A moment in The Choral that shows how lived experience changes everything

 

I recently saw The Choral . It is a magnificent movie. It broke my heart in a good way.

Partly because it is so beautiful. Partly because it is so powerful. And partly because of one moment that keeps opening out into other moments long after you leave the cinema.

A choir member who is also a Protestant minister stands and says there is no such thing as purgatory. In his faith, the soul goes straight to heaven or hell. No in between.

Then Clive speaks.

He has come back from the war with one arm. He says purgatory is real. It is the space between two sides fighting, the moment when you step forward and you don’t know whether you will live or die.

The room goes completely still.

I am confident that minister would never stand up and say there is no purgatory again. I don’t think anyone else in the room would either and everyone who sees the film.

What moved me was not only the moment itself, but what it unlocked. How often lived experience cuts straight through belief. How two people can stand in the same place and see entirely different things, shaped by what they have lived, what they have lost, what they carry in their bodies.

It felt like a reminder to slow down in conversations. To listen more carefully. To leave room for the fact that someone else may be standing in a place you have never been.

Who will be laughing at us in a hundred years

Old newspapers are a gift. They show us a community concentrating very hard on the business of being right about the small things.

In Jamberoo in the late 1800s, people worried about the name of the colony. Australia felt flimsy. Too casual. Too much like a place where people might relax. A proper society, it was argued, required a name with authority and a whiff of empire. Something that would sit comfortably on official letterhead.

The name survived. It now appears on passports, Olympic medals, and road signs without incident.

Beach behaviour also drew close attention. Men bathing in underwear sparked outrage. Editorials were written. Public standards were defended. The issue hinged on fabric, fit, and the preservation of decency. The town believed civilisation rested on correct swimwear.

Electricity prompted years of debate. Poles were discussed. Tariffs were dissected. Who should pay occupied many meetings. When power arrived, streets were lit and grievances brightened along with them.

Women voting caused genuine concern. Serious men warned it would alter women’s nature, upset social balance, and weaken chivalry. These arguments were delivered with confidence and a straight face.

Marriage advice was also a public service.

In 1886, the Kiama Independent offered bachelors a guide to finding a wife. It advised men to observe women closely in the morning. To check her hair. Her dress. Her energy levels. To assess whether she complained of cold, executed unreasonable projects, or wrote too many letters. A man was cautioned against leading a woman to the altar if she showed signs of extravagance or ambition. A good wife, readers were assured, would not be a boaster and a slattern. This bible of rules was apparently the gold standard.

This guidance was published earnestly. Presumably clipped. Possibly discussed over tea.

At the time, all of this mattered. These were serious conversations held by serious people trying to protect their world from decline, disorder, and women who might write letters.

Seen from here, the intensity is impressive.

Which brings us to the present.

We have our own certainties. Our own moral alarms. Our own debates conducted with absolute conviction. We argue about productivity, visibility, optimisation, self branding, and being constantly available. We hold strong views about how people should live, work, partner, parent, age, and perform success.

Future readers will find these pages too.

They will smile at the confidence. They will marvel at the energy. They will wonder how so much attention landed in such particular places.

History tends to be generous. It shows how people worked with the ideas they had.

The more useful question is which of today’s decisions will still make sense once everyone involved is dead and no one is defending them.

Those choices are rarely the ones anyone is busy congratulating themselves for.

They do not come with rules.

And they show zero interest in what a woman looks like before breakfast.

 

How a small town editor changed the landscape by channelling Hawke, Mandela and Attenborough

Wouldn’t life be easier if we knew when to calm the room like David Attenborough, when to hold the line like Nelson Mandela, and when to roll up our sleeves and push like Bob Hawke?

Joseph Weston understood timing.

He was the editor of the Kiama Independent in the late nineteenth century, a farmer in an earlier life, and a fierce advocate for systems that moved farmers from price takers to price makers.

He had range.
Emotional range.
Strategic range.
Editorial range.

I’ve spent a long time watching how change actually happens. It often slips in while everyone is busy arguing about something else. Weston seemed to understand that instinctively.

Start with women.

As editor of the Kiama Independent, Weston strategically expands who appears in the public record. Women begin to show up with careers. Paid work outside the home becomes part of everyday reporting. Secretaries. Clerical and office roles. Assistants in business and administration.

His commentary ensures these roles sit comfortably on the page.

Education is assumed. Literacy is assumed. Organisational skill comes with the territory. Women appear as capable participants in the life of the town.

Alongside this, the paper notes the first woman to graduate university with an Arts degree. She takes her place among the day’s business and the paper moves on. Education, work, and opportunity sit naturally within community life.

This is Weston in Attenborough mode.

He trusts readers to notice. He lets repetition do the work. Over time, expectations widen because what people see keeps widening.

