F1 news: Emma Kimilainen, X-rated photo shoot, motorsport, Shikaani Formula 1 podcast

F1 hopeful Emma Kimilainen has revealed that she once quit racing after her team told her to pose topless for a magazine.

The 31-year-old took a four-year hiatus from motorsport back in 2009 but has since become a star in the all-female W Series.

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Emma Norman jailed after using SMS spoofing in sustained harassment campaigns

“The damage … and the harm caused to the victim was substantial,” Judge O’Rourke said.

The judge read out a number of messages sent by Norman to her former boss, including writing on Christmas Eve in 2018: “this is going 2 be the worest xmas ever for u … I no where u live and it is time u paid”. She also sent one at 6.30am on Christmas Day: “I going to reck u xmas like u recked my life”.

Emma Arnold who is also known as Emma Norman. 

Emma Arnold who is also known as Emma Norman. Credit:Facebook

Norman wrote on New Year’s Day: “another year of me f–king with u”.

Other messages included the woman’s address: “I outside u house, I should burn the f–ker down”, “I know where u live and I’m not afraid to visit”, “you are a stupid bitch”, “every step u take, every move u take, I watching”, and “what would be the best way to die, fire, stabbing or drowning”.

Norman wrote that her boss did not have flyscreens, which would stop people from getting in, and said she left a “surprise” on the boss’s doorstep. “You better be quick, it is a ticking time bomb”.

She also referenced the schedule of her former boss’s children, including the night one played basketball. She wrote: “u can hide u kids but I always no where they are”, and “If I hold u daughter hostage u will have no choice but to pay me”.

Norman also wrote “I do like the feeling of stabbing someone and how a knife looks when covered in blood”, “I like to watch u while u are sleeping”, and “I outside u house come outside and play”.

Norman pleaded guilty in August 2020 to four Commonwealth charges of using a carriage service to menace and harass multiple victims, and one charge of using a carriage service to make a threat.

She also pleaded guilty to two state charges relating to a separate harassment campaign against another woman. Norman was previously given an 18-month community correction order in March 2019 for stalking and intimidating the woman, who she met through work.

In May 2019, the woman received suspicious messages from Telstra about services being activated and called the detective in charge of her previous case to say she was worried Norman was up to something.

In August 2019, Norman claimed she found a box at the side of her house with “Emma” written on the top that contained two large knives, a black mask, a box of matches, a toy gun, fake bullets, a bag of googly eyes, and photographs of her outside her house. Each item had a death threat attached.

Norman claimed the woman she knew through work had placed the box there, and police took out an AVO against the woman on Norman’s behalf. Norman then sent herself messages pretending to be the woman, including “do yourself a favour and drop the AVO, if you do not I will kill you and your family”.

The woman was arrested and held in police custody for three hours, but was released without charge when she showed officers correspondence with Telstra and the previous detective.

Police set up a strike force to investigate Norman, eventually tracking the googly eyes to a discount store in St Mary’s which provided CCTV of Norman buying various items found in the box.

Judge O’Rourke said Norman’s behaviour towards the second woman was “determined and cruel” and it was clear the woman “endured a great deal”.

The judge noted expert reports which detail Norman has a mood disorder and probable personality disorder. One of the reports said “things spiralled out of control” when Norman lost her job, and she now regrets her actions and realises they were delusional.

Norman was jailed for three years for the harassment campaign against her former boss and ordered to be of good behaviour for two years when she is released.

She was also jailed for three years and six months, with a non-parole period of two years and four months, for harassing the second woman.

Norman watched her sentence from custody with her arms crossed.

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The Age posts record EMMA readership figures in September

By the end of the month the case numbers were approaching single digits but the government was under intense scrutiny over its hotel quarantine program leading to the resignation of Health Minister Jenny Mikakos.


“This is an excellent result for The Age,” said editor Gay Alcorn. “It is an indication that when Victorians want reliable, probing journalism on an important issue, they trust The Age.

“In an era of misinformation and confected outrage, people are turning in greater numbers to fact-based, responsible journalism.”

