Boy, 12, steals credit card and goes on Bali holiday after fight with mother

Sydney boy boarded flight alone to Perth, then another to Indonesia, where he checked into the All Seasons hotel

A 12 -year-old Sydney boy stole his mothers’ charge card, tricked his grandmother into devoting him his passport and flew to Bali on his own after a family argument.

The boy, given the pseudonym Drew by A Current Affair, was told he couldn’t go to Bali by his mother but managed to book himself flights( researching an airline that allowed 12 -year-olds to fly unaccompanied) and a hotel room, and to depart the country unimpeded.

Telling his family he was going to school, he rode his razor scooter to his local train station, from where he travelled to the airport and, employing a self-service check-in terminal, boarded a flight for Perth, then another for Indonesia, the Nine Network program reported.

He was merely quizzed once, at Perth airport, when staff asked him for identification to prove he was over 12. Guardian Australia has independently corroborated the boy built the trip.

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” They just asked for my student ID and passport had demonstrated that I’m over 12 and that I’m in secondary school ,” he told A Current Affair.” It was great because I wanted to go on an adventure .”

In Bali, he checked in to the All Seasons hotel, telling faculty he was waiting for his sister to arrive.

After his school reported he was absent, his family scrambled to find out where he was. Detecting “hes in” Bali, his mother, Emma, flew there to collect him.

Emma said the boy doesn’t like hearing the word “no”.

” Shocked, disgusted, there’s no emotion to feel what we felt when we procured he left overseas ,” she told A Current Affair.

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Ai Weiwei on the US-Australia refugee deal: ‘Its exactly like slave trading’

Chinese artist brings three tackling runs about refugee crisis to Australia with a message

The internationally renowned Chinese artist and dissident Ai Weiwei believes the US and Australia are engaging in a slave trade.

His claim comes amid a discussion of worldwide refugee movements, the impact of globalisation on human suffering and a lack of humanity in the west- which form the context of his contribution to this month’s Sydney Biennale exhibition.

Ai is well aware of Australia’s refugee policies, including its most recent chapter- a deal with the US to take up to 1,200 refugees languishing in offshore detention centres.

” That is a complete insult to the understanding of refugees ,” he says.” It’s exactly like slave trading. You cannot deal with human being by violating their[ rights ].”

Ai is in Australia this week to launch three of his runs- two exhibiting at Sydney’s Biennale. All confront and question the west’s complicity in the refugee crisis gripping the world.

One, Crystal Ball, is a two-tonne installing made of crystal and lifejackets, offering a chance of reflection on the chaos of the crisis.

The other, Law of the Journey, is an imposing 60 -metre-long rubber boat crammed with almost 300 gigantic faceless figures. It fills a warehouse on Cockatoo Island.

Ai Weiwei in front of Law of the Journey, a statement on the therapy of refugees, at Sydney’s Cockatoo Island. Photo: Ben Rushton/ EPA

The oversized life raft and its occupants are all black, made of the same rubber and by the same company that manufactures the barges most often used by refugees for the dangerous Mediterranean crossing.

Ai built it to sit in the National Museum of Prague, the capital of the Czech Republic- which accepts no refugees- and it was coincidence that it resolved so perfectly into an Australian space, one with its own history of displacement and detention.

Ai will also deliver a keynote address to launch his refugee documentary, Human Flow, for Australian audiences.

He spent two years traveling the world, visiting 23 countries and more than 40 refugee camps, to generate the confront movie and he remains shocked by what he saw.

” You just couldn’t believe it’s in Europe. It’s not shocking to find people escape, from fire, killing- this is natural. People bring their loved ones and just leave ,” he says.

” But it’s not natural to see Europe, which has been so superior in every aspect- not only economically but morally … their work on human rights has been the foundation of our modern society .”

Instead they are building walls and fences and camps, and changing migration laws and chasing down the boats, Ai says.

” It’s so cold, virtually pushing them back in the ocean if they can ,” he says.” Greece said … it’s just not possible for us to push them back to the ocean, otherwise they would do it .”

Australia does. For many years the Australian government has operated the legally contentious policy of boat turnbacks in the seas to its north, sending asylum seekers back to where they last came from- usually Indonesia- in purpose-built barges to stop them landing in Australia.

The numbers are tiny as compared with Europe, but the governmental forces tells it has stopped people drowning at sea in their thousands. Thousands of others are in the offshore camps or on tenuous temporary visas in Australia.

Ai appears to target countries with his exhibitions, displaying the Law of the Journey first in the Czech Republic and now in Australia. But he says he has thought about boycotting to send his message and has done it at least once- pulling down his show in Denmark in protest against the government’s decision to confiscate the belongings of refugees.

” I tried both ways, but most of the time I want my voice to listen to ,” he says.” I guess, as artists, to give just a gesture is sufficient to. The fight takes a real conflict. To devote a moral kind of superiority presents a problem, because we have to see that we’re all together. The struggle builds the meaning. I prefer to have a real fight than withdraw from the fight .”

‘ You simply couldn’t believe it’s in Europe ‘: Ai Weiwei at a refugee camp between Greece and Macedonia. Photo: Valdrin Xhemaj/ EPA

Ai has been arrested, jailed and beaten for his activism. Friends and coworkers have been arrested, some have disappeared.

