This document summarizes and analyzes an academic article about Aboriginal hip hop culture in Australia. It discusses three key points:
1) It examines the work of three Aboriginal and non-Aboriginal Australian hip hop artists (Little G, MC Wire, and Morganics) who are part of the "conscious" hip hop scene and its influence on Aboriginal youth identity formation.
2) It argues that hip hop's localization in Australia is due not just to oppositional politics but also its internal logic of sampling, representing, and flow, which allows it to be adapted while maintaining local roots.
3) It provides an overview of the artist's performances and workshops to illustrate how they represent their communities and hip hop culture
The socio political influence of rap music as poetry in the urbanJonathan Dunnemann
This thesis examines the socio-political influence of rap music as a form of poetry in urban communities. It focuses on three seminal rap artists: Public Enemy, N.W.A., and Tupac Shakur. The thesis argues that rap music, like traditional poetry, stands as a means of creative expression for African Americans and also addresses social and political issues. It traces the roots of rap music to the black oral tradition and discusses how rap picked up where the Black Nationalist literature of the 1960s left off in using unconventional forms to challenge mainstream ideologies. The thesis analyzes the progression of Public Enemy's message from political critique to a more integrationist approach and examines how N.W.A. and T
This document discusses the history and evolution of hip-hop music from its origins in Africa through its development in the United States. It covers early influential artists like the Sugarhill Gang and Grandmaster Flash, the rise of gangster rap groups like N.W.A., and the career of Tupac Shakur. It also examines the shift from early hip-hop that told stories to the more commercial gangster rap that was criticized for vulgar lyrics, and the subsequent growth of conscious rap artists with positive political and social messages.
Hip-hop began in the South Bronx in 1973 as a way for disaffected youth to channel their frustrations into art rather than violence. DJ Kool Herc pioneered extending breakbeats using two turntables, sparking the hip-hop revolution. Cornell University has the largest collection of hip-hop artifacts and recordings in the world and works to document hip-hop's history from its originators. Hip-hop grew from its roots in the Bronx to become a global phenomenon, adapting to local cultures worldwide and bringing more people together across differences than any politicians.
This document summarizes an article that examines the connections between spirituality and hip hop music. It discusses how hip hop draws from black musical traditions like gospel and soul that blurred lines between sacred and secular. While hip hop lyrics often reference immoral topics, the music can still produce spiritual experiences for artists and listeners. The document analyzes how hip hop samples and mixes sacred texts with profane lyrics to explore existential questions. It also discusses contradictions between religious imagery used in hip hop and artists' actual lives.
The document discusses research on the "street code" culture found in some inner-city black communities. It describes how structural conditions like poverty, unemployment, and limited opportunities have led to the development of this code. The code emphasizes respect, social identity, and the use of violence. The author argues that gangsta rap music reflects and reinforces this street code through its lyrics about crime, violence, and street life. The study analyzes 403 rap songs to examine how the code is portrayed and how violence is justified in the lyrics.
This document provides a lyrical analysis of the song "Little Brother" by the hip hop duo Black Star. The analysis examines the song's instrumental beat and vocal samples, as well as the lyrics rapped by Mos Def and Talib Kweli. The analysis suggests the song portrays the harsh conditions of life in the ghetto, but also conveys a sense of hope and pride in representing those without means ("the ain't-gots"). The analysis places the song's themes in the context of black liberation theology and the spirituals sung by slaves.
This document discusses the connections between the ideas of the Civil Rights Movement (CRM) and those expressed in socially and politically conscious (SPC) hip hop. It argues that SPC hip hop carries on and expands four key ideas from the CRM: critique of oppression, analysis of racism/discrimination, critique of US imperialism, and advocacy for individual rights. The document examines how hip hop artists use techniques like sampling, scratching, and imaging to connect their ideas to the CRM by placing civil rights figures and events in closer temporal proximity. It provides several examples of songs that illuminate these ideological connections, such as songs by Public Enemy, Outkast, Common, and Michael Franti. The overall aim is to
Hip hop and rap music have flourished despite negative perceptions and can have a large impact on youth. These genres speak to adolescent's meaning-making, identity formation, and sense of place. They address struggles with oppression, religion, and dreams. While some view the genres as detrimental, music plays an important role in adolescent development by satisfying social, emotional, and developmental needs. Spirituality, though subjective, forms how adolescents make sense of themselves and the world.
The socio political influence of rap music as poetry in the urbanJonathan Dunnemann
This thesis examines the socio-political influence of rap music as a form of poetry in urban communities. It focuses on three seminal rap artists: Public Enemy, N.W.A., and Tupac Shakur. The thesis argues that rap music, like traditional poetry, stands as a means of creative expression for African Americans and also addresses social and political issues. It traces the roots of rap music to the black oral tradition and discusses how rap picked up where the Black Nationalist literature of the 1960s left off in using unconventional forms to challenge mainstream ideologies. The thesis analyzes the progression of Public Enemy's message from political critique to a more integrationist approach and examines how N.W.A. and T
This document discusses the history and evolution of hip-hop music from its origins in Africa through its development in the United States. It covers early influential artists like the Sugarhill Gang and Grandmaster Flash, the rise of gangster rap groups like N.W.A., and the career of Tupac Shakur. It also examines the shift from early hip-hop that told stories to the more commercial gangster rap that was criticized for vulgar lyrics, and the subsequent growth of conscious rap artists with positive political and social messages.
Hip-hop began in the South Bronx in 1973 as a way for disaffected youth to channel their frustrations into art rather than violence. DJ Kool Herc pioneered extending breakbeats using two turntables, sparking the hip-hop revolution. Cornell University has the largest collection of hip-hop artifacts and recordings in the world and works to document hip-hop's history from its originators. Hip-hop grew from its roots in the Bronx to become a global phenomenon, adapting to local cultures worldwide and bringing more people together across differences than any politicians.
This document summarizes an article that examines the connections between spirituality and hip hop music. It discusses how hip hop draws from black musical traditions like gospel and soul that blurred lines between sacred and secular. While hip hop lyrics often reference immoral topics, the music can still produce spiritual experiences for artists and listeners. The document analyzes how hip hop samples and mixes sacred texts with profane lyrics to explore existential questions. It also discusses contradictions between religious imagery used in hip hop and artists' actual lives.
The document discusses research on the "street code" culture found in some inner-city black communities. It describes how structural conditions like poverty, unemployment, and limited opportunities have led to the development of this code. The code emphasizes respect, social identity, and the use of violence. The author argues that gangsta rap music reflects and reinforces this street code through its lyrics about crime, violence, and street life. The study analyzes 403 rap songs to examine how the code is portrayed and how violence is justified in the lyrics.
This document provides a lyrical analysis of the song "Little Brother" by the hip hop duo Black Star. The analysis examines the song's instrumental beat and vocal samples, as well as the lyrics rapped by Mos Def and Talib Kweli. The analysis suggests the song portrays the harsh conditions of life in the ghetto, but also conveys a sense of hope and pride in representing those without means ("the ain't-gots"). The analysis places the song's themes in the context of black liberation theology and the spirituals sung by slaves.
This document discusses the connections between the ideas of the Civil Rights Movement (CRM) and those expressed in socially and politically conscious (SPC) hip hop. It argues that SPC hip hop carries on and expands four key ideas from the CRM: critique of oppression, analysis of racism/discrimination, critique of US imperialism, and advocacy for individual rights. The document examines how hip hop artists use techniques like sampling, scratching, and imaging to connect their ideas to the CRM by placing civil rights figures and events in closer temporal proximity. It provides several examples of songs that illuminate these ideological connections, such as songs by Public Enemy, Outkast, Common, and Michael Franti. The overall aim is to
Hip hop and rap music have flourished despite negative perceptions and can have a large impact on youth. These genres speak to adolescent's meaning-making, identity formation, and sense of place. They address struggles with oppression, religion, and dreams. While some view the genres as detrimental, music plays an important role in adolescent development by satisfying social, emotional, and developmental needs. Spirituality, though subjective, forms how adolescents make sense of themselves and the world.
Black Nationalism and Rap Music Dr. Errol A. HendersonRBG Communiversity
Henderson, Errol, Black Nationalism and Rap Music (1992) Bibliographic Section: African American History. Bibliographic Subject: Black Nationalism and Black Power
This document describes a qualitative study that analyzed original rap lyrics created by youth in a music therapy group at an urban youth shelter. The study used grounded theory to identify major themes in the rap lyrics such as expressing emotions, spirituality, aggression, and group process. The analysis found that creating rap music in group music therapy provided an opportunity for youth to express themselves authentically and engage in culturally relevant creative expression.
Learning and communicating online: Assessment 2A Producing an online informational resource
Created by: Michael White, Katherine Hard, Howard Wu,
Linh Phan and Mohammed Khalil (Group 2).
1. The document discusses the rise of Canadian rap and argues that African American Studies curricula should include the Afro-Canadian experience, which can be studied through rap and hip-hop culture.
2. It notes commonalities between the experiences of African Americans and Afro-Canadians, such as economic struggles. The development of Canadian rap indicates an interest in and connection to the African American community.
3. The document uses the example of Canadian rapper P. Reign to illustrate similarities between Afro-Canadian and African American rappers' biographical origins and experiences with poverty and involvement in the drug trade.
This book analyzes certain social and musical aspects of hip hop in various African countries through contributions from thirteen international scholars. It discusses how hip hop emerged as a social movement in the 1980s through break dancing and later became a musical genre as the African hip hop industry developed in the 1990s. The chapters examine hip hop's development in individual countries, solo artists, and its fusions with other genres. While providing historical and qualitative information on African hip hop, the book does not deeply analyze issues of race and identity explored in other hip hop literature.
This document provides context for understanding contemporary mainstream rap music through analyzing the influence of corporate consolidation in the music industry. It discusses how major record labels promote and market black music, including rap, through separate divisions focused on black cultural products. This structures hip hop as a commercial industry rather than an artistic expression. The document analyzes how consolidation narrowed the creative space for rap music by absorbing independent labels that drove innovation. It finds top-selling rap songs reflected this narrowing by emphasizing proven formulas of success and taking fewer artistic risks. Kendrick Lamar's music is presented as defying this trend by producing commercially successful rap that offers empowering messages and challenges to dominant ideologies.
