’s underestimations were even greater when their contact was a distant acquaintance because these recipients were especially surprised at being contacted. <h2>Why it matters</h2> Many people can name at least one person with whom they would like to reconnect. Taking a new job, moving to a different city, becoming a parent, or the busyness of everyday life – these are just some of the life events and circumstances that can cause people to lose touch. Then, if the desire to reconnect arises on one side, doubts may arise about whether the other person may appreciate being contacted out of the blue. When people consider taking the initiative to reach out, especially after a prolonged period of no contact, they may worry about being rejected. This worry might keep them from reaching out in the first place. Our research lessens this challenge by showing that often, these gestures will be much more appreciated than one might expect. <h2>What other research is being done</h2> Our findings fit within a growing stream of research examining the tendency to underestimate others’ appreciation of various social exchanges. For example, other researchers have found that people underestimate how much <a href="https://doi.org/10.1037/pspa0000277">others appreciate receiving compliments</a> or <a href="https://doi.org/10.1177/0956797618772506">expressions of gratitude</a>. Our work adds to this area by broadening the scope of the contexts in which people underestimate how much social exchanges are appreciated. Reaching out could but need not require giving compliments or expressing gratitude – the gesture can be as simple as checking in with someone to show that one is thinking about them.<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/185001/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/peggy-liu-818769">Peggy Liu</a>, Ben L. Fryrear Chair in Marketing and Associate Professor of Business Administration, <a href="https://theconversation.com/institutions/university-of-pittsburgh-854">University of Pittsburgh</a> and <a href="https://theconversation.com/profiles/lauren-min-1354136">Lauren Min</a>, Assistant Professor of Marketing, <a href="https://theconversation.com/institutions/university-of-kansas-1588">University of Kansas</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/lost-touch-with-someone-reach-out-your-friend-will-likely-appreciate-it-more-than-you-think-185001">original article</a>.

Relationships

“I lost all ability to fly the plane”: Pilot's shock claim after plane drops mid-flight

At least 50 passengers have been injured with a dozen hospitalised after a Boeing 787 Dreamliner suddenly plunged about two hours into the flight from Sydney to Auckland on Monday. LATAM Airlines said that the plane experienced an unspecified "technical event during the flight which caused a strong movement." Passengers on board the flight have recalled the terrifying moment the plane took a nose-dive mid-flight. "The plane dipped so dramatically into a nose dive for a couple of seconds and around 30 people hit the ceiling hard," Daniel, who was travelling from London, told the NZ Herald. “None of us knew what had happened until after the flight, I was just trying to keep everyone calm. We never heard any announcement from the captain." He added that passengers were screaming and it was hard to tell whether blood or red wine was splattered through the cabin. Another passenger, Brian Jokat, told broadcaster RNZ that the incident took place in "split seconds". "There was no pre-turbulence, we were just sailing smoothly the whole way,” he said. “I had just dozed off and I luckily had my seatbelt on, and all of a sudden the plane just dropped. It wasn’t one of those things where you hit turbulence and you drop a few times … we just dropped.” He added that a passenger two seats away from him, who was not wearing his seatbelt, flew up into the ceiling and was suspended mid-air before he fell and broke his ribs. “I thought I was dreaming,” he said. “I opened my eyes and he was on the roof of the plane on his back, looking down on me. It was like The Exorcist.” Paramedics and more than 10 emergency vehicles were waiting for passengers when the plane landed in Auckland. Around 50 patients were treated, with 12 of them hospitalised and one in serious condition. At least three of those treated were cabin crew. Jokat told RNZ that after the plane landed, the pilot came to the back and explained what had happened. "He said to me, ‘I lost my instrumentation briefly and then it just came back all of a sudden,’” Jokat said. In another interview with Stuff.co.nz, Jokat recalled the pilot also saying: “My gauges just blanked out, I lost all of my ability to fly the plane.” The airline's final destination was Santiago, Chile, but it was landing at Auckland Airport in accordance with its normal flight path, according to Reuters. "LATAM regrets the inconvenience and injury this situation may have caused its passengers, and reiterates its commitment to safety as a priority within the framework of its operational standards," the airline said. Images: Brian Jokat/ News.com.au

Travel Trouble

Young musician dies weeks after writing final song

Cat Janice has died aged 31 with her family by her side. The young musician, who had a large following on TikTok, had been battling cancer since January 2022 when doctors diagnosed her with sarcoma, a rare malignant tumour. She was declared cancer-free on July 22 that same year, following extensive surgery, chemo and radiation therapy. The mum-of-one was sadly re-diagnosed with cancer in June last year and despite fighting hard in the second round of her treatments, Janice told fans in January that her cancer "won" and that she "fought hard but sarcomas are too tough". Janice's family have announced her passing in a statement shared to her Instagram. "From her childhood home and surrounded by her loving family, Catherine peacefully entered the light and love of her heavenly creator," they said. "We are eternally thankful for the outpouring of love that Catherine and our family have received over the past few months." Before she died, Janice publicly announced that all her music would be signed over to her 7-year-old son, Loren, to support him in the future. Just weeks before her death, she released her final song Dance You Outta My Head in the hope it would spread "joy and fun". "My last joy would be if you pre saved my song 'Dance You Outta My Head' and streamed it because all proceeds go straight to my 7-year-old boy I'm leaving behind," she said, before the song was released. The song went viral, and took he number one spot in several countries and the number five spot on the Apple Itunes globally. Her family have said that the love she received for her final song, was unbelievable parting gift she could have ever received. "Cat saw her music go places she never expected and rests in the peace of knowing that she will continue to provide for her son through her music. This would not have been possible without all of you." Images: Instagram

Caring

The art of ‘getting lost’: how re-discovering your city can be an antidote to capitalism

