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Mapping the labour and slavery risks in fashion supply chains

<div class="copy"> <p>How did your clothes get to you, and who was properly paid for them in the process?</p> <p>The garment industry is notorious for worker exploitation and complicated, unclear supply chains.</p> <p>Both within and without the fashion industry, forced labour, and modern slavery, is on the rise. According to the new <a href="https://publications.iom.int/books/global-estimates-modern-slavery-forced-labour-and-forced-marriage" target="_blank" rel="noreferrer noopener">Global Estimates of Modern Slavery</a> report, there were 50 million people around the world living in modern slavery: 28 million in forced labour, and 22 million in forced marriages.</p> <p>This is an increase of 10 million from when the report was done in 2016 – among other things, the number has been exacerbated by the COVID-19 pandemic, climate change and armed conflicts.</p> <p>What does the garment supply chain look like? <em>Cosmos</em> investigates.</p> <h2>The shape of the garment industry: four tiers (sort of)</h2> <p>“In a broad sense, when retailers talk about their supply chains, they tend to talk with tiers zero to four,” explains Dr Alice Payne, an associate professor in fashion at Queensland University of Technology.</p> <p>Tier 0 is the company’s direct operations: retail, offices, and distribution centres, for instance. Each additional tier is a layer removed from them.</p> <p>“Tier 1 is the people and the organizations constructing the garments for them – so assembling and manufacturing,” says Payne.</p> <p>Tier 2 is fabric production, while Tier 3 is the production of the yarn that makes the fabric.</p> <p>“Tier 4 is raw materials,” says Payne.</p> <p>“Natural fibres like cotton and wool, that’s all the way back to the farm, or the forests that the trees come from that are then processed into viscose material. And the petrochemical industry, which is the feedstock for polyester, nylons, acrylics and so on.”</p> <p>In reality, there aren’t clear lines between these tiers – particularly further up the supply chain.</p> <p>Even something as ubiquitous as cotton has a very complicated history.</p> <p>“You’ve got the seed inputs to grow the cotton on the farm, the cotton has to be ginned – the seed and the lint separated – and then from the ginning, it’s shipped to a spinner to make it into a yarn.</p> <p>“Then the yarn producer will ship it often to other countries to be manufactured into a cloth. At any point along the chain, it might be dyed,” says Payne.</p> <p>“They can span the world over in terms of geographic location and can be really complex,” says Abigail Munroe, a modern slavery research and policy analyst at human rights group Walk Free, which compiled the <em>Global Estimates of Modern Slavery </em>report with the United Nation’s International Labour Organization and the International Organisation for Migration.</p> <h2>The labour distribution along the supply chain</h2> <p>Workers aren’t distributed evenly across these tiers. Spindles and looms are both highly mechanised processes, making the middle tiers less labour-intensive. The raw materials in Tier 4 can be equally mechanised, or labour-intensive to make, depending on the fibre.</p> <p>Assembling garments in Tier 1, however, demands a huge workforce.</p> <p>“It’s part of the nature of cloth – it’s fluid and malleable,” says Payne.</p> <p>“In the robotics space, they talk about how it might take months to teach a machine to fold a t -shirt because it’s just such a such a very difficult thing to manoeuvre and manipulate cloth.”</p> <p>Each seam on your clothes needs to be guided manually through a sewing machine – which is something of a boon for poorer countries wanting to bring in more industry.</p> <p>“The textile industry is often the first rung on the ladder for a country that’s industrialising,” says Payne.</p> <p>“What’s an industry to bring into a country when you’ve got a large labour force? Well, often garment assembly, because it’s fairly light machinery.”</p> <p>But this also comes with risks.</p> <h2>Who gets paid</h2> <p>According to the <a href="https://cleanclothes.org/poverty-wages" target="_blank" rel="noreferrer noopener">Clean Clothes Campaign</a>, a T-shirt which sells for €29 (A$43) sends €0.18 (A$0.27) back to the Bangladeshi garment worker who sewed it.