Throughout the past several years, many people treated hip-hop as a brilliant resurgence of women who dominate the spotlight and charts. Traditionally, women performed specific roles in hip-hop. Women have been objectified in hip-hop through various forms of media. However, the role of women has evolved over generations to acquire an almost the same state as that of men.
Hip-hop emerged in the 1970s in the Bronx as a way for black Americans to establish a collective identity. It grew out of the social and economic inequality experienced by black communities in urban areas like New York City. Hip-hop utilized new rhythmic styles and sampling to create a unique sound that represented the experiences of black Americans. While initially meant to unite marginalized communities, hip-hop eventually spread more broadly and capitalized on the music industry. However, it maintained its identity and message of addressing social issues through meaningful lyrics. Artists like Kendrick Lamar continue this tradition while others focus more on commercial appeal. Overall, hip-hop used its music and culture to both establish a black identity and spread awareness of racial in
This document summarizes the experiences of women in the punk music scene from the 1970s-2000s. It discusses how, despite punk's ideals of openness, women faced rejection and abuse. It profiles several influential female punk artists like Patti Smith and Siouxie Sioux who challenged gender norms through their music and fashion. While their styles shocked many, they helped reshape the subculture. The document also discusses how media coverage stereotyped punk women and how consumer culture has since commercialized the rebellious spirit of punk.
This document contains a summary of a college literature class. It discusses accidental vs incidental, introduces poems about rain blowing away papers, and sets the agenda to choose new discussion groups. It then provides a lecture on the Harlem Renaissance historical context between WWI and the Great Depression when black artists flourished. Specific details are given about the migration of African Americans to northern cities and their questioning of second-class status after fighting in WWI. Discussion questions are posed about Langston Hughes' poems "The Negro Speaks of Rivers" and "I, Too, Sing America". Groups then discuss connections between blues music and race in Hughes' poem "The Weary Blues". The document ends by introducing the works of Zora Neale
The main genre discussed is hip-hop, which originated in the 1970s in the Bronx, New York among African American and Latino youth. DJs would isolate breaks from popular funk and soul songs to rap over, influenced by techniques in Jamaican music. Hip-hop has since evolved, reflecting social and political issues, and becoming more commercially successful, especially with the rise of gangsta rap in the 1980s and 1990s. Contemporary hip-hop artists and music videos typically portray lavish lifestyles of wealth, with references to drugs, alcohol and women, showing how the genre has changed from its roots.
The main genre discussed is hip-hop, which originated in the 1970s in the Bronx, New York among African American and Latino youth. DJs would isolate breaks from popular funk and soul songs to rap over, influenced by techniques in Jamaican music. Hip-hop has since evolved, reflecting social and political issues, and becoming more commercially successful, especially with the rise of gangsta rap in the 1980s and 1990s. Contemporary hip-hop artists and music videos commonly feature symbols of wealth, partying, and a lavish lifestyle, representing the genre's evolution from its roots in urban poverty.
Unmasking Hip Hop Landscaping the Shifts and Impacts of a Musical Movement , ...RBG Communiversity
This thesis examines how the hip hop movement has changed over time due to an ideological split. The author hypothesizes that rap music has divided into two paths - one that reinforces societal norms and one that critiques them. This divisiveness was influenced by commercial music industries appropriating the culture, redirecting hip hop from its original purpose of societal and political critique. The author seeks to understand the causes of this division and its impact on listeners' beliefs and engagement. As a significant social force, hip hop shapes youth identities and views of their economic, political and social conditions. The future of hip hop depends on how the community responds to its current commercialized form and potential for social change.
This document summarizes and discusses a viewing of the documentary film "The Abolitionists" that took place at Nova Southeastern University's library. The summary critiques the film for largely omitting the contributions and perspectives of African Americans in the abolitionist movement. While the film featured some prominent abolitionists like Frederick Douglass, it only included two black voices and portrayed the movement as something whites did for blacks, rather than a joint struggle. The discussion after the film further highlighted this issue. Historians whose works focus on the key roles of black abolitionists had been consulted for the film but their perspectives were left out.
The document summarizes key figures and events of the Harlem Renaissance, a period in the 1920s of African American cultural and intellectual flourishing centered in Harlem, New York. It describes jazz musician Duke Ellington and his band at the Cotton Club in Harlem. It also discusses Black nationalist leader Marcus Garvey and his Universal Negro Improvement Association, which promoted unity and return to Africa. Writers like Langston Hughes, Zora Neale Hurston, and Countee Cullen produced influential literature during this time period that explored Black identity and culture.
Hip-hop originated in the Bronx, New York in the 1970s. It was pioneered by DJs like DJ Kool Herc who isolated instrumental breaks from funk songs to create rhythmic backing for MCs to rap over. Early MCs introduced DJs and kept crowds engaged before developing more stylized rapping. By the late 1980s, hip-hop had become a mainstream commercial genre with subgenres like gangsta rap emerging. Today, hip-hop has a diverse global audience and is one of the most popular music genres, though some perceive its influence negatively.
This document is an abstract for a thesis titled "Cash is God: Johnny Cash and American Heavy Metal" by Melissa K. Campbell. The abstract provides background on how the author was exposed to Johnny Cash's music through her grandfather and later discovered heavy metal music as a teenager. This led her to explore the connection between Cash and heavy metal. The thesis analyzes how Cash influenced some American metal bands through his attitude, style, and exploration of religion and struggle in his lyrics. It examines the relationship between genres and the personal/institutional aspects of music and religion. The abstract outlines how the thesis will break down the connections between Cash and metal artists and analyze the exchange of influence between supposedly separate genres and between religion and popular culture.
Chen 1 jiahui chen anthony vine mus 17 winter 2RAJU852744
Hip hop music was originally played by live bands. However, producers like Marly Marl felt bands did not accurately capture the sound of hip hop that was popular in places like Harlem and the Bronx. That sound involved scratching, echoes, beatboxing, and breakbeats - elements that were difficult for live bands to recreate. This disconnect between the studio recordings and live hip hop events influenced producers to start using drum machines and samplers rather than bands.
This document discusses the use of religion as a lens to interpret cultural phenomena. It examines how rave culture exhibits structural and phenomenological similarities to religious rituals and experiences. Raves are described as involving separation from normality, a liminal state of marginalization and aggregation, and a return. Religious language and symbolism are also used in rave culture. While raves may appear religious, the document notes religion is a category constructed by observers, not a native or theological category. Overall, the document analyzes how viewing rave culture through a religious studies perspective can provide insights into this cultural phenomenon.
k-Means is a rather simple but well known algorithms for grouping objects, clustering. Again all objects need to be represented as a set of numerical features. In addition the user has to specify the number of groups (referred to as k) he wishes to identify. Each object can be thought of as being represented by some feature vector in an n dimensional space, n being the number of all features used to describe the objects to cluster. The algorithm then randomly chooses k points in that vector space, these point serve as the initial centers of the clusters. Afterwards all objects are each assigned to center they are closest to. Usually the distance measure is chosen by the user and determined by the learning task. After that, for each cluster a new center is computed by averaging the feature vectors of all objects assigned to it. The process of assigning objects and recomputing centers is repeated until the process converges. The algorithm can be proven to converge after a finite number of iterations. Several tweaks concerning distance measure, initial center choice and computation of new average centers have been explored, as well as the estimation of the number of clusters k. Yet the main principle always remains the same. In this project we will discuss about K-means clustering algorithm, implementation and its application to the problem of unsupervised learning
This document discusses a proposed portable device for automated diagnosis of diabetic retinopathy. It begins with an overview of the market, noting that diabetic retinopathy is a leading cause of blindness and screening can prevent many cases but current tests are only available in hospitals. The document then outlines benefits of the proposed solution such as reducing costs, speeding diagnosis, and increased usability from portability. Potential customers are identified as public medical offices and private laboratories and pharmacies. In closing, contact information is provided for the project presenters from the NECST Lab at Politecnico di Milano.
Black Nationalism and Rap Music Dr. Errol A. HendersonRBG Communiversity
Henderson, Errol, Black Nationalism and Rap Music (1992) Bibliographic Section: African American History. Bibliographic Subject: Black Nationalism and Black Power
This document describes a qualitative study that analyzed original rap lyrics created by youth in a music therapy group at an urban youth shelter. The study used grounded theory to identify major themes in the rap lyrics such as expressing emotions, spirituality, aggression, and group process. The analysis found that creating rap music in group music therapy provided an opportunity for youth to express themselves authentically and engage in culturally relevant creative expression.
Learning and communicating online: Assessment 2A Producing an online informational resource
Created by: Michael White, Katherine Hard, Howard Wu,
Linh Phan and Mohammed Khalil (Group 2).
1. The document discusses the rise of Canadian rap and argues that African American Studies curricula should include the Afro-Canadian experience, which can be studied through rap and hip-hop culture.
2. It notes commonalities between the experiences of African Americans and Afro-Canadians, such as economic struggles. The development of Canadian rap indicates an interest in and connection to the African American community.
3. The document uses the example of Canadian rapper P. Reign to illustrate similarities between Afro-Canadian and African American rappers' biographical origins and experiences with poverty and involvement in the drug trade.
This book analyzes certain social and musical aspects of hip hop in various African countries through contributions from thirteen international scholars. It discusses how hip hop emerged as a social movement in the 1980s through break dancing and later became a musical genre as the African hip hop industry developed in the 1990s. The chapters examine hip hop's development in individual countries, solo artists, and its fusions with other genres. While providing historical and qualitative information on African hip hop, the book does not deeply analyze issues of race and identity explored in other hip hop literature.