<a href="https://theconversation.com/profiles/stephen-dobson-1093706">Stephen Dobson</a>, <a href="https://theconversation.com/institutions/cquniversity-australia-2140">CQUniversity Australia</a> Do you remember what it was like to discover the magic of a city for the first time? Do you remember the noises, smells, flashing lights and pulsating crowds? Or do you mostly remember cities through the screen of your phone? In 1967, French philosopher and filmmaker Guy Debord <a href="https://files.libcom.org/files/The%20Society%20of%20the%20Spectacle%20Annotated%20Edition.pdf">publicised the need</a> to move away from living our lives as bystanders continually tempted by the power of images. Today, we might see this in a young person flicking from one TikTok to the next – echoing the hold images have on us. But adults aren’t adverse to this window-shopping experience, either. Debord notes we have a tendency to observe rather than engage. And this is to our detriment. Continually topping-up our image consumption leaves no space for the unplanned – the reveries to break the pattern of an ordered life. Debord was a member of a group called the <a href="https://www.britannica.com/topic/Situationist-International">Situationist International</a>, dedicated to new ways we could reflect upon and experience our cities. Active for about 15 years, they believed we should experience our cities as an act of resistance, in direct opposition to the (profit-motivated) capitalistic structures that demand our attention and productivity every waking hour. More than 50 years since the group dissolved, the Situationists’ philosophy points us to a continued need to attune ourselves – through our thoughts and senses – to the world we live in. We might consider them as early eco-warriors. And through better understanding their philosophy, we can develop a new relationship with our cities today. <h2>Understanding the ‘situation’</h2> The Situationist International movement was <a href="https://www.jstor.org/stable/j.ctt183p61x">formed</a> in 1957 in Cosio di Arroscia, Italy, and became active in several European countries. It brought together radical artists inspired by spontaneity, experimentalism, intellectualism, protest and hedonism. Central figures included Danish artist <a href="https://museumjorn.dk/en/">Asger Jorn</a>, French novelist <a href="https://mitpress.mit.edu/author/michele-bernstein-10219/">Michèle Bernstein</a> and Italian musician and composer <a href="https://en.wikipedia.org/wiki/Walter_Olmo">Walter Olmo</a>. The Situationists were driven by a <a href="https://encyclopedia.pub/entry/34141">libertarian form of Marxism</a> that resisted mass consumerism. One of the group’s early terms was “unitary urbanism”, which sought to join avant-garde art with the critique of mass production and technology. They rejected “urbanism’s” conventional emphasis on function, and instead thought about art and the environment as inexorably interrelated. By rebelling against the invasiveness of consumption, the Situationists proposed a turn towards artistically-inspired individuality and creativity. <h2>Think on your own two feet</h2> According to the 1960 <a href="https://hts3.files.wordpress.com/2010/12/situationist-international-manifesto.pdf">Situationist Manifesto</a> we are all to be artists of our own “situations”, crafting independent identities as we stand on our own two feet. They believed this could be achieved, in part, through “<a href="https://www.tate.org.uk/art/art-terms/p/psychogeography#:%7E:text=Psychogeography%20describes%20the%20effect%20of,emotions%20and%20behaviour%20of%20individuals">psychogeography</a>”: the idea that geographical locations exert a unique psychological effect on us. For instance, when you walk down a street, the architecture around you may be deliberately designed to encourage a certain kind of experience. Crossing a vibrant city square on a sunny morning evokes joy and a feeling of connection with others. There’s also usually a public event taking place. The Situationists valued drift, or dérive in French. This alludes to unplanned movement through a landscape during journeys on foot. By drifting aimlessly, we unintentionally redefine the traditional rules imposed by private or public land owners and property developers. We make ourselves open to the new unexpected and, in doing so, are liberated from the shackles of everyday routine. In <a href="https://link.springer.com/book/10.1007/978-981-10-8100-2">our research</a>, my colleagues and I consider cities as places in which “getting lost” means exposing yourself to discovering the new and taken-for-granted. <h2>Forge your own path</h2> By understanding the Situationists – by looking away from our phones and allowing ourselves to get lost – we can rediscover our cities. We can see them for what they are beneath the blankets of posters, billboards and advertisements. How might we take back the image and make it work for us? The practise of geo-tagging images on social media, and sharing our location with others, could be considered close to the spirit of the Situationists. Although it’s often met with claims of <a href="https://www.nationalgeographic.com/travel/article/when-why-not-to-use-geotagging-overtourism-security">over-fuelling tourism</a> (especially regarding idyllic or otherwise protected sites), geo-tagging could <a href="https://www.melaninbasecamp.com/trip-reports/2019/5/1/five-reasons-why-you-should-keep-geotagging">inspire us</a> to actively seek out new places through visiting the source of an image. This could lead to culturally respectful engagement, and new-found respect for the rights of traditional custodians as we experience their lands in real life, rather than just through images on our phones. Then there are uniquely personal and anarchistic forms of resistance, wherein we can learn about the world around us by interweaving ourselves with our histories. In doing so we offer a new meaning to a historical message, and a new purpose. The Situationists called this process <a href="https://www.theartstory.org/movement/situationist-international/">détournement</a>, or hijacking. For instance, from my grandfather I inherited a biscuit tin of black and white photographs I believe were taken in the 1960s. They showed images of parks and wildlife, perhaps even of the same park, and cityscapes of London with people, streets and buildings. I have spent many hours wandering the London streets tracking down the exact places these images were snapped. I was juxtaposing past with present, and experiencing both continuity and change in the dialogues I had with my grandfather. In this way, I used images to augment (rather than replace) my lived experience of the material world. Urban art installations can also be examples of detournment as they make us re-think everyday conceptions. <a href="https://www.cityartsydney.com.au/artwork/forgotten-songs/">Forgotten Songs</a> by Michael Hill is one such example. A canopy of empty birdcages commemorates the songs of 50 different birds once heard in central Sydney, but which are now lost due to habitat removal as a result of urban development. There are also a number of groups, often with a strong environmental or civic rights focus, that partake in detournment. <a href="https://popularresistance.org/dancing-revolution-how-90s-protests-used-rave-culture-to-reclaim-the-streets/">Reclaim the Streets</a> is a movement with a long history in Australia. The group advocates for communities having ownership of and agency within public spaces. They may, for instance, “invade” a highway to throw a “<a href="https://pasttenseblog.files.wordpress.com/2022/02/road-rave.pdf">road rave</a>” as an act of reclamation. <figure><iframe src="https://www.youtube.com/embed/bUL0C_T-Sqk?wmode=transparent&start=999" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> As French avant-garde philosopher <a href="https://www.themarginalian.org/2014/07/24/the-poetics-of-reverie-gaston-bachelard/">Gaston Bachelard</a> might have put it, when we’re bombarded by images there is no space left to daydream. We lose the opportunity to explore and question the world capitalism serves us through images. Perhaps now is a good time to set down the phone and follow in the Situationists’ footsteps. <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/221606/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/stephen-dobson-1093706">Stephen Dobson</a>, Professor and Dean of Education and the Arts, <a href="https://theconversation.com/institutions/cquniversity-australia-2140">CQUniversity Australia</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/the-art-of-getting-lost-how-re-discovering-your-city-can-be-an-antidote-to-capitalism-221606">original article</a>.

Travel Tips

"They lost it": Margot Robbie's surprise encounter with Barbie fans

Margot Robbie has recalled a sweet story about when she overheard a group of men talking about the Barbie movie, before giving them the surprise of their life. At a screening of the Barbie movie in Los Angeles, the Aussie actress told the audience of the heartwarming moment she encountered in Scotland, shortly after the film's release last July. At the SAG-AFTRA screening of the blockbuster movie, Robbie began, “I had this brilliant experience.” “I was in a pub in the middle of nowhere in Scotland and I listened for about 30 minutes to a group of guys on a bachelor party discussing the Barbie movie, not knowing that I was sitting two or three feet away from them.” Robbie continued, “It was just truly fascinating. There were people at the table who refused to see the Barbie movie." “One guy was like, ‘Dude, it is a cultural moment, don’t you want to be a part of culture?’ And the other guy was like, ‘I’ll never see it,’ and by the end he did want to see it. It was a whole thing." “I wasn’t going to go up to them, but then I did.” Before leaving the pub, Robbie casually waltzed up to the group of men who “lost it” when they discovered Barbie herself had overheard their conversation. “At the last minute as I was walking out I went to their table and I went ‘Thank you for seeing the Barbie movie’,” she added. “It was very funny, they lost it. It took a full minute for them to realise and I was practically out the door and they went ‘Ohhhh’. “People’s reactions to the movie have been the biggest reward of this entire experience.” The heartwarming story comes fresh on the heels of Margot being <a href="https://oversixty.com.au/entertainment/movies/margot-robbie-snubbed-as-oscar-nominations-announced" target="_blank" rel="noopener">snubbed</a> for a Best Actress nomination at this year's Oscars for the Barbie movie, which caused an uproar on social media. Margot addressed the snub at the LA screening, saying there's “no way to feel sad when you’re this blessed.” “Obviously, I think Greta should be nominated as a director,” she added. “What she did is a once-in-a-career, once-in-a-lifetime thing. What she pulled off, it really is." “We set out to do something that would shift culture, affect culture, just make some sort of impact. And it’s already done that and some, way more than we ever dreamt it would. And that is truly the biggest reward that could come out of all of this.” Image credits: Getty Images

