#La Trobe University

[sitting-on-me-bum]

"Have You Heard The One About..."

Little Corella, La Trobe University, Vic

"While doing a bit of birding at the La Trobe University wetlands I noticed a large flock of Little Corellas on one of the ovals with several pairs rolling around in the grass. I got down as low as I could to fire off some shots and managed to get 

By Franciscus Scheelings

2023 BirdLife Australia Photography Awards

[oztrekk]

La Trobe University Law Scholarships for Canadians

Are you thinking of studying law?  La Trobe University has law scholarships for Canadians!

Get the details!

[ielts-toefl-1]

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[thegirlwhodownunder]

Vlog 15: Docklands and AFL

Good day everyone!!! Happy Friday, how are you guys today? Happy May to everyone as to what April showers bring May flowers. Today will be the last blog for a while as I get ready for finals here in Australia. At Susquehanna, I know a bunch of people are getting ready for final exams, presentations, and papers. So for today final vlog I will share my experiences in the Docklands and tell you a bit about the AFL.

So on Sunday, I knew I wanted to take a bit of a break from doing an essay from one of my classes so I decided to explore the Docklands for the first time. The duration of me getting there by tram took a hour which wasn’t bad as I got to see the city and the beautiful view with the pier in the background. The first stop I went to was their monthly market which happens every Sunday of each month. The market was really cute where there were little companies selling jewelry, stickers, food, etc. What I got are some really fun stickers that I put on my laptop or my IPad and a ring for my mom for Mother Day’s/Birthday Gift. After that I mostly just explore the mall. The mall was pretty empty that day when I went there, so I left after I finished fairly quickly and went back to exploring the docklands. There is a Ferris wheel at the Docklands which I was excited to go and possibly ride, but it closed permanently but I still think you should see the Ferris wheel, it is pretty cool. After seeing the Ferris wheel, I went to a restaurant just to eat a quick lunch while also enjoying the view of the wharf. I recommended that you get lunch by the water because the view is so pretty to look at while enjoying your lunch. 

Another thing that I try is Australia Football. Australian Football is a popular sport here in Australia where it reminds me of soccer but instead of using primarily your feet, you're using your hands. I went to a clinic a few days ago and I had so much fun. The Australian Football team taught us some of the skills and rules of the game. Even though this was my first time playing the sport, I felt I did pretty well since I used to play soccer which helped me be aggressive to other players and swim where I have my endurances which is great when I’m running or tackling another player. It felt great to be playing a sport again, even though I exercise I’m a huge sport-fan and it felt great to be playing a new sport but also learning a part of Australian culture at the same time. Fun Fact tomorrow I'm going to my first Australian Football League game (AFL) at Marvel Stadium. On Sunday, I saw the North Melbourne Kangaroo versus St Kilda. So that it for the final blog of my study abroad and thank you for reading my blogs I hope you had fun reading them as I go explore Australia, and maybe you hear from me again someday.

[bob425608]

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[mindblowingscience]

In a medical first, scientists have hindered the growth of bowel cancers in mice by harnessing immune cells in the large intestine. One of the most exciting new cancer treatments is immunotherapy, which works by training the body's immune system to identify and destroy cancer cells. However, most current immunotherapies only benefit a small minority of patients with bowel cancer – fewer than 10 percent. "We have discovered that an important group of immune cells in the large bowel – gamma delta T cells – are crucial to preventing bowel cancer," says immunologist Lisa Mielke from the Olivia Newton-John Cancer Research Institute at La Trobe University in Australia.

Continue Reading.

[justforbooks]

Bill Viola

Video artist who melded the material and the spiritual and applied modern technology to Renaissance subjects

In 1957, on a family holiday, Bill Viola fell in a lake. He was six years old. Sixty years later, Viola, who has died aged 73, recalled the event. “I didn’t hold on to my float when I went into the water, and I went right to the bottom,” he said. “I experienced weightlessness and a profound visual sense that I never forgot. It was like a dream and blue and light, and I thought I was in heaven as it was the most beautiful thing I had seen.” And then … “my uncle pulled me out.”

