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A sparky, exuberant pop sub-genre with roots in the ’60s was meant to have died at the end of the ’70s, but its impact and influence are still being felt today. But what was it exactly and why does it matter?
In an era where victories are celebrated and mistakes are concealed, the power of the simple phrase 'I am sorry' seems to be vanishing. From personal slights to public gaffes, our society seems increasingly averse to accepting responsibility and offering genuine apologies. But why has this sentiment become so rare, and what does its absence say about the values we hold?
As the UK prepares for the coronation of King Charles, ideas about national pride and loyalty to the crown have been revolutionised since Queen Elizabeth's coronation, as attitudes towards the British monarchy continue to change both at home and abroad.
For several decades, successive federal governments have tried but failed to establish a national nuclear waste repository, primarily to take waste from the nuclear research reactor site operated by the Australian Nuclear Science and Technology Organisation (ANSTO) at Lucas Heights, 30 km south of Sydney. Currently a site near Kimba on South Australia's Eyre Peninsula is being targeted.
Even though I tried to count my blessings and to avoid my besetting sin of self-pity, migration was hard. And decades later I still think it was hard. Sometimes I wonder how I survived it.
Twenty-five years from his death we gather to remember, swapping anecdotes like bank notes weathered in our wallets. The one on how as deputy he’d learn, while pausing in a doorway, the names of all three hundred new Year Sevens in a week. And how when actors failed to show for one of his rehearsals, he’d stride the stage himself.
Tall Fences, Taller Trees, directed by Dutch-based Iranian filmmaker, Arash Kamali Sarvestani, is a companion to Chauka, Please Tell Us the Time, which Sarvestani co-directed with Kurdish-Iranian writer and Manus Island detainee, Behrouz Boochani. On its most basic level Tall Fences, Taller Trees documents the making of the first film, but it is far more than that.
My mother informs me, over the telephone, that she has just returned from a trial run of her inaugural ‘live-cam’ tour at the local Hindu temple in Kuala Lumpur. My niece, who lives in England, is learning about Hinduism in her Religious Education class and would love to show her classmates a live, on-site presentation of her grandmother’s temple.
Every effort should be made to keep Australia out of yet another US war overseas, especially against China. If such a war resulted, the US Marines in Darwin would draw fire on the Northern Territory. For Australia's peace and security, we need to see an end to the stationing of Marines in Darwin and an end to war rehearsals with the United States.
One trick used by those opposing the boycott of Eurovision is to describe Israeli colonialism as a 'conflict'. Instead of emphasising the importance of decolonisation, 'compromise' is celebrated. But compromise between the coloniser and the colonised is a dangerous political game.
The cast of mostly unknowns is multiracial and spans the spectrum of sexual orientations and gender identities. Not long ago that might have seemed transgressive, but these days it seems like the least that could be hoped for from a piece of mainstream entertainment.
I once read The Female Eunuch, the only bloke taking a course on feminism, admired Greer's chutzpah, knew she lived in England where I came to dwell on the edge of belonging. I mourn unplanned lives, mine, others', back stories, each of us carrying private clouds of sadness. What happened next, that distant dawn?