Friday, April 03, 2026

‘Messy’ gardens are trending. Here’s how to make yours bloom

    • Higher vitamin D levels in midlife were linked to lower levels of tau protein, a key marker associated with Alzheimer’s disease, years later

Messy’ gardens are trending. Here’s how to make yours bloom 
Megan Backhouse 
April 3, 2026

It was easy to pick Jac Semmler’s garden at the Melbourne International Flower and Garden Show (MIFGS). Hers was the one with the coral pink deck and the joyous sea of plants. It was both electrifying and understated at the same time.

Semmler, who runs the “plant practice” Super Bloom, is a horticulturalist, planting designer and author who is shaking up how we garden, partly by encouraging people to plant exactly what they like. In her eyes, gardens are for pleasure and the only person you should seek to please is yourself.

But she does have a caveat and that is that climate compatible plants should come first. Plants, she says, are “the great giver” and it is these, rather than built elements, that should be the central player.

Jac Semmler in the MIFGS garden designed by Super Bloom in partnership with Heliotrope Studio, Evergreen Infrastructure and Mood Construction.SARAH PANNELL

The MIFGS display, made by Super Bloom in partnership with Heliotrope Studio, Evergreen Infrastructure and Mood Construction contained hundreds upon hundreds of perennials, annuals, shrubs and succulents. There were no beds or borders as such because the entire 40-square-metre garden, save for the pink path, was an intricate mass of flowers, foliage and seed-heads.

Even allowing for the fact that MIFGS displays have been getting softer and looser by the year, last week’s show was especially free-spirited. Burgundy-red everlasting daisies were knocking into purple penstemons and towering over orange agastaches. The blue flowers of Ceratostigma griffithii were tangling with the powdery silver leaves of Cotyledon orbiculata and with coral pink salvias. Kangaroo grass danced with Californian poppies. Flashes of violet dianthus were interspersed with the drumstick seed heads of Scabiosa stellata.

Semmler says that creating a beautiful garden isn’t about following a formula but about adopting a creative approach that focuses on the nuance of plants.

In her latest book, Flower Power: Designing Gardens for Year-Round Wonder, launched in Melbourne last month, she admits to particular botanical biases – wispy shapes, the colour blue, Mediterranean-like landscapes – but advises gardeners to follow their own preferences.

A coral pink deck ran through a joyous sea of plantsSARAH PANNELL

The book, launching in Sydney next week, offers guidance on how gardeners can chart their own way.

Plan, play and experiment

Choose a diversity of plants that suit your soil and climate, and that you love. Rather than focusing on one flowering peak – traditionally late spring and summer – Semmler encourages us to make gardens that look good all year round.

While succulents and shrubs provide permanence, annuals biennials, perennials and bulbs operate on different time frames and will provide various moments of delight throughout the year. These seasonal highlights often come from flowers but other aspects of plant life, such as the colour of fresh growth or the structure of seed heads, bring visual peaks too.

If you feel unsure start small, then scale up. Semmler suggests that one approach when building a composition is to start with a “flower hero”, then choose a “support act” with more subtle qualities to highlight that hero and then a “camouflage” to cover the ground, reduce radiant heat and suppress weeds. Gradually, keep adding diversity with the addition of more plant species, with attention to colour, shape, height and texture.

The garden includeshundreds of perennials, annuals, shrubs and succulents. SARAH PANNELL

The role of set structure and repetition

Known patterns and lines, such as a pathway or a wall, help introduce a degree of “readability” in a garden and create a balance between the wild and the controlled.

Repetition can also make everything belong together and create a sense of coherence. “The human eye loves repetition, as it makes us feel that we are part of something greater,” Semmler writes.

Just start

The most important thing is to begin a planting and then see where it takes you. Semmler insists that anyone, no matter how much space they have or how much gardening experience, can make a garden. Consider your place and its planting possibilities, and then observe how what you plant works. You can learn to garden by doing it, and your ideas change as your garden develops. Make it a pleasure not a burden.

Let the plants lead the maintenance

Consider your garden as an ever-changing place that flourishes and grows rather than just establishes and survives. Instead of following a predetermined list of “jobs to do this month or week”, take your cue from your plants and be proactive rather than reactive. Over time, you will get to know the unique timing of your garden and when to deadhead, prune or provide other care.

