Saturday, June 13, 2026

Talking Heads



Memories of Birriga Road Bellevue Hill came flooding back 

Picnic in the park, Opera voice of Christine Douglas  and stories by Stephen Douglas who toured in America  with the Talking Heads 





Early Live Performance by Talking Heads (1976)


In March 1976, Talking Heads played a show at The Kitchen in NYC; you can watch the entire show recorded from two angles in this video. The band had formed the year before and was more than a year away from recording and releasing their debut album.

It’s a great insight as to what these early Talking Heads shows were like, and with it also being in color, being good quality, and having two angles for most of the show, this is a must-watch.

The band played for about 90 minutes (2 sets plus an encore), working through tracks like Psycho Killer, Thank You For Sending Me An Angel, and Love → Building On Fire. (via open culture)


Sonia Todd of Police Rescue fame who knew Buzz Luhrmann 


6th International Festival of Theatre Academies (Bratislava, STRICTLY BALLROOM

Czechoslovakia) Award for Best Piece, Direction and Choreography (1986 NIDA Graduates)



Nearly a decade since his death, the blind musical maestro from remote Elcho Island in the Northern Territory is set to be posthumously inducted into the ARIA Hall of Fame on June 11.

Gurrumul, Jenny Morris, Kate Ceberano, Spiderbait, The Living End, and Vika and Linda Bull were inducted into the ARIA Hall of Fame at a ceremony in Sydney.

Thursday night's honours included a posthumous gong for Indigenous icon Gurrumul, who died in 2017.

Ceberano, whose career has stretched more than 40 years, said it was "phenomenal to link arms" with some of Australia's finest performers.


Gurrumul’s ARIA Hall of Fame honour brings pride and reflection for family


Taylor Swift's Songwriters Hall of Fame Gala Red Carpet Dress Is Designed for Making History

She's celebrating a major milestone in an even more special gown.


As time passes, efforts to document the Tiananmen Square protests intensify. “History cannot only be written by officials. If you don’t have real information, it’s difficult for you to have independent thought.”


Perfect Addition wine - coffee etc



Friday, June 12, 2026

David Marr - Brian Toohey - Fifty Years Before the Mastheads

 “I can't believe what you say, because I see what you do.”

~ James Baldwin


hero

ABOUT

6pm for 6:30pm Friday 12 June

Brian Toohey launched by David Marr




Malcolm Fraser wanted ASIO to tap his phone. Bob Hawke took him to the High Court. The Senate privileges committee held him in contempt. And former foreign minister Gareth Evans wanted him jailed.

There are few journalists in Australian history who have published as many leaks and so enraged governments in the process as former National Times editor and Australian Financial Review correspondent Brian Toohey.

50 years before the mastheads is a selection of Toohey’s articles since the 1970s covering corruption, the US alliance, national security and intelligence, secrecy, and economic reform.

It includes previously unpublished articles on the US government’s deep involvement in the dismissal of the Whitlam government, and the businessmen who supplied Bob Hawke with prostitutes.









Toohey also recounts stories from his foreign travels of the misadventures of an Australian government official and young female staffer, and the time Lady Mary Fairfax expected him to swap his hotel room for her hut in the hotel grounds.


Brian Toohey was born in Queensland 1944 and has worked as a political staffer and journalist. In 1973 he left the Whitlam government to work as political correspondent for the Australian Financial Review in Canberra before becoming the paper’s Washington correspondent in 1979 and editor of The National Times in 1982. He founded The Eye magazine in 1987 and was later a columnist for the AFR for decades. 

He has also written for The Sydney Morning Herald, The Nikkei Asia Review, The West Australian, The Sunday Age, Inside Story, The Monthly, The Saturday Paper and other publications. He is the author or co-author of five books. He has written extensively about national security, politics, economics, corruption and secrecy. In 1999 he received a Walkley Award for Journalistic leadership.

David Marr has written for The Sydney Morning Herald, The Age, The Saturday Paper, The Guardian and The Monthly, and has served as editor of The National Times, reporter for Four Corners and presenter of ABC TV's Media Watch. His books include Patrick White: A Life, The High Price of Heaven, Dark Victory (with Marian Wilkinson), Panic and six bestselling Quarterly Essays. His most recent book is My Country. David is the recipient of four Walkley awards for journalism, an Honorary Fellow, Australian Academy of the Humanities and received Honorary Doctorates from Newcastle and Sydney Universities. He currently hosts Late Night Live on ABC Radio National.