This document provides context for understanding contemporary mainstream rap music through analyzing the influence of corporate consolidation in the music industry. It discusses how major record labels promote and market black music, including rap, through separate divisions focused on black cultural products. This structures hip hop as a commercial industry rather than an artistic expression. The document analyzes how consolidation narrowed the creative space for rap music by absorbing independent labels that drove innovation. It finds top-selling rap songs reflected this narrowing by emphasizing proven formulas of success and taking fewer artistic risks. Kendrick Lamar's music is presented as defying this trend by producing commercially successful rap that offers empowering messages and challenges to dominant ideologies.
Throughout the past several years, many people treated hip-hop as a brilliant resurgence of women who dominate the spotlight and charts. Traditionally, women performed specific roles in hip-hop. Women have been objectified in hip-hop through various forms of media. However, the role of women has evolved over generations to acquire an almost the same state as that of men.
Hip-hop emerged in the 1970s in the Bronx as a way for black Americans to establish a collective identity. It grew out of the social and economic inequality experienced by black communities in urban areas like New York City. Hip-hop utilized new rhythmic styles and sampling to create a unique sound that represented the experiences of black Americans. While initially meant to unite marginalized communities, hip-hop eventually spread more broadly and capitalized on the music industry. However, it maintained its identity and message of addressing social issues through meaningful lyrics. Artists like Kendrick Lamar continue this tradition while others focus more on commercial appeal. Overall, hip-hop used its music and culture to both establish a black identity and spread awareness of racial in
This document summarizes the experiences of women in the punk music scene from the 1970s-2000s. It discusses how, despite punk's ideals of openness, women faced rejection and abuse. It profiles several influential female punk artists like Patti Smith and Siouxie Sioux who challenged gender norms through their music and fashion. While their styles shocked many, they helped reshape the subculture. The document also discusses how media coverage stereotyped punk women and how consumer culture has since commercialized the rebellious spirit of punk.
This document contains a summary of a college literature class. It discusses accidental vs incidental, introduces poems about rain blowing away papers, and sets the agenda to choose new discussion groups. It then provides a lecture on the Harlem Renaissance historical context between WWI and the Great Depression when black artists flourished. Specific details are given about the migration of African Americans to northern cities and their questioning of second-class status after fighting in WWI. Discussion questions are posed about Langston Hughes' poems "The Negro Speaks of Rivers" and "I, Too, Sing America". Groups then discuss connections between blues music and race in Hughes' poem "The Weary Blues". The document ends by introducing the works of Zora Neale
The main genre discussed is hip-hop, which originated in the 1970s in the Bronx, New York among African American and Latino youth. DJs would isolate breaks from popular funk and soul songs to rap over, influenced by techniques in Jamaican music. Hip-hop has since evolved, reflecting social and political issues, and becoming more commercially successful, especially with the rise of gangsta rap in the 1980s and 1990s. Contemporary hip-hop artists and music videos typically portray lavish lifestyles of wealth, with references to drugs, alcohol and women, showing how the genre has changed from its roots.
The main genre discussed is hip-hop, which originated in the 1970s in the Bronx, New York among African American and Latino youth. DJs would isolate breaks from popular funk and soul songs to rap over, influenced by techniques in Jamaican music. Hip-hop has since evolved, reflecting social and political issues, and becoming more commercially successful, especially with the rise of gangsta rap in the 1980s and 1990s. Contemporary hip-hop artists and music videos commonly feature symbols of wealth, partying, and a lavish lifestyle, representing the genre's evolution from its roots in urban poverty.
Unmasking Hip Hop Landscaping the Shifts and Impacts of a Musical Movement , ...RBG Communiversity
This thesis examines how the hip hop movement has changed over time due to an ideological split. The author hypothesizes that rap music has divided into two paths - one that reinforces societal norms and one that critiques them. This divisiveness was influenced by commercial music industries appropriating the culture, redirecting hip hop from its original purpose of societal and political critique. The author seeks to understand the causes of this division and its impact on listeners' beliefs and engagement. As a significant social force, hip hop shapes youth identities and views of their economic, political and social conditions. The future of hip hop depends on how the community responds to its current commercialized form and potential for social change.
This document summarizes and discusses a viewing of the documentary film "The Abolitionists" that took place at Nova Southeastern University's library. The summary critiques the film for largely omitting the contributions and perspectives of African Americans in the abolitionist movement. While the film featured some prominent abolitionists like Frederick Douglass, it only included two black voices and portrayed the movement as something whites did for blacks, rather than a joint struggle. The discussion after the film further highlighted this issue. Historians whose works focus on the key roles of black abolitionists had been consulted for the film but their perspectives were left out.
The document summarizes key figures and events of the Harlem Renaissance, a period in the 1920s of African American cultural and intellectual flourishing centered in Harlem, New York. It describes jazz musician Duke Ellington and his band at the Cotton Club in Harlem. It also discusses Black nationalist leader Marcus Garvey and his Universal Negro Improvement Association, which promoted unity and return to Africa. Writers like Langston Hughes, Zora Neale Hurston, and Countee Cullen produced influential literature during this time period that explored Black identity and culture.
Hip-hop originated in the Bronx, New York in the 1970s. It was pioneered by DJs like DJ Kool Herc who isolated instrumental breaks from funk songs to create rhythmic backing for MCs to rap over. Early MCs introduced DJs and kept crowds engaged before developing more stylized rapping. By the late 1980s, hip-hop had become a mainstream commercial genre with subgenres like gangsta rap emerging. Today, hip-hop has a diverse global audience and is one of the most popular music genres, though some perceive its influence negatively.
This document is an abstract for a thesis titled "Cash is God: Johnny Cash and American Heavy Metal" by Melissa K. Campbell. The abstract provides background on how the author was exposed to Johnny Cash's music through her grandfather and later discovered heavy metal music as a teenager. This led her to explore the connection between Cash and heavy metal. The thesis analyzes how Cash influenced some American metal bands through his attitude, style, and exploration of religion and struggle in his lyrics. It examines the relationship between genres and the personal/institutional aspects of music and religion. The abstract outlines how the thesis will break down the connections between Cash and metal artists and analyze the exchange of influence between supposedly separate genres and between religion and popular culture.
Chen 1 jiahui chen anthony vine mus 17 winter 2RAJU852744
Hip hop music was originally played by live bands. However, producers like Marly Marl felt bands did not accurately capture the sound of hip hop that was popular in places like Harlem and the Bronx. That sound involved scratching, echoes, beatboxing, and breakbeats - elements that were difficult for live bands to recreate. This disconnect between the studio recordings and live hip hop events influenced producers to start using drum machines and samplers rather than bands.
This document discusses the use of religion as a lens to interpret cultural phenomena. It examines how rave culture exhibits structural and phenomenological similarities to religious rituals and experiences. Raves are described as involving separation from normality, a liminal state of marginalization and aggregation, and a return. Religious language and symbolism are also used in rave culture. While raves may appear religious, the document notes religion is a category constructed by observers, not a native or theological category. Overall, the document analyzes how viewing rave culture through a religious studies perspective can provide insights into this cultural phenomenon.
k-Means is a rather simple but well known algorithms for grouping objects, clustering. Again all objects need to be represented as a set of numerical features. In addition the user has to specify the number of groups (referred to as k) he wishes to identify. Each object can be thought of as being represented by some feature vector in an n dimensional space, n being the number of all features used to describe the objects to cluster. The algorithm then randomly chooses k points in that vector space, these point serve as the initial centers of the clusters. Afterwards all objects are each assigned to center they are closest to. Usually the distance measure is chosen by the user and determined by the learning task. After that, for each cluster a new center is computed by averaging the feature vectors of all objects assigned to it. The process of assigning objects and recomputing centers is repeated until the process converges. The algorithm can be proven to converge after a finite number of iterations. Several tweaks concerning distance measure, initial center choice and computation of new average centers have been explored, as well as the estimation of the number of clusters k. Yet the main principle always remains the same. In this project we will discuss about K-means clustering algorithm, implementation and its application to the problem of unsupervised learning
This document discusses a proposed portable device for automated diagnosis of diabetic retinopathy. It begins with an overview of the market, noting that diabetic retinopathy is a leading cause of blindness and screening can prevent many cases but current tests are only available in hospitals. The document then outlines benefits of the proposed solution such as reducing costs, speeding diagnosis, and increased usability from portability. Potential customers are identified as public medical offices and private laboratories and pharmacies. In closing, contact information is provided for the project presenters from the NECST Lab at Politecnico di Milano.
Proposta de 5 disciplinas de DADs - Desafios contemporâneos dos currículos de...Daniel Flores
Desafios contemporâneos dos currículos de arquivologia:
a questão dos documentos arquivísticos digitais e suas relações interdisciplinares da arquivologia (proposta de 5 disciplinas obrigatórias para contemplar os conteúdos de DADs em Arquivologia)
Prof. Dr. Daniel Flores
Grupo de Pesquisa CNPq UFSM Ged/A
Arquivologia - UFSM
05/08/2015 – Quarta-feira
Plenária 3 – 8:30 às 10:00
Debatedor: Prof. Dr. Carlos Alberto Ávila Araújo (UFMG)
Referências:
FLORES, Daniel. Desafios contemporâneos dos currículos de arquivologia: a questão dos documentos arquivísticos digitais e suas relações interdisciplinares da arquivologia. João Pessoa - PB. 33 slides, color, Padrão Slides Google Drive/Docs 4x3. Material elaborado para a Plenária 3 da REPARQ - Reunião de Ensino e Pesquisa em Arquivologia, 3 a 6 de agosto de 2015. Disponível em: <http: />. Acesso em: 17 de março 2016.
This document discusses simulating UV-vis spectra of methyl viologen and its radical cation using time-dependent density functional theory (TD-DFT). It optimizes the geometries of methyl viologen and its radical cation using DFT and discusses using TD-DFT with a 6-311G** basis set to simulate the UV-vis spectra. It also plans to simulate the UV-vis spectra using a multi-reference method called CASPT2.