Movies

Top 80s songs to get you moving

While the fashion from the 1980s might only come out of the closet for dress up parties these days, the music is still considered some of the best of our time. Especially for music to get you moving. From dance and pop hits to a little rap and rock, it’s got to be one of the most diverse, eclectic and extravagant decades in recent cultural history. Here, we have been busy rifling through the tracks to whittle down a decade of music into 40 of the best tracks to move to. From dancing to exercise, if you want to get up off that couch, these are the songs to hit play on. 1. “Girls Just Want to Have Fun” by Cyndi Lauper (1983) 2. “Hit Me with Your Best Shot” by Pat Benatar (1980) 3. “Eye of the Tiger” by Survivor (1982) 4. “Love Shack” by The B-52's (1989) 5. “Beat It” by Michael Jackson (1982) 6. “Manic Monday” by The Bangles (1986) 7. “Let's Dance” by David Bowie (1983) 8. “Livin' on a Prayer” by Bon Jovi (1986) 9. “I Love Rock N' Roll” by Joan Jett & The Blackhearts (1982) 10. “Thriller” by Michael Jackson (1982) 11. “Faith” by George Michael (1987) 12. “Jump” by Van Halen (1984) 13. “Don't Stop Believin’" by Journey (1982) 14. “Walking on Sunshine” by Katrina & The Waves (1983) 15. “Kiss” by Prince (1986) 16. “Holiday” by Madonna (1983) 17. “Celebration” by Kool and the Gang (1980) 18. “Billie Jean” by Michael Jackson (1982) 19. “Love is a Battlefield” by Pat Benatar (1983) 20. “Sweet Dreams (Are Made of This)” by Eurythmics (1983) 21. “White Wedding” by Billy Idol (1982) 22. “Take on Me” by a-ha (1985) 23. “Video Killed the Radio Star” by The Buggles (1981) 24. “Karma Chameleon” by Culture Club (1983) 25. “The Tide is High” by Blondie (1980) 26. “Wake Me Up Before You Go-Go” by Wham (1984) 27. “Let's Hear It for the Boy” by Deniece Williams (1984) 28. “A Little Respect” by Erasure (1988) 29. “Sweet Child O' Mine” by Guns N' Roses (1987) 30. “Footloose” by Kenny Loggins (1984) 31. “Wild Thing” by Tone-Loc (1989) 32. “Tainted Love” by Soft Cell (1981) 33. “Borderline” by Madonna (1983) 34. “I Wanna Dance With Somebody” by Whitney Houston (1987) 35. “Just Can't Get Enough” by Depeche Mode (1981) 36. “Never Gonna Give You Up” by Rick Astley (1987) 37. “Always Something There to Remind Me” by Naked Eyes (1983) 38. “You Got It (The Right Stuff)” by New Kids on the Block (1988) 39. “It Takes Two” by Rob Base (1988) 40. “Down Under” by Men at Work (1981) Image: Getty

Music

The enduring appeal of Friends, and why so many of us feel we’ve lost a personal friend in Matthew Perry