” It’s always personal ,” he tells.” When I run very personal, it always becomes political, all my work is like that. I’m always searching for answers: “whats happened to” my father’s generation, what would it be if a writer lost his chance to express himself ?”

Twice during the interview, Ai brings up those pre-dawn hours on Lesbos, watching a mob spill from a refugee boat. His own background is one of displacement and exile, and his research clearly affected him.

” Very often people say,’ what can we do ?’ … I think if we as individuals- all those tragedies are made by humen- we are genuinely can solve it if we want to ,” he tells.” If it’s not solved, it’s simply because we don’t want to solve it, because we is beneficial for the situation. Other people’s suffering and desperation is beneficial, so if those questions are not being answered, we will never solve the problem .”

He hopes people who ensure his run will be moved towards activism.

” I think everybody who respects “peoples lives” should be activists, because liberty is struggle ,” Ai concludes.” If for a long time you’re not used to fight, it is because you don’t care and you don’t treasure the freedom .”

* The Sydney Biennale opens on 16 March and operates until 11 June

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Same-sex marriage and euthanasia mean annus horribilis Catholic bishop

Archbishop of Sydney Anthony Fisher says 2017 has been challenging for our world our country, and each of us individually

The Catholic Archbishop of Sydney Anthony Fisher said people of faith might describe 2017 as” annus horribilis because of euthanasia statutes in Victoria, the exposure of child sexual abuse in the Catholic church, and the legalisation of same-sex marriage were failings that challenged” our Christian conceptions of life “.

” Like any year, this one has had its challenges for our world, our country and each and every one of us individually ,” Fisher said in his annual Christmas message.

” For people of faith you might say it’s been an annus horribilis, as our Christian conceptions of life and love have been challenged in the marriage and euthanasia debates; freedom of religion in Australia put in doubt; and shameful crimes and cover-ups in our Church uncovered by the royal commission.

” But the Christmas story insists there is a star in the dark sky, light amidst the anxieties and failures. Christmas speaks of new hope .”

There was a need for renewed hope to unite people, Fisher said. He said the Australian Catholic Youth festival had been a highlight of the year.

” The concourse of young people standing up for religion and ideals says to us that whatever the past failings, we can have hope for ourselves, our families, our church, our nation, our world ,” he said.” Our young person are not naive about the shames in our past or the trials in our future. But they want to be part of the answer to both .”

The Archbishop of Melbourne Dennis Hart had a similarly dark Christmas message.

” We live in a world and a church that is rapidly changing ,” he said in a video.” Every morning we seem to wake up to more bad global news of hurricanes, inundates, drought, flames and even the frightening prospect of the use of nuclear weapons. The gloomines of the world is but a shadow. Behind it, but within our reach, is joy .”

Meanwhile the Anglican Dean of Hobart, Richard Humphrey, gave a nod to Donald Trump in a politically-themed Christmas video in which he wore a red Make Christmas Great Again cap, a play on Trump’s Make America Great Again slogan.

He told the ABC that people needed to turn away from fake news and towards” the really good news of Christmas “.

But he also exhorted Tasmanian premier Will Hodgman to tackle pokies-related harm. With the nation due to head to an election in May, the state’s opposition leader Rebecca White said if elected Labor would commit to removing poker machines from saloon and clubs, and would give notice that the present deed letting poker machines in venues other than casinoes would not be extended beyond 2023.

” It is all very well for our premier to be went on to say that we should be able to celebrate Christmas, but we need to make room in the hostel for there to be no pokies as well, these kind of things are related ,” Humphrey said.

” We guess the damage that is being done by pokies in some of our poorest and most needy suburbs needs to be addressed .”

Dr Glenn Davies, the Anglican Archbishop of Sydney, turned to Twitter to deliver his Christmas message this year.

” In short- a newborn born in a shed saves the world #canyoubelieveit ,” his message said.

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‘Ripped from our arms’: Justine Damond remembered at US memorial

Father vows to find justice for the Australian woman shot to death by Minneapolis police officer

The father of Justine Damond, the Australian woman shot to death by a Minneapolis police officer, choked back tears at a memorial in that city on Friday night as he vowed to find justice for his 40 -year-old daughter, whom he described as being rent from our arms.

John Ruszczyk and Damonds fiance were mourning at a public memorial service at the same time the family had originally planned to be on a plane to her wedding.

We should be walking down the street smiling and laugh, Ruszczyk said of his first visit to Minneapolis. But now every step on the foot track is very painful. I feel crushed by sorrow.

Hundreds of people, many wearing heart-shaped stickers, attended the memorial service. An Australian flag was displayed prominently on the stage next to Damonds picture.

Her fiance, Don Damond, said it felt like a privilege to love Justine. They were getting married next week in Hawaii, and he pointed out the painful irony that the service held last a lakefront stage near her home in southwest Minneapolis coincided with the familys original travel plans.

He read some of the uplifting messages she would free-write every morning and called her a living instance of self-mastery.

I have immense gratitude for being the one she chose, Don Damond said. In Australia, they call it youre punching above your weight. I genuinely had to step up to be at her level.

Her family has set up the Justine Damond Social Justice Fund, which will support causes important to her, including those promoting equal treatment for all.

As Damonds loved ones mourned their loss, the investigation into her death moved forward. A magistrate approved a search warrant for researchers to examine the smartphones of two Minneapolis police officers in the shooting.

The search warrant application was filed on Thursday by an agent with the Minnesota Bureau of Criminal Apprehension. The agent requested granted permission to download data from the iPhones issued by the Minneapolis Police Department.