The Age’s closest Melbourne rival, The Herald Sun, had 4.3 million readers across digital and print.

The Age’s sister masthead The Sydney Morning Herald has the biggest audience in the country of the sites measured in the EMMA survey, with more than 9 million readers.

In the same period The Australian Financial Review, which is owned by Nine Entertainment Co (the owner of this masthead), had an audience of 3.1 million readers.

EMMA is collated by industry group Premium Content Alliance, whose members include publishers such as Nine Entertainment Co (owner of this masthead), News Corp and Seven West Media. It does not include digital-only news sites or sites linked to broadcasters.

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Charlie King’s daughter Emma turns mic on veteran broadcaster

Much has been written about Charlie King, but it took his 15-year-old daughter Emma to turn the tables on veteran Grandstand presenter.

Aboriginal and Torres Strait Islander readers are advised the following article contains images of people who have died.

Speaking on ABC Radio Darwin she asked her father why camping was not a family activity.

“I did so much camping when I was young, I don’t want to rough it any more,” he said.

“But we camped? We had fun?”

Emma shot back: “We camped once. We had a generator. We had aircon”.

One such uncomfortable unplanned camping trip of Charlie’s was from hometown Alice Springs to Darwin in the 1960s, because he missed his family.

A robbery forced him to hitchhike for three days with two friends and only Charlie’s remaining 18 shillings to their name.

“We were frightfully hungry and thirsty,” he said.

But 500 kilometres north they bumped into his brother Reg, who was about to drive to Darwin.

Reg shot a turkey from the wheel.

Proof that the King family indeed went camping — once. With a generator. Emma King camping with nieces Olivia and Mia at Kalkarindji 2016.(Supplied: Charlie King)

Cheap crack

King’s first experience of racism was walking the pavement with friends as a young boy living in Quorn, South Australia.

“I thought it was just a nursery rhyme: ‘If you step on the crack, you marry a black’,” he said.

“Mum told me what it meant.

“I was absolutely horrified I was singing it. It might have been aimed at me.”

As a prefect, King was captain of the school football and cricket teams.

“But there were students’ houses in Quorn where I wasn’t welcome,” he said.

“We’d get to the gate and they’d say: ‘You’ve got to wait out here’.

Tight posed shot with man with baby girl wearing an All Blacks woollen hat. Indoors
Charlie King and daughter Emma in New Zealand.(Supplied: Charlie King)

Fake it until you make it

King’s passion as a 16-year-old was pretending to play the drums. And his big break was bizarre.

King was watching a car crossing Alice Springs’ flooded Todd River, coaxed by the reluctant driver’s friends opposite.

“He got three-quarters across and he was washed off the causeway. Drums flew out of the car,” he said.

“He was so angry and said to his friends: ‘I’ll never play drums with you again. I’ve lost my drums and my car’.”

This band was The Statics and King had been to all their gigs and emulated the drummer from the crowd.

They recognised him, and invited him to play a real kit for the first time — that night at a gig in the YMCA.

“I played the start of The Shadows’ Apache and the crowd was screaming and yelling,” he said.

old posed family photo of man and woman. Man has arm around woman. Colourized.
Charlie’s parents Jack and Ruby King.(Supplied: Charlie King)

A career in twisted timber

The Statics became The Scene, most famous for Cold Chisel’s Ian Moss.

King’s parents moved to Darwin but did not want to interrupt his music career or mechanics apprenticeship.

“As soon as they left, I stopped going to work and concentrated on playing drums,” he said.

But they were missed and young Charlie embarked on the horrific hitchhike to start the next stage of his life.

The young builder wisely left his caravan to stay in his sister’s house during Cyclone Tracy in 1974.

After helping rebuild, he was compelled to study for a career in social work and community development after loading timber for a shonky delivery driver heading to remote Maningrida.

“He said, ‘It doesn’t matter, just throw the twisted ones in there. It’s only for the mob out bush. If they’re no good they’ll burn them and come back and buy more’,” King said.

Hand-sketched headshot of man
Emma is a talented artist. She drew this picture of her dad Charlie King.(Supplied: Emma King)

The great pretender

But social work in a small town was troubling.