<a href="https://theconversation.com/profiles/adam-gerace-325968">Adam Gerace</a>, <a href="https://theconversation.com/institutions/cquniversity-australia-2140">CQUniversity Australia</a> The <a href="https://www.9news.com.au/videos/world/friends-star-matthew-perry-dies-aged-54/cloatn0ae00ea0jqbpdz0h8td">death of Matthew Perry</a>, best known for his role as Chandler Bing in the television series Friends, has seen an outpouring of grief from fans and the Hollywood community. His passing at age 54 has shocked both those who admired his acting work, as well as those who followed his efforts to bring awareness to <a href="https://people.com/tv/matthew-perry-opens-up-about-addiction-new-memoir/">the pains of addiction</a>. Tributes to Perry have understandably focused on his star-making turn on the incredibly popular television sitcom. Scenes, catchphrases, and his character’s lines have been lovingly repurposed across the internet to memorialise the gifted actor. Meanwhile, many viewers have situated their <a href="https://variety.com/2023/tv/news/friends-fans-mourn-matthew-perry-new-york-apartment-1235772520/">recollections</a> of Perry and the series within the context of their own experiences. Viewers who came of age, or were the characters’ ages during the show’s original run, have reminisced about what the work of Perry and his co-stars meant to them at formative times in their lives. Newer viewers have similarly shared how important the series has been to them – their relationship with the show often beginning long after production ended. For many, Friends was the television equivalent of the soundtrack to their lives. To appreciate the staying power of the series for original and <a href="https://www.etonline.com/streaming-friends-how-a-90s-sitcom-became-gen-zs-new-favorite-show-132624">newer viewers alike</a> almost 30 years since it debuted, we need to consider what functions television viewing serves and the bonds we form with its characters. <h2>Enduring appeal</h2> Part of Friends’ popularity lies in its timing. The show premiered in 1994, a period when network television was still dominant. By its end a decade later, while the power of the big television networks had <a href="https://doi.org/10.1080/08838150701820924">eroded</a>, the series had maintained <a href="https://www.ratingsryan.com/2022/09/friends-nbc-ratings-recap.html">an average</a> of more than 20 million viewers each season. The 2004 finale brought in a <a href="https://www.nytimes.com/2004/05/08/arts/friends-finale-s-audience-is-the-fourth-biggest-ever.html">record-breaking</a> 52.5 million viewers in the United States. The series then entered repeats around the world. It hasn’t left our screens since. The late 90s and early 2000s have sometimes been referred to as the end of monoculture. While a <a href="https://www.vox.com/the-goods/2019/12/17/21024439/monoculture-algorithm-netflix-spotify">contested and controversial idea</a> because of, among other concerns, who was included and excluded on our screens, monoculture meant we watched <a href="https://www.npr.org/sections/bestmusic2012/2012/12/21/167836852/the-year-in-pop-charts-return-of-the-monoculture">many of the same things</a>. One of the most popular shows of its era, Friends brought people together. It was a show we watched with our families or friends, spoke about the next day with colleagues, and it provided a common connection. It allowed bonding with real friends as much as fictional ones. Friends did not only reflect style of the time; it also frequently created it. Jennifer Aniston’s haircut, coined “<a href="https://www.bustle.com/style/the-rachel-haircut">The Rachel</a>”, or Perry’s lovable smart-alecky cadence, typified with Chandler’s catchphrase of “Could I be any more…”, were endlessly imitated. I know I attempted to replicate Chandler’s <a href="https://www.gq.com.au/style/celebrity/unexpectedly-great-fashion-inspiration-courtesy-of-friends/image-gallery/f55ac75cc180e31c462525da961295fc">sweater vests</a> and light blue denim look. Participation provided viewers <a href="https://doi.org/10.1111/j.1540-5931.2011.00866.x">a sense</a> of identity. As people enter their 30s and 40s, they often <a href="https://doi.org/10.1371/journal.pone.0208595">gravitate</a> towards the memories made during their formative adolescent and young adult years. So perhaps it’s no surprise Friends endures for original viewers as it represents – and was a part of – their lives at this important time. <h2>Likeable characters</h2> Television and other fictional media meet our needs for <a href="https://doi.org/10.1111/j.1468-2958.2009.01368.x">both</a> pleasure and extracting meaning. We get excited, entertained and moved by television. As part of this, we bond with fictional characters. We cannot help but <a href="https://doi.org/10.1207/S15327825MCS0403_01">empathise</a> with them. A series like Friends with its characters and their combinations of breakups, makeups and other mishaps allowed us to safely use our empathy muscles to cheer on and sometimes commiserate with the group of six. It helped that each character was flawed but inherently likeable. Fictional characters also allow us to <a href="https://theconversation.com/neighbours-vs-friends-we-found-out-which-beloved-show-fans-mourned-more-when-it-ended-212843">experience lifestyles</a> we might not otherwise. In the case of Friends, who didn’t want to live in a rent-controlled apartment like Monica’s, or regularly meet their supportive and funny pals for coffee at Central Perk? As a teen, I imagined such a world for myself in the not-too-distant future. Younger generations might be more aware of how out-of-reach that lifestyle was, or find the show’s <a href="https://ew.com/tv/jennifer-aniston-friends-offensive-new-generation/">humour sometimes dated</a>. But the idea of what the friends’ lifestyle represented – possibility, freedom, a chosen family – evidently still holds appeal. <h2>Fictional relationships, but real sadness</h2> In forming relationships with fictional characters, we form bonds with the performers who bring them to life. The lines between character and creator become blurry, both because of the knowledge about actors’ lives celebrity culture affords us, but also because their characters seem so real. When the actors pass away, we <a href="https://doi.org/10.1016/j.chb.2016.06.042">feel real grief</a>. It’s important for fans of Matthew Perry to <a href="https://womensagenda.com.au/latest/why-with-all-the-sht-happening-in-the-world-its-still-okay-to-grieve-a-celebritys-death/">acknowledge</a> their loss. Even though his character is fictional, and you didn’t know him personally, you can still feel sad. Watching the series may be difficult right now. With time, it will become easier. Matthew Perry wanted <a href="https://www.independent.co.uk/voices/matthew-perry-death-addiction-alcoholism-drugs-b2437980.html">his legacy</a> to be awareness of addiction and the help he provided to people struggling with this disorder. Hopefully what will be felt now, alongside collective sadness, is an empathy for those facing addiction. That may be the power of television, and of a character named Chandler, and the actor who brought him to life, who many considered their friend.<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/216626/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/adam-gerace-325968">Adam Gerace</a>, Senior Lecturer and Head of Course - Positive Psychology, <a href="https://theconversation.com/institutions/cquniversity-australia-2140">CQUniversity Australia</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/the-enduring-appeal-of-friends-and-why-so-many-of-us-feel-weve-lost-a-personal-friend-in-matthew-perry-216626">original article</a>.

Mariah Carey slapped with multi-million dollar lawsuit over hit festive song

Mariah Carey is facing a multi-million dollar lawsuit over her hit festive song, as another musician has come forward claiming she plagiarised an original work. Carey’s song All I Want For Christmas Is You has long been a staple of December, and has sold over 10 million copies since its 1994 release. However, Andy Stone, lead vocalist of Vince Vance and the Valiants, claims Carey infringed on his copyright. Stone co-wrote a song, which has the same title as Carey’s smash hit, in 1989 to which he claims Carey and her team of copying his song’s “compositional structure,” according to the complaint obtained by <a href="https://www.foxnews.com/entertainment/mariah-carey-facing-20-million-lawsuit-over-all-i-want-for-christmas-is-you" target="_blank" rel="noopener">Fox News Digital</a>. <iframe title="YouTube video player" src="https://www.youtube.com/embed/w8HWHd0EYJA?si=IdW0GIKXEQBJqaO_" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe> The court documents state that Carey “directly” copied lyrics from Stone’s 1989 hit and “approximately 50 per cent” of the song is copyright infringement. Stone went on to claim that Carey and her team “undoubtedly” had access to his version of All I Want For Christmas is You due to its “wide commercial and cultural success.” Stone’s track charted on Billboard for years, with the band even performing the track at the White House in 1994 - the same year Carey’s festive song was released. “Carey has capitalised on the success of her infringing work,” Stone’s complaint alleged. <iframe title="YouTube video player" src="https://www.youtube.com/embed/yXQViqx6GMY?si=Exrq9M0AA2u5XRpB" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe> “All I Want For Christmas is You has become a ubiquitous part of popular culture, and Carey’s name has become synonymous with the season.” Stone first sued Carey over the copyright issue in June 2022 in a Louisiana court before dropping the claim five months later. Image credits: Getty Images

Legal

Censorship or sensible: is it bad to listen to Fat Bottomed Girls with your kids?