It seemed an unpromising start to an artistic career. However, in 1977 Viola began a series of five works called The Reflecting Pool. Four years out of university, this was his first multipart artwork, its constituent films occupying their maker for three years. In the title piece, a shirtless man – Viola – emerges from a wood, walks toward a pond, makes as if to jump into it and freezes in mid-air. The pool registers his entry nonetheless, its surface rippling as though disturbed; the flying man fades slowly away; and, after seven long minutes, Viola emerges, dripping, from the water and walks back into the woods. The Reflecting Pool drew on the near-drowning of his six-year-old self. It was also classic Viola, its most notable features – slowness, water, a numinous spirituality – recurring in his work of the next half century.

It was the subaqueous blue glow of the screen of a Sony Portapak video camera, donated to his high school in Flushing, New York, that first attracted Viola to the medium. He was raised in the neighbouring lower-middle-class suburb of Queens. It was not, recalled Viola, a cultured household, but his mother, Wynne (nee Lee) “had some ability and sort of taught me how to draw, so when I was three years old I could do pretty good motorboats”. A year before his near death by drowning, a kindergarten finger-painting of a tornado won public praise from his teacher. It was then, Viola said, that he decided to be an artist.

His father, a Pan Am flight attendant turned service manager, had other ideas. Fearing that an art school education would leave his son unemployable, Viola senior insisted that he study for a liberal arts degree at Syracuse, a respected university in upstate New York. “And in saying that,” Viola would admit, “he saved me.”

As luck would have it, Syracuse, in 1970, was among the first universities to promote experimentation in new media. A fellow student had set up a studio where projects could be made using a video camera. Signing up for it, Viola was instantly converted: “Something in my brain said I’d be doing this all my life,” he remembered. He spent the following summer wiring up the university’s new cable TV system, taking a job as a janitor in its technology centre so that he could spend his nights mastering the newfangled colour video system. In 1972, he made his first artwork, Tape I, a study of his own reflection in a mirror. This, too, would be trademark Viola, bewitched by video’s ability simultaneously to see and be seen, but also by his own image. The I in the work’s title was not a Roman numeral but a personal pronoun.

Tape I and works like it were enough to catch the eye of Maria Gloria Bicocchi, whose pioneering Florence studio, ART/TAPES/22, made videos for Arte Povera artists. When Viola took a job there in 1974, he found himself working alongside such giants as Mario Merz and Jannis Kounellis. By 1977, his own reputation in the small but growing world of video art led to his being invited to show his work at La Trobe University in Melbourne, his acceptance encouraged by the offer of free Pan Am flights from his father.

The invitation had come from La Trobe’s director of culture, Kira Perov. The following year, Perov moved to New York to be with Viola, and they married in 1978. They would stay in the house in Long Beach, California, that they moved into three years later, for the rest of their married lives. In 1980-81, the couple spent 18 months in Japan, Viola simultaneously working as the first artist-in-residence at Sony Corporation’s Atsugi laboratories and studying Zen Buddhism.

This melding of the sacred and technologically profane would mark Viola’s work of the next four decades. Viola listed “eastern and western spiritual traditions including Zen Buddhism, Islamic Sufism and Christian mysticism” as influences on his art, although it was the last of these that was the most apparent. At university, he said, he had “hated” the old masters, and proximity to the greatest of them in Florence had not changed that view. It was only with the death of his mother in 1991 that he began to feel the weight of western art history, and to acknowledge it in his own work.

Having struggled with a creative block since the late 1980s, he found that the grief of his mother’s death freed him. Summoned to her side by his father, Viola filmed first the dying woman and then her body lying in an open coffin. This footage would be used in a 54-minute work called The Passing, and then again the following year in the Nantes Triptych, its three screens concurrently showing a woman giving birth, Viola’s dying mother and, in between them, a man submerged in a tank of water.

The first of Viola and Perov’s two sons had been born in 1988. Nantes Triptych was, or appeared to be, a meditation on birth, death and rebirth through baptism. If the subject was traditional, so too was Viola’s use of the triptych form. His references to the old masters would soon become more direct still. In 1995, Viola was chosen to represent the US at the Venice Biennale. One part of the work, Buried Secrets, that he showed in the American pavilion drew openly on a painting by Jacopo da Pontormo of the visitation of the Virgin Mary to her elderly cousin, Elizabeth.

Not surprisingly in these secular times, Viola’s subject matter was not universally popular. The art world was particularly divided. When his videos were shown among the permanent collection of the National Gallery in London in an exhibition called The Passions in 2003, one outraged critic dubbed Viola “a master of overblown, big-budget, crowd-pleasing, tear-jerking hocus-pocus and religiosity”.