This is especially true in a changing climate, when plants don’t always conform to our experiences or expectations. “The only guarantee is more shifting seasons and unpredictability, so listen harder and plant with adaption in mind,” Semmler says.

Finally, remember that by choosing plants that are resilient you are less likely to be overwhelmed by their care.

Flower Power: Designing Gardens for Year-Round Wonder (Thames & Hudson) by Jac Semmler is out now.

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US government ‘chipping away’ at press freedom

US government ‘chipping away’ at press freedomDW

 

Inheritance disputes surge to record levels as heirs fight for spoils Financial Times


Was this what became of socialism?Internationalen via machine translation


 

Protecting the press: How Section 702 of FISA must be reformed Freedom of the Press Foundation



China Is Rapidly Overtaking the United States as the World’s Scientific Superpower Futurism


Shaun Rein: “The Longer Iran War Lasts The More China Wins” The Singju Post


China Is Planning Decades Ahead on Clean Energy. The U.S. Has Other Priorities. Council on Foreign Relations


Orban’s remarks that ‘China is simply unbeatable’ in interview draw attention on the Chinese internetGlobal Times


aguar Land Rover halts production at its biggest car factory for a fortnight due to parts supply issue as wider UK vehicle outputs hit the rocks Daily Mail


UK ‘weeks away’ from medicine shortages if Iran war continues, experts say The Guardian


Facial Recognition Is Spreading Everywhere

IEEE Spectrum – “Facial recognition technology (FRT) dates back 60 years. Just over a decade ago, deep-learning methods tipped the technology into more and menacing—territory. Now, retailers, your neighbors, and law enforcement are all storing your face and building up a fragmentary photo album of your life. Yet the story those photos can tell inevitably has errors. FRT makers, like those of any diagnostic technology, must balance two types of errors: false positives and false negatives. 

There are three possible outcomes. In best-case scenarios—such as comparing someone’s passport photo to a photo taken by a border agent—false-negative rates are around two in 1,000 and false positives are less than one in 1 million. In the rare event you’re one of those false negatives, a border agent might ask you to show your passport and take a second look at your face. But as people ask more of the technology, more ambitious applications could lead to more catastrophic errors. 

Let’s say that police are searching for a suspect, and they’re comparing an image taken with a security camera with a previous “mug shot” of the suspect. Training-data composition, differences in how sensors detect faces, and intrinsic differences between groups, such as age, all affect an algorithm’s performance. 

The United Kingdom estimatedthat its FRT exposed some groups, such as women and darker-skinned people, to risks of misidentification as high as two orders of magnitude greater than it did to others. What happens with photos of people who aren’t cooperating, or vendors that train algorithmson biased datasets, or field agents who demand a swift match from a huge dataset? Here, things get murky…”

Thursday, April 02, 2026

Bettina Köster, a Leading Voice in Berlin’s 1980s Avant-Garde, Dies at 66 - Kaltes Klares Wasser” (“Cold Clear Water”)

 We were strong women, we wanted to make a point of that.” Gudrun Gut and Beate Bartel interviewed


Kaltes Klares Wasser” (“Cold Clear Water”)

She sang lead for influential all-female bands, including Malaria!, and toured in the U.S. and elsewhere with groups like the Birthday Party and New Order.


Bettina Köster, a singer, songwriter, saxophonist and leading figure in the cultural vanguard of 1980s West Berlin, died on March 16 at her home in Capaccio, Italy. She was 66.

Her friend and former bandmate Gudrun Gut announced the death on social mediabut did not provide a cause.

During the Cold War, West Berlin was a 185-square-mile patch of West Germany deep inside the Communist east, encircled by walls and armed guards and kept alive by government subsidies. Large sections of the city still bore the bullet holes and rubble fields of World War II.

By the late 1970s, it had become a refuge and a destination for artists like Ms. Köster, who had lived in West Berlin as a student. Young Germans went there to avoid the military draft and stayed because of the cheap rent. Underground spaces did triple duty as music venues, art galleries and informal squats.

Cut off from the West, a native, wholly original culture of D.I.Y. creativity flourished among the ruins.

“West Berlin, especially with the Wall around it, was basically like a shabby but fun private club,” Ms. Köster said in a 2017 interview with the website Jungle World. “None of us had any money, so there was a great sense of solidarity.”