<a href="https://theconversation.com/profiles/liz-giuffre-105499">Liz Giuffre</a>, <a href="https://theconversation.com/institutions/university-of-technology-sydney-936">University of Technology Sydney</a> International music press has reported this week that Queen’s song Fat Bottomed Girls <a href="https://www.billboard.com/music/music-news/queen-fat-bottomed-girls-greatest-hits-1235396348/">has not been included</a> in a greatest hits compilation aimed at children. While there was no formal justification given, presumably lyrics “fat bottomed” and “big fat fatty” were the problem, and even the very singable hook, “Oh, won’t you take me home tonight”. Predictably, The Daily Mail and similar outlets used it as an excuse to bemoan cancel culture, political correctness and the like, with the headline “<a href="https://www.dailymail.co.uk/tvshowbiz/article-12424449/We-woke-Classic-Queen-song-Fat-Bottomed-Girls-mysteriously-dropped-groups-new-Greatest-Hits-collection.html">We Will Woke You</a>” quickly out of the gate. Joke headlines aside, should children be exposed to music with questionable themes or lyrics? The answer is not a hard yes or no. My colleague Shelley Brunt and I studied a range of factors and practices relating to <a href="https://www.routledge.com/Popular-Music-and-Parenting/Brunt-Giuffre/p/book/9780367367138">Popular Music and Parenting</a>, and we found that more important than individual songs or concerts is the support children are given when they’re listening or participating. A parent or caregiver should always be part of a conversation and some sort of relationship when engaging with music. This can involve practical things like making sure developing ears aren’t exposed to too harsh a volume or that they know how to find a trusted adult at a concert. But this also extends to the basics of media and cultural literacy, like what images and stories are being presented in popular music, and how we want to consider those in our own lives. In the same way you’d hope someone would talk to a child to remind them that superheroes can’t actually fly (and subsequently if you’re dressed as a superhero for book week don’t go leaping off tall buildings!), popular music of all types needs to be contextualised. <figure><iframe src="https://www.youtube.com/embed/VMnjF1O4eH0?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>Should we censor, or change, the way popular music is presented for kids?</h2> There is certainly a long tradition of amending popular songs to make them child or family friendly. On television, this has happened as long as the medium has been around, with some lyrics and dance moves toned down to appease concerned parents and tastemakers about the potential evils of pop. Famously, <a href="https://www.youtube.com/watch?v=oim51kUg748">Elvis Presley serenaded a literal Hound Dog</a> rather than the metaphorical villain of his 1950s hit. In Australia, the local TV version of <a href="https://nostalgiacentral.com/music/music-on-film-and-tv/bandstand-australia/">Bandstand</a> from the 1970s featured local artists singing clean versions of international pop songs while <a href="https://www.youtube.com/watch?v=guembJBOOyI">wearing modest hems and neck lines</a>. This continued with actual children also re-performing pop music, from the Mickey Mouse Club versions of songs from the US to our own wonderful star factory that was <a href="https://theconversation.com/all-my-loving-young-talent-time-still-glows-50-years-since-first-airing-on-australian-tv-159533">Young Talent Time</a>. The tradition continues today with family-friendly, popular music-based programming like The Voice and The Masked Singer. <figure><iframe src="https://www.youtube.com/embed/oim51kUg748?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> In America, there is a huge industry for children’s versions of pop music via the Kidz Bop franchise. Its formula of child performers covering current hits has been wildly successful for over 20 years. Some perhaps obvious substitutions are made – the <a href="https://www.youtube.com/watch?v=zkctByJbtNY">cover of Lizzo’s About Damn Time</a> is now “About That Time”, with the opening lyric changed to “Kidz Bop O’Clock” rather than “Bad Bitch O’Clock”. In some other Kidz Bop songs, though, <a href="https://pudding.cool/2020/04/kidz-bop/">references to violence and drugs have been left in</a>. Other longer-standing children’s franchises have also made amendments to pop lyrics, but arguably with a bit more creativity and fun. The Muppets’ cover of Bohemian Rhapsody, replacing the original murder with a rant from Animal, is divine. <figure><iframe src="https://www.youtube.com/embed/tgbNymZ7vqY?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>Should music ever just be for kids?</h2> Context is key when deciding what is for children or for adults. And hopefully we’re always listening (in some way) together. Caregivers should be able to make an informed decision about whether a particular song is appropriate for their child, however they consider that in terms of context. By the same token, the resurgence of <a href="https://www.theguardian.com/music/2022/apr/05/how-the-wiggles-took-over-the-world-and-got-the-cool-kids-on-side-too">millennial love</a> for The Wiggles has shown us no one should be considered “too old” for Hot Potato or Fruit Salad. <figure><iframe src="https://www.youtube.com/embed/quHus3DwN4Q?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> When considering potential harm for younger listeners, factors like <a href="https://kidsafeqld.com.au/risks-noise-exposure-baby/">volume and tone</a> can be more dangerous than whether or not there’s a questionable lyric. Let’s remember, too, lots of “nursery rhymes” aimed at children are also quite violent if you listen to their words closely. French writer Jacques José Attali <a href="https://www.google.com.au/books/edition/Noise/OHe7AAAAIAAJ?hl=en">famously argued</a> the relationship between music, noise and harm is politics and power – even your most beloved song can become just noise if played too loudly or somewhere where you shouldn’t be hearing it. As an academic, parent and fat-bottomed girl myself, my advice is to keep having conversations with the children in your life about what you and they are listening to. Just like reminding your little superhero to only pretend to fly rather than to actually jump – when we sing along to Queen, we remember that using a word like “fat” and even “girl” isn’t how everyone likes to be treated these days.<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/212093/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/liz-giuffre-105499">Liz Giuffre</a>, Senior Lecturer in Communication, <a href="https://theconversation.com/institutions/university-of-technology-sydney-936">University of Technology Sydney</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/censorship-or-sensible-is-it-bad-to-listen-to-fat-bottomed-girls-with-your-kids-212093">original article</a>.

Music

Country music star's "racist" song divides audience

A popular country music star has been forced to defend his new song and accompanying music video, after many condemned the track for being racist. Jason Aldean's song, titled Try That in a Small Town, soared to number one on the country music charts in the US, before been pulled by Country Music Television after claims it promoted gun violence, vigilantism and lynching: a form of execution frequently committed against African-Americans. The singer, who is known for his conservative views, defended the song, saying it was about, “the feeling of community that I had growing up in where we took care of our neighbours, regardless of difference of background or beliefs”. He also slammed the furore against the song, saying saying the accusations against the track that it is “pro lynching” are “not only meritless but dangerous”. Singer Sheryl Crow called out Aldean posting on Twitter, “There’s nothing small town or American about promoting violence,” and called the song “lame” for its controversial themes. <blockquote class="twitter-tweet"> .<a href="https://twitter.com/Jason_Aldean?ref_src=twsrc%5Etfw">@Jason_Aldean</a> I’m from a small town. Even people in small towns are sick of violence.There’s nothing small-town or American about promoting violence. You should know that better than anyone having survived a mass shooting. This is not American or small town-like. It’s just lame <a href="https://t.co/cuOtUO9xjr">https://t.co/cuOtUO9xjr</a> — Sheryl Crow (@SherylCrow) <a href="https://twitter.com/SherylCrow/status/1681485292425867264?ref_src=twsrc%5Etfw">July 19, 2023</a></blockquote> The music video for the song prompted a new wave of backlash, as it was filmed outside the Maury County Courthouse in Columbia, Tennessee, which is a site that African American man was lynched. A writer for entertainment industry magazine <a title="variety.com" href="https://variety.com/2023/music/opinion/jason-aldean-try-that-in-a-small-town-worst-country-song-video-column-1235673177/">Variety</a> said it was “the most contemptible country song of the decade” which traded on the “implicit moral superiority of having a limited number of neighbours”. “For Aldean, it’s about how tiny burgs are under the imminent threat of attack from lawless urban marauders who will have to be kept at bay by any means necessary – meaning, pretty explicitly, vigilantism,” wrote its music critic Chris William. He went on to say the video was “dangerous” because it “conflates the act of protesting with violent crime”. In the wake of the criticism, Aldean hit back on his social media accounts, saying people had gone "too far" with their interpretation of the song. He wrote on Twitter, “There is not a single lyric in the song that references race or points to it – and there isn’t a single clip that isn’t real news footage – and while I can try and respect others to have their own interpretation of a song with music – this one goes too far.” “My political views have never been something I’ve hidden from. And I know that a lot of us in this country don’t agree on how we get back to a sense of normalcy, where we go at least a day without a headline that keeps us up at night, but the desire for it to – that’s what the song is about.” Image credits: Getty Images

