logo
Footy star says anyone who disagrees with the AFL hiring Snoop Dogg to play at the grand final is a RACIST

Footy star says anyone who disagrees with the AFL hiring Snoop Dogg to play at the grand final is a RACIST

Daily Mail​11 hours ago
Critics of the AFL 's decision to hire Snoop Dogg as the halftime entertainment at this year's AFL grand final are motivated by racism, a former AFLW star has claimed.
The league divided fans and commentators when the official announcement was made on Tuesday, with some saying the hip-hop icon's extreme lyrics fly in the face of the AFL's commitment to opposing sexism and homophobia.
Ex-Fremantle, Richmond and Hawthorn star Akec Makur Chuot hit back at Snoop's detractors, saying their complaints are fuelled by racism.
'For the first time, we have this precedent where a black artist is coming to headline one of the biggest sporting events in Australia and you have all this propaganda and hate towards him when that has never been done when it was Katy Perry or any other caucasian people,' she said.
'This comes back to this casual racism and blunt racism that continues to happen in sports.
'How can we expect our fans to not be racist to the players when you are now being racist towards someone who is literally a legend?
'We nitpick when it suits us, that's my problem.
'Do we have to sit and look at all the lyrics of everyone who's come here?'
Chuot shot down people who have complained about the rap superstar because they believe local artists should be prioritised for the grand final gig, saying that sentiment 'should not come at the expense of somebody like Snoop Dogg'.
'It's one thing to be like, he does this or does that, but a lot of them do,' she said, pointing out that many musicians are known for their controversial lyrics.
Soon after Tuesday's announcement, 3AW radio star Tom Elliott hit out at the AFL for abandoning its platform of respecting women by hiring Snoop.
'Snoop Dogg's lyrics - and we have been going through some of his songs this morning - are the absolute opposite of what the AFL is on about,' Elliott said.
'For example, this coming Thursday, the AFLW season starts ... the AFLW stands for diversity and inclusion.
'They've got two weeks of pride rounds in the men's game. We respect people of different races and cultures and ethnicities.'
Elliott then read out the lyrics to the Snoop Dogg song 'Girls, Girls, Girls'.
'I like tall ones, white ones, fat ones, black ones, short ones, cute ones, bad ones, good ones.
'I'm tryin' a creep with 'em, individually want to sleep with 'em, I do 'em, I did 'em, I hit 'em and quit 'em.
'That's how I get rid of 'em, welcome to my world, girls, girls, girls.'
He then summed up the lyrics with, 'So basically it's OK to hit women and then get rid of them.
'This is at odds with what the AFL is constantly lecturing us about - you know, respect towards women.
'I can tell you, in the hip-hop culture they have anything but respect towards women. Women are objects to be used and abused and chucked away in the world of Snoop Dogg.
Some footy fans voiced the same opinion when the AFL broke the news of Snoop's performance on social media.
'If the AFL didn't have double standards, they'd have no standards at all,' one wrote.
'Like Snoop but I don't think he's suitable for grand final entertainment,' another commented.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Gluck's famous opera with acrobats? It's surprisingly bloodless
Gluck's famous opera with acrobats? It's surprisingly bloodless