The application states that the information may more clearly define the officers actions before and after she was killed on July 15. Investigators have said officer Mohamed Noor shot the 40 -year-old woman after she called the emergency hotline to report a possible sexual assault near her home.

Noors partner, policeman Matthew Harrity, told researchers a noise startled him just before Damond approached their police SUV. Noor was in the passenger seat and shoot Damond through the open driver-side window. Noor has declined to be interviewed by investigators and cannot be compelled to do so.

The two officers had not activated their body cameras. Minneapolis police officers are now required to have those cameras on when they respond to calls or stimulate traffic stops.

Damonds death led to a shake-up at the upper part of the Minneapolis Police Department. Police chief Janee Harteau resigned at the request of mayor Betsy Hodges, who said the department needed new leadership. Hodges nominated Medaria Arradondo, who had been assistant chief, to become chief.

This week a Minneapolis city council committee unanimously endorsed Arradondos nomination.

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Australian police foil ‘elaborate’ plot to detonate bomb on plane

Federal police commissioner Andrew Colvin tells Islamic-inspired terrorist attack planned to use improvised device to target Australian plane

Police have ramped up security at Australian airports after foiling what they described as a credible and elaborated plan to explode a bomb on a plane.

Tougher security has now been implemented at Australian airports, including additional screening of bags, and police say the current counter-terrorism operation may last days.

The four men arrested in raids on five properties in the Sydney suburbs of Surry Hills, Lakemba, Wiley Park and Punchbowl on Saturday night have not yet been charged.

The Australian federal police commissioner, Andrew Colvin, said a tip-off from partner bureaux led to the raids on Saturday night. He said the terrorist attack planned to use an improvised device to target an Australian plane.

He said the threat was credible, adding: We believe its Islamic-inspired terrorism. Precisely what is behind this is something we need to investigate fully.

Operations are continuing: Malcolm Turnbull tells police interrupted a terrorism plot

Prime minister Malcolm Turnbull said the foiled operation was not a lone wolf-style assault. We face a range of terrorist threats, some of them are lone performers, who activate very quickly, with very little warn, Turnbull said on Sunday. On other occasions, you get quite elaborated conspiracies. This appears to be in that category.

The attack was to target the Australian aviation industry at a major airport, police told. Colvin said there was no evidence that security at Australian airports had been compromised. Terrorists are becoming very ingenius about ways to defeat our security mechanisms, he said.

Australia has some of the best, if not the best airport security arrangements in the world and were confident those measures are effective, and would have been effective, in this circumstance.

The searches in Sydney will continue in coming days. Police told a number of items of great interest have been seized.

The Seven Network reported a suspicious device was found in a Surry Hills terrace, which was raided by 40 riot squad officers on Saturday.

TV footage demonstrated a man with a bandage on his head and draped in a blanket being led away by authorities.

A neighbour described the family who lived in the house in Cleveland Street as perfectly nice and normal people.

We knew them to say hello to and they seemed nice, the woman, who didnt want to be identified, told AAP.

Colvin would not say whether the four humen were on a terror watch list.

Turnbull said the additional security and screening measures at Australian airports is likely to cause delays to travellers. More bags will be checked, its genuinely intensifying what were already doing, he said. And this is gonna be, some of that will be visible, some of it will not be visible.

Virgin Australia issued a statement advising passengers to arrive at the airport two hours before a domestic flight and three hours before an international flight. Virgin also asked passengers to limit carry-on luggage where possible.

The travelling public can expect to experience an increased level of security scrutiny at the airport but they should not be concerned about these precautions just described, the airlines statement said.

As the measures place an additional burden on the screening system, it may take a little longer than usual to get through the process.

The prime minister said he was being briefed on the operations progress by security agencies.

Australias national terrorism threat advisory system lists the threat level as probable, and Turnbull said that would not change immediately.

NSW police commissioner, Mick Fuller, told police may have waited another week before raiding the homes, had it not been terror-related. The reality with terrorism, you cant wait till you set the whole puzzle together. If you get it incorrect, the consequences are severe.

We risk assess regularly, around the clock, and you need to make a decision at some stage when it the right time to go. Both Australian Federal Police and New South Wales police concurred last night was the right time to go.

Justice minister, Michael Keenan, said the foiled plot was the 13 th significant counter-terrorism interruption in Australia.

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‘That’s Melodrama’: Lorde plays exclusive show on Sydney’s Cockatoo Island

Singer takes the stage in a sparkling playsuit, hurling off the dark intensity of her last tour. This time, shes dancing with us

The last time Lorde toured a solo indicate it was 2014. Then 18, Ella Marija Lani Yelich-OConnor already a few years into her career was touring her debut album Pure Heroine, and its breakout track Royals. She had disarmed critics with a voice, lyrics, stage presence and songcraft a decade older than they thought they should be. She had sold 5m records and performed at the Grammys. David Bowie said her music was like listening to tomorrow.

And then, in February 2014, the first time I considered her live, she was headlining Laneway festival in Sydney. Draped in a heavy, long black dress and her own huge hair, with big black boots that belied the 30 C-plus day, she performed with a languid, twitchy, strange self-possession that dared you to look away.