Music

How traditional Indigenous education helped four lost children survive 40 days in the Amazon jungle

<a href="https://theconversation.com/profiles/eliran-arazi-1447346">Eliran Arazi</a>, <a href="https://theconversation.com/institutions/hebrew-university-of-jerusalem-855">Hebrew University of Jerusalem</a> The discovery and rescue of <a href="https://www.reuters.com/world/americas/four-missing-colombian-children-found-alive-jungle-sources-2023-06-10/">four young Indigenous children</a>, 40 days after the aircraft they were travelling in crashed in the remote Colombian rainforest, was hailed in the international press as a “<a href="https://www.lemonde.fr/en/international/article/2023/06/11/miracle-in-the-jungle-colombia-celebrates-rescue-of-children-lost-in-amazon-rainforest_6030840_4.html">miracle in the jungle</a>”. But as an anthropologist who has spent more than a year living among the Andoque people in the region, <a href="https://www.academia.edu/100474974/Amazonian_visions_of_Visi%C3%B3n_Amazon%C3%ADa_Indigenous_Peoples_perspectives_on_a_forest_conservation_and_climate_programme_in_the_Colombian_Amazon">conducting ethnographic fieldwork</a>, I cannot simply label this as a miraculous event. At least, not a miracle in the conventional sense of the word. Rather, the survival and discovery of these children can be attributed to the profound knowledge of the intricate forest and the adaptive skills passed down through generations by Indigenous people. During the search for the children, I was in contact with Raquel Andoque, an elder maloquera (owner of a ceremonial longhouse), the sister of the children’s great-grandmother. She repeatedly expressed her unwavering belief the children would be found alive, citing the autonomy, astuteness and physical resilience of children in the region. Even before starting elementary school, children in this area accompany their parents and elder relatives in various activities such as gardening, fishing, navigating rivers, hunting and gathering honey and wild fruits. In this way the children acquire practical skills and knowledge, such as those demonstrated by Lesly, Soleiny, Tien and Cristin during their 40-day ordeal. Indigenous children typically learn from an early age how to open paths through dense vegetation, how to tell edible from non-edible fruits. They know how to find potable water, build rain shelters and set animal traps. They can identify animal footprints and scents – and avoid predators such as jaguars and snakes lurking in the woods. Amazonian children typically lack access to the sort of commercialised toys and games that children in the cities grow up with. So they become adept tree climbers and engage in play that teaches them about adult tools made from natural materials, such as oars or axes. This nurtures their understanding of physical activities and helps them learn which plants serve specific purposes. <figure class="align-center "><img src="https://images.theconversation.com/files/532019/original/file-20230614-31-hrdd5z.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/532019/original/file-20230614-31-hrdd5z.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=450&fit=crop&dpr=1 600w, https://images.theconversation.com/files/532019/original/file-20230614-31-hrdd5z.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=450&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/532019/original/file-20230614-31-hrdd5z.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=450&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/532019/original/file-20230614-31-hrdd5z.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=566&fit=crop&dpr=1 754w, https://images.theconversation.com/files/532019/original/file-20230614-31-hrdd5z.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=566&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/532019/original/file-20230614-31-hrdd5z.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=566&fit=crop&dpr=3 2262w" alt="A youg girl holding up an insect as her family works alongside" /><figcaption>A local Indigenous girl on an excursion to gather edible larvae. Image courtesy of Eliran Arazi, Author provided</figcaption></figure> Activities that most western children would be shielded from – handling, skinning and butchering game animals, for example – provide invaluable zoology lessons and arguably foster emotional resilience. <h2>Survival skills</h2> When they accompany their parents and relatives on excursions in the jungle, Indigenous children learn how to navigate a forest’s dense vegetation by following the location of the sun in the sky. <figure class="align-left zoomable"><a href="https://images.theconversation.com/files/532012/original/file-20230614-29-ii5s0u.png?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/532012/original/file-20230614-29-ii5s0u.png?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/532012/original/file-20230614-29-ii5s0u.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=551&fit=crop&dpr=1 600w, https://images.theconversation.com/files/532012/original/file-20230614-29-ii5s0u.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=551&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/532012/original/file-20230614-29-ii5s0u.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=551&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/532012/original/file-20230614-29-ii5s0u.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=692&fit=crop&dpr=1 754w, https://images.theconversation.com/files/532012/original/file-20230614-29-ii5s0u.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=692&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/532012/original/file-20230614-29-ii5s0u.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=692&fit=crop&dpr=3 2262w" alt="Map of the Middle Caqueta region of Colombia." /></a><figcaption>Map showing where in Colombia the four lost children are from. Gadiel Levi, Author provided</figcaption></figure> Since the large rivers in most parts of the Amazon flow in a direction opposite to that of the sun, people can orient themselves towards those main rivers. The trail of footprints and objects left by the four children revealed their general progression towards the Apaporis River, where they may have hoped to be spotted. The children would also have learned from their parents and elders about edible plans and flowers – where they can be found. And also the interrelationship between plants, so that where a certain tree is, you can find mushrooms, or small animals that can be trapped and eaten. <h2>Stories, songs and myths</h2> Knowledge embedded in mythic stories passed down by parents and grandparents is another invaluable resource for navigating the forest. These stories depict animals as fully sentient beings, engaging in seduction, mischief, providing sustenance, or even saving each other’s lives. While these episodes may seem incomprehensible to non-Indigenous audiences, they actually encapsulate the intricate interrelations among the forest’s countless non-human inhabitants. Indigenous knowledge focuses on the interrelationships between humans, plants and animals and how they can come together to preserve the environment and prevent irreversible ecological harm. This sophisticated knowledge has been developed over millennia during which Indigenous people not only adapted to their forest territories but actively shaped them. It is deeply ingrained knowledge that local indigenous people are taught from early childhood so that it becomes second nature to them. It has become part of the culture of cultivating and harvesting crops, something infants and children are introduced to, as well as knowledge of all sort of different food sources and types of bush meat. <h2>Looking after each other</h2> One of the aspects of this “miraculous” story that people in the west have marvelled over is how, after the death of the children’s mother, the 13-year-old Lesly managed to take care of her younger siblings, including Cristin, who was only 11 months old at the time the aircraft went down. <figure class="align-center "><img src="https://images.theconversation.com/files/532007/original/file-20230614-19-7q92j0.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/532007/original/file-20230614-19-7q92j0.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=450&fit=crop&dpr=1 600w, https://images.theconversation.com/files/532007/original/file-20230614-19-7q92j0.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=450&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/532007/original/file-20230614-19-7q92j0.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=450&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/532007/original/file-20230614-19-7q92j0.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=566&fit=crop&dpr=1 754w, https://images.theconversation.com/files/532007/original/file-20230614-19-7q92j0.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=566&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/532007/original/file-20230614-19-7q92j0.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=566&fit=crop&dpr=3 2262w" alt="Three Indigenous people in western clothes stood under trees in front of a wide building." /><figcaption>Iris Andoque Macuna with her brother Nestor Andoque and brother-in-law Faustino Fiagama after the two men returned from the search team. Iris Andoque Macuna., Author provided</figcaption></figure> But in Indigenous families, elder sisters are expected to act as surrogate mothers to their younger relatives from an early age. Iris Andoke Macuna, a distant relative of the family, told me: <blockquote> To some whites [non-Indigenous people], it seems like a bad thing that we take our children to work in the garden, and that we let girls carry their brothers and take care of them. But for us, it’s a good thing, our children are independent, this is why Lesly could take care of her brothers during all this time. It toughened her, and she learned what her brothers need. </blockquote> <h2>The spiritual side</h2> For 40 days and nights, while the four children were lost, elders and shamans performed rituals based on traditional beliefs that involve human relationships with entities known as dueños (owners) in Spanish and by various names in native languages (such as i'bo ño̰e, meaning “persons of there” in Andoque). These owners are believed to be the protective spirits of the plants and animals that live in the forests. Children are introduced to these powerful owners in name-giving ceremonies, which ensure that these spirits recognise and acknowledge relationship to the territory and their entitlement to prosper on it. <figure class="align-center "><img src="https://images.theconversation.com/files/531997/original/file-20230614-15389-7c6oly.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/531997/original/file-20230614-15389-7c6oly.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/531997/original/file-20230614-15389-7c6oly.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/531997/original/file-20230614-15389-7c6oly.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/531997/original/file-20230614-15389-7c6oly.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/531997/original/file-20230614-15389-7c6oly.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/531997/original/file-20230614-15389-7c6oly.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" alt="Woman in pink t-shirt sat on chair inside." /><figcaption>Raquel Andoke, a relative of the missing children and friend of the author. Image courtesy of Eliran Arazi, Author provided</figcaption></figure> During the search for the missing children, elders conducted dialogues and negotiations with these entities in their ceremonial houses (malocas) throughout the <a href="https://www.researchgate.net/figure/Middle-and-Lower-Caqueta-River-region-State-of-Amazonas-Colombia-Map-from_fig1_255580310">Middle Caquetá</a> and in other Indigenous communities that consider the crash site part of their ancestral territory. Raquel explained to me: <blockquote> The shamans communicate with the sacred sites. They offer coca and tobacco to the spirits and say: “Take this and give me my grandchildren back. They are mine, not yours.” </blockquote> These beliefs and practices hold significant meaning for my friends in the Middle Caquetá, who firmly attribute the children’s survival to these spiritual processes rather than the technological means employed by the Colombian army rescue teams. It may be challenging for non-Indigenous people to embrace these traditional ideas. But these beliefs would have instilled in the children the faith and emotional fortitude crucial for persevering in the struggle for survival. And it would have encouraged the Indigenous people searching for them not to give up hope. The children knew that their fate did not lie in dying in the forest, and that their grandparents and shamans would move heaven and earth to bring them back home alive. Regrettably, this traditional knowledge that has enabled Indigenous people to not only survive but thrive in the Amazon for millennia is under threat. Increasing land encroachment for agribusiness, mining, and illicit activities as well as state neglect and interventions without Indigenous consent have left these peoples vulnerable. It is jeopardising the very foundations of life where this knowledge is embedded, the territories that serve as its bedrock, and the people themselves who preserve, develop, and transmit this knowledge. Preserving this invaluable knowledge and the skills that bring miracles to life is imperative. We must not allow them to wither away.<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/207762/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/eliran-arazi-1447346">Eliran Arazi</a>, PhD researcher in Anthropology, Hebrew University of Jerusalem and the School for Advanced Studies in the Social Sciences (Paris)., <a href="https://theconversation.com/institutions/hebrew-university-of-jerusalem-855">Hebrew University of Jerusalem</a> 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/how-traditional-indigenous-education-helped-four-lost-children-survive-40-days-in-the-amazon-jungle-207762">original article</a>. Images: Getty

