Progressive culture since 1954
When news broke of Gough Whitlam’s death in October 2014, the Greens were quick to respond with a tribute message, proclaiming, ‘we are proud to be the party that takes up where Gough Whitlam left off.’
On a warm Thursday evening in early September, a community meeting about the New South Wales Government’s proposal to establish a new, long-awaited marine park in and around Sydney was held at Fishing Station in Mona Vale, on the city’s northern beaches. Around three hundred local fishers crowded in to voice their anger, bodies spilling out of the tackle shop’s doorway and into the carpark. To them, the marine park was a ‘lockout’.
To have endometriosis is to lose your job, friends, partners, independence. To have endometriosis is debilitating – and can be just as severe as some of the illnesses already in the public consciousness (multiple sclerosis, muscular dystrophy). To have endometriosis is to lose hope in a future for yourself.
The best that can be said about the Ramsay Centre’s proposal to sponsor an elite course in Western civilisation is that it has revived a flagging discussion about the intellectual and political considerations that shape the humanities curricula of Australian universities.
It started quite innocently, as these social media collisions always do. A friend and I were discussing on Twitter Ed Whelan’s bizarre conspiracy theory in defence of Supreme Court nominee Brett Kavanaugh, remarking – as many people have – that it was reminiscent of Eric Garland’s infamous 120-tweet long ‘game theory’ thread of late 2016.
I first heard about Marielle Franco in April this year. While visiting Rio de Janeiro in Brazil as a tourist with my family, I found myself in a bar late one night with an expat who had lived in the country for more than thirty years.
Anupama Pilbrow’s debut collection opens with ‘The Body Poem’, which details a forbidden affair between a lover and ‘the body’. The lover is enamoured by ‘the body’, the lover accepts ‘the body’ and even appreciates ‘the sound it makes like / jangling keys’. The subject of the poem is never degraded, used or objectified. Pilbrow instead wraps ‘the body’ in a protective ‘gauze’ (instead of gaze?) which ‘sways in the breeze’.
My parents named their only child after one of Shakespeare’s most famous cross-dressers. One might have imagined, therefore, that they’d have been less taken aback to learn of my gradual slide into ambiguous Kinsey Scale territory. As it was, they were deeply surprised. Most people are.
Bert and Ernie occupy such a mighty place in the popular imagination that it’s hard for us to remember that they began as a reference to something else. But in the Jim Henson universe, sly, humourous, or worthy commentaries on public figures and social issues were always part of the process. The recent public debate about them seems to have handily sidestepped the fact that the characters are, among other things, an obvious allusion to The Odd Couple, originally a 1965 Broadway play by the late Neil Simon.
Regrettably, there are those in the music industry who don’t see gender inequity as an issue at all. As in all areas of society, they instead turn complaints of sexism in the industry around to blame the harassed. Or, in response to a lack of female representation, they’ll argue that female musicians barely exist; or that they do, but simply aren’t as talented or skilled or generally up to the task as men. This last notion makes your stomach turn, and it emphasises the need for an industry-wide attitudinal shift.
This Bill will introduce unprecedented new powers for government and law enforcement, and Coalition politicians are treating the public, and our concerns about it, with utter contempt.
Their status as apex predator, coupled with humanity’s inability to tame or truly understand the ocean, inspires in us a kind of primal terror, an obsession well reflected in reportage and documentary. Every time they resurface in the news, the media are whipped into a frenzy, circling the story like, well, sharks.
As critics have pointed out, the social media ‘movement’ #MeToo hasn’t really moved much since October last year. Global conversations on sexual assault notwithstanding, we’re stuck with personal narratives, an emphasis on high-profile individuals, and little by way of a broad, institutional challenge to coalesce around. Despite this, it’s hard not to think that we might be in the midst of a generative time for new, critical insights on sexual violence.