Its a very different Lorde who we meet tonight, sauntering on to the stage in a sparkling silver playsuit. “Shes been” flown in for a quick stop in the middle of a European festival tour, where shes debuting material from her second album, Melodrama. And as she launches into Homemade Dynamite a poppy, exuberant ode to hedonism its immediately clear she is throwing to the side the dark intensity of her 2014 tour. This time, shes dancing with us.

One of her first non-festival presents in almost three years, Lordes exclusive performance on Thursday evening in Sydney is brought to us by a commercial radio station and a telecommunications brand so, a very different night to the ones we can expect from the full album tour. But the drama of the venue lends the night legitimacy: Cockatoo Islands cavernous turbine hallway a cathedral-sized space of uncovered steel and peaked ceilings, which is only accessible by barge is a major venue for the internationally renowned Biennale of Sydney.

Lorde may be a bona fide pop starring now a friend of Taylor Swift, with a radio-ready new record, a Disclosure track and major brand appeal but she still has art credentials. Down the back, but who cares? Still the Louvre.

If you want to, you can find Swifts influence in the new stage show but the who-cares confidence, rough edges and all, belongs merely to Lorde. She bops, jumps and twistings through the choruses of Homemade Dynamite, Magnets and Ribs, flexing her thumb tips-off with the bass drum and hurling her hair, hips and elbows across the stage. And when she falls down the energy for a moment of intensity, her eyes and lyrics bore right into you.

Theres a new confidence and lightness on stage with her. Photograph: Bossy Music

Of course, the production of a branded show doesnt do her justice. The three-piece band are outweighed by the backing track, the lighting is compromised by the logo-packed backdrop, and the microphone doesnt gel well with Lordes movement across it. But she remains mesmerising, constructing the energy in the room and then feeding off it as she launches into Sober: one of the best ways from her new record and a highlight of the present.

Theres a new confidence and lightness on stage with her, as she dances through Perfect Places and Supercut. Im kind of over getting told to throw my hands up in the air/ So there she sings on Squad, but the line is layered in irony when its performed among anthems that were written for festivals: do we pull them down, or hurl them higher?

She sits on the edge of the stage to introduce Liability with a somewhat cheesy, over-earnest speech: Its all of the most intense moments of your adult life. Its the saddest that youve ever seen, or the happiest youve ever seen. Or its impression as lonely as you can possibly imagine, sitting in your living room touching your own cheek simply to feel like someones there, she says, and I remember how many of her fans would be younger than her. Thats Melodrama.

This conversion to cabaret doesnt quite land but if her album taught us anything about Lorde its that shes still working out who she is, as she watches from above and that she is nothing if not full of contradictions. American vowel sounds jar with the New Zealand ones; the lightness of her songs ricochets off darker themes; and the shiny production is deepened by the rawness and realness of her voice.

She follows Liability up with the smash hit Royals, before Supercut, Perfect Places, Team and then, ultimately, Green Lighting: the albums highlighting, an anthem of break-ups and new beginnings, and the song of a summertime Sydney is waiting for. Played live, its precisely as undeniable as it should be.

Lorde seems genuinely happy to be on this side of the equator, recognising faces among the crowd. I have been overseas for seven weeks and in Europe for three, playing in front of a different European crowd every night. And its been fun, she tells. But its not quite the antipodes or anything. Its not weird little New Zealand and Australia.

FUSH AND CHUPS! a human behind me hollers, for the 17 th hour that evening.

Thank you, she says, diplomatically.

The final image we have of Lorde arrives at the encore. She stands alone in the middle of the stage with the microphone and nothing else, for an a capella performance of Writer in the Dark. It is solely overwrought but beautiful because of it and her voice, stripped back, is captivating.

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‘We’re her sort of mum’: behind the scenes at Taronga zoo | photo-essay

We join the keepers at Sydneys Taronga zoo as they nurture and develop their newest arrivals, including Maiya the red panda and Kamini the pygmy hippo. A photo-essay by Jonny Weeks

Lily and Blossom are about to be toilet trained at Taronga zoo. The two young sugar gliders are curled up together inside a wooden box within a personnel bathroom while trainer Suzie Lemon is trying to coax them out with the promise of a sugary, sap-like treat. Lily eventually emerges and promptly peeings all over the floor but Lemon doesnt seem to mind. After all, theyre not here for that kind of lavatory training.

Were developing them to glide over to us on cue to demonstrate their natural gliding behaviour, Lemon explains. We needed an enclosed space, somewhere with four solid walls, because in future theyre going to be doing this for education purposes in the new learning centre.

These two are both young so theyve got to build their confidence and learn how to aim.

Lemon creates her palms to form a wide landing pad and beckons Lily over. When the marsupial takes off it spreads its legs to disclose wing-like membranes before landing on Lemons wrists.

They do a bit of head-bobbing that are intended to judge the distance before taking off, she says, but sometimes they overshoot. And, obviously, sometimes they pick their own target, such as the nearest leg.





  • Sugar gliders Lily and Blossom learn how to gliding with keeper Suzie Lemon inside a staff toilet at the zoos backyard to bush segment. Photographs by Jonny Weeks for the Guardian .

Sugar gliders are nocturnal by nature but many of the zoos approximately 4,000 inhabitants and 110 full-time keepers have been up since first light long before the zoos gates opened to the general public.

Over at the pygmy hippo enclosing, four-month-old calf Kamini is gracefully bobbing up and down in the water tank alongside her mom, Kambiri. The two chase and gnaw at one another, playing up for anyone watching through the glass walls of the tank. Kamini weighs virtually 40 kgs but moving through the water she looks nearly weightless.