</p> <p>Walk Free’s <a href="https://www.walkfree.org/reports/beyond-compliance-in-the-garment-industry/" target="_blank" rel="noreferrer noopener"><em>Beyond Compliance in the Garment Industry</em></a> report has found similar levels of low payment across the supply chain.</p> <p>“In our assessment, workers would need to be earning almost 40% more to have their basic needs met,” says Munroe.</p> <p>Exploitation may be worse in the more distant tiers.</p> <p>“In general, across any kind of industry, workers further down the supply chains tend to face increased modern slavery risks,” says Munroe.</p> <p>“That can be for a number of reasons – some of these being that they’re more likely to work in the informal economy, and they’re more likely to be invisible to policies designed to protect them.”</p> <p><iframe title="Huh? Science Explained" src="https://omny.fm/shows/huh-science-explained/playlists/podcast/embed?selectedClip=c7003c2f-954f-4ebf-b826-af090009d3ac&amp;style=cover&amp;autoplay=0&amp;list=0" width="100%" height="180" frameborder="0"></iframe></p> <h2>Tracing slavery</h2> <p>Governments have taken steps to make companies monitor these supply chains, but there are still gaps in the legislation.</p> <p>In Australia, for instance, the <a href="https://www.legislation.gov.au/Details/C2018A00153" target="_blank" rel="noreferrer noopener">2018 Modern Slavery Act</a> requires companies with an annual revenue over A$100 million to produce annual reports on their supply chains and modern slavery risks within those chains. The UK has <a href="https://www.legislation.gov.uk/ukpga/2015/30/contents/enacted" target="_blank" rel="noreferrer noopener">similar legislation</a>.</p> <p>Walk Free’s annual <em>Beyond Compliance </em>reports, track these disclosures and so far, they’ve looked at the hospitality, finance, and garment industries.</p> <p>While most of the garment companies in this year’s analysis had statements addressing modern slavery (an improvement on the hospitality and finance industries), 33% still didn’t meet minimum requirements set out by the acts. Over a quarter of companies didn’t produce any supply chain disclosure at all, while among those that did disclose, only 35% went beyond Tier 1.</p> <p>“There’s actually no penalties for companies that are within the threshold of the act, but don’t actually produce a statement,” says Munroe.</p> <p>And, even if those requirements are met, there’s little motivation to improve on reports.</p> <p>“We certainly see statements that are clearly being used as a box ticking activity,” says Munroe.</p> <p>“For both of those acts, even the Australian act which has more involved requirements, it’s completely disclosure-based. So simply reporting that the company needs to do more in relation to supply chain mapping or risk assessment – that’s enough.”</p> <p>Stricter legislation, such as the regulations <a href="https://www.csis.org/analysis/european-union-releases-draft-mandatory-human-rights-and-environmental-due-diligence" target="_blank" rel="noreferrer noopener">currently being proposed by the EU</a>, might include financial penalties for failing to comply, alongside obligations to prevent and mitigate human rights abuses right through the supply chain.</p> <p>The Australian government is <a href="https://consultations.ag.gov.au/crime/modern-slavery-act-review/" target="_blank" rel="noreferrer noopener">currently reviewing</a> its modern slavery act, with a consultation period closing in just over a month.</p> <p>Future changes to the act might increase compliance – but for now, most of the places you buy clothes from aren’t making it clear where the garments have come from – or who’s being properly paid to make them.</p> <p><em>Image credits: Getty Images</em></p> <p><em><!-- Start of tracking content syndication. Please do not remove this section as it allows us to keep track of republished articles --> <img id="cosmos-post-tracker" style="opacity: 0; height: 1px!important; width: 1px!important; border: 0!important; position: absolute!important; z-index: -1!important;" src="https://syndication.cosmosmagazine.com/?id=213724&amp;title=Mapping+the+labour+and+slavery+risks+in+fashion+supply+chains" width="1" height="1" /> <!-- End of tracking content syndication --></em></div> <div id="contributors"> <p><em>This article was originally published on <a href="https://cosmosmagazine.com/people/garment-supply-chain-slavery/" target="_blank" rel="noopener">cosmosmagazine.com</a> and was written by Ellen Phiddian. </em></p> </div>