The pairing at the Royal Academy in 2019 of his work with drawings by Michelangelo from the Royal Collection drew the barbed comment from the Guardian critic that “Viola’s art is so much of its own time that it is already dated, dead in the water”.

Predictably, he was more popular with the public at large, a survey at a Viola retrospective at the Grand Palais in Paris showing that visitors had spent an average of two-and-a-half hours at the exhibition. Churchmen, too, were won over by Viola’s work, particularly those of the Church of England. In 1996, the artist was invited to make a video piece, The Messenger, for Durham Cathedral. In 2014, the first part of a two-part commission called Martyrs and Mary was installed at St Paul’s, the second joining it two years later. The project, thanks to ecclesiastical wrangling, had been a decade in the making. “The church works kind of slow,” remarked Viola, mildly. “But then I also work kind of slow.”

That mildness, and the religiosity of his subjects, may have led critics to underestimate the rigour of his work. Like Viola’s art or not, he was a master of it. His appreciation of the promise – and the threat – of technology was profound. Viola chafed against the primitiveness of early video, seeing each development in the medium as an opportunity to be grasped. The close-up portraits of The Passions series, for example, made use of flatscreen technology almost as it was invented.

By contrast, the binary nature of the modern world bothered him. “The age of computers is a very dangerous one because they work on ‘yes or no’, ‘1 or 0’,” Viola mourned. “There’s no maybe, perhaps or both. And I think this is affecting our consciousness.” The dissemination of video as an art form had not been like the spread of oil painting by the Van Eyck brothers 500 years before, he said, video having appeared everywhere and at once. True to these beliefs, Viola saw no contradiction in treating Renaissance subjects, and a Renaissance belief system, with the latest inventions from Sony. “The two are actually very close,” he said. “I see the digital age as the joining of the material and the spiritual into a yet-to-be-determined whole.”

In 2012, Viola was diagnosed with early onset Alzheimer’s disease. His work after this was increasingly made with the help of Perov, a fact that lent a new poignancy to the themes of memory and loss that often ran through it.

Viola is survived by his wife and their sons, Blake and Andrei, and by his siblings, Andrea and Robert .

🔔 Bill (William John) Viola, video artist, born 25 January 1951; died 12 July 2024

Daily inspiration. Discover more photos at Just for Books…?

[blueiscoool]

AN APULIAN RED-FIGURED VOLUTE-KRATER

ATTRIBUTED TO THE BALTIMORE PAINTER, CIRCA 330-320 B.C.

36 ¼ in. (92 cm.) high.

The Baltimore Painter, according to A.D. Trendall “is the most important and significant of the later Apulian vase-painters…”. He decorates a wide range of shapes, both large and small, and many feature multi-figure mythological scenes framed by elaborate ornament. The upper register of the obverse on the present example has an assembly of gods, including Pan, Artemis, her brother Apollo with a swan on his thigh and a deer to his left, and Aphrodite. The lower register has five offering-bearers around a laver. The obverse neck is centered by a frontal head of Io amidst florals. The reverse has a youth seated within a naiskos surrounded by four offering-bearers. An unusual feature of the present vase is the fish and other marine creatures encircling the foot.

While this vase was never published by Trendall, he became aware of its existence late in his life, since a friend had sent him a copy of the 1988 exhibition catalog from Nara. The catalog is preserved in the Trendall Research Centre for Ancient Mediterranean Studies at La Trobe University, accompanied by his hand-written note attributing this to the Baltimore Painter.

[thegirlwhodownunder]

Vlog 14: Navagating Campus and Locations

Hello everyone, happy Friday, how are you guys? I know back in Susky you guys have 2 more weeks to go until finals, I’m ¾ done with my semester. So in today's vlog since I been on La Trobe Bundorra campus for 2 months now, today's blog will be about the places on campus you can go and study. 

La Trobe is a pretty big campus with multiple buildings for different subjects where they focus on social sciences, education, humanities, health sciences etc. During orientation week depending on what your studying at La Trobe University in Bundoora, you go with one of the subject buildings to know what the subject (courses) are like and how the tutors ( teachers/professors) are in those subjects. During orientation week or when you have freetime, I suggest that you take a trial run to where your classes are so it makes it easier for you to go to classes for the first few weeks since you're new to the campus. If you don’t its okay, I would also suggest that you get a planner/little notebook and out the day that you have the class and the building and room you're in for the first few weeks. Another way you can get directions is by the library where the first week of classes they had map of the campus which makes it easiest for studies on campus. 