Caring

6 classic songs involved in lawsuits

Like with all art, the line between appropriation and plagiarism in the music world is very blurred. Artists have always been inspired by other artists, so it’s inevitable that some works will be similar to others. These cases, however, prove that the consequences of copyright infringement can be extremely costly indeed. The Beatles vs. Chuck Berry Chuck Berry’s music has long been the object of adaptation, but none were as high-profile as The Beatles’ hit song “Come Together”, which allegedly borrowed lyrics and melodies from Berry’s “You Can’t Catch Me”. Lennon’s line, “Here come ol’ flattop, he come groovin’ up slowly” is thought to have been taken from Berry’s “Here come a flattop, he was movin’ up with me”. Berry’s publishing company was awarded nearly US$85,000 as a settlement. Johnny Cash vs. Gordon Jenkins In the 1970s, Cash was ordered to pay Gordon Jenkins US$75,000 after his 1955 song “Folsom Prison Blues” allegedly used lyrics and music from Jenkins’ 1953 tune “Crescent City Blues”. Although Cash’s song was a tale of murder and imprisonment and Jenkins’ was about a lovelorn woman desperate to escape, the songs were still similar enough to be the focus of a lawsuit. Men At Work vs. Larrikin Music It’s considered to be one of Australia’s most iconic songs (even an unofficial anthem for some), but Men At Work’s hit song “Down Under” was the subject of a nasty dispute in 2009 when they were sued by Larrikin Music, the owners of 1932 classic “Kookaburra”. Larrikin Music claimed that part of the Aussie band’s flute riff was stolen from the song “Kookaburra”, written by Marion Sinclair. The band was forced to give Larrikin 5 per cent of all royalties after 2002. Ray Parker, Jr. vs. Huey Lewis and the News Who can forget Parker’s iconic Ghostbusters theme song? Well, as it turns out, it may not have been completely original. Huey Lewis and the News sued Parker after hearing similarities with their song “I Want a New Drug”, and won the suit. In a strange twist, however, Huey Lewis revealed the details of the settlement to the media in a breach of confidentiality and was counter-sued by Parker in 2001. Rod Stewart vs. Jorge Ben Stewart was sued after the vocal melody from his hit “Do Ya Think I’m Sexy?” was found to be uncannily similar to that of Jorge Ben’s 1976 song “Taj Mahal”. As part of the settlement, Stewart decided to donate a percentage of the track’s earnings to UNICEF. “Clearly the melody had lodged itself in my memory and then resurfaced. Unconscious plagiarism, plain and simple,” Stewart wrote in his autobiography. Coldplay vs. Joe Satriani Satriani sued Coldplay in 2008, alleging that their song “Viva la Vida” used “substantial original portions” of music from his song “If I Could Fly”, which was released four years previously. They settled out of court in 2009. This suit came just months after American band Creaky Boards accused them of stealing the melody of their ironically-named song “The Songs I Didn’t Write”. Yusuf Islam (Cat Stevens) also claimed the song ripped off his track “Foreigner Suite”. Do you think any of these songs sound like their alleged inspirations? Tell us your thoughts in the comment section below. Image credit: Getty Related links: <a href="../finance/insurance/2016/04/10-odd-things-celebrities-have-insured/">10 odd things celebrities have insured</a> <a href="../entertainment/music/2016/04/the-surprising-real-names-of-singers/">The surprising real names of famous singers</a> <a href="../entertainment/music/2016/03/rock-and-roll-hits-banned-from-being-played/">6 rock ‘n’ roll hits banned from being played</a>

Legal

Readers respond: What's a song that is so beautiful it makes you cry?