DATE

Fri 12 Jun 2026 6:00 PM - 8:00 PM (UTC+10)

LOCATION

Upstairs at Gleebooks 
49 Glebe Point Road, Glebe NSW 2037


The New Journalism in Australia: Innovators and Influencers


The Kafkaesque reality behind KPMG’s corporate ‘speak up’ culture

 David Marr - Brian Toohey - Fifty Years Before the Mastheads


The Kafkaesque reality behind KPMG’s corporate ‘speak up’ culture

From secret IT department laptop searches to global brush-offs, a whistleblower’s experience exposes the chaotic internal damage-control strategy at the big four firm.

Professional services editor

Jun 12, 2026 

On 30 May 2024, I provided information to an eligible recipient within KPMG Australia for the purpose of invoking the statutory whistleblower provisions under the Corporations Act.”

With those clinical words, a KPMG executive triggered a two-year Kafkaesque nightmare, exposing the reality behind the big four firm’s much-promoted “speak up” culture.
This initial disclosure didn’t name names. Instead, it outlined a pattern of alleged wrongdoing, including the misuse of confidential client data and concerns about the integrity of audit tenders. The executive wanted ironclad legal protections as a whistleblower before handing over more detail. The firm refused. That standoff continues to this day.
Instead of ringing alarm bells at a firm that “encourages reporting while protecting confidentiality”, the disclosure triggered a corporate defence mechanism.
The whistleblower says the firm failed to investigate the allegations, took adverse action against him that led to him being pushed out of the firm, and recharacterised the matter as a mere “workplace grievance”.
That institutional response is set to collide with reality. On Friday, June 19, the firm’s repeated failures will come to a head in an extraordinary parliamentary hearing.
Chaired by the activist senator Deborah O’Neill, the committee has been armed with a version of events, along with further evidence from the whistleblower, that likely will be deployed during the day.
This hearing promises to be a unique nightmare for a who’s who of Sydney’s corporate elite.
Thirteen current and former KPMG partners, along with senior executives from Lendlease, law firms Ashurst and Allens and three independent directors, including former NSW premier Mike Baird.
Compounding the crisis is a sense of chaos within the firm itself. It’s not clear whether KPMG has yet worked out what actually happened and how many of the claims are accurate and how many are misunderstandings or simply wrong. KPMG only weeks into its fourth investigation into the wide-ranging claims.


Within the firm’s leadership there is now a realisation that KPMG has taken what is being described as an overly legalistic approach to the whistleblower.
“There’s deep frustration that this might affect everyone’s careers, we all feel like we do the right thing for clients,” says one insider, summing up the mood. “What surprises me is this idea that the whistleblower was not being taken seriously by top command, given the constant messaging about speaking up.“

Could all of this have been avoided if the firm had responded differently two years ago? While that remains an open question, the timeline of the firm’s internal response points to a strategy of containment rather than investigation.
In the months following the whistleblower’s initial contact, the office of KPMG’s general counsel, Louise Capon, directed IT staff to access the whistleblower’s computer to search for any details following the initial disclosure.
It is not clear if anything was retrieved during the initial access attempts. In November, KPMG IT staff accessed the laptop two more times. This time, the IT staff found two documents outlining alleged misconduct, including the misuse of client data, that had not yet been formally disclosed.
These files were copied and distributed to then-chief executive Andrew Yates and senior leaders within audit and human resources. The contents of these documents remain unknown, and it appears the whistleblower did not know at the time that the laptop had been accessed. But the move raises the possibility that the firm shared the documents with individuals who were subject to the allegations.
By November, the whistleblower, frustrated at the lack of action by the firm, emailed KPMG’s independent directors Jane Hemstritch and Mike Baird to protest his treatment and plead for intervention.
Hemstritch replied two days later directing him to an investigation being run by law firm Ashurst. The whistleblower responded by saying they had no confidence in an investigation run by a law firm appointed by KPMG.
Shortly after that exchange, the executive was gone from the firm.