Ke ipsos spec_poll_press_release_presentation_3rd_september_2015The Star Newspaper
This document provides the methodology and results of a survey conducted in Kenya between July 30th and August 9th, 2015. A random sample of 2,002 Kenyan adults were interviewed face-to-face. The survey covered topics like crime victimization, views on al-Shabaab and the deployment of the Kenyan Defense Forces in Somalia. It also includes demographic information about the respondents and trends from previous surveys. Strict quality control measures were employed to verify the data collection process.
Neural Network Toolbox provides tools for designing, training, and simulating neural networks. It supports various network architectures like feedforward, radial basis, and dynamic networks for supervised learning tasks. Unsupervised networks like self-organizing maps and competitive layers are also supported. The toolbox allows modeling complex nonlinear systems, performing tasks such as data fitting, pattern recognition, clustering, and time series prediction. It provides graphical tools, preprocessing/postprocessing functions, and Simulink blocks to develop neural networks. Parallel computing is supported to accelerate training on large datasets using GPUs.
Chad Sellers of Useful Fruit Software presenting at Baltimore Cocoa on the Cocoa Text System. Video available at http://baltimorecocoa.com/post/1167471671/cocoa-text-system-video-slides
O desafio dos Arquivistas em garantir a autenticidade e o acesso a longo praz...Daniel Flores
O documento discute os desafios dos arquivistas em garantir a autenticidade e o acesso a longo prazo dos documentos arquivísticos digitais (DADs). Apresenta as especificidades e complexidades dos DADs e a importância da cadeia de custódia e dos sistemas de gestão de documentos (SIGADs) e repositórios digitais confiáveis (RDCs) para assegurar a autenticidade dos DADs ao longo do tempo. Também aborda estratégias de preservação digital e a certific
Preservação de Documentos Digitais: os Repositórios Arquivísticos Digitais C...Daniel Flores
O documento apresenta uma palestra sobre preservação de documentos digitais, especificamente sobre Repositórios Arquivísticos Digitais Confiáveis (RDC-Arq). Aborda a complexidade e especificidade dos documentos digitais, normas como a ISO 16.363 e a resolução RDC-Arq, além de diplomática contemporânea e a Lei de Acesso à Informação. Destaca a importância de manter a autenticidade e cadeia de custódia dos documentos ao longo do tempo.
Impacto de las normas internacionales de contabilidad en la economia colombianaAlexander Polo
El documento discute el impacto de las Normas Internacionales de Contabilidad en la economía colombiana. Resume que la globalización requiere un lenguaje contable unificado a nivel mundial, representado por las NIC. Aunque su adopción en Colombia es gradual, traerá beneficios como mayor competitividad internacional de las empresas y acceso a créditos más baratos. Sin embargo, algunos empresarios temen mayores costos y tributos. El documento concluye que la adopción de las NIC es un paso necesario para Colombia en el proceso de integración
Can big data reinvent the credit score?Aneel Mitra
This document discusses the use of data and predictive modeling to improve small business lending. Currently, community banks rely on personal relationships to assess loan applications, while larger banks rely more on credit scores, which are limited. New fintech lenders are using alternative data sources like cash flows, business financials from QuickBooks, and social media to build more accurate predictive models of creditworthiness. These new models show promise but also risks, and blended models using multiple data sources remain standard. As large banks also gain access to more robust data sources, predictive modeling could transform small business lending by better assessing risk.
A difícil tarefa de manter a Cadeia de Custódia Digital dos Documentos Arquiv...Daniel Flores
O documento discute a difícil tarefa de manter a cadeia de custódia digital dos documentos arquivísticos para garantir sua autenticidade. Apresenta a complexidade e especificidade dos documentos arquivísticos digitais e discute a importância da diplomática contemporânea. Também aborda os requisitos para a descrição arquivística e as normas e instrumentos de pesquisa.
La norma NIC 24 establece los requisitos de revelación de información sobre partes vinculadas. Exige que los estados financieros incluyan información sobre transacciones y saldos con partes vinculadas, así como sobre la remuneración del personal clave de la dirección, para que los usuarios puedan entender el posible impacto de dichas relaciones en los resultados y situación financiera de la empresa.
This document contains quotes from various speakers at SXSW Interactive 2016 on a variety of topics. Some of the key quotes include:
1) Biz Stone saying "Future of technology is getting out of the way and allowing it to amplify humanities best traits." in reference to evolving search.
2) Marcela Sapone saying "Having a company that asks people to let others into their house when they’re not there requires building a brand that you really f@cking trust" about building influential tech brands.
3) Mark Thompson saying "VR is existential for us. If we don’t execute our strategy well and try new stuff we won’t exist. We have to
Core Text is Apple's text layout framework that provides a simpler API compared to the older ATSUI framework. It allows converting text into glyphs and positioning them correctly within a given space. The key steps in using Core Text include: 1) creating an attributed string, 2) creating a CTFramesetter, 3) creating a CGPath, and 4) creating a CTFrame to draw the text. Important techniques include resetting the text matrix, breaking layout into parts to improve performance, and flipping coordinates to match Cocoa's upside-down drawing model.
Entry Level International Development CV Template Devex
First impressions are important to breaking into development. And, like it or not, your CV makes it for you. Be sure it’s the right one with our recruiter-approved CV template.
Analytical paper on the economic scale and growth of the collaborative econom...PwC España
Cinco negocios que prometen multiplicarse por 20 en Europa: Las finanzas colaborativas, el alojamiento compartido, el transporte compartido, los servicios profesionales bajo demanda y los servicios para el hogar bajo demanda. Estos cinco sectores, que se basan en plataformas online y que podríamos considerar son el núcleo duro de la economía colaborativa, generan actualmente unas transacciones por valor de 28.000 millones de euros anuales, pero según el informe elaborado por PwC en 2025 alcanzarán los 570.000 millones de euros, es decir, veinte veces más.
Hip Hop Is Widely Known As A Genre Of Music That StartedJennifer Cruz
Hip hop originated in the Bronx, New York in the late 1970s among African Americans. It began as a genre of music but developed into a broader culture. The four key elements of hip hop culture are deejaying, breakdancing, rapping, and graffiti. Deejaying was an important early contribution, as DJs would play instrumental breaks from songs to create beats for breakdancers. Over time, hip hop expanded beyond music to influence various aspects of lifestyle, language, and expression.
Hip hop originated in the South Bronx in the 1970s and is characterized by four elements: rap music, turntablism, breaking, and graffiti art. It began as a reactionary outlet for expressing the violence and poverty of urban environments. Key figures like DJ Kool Herc and Afrika Bambaataa established pillars of hip hop culture. Hip hop music emerged with DJs looping breaks and was accompanied by rapping. The culture has since spread globally while retaining its ability to challenge social issues.
Hip hop dance was important to African American culture as it allowed them to create their own culture and style. A documentary called "Flex is Kings" shows how hip hop dance has evolved in the 21st century, demonstrating emotion and seriousness in their movements. Hip hop dance has become these dancers' lives. The history of hip hop includes DJ Kool Herc bringing break beats from Jamaica to the Bronx and isolating beats for long periods, which dancers would break dance to. Hip hop began in the Bronx and includes rap music, turntablism, breaking, and graffiti, with the former three impacting dance the most.
This document discusses the origins and history of African American music, specifically hip hop. It notes that African American music developed both culturally and artistically over the years, with styles like spirituals, blues, jazz, R&B, and hip hop creating an incredible history. Hip hop originated in the Bronx in the 1970s and has grown to address issues like education, racism, and drug use through rhythm, beats, and lyrics. Wild Style, an early hip hop film from 1983, documented elements like emceeing, graffiti, breakdancing, and deejaying.
This document discusses the hip hop subculture and its evolution over time. It begins by providing background on the origins of hip hop in the Bronx in the 1970s. It then discusses some of the key elements of hip hop culture, including DJing, MCing, graffiti art, and breakdancing. The document notes that hip hop music and culture have since spread widely and been adopted into mainstream society. It provides examples of how hip hop has influenced language, dress, and thinking.
Hip hop culture originated in the Bronx in the 1970s and consists of four core elements: DJing, emceeing (rapping), breakdancing, and graffiti art. DJ Kool Herc is considered a founder for innovating hip hop music by extending the instrumental portion of songs. Afrika Bambaataa later helped develop hip hop culture by using it to unite gangs and promote peace. Over time, hip hop culture has expanded globally and modern hip hop has incorporated elements of partying and club culture while still retaining roots in individual expression.
Hip hop originated in the 1970s in the Bronx, New York among African American and Latino communities. It is characterized by four key elements - rapping, DJing, breaking, and graffiti. DJ Kool Herc is considered the "father" of hip hop, pioneering DJ techniques like looping breaks on two turntables. Hip hop music first emerged from DJs creating rhythmic beats and was accompanied by rapping in rhythmic chants. It has since spread globally and incorporates influences from genres like blues, jazz, rock, soul, funk, and rhythm and blues. While hip hop faces some criticism, it provides an artistic outlet and global platform for marginalized communities.
This document provides background information on the founding and early history of hip hop culture and the dance form of rocking/breakdancing. It discusses how rocking emerged from "uprocking" moves in the Bronx in 1975 and the founding of the Bronx Boys Rocking Crew. It aims to correct misconceptions about the origins and pioneers of hip hop that have spread due to numerous conflicting accounts over the years. The document emphasizes that hip hop culture truly began in the Bronx in the 1970s through the work of pioneers like Kool Herc and Afrika Bambaataa.
The document provides an overview comparing the Harlem Renaissance and hip hop movements. Both emerged from black cultural expression and brought about greater understanding of black experiences among white audiences. Key elements discussed include:
- Both involved cross-racial cultural influences through art forms like jazz, poetry, and hip hop.
- Rent parties played an important social and economic role during the Harlem Renaissance, bringing communities together through jazz music.
- The Harlem Renaissance lasted around 15 years until declining with the Great Depression, while hip hop built upon influences from bebop and artists like Quincy Jones.