It doesn't take much for music to make you move, but music that moves you to the point of tears is something special. We asked our readers which songs they find so beautiful that it touches a part of their soul and brings them to tears. Here are some of our favourite responses that, and a list of songs you could add to your playlist. Mary Therese Apostol - Unchained Melody from the film Ghosts... always brings me to tears. Also Always on my Mind brings back beautiful memories of a very loved person. Susan Buntin - Mike and the Mechanics song called The Living Years as I wasn’t there for my parents passing. Pat Sayers - "I'll take you home again Kathleen". One of my mother's favorites to sing, she had a good voice. It is not heard at all these days, but I cry even when I sing it, remembering her. Suzie Justinic - “If I can dream” by Elvis Presley. Very powerful song. Cry every time I hear it. Debbie Costelloe - Goodbye my friend by Linda Ronstad,it holds memories of my loved ones Kate Gregg - Fields of Athernrye Janine Sarai George - Outside when a full band of bagpipes plays a certain song, Danny Boy, Flowers of Scotland it can be magic. Chrissy Soldi - Nothing else matters by Metallica it was played at my son’s funeral still brings tears to my eyes. Annie MacCormack - ‘Sailing’ by Rod Stewart. We played it at my mum’s funeral. I cry every time I hear it. Nita Kennedy - "You raised me up" the CD was given to me on mother's day by my daughters with instructions to listen to the words because they reflected how they thought of me ... I did and I cried ..... Linda Misarz - If I can dream, by Elvis. Very powerful message. Barbara Bergen - Beautiful Dreamer by Roy Orbison Joyce Nickson - Imagine! John Lennon.

Music

The real reason your luggage is lost in transit

There’s nothing worse than that moment of realisation you get when, standing at an empty luggage carousel, you realise your bags are anywhere in the world but here. SITA, a company specialising in air transport, has published a study revealing the most common reasons bags are misplaced in transit and tips on how to avoid it. 2015 it turns out was a historically good year for luggage retention, with the total number of mishandled bags diminishing about 50 per cent from 2007 to 2015. Worldwide, out of every 1000 passengers only around six bags are being misplaced. But it still wasn’t perfect, and 23 million bags were still misplaced. SITA has outlined the top reasons luggage doesn’t make it to where it’s supposed to be, as well as some tips to help make sure your bags makes the trip safely. Reasons for lost luggage: <ul> <li>Lost during a transfer – This was the major reason for luggage being misplaced and the cause of over half the reported misplaced luggage occurrences.</li> <li>Ticketing errors, bag switches or security issues – Around 19 per cent of lost bags fell into this category, suggesting that human error still plays a role.</li> <li>Delayed due to airport, customs, and weather or space/weight restrictions – This broad category accounted for almost 16 per cent of the lost luggage.</li> <li>Failure to load the bag or mishandling at arrival station – This was the reason behind four per cent of the bags that were mishandled.</li> <li>Tagging Error – With significant advancements in bag handling technology tagging errors accounted for only four per cent of lost luggage.</li> </ul> SITA also offered some advice for making sure your bag makes it all the way to the desired destination, suggesting air passengers take the following precautions: <ul> <li>Avoid short connections.</li> <li>Put a form of identification on the bag.</li> <li>Double check the destination tag.</li> <li>Pack luggage carefully avoiding restricted items.</li> <li>Consider purchasing a personal luggage tracking device.</li> </ul> Images: Getty

Travel Trouble

Readers respond: What's a cover song that's better than the original?

Just because a particular version of a song came first, doesn't necessarily mean it's better than a cover. We asked our readers what their favourite cover tracks are, and the response was overwhelming. Here's what they said. Moses Serugo - All Whitney Houston covers! Glen Crawford - Johnny Cash’s cover of Trent Reznor’s ‘Hurt’. It was one of the last songs Johnny recorded, and is awesome! Vicki Hunt - Torn by Natalie Imbruglia. Apparently someone recorded it before she did, although I've only heard her version, which was a major hit for her. Bruce Winther - Fields of Gold by Eva Cassidy. Sheila Schmidt - Bette Midler’s version of Beast of Burden is better than the Rolling Stones. Ken Jacob - Simply the Best by Tina Turner better than the original by Bonnie Tyler. Harold Hanlon - Elton John doing Lucy in the Sky with Diamonds. Judi Nicholls - U2 doing Unchained Melody. Michael Zoellner - Blinded By The Light by Manfred Mann. Much better than Bruce Springsteen who originally did the song. Jennifer Mitchell - Hallelujah by Lucy Thomas is absolutely beautiful. Leanne Guthrie - We've gotta get out of this place, The Angels. Best version ever!! Weeze Aitch - Horses by Darryl Braithwaite. Originally by Ricki Lee Jones. Noelene Braidwood - The Wonder Of You, by Elvis Presley. Michael Pemberton - All Along the Watchtower (Dylan) cover by the Jimi Hendrix Experience. Rick Graham - The Sound of Silence by Disturbed. Steve Pullan - Smooth Criminal by Alien Ant Farm. Deirdre Dee O'Hanlon McGregor - Dear Prudence Beatles song covered by Doug Parkinson, he does a great job, better than the Beatles. Graham Anderson - Can't think of one. The originals are the best. Image credits: Getty Images

Music

A Mother’s Day poem for those who have lost their mums

Over60 community member Jenny Bush shares this poignant poem on Mother’s Day. “I have been thinking about all the mothers out there for whom Mothers’ Day is a source of disappointment and quite often a day filled with a sense of loss and hurt. I have written this poem for those of us who miss what the special day used to mean in our lives.” – Jenny Bush A Mothers’ Day Lament Reflecting on Mother’s Days of yesteryear My heart laments with a silent tear Of the significance of what that day used to be And the profound impact it had on me. Cherishing time spent with my Nan and my Mum Never dreaming that the day would eventually come When neither were here to share the day To feast with us and watch kids at play. Our whole family would gather and have so much fun Quite often on picnics – enjoying the sun. With aunts and uncles and cousins too But life was simple back then, it’s true. Life now moves on at such a fast pace And every day it seems like we are running a race. People are so busy doing this and that There is so little time to sit, and simply chat. For many reasons families can be torn apart Quite often resulting in a broken heart. There is commercial pressure to buy Mum something new Causing some to resort to writing an I.O.U Many mums now spend the day alone For some it’s a quick chat with family by phone. And some celebrate with friends who are on their own too While accepting that life’s ways are now all new. I will miss my mum and my nan this Mothers’ Day But I am so grateful for memories of the special way We used to celebrate their love and care for us Which was usually given with a minimum of fuss. I am sad for the customs we seem to have lost With the emphasis now placed on the financial cost. Progress is great in so many ways But oh how I sometimes miss “the good old days”. Illustration: Midjourney

Family & Pets

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

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

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Readers respond: What's a song that is so beautiful it makes you cry?

The real reason your luggage is lost in transit

Readers respond: What's a cover song that's better than the original?

A Mother’s Day poem for those who have lost their mums

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