“I just didn’t want to keep seeing people whose lives I was investigating,” he said.

A release was pretending to call the weekly NT Football League games with his friends from the stalls, much to the entertainment of those in earshot.

“One day I got phoned by people making a tuberculosis ad and they said: ‘We like the sound of your voice’,” he said.

ABC sports commentator Charlie King early in his career
Charlie King became an ABC Grandstand presenter in the 1990s after he was discovered while pretending to call games at NTFL matches.(Supplied)

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Emma Husar says male politicians don’t face the same scrutiny she did

“We can’t put a woman out there and hang her out to dry on rumour and innuendo when we have got behaviour that is clearly outside at least some standard of basic integrity going on [by men].”

A Four Corners report last week accused Attorney-General Christian Porter of displaying misogynist attitudes and being amorous toward a junior staffer in a Canberra bar, which he denied. Porter also said in a statement that the woman involved had denied the ABC’s version of events.

Acting Immigration Minister Allan Tudge has admitted to having a consensual affair with a staffer, Rachelle Miller, who has filed a formal complaint accusing him of bullying her. He has apologised for the affair but not commented directly on the bullying claims beyond saying they would be investigated by the Department of Finance.

Porter and Tudge were alleged to have had inappropriate relationships but there were no allegations of any sexual misconduct.

Dialling in from the Netherlands, the historian Rutger Bregman said the issue typified a troubling distinction at play in modern life. Politics was bedevilled by the “survival of the shameless where somehow the people who don’t really feel shame any more come out on top”, Mr Bregman said.

“Almost always, you know, they are men,” he said.

Former deputy prime minister Barnaby Joyce, who infamously lost his party leadership after his relationship with staffer Vikki Campion was splashed across tabloid front pages, did not argue that there was moral failing attached to an affair.

However, he said relationships and flings at work happened. Any shame was private, not for the public.

Calls for bans on sex between bosses and subordinates in workplaces and politics were the tendrils of the state reaching where it had no right to go.

“You can’t have the state as the determinate of whether two people like each other or not,” Mr Joyce said. Where there was an issue about consent, Mr Joyce said, that was a different matter.


Barrister John Whelan’s review of Ms Husar’s alleged conduct commissioned by NSW Labor in 2018 upheld complaints of subjecting staff to unreasonable demands but found claims of lewd behaviour were, on the balance of probabilities, not substantiated.

In a defamation settlement, the former Australian news wing of online outlet Buzzfeed apologised to Ms Husar for the “hurt and distress” of a since-deleted article it published about leaked allegations.

Ms Miller, for her part, was due to start a new job at a defence contractor on Monday but Four Corners journalist Louise Milligan, who reported Ms Miller’s allegations, said her employer was now taking time to “consider” her contract after she spoke out.

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Is foodie culture destroying our ability to eat simply? | Emma Breheny | Opinion

Whether you follow dude food restaurants, fine diners or wellness advocates on Instagram, like many other Australians you’re consuming hundreds of images of delicious-looking food each day. Today meals are prepared and consumed for audiences of millions on TV and social media, or at live events. Eating has become a cultural pastime and what you choose to eat is a marker of your identity.

But this isn’t necessarily good news for our diets or how much food we waste. Figures show that Australians waste 14% of their groceries each week, and up to 7.5m tonnes of food each year. Meanwhile, another new study shows we’re not as healthy as we thought.

What has foodie culture done to our relationship with food?

Numerous academic reviews have highlighted that people’s attitudes towards food have a strong influence on how much is thrown into the rubbish bin. With 50% of us using food-saturated social media at least once a day, and spending around 12 to 14 hours each week on Facebook, Twitter or Instagram, “digital food” is influencing our offline eating.

The “MasterChef effect” has of course contributed to the gourmet going mainstream. But the tilt towards foodie-ism isn’t solely due to the hit TV series. Over 2m food blogs and the filters, flatlays and food porn of Instagram have created a middle-class trend of self-declared foodies.