One of the areas I spend my time the most on campus is The Agora, The Agora is a place where students hang out to work, eat, and hangout. In the Agora area their the library where I spend most of my time there studying for my classes, the Agora express which is the little convenience store on campus, the book store where you get you books for classes and la Trobe merchandises, and a food court where sometimes I get something to eat or drink before or after classes. I usually get food at B&B nation which is a little cafe where I usually get a pastry and coffee and Ground coffee where sometimes I get desserts at times which are delicious. 

Another place I usually hang out and do work is the Chisholm Common room. The common rooms have 2 tv rooms, one is on the ground floor where you can watch netflix or any other streaming service and the other is upstairs where it is the same thing but a bit bigger and gives you and your friends a bit more privacy if needed. Also downstairs is an air hockey machine and soccer gumball machine. I played both of them with a few friends during the end of orientation week. You can also do laundry on the first floor sometimes if the laundry room is full near my tower, which gives me great opportunities to do some work there too. Their also a little fitness room where you can do a mini-workout which is mostly weights. While upstairs there another room where their a couch and  a bunch of board games. That it for today blog and I hope you guys have a great day.

[lingthusiasm]

2023 Listener Survey: Including new experiment questions!

We're running our second official listener/reader survey!

This is your chance to tell us what you're into on Lingthusiasm, what we could do more of, suggest topics and guests for future episodes, and also answer some fun linguistics experiment questions. This year's experiment questions are new, so feel free to take it again if you did it last year and you're curious!

The survey is online, and will take 5-30 minutes (depending on how much you want to tell us in the open text boxes).

The survey runs across our anniversary month, and closes December 15th 2023.

bit.ly/lingthusiasmsurvey23

Results from our 2022 survey!

Here is a blog post of some of the most interesting results, or you can see a selection of audience reflections in our open access academic paper ‘Communicating about linguistics using lingcomm-driven evidence: Lingthusiasm podcast as a case study’.

If you’d like to hear us talk through the survey results, you can listen to our bonus episode ‘2022 Survey Results - kiki/bouba, synesthesia fomo, and pluralizing emoji’. Patrons already have access to this episode, so if you’d like to listen to it, plus our back catalogue of 80+ bonus episodes, you can join us on Patreon here. (And a massive thank you to everyone who's already a patron, you really do help us keep running both the show itself as well as fun things like the survey.) 

Here are two of the results from last year's survey:

This survey is being conducted by Lingthusiasm in conjunction with La Trobe University (Ethics approval HEC22181). Thanks to La Trobe for the support to collect data that we can share with Lingthusiasm listeners and academic audiences. More information can be found in the Participant Informed Consent Form before the survey starts.

[coochiequeens]

Another freak who the that the gender cult should be distancing themselves from. And everyone should be ensuring he's kept away from kids.

By Genevieve Gluck July 8, 2024

CONTENT NOTICE: This article contains graphic mention of child sexual abuse and child physical abuse. Reader discretion is appreciated.

Reduxx has learned that a Professor Emeritus at California State University and a top consultant to the world’s leading transgender health authority directly contributed to an erotic story featuring themes of the graphic mutilation and sexual slavery of children.

In 2022, Reduxx exposed a number of academics for their role in a disturbing website known as the Eunuch Archive, a long-standing forum which hosts nearly 10,000 “erotic” stories of an extreme sadomasochistic nature. In addition to hosting the fantasy material, a discussion forum exists to provide support and community to men who identify as “eunuchs,” and seek to be or are already castrated.

The investigation into the Eunuch Archive began after it was directly referenced in a document drafted by the World Professional Association for Transgender Health (WPATH), an international body which sets the standards for transgender healthcare. In a draft of their Standards of Care 8, WPATH included a chapter on a “eunuch gender identity,” which it defined as men who “wish to eliminate masculine physical features, masculine genitals, or genital functioning.”

Mentioned as a source in the chapter was the Eunuch Archive and its collection of castration fantasy material.

Though members of the deranged forum attempted to remain anonymous, Reduxx was able to unmask some of the top contributors and administrators, learning that at least three of them were academics with direct ties to WPATH.