Kamini is a water baby, she loves the water, says Tracy Roberts, senior ungulate keeper, as she dedicates the pair a warm shower back at their pen.

Ive never known infants that are as stubborn and independent as pygmy hippo calfs, she adds. In the afternoon the mother will come to the door wanting to come in and get fed and you have to say, No, youve got to go and get the calf before you can come in. And the mother will go ohhh and trudge back up the hill and say, Calf, can you come in for me please ?, and the calf will go, Oh, I dont know mum, what about another five minutes? Sometimes you are able to hear them vocalise and you can imagine Kambiri saying It is bedtime, youre coming with me!

Pygmy hippos are one of the many critically endangered species kept at the zoo and, although little is known of the species, which is native to west Africa, its thought that as few as 2,000 now exist in the wild, with civil wars affecting their rainforest habitats and building preservation unmanageable.

Roberts has an especially strong bond with Kambiri, having worked in the exotic fauna division since her birth six years ago. When youve been on that journey with an animal like Kambiri her whole life, watching her grow from a little calf into a cheeky teenager and then transform overnight into the most devoted mother, it feels wonderful, she says.

A lot of people go, Oh you work with hippos, theyre the most dangerous animal in Africa, arent they? But pygmy hippos are a subspecies, theyre different. Theyre merely a fifth of the size, they have longer legs, they have slimmer muscles … Theyre gentle, theyre affectionate, theyre intelligent and I think they have a sense of humour too. It simply violate your heart to believe one day we could lose these animals in the wild because we dont have the ability to protect them.

However, we do demonstrate those big teeth a lot of respect. They self-sharpen as they come down on each other, so you have to be aware that they could accidentally injure you.





  • Infant pygmy hippo Kamini and her mom, Kambiri, playing in the pool and being showered by keeper Tracy Roberts. Photographs by Jonny Weeks for the Guardian .

Taronga zoo has been located on the slopes of Mosman, overlooking Sydney harbour, since 1916, and the giraffes, who are fed nine times a day, have occupied the same pitching throughout that time.

The zoos remit has changed over the decades from purely exotic entertainment to conservation, breeding and education. Its mantra now is for the wild and its welfare charter nations its aim is to ensure that the life experience of a zoo animal approximates the experiences of an individual living in the wild, in quality, repertoire and in relation to its species natural history.

However, the existence of captive animals still elicit much criticism. Peta, the animal rights organisation, asserts that cages and cramped enclosures at zoos deprive animals of the opportunity to satisfy their most basic needs and that the zoo community regards the animals it keeps as commodities.

Ashley Fruno, Peta Australias associate director of campaigns, tells: Zoos often defend their breed programs on the pretext of preservation but very few, if any, of the captive-bred species that do face extinction in the wild including the elephants, rhinoceros, tigers, red pandas, gorillas and chimps in Tarongas breeding programs will ever be released back into their natural habitats to bolster dwindling populations.

Yet the keepers at Taronga say they do all they can to ensure the animals in their care live fulfilled, enriched lives and emphasise that they are motivated to ensure the long-term protection of each species in the wild.




  • Giraffes Nyota, Jimiyu and Zarafa during feeding day with keeper Sarah Jones. Photos by Jonny Weeks for The Guardian .

At the seal enclosing, these arguments are starkly juxtaposed. The pools cannot compare to the vast expanse of the oceans and the presence of a purpose-built seal theater recalls a bygone era when animals were trained purely for human gratification. But the seals at Taronga dont perform balancing ball acts. Instead, their performances feature behaviours designed to assist in the maintenance of their health or to highlight the perils of their plight in the wild.

When Lexie, an Australian seal lion who was rescued as an orphan pup, comes out on to the stage for a private practice session, she hops onto a wooden platform and allows the keepers to massage her abdomen with a dummy ultrasound wand they hope she might soon be pregnant and will undergo such exams for real. And when Malie is instructed into the pool, he purposefully flails about with a piece of fishermans netting to show how easily a sea lion could become trapped by such materials in the wild.

Elly Neumann, supervisor of the seal theaters, tells: We want people to come gratify our animals, come feel for our animals and understand what you can do to help them. If the public “re coming” insure Lexie and learn about the impacts of overfishing on wild colonies then Lexie becomes an ambassador for her species out in the wild.

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Plane makes emergency landing in Sydney with huge hole in engine casing

China Eastern flight bound for Shanghai had to return to Sydney after about an hour in the air after one engine failed

A China Eastern flight from Sydney to Shanghai has been forced to turn around after engine failing caused a mid-air emergency.

The moment that we took off the wing to my left simply started making a massive sum of noise and they cleared all the seats, a passenger told the Nine Network.

Images prove a huge hole in the engine casing of the Airbus A3 30 which was forced to circle for an hour before touching down safely.

China Xinhua News (@ XHNews)

#ChinaEastern flight #MU736 returns after engine fault detected after take-off from Sydney , no casualties https :// /8 S7j3p3nvX txkuxpMLwM

June 11, 2017

Jim Roberts (@ nycjim)

China Eastern flight attains emergency landing in Sydney after huge pit appears in engine casing. https :// exDObcjnaX via @SCMP_News s4Qbl9ih9p

June 11, 2017

Flight MU7 36 left Sydney bound for Shanghai at 8.30 pm on Sunday evening but pilots reported problems about an hour into the journey. It returned to Sydney where it landed safely and passengers were evacuated with no injuries.