Then he switches gear.

When the dairy industry is at stake, Weston becomes very Hawke. Energy up. Purpose clear.

He writes under the pseudonym The Dairyman. Farmers start asking each other who The Dairyman might be. They argue about the ideas and speculate about the author at the same time. The conversation spreads. Momentum gains traction.

Cooperative dairying becomes something people are talking about in sheds, kitchens, and at the factory gate.

This is Weston mobilising attention.

Running through both approaches is a third instinct, the Mandela one. A sense of timing. Knowing when to slow things down and when to apply pressure. Knowing that influence works differently depending on the moment.

With women’s roles, Weston widens the frame until it feels familiar.
With cooperative dairying, he sharpens the focus until it demands action.

Same person. Different tools. Wisdom we all can aspire too.

Joseph Weston understood how communities change. He worked with that reality. Low-key when low-key works. Direct when direction builds momentum.

For me

Joseph Weston is a role model who shows us how to rearrange the furniture, and when to do it.

FYI

Source 

Review: Heaven, My Home by Attica Locke is a Rare Crime Novel that Tells the Truth without Flinching

Heaven, My Home: Book 2 (Highway 59 by Attica Locke) is the rare crime novel that trusts the reader with complexity and tells the truth without flinching.

Attica Locke opens the book inside the fear of a nine year old white boy, Levi, alone on a lake after taking a boat without permission. The motor dies. The radio cuts out. Silence thickens under Spanish moss. Before race, before politics, before judgement, we sit with pure vulnerability. A frightened child. A bad decision. Consequences closing in.

That choice reverberates through the rest of the novel. Levi’s fear is immediate and personal, born of isolation and uncertainty. Later, when Ranger Darren Mathews reflects on what frightened white adults have done to the country, the contrast is unavoidable.

Fear in a child calls for care. Fear in those with power, left unexamined, becomes destructive.

Locke is unusually direct about the political moment she is writing into. She names Donald Trump repeatedly, refusing the safety of euphemism. Through Darren’s anger and his uncle Clayton’s blunt moral clarity, she captures the dread many Black Americans felt watching a far right wing president elected, a president perceived as excusing or emboldening Klan aligned ideology. This is not framed as abstract politics or partisan disagreement, but as a threat to safety, dignity, and belonging.

One of the book’s most unsettling achievements is its refusal to sanctify forgiveness. Clayton’s insistence that forgiveness has limits cuts against the comforting idea that moral grace is always redemptive. In Locke’s hands, forgiveness becomes something that can be weaponised, a habit that allows impunity to flourish when accountability is postponed again and again.

Place carries equal weight. The lake, the abandoned land, the back porch at dawn are not scenery. They hold memory, labour, exclusion, and loss.

Families stay, others are pushed out, time erodes even the most carefully laid plans. The land remembers longer than people do.

This is crime writing that places interior life at its centre. Marriage, desire, silence, and guilt are not side plots, they show how people seek safety when the world beyond their door grows hostile. Darren’s hope for the life of the child, his doubt about the country, his pull toward home, all sit in uneasy balance.

Heaven, My Home refuses to soften fear or smooth history. It names the moment it inhabits, honours Black interior life without explanation, and allows beauty and menace to exist side by side. It doesn’t tell you what to think. It shows you what it feels like to live there.

If Google cannot find you, did you even happen? Putting Jamberoo firmly on the digital map

Source Facebook 

Marketing guru Gaye Steel is a friend and mentor. In passing, she said something that made me smile and then made me act. If you are not on Google, you do not exist.

She was talking about what lasts.

A digital footprint carries a story beyond the last person who remembers it. Beyond the neighbour who knows. Beyond the family who tells it at the table.

Gaye is someone worth listening to because she has spent decades making big organisations move, not talking about it. She understands what cuts through because she has been responsible for ideas that had to work in the real world, at scale, with no room for excuses.

At McDonald’s, Gaye was at the centre of market defining innovation. She led the launch of products that reshaped the brand’s Australian offer, including Flake n Cone, McFlurry, McOz, and the first Family Meal Deal. These initiatives strengthened McDonald’s market leadership and showed her ability to translate consumer insight into large scale commercial success.

Gaye Steel taught me that good advice is meant to be used. So I used it, nudging a few Jamberoo legends onto the internet and leaving enough breadcrumbs that when someone types a name into a search bar, something comes back.

Think of it as historical housekeeping, with a keyboard. A way of making sure the people who shaped this place do not quietly slip out of view.

Geoff Boxsell and Kevin Richardson are a perfect example. Between them, they created the formula for spreadable butter, something that changed how Australians eat at breakfast. For years they were far too quiet about it. Hardly anyone in Jamberoo knew the full story.