Our standards of acceptable food have become higher, perhaps even unreasonable, to the point where supermarkets turn away food that doesn’t meet rigorous standards. Growers are left with little choice but to toss their produce, a practice that’s alarmingly common.

“Every time we look at food shows, they show us this exquisite produce and beautifully prepared plates,” Ronni Kahn, CEO of OzHarvest, said on Radio National in 2014.

Once we do purchase the smooth green beans and perfectly round lemons that made the cut, we have the best intentions of showcasing our newly-acquired food knowledge with elaborate recipes from Yotam Ottolenghi or Heston Blumenthal. But, sometimes a better offer comes along, as is the case for many Gen Ys who plan their meals poorly.

Or we might cook with a recipe one night and then feel bereft of ideas for using the rest of the strange ingredients we bought. Time is also a problem.

“Social media is flooded with perfect-looking meals, decorated with colourful fruit, veg and edible flowers. The general public don’t have the time to make all their meals look picture perfect,” accredited dietician Joyce Haddad says.

Hurried, overwrought and poorly planned: cooking for ourselves has become stressful. Meanwhile, letting others cook for us or deliver our food is becoming too easy, with two-hatted restaurant meals a Deliveroo ride away.

We’ve forgotten that dinner can be as easy as an omelette packed with veg, using whatever’s left in the fridge and ready in 10 minutes. Tricked-out classics from the current crop of favourite chefs disguise the fact that many of their dishes, like duck-fat roast potatoes, are based on once-simple recipes.

It’s unsurprising that, despite our fixation on food and cooking, Australians have poor diets that feature too few vegetables and too many indulgences. As we’ve become surrounded by diverse images of food, from #fitspo to #foodporn, our choices have become more arduous. And potentially misinformed, as every new food trend contradicts the last.

“I think people are getting really confused. They’re following different diets every week, which is making them cut out or restrict food groups. Then at one point, they’ll lash out on non-core food [processed or high-energy food],” Haddad says.

As Michael Pollan argues in The Omnivore’s Dilemma, there’s a deluge of options, information and marketing on-hand when we try to answer the question of what to eat.

With that comes the burden of making “good” choices, whether they’re good for your health, the environment or your Instagram feed. Unfortunately, with food now considered a cultural product as much as it is an essential, it’s our health and the environment that are losing out.

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Chelsea coach Emma Hayes in contention for Matildas role

Sam Kerr’s Chelsea coach Emma Hayes is in strong contention to take charge of the Matildas.

With FFA chief executive James Johnson reportedly saying an announcement on the new Matildas coach will be made within two weeks, it’s understood that Hayes is a serious contender for the job.

The 43-year-old Londoner’s link with Kerr is considered to work strongly in her favour, as is her club coaching record.

Hayes has led Chelsea to three FA Women’s Super League titles, including last season’s crown, as well as two Women’s FA Cups.

Hayes’ main opposition for the Matildas coaching job seems to be 56-year-old Italian great Carolina Morace, who has reportedly already been interviewed twice for the position.

Morace, who made 150 appearances for Italy, has also coached the Italian and Canadian women’s national teams.


Arsenal women’s coach, Melbourne-born Joe Montemurro, is also in contention for the Matildas position.

Among those on the FFA’s coaching selection panel are Mark Bresciano, Amy Duggan, Remo Nogarotto, Sarah Walsh and technical director Trevor Morgan.

The Matildas coaching job was vacated in July by Ante Milicic, who honoured his existing deal with A-League newcomers Macarthur FC despite being offered the chance to continue with the Matildas through to the 2023 FIFA Women’s World Cup in Australia and New Zealand.

After Milicic’s exit, Johnson said his successor had to take the Matildas “to the next level”.

“If we want to be the best in the world, we will need to consider the best in the world,” Johnson said.

“The Matildas mean a lot to all Australians and have the ability to unite the nation, so appointing a coach who believes in both the on and off-field vision for the Matildas will be paramount.”

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Australia has sleepwalked into a society where profit trumps quality care | Emma Dawson | Opinion

The outbreak of Covid-19 in Victorian aged care homes has shone a harsh light on the conditions in which low-paid workers struggle to provide care to some of the most vulnerable people in society.