We went up in the air and all of a sudden … it kind of smelled like burning, another passenger told Network Seven.

Brendan Grainger (@ S118869)

Listen as pilots of China Eastern flight #MU736 communicate with Sydney tower regarding engine# 1 issue before returning to Sydney. TO2QyGi8pr

June 11, 2017

With the majority of proclamations on board constructed in Chinese, English-speaking passengers said they were struggling to find out any details.

I was frightened. Yes. I was really scared. Our group was scared, the passenger told Seven.

The flight was a code-share with Qantas, but the airline declined to comment on the language obstacle or any other facet of the incident until it had established how many passengers had booked with Qantas. China Eastern airlines has also been contacted for comment.

Passengers were put up in hotels at Sydney Airport and were expected to depart for Shanghai later on Monday morning. Despite the havoc, passengers praised airline personnel for their professionalism.

Several other flights out of Sydney were cancelled on Monday morning before thick fog that blanketed the city cleared after sunrise.

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‘Don’t slip, don’t trip!’: inside Australian fashion week

Guardian Australia runs behind the scenes with the models, decorators and hangers-on at Sydneys parade

Its like a hurricane: one minute its soothe and then its chaos, tells Kate Reynolds from Melbourne design-duo Pageant moments before the start of their debut display at Australian style week.

Behind her, 20 or so models are madly changing into their outfits, half a dozen backstage photographers are herded together and repeatedly told do not cross the yellow videotape by an irate producer, and a doorman blocks a young woman from hurriedly entering the scene.

Im a model, she protests. No-ones coming in and no-ones crossing that videotape, thats what Ive been told, he tells. But Im in this display! she scoffs, veering around him while rolling her eyes at the snappers.

It feels like a microcosm of style week, where colouring and drama are abundant, punctuality is unheard of, and surviving the week is half the battle.

Held at Carriageworks in Sydney, this years event has ensure 43 indicates from 67 decorators, with garments worn by 1,080 models. There have been approximately 30,000 guests, 400 photographers, 500 volunteers and too many bloggers to count. And after the indicates, its still not quite over yet: theres a day of style seminars to go.

Fashion is a booming industry in Australia, the luxury sector alone is worth in excess of$ 2bn in annual revenue and one model on the runway this year, Jordan Barrett, is said to be earning $100,000 for a minutes work.

Were growing as a nation that wants to dress better and be more style conscious, tells Jordan Stenmark, one half of the Stenmark twins, Australias most recognisable male models. And even though there might merely be something like 24 million of us, theres so much talent out here. So youve got to celebrate whats being done back home.

The twins attended the opening display by Dion Lee at Sydney Opera House on Sunday afternoon Lee was building his fourth appearance at the venue whose geometric kind has so inspired him and were impressed by his colourful collecting featuring sliced Akubra hats and oversized jackets.

I thought the Dion Lee display was fantastic. Hes such a talented decorator because he plays with textures and cuts really well. Hes been able to own that. Over the years hes truly put Australian style on the map.

Dion Lees present at the Sydney Opera House. Photo: Jonny Weeks for the Guardian

It doesnt matter that most of the garments on display at style week are unaffordable, tells photo-blogger Myles Kalus.

Its kinda like going to a museum. Just because you cant own a paint doesnt mean you cant still see it and enjoy it, he tells. My favourite brand, Comme de Garcon, its way out of my price scope but I absolutely still love it irrespective because its one of those brands that shows the world what you can do with clothes.

Clothing originally came from a more utilitarian background but with fashion its a gala of creativity.

Backstage, 20 year-old model Akiima Ajak is taking a quick lunch breaking. Shes booked to walk in so many indicates she can scarcely keep track. Sass and Bide, We Are Kindred, Dion Lee, she tells, pausing to consult her telephone. Alice Macall, Magraw, too many to recollect. I did four yesterday, four today, one Sunday. Some days you wake up and youre so excited. You merely have to enjoy every moment.

Akiima Ajak modelling for C/ Meo Collective. Photo: Jonny Weeks for the Guardian

Ajak was merely signed to an agency two months ago and has never done a real photoshoot, let alone walked the runway. Until lately she was working in a care home.

I wanted to put my height to use for once, she jokes. Modelling isnt what I imagined it would be, but its good. Normally you watch Tv and you see the pretty stuff but “youve never” see backstage. I didnt think about how the hair and make-up would take hours to get ready for a five minute display. And Im lucky I dont have much hair.

While Ajaks career is just beginning, fellow model Raenee Sydney, one of the most memorable faces from style week 2016 thanks to her electric-blue hair, has reservations about continuing hers.

This time last year I flew to LA to shoot Calvin Klein and that was a phenomenal experience but at the same time modelling can make you feel like total shit, she says.

Last year I went to a casting and waited at the fitting for six hours and then I tried on every attire and got fallen at the last minute. It makes you question yourself. Am I not good enough? Have I not got the right look?

I have to remember never to blame myself because theres plenty of other things that come into it maybe youre merely not right for that season.

Raenee Sydney backstage. Photo: Jonny Weeks for the Guardian

Models are often misunderstood as stroll mannequins, tells Kalus, who often photographs them backstage.