Beauty & Style

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Willy Wonka fun facts

<p dir="ltr"><strong>*Willy Wonka Willy Wonka everybody give a cheer HOORAY*</strong></p> <p dir="ltr">Don’t pretend you did not sing that like the Oompa Loompa’s did because that is such a classic. </p> <p dir="ltr">Obviously the one with the late Gene Wilder, even though the one with Johnny Depp isn’t that bad either. </p> <p dir="ltr"><em>Willy Wonka and the Chocolate Factory</em> came out in 1971 and was based on the 1964 book <em>Charlie and the Chocolate Factory </em><span style="font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen, Ubuntu, Cantarell, 'Open Sans', 'Helvetica Neue', sans-serif;">by British author Roald Dahl</span><span style="font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen, Ubuntu, Cantarell, 'Open Sans', 'Helvetica Neue', sans-serif;">.</span></p> <p dir="ltr">To this very day it remains a classic to grandparents, parents and even kids who grew up watching it. </p> <p dir="ltr">We all secretly wished we could visit Willy Wonka’s factory and consume all the chocolate possible…just like Augustus Gloop wanted to. </p> <p dir="ltr">But did you know that Willy Wonka’s factory wasn’t actually a factory? Yes, the movie has some delicious facts despite being released 51 years ago. </p> <ol> <li dir="ltr" aria-level="1"> <p dir="ltr" role="presentation"><strong>Wonka’s limping entrance was Gene Wilder’s idea</strong></p> </li> </ol> <p dir="ltr">The first time everyone finally meets Willy Wonka is when he is limping. This idea came to Gene Wilder who suggested it would be perfect to keep the crowd on its toes.</p> <p dir="ltr">The director questioned why he would want to do that to which Gene responded: “Because from that time on, no one will know if I’m lying or telling the truth.”</p> <ol start="2"> <li dir="ltr" aria-level="1"> <p dir="ltr" role="presentation"><strong>Almost everything was edible</strong></p> </li> </ol> <p dir="ltr">Remember when Willy Wonka said “everything in this room is edible except for me”? Well they weren’t lying because everything in the factory was edible.</p> <p dir="ltr">Except for that floral cup he would drink from which was actually made from wax. Gene would bite into it and continue biting until the shot was perfect.</p> <ol start="3"> <li dir="ltr" aria-level="1"> <p dir="ltr" role="presentation"><strong>Chocolate river not actually made out of chocolate</strong></p> </li> </ol> <p dir="ltr">Would’ve been a dream come true had that river actually been made out of chocolate. It was however filled with brown-coloured water which eventually stunk up the place.</p> <p dir="ltr">In the remake, thick, fake chocolate was actually used. </p> <ol start="4"> <li dir="ltr" aria-level="1"> <p dir="ltr" role="presentation"><strong>Charlie and Wonka were close in real life</strong></p> </li> </ol> <p dir="ltr">Peter Ostrum, the actor who played Charlie, said Wilder “treated people with respect and dignity.” </p> <p dir="ltr">He said Wilder would always buy a chocolate bar after lunch and share it with him. </p> <ol start="5"> <li dir="ltr" aria-level="1"> <p dir="ltr" role="presentation"><strong>Not a factory</strong></p> </li> </ol> <p dir="ltr">The movie was filmed in Germany and Willy Wonka’s “factory” was in fact a power plant. </p> <p dir="ltr">The director chose that place on purpose so viewers would not immediately pick up where the story was set. </p> <ol start="6"> <li dir="ltr" aria-level="1"> <p dir="ltr" role="presentation"><strong>Roald Dahl HATED it</strong></p> </li> </ol> <p dir="ltr">Author Roald Dahl actually hated the film and refused to grant the film rights to a sequel. </p> <p dir="ltr">It was only 15 years after he died that a remake was approved.</p> <p dir="ltr"><em>Image: Getty</em></p>

Movies

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How we can use the law to make the fashion industry fairer to women and the earth