One, Richard J. Wassersug, has for over 20 years used the alias “Eunuchunique”on the forum. Wassersug was an Honorary professor in the Department of Cellular and Physiological Sciences at the University of British Columbia, but has also been affiliated with Dalhousie and La Trobe Universities.

Another, Krister H. Willette, who has been active in the community since 1998, uses the screen name “Kristoff.” While a third, and arguably the most well-regarded member of the forum, was revealed to be Thomas W. Johnson, a professor emeritus at California State University-Chico who has lectured extensively on gender dysphoria and “expanding the transgender umbrella.” Johnson utilized the moniker “Jesus” on the Eunuch Archive and registered with the forum in 2001.

While all three men have direct connections to WPATH and contributed to papers and conferences organized by the association, documents provided as evidence in an ongoing court case have recently revealed that Johnson, the chapter lead for WPATH’s “eunuch” update in the Standards of Care 8, had apparently attempted to suppress internal concerns about the promotion of a ‘eunuch gender identity’.

This revelation comes just as Reduxx has now obtained confirmation that Johnson was directly participating in ghostwriting disturbing fantasies about castrating boys under his anonymous screen name.

One notable example is a story titled “Larry,” which is prefaced as being an “original nightmare by Jesus.” The story is written in an imaginary future where the law allows any adult to “sell himself or herself, or any parent to sell a child over the age of 10.”

The story’s narrator is a pedophilic slave trader who buys “attractive” children from destitute mothers following the abolishment of government assistance. While employing heavily racist tropes, the narrator purchases the titular character, a 10-year-old Black child, from his impoverished mother.

The narrator boasts of buying many children, presumably primarily Black, from “the projects,” and suggests the mothers are single parents and drug addicts.

“I marveled at the social disintegration that had gone on in the Projects since the end of welfare and the explosion of drug addiction. I could see the mother planning what she could do with a little more drug money. At least ten year olds were almost always clean,” the story reads from the narrator’s perspective. “When someone brought in a twelve year old, I always had to worry about drugs. After all, getting them detoxed and healthy again for resale was time-consuming and expensive.”

Not even halfway into the story, the 10-year-old child is put in chains and iron restraints before being castrated without anesthetic.

An excerpt from “Larry.”

During a physical examination conducted by the narrator, the child is described as “even more beautiful without his clothes.” The narrator is later described as sharing a bed with the boy and “massaging his little genitals.”

Under his moniker, Johnson also encouraged site members to submit fantasies of castrating children in a dystopian setting wherein eugenics had become enforced by the government. The framework for the fictional world was drafted by a site member who called himself Erik, in a story titled “The Making of the Modern World.”

“Erik and I would both like to encourage readers to create additional stories for the Archive set in this future world. Erik would like first person accounts of boys becoming drones,” Johnson wrote as “Jesus.”

Within Erik’s “world,” an authoritarian government had passed The Eugenics Act, which “required the examination of all children, nation-wide, during their fourteenth year to determine whether or not they were fit to reproduce.” Children who are not deemed intelligent enough are “sterilized.”

But using his real name, Johnson has become known for his influence in the push to normalize “eunuch identities.” But his efforts have not been met without some resistance in the medical community, even amongst the WPATH members themselves.

Newly released internal records show that many WPATH members opposed the inclusion of the “eunuch” chapter in the most recent Standards of Care. The records were presented in the legal dispute Boe v. Marshall, taking place in the District Court of Alabama, which seeks to prohibit the medical ‘transitioning’ of minors.

Heavily redacted emails exchanged between WPATH members and an anonymized individual who claims to be the Eunuch chapter lead – a title held by Johnson – show many questioning the logic behind it.

“I struggle with the concept of ‘Eunuch as a gender identity’, but not with the concept of ‘Eunuch as an identity’; I can understand (I think) ‘someone who identifies as Eunuch and experiences gender dysphoria (or gender incongruence), but struggle with the concept of subsuming ‘Eunuch’ as an identity under TGD,” reads one of the emails, the author of which is unknown.

Another email shows an unnamed individual expressing confusion over two “controversial” chapters of the SOC-8, including the Eunuch category, which “makes no sense.”

“I would really appreciate a chat with you about this before I step up, because I am not letting this go for the sake of anyone other than following logic and reason,” the WPATH member states.

Yet another individual whose name has been redacted wrote in detail about “very serious misgivings” regarding the Eunuch recommendations, stating bluntly that the definition of a eunuch is “a man who has been castrated.”