I dont suppose people have a negative perception of models because of the models themselves, I think its the industry generating its own world. Fashion is dependent upon the idea of hierarchy and to make things more enticing they have to create separation.

Cotton creases a lot

In the lead up to every display, accredited photographers either head backstage or queue for a position on the riser, the stepped platform at the end of the runway. Almost every snapper wants to be front and centre of the riser, lest they have a poor angle or their colleagues lens-hoods creeping into their shots.

Raenee Sydney on the catwalk at Australian style week i. Photo: Jonny Weeks for the Guardian

Miro Kubicek, the seating director, oversees their arrival before opening the doors to the audience. Hes not only one of the doyens of style week, but also one of its most charming characters. He greets everyone with exuberance and somehow ushers them to their seats in an orderly fashion even when the show is about to start.

Occasionally the photographers call him into action. Hey, we need a big human for this task, a photographer wails over to him during the white balance read before We Are Kindred. Kubiceks ears prick and he glides over, takes the sheet of white paper from his colleague and grinnings for the cameras.

Miro Kubicek, right, during a white balance test at style week. Photo: Jonny Weeks for the Guardian

The clothing at style week ranges from slick, monotone menswear by the likes of Justin Cassin to the quirky, colourful creations by Double Rainbouu. There are times when you can sense the approval of the photographers as the flickering sound of their shutters rises with every vivid creation.

During one display the final model, wearing a billowing ballgown, trips on her garment halfway down the runway, directly in front of the riser. She assembles herself and continues her walk.

You do have that thought in the back of head of dont stuff up, dont slip, dont trip-up, tells Sydney. Its hard trying to keep your balance and your stroll right. It seems easy but you have to have a certain look to it. Youve got to be a bit staunch and not sloppy. Its truly methodical: left, right, left, right, with a little bit of hip swing.

A lot of the designers tell you what look to have or how to showcase yourself. But you also have to do what you feel comfortable with because if you dont feel comfortable youre not going to look right.

Clothing by Karla Spetic at Australia fashion week. Photo: Jonny Weeks for the Guardian

Dont bend your limbs, is the primary instruction given by designer Anna Quan to her models before they go on display at the Box. Because, yknow, cotton creases a lot, she explains afterwards. It wasnt some weird disciplinarian thing building them behave!

Its little wonder shes concerned about the details: shes expended $30,000 on one five-minute show.

I suppose people get truly carried away with doing a display. Its a very obvious spectacle and you can get swept up in the excitement, but if you had to break it down its basically a sales presentation, she tells. Because whats the phase of being a decorator if no-one wants to wear your clothes? Is it merely art or is it art that people wear?

Like Quan, veteran decorator Arika is similarly cursed by creases in the lead up to his display and has surrounded himself by a tea of steamers in bid to resolve the issue. However, so much power is needed that they fuse the powerboard and theres a sudden electrical outage.

Akira seems remarkably unruffled. Then again, hes used to these drama hes been showing at style week since the year it began.

Akira Isogawa ironing clothes backstage at his display, Arika, at style week. Photo: Jonny Weeks for the Guardian

Over the years, he says hes noticed a shift in the creative purposes of Australian decorators: In the past they were playing more safely and presenting stuff which was a derivative of whats going on in New York or London or Paris, but nowadays theyre more confident and are showing their individual point of view, which is healthy. Theyre definitely defining the agenda.

On the eve of the final display by Romance Was Born, themselves a good example of Akiras point, the queue for a place on the riser begins more than an hour before the official start time. But everyone to know each other wont start for at the least another two.

Outside, blogger Warren Pasi is hoping to squeeze his route in to catch a glimpse of their elaborate, bizarre, dreamy creations.

I love fashion that makes you think, makes “youre feeling”, makes you excited, makes you happy, he tells. Because clothes are meant to be the outer expres of your feelings, of who you are on the inside.

After the display, Redfern train station is speckled with familiar faces from the week, including young models, each of them virtually disguised by their ordinary clothes. Yohanis Diaz Morgan is one of them. Did he make it past security to watch Romance Was Born?

I was outside watching the live stream. I couldnt get in.

Designer Luke Marketings( wearing blue) is hugged by his design partner Anna Plunkett at the end of the Romance Was Born display. Photo: Jonny Weeks for the Guardian

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The Red Pill screening divides campus ‘libertarians’ from pro-women groups

The controversial movie about men rights inspires protests at Sydney University and a heated debate about freedom of speech

In both the fictional world of the 1999 movie The Matrix and the very real one of the mens rights motion, the red pill represents espousing reality in all its uncomfortable intricacy. Supporters tell of their red pill moment, the phase at which they repudiated blissful ignorance for reality. In the context of mens rights activism, their uncomfortable truth is that mens lives are of lesser value than women( The Matrix itself doesnt appear to have any particular notions on gender equality ).

At Sydney University on Thursday evening, a large group of students had either taken their medication, or were part of groups strenuously resisting it. The Conservative Club and Students For Liberty( for classical liberals and libertarians) had organised a screening of The Red Pill, Cassie Jayes controversial documentary on men rights activism( MRA ). Fascist Free USyd and the Socialist Alternative Club had organised a protest against it.

Outside a small auditorium in which the movie was to be shown, and under the observation of a small group of police officers, the two groups taunted and filmed and rallied against each other. Rival chants started up GOODNIGHT ALTRIGHT from those holding flags about the MRAs tears, and FREE-DOM, FREE-DOM from a group that included a man in a shirt that read FEMINISM IS CANCER and another in a Make America Great Again cap.