<p>In March 1911, in a <a href="https://www.cambridge.org/core/journals/law-and-social-inquiry/article/abs/triangle-shirtwaist-factory-fire-of-1911-social-change-industrial-accidents-and-the-evolution-of-commonsense-causality/576CA665F1EC2DB1C246F9DA22AAD2BC">garment factory in Manhattan</a>, over 100 people, mostly Jewish and Italian women migrants, some as young as 14, were trapped inside and died as the factory burnt to the floor. Management had locked the doors.</p> <p>In the following years, women workers mobilised. Their protests catalysed major law reforms in the US which are still enjoyed today – social security, unemployment insurance, the abolition of child labour, minimum wages and the right to unionise.</p> <p>Yet the Triangle Shirtwaist Factory Fire is alarmingly reminiscent of the 2013 collapse of the <a href="https://www.ilo.org/global/topics/geip/WCMS_614394/lang--en/index.htm">Rana Plaza</a> in the Savar Upazila district of Dhaka, Bangladesh, which saw the death of 1,134 people, mostly young women, and over 2,500 injured.</p> <p>Rana Plaza was home to factories manufacturing garments for <a href="https://archive.cleanclothes.org/safety/ranaplaza/who-needs-to-pay-up">renowned global brands</a>, but the spotlight on this tragedy is now dimming. Years on, accountability for the resulting safety accords remains insufficient and many factories continue to <a href="https://www.stern.nyu.edu/experience-stern/faculty-research/five-years-after-rana-plaza-way-forward">escape scrutiny</a>.</p> <p>Consumers are increasingly looking for sustainable and ethical fashion. We believe these goals are inseparable from an industry which embraces gender justice. But gender justice cannot be achieved by consumer demand and boycotts alone. Instead, we need <a href="https://www.genderlawindex.org/">gender-responsive law reform</a>.</p> <p>Our <a href="https://www.cambridge.org/core/journals/business-and-human-rights-journal/article/abs/fast-fashion-for-2030-using-the-pattern-of-the-sustainable-development-goals-sdgs-to-cut-a-more-genderjust-fashion-sector/326A2604C7FB89EAAC2B931B98F4C6A0">new research</a> sets out six ways to cut a more gender-just and sustainable fashion sector.</p> <h2>1. Accountability</h2> <p>The fashion sector’s gendered hierarchy is ingrained. Workers on the floor are largely female, while floor managers, security and factory owners are largely male.</p> <p>Female workers are vulnerable to harassment, violence and exploitation. There is an absence of adequate complaint mechanisms and women often risk retaliation.</p> <p>Accountability is needed not only in the countries producing garments, but also in countries where the garments are sold, and through all stages of the supply chain.</p> <p>Modern Slavery Acts, including <a href="https://legislation.nsw.gov.au/view/html/inforce/current/act-2018-030">Australia’s 2018 law</a>, establish reporting obligations for businesses, requiring them to report on the due diligence they have conducted with respect to potential risks of exploitation in their supply chains.</p> <p>But accountability has to go beyond the current <a href="https://law.adelaide.edu.au/ua/media/1410/ALR_40%283%29_11_Vijeyarasa_Web.pdf">“naming and shaming” provisions</a>.</p> <p>Penalties should be imposed and used to fund victim compensation, not just for workplace injuries but also for workers who suffer gender-based harms.</p> <h2>2. A living wage</h2> <p>Minimum wages rarely equate to a <a href="https://www.globallivingwage.org/about/what-is-a-living-wage/">living wage</a>, one that affords a decent standard of living for the worker and her family.</p> <p>The United Nations’ <a href="https://sdgs.un.org/goals">Sustainable Development Goals</a> call for full and productive employment and decent work for all.</p> <p>In factories, this would mean acknowledging a living wage is needed for workers to be able to afford food, water, housing, education, health care, transportation, clothing and other essential needs. This needs to be coupled with an appreciation of how workers are impacted when rental prices outpace annual increases in the minimum wage.</p> <p>Sustainable economic growth also requires financing the social security of workers including maternity leave, unemployment and disability insurance.</p> <h2>3. Community</h2> <p>Workers are often migrants who leave their children behind in the care of families.