After playing in a number of short-lived bands, Ms. Köster joined Ms. Gut and three other women in 1979 to form Mania D, one of the few all-female bands in the city. Though every member of the group played an instrument, one of the founding principles was that they should each play something else: Trained on classical guitar, Ms. Köster picked up the saxophone.

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“We just traipsed through the tulips and made music,” she told Kaput magazine in 2021.

Like much of the scene, Mania D was resolutely anti-commercial: They rarely recorded their performances and released just one single, “Track 4,” a recording that came about almost accidentally, during a 1981 studio visit with the famed BBC D.J. John Peel.

Mr. Peel called the quintet the “queens of noise” and said the unnamed song that they had performed on the air was among his favorites that year.

ImageA black and white close-up photo of her in middle age. Her short dark hair is swept back off her forehead, and she wears a heavy necklace.
Bettina Köster in the 2017 video, “Der Novak.” In the 1980s. a D.J. for the BBC crowned her “the queen of noise.”Credit...Video: brehmer@filmroyal.de/camera, Axel Warnstedt; photo: Peter Gruchot.

In addition to performing in the band, Ms. Köster and Ms. Gut opened a clothing store, Eisengrau, where they also sold records, gave haircuts, hosted art shows and performed. It became a cultural hub for the city’s bustling avant-garde.

In 1981, the two split off from Mania D to form Malaria!, named for a stray cat they had taken in. The band was more refined and focused, reflecting the shift from the scruffiness of punk to the dark melodies of post-punk and new wave.

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Fitting their cool, distant stage presence, the women dressed entirely in black — riding boots, jodhpurs, tight tunics — and wore red carnations, the symbol of the Socialist movement.

The band toured extensively in Europe and the United States, opening for or pairing with groups like Siouxsie and the Banshees, the Birthday Party and New Order.

In New York City, they opened for John Cale, a founding member of the Velvet Underground, at the Mudd Room and for Nina Hagen, one of the German punk scene’s pioneers, at Studio 54.

The band had a single hit, “Kaltes Klares Wasser” (“Cold Clear Water”), though “hit” is relative — it didn’t chart, and its popularity remained within the confines of the post-punk universe.

But as a distillation of the Berlin post-punk sound, “Kaltes Klares Wasser” became a favorite of critics and fans, and even today is heralded as a touchstone for the era.

“We never thought that we sounded like the Eighties,” Ms. Köster told Kaput. “The Eighties sounded like us.”

Bettina Köster was born on June 5, 1959, in Herford, a town in central West Germany, where she studied classical guitar and piano as a child.

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When she was 10, she moved to West Berlin with her family, but she returned to West Germany six years later. In 1978, she was drawn back to the city, this time to study at the College for the Arts (now the University of the Arts).

Her time atop the West Berlin underground scene was brief. In 1983, she relocated to New York City. Disenchanted with making music, she left Malaria! the next year.

For a while, Ms. Köster worked as a house cleaner, and then as an accountant for Danceteria, a nightclub in the Flatiron district. Eventually, she became a market analyst for a German bank.

Ms. Köster’s re-entry into music came slowly. During the late 1980s, she recorded in private and rarely performed in public, she told TAZ, a German news site, in 2017.

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She composed the music for the 12-minute-long movie “Peppermills” (1997), which won an award for best short film at the 1998 Berlin International Film Festival.

In 2006, she and Jessie Evans, a musician from San Francisco, released the album “Autonervous.” Three years later, Ms. Köster released her first solo project, “Queen of Noise.” Another solo album, “Kolonel Silvertop,” appeared in 2017.

Information on survivors was not immediately available.

Ms. Köster left New York in the 2000s for a peripatetic life in Europe, living for stretches in Italy and Austria before settling in Capaccio, a town south of Naples.

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In 2021, she told the German magazine L.Mag that she identified as nonbinary.

She never made much money, and nearly went bankrupt financing her last album. But she insisted that it was worth it.

“You have to be prepared to maybe even go hungry sometimes,” she told TAZ. “But in return, that sacrifice allows you an artistic freedom that’s otherwise impossible. You have to decide: Do I want to live to create? Or create to live?”

Clay Risen is a Times reporter on the Obituaries desk