Geoff Boxsell gets his first Instagram moment at 86 and somehow makes it look effortless. Read the story in Region Illawarra here 

Now the world does.

There are Google pages. Radio interviews. TV interviews  Podcast stories. A national audience hearing how two local blokes solved a practical problem and changed a national habit. The story has moved from sheds and factory floors into the places people actually look.

Listen on Apple Podcasts

This work also connects back to why I started digging so deeply in the first place. When I spoke with Dr Tony Gilmour, who has been documenting local history for years, I told him I wanted to ground my book in what Jamberoo was like in the late 1800s and early 1900s. He warned me there was not a great deal of Jamberoo history written down.

If the record is thin, what we add now carries weight. Digital footprints are not about promotion. They are about continuity. They give future storytellers somewhere solid to start.

Jamberoo’s residents are proud of our village. Always have been. What has changed is that we are now firmly on the digital map as well. Our stories are there, searchable, linked, and ready to be found.

And that feels like a good thing to leave behind.

Never underestimate the role of men in amplifying feminism

Image credit Sylvia Liber

I am deep in the late 1800s for my novel, working through co-operative records, newspapers, council minutes, and the small details that tell you how people actually lived. The book is a historical novel set in a dairy valley on the NSW South Coast at the turn of the twentieth century. The further I go, the more familiar the patterns feel.

I grew up a sixth-generation dairy farmer. By the time I came along, technology was everywhere on the farm. The cows were unimpressed. They still needed milking 365 days a year, twice a day, sometimes three. The machines changed. The stories stayed.

My mother milked cows before and after school. Her mother did the same. I noticed how normal it all sounded.

My father had one rule. “Never ever ever learn to milk a cow.” He wasn’t joking. He made it clear to my sister and me that our younger brother would inherit the farm. There would be nothing for us to inherit. That rule came from his mother, who hated milking cows and moved heaven and earth to make sure her daughter had an education. He carried that lesson forward. That advice probably did more for my feminism than any book I read later.

My father’s logic belonged to the nineteenth century. Sons inherited. Daughters adjusted. It is now very outdated, and it deserves to be named as such.

My father is gone. My brother sold the farm. The logic did not survive either.

That family arrangement was not unusual. It sits squarely inside what the historical record shows.

The Illawarra co-operative story is usually told through factories, boards, and balance sheets. What sits underneath it is work done by whole families, organised around necessity rather than choice, as documented in Illawarra Co-operatives: The First One Hundred Years (University of Wollongong, 2014).

Most dairy farms in the late nineteenth century were small, around 30 to 60 hectares. Life for men, women, and children was exhausting and relentless, shaped by weather, seasons, and livestock. Every day, a family spent about four hours milking an average herd of thirty cows. There were no days off.

Men’s labour was constant and physical. They cleared land, fenced paddocks, planted and harvested feed, cared for stock, maintained buildings, and carted milk and butter to market over poor roads and long distances. Their work was visible.

Women’s labour ran alongside this. Women ran households, cooked and cleaned, bore and raised large families, drove herds, milked twice a day, sterilised equipment, tended poultry, pigs, and gardens, and rose as early as 2am in summer to prepare butter for market. In poorer families, women took on heavier outdoor work as well.

Children worked before and after school, when school was possible at all. At Kiama Public School, the timetable was adjusted to fit around milking. Education bent to agriculture, not the other way around.

Butter making was slow and physically demanding, but it mattered because butter paid the bills. Cream rose when it could. Sometimes it soured. It was still skimmed, ripened, churned by hand, and packed for market.

This is the pressure co-operation responded to.

From the late 1880s into the 1890s, factories shifted part of this work into shared systems. Separators, refrigeration, and rail transport mattered. So did the effect on daily life. Time pressure eased. Physical exhaustion reduced. Risk moved out of kitchens and sheds and into collective arrangements. The work still depended on women, but it no longer sat entirely on their backs.

Women were never named as founders or directors. Yet the system depended on their labour, endurance, and availability. Co-operation did not remove women’s work. It reorganised it.

This is where Joseph Weston enters the story.

As editor and proprietor of the Kiama Independent, Weston used the newspaper to argue for co-operation as a response to how work was actually being carried out in the district. He wrote about structure, not sentiment. He brought labour that had been treated as private into public discussion and made it part of the economic conversation.  After this much time in his columns, I have developed an entirely unreasonable fondness for him.

Local newspapers did more than report. They shaped what communities thought could change. Weston used the platform he had.

This is not about men granting permission. It is about who had access to the microphone, and what they chose to say into it.

A later layer of visibility comes from historical scholarship. The 2014 history Illawarra Co-operatives: The First One Hundred Years records women’s labour throughout the system. One pattern stands out. Women are named largely in contemporary chapters. In the foundational period, women’s labour is described in detail, but individual women are not identified. The work is present. The names are not.