The whistleblower may have been pushed out of the building, but they refused to be silenced. By March 2025, the whistleblower escalated the fight to the top, contacting KPMG International.
The global firm, which oversees member firms, also refused to provide legal protections to the whistleblower.
In September 2025, international law firm Freshfields spelled out the global body’s hands-off approach in a blunt email, stating that KPMG International “does not have the legal ability” to force member firms to take action and that it was the responsibility of an individual firm to fix any problems, “including taking any appropriate disciplinary action”.
Freshfields characterised the global headquarters’ role as “one of oversight, not control”. This defence stood in stark contrast with events in 2018, when it parachuted in executives and cut hundreds of local jobs to rescue its South African business, following a client exodus over scandals.
It was around this time the independent directors started to take action. Baird, Hemstritch and Patty Akopiantz demanded another review of the allegations after being provided more details about the claims that made it clear that the earlier findings – including a probe by Ashurst – were inadequate.
The trio also offered to meet the complainant last year but were blocked because of KPMG’s ongoing refusal to provide the former employee with legal protections normally afforded to whistleblowers.
Baird, unhappy with the lack of definitive action and lacking the capacity to continue in a role being restructured to require meetings in Singapore, left the board before a new investigation by Allens was commissioned in late 2025.
Baird, Hemstritch and Akopiantz have all been called to appear at the June 19 hearing.
They will be joined by a parade of elite legal fixers. Also called to the hearing are two Ashurst partners, Lea Constantine and Jane Harvey, three heavyweights from Allens – Ross Drinnan, Christopher Kerrigan, and outgoing managing partner Richard Spurio – and representatives of the NSW Law Society.
KPMG’s choice of Allens is bound to draw intense parliamentary scrutiny. The firm has long been KPMG’s preferred weapon of choice for defending partner litigation and audit negligence claims.
O’Neill’s committee is expected to interrogate whether KPMG weaponised these elite law firms to conduct sensitive investigations under the cover of legal professional privilege.
The Senate has already warned KPMG that any attempt to hide behind privilege during the hearing will be futile. Though the firm initially agitated for the June 19 hearing to be held behind closed doors, it has since retreated, pledging full co-operation with the committee.
When the hearing room doors open on Friday, it won’t just be KPMG’s multi-million dollar contracts on trial. The big four firm will have to explain how a system designed to protect those who “speak up” was so easily inverted into a machine designed to silence them.
Find out the inside scoop about Accenture, Deloitte, EY, KPMG, PwC and McKinsey. Sign up to our weekly Professional Life newsletter.

Wesley Morris profile of Steven Spielberg.

 

Yeah, I’ll read the hell out of a Wesley Morris profile of Steven Spielberg. “Spielberg has always known that his movies are attempts to understand his boyhood and his parents, to try to heal them through fiction and illuminate parts of himself.”


“For the first time, wind and solar generated more electricity than gas worldwide in April 2026.”


Some remains found in Diamantina fracture zone date back more than 5m years and reveal species and ecosystems unknown to science




The company is clearly trying to make an example of the author who wrote about her time at the company. Her free speech should be protected

You cannot swim for new horizons until you have courage to lose sight of the shore

 

You cannot swim for new horizons until you have courage to lose sight of the shore.
~ William Faulkner


In Defense of Sad Plays

 In Defense of Sad Plays


In 1949, shortly after “Death of a Salesman” premiered on Broadway, Arthur Miller wrote an article in The New York Timestitled “Tragedy and the Common Man” that began, “In this age few tragedies are written.” He suggested that this was thought to be due to a “paucity of heroes among us,” which has led people to view tragedy as an archaic form, fit only for the “kings or the kingly.” But, he argued, “I believe that the common man is as apt a subject for tragedy in its highest sense as kings were.”

More than 75 years later, that same aversion to tragedy that Miller identified persists. In fact, as we slowly emerged from the pandemic, this anti-tragedy sentiment felt powerfully amplified in the theater world. Among producers and artistic directors, there was a distinct pushback against “trauma-based” plays — plays that examine characters through the prism of tragic events or histories.

This backlash was easy to understand: In our throbbing moment, can we just get some relief? Do we really have to sit with more pain? And at these ticket prices? Can’t we just offer a nice evening at the theater?