The writer continues: “There is the creation of a new term, ‘male-to-eunuch gender dysphoria’, which does not exist in any diagnostic health classification system… The majority of published reference works in this Chapter stems from one single person, who – as far as I am aware of, is not a HP [health practitioner].”

“I have been working full-time as a trans health specialist… since 2007. Our Centre has approximately 3000 current patients and we receive in excess of [one] thousand new referrals per annum. I have NEVER met a patient who identified as Eunuch and consequently, I am extremely skeptical about the veracity of this Chapter.”

“As the chapter lead for the WPATH Standards of Care chapter on eunuchs, I was very surprised and disappointed by your very long set of comments about the chapter. Yours was one of the longest and the most negative,” reads the email.

The message goes on to defend the Eunuch chapter of the SOC-8 by citing research conducted among members of an anonymous sadomasochistic castration fetish forum. This research, the email’s author notes, were published by WPATH within the International Journal of Transgenderism.

The first paper, published in 2010, establishes “the development of standards of care for individuals with a male-to-eunuch gender identity disorder.” The second paper, dated 2016, calls for “recognition of gender variants outside the binary in WPATH Standards of Care.”

However, despite the stated objections shared internally, the Eunuch chapter was included in the final version of the SOC-8.

Additionally, when WPATH released the SOC-8 in September 2022, the guidelines had done away with specific age restrictions on medical ‘transitioning’ entirely, and reduced the age at which youth could potentially receive “puberty-blocking” drugs, cross-sex hormones, and surgeries.

[ssolson8550]

Scientists make seed fertility breakthrough that could completely transform the agriculture industry: 'This discovery will help us'

[hellothetutorshelp-blog]

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[qnewsau]

Time to tackle the problem of homophobia in the AFL

New Post has been published on https://qnews.com.au/the-problem-of-homophobia-in-the-afl/

Time to tackle the problem of homophobia in the AFL

The AFLW season has started and when it comes to inclusion for our communities, is kicking goals over AFL. As co-founder of Hawks Pride and cohost of Chicks Talking Footy on JOY 94.9, Fiona Newton loves her footy. She has a lot to say about homophobia when it comes to our national sport. She shared her thoughts in last month’s Victorian QNews.

In 2024, there have been multiple sanctions for homophobic slurs and language.

North Melbourne coach Alastair Clarkson, Port Adelaide player Jeremy Finlayson, and Gold Coast player Wil Powell.

St Kilda player Lance Collard used the word f***t up to 10 times in a VFL game against Williamstown.

This was on the same weekend that St Kilda hosted a Pride Game with the Sydney Swans.

It raises the question, is it an inclusive workplace for gay male players?

The AFL has 530,000 registered players in over 25,000 clubs across Australia. One in twenty-one Australians hold an AFL club membership.

Footy has a huge influence on Australian society, so if footy becomes a more inclusive space for gay men, so does our society.

When AFL CEO Andrew Dillon was asked whether the league had a homophobia problem, he replied, “No, I don’t think we do. But I think language of the type that has been used is not acceptable in any forum, let alone the footy field.”

Dillon warned players of more severe sanctions for homophobic slurs in future.

If there is no problem with homophobia in footy, why has no past or present gay male footy player felt comfortable to be open about their sexuality in the sport?

Why is it not okay to be gay at the AFL?

In a recent podcast, The Invisible Men (of the AFL), John Buck interviewed Dr David Lowton from La Trobe University, the author of a world-first comprehensive academic survey of 670 players.

They confirmed for the first time that gay men are playing AFL at the highest levels.

Several players ticked the box in the anonymous survey confirming that they were gay and some were bisexual.

We know that being ‘in the closet’, suppressing part of your identity, and fearing being shunned in the community and excluded from friendships causes a huge amount of angst.

We don’t see this same angst with gay female players in World Cup soccer or the AFLW. Gay female players are open about who they are dating, married to and having babies with.

We are used to seeing women hold their same-sex partner’s hands on the best and fairest nights.

Most clubs would say, with sincerity, that they would welcome a gay male player if they were to come out publicly and openly about their sexuality.

This seems to be delusional when players and coaches are still using homophobic language on the footy field which sends the opposite message – being gay is bad and we won’t accept you.

I dream of a day that we see a gay male player holding his partner’s hand at the Brownlow. But that will mean understanding that homophobic slurs keep our gay male players in the closet!

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