Telegraph

time21 minutes ago

  • Telegraph

Gluck's famous opera with acrobats? It's surprisingly bloodless

A female aerial artist wearing a striking red dress tumbles down from the ceiling on a rope, symbolising the descent of the ill-fated Eurydice into the underworld. This is how Yaron Lifschitz's modern staging of Gluck's popular 1762 opera Orpheus and Eurydice begins. The show's concept, combining opera with circus, is an intriguing one, but this production from Opera Queensland – with acrobats from the Brisbane-based Circa company – feels misconceived and oddly clinical. The subterranean afterlife into which Eurydice has fallen – having been killed by a snakebite – is visualised by Lifschitz (who also designs) as a place of almost antiseptic, white minimalism. When we meet her bereft lover Orpheus – who follows her into the underworld in an attempt to persuade Hades, king of the dead, to restore his beloved to life – he is seemingly in an asylum, resting on a white table-cum-bed. It looks like something Jasper Conran might have designed for a rehab centre for Hollywood A-listers. As the fine British countertenor Iestyn Davies (playing Orpheus in a white shirt and black business suit) begins to sing of his anguish, his words appear and evaporate in smoke on the wall behind him. It isn't long before Eurydice (sung beautifully by Australian/British soprano Samantha Clarke) is appearing inside a small greenhouse (which, one assumes, is supposed to be a symbol of confinement). As the opera unfolds, Gluck's splendid late-Baroque score and Ranieri de' Calzabigi's libretto are accompanied by a small army of gymnastic artists from Brisbane company Circa. When the chorus of Scottish Opera arrive they are clad in black boiler suits. The difficulty with all of this – from the circus performance to the modish graphics and consciously fashionable design – is that it fails to make the necessary emotional connection either with Gluck's opera or the ancient myth upon which it is based. The greenhouse, in particular, reminds one of the period in the 1990s and early-2000s when every other trendy live art show – usually by students or graduates of Dartington College of Arts – seemed to feature a small glasshouse. The great frustration of the production, which premiered in Brisbane in 2019, is that the tremendous capacities of the performers – from the lead singers, the chorus and the excellent Scottish Chamber Orchestra (under the baton of Laurence Cummings) to the circus artists – are never in doubt. However, as Circa's performers slide on silks in mid-air or turn themselves into a human staircase for Orpheus to climb, the music seems almost to be at the service of the circus work, much as Ravel's Bolero served the British ice skaters Torvill and Dean in the 1980s. When, at the end, Davies's Orpheus writes the words 'The triumph of love' in blood on the wall, it seems like a moment of self-parody, so anodyne and bloodless is Lifschitz's production. Truth to tell, the piece was cheered to the rafters by sections of the audience. Had we been in Vienna in 1913 (the year of Schoenberg's famous 'scandal concert'), I suspect booing might have ensued from those who were unimpressed. Alas, Edinburgh International Festival audiences are not given to such expressions of discontent. Until Aug 16;

Abbie Chatfield shares 'wedding song' boyfriend Adam Hyde has written about her - after sparking engagement rumours
Abbie Chatfield shares 'wedding song' boyfriend Adam Hyde has written about her - after sparking engagement rumours

Daily Mail​

time2 hours ago

  • Daily Mail​

Abbie Chatfield shares 'wedding song' boyfriend Adam Hyde has written about her - after sparking engagement rumours

Abbie Chatfield has again sparked engagement rumours with boyfriend Adam Hyde after sharing a song he has written for her. The musician, who goes by the stage name Keli Holiday, has dropped the new single, called Dancing 2 - and Abbie was quick to endorse it. She shared the lyrics to her Instagram Stories on Thursday, with the words seemingly inspired by the early days of the couple's romance. 'You got 28 years just to work it all out, another 28 years just to figure out what it meant to you,' the lyrics read. 'Now I'm next to you, and we're dancing too. You were dancing, yeah you were dancing. And I was dancing too.' After sharing the track, Abbie also shared a message from a fan who said they wished they'd used the song at their wedding. 'It's such a wedding song!' Abbie enthused, perhaps hinting she may play it at her own wedding. It comes after Abbie sparked engagement rumours after showing off some bling she received on her 30th birthday. The Bachelor star shared a video to Instagram in which she revealed the custom-made ring Adam gifted her for her birthday. 'So my 30th birthday and I was wondering what he is going to do for me. We were in Greece for my actual birthday so I only recently got my present but it's so cute,' she said. 'For context, he calls me bug because one day we were in bed and he said "you're like a little bug". Ever since then, [he calls me bug]. So me being buggy he got me this custom made,' Abbie explained before opening a heart-shaped box to reveal the ring. She then placed the band on her ring finger and held it up towards the camera. 'It's a bug ring. Is that not the cutest, coolest, sickest 30th birthday present? It's so weird... I thought you would all be wondering what he got me and I just wanted to show it off,' she added. Many fans flocked to the comments to question whether she was wearing the ring on her engagement finger. 'Hahahaha I did see the left hand engagement ring finger,' one person commented. 'Little do you know, you're now engaged,' another said while a third wrote: 'She did pop it on that finger.' The podcaster immediately shut down speculation, explaining she was wearing the ring on her right hand but the camera flipped the image to make it appear as though it was on her left hand. Abbie and Adam have been going from strength to strength since debuting their romance in June 2024 and she has even featured in his on-stage performances. She told Stellar Magazine that her relationship with Adam is the best she's ever had. 'It isn't like other people I've had flings with. And this is gonna sound a bit w**ky, but he's had a bigger career than me,' she said after concerns from fans that Adam is 'using her' for fame. 'I don't think he's using me for anything. He's successful in his own right. 'I think I'm cool for being with him, not the other way around.' Abbie was friends with Adam for two years before they started dating, which she said has added to the trust between them.