But there’s danger in the nice evening at the theater. When you ask narrative to always deliver a sanitized product — a pleasant evening, a happy outcome, a fun spectacle — you’re asking it to lie. You’re asking it to obscure the difficult truths and complex failures that define our past and our present.


Arthur Miller’s best work never lied or obscured hard truths — as proof, look no further than the current revival of “Salesman” on Broadway, directed by Joe Mantello and starring Nathan Lane and Laurie Metcalf. When I attended the opening night in April, I was curious to see how audiences would receive the play: Would it be embraced solely as a museum piece, resting on its laurels as an American classic?

Personally, I didn’t know if I should expect anything new from a play I’ve known since I was a teenager, written by a playwright who died just after I graduated from college. But I was startled by how modern its concerns are. Mr. Mantello's production invites the audience in with the comfort of an American classic, but then drops the play into a contemporary context in terrifying ways. It feels urgently timely to witness a middle-class man, facing obsolescence, ultimately taking his own life so that his life insurance payment can provide his family with financial security. Willy Loman is caught in ideas of masculine worth that resonate just as loudly today as they did in 1949.

In one of the more bracing scenes, Willy is dismissed by his boss, Howard, who is clearly more interested in new gadgets than in human beings — in 1949, the gadget in question was a wire recorder, though now it could just as easily be A.I. — and the modern resonance is underlined by Howard sporting a tech-bro vest and clutching a latte.

Miller called for a tragedy of the common man, and he also wrote one. “Salesman”uncomfortably reminds us that sometimes the truth isn’t happy, but — as a giant billboard for “Salesman” above the Winter Garden Theater reads — attention must be paid.


This isn’t new territory for me. My own plays often aim to offer hard-won hope while not shying away from tragedy. From older plays like “The Whale” to newer ones like “A Case for the Existence of God” and “Little Bear Ridge Road,” I’ve always been interested in stories about people on the losing end of American life. (“Little Bear Ridge Road,” like “Death of a Salesman,” was directed by Mr. Mantello and starred Ms. Metcalf; both were produced by Scott Rudin.) This reliably engenders polarized reactions. I’ve had audience members hug me in thanks afterward, even as others have declared — sometimes out loud during performances — that the play was “too sad” or “too bleak.”

Hegel’s definition of tragedy is an idea that has shaped my work for decades: two noble impulses that cannot coexist. In “Salesman,” those conflicting noble forces live inside Willy Loman — he wants to take care of his family but he also insists on his own dignity. These forces drive a character who opens the play with a failed suicide attempt and ends it with a successful one, even as he ultimately saves his family financially.

This is what great tragedy does: It reflects us back to ourselves in ways that are both timely and timeless. Miller repeatedly refused to soften the play’s tragic punch or to offer easy answers or facile hope. The producer Kermit Bloomgarden wanted Miller to change the play’s downbeat title to the more upbeat “Free and Clear,” but Miller stood his ground. He wanted to illuminate what it means to be human, in all its raw ugliness. He wasn’t concerned with the likability of his characters or in reassuring his audience.

In that same 1949 article, Miller was quick to dispel a common misconception that is still alive today: that “tragedy is of necessity allied to pessimism.” Tragic characters represent hope. They push through the darkness, even at their own peril. What’s more optimistic than believing that, through suffering, one can achieve grace and redemption?


I can enjoy a purely fun night of theater just as much as anyone. But when reassurance and uplift becomes the sole expectation — when we’ve lost the capacity for new stories that are uncomfortable, sad, perhaps even tragic, and even so, hopeful — then we’ve lost the plot.

Samuel Hunter is a playwright whose “Little Bear Ridge Road” is nominated for a Tony for best play.

Source images by Bogdan Nicolaescu/Getty Images

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Editors’ Note: 
June 2, 2026

An earlier version of this article failed to disclose the author’s connections to the current Broadway production of “Death of a Salesman.” Samuel D. Hunter’s play “Little Bear Ridge Road” shared a director, a star and a producer with “Death of a Salesman.”

A correction was made on 
June 5, 2026

An earlier version of this article misidentified a gadget used in the 1949 production of “Death of a Salesman.” It was a wire recorder, not a tape recorder.


When we learn of a mistake, we acknowledge it with a correction. If you spot an error, please let us know atcorrections@nytimes.com.Learn more