</p> <p>Many garment-producing countries lack sufficient gender-responsive public services needed by women workers: decent public housing, street lighting and healthcare in close proximity to factories.</p> <p>The Sustainable Development Goals ask for the recognition of the unequal share of unpaid care work borne by women. This impacts women workers’ lives outside the factory floor. Without this recognition, gendered labour will continue to sustain the global economy.</p> <p>Women also face <a href="https://www.ilo.org/dyn/normlex/en/f?p=NORMLEXPUB:12100:0::NO::P12100_ILO_CODE:C190">gender-based violence</a> on and off the factory floor. Legislation is needed to protect workers from such violence in all the spaces in which they move, including the commute to and from work.</p> <h2>4. Taxation</h2> <p>Potential tax revenue is lost by governments in garment-producing countries through regulatory loopholes.</p> <p>Rather than directly owning production factories, some companies claim to buy their products from “independent suppliers”. This arms-length principle eradicates the need for major retail brands to pay corporate tax in these countries.</p> <p>This lost revenue has a disproportionate impact on women, including undermining the provision of gender-responsive public services. Comprehensive social protection schemes remain underfunded.</p> <p>Reforms to eradicate these tax loopholes may see a notable increase in government revenue for garment-supply countries to fund these much needed services.</p> <h2>5. Representation and voice</h2> <p>Women make up the majority of garment workers, but their influence over corporate and government decision-making remains marginal.</p> <p>Trade unions have improved representation, but frequently their approach to gender equality is piecemeal. Many women fashion workers remain un-unionised. As a result, fundamental concerns of women workers are often given inadequate attention.</p> <p>The implementation of <a href="https://indicators.report/targets/8-8/">labour standards from the International Labour Organization</a> could see more spaces carved out for women worker’s interests to be voiced and heard.</p> <h2>6. Responsible consumption</h2> <p>Consumer choice is often presented as the key to transforming the fashion industry. Consumers need persuading to make human rights-based decisions, in the same way they are persuaded by brand, quality and price.</p> <p>Consumers may look for clothing labelled as “ethical fashion”, “organic” or “eco”, but shoppers are also wary of “<a href="https://jcsr.springeropen.com/articles/10.1186/s40991-019-0044-9">greenwashing</a>”.</p> <p>While <a href="http://www.makethelabelcount.org/">imperfect</a>, the European Union’s proposal to make transparent the <a href="https://www.ecotextile.com/2021070828060/materials-production-news/consultation-opens-on-european-pef-proposals.html">environmental footprint of clothing</a> should enable stronger transparency on the environmental impact of fashion labels.</p> <p>This transparency must also extend to human rights issues looking at how the clothing is produced.</p> <p>Clearly law and fashion have much to gain from each other. But there has to be a more robust and effective solution than shifting accountability from corporations to the individual. A simple boycott may not be the best choice: instead contact your local MP and encourage them to care about and demand gender-responsive law reform.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important; text-shadow: none !important;" src="https://counter.theconversation.com/content/173235/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p><span><a href="https://theconversation.com/profiles/mark-liu-291632">Mark Liu</a>, Visiting Scholar: School of Architecture and School of Engineering, <em><a href="https://theconversation.com/institutions/university-of-technology-sydney-936">University of Technology Sydney</a></em> and <a href="https://theconversation.com/profiles/ramona-vijeyarasa-583428">Ramona Vijeyarasa</a>, Senior Lecturer, University of Technology Sydney and Women's Leadership Institute Australia Research Fellow</span></p> <p>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/how-we-can-use-the-law-to-make-the-fashion-industry-fairer-to-women-and-the-earth-173235">original article</a>.</p> <p><em>Image: </em><em><span class="attribution"><span class="source">EPA/NEIL HALL</span></span></em></p>