Carlton's new generation shine in AFLW opening round win against Collingwood
Carlton's new generation shine in AFLW opening round win against Collingwood

The Guardian

time2 hours ago

  • The Guardian

Carlton's new generation shine in AFLW opening round win against Collingwood

Thursday's opening night of AFLW was designed to evoke memories of one of the competition's greatest days, but a slick Carlton performance and flashes of brilliance from the league's newest faces have proven there is no need to dwell on the past. The Blues played their way into the contest against Collingwood in front of a healthy crowd of 8,042 at Ikon Park, overcoming a slow start to dominate the Magpies in the second half and accelerate away from their opponents in a 6.9 (45) to 3.3 (21) victory. The result mirrored the outcome of the first game of AFLW back in 2017, when almost 25,000 piled into the ground set within the same picturesque venue in Melbourne's inner north to see the home side triumph. But on Thursday it was the turn of a new generation. Carlton's 22-year-old vice-captain Mimi Hill finished with 32 disposals, 11 more than any other player, showing she is ready to continue her ascension into the game's elite. Irishwoman Erone Fitzpatrick bagged two goals in her 11th game of AFLW. Blues coach Mathew Buck said he was careful not to dive too deep into the fixture's heritage. 'In the build-in, our players were pretty calm and we probably didn't lean into it too much,' he said. 'We've got nine players under twenty-two, so making sure we weren't over-aroused going into the game was really important.' The Blues' two standout rookies were mostly composed on debut. Father-daughter draft selection Sophie McKay and Poppy Scholz – the younger sister of Port Adelaide's 2024 Rising Star winner Matilda – looked like they will be AFLW players of the future. 'Poppy burst onto the scene there with a spin through the middle and then managed to kick a goal too,' Buck said. 'I'm just really excited for the player Poppy can become.' Both sides are in the middle of what some might describe as a rebuilding phase. Collingwood were the wooden-spooners last year with the league's worst percentage. The second-worst belonged to Carlton. It was appropriate therefore that these teams launched the AFLW's tenth season, given the league is in a rebuilding period itself. From the excitement within the community evident at that famous first game in 2017, the AFLW has stumbled when others in women's sport have stepped up. Sign up to From the Pocket: AFL Weekly Jonathan Horn brings expert analysis on the week's biggest AFL stories after newsletter promotion Officials have shunted the league's calendar around, toyed with midweek matches and early bounces, and kept the costs for clubs to a minimum. Only last week did the AFL Commission agree to lock in a late November grand final date for the women's competition each year. The long period instability prompted the inaugural No 1 draft pick, Nicola Barr, to write in the Guardian this week that the league must no longer be a 'side project' for the AFL. The profile of Barr – now at St Kilda after nine season at the GWS Giants – may already be exceeded by the woman taken No 1 last year, Collingwood's Ash Centra. At the club with the largest traditional fanbase, the athletic, silky-skilled midfielder-forward with the long sleeves and shimmering boots showed enough on Thursday to further inflate already vast expectations. After a first-half goal with her first kick, a third-quarter jinking pirouette underscored her potential, even if Centra's contribution at the final siren – three disposals and two tackles in managed minutes – highlighted there is more to come. Collingwood coach Sam Wright said she already has a cult following. 'Every time she went near the ball, whether she got it or not, you could hear the crowd get up and about, I just think it's so great for our game. I mean, the long sleeves, you can see her coming from a mile away,' he said. 'She's going to be a serious player.' Her debut was watched by a promising turnout on Thursday: the biggest home-and-away round attendance in the competition in two years according to Austadiums data. They also enjoyed several sequences from the Blues of breathless run and handball off half-back. Buck said he hoped his team left an impression on those that came with their 'brave' football. 'To have the opening game, to be able to bring that crowd in and put some exciting footy out there for them, hopefully they've left with a smile on their face.'

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store