Most of these workers are women – as are those in disability care and childcare. The work they are engaged in has its roots in the domestic economy. Care work was once the domain of the home. It was, essentially, women’s work.

Economic orthodoxy dictates that public and private investment should be targeted to innovation, to adding monetary value to raw materials and to building wealth through the creation of new products and services that we didn’t know we needed. To men’s work.

Yet there is a strong case to be made for investing in the female-dominated care economy as we have done in more high-profile, male-dominated sectors in the past.

Care work involves a complex mix of physical and psychological abilities but, due to its roots in the home, it is often dismissed as “unskilled labour” and accordingly is underpaid. Over recent years, the wages and conditions for many of these jobs have been eroded through casualisation, the use of labour hire, and their excision from the standard labour market into the gig economy.

Lifting wages and conditions for care workers would not only improve their individual circumstances, it would boost economic growth, as every additional dollar earned by low-income earners is spent back into the economy, lifting aggregate demand for goods and services.

More fundamentally though, investing in the care economy reaps benefits across society in more than monetary terms. Improving the quality of care increases social and mental wellbeing, reduces ill-health and social exclusion, and strengthens community and social cohesion.

The aged care royal commission has revealed incidences of neglect and abuse in residential aged care facilities across the nation that have shocked Australians. Yet the fact that the quality of services is compromised by cost-cutting in the pursuit of profit should not be a surprise. The need to ensure high-quality care is fundamentally at odds with the imperative to make a profit from a privatised system of care for vulnerable people.

Similarly, the for-profit model of early childhood education and care has proved to be unstable and inefficient: childcare was the first sector to find itself on the brink of collapse due to Covid-19. The government’s short-term intervention has kept centres open, but it was aimed at propping up a business model that has been teetering for years and serves no one well save the owners of large-scale, for-profit providers. Parents struggle to keep up with ever-rising fees, while workers scrape by on the minimum wage, with little job security.

Despite widespread dissatisfaction with the current system, when the ALP took policies to the 2019 election that would have made childcare free for the majority of families and at the same time provided direct-to-worker subsidies to increase childcare wages, they were excoriated by mainstream economists, who decried the wages policy as an unwarranted intervention in the market.

The policy was in fact an entirely justified response to a clear case of market failure. When markets fail – as they have so obviously done – to adequately value such important work as caring for the vulnerable, government intervention is warranted.

This is the fundamental case for reconsidering how we value and reward the jobs done by care workers in our society. The market has failed – in fact, refused – to value them properly, so we must collectively and consciously undertake an explicit revaluation of their worth.

The first step is to make the argument that there are more important values than productivity, and to frame our measures of success as a society around the concepts of care, sustainability and wellbeing, rather than profit, growth and material wealth. If we proceed from that assumption, then we must accept that government intervention in the market, where it is aimed at improving the care that we show for one another and increasing wellbeing within our communities, is an unequivocally good thing. With that acceptance can come a range of measures to make change.

In the immediate term, investment by government to directly lift wages in underpaid care jobs will be necessary, while tax concessions, such as a US-style earned income tax credit, may also be useful. Medium-term measures, such as investments in service delivery or in skills training and accreditation, are worth considering.

Shifting business models for the provision of care away from large, for-profit multinational firms and towards local, community non-profit or cooperative models would remove the imperative to maximise profits at the expense of the quality of care, and restore trust between the users and providers of aged, disability and childcare.

Australians demand the highest level of care when we entrust our children or elderly loved ones to the custody of others. Yet we have allowed ourselves to sleepwalk into a society in which profit and productivity are considered more important values than the quality of care we provide to one another.

As we emerge from the Covid-19 pandemic, we are presented with an opportunity to redesign our economy and create a new society. We must do so by drawing on the deep-rooted, radical kindness that underpins human relationships, and demand better of our leaders, and of ourselves. It is how we care for one another, and for the planet on which we live, that must define our values now.