Legal

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Willy Wonka star reveals Gene Wilder’s “favourite brat”

<p><span>A child star who had the opportunity to work alongside the infamous Gene Wilder has spoken out on the experience, 50 years since its first premier date.</span><br /><br /><em>Charlie and the Chocolate Factory </em><span>hit movie screens 50 years ago on June 30, 1971 and achieved rapid success almost overnight.</span><br /><br /><span>The film went on to become a phenomenon that was registered in the United States National Film Registry by the Library of Congress for being deemed “culturally, historically or aesthetically significant”.</span><br /><br /><span>The child actors Peter Ostrum, Julie Dawn Cole, Michael Bollner, Paris Themmen and Denise Nickerson – who played Charlie Bucket, Veruca Salt, Augustus Gloop, Mike Teavee and Violet Beauregarde – all came together for a virtual reunion in honour of the film’s anniversary.</span></p> <p><img style="width: 500px; height: 281.25px;" src="https://oversixtydev.blob.core.windows.net/media/7842239/willy-wonka.jpg" alt="" data-udi="umb://media/b9da36eca8c24fbeb170655d6cf92150" /></p> <p><em>Image: Yahoo</em><br /><br /><span>The actors all had the opportunity to co-star together, and even got to explore the imagined Wonka Chocolate Factory.</span><br /><br /><span>The cast recounted such fond memories of exploring the film sets in Bavarian Germany and working with Gene Wilder.</span><br /><br /><span>Themmen admitted that he was indeed a “notorious troublemaker on the set.”</span><br /><br /><span>So much so that even Wilder called him “a handful”.</span><br /><br /><span>“I can corroborate that,” the actor, who played the television-obsessed rascal Mike Teavee, admitted.</span><br /><br /><span>“I was younger than the others. I was 11, they were 13 and was naturally just sort of more high-spirited and rambunctious.”</span></p> <p><img style="width: 500px; height: 281.25px;" src="https://oversixtydev.blob.core.windows.net/media/7842237/willy-wonka-1.jpg" alt="" data-udi="umb://media/a8d501bcedd64f7b97dd573169a7717a" /></p> <p><em>Image: Yahoo</em><br /><br /><span>The now-62-year-old opened up about one brief moment he shared with Wilder, in 1976 during a fundraiser screening for the film <em>Silver Streak</em> at the Avon Theatre in Stamford, Connecticut.</span><br /><br /><span>“I sat at the back of the room and he gave his commentary and then I went up to the front of the room afterwards with my poster in hand,” Themmen relived with a smile.</span><br /><br /><span>“I said, ‘Hi, Gene, how you doing? I’m Paris Themmen, I was Mike Teavee in Willy Wonka.”</span><br /><br /><span>“And he said, ‘Oh you were a brat!’ And I flashed all the way back 50 years, or 40 years at that time, and said, ‘Well, I’m 50-something now and maybe not as much of a brat.’</span><br /><br /><span>And he signed my poster, ‘To my favourite brat.’”</span><br /><br /><span>Wilder died in 2016 at the age of 83 after a long vibrant career.</span><br /><br /><span>Cole, who played Veruca Salt, said: “I think people kind of want us to tell you that he was like Willy Wonka offset, but he wasn’t.</span><br /><br /><span>“He was such a lovely, kind man, very unassuming,” she said.</span><br /><br /><span>“He was just down to earth, not pretentious, he was just a wonderful person to be around and to work with,” said Ostrum, who played Charlie Bucket.</span></p>

Movies

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Gene Wilder passes away age 83

<p>The world has lost another irreplaceable icon with confirmation that legendary actor Gene Wilder has sadly passed away at age 83.</p> <p>Wilder, perhaps best-known for his role in the 1971 film <em>Willy Wonka and the Chocolate Factory</em>, passed on Monday at his home in Stamford, Connecticut. Confirmation of his passing came from the actor’s nephew, Jordan Walker-Pearlman, who said the passing was due to complications from Alzheimer’s disease in a statement to <a href="http://www.variety.com/"><span style="text-decoration: underline;"><strong>Variety</strong></span></a>.</p> <p>Walker-Pearlman wrote, “We understand for all the emotional and physical challenges this situation presented we have been among the lucky ones — this illness-pirate, unlike in so many cases, never stole his ability to recognise those that were closest to him, nor took command of his central-gentle-life affirming core personality.</p> <p>“The decision to wait until this time to disclose his condition wasn’t vanity, but more so that the countless young children that would smile or call out to him ‘there’s Willy Wonka,’ would not have to be then exposed to an adult referencing illness or trouble and causing delight to travel to worry, disappointment or confusion. He simply couldn’t bear the idea of one less smile in the world.”</p> <p>Tributes have started to flow in for the two-time Oscar-nominee who started in classics like <em>The Producers</em>,<em> Blazing Saddles</em> and <em>Young Frankenstein</em>.</p> <p>Our thoughts are with his family at what must be a difficult time.</p> <p>Share your favourite Gene Wilder moment in the comments below.</p> <p><em>Video credit: YouTube / beralts</em></p> <p><strong>Related links:</strong></p> <p><span style="text-decoration: underline;"><em><a href="/entertainment/art/2016/08/make-up-artist-can-transform-herself-into-anyone/"><strong>Make-up artist can transform herself into anyone</strong></a></em></span></p> <p><span style="text-decoration: underline;"><em><a href="/entertainment/books/2016/07/5-authors-who-hated-the-film-adaptation-of-their-book/"><strong>5 authors who hated the film adaptation of their book</strong></a></em></span></p> <p><span style="text-decoration: underline;"><em><a href="/entertainment/books/2016/04/best-childrens-books/"><strong>5 all-time best children’s books</strong></a></em></span></p>