Eleanor Morley, of Fascist Free USyd and the Socialist Alternative Club, told Guardian Australia the movie was profoundly misogynistic and gave a platform to men rights activists with outrageous opinions about women. She had watched it online the previous night: I thought it was a bit of a joke, genuinely. It made no impact on me.

But its debate that humen were systematically subjugated by society, she very strongly disagreed with. The movie was fretting for its anti-women stance, which, Morley said, reflected that of the US president: Its not just as an isolated group of weirdoes who share these views.

A ban on the movie Morley referenced in Melbourne last year was a private screening, organised by a mens rights group, that was cancelled by the cinema after an online petition. Much of the backlash had assumed it was a curatorial decision, a representative of Kino cinema had said, which was potentially damaging to its credibility.

On campus, the battle was ideological , not commercial. For those in favour, the Red Pill was a proxy for freedom of speech but it represented misogyny for those against it.

Morley said the intent of the protest was not to shut the screening down: Were simply here to present a counter, left-wing, pro-women, anti-homophobic message. According to Conservative Club members, the protesters initial scheme had been to blizzard the auditorium halfway through, effectively ending the event.

The odds were considered to be tipped in the protestors favour when, a month out from the screening, the University of Sydney Union announces that it had decided to disallow the use of its funds or resources for the screening after receiving a number of complaints.

In a statement headed with a content alerting for sexism and rape, USU said the film was discriminatory against women, and has the capacity to intimidate and physically threaten women working in campus.

The Conservative Club reproduced this on posters promoting the event: Ensure the movie that USU tried to stop you from seeing.

I set a trigger alerting on the tickets because, according to USU, this film is physically threatening to women, organiser Renee Gorman told the crowd of about 100, perhaps 80% humen, gathered inside the auditorium before the screening on Thursday evening. I dont know about you girls here, but I put on my big girl panties this morning.

This inspired whoops from the crowd; Gorman herself had been applauded as shed arrived, flush from the frontline of combat against those ferals … the crazies outside the auditorium. Inside the ambiance was jubilant, she find. I think were in a pretty good mood. I think that was just funny.

When USU defunded the event, Gorman paid $530 for the venue hire and two security guards. It was for two good causes, she said: fighting censorship on campus and prostate cancer. Gorman subsequently told Guardian Australia that the event created more than $1,000 for the Prostate Cancer Foundation of Australia.

I knew that it got banned in Melbourne, but I had hoped Sydney University would be a place that was more accepting of free speech and alternative notions, she said. All I genuinely wanted to do was have a discussion about legitimate male issues.

One she was particularly passionate about was domestic violence not being a single gender issue.

Thats something I genuinely want to innovator: it needs to stop being stop violence against women, she said. It needs to be ending violence, full stop.

The Red Pill screening inspired heated debate at Sydney University. Photograph: Elle Hunt for the Guardian

Support for female victims of domestic violence is described as a half-a-billion dollar industry in The Red Pill. Some of the views put forward by Paul Elam of the blog A Voice For Men she said ran a little bit too far when feminism was not the cause of all mens issues but she empathised with the sympathetic stance of the documentary maker, Cassie Jaye.

Gorman defined herself as both a classical liberal and a libertarian and equity feminist, pointing to the work of Christina Hoff Sommers, the American writer of Who Stole Feminism. It was easy to feeling alienated by the movement, which she said had exaggerated some problems for women at the expense of real female issues such as female genital mutilation and infant brides.

But, Gorman added: Even if I said I wasnt a feminist, it doesnt mean Im a sexist.

Just as its bad to stereotype feminists as all being extreme man haters, its bad to stereotype MRAs as being women haters. Silence their views isnt the right way to be going about this. We should be working together, I think.

Gorman had invited those who opposed the screening to come along, watch it all the way through, and then have a debate. Their response had been to call her and her fellow organisers sexists and bigots, and tear down posters advertising the event.

This is Sydney University, its not Berkeley were not going to let alternative opinions be silenced merely because people are offended, she said.

There are a lot of things that I find on campus offensive, like putting up posters of Che Guevara, who murdered thousands of people but I wouldnt stop the socialists doing that.

The two-hour film was more confounded than it was hostile, proffering statistics of US military war demises and the women and children first policy anecdotally complied with in water disasters as evidence of the expendability of male lives. Individuals protracted, specific, and in some cases bizarre, experiences of custody combats and paternity exams were put forward as evidence of the diminution of all men.

The audience watched on largely passively, perking up only when the documentary depicted protests like the one they could still hear going on outside the auditorium doors. RACIST, SEXIST, ANTI-GAY MRA, Go forth, chanted protesters at a mens rights rally in Toronto in 2013.

I recognise that! yelled person at the back, to much laughter.

The film concluded with Jaye not-quite swallowing the red pill, observing the reality of the mens rights motion to be somewhere in the middle but renouncing her feminism all the same.

The credits rolled, the suns came up and Gorman opened the floor to questions and commentaries. One man was quick to respond.

I think whats really important is that, when we walk away from this … we try and find out whats the truth, whats real, and we dont descend to the level of detest and fear that is on that side of the door.

Its merely very, very important. If we go back the other style, this just maintains going backwards and forwards, and no one gets anywhere.

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