My work begins there.

My book is relevant now because communities still decide who women are faster than they listen to who they might be. The Illawarra co-operative movement worked because entire families carried it. Some men used their access to make that visible at the time. The task now is to keep it visible.

History of Dairying – From horse and dray to robots in the shed

For much of the last century, dairy farming was shaped by muscle, routine, and ingenuity. Milk did not move easily, and neither did the work. Every change in transport and milking reshaped daily life on farms and quietly transformed the industry.

In the early days, milk left the farm in ten gallon cans, each weighing close to sixty kilograms when full.

Cows were hand milked, usually twice a day, and the milk was strained, cooled as best it could be, and poured into cans.

Image source 

Those cans were loaded onto a horse and dray, or slid down timber milk slides on steep country, then carted to the factory. In wet weather, roads became mud, wheels bogged, and schedules slipped. Strength mattered. So did reliability. Missing a collection was not an option.

As farms grew and roads improved, mechanisation crept in. Hand milking gave way to early machines, powered first by kerosene or small engines, later by electricity. Milking sheds changed shape. Bail sheds replaced open yards, hygiene improved, and consistency lifted. The work was still hard, but it was faster and more predictable.

In the late 19th and early 20th centuries, significant advancements were made in milking machine technology, with the introduction of vacuum-operated systems that improved milk extraction efficiency and reduced stress on the animals. These early milking machines were typically stationary units that required cows to be brought to the machine for milking.

Transport followed the same path. Horse and dray gave way to trucks, still collecting milk in cans, but covering more ground. Then came one of the biggest shifts of all, bulk milk collection. Instead of lifting cans, milk flowed directly from the vat into a tanker. For farmers, it meant less physical strain and better milk quality. For factories, it meant scale, efficiency, and the ability to plan.

Jamberoo Dairy Factory, mid-20th century.
Milk arrived in many ways at once, by horse and dray from nearby farms, by individual trucks, and by larger trucks collecting milk from multiple properties, marking the transition from horse-powered dairying to mechanised transport.

Bulk tanks on farms changed shed design again. Cooling became immediate and controlled. Milk could be held safely until collection. The daily rhythm altered, but the discipline remained.

Large dairies today often have 20,000 litre milk vats

Today, the shed tells a different story again. Rotary dairies, automatic cup removers, and data screens sit where stools and buckets once did. In some sheds, robotic milking systems allow cows to choose when they are milked. Sensors track yield, health, and feed intake in real time. Transport is integrated into logistics systems that optimise routes and timing.

Rotary Dairy System 

What has not changed is the logic behind every shift. Each step aimed to protect milk quality, reduce risk, and make the work sustainable. The tools look different, but the principles are the same.

Robotic Dairy System 

From horse hooves on muddy tracks to stainless steel tankers and robots in the shed, dairy farming has always adapted. The story of transport and milking is not about nostalgia or novelty. It is about problem solving, step by step, generation by generation.

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Watch how one farm grew their milk business here 


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Where history lives and why it still matters

We’ve lived the history.
We’ve written it down.
We’ve carried it forward, or have we?

That question is where my work begins. Through interviews and recordings, I gather and share local history, often uncovering stories people carry without realising their value. When I speak to groups, I start with this moment, a pause, a look around the room, and an invitation to notice what’s already in our care.

I then ask for a show of hands.

Who here is, in some shape or other, a keeper of stories?

For some, it’s a box of photographs.
For others, a folder of papers.
Sometimes it’s a drawer that nobody else is allowed to touch.

That’s where history lives.
And that’s where the opportunity begins.

History lives in people, families, workplaces, and communities. It survives because someone decides it matters. Often it begins with ordinary objects and everyday stories, the things that sit quietly in our lives until time gives them meaning.

One of my favourite examples is this suitcase.

A relative’s family kept their memories in a single suitcase. Over many years, a father filled it with letters, photographs, and papers. When he died, the suitcase passed to his son.

His son understood the suitcase as responsibility. He chose to keep those memories alive and went on to write the history section for his local paper, turning private records into shared memory.

Inside that suitcase were photographs of my own family I had never seen. Faces, places, and moments I recognised in new ways. My history, preserved through someone else’s care.

My parents wedding and a photo of my mother as a 14 year old bridesmaid

That is how continuity works. Memory moves forward because someone chooses to hold it.

Today, we can extend that care into digital spaces. Stories become searchable, shareable, and discoverable. A single record can reach families, researchers, and future generations.

What we choose to document shapes what gets handed down. What we carry forward shapes what endures.

Most of us already hold history in our hands. The question is how we choose to care for it.