Emma Dawson is executive director of Per Capita. This is an edited extract of her essay in the upcoming collection What Happens Next? Reconstructing Australia after Covid-19, of which she is co-editor with Professor Janet McCalman, to be published on 29 September by Melbourne University Press

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Emma Swift says Australian recording industry has a ‘profound lack of interest’ in country music

“It’s true, I’ve had no contacts from anybody in the corporate level of the Australian music industry – I’m talking specifically about labels and artists’ managers; I do have a very nice publisher – with an offer to perhaps work together,” she says.


“I would say there’s a profound lack of interest from the Australian music business in what I do, in spite of the fact I’ve had a successful charting record. I don’t know if that’s because they’re embarrassed they didn’t play a part in it or what, but that’s certainly been my experience.”

The indifference is bizarre at a time when the oft-maligned country genre is in the midst of a popular boom in Australia.

Look to the top of Australia’s pop charts and you’ll see an unfamiliar flood, a stream of baseball-capped guitar-slingers in yankee blue-jeans named Luke (Bryan and Combs) and Morgan (Evans and Wallen).

You’ll also find Gaslighter, the new album from country veterans The Chicks, while the number one album for the past month has been Folklore, Taylor Swift’s Americana pivot, a pop star so past her country-crossover moment that the release isn’t even included on ARIA’s official country chart.

Streaming services have also seen a surge of local interest in the genre. “There has been a 297 per cent increase of country music consumption on Spotify in Australia over the course of the past two years,” a Spotify spokesperson confirmed.

For a genre largely confined to niche spaces such as regional radio station Kix Country or MTV Australia’s newly spawned Country Music Television, country music’s current display in Australia is remarkable.

“I’ve been telling people for probably the last year or two that country music is in a new golden age,” says Dan Biddle, chair of the Country Music Association Australia and manager of ARIA-winning country act The McClymonts.

“It’s cyclical; these moments have happened before,” he says, citing the ’90s mega-success of Shania Twain, Faith Hill and Garth Brooks, and the ’80s pop-sheen of Dolly Parton, Kenny Rogers and Willie Nelson. “But this is definitely a strong period for country music, internationally but especially in Australia.”

He credits the local boom to the “Keith Urban effect” and the way today’s streaming generation disregard restrictive genre borders of yore.

“Streaming has helped because it’s given people access to artists they’d otherwise never hear played and it’s also broken down the stigma of genres,” Biddle says. “There was a time when country music was looked down upon, or at least it felt that way from the point of view of the country community.”

Veteran Aussie country trio, The McClymonts.Credit:Universal Music

Brooke McClymont of The McClymonts, whose sixth album Mayhem to Madness debuted at #3 on the overall ARIA albums chart in June, says there’s a marked difference in attitudes to country music today than when the band formed 14 years ago.

“There was a time where it was almost taboo to say you were country; now it’s okay and you won’t be instantly judged by the media or audiences.”

Before the pandemic interrupted touring, adds McClymont, star-studded festival CMC Rocks – which for the third-consecutive time last year sold-out within 90 minutes and attracted a record 24,000 attendees through its gates – proved the massive demand for country music in Australia.

“I believe we’re nearly at breaking point. I think the more of these country music festivals we put on and they sell out in the space of hours, I think we’re gonna take over,” she says. “I would just love to see pop radio here take on an Australian country artist and be on the forefront of breaking them through, ’cause we just don’t see the limelight as much as we deserve. I would love to see that day.”

For Swift, whose indie-Americana traverses a country sound a world away from the industry-pop of artists like Morgan Evans – the Day Drunk singer who Biddle says is “Australia’s next great country ambassador, following in the footsteps of Keith Urban” – the success of her album shows that even the most non-commercial reaches of the expansive genre can cut through with minimal mainstream support.

“If your fans like what you do, it doesn’t really matter that you don’t have the support of the music business or that you’re not on Sony or Warner or ABC Country or any of those things,” she says. “Look, I’m an incredibly candid person and I’ve probably burned a gazillion bridges doing this interview but also those bridges hadn’t done anything for me, so does it matter?”

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