"The rise of black power had a profound effect upon the appearance of black theology. When Carmichael and other radical black activists separated themselves from King's absolute commitment to nonviolence by proclaiming black power, white Christians especially members of the clergy, called upon their black brothers and sisters in the gospel to denounce black power as unChristian. To the surprise of white Christians, the National Committee of Negro Churchmen (NNC); later to become NCBC) refused to follow their advice and instead wrote a "Black Power Statement" that was published in the New York Time, July 31, 1966.
This document provides a guide to sacred spaces in Boston, including 13 specific sites. It begins with an introduction explaining the methodology for selecting sites and provides an overview of the types of sacred spaces that can be found in Boston. The document is then divided into individual sections for each sacred site, with details on location, transportation, history, architecture, and visitor information. Sites include churches, meeting houses, cemeteries and cultural centers representing various faiths.
This document provides a guide to sacred spaces in New York City, focusing on Manhattan and Brooklyn. It includes descriptions of 14 sacred sites, including the Islamic Cultural Center of New York, Bethesda Fountain in Central Park, Central Synagogue, and St. Peter's Church. The introduction discusses the process for selecting less traveled sites and those with interesting histories of social justice and interfaith outreach. Individual site descriptions provide addresses, transportation details, histories, architectural details, and notes for visitors. The goal is to highlight the diversity of sacred spaces in the city.
The Theology of Spirituality: It's Growing Importance Amid the Transformation...Jonathan Dunnemann
Abstract: This article raises issues surrounding the theology of spirituality as a relatively new theological focus. It argues that, faced with a changing world and numerous new (or perceived as new) phenomena, the theology of spirituality, as a scholarly area examining spiritual experience, is becoming a branch of
theological research of increasing importance. The first part of this article focuses on the ever-growing areas of interest found within the theology of spirituality, a growth stemming from the core of the field itself (agere sequitur esse). The second part emphasizes the newer areas of interest within the theology
of spirituality. These new horizons arise from the pluralism of theology itself and the criteria used in differentiating theological disciplines, such as ethno-geographic, doctrinal, and ascetic-practical concerns. In particular, amid a fast-changing world in which information and mutual contact have become incredibly accessible, the interpenetration of cultures and traditions can not only be of great value but also carry the dangers of a chaotic eclecticism. As this accessibility becomes ever easier and more pervasive, contemporary human beings can thus become confused, not only about their worldviews but also concerning their spiritual and religious beliefs. Thus, research into the theology of spirituality is becoming increasingly more important.
Using an interdisciplinary approach and a phenomenological, hermeneutic, mystagogical methodology, this paper explores how children describe the deep fruits of meditation in their lives. Seventy children, aged 7 to 11, from four Irish primary schools were interviewed; all had engaged in meditation as a whole-school practice for at least two-years beforehand. The study sought to elicit from children their experience, if any, of the transcendent in meditation. It concludes that children can and do enjoy deep states of consciousness and that meditation has the capacity to nourish the innate spirituality of the child. It highlights the importance of personal spiritual experience for children and supports the introduction of meditation in primary schools.
ASSESSMENT OF CHARACTER STRENGTHS AMONG YOUTH: THE VALUES IN ACTION INVENTORY...Jonathan Dunnemann
Raising virtuous children is an ultimate goal not only of all parents and educators but also of all societies. Across different eras and cultures, identifying character strengths (virtues) and cultivating them in children and youth have been among the chief interests of philosophers, theologians, and educators. With a few exceptions, these topics have been neglected by psychologists. However, the emerging field of positive psychology specifically emphasizes
building the good life by identifying individual strengths of character and fostering them (Seligman, 2002). Character strengths are now receiving attention by psychologists interested in positive youth development.
Jon Dunnemann presented on cultivating purpose in youth. Key points included that purpose provides direction and meaning, is shaped by factors like gender and family, and leads to benefits like happiness and resilience. Purpose involves deciding what matters, nurturing one's best qualities, and making a difference. Future directions may introduce youth to examples of purpose from history that advance noble causes today.
African American spirituality provides a rich lens into the heart and soul of the black church experience, often overlooked in the Christian spiritual formation literature. By addressing this lacuna, this essay focuses on three primary shaping qualities o f history: the effects of slavery, the Civil Rights Movement under Dr. Martin Luther King’s leadership, and the emergence of the Black Church. Lour spiritual practices that influence African American spirituality highlight the historical and cultural context of being “forged in the fiery furnace,” including worship, preaching and Scripture, the community of faith and prayer, and community outreach. The essay concludes by recognizing four areas o f the lived experiences of African Americans from which the global church can glean: (1) persevering in pain and suffering, (2) turning to God for strength, (3) experiencing a living and passionate faith, and (4) affirming God’s intention for freedom and justice to be afforded to every individual.
Strengths Building, Resilience, and the Bible: A Story-Based Curriculum for A...Jonathan Dunnemann
This document proposes a story-based curriculum called Global Resilience Oral Workshops (GROW) to build resilience in adolescents around the world. It draws from positive psychology principles like character strengths and teaches problem-solving skills through Bible stories, which are available in over 750 languages. The curriculum aims to lower depression and increase well-being in adolescents, most of whom live in developing countries and prefer oral learning. It incorporates both spiritual and secular resilience strategies and can be adapted across cultures. The proposed implementation is to first pilot it with Brazilian adolescents and train community leaders to disseminate it through an audio-recorded "train the trainer" model.
Historical criticism attempts to read texts in their original situations, informed by literary and cultural conventions reconstructed from comparable texts and artifacts. African American interpretation extends this approach to questions about race and social location for the ancient text, its reception
history, and its modern readers. It arose as a corrective and alternative to white supremacist use of the Bible in moral and political arguments regarding race, civil rights, and social justice. Accordingly, African American interpretation has combined the
insights of abolitionists and activists with academic tools to demonstrate how biblical interpretation can function as an instrument of oppression, obfuscation, or opportunity. Of course, most of these developments have occurred in the larger framework of American Christianity. Yet, its analyses reach
beyond that specific setting, touching on the connections between the Bible and race in public discourse generally, whether in government, academia, or popular culture.
Appropriating Universality: The Coltranes and 1960s SpiritualityJonathan Dunnemann
The role of the Black Protestant Church has figured prominently in scholarly discussions of African American music culture, and to some extent its importance has been explored with respect to jazz. However, with the exception of the Nation of Islam, the influence of Eastern religious practices among black Americans has not been significantly researched nor have adequate connections been made between these spiritual pursuits and the musical innovations they inspired. Nevertheless, since the mid-’60s, black American artists have explored Yoga, Hinduism, various sects of Buddhism, Ahmadiya Islam, and Bahá’í. The
aesthetic impact of these pursuits has been multi-dimensional and far-reaching. In their study of Asian philosophy and religion, jazz musicians have been exposed to the sounds and musical processes they have discovered in the cultures from which these traditions have emerged. One can hear this influence in musical borrowings, such as the use of traditional instrumentation, the reworking of melodic material from folk and classical genres, and the incorporation of indigenous
improvisational and compositional techniques. Though less audible, Eastern spiritual traditions have also exerted a more abstract philosophical influence that has shaped jazz aesthetics, inspiring jazz musicians to dissolve formal and stylistic boundaries and produce works of great originality. Contextualizing the spiritual explorations of John and Alice Coltrane within American religious culture and liberation movements of the 1960s, this essay explores the way that
their eclectic appropriation of Eastern spiritual concepts and their commitment to spiritual universality not only inspired musical innovation, but also provided a counter-hegemonic, political, and cultural critique.
Who Is Jesus Christ for Us Today?
To say that Jesus Christ is the truth of the Christian story calls for further examination. It is one thing to assert that the New Testament describes Jesus as the Oppressed One who came to liberate the poor and the weak (Chap. 4); but it is quite another to ask, Who is Jesus Christ for us today? If twentieth-century Christians are to speak the truth for their sociohistorical situation, they cannot merely repeat the story of what Jesus did and said in Palestine, as if it were selfinterpreting for us today. Truth is more than the retelling of the biblical story. Truth is the divine happening that invades our contemporary situation, revealing the meaning of the past for the present so that we
are made new creatures for the future. It is therefore our commitment to the divine truth, as witnessed to in the biblical story, that requires us to investigate the connection between Jesus' words and deeds in firstcentury Palestine and our existence today. This is the crux of the christological issue that no Christian theology can avoid.
The pivotal role of religion and spirituality in the lives of African Americans marks this ethnoracial group as a particularly important target for attention in research on the psychology and sociology of religion. In this chapter we endeavor to achieve three ends: First, we briefly review literature on meanings of religiosity and spirituality among African Americans. Second, we review the literature on the link between religiosity, spirituality, and health among African Americans. Finally, we examine findings regarding the pathways by which religion and spirituality may achieve its ends.
Transformative Pedagogy, Black Theology and Participative forms of PraxisJonathan Dunnemann
This document discusses transformative pedagogy, Black theology, and participative praxis. It outlines how the author seeks to combine transformative modes of pedagogy from Paulo Freire with the liberative themes of Black theology. It summarizes key contributions from Freire, Black religious educators like Grant Shockley and Olivia Pearl Stokes, and discusses the author's own participative approach to Black theological scholarship using experiential learning exercises. The overall goal is conscientization and formation of lay people and ministers through this interactive theological education approach.
Development of a Program for the Empowerment of Black Single Mother Families ...Jonathan Dunnemann
This project developed and implemented an 8-session coping skills seminar for single mothers in the Antelope Valley Seventh-day Adventist Church. A questionnaire was used to determine topics of interest. The seminar covered finance, education, parenting, communication, and physical, psychological, emotional and spiritual self-care. Evaluation found the seminar improved participants' skills in these areas and positively impacted their well-being and the local church.
Black Males, Social Imagery, and the Disruption of Pathological IdentitiesJonathan Dunnemann
Throughout the history of the U.S., racialized groups have often had their experiences profoundly shaped by social imagery in ways that have created tremendous hardships in the quest for
self-actualization and a healthy sense of self.
The purpose of this article is to shed light on the manner in which Black males have been one of the primary victims of negative social imagery and how the remnants of these constructions continue to have contemporary influences, ....