News

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Inside a tea factory from the 50s

<p><em><strong>When Richard Hall, 69, from Adelaide, Australia, stumbled onto a packet of old negatives in a box from decades ago, he wasn’t sure what to expect. What he found was never-before-seen photos of his father Brian Hall’s tea factory at Athol Park, South Australia. Here Richard shares those 1950s pictures as well as fond memories of his father and a childhood spent playing at the factory.</strong></em></p> <p>“If my dad was alive today, he would be 99. He grew up in Tea Tree Gully in South Australia and moved to Adelaide for school. His first job was as a tea taster with a chap called Mr Bolin. My father eventually purchased Mr Bolin’s business and move into his own tea factory [the pictures above] about 10 kilometres from the city, to a suburb called Athol Park. It was a very old and rundown area, with open paddocks and vacant land.</p> <p>My dad was good at his job. He would become a very successful tea and coffee merchant, with his business E W Bolin. He was by far the largest coffee merchant in South Australia for many years, selling to all coffee lounges, Myer, David Jones, John Martins, every supermarket in South Australia, the Supply and Tender Board and many more. His skilled factory staff roasted the coffee, packed and delivered to the customers in the morning. The coffee was often drunk the very same day!</p> <p>In the late 1960s he was also the Lipton Tea agent for South Australia and the Northern Territory. He merged with Robert Timms around 1968 and was then ‘bought out’ by Tetley Tea. My father worked with the Tetley Tea Group for about four years and then retired to ‘go fishing on Kangaroo Island’!</p> <p>I’m not sure how he fell into tea, he just loved talking tea. Our whole family loved tea. Tea, fishing, family and his children were my father’s life. He was a very likeable person and all his grandchildren and children loved him to bits. He was very generous and had many good friends.</p> <p>The overseas exporters regarded Australia as the place that would purchase second-grade tea, with the majority of the good quality tea going to England. However, my father would often purchase expensive high quality tea from Ceylon for our family and friends to consume. </p> <p>I remember he would throw big parties for all of his customers who purchased his tea and coffee. He was very well respected by both his tea and coffee peers and customers.</p> <p>As a young lad, I often worked in the factory during the school holidays. I was paid around five shillings per day. I remember we opened tea chests, chased mice and packed the tea and coffee. When I obtained my driver’s licence, my father allowed me to deliver tea and coffee throughout the Adelaide metropolitan area. I have great memories of those wonderful years.”</p> <p><img width="499" height="314" src="https://oversixtydev.blob.core.windows.net/media/13916/richard-hall-child-and-now_499x314.jpg" alt="Richard Hall Child And Now" style="display: block; margin-left: auto; margin-right: auto;"/></p> <p style="text-align: center;"><em>Richard Hall as a youngster and now. </em></p> <p><em><strong>Scroll through the gallery of Richard's cherished photogrpahs above</strong></em></p> <p><strong>Related links:</strong></p> <p><em><span style="text-decoration: underline;"><strong><a href="/lifestyle/family-pets/2014/11/why-you-should-write-your-parent%E2%80%99s-biography/">Why you should write your parent’s biography</a></strong></span></em></p> <p><em><span style="text-decoration: underline;"><strong><a href="/lifestyle/family-pets/2014/11/15-things-kids-of-today-are-missing-out-on/">15 things kids of today are missing out on</a></strong></span></em></p> <p><em><span style="text-decoration: underline;"><strong><a href="/lifestyle/family-pets/2015/07/important-to-share-memories-grandkids/">Why it’s imperative to share your memories with grandchildren</a></strong></span></em></p>

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