The document summarizes the 50th anniversary celebration of the Black Student Union at Holy Cross. It discusses the impact of the first 19 black students who enrolled in 1968, including Supreme Court Justice Clarence Thomas and Pulitzer Prize winner Edward P. Jones. It highlights the continued commitment of Holy Cross to admitting students who will lead and create positive change. The president expresses hope for the new year based on interactions with current students who are standing up against bias and building an inclusive community.
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
Beyond Degrees - Empowering the Workforce in the Context of Skills-First.pptxEduSkills OECD
Iván Bornacelly, Policy Analyst at the OECD Centre for Skills, OECD, presents at the webinar 'Tackling job market gaps with a skills-first approach' on 12 June 2024
This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the body’s response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
A Visual Guide to 1 Samuel | A Tale of Two HeartsSteve Thomason
These slides walk through the story of 1 Samuel. Samuel is the last judge of Israel. The people reject God and want a king. Saul is anointed as the first king, but he is not a good king. David, the shepherd boy is anointed and Saul is envious of him. David shows honor while Saul continues to self destruct.
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
Leveraging Generative AI to Drive Nonprofit InnovationTechSoup
In this webinar, participants learned how to utilize Generative AI to streamline operations and elevate member engagement. Amazon Web Service experts provided a customer specific use cases and dived into low/no-code tools that are quick and easy to deploy through Amazon Web Service (AWS.)
1. 44‑ Australian Aboriginal Studies‑‑2005/1
George Stavrias
University of Melbourne
Abstract: Hip hop culture is significant in Aboriginal
youth identity formation. I examine the culture of ‘con‑
scious’ Australian hip hop as practised by three hip
hoppers from the East Coast: Little G and MC Wire, both
Aboriginal, and Morganics, a Settler who conducts hip hop
workshops for Aboriginal youth. In dispelling the myth of
American cultural imperialism, I argue that hip hop’s criti‑
cal appropriation has as much to do with its internal logic
of sampling, representin’ and flow as with the oppositional
politics it often serves as a vehicle.
One morning last winter a bill poster plastered on a
wall caught my attention. It advertised the Melbourne
concert of hip hop’s latest ‘public enemy’, the noto-
rious American emcee, 50 cent,1
a ‘gangsta rapper’
whose latest album has sold nine million copies
worldwide. Given that 50 cent sells his records on the
reputation that he is a drug-dealing, violent, woman-
ising thug, who prides himself on having served time
in gaol and on having been shot, it is no surprise that
media commentators have called on the government
not to allow him into Australia on the basis of his ‘bad
character’ (Bolt 2003).
The furore surrounding 50 cent and other ‘gangsta
rappers’ has elicited predictable reactions from the
media. It is common for Australia’s media to associate
hip hop with crime and moral bankruptcy and iden-
tify it as an agent of American cultural imperialism.2
With the spotlight firmly on the ‘bad boy’ image of
50 cent and his like, mainstream Australia overlooks
Australian hip hop’s 20-plus years as a flourishing
underground youth culture.
Australian hip hop does not consist solely of
‘wanna-be gangstas’ mimicking 50 cent’s ‘thug life’.
There is a diversity of hip hop forms lived and prac-
tised in Australia. I investigate one of its forms, the
self-proclaimed ‘conscious’ hip hop scene,3
because
it is the form that is having a growing influence on
Aboriginal youth.4
This essay will focus on three
Australian hip hoppers, their work, and the culture
they inhabit and create: Little G and MC Wire (both
Aboriginal) and Morganics (a Settler who conducts hip
hop workshops with Aboriginal youth).5 Beginning
with a brief introduction to hip hop through an
explication of its five major elements, I attribute hip
hop’s ‘glocalisation’ in Australia through what I term
its ‘internal logic’ of sampling, representin’ and flow.
Having situated their culture in a wider framework,
my engagement with these three key figures will be
represented as a spatial narrative by presenting my
research as changing scenes that map the locations,
from pubs to school assemblies, where their hip hop
is practised.
In conducting my research into hip hop, and more
specifically Aboriginal hip hop, I confronted various
Droppin’ conscious beats and flows:
Aboriginal hip hop and youth identity
44 Australian Aboriginal Studies 2005/2
Aboriginal hip hop and youth identity, Stavrias, Australian Aboriginal Studies 2005/2, by subscription
Published by Aboriginal Studies Press www.aiatsis.gov.au/research_program/publications/australian_aboriginal_studies
This material is copyright. Other than for personal study, no copying or sharing is allowed.
Contact Aboriginal Studies Press for permission to reproduce this material.
2. methodological issues. Firstly, as a participant in the
local hip hop community I wanted to conduct and
present my research in a manner that remains true
to hip hop’s values of ‘keeping it real’. Secondly,
I wanted to proceed with a constant awareness of
the history of scholarly objectification of Aboriginal
people and the appropriation of their knowledge.
These ethical constraints led me to adopt a method-
ology that draws from the work of Pierre Bourdieu,
whose methodology espouses a reflexive sociology.6
As part of my responsibility as a researcher I took into
account the values of the hip hoppers I interviewed as
well as my own investments as both a scholar and a
member of the hip hop community. The importance
of addressing these ethical concerns lies in the fact
that hip hop is a lived culture and produces its own
theory, and thus the subject matter is inherently inter-
esting in itself when it speaks for itself. Throughout
this article I have endeavoured to share my research
in a way that does not create a radical break between
hanging with Morganics, MC Wire and Little G, and
then writing about it.
From New York—the five elements
Hip hop is more than just a style of music. It is a youth
lifestyle which, from humble beginnings in the New
York City borough of the Bronx in the early 1970s, has
evolved into a cultural and economic phenomenon of
global proportions. Hip hop is a culture that includes,
but is not restricted to, what is commonly called ‘rap
music’. I will use the term ‘hip hop’ to refer to the
practices and beliefs that make up the culture of the
communities of people that participate in (or support)
one or more of its five elements: deejaying, break-
dancing, emceeing, beatboxing, and graffiti:7
• Deejaying: The deejay creates hip hop’s music by
playing the ‘break’ section of a record,8
cutting
from one ‘break’ to the next and matching the
tempo to make a smooth transition, thus turning
it into an instrumental the crowd can dance to or
an emcee can rhyme to.
• Breakdancing: An immensely physical dancing
style danced without a partner to hip hop music’s
heavy beats. Mitchell (1999:86) located break-
dancing as part of hip hop’s multicultural roots,
derived from Puerto Rican dance steps and influ-
enced by the Brazilian martial art of Capoeira.
• Emceeing:Themethodofvocaldeliveryofhiphop’s
lyrics is called emceeing, also known as rapping.9
The art of emceeing (derived from ‘master of
ceremonies’, or MC), encompasses many styles
of verbal delivery, from simple rhymes to more
complex wordplays of meaning-dense mini-narra-
tives. Attempting a written description of a vocal
form is difficult, but Maxwell (1997:54) made a
worthy attempt: emceeing is ‘rhythmic, chanted
poetry, often tuneful but not sung’. I would add
that what distinguishes a rap from performance
poetry is that the lyrics are skilfully delivered not
only with reference to a melody, but also creative-
ly around the beat.
• Beatboxing: The ease with which a person can
create hip hop is one of the reasons behind its
appeal. To produce hip hop music all a person
requires is a good taste in records, two turntables
to deejay, and a microphone to emcee. At hip hop
music’s most basic level, no equipment at all is
required. A beatboxer is a human drum machine
who creates a beat for an emcee to deliver their rap
over and a breakdancer to dance to. Beatboxing is
a significant element in hip hop culture because
it makes hip hop accessible. Whereas perform-
ances of rock, jazz, blues or country all require
multiple musical instruments, the beatboxer can
create the beats to a hip hop track without having
had any expensive music lessons in order to learn
an equally expensive instrument, or any formal
training.
Listening to or watching hip hop on TV, or a
live performance, is enough for hip hop to be
(re)produced. With beatboxing, hip hop music can
be made anyplace, anytime. It is an element that
is popular and much practised in Australian hip
hop today, especially during live performances,
yet is much neglected in Australian scholarly liter-
ature on hip hop.10
Beatboxing has had little expo-
sure in mainstream music because, along with
graffiti, it can not be commercially exploited.
• Graffiti: Graffiti, or ‘writing’, consists of writing
one’s ‘tag’, the graffiti pseudonym, with a marker
or spray paint, on a wall in a public space. Graffiti
ranges from small and simple scribbles, to more
elaborate and larger tags like the spray-painted
murals adorning public walls and trains.
Unlike in the Bronx, where a combination of
social vectors including poverty and racism organi-
cally spawned hip hop culture, hip hop’s emergence
in Australia was one of replication. Australian hip
hoppers of the early 1980s reproduced the music,
dancing, art and clothing coming out of the Bronx
from songs they heard on the radio and video-clips
they watched on television.11 This spawned what
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has become a thriving hip hop scene, growing and
maintaining itself at the grassroots level, and surviv-
ing outside the music industry and big business
by relying on strong local support. Staying chiefly
‘underground’, there are countless local deejays,
emcees, beatboxers, breakdancers and graffiti artists
throughout Australia.
To Cape York: sampling, representin’, and
flow
Mitchell (1999:85–6) declared that ‘recent manifes-
tations in global rap music suggest it has gone well
beyond the boundaries defined by “blackness”’ since
it ‘has been increasingly appropriated, indigenised
and re-territorialised all over the world’. He (1999:87)
identified hybridity and multicultural diasporic flows
as the reasons for hip hop’s global localisation, ‘glo-
calisation’, suggesting that ‘it is a form that can be
adopted or adapted to express the concerns of ethnic
minorities everywhere’.
Australian hip hop took root in working class
and underprivileged areas of both urban and rural
Australia, in Aboriginal, ethnic and working class
areas ‘whose youth were attracted by the racially
oppositional features of African American hip hop
and adopted its signs and forms as markers of their
own otherness’ (Mitchell 1999:88). As Kurt Iveson
(1997:41) argued, mainstream Australian music did
not address their experiences of racism and disad-
vantage and many found in hip hop a culture that
attended to those needs:
In hip hop they found a culture which has the means
to fight back against the experiences of racism, and
other elements of the culture like graffiti and hip hop
style provide the means to make space in segregated
Australian cities for cultural production.12
It needs to be stressed, however, that the continued
growth of hip hop in Australia, over 20 or more years,
is due to more than hip hop being a medium for oppo-
sitional politics. Extending Mitchell’s discussion of the
localisation of global hip hop through hybridity and
diasporic flows, I want to attribute hip hop’s appeal,
and its subsequent growth from New York across the
world (and ultimately to outback Australia), to what
I term its ‘internal logic’ of sampling, representin’ and
flow, three characteristics common across all hip hop’s
manifestations that make it highly adaptable and give
a transnational form its local roots and flavour.
Sampling, the word used to describe hip hop’s
artistic appropriation, is at the heart of its musical
technique. Hip hop music is a postmodern brico-
lage of pre-recorded sounds, a music of hybrid-
ity. Bricolage, building something out of fragments,
creatively combining bits and pieces to reference or
transform or subvert their original use, is an apt term
to describe the method of sampling. Deejays ‘sample’
various records and have at their disposal the whole
history of pre-recorded sounds: songs, advertising
jingles or TV theme songs, even speeches by politi-
cians. In this way the deejay samples many sounds to
create a new soundtrack, simultaneously highlight-
ing as well eroding the modernist division between
original and copy.
Houston Baker (1993:89) defined hip hop’s
sampling technique as ‘the non-authoritative collag-
ing or archiving of sound and style that bespeaks a
deconstructive hybridity. Linearity and progress yield
to a dizzying synchronicity’. Sampling, with its hybrid
nature, allows hip hop to transgress national bounda-
ries and yet maintain a localised flavour. Along with
the emcee’s use of local idioms and slang, sampling
localises this global phenomenon both in space and in
time. It is the hybridity inherent in hip hop’s internal
logic that allows for a coexistence of the local and the
global, tradition and modernity.
While postmodernism is an appropriate theoreti-
cal framework with which to understand the hip hop
music’s hybridity, hip hop culture’s characteristic of
representin’ is strongly modernist in form. Global hip
hop culture is ‘almost always about the celebration
of roots in place, neighbourhood, home, family and
nation’ (Mitchell 1999:86). Hip hop’s characteristic of
representin’ is its measure of authenticity. To represent
is to remain true to one’s community and to the ideals
of the hip hop culture one belongs to. A hip hopper’s
identity is partially defined by representin’ ‘where
you’re from’. A famous example is the title of seminal
American hip hop group NWA’s 1988 multi-platinum
album Straight outta Compton. NWA claimed their hip
hop authenticity by representin’ their neighbourhood,
Compton, a ‘ghetto’ suburb of LA. Being part of the
hip hop culture implies not only being rooted in the
local, but also standing up for it by representin’ it.
Subsequently, the hip hop expression ‘keep it real’
refers to the importance in hip hop of representin’ as
a criterion of authenticity, where representing one’s
locality by being part of the culture is paramount.
The hip hop term flow, as part of hip hop’s
vernacular, is an elusive concept: it is an attitude, a
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value judgement on style, and a term of inclusion
and exclusion to hip hop culture. At its origins, to
have flow is to be able to emcee skilfully to the beat.
Dr Dre’s rhyme (from NWA’s hip hop track ‘Express
yourself’) is applying a value judgement to a fellow
emcee’s style of rapping:
Express yourself
From the heart.
Cause if you wanna start to move up the chart
Then expression is a big part of it.
You ain’t efficient when you flow
You ain’t swift, movin’ like a tortoise
Full of rigor mortis.
The ability to identify a skilful emcee is in itself
a demonstration of flow. This demonstration exhib-
its an understanding of the values and styles of the
local hip hop community, creating a sense of belong-
ing and identity that forms the basis of representin’.
Just as representin’ isn’t confined exclusively to the
rap, flow extends to a range of attitudes and styles
that comprise hip hop culture. Although there may
be global flows, flow is defined locally. The knowl-
edge of the local that is necessary for a hip hopper to
embody flow creates the criteria for the inclusion and
exclusion. This defines the Australian hip hop scenes
and has insulated them against commercial appropri-
ation. While a person may be able to buy themselves
hip hop chart popularity, they can not buy their way
into a hip hop community because hip hop exists in
representin’ and flow.
Hanging out with Little G, the
‘Wogarigine’
With the mic in one hand and her body dancing to
the bassy rhythm of the hip hop beat, emcee Little G
pauses to smile at the crowd, then continues with the
next verse of her rhyme:
If you miss-communicate
Violate
Dictate
I illuminate and illustrate
The truth I don’t complicate
I cover quite controversial topics
And if the world was a ball
I’d definitely rock it.
The Evelyn’s band room is filled with a hundred
or so people. Some stand facing the stage and nod
their heads in time to the beat, others are having
a drink at the bar and talking with friends, and a
dozen or so are by the stage dancing to the music.
The Evelyn is an ‘alternative’ pub, neither too trendy
nor too dirty, that attracts a diverse range of people:
hippies, trendies, students from the inner suburbs,
Indigenous Australians, as well as people with immi-
grant backgrounds from Melbourne’s north. Everyone
is mingling and having a drink as they watch Little G
perform.
Georgina Chrisanthopoulos acquired the stage
name ‘Little G’ because of her short stature. She is
a 23-year-old female Greek-Australian/Aboriginal
emcee, a self-professed ‘Wogarigine’, originally from
the northern Victorian town of Mildura, and now
residing in Melbourne’s west. A few weeks before
her performance at the Evelyn I interviewed Little G.
Seated at a table overlooking a lane in Melbourne’s
CBD, and to the backing of ambient music and
crashing plates in the café’s kitchen, the conversa-
tion begins with how Little G’s entry into hip hop
occurred simultaneously with her desire to learn
about her Aboriginal heritage (2003):
I was kind of ashamed of it, you know, the stereotypes
and stuff. ‘Nah, I’m not Aboriginal, I’m Spanish, Greek,
this and that. Nah, what am I? Um, Aboriginal.’ After
learning about the massacres and the history of it all I
was like, ‘Shit. What am I ashamed for? Shouldn’t I be
more proud of who I am?’ And from that time on, it’s
only about six years now that I’ve come to terms with
it, but it’s hard to sort of, in this society, as a young
Indigenous person growing up, going, ‘I’m proud to be
Aboriginal’.
‘Yorta Yorta’, the first rap Little G wrote, was
written in response to her growing identification with
Aboriginal culture:
I come from the clan of the Yorta Yorta nation
And I let the people know that I am a fascination
To know who I am
To believe who I am
I respect the Elder people of the Yorta Yorta nation
Hey, I’ll never feel alone
I’ll never feel disgraced
Coz this is my home
This is my place
A race they’ll have to face
Stamp your feet and feel the beat
A spiritual feeling of a cultural beat
I scream it loud and I say it proud
I’m from the tribe of a dancing crowd.
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‘Yorta Yorta’ is an expression of Little G’s
newfound Aboriginal pride, a pride she conveyed in
rhyme because its articulation helped her to under-
stand and form her Aboriginal identity.13
Little G
explains (2003):
I love the power of expressing the lyrics through word.
You can sing a song, or you can play an instrument, but
with hip hop it’s like speaking, it’s spoken word. It’s
the flow to it, it’s the style, of enjoying it. It’s powerful.
It definitely gives me strength just to stand up there …
Hip hop is like freedom of speech, it’s a voice for the
younger generation, for the future. With the hip hop
music I sort of wanna teach the younger Indigenous
kids, if they have that sort of thing about not wanting to
learn, not wanting to be proud of who they are, through
my music I want to say, ‘We do have a beauty. Be proud
of it. Hold onto it.’
The process of embracing her Aboriginal iden-
tity was not an easy one for Little G. It was not a
‘new age’ reawakening, nor just a case of learning
some traditional Aboriginal customs, but a complex
process of discovering and embracing ideas that she
had distanced herself from as a child. While she may
perform with a smile, many of her tracks are moti-
vated by the anger she feels about the treatment of
Aboriginals in the past and today, by both Settlers and
Aboriginal people in contemporary politics. She tells
me, ‘Most of my music has a political content. I’ve got
a lot of anger to get out for my people and through
music, that’s the way to go’ (2003). Yet Little G did
not set out to produce overtly political, or necessarily
‘Aboriginal’, hip hop. She explains (2003):
When I started out, I never had any idea of being politi-
cal or anything. I just wanted to rap and write rhymes,
and do music. And then people have that expectation
of Indigenous raps [that they must be political]. ‘Yorta
Yorta’, for some reason, it made everything political.
In a way it pushed me in the way of doing the politi-
cal raps because I was the only one person, female and
Indigenous … I had a lot of pressure on me to go this
way. But now I don’t think of it, I write these rhymes
and they go in this direction. With the songs that I
write, the first one’s ‘Yorta Yorta’, being proud of who I
am. The second one is ‘Black Deaths in Custody’, about
a friend of mine who lost a son in gaol, and so on. It
continues, it’s like a story in itself, each song, my expe-
riences in life, the things I learnt. So the songs are all
sort of truthful.
Little G’s words establish that her influences are
primarily Australian. Her adoption of the hip hop
musical style is not an attempt to imitate an American
style and adopt African American politics, but it is
a critical appropriation. Like a growing number of
Aboriginal youth, Little G chose hip hop to help
negotiate her Aboriginality, to discuss her concerns
and local politics, embodying ‘conscious’ hip hop’s
spirit of artistic and performative self-expression that
is educational and ultimately enjoyable.
‘Any colour fella can get into this groove’:
MC Wire and Morganics
I arrived at Redfern Station about 15 minutes early
and found a spot out of the rain to stand while I
waited for Morganics. Directly across the street, on
the wall above the train lines, was a faded mural
painted with Aboriginal designs. After a few minutes
Morganics pulls up in his car. Morganics, a.k.a.
Morgan Lewis, a Settler hip hopper, is a well-respect-
ed member of the Australian hip hop community,
being an ex-member of one of Australia’s seminal
but now defunct hip hop groups, MetaBass n Breath.
He now performs solo and conducts hip hop work-
shops that teach mainly Aboriginal youth to break-
dance, beatbox and emcee. Will Jarrett, a.k.a. MC
Wire, an Aboriginal emcee, beatboxer and breakdanc-
er from the north coast of New South Wales and now
living in Sydney, works with Morganics conducting
these workshops. I only realise he has been standing
beside me in his poncho as he gets into the car behind
me. After some quick and quite casual introductions
we begin driving to Alexandria Street Community
School, where Morganics and MC Wire will give a
hip hop performance as part of the school’s NAIDOC
week celebrations.
With a round of applause Morganics and MC
Wire take the mic and introduce themselves, telling
the students that they have come to share some hip
hop skills:
Morganics: ‘Who here likes hip hop?’
Some students put their hand up while a few call out,
‘Me!’
Morganics: ‘No! In hip hop you don’t put your hand
up. Lesson number one in hip hop today is you make
a lot of noise, ok?’ He calls out, ‘Who here likes hip
hop?’
The students scream, ‘Yeah!’
The performance begins with a video-clip, ‘All
You Mob’. It is a track that MC Wire and Morganics
produced during their trips to conduct workshops at
various Aboriginal communities in remote Australia.
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It features Aboriginal children playing and making
faces, something the students enjoy and they laugh.
On the screen flash images of central and northern
Australia, interspersed with Aboriginal youth practis-
ing hip hop. To these images Morganics and MC Wire
deliver their rhymes:
Together:
All you mob get into this
All you mob you get into this.
Morganics:
From Bondi to Punchbowl
Maningrida to Yirrkala
Everybody feel this
Reveal this
I deal this
Straight from the heart
That’s where I start
Everybody’s got the right
Everybody feels alright
So everybody
Get up and party
And any humbug
We’re gonna breakdown
So from the NT back to the city of Sydney
Are you with me?
YEAH!
Indonesian, Australian, Timorese
Or whatever you be
Papua New Guinean Nunga Murri to Koori
Brothers and sisters overseas
Maori, Japanese
All the way back to the NYC
We give respect to the founders
Who found this culture of
Hip hop!
So we never stop
Like Acka Dacka we rock
In our own lingo
True blue
Aha, like a rainbow
Come on!
MC Wire:
Black, yellow, red
White and blue
Any colour fella can get into this groove
Elevating race relations
Taking it to the next level
With the beat, bass and the treble
We’re all created different
We’re all created equal.
...
MC Wire
From Bangaree
Asking all you mob to get down with me.
I’ve been asked by Morganics to video-record
the performance and I can’t help but focus on the
students who are really getting into it, waving their
arms up and down in hip hop style or miming words
to the music. Three students in their early teens also
get up on stage and breakdance with MC Wire and
Morganics. While many students professed to being
avid fans of hip hop, for some this performance was
their first time watching live hip hop, and through
their rhymes Morganics and MC Wire call on all the
students to embrace it. They speak to the students’
cultural diversity, introducing them to ‘conscious’
hip hop’s social philosophy, promoting unity through
diversity, hip hop style, and the celebration of one’s
roots.
We chose a café around the corner from the school,
and sitting at the stools by the window overlooking
the streets of Redfern we started to talk about their
lives in hip hop. Drinking their coffees and flicking
through the newspaper that was left on the counter,
Morganics and MC Wire speak quite candidly and at
length about their experiences with hip hop culture
in Australia. A comment about how positive a move-
ment hip hop is becoming here elicits the following
reply from MC Wire (2003):
Hip hop affects us in a good and a bad. Good in that
it gives us an avenue to express, to write, to dance,
to create. In a bad sense we’re getting fed a lot of hip
hop bullshit, Jah Rules and this sort of crap. A lot of
the younger generation today in Aboriginal communi-
ties who don’t know where hip hop originates from, in
the essence of what it’s about, think it’s all about Bling
Bling, fast cars, girls with fucking big tits, and all this
shit.
Morganics continues (2003):
I think this morning is an example of what’s good. It’s a
medium, it’s a form where everyone, intergenerational
can connect to a degree. It’s important for them to know
the alternatives, more than just what they’re fed by the
mass media … You go out to totally isolated remote
Aboriginal communities out in Arnhem Land or some-
thing and there’ll be bit of graffiti ‘I love Dr. Dre’, ‘I love
Eminem, Snoop Dog’, stuff like that, in a place where
there’s 300 people.
Echoing the popular criticism of American cultur-
al imperialism, I ask for their thoughts. MC Wire’s
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face lights up, and, obviously hitting a nerve, he raises
his voice to reply (2003):
Well, all I can say to that point is, was Johnny O’Keefe
mimicking America as well? I feel there is an Australian
voice. People think we are mimicking America because
they’re too busy looking at America, and they think
we’re just pretending, trying to be that. When I think
of hip hop I don’t think America, I don’t think niggaz.
When I think hip hop I think, individual representing
the community and sharing their thoughts and fears
and loves and hates. There is, I don’t even want to say
an Australian hip hop, coz hip hop is hip hop, and I
ain’t down with tags. But yes, there is an Australian
flow, and if people don’t believe it then turn your tel-
evisions off.
MC Wire raises an important point regarding the
position of hip hop in Australia. Its constant compari-
son with American hip hop means the concerns it
raises are ignored. Yet even when the youth adopt
an American style, Morganics and MC Wire do not
dismiss it. While they may strongly espouse hip hop
as Australian, they understand the strong appeal
the lyrics of American gangsta rap can have for
Aboriginal youth. MC Wire (2003):
On a whole they [youth] really relate to this image of
the black nigga rapper who’s got the gold chains, the
cars, the money, and the attitude. The thug life attitude.
I think they relate a lot to that. Why? Maybe because
we haven’t had a chance to be young, black and loud
without being oppressed all the time and here are
young black loud men making a lot of money. Of course
it’s going to attract a young, impressionable black man.
You take that into consideration, you know. Why is he
attracted? Because he wants to be like that cat, he wants
to be able to express himself and make some money
while doing it, so that’s why he relates to that in that
sense. For me personally, I don’t relate to hip hop artists
just because they’re black because we are totally differ-
ent people, brought up in totally different societies, dif-
ferent thought processes … But that’s me, coz I’ve got
to grow up and think about things. When I was young,
you know, I was attracted to that same sort of thing as
well: young black loud men with a lot of money and
telling the white man where to go and what to do. And
getting away with it. Man, that’s some very attractive
shit. Especially in a country like this.
It is not only the youth that Morganics and MC
Wire are trying to convert to Australian hip hop flows.
Many Elders are only aware of the American gangsta
style and see hip hop as a destructive medium. MC
Wire (2003):
[Elders] sure they have that preconceived idea that
that’s what hip hop is ... So people in my community
are like I don’t want my grandson or my little nephew
being like them niggaz and you know calling women
bitches and think life’s all about money. And then we’ll
do our workshops and then old women in the commu-
nity, Aunties, tell me, ‘I really like what you’re doing.
You showed me hip hop is more than what I thought
it was’.
During the performance at Alexandria Street
Community School that morning, MC Wire performed
a track called ‘Black’ to the backing of Morganics
beatboxing. MC Wire puts forward a blackness that
is specifically Australian, locating it in his life experi-
ences:
What does it mean for me to be black?
What makes me black?
Not just my skin colour
For even the blackest brother can be white
You see, black is a thought process
For me a way of life
To be black is to be free
Free from the heart
Free from the head
Free to take a man for what he is
Free to choose and make your own decisions
Place and find your own interpretation of any given or
chosen situation
To be black is to respect and acknowledge the past
Live now for the future
Say, What am I doing for my culture?
...
What I’m saying is be black and live
Give for now
That is what it means for me to be black
Black.
Hip hop serves as a conduit for ideas articulating
a black experience. MC Wire expresses a black politics
born out of the Australian experience by recognis-
ing the strength hip hop culture has given to African
Americans reacting against oppression and critically
appropriating it. Just as Little G’s music discussed
local Aboriginal issues, MC Wire defines his blackness
with his own experiences and in his own Australian
words, not with African American ideas and vernacu-
lar.
Emceeing gives the hip hopper agency over the
construction of their identity. From Little G emceeing
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about her newfound pride to MC Wire articulating his
blackness, a primary concern of hip hop in Aboriginal
Australia is to help articulate and negotiate identity.
Performative, autobiographical and delivered by the
author, the rap articulates the emcee’s experiences,
beliefs and concerns, directly to their audience as a
story. As a narrative the rap relies on the authority of
the storyteller. The emcee asserts ownership over the
truth, continuing the oral tradition of storytelling and
maintaining the spoken word as the vehicle of knowl-
edge. Rap is wisdom as embodiment; by verbalising,
the emcee is making experience into knowledge,
where through performance this personal wisdom is
celebrated through its enactment. MC Wire explains
(2003):
I think the reason I’m attracted to hip hop is because I
come from an oral culture. We tell stories, and that is
how we pass on knowledge and wealth. So like, for me
and mine, meaning my peoples and what we do, hip
hop allows us to express story. Now there is no other
musical art form that lets you say as much as hip hop
does. Hip hop just lets you talk about it, you know, hip
hop lets you say what you want, when you want to say
it. Hip hop doesn’t place no limitations on you, and
that’s what I think attracts me and my people to it.
Morganics and MC Wire have been holding hip
hop workshops in communities throughout Australia,
‘from the NT back to the city of Sydney’, teaching
Aboriginal youth to emcee, beatbox and breakdance
since the late 1990s. Contemporary culture provides
few forums that allow youth to express themselves in
a serious manner. The hip hop workshops Morganics
and MC Wire hold provide youth with artistic tools
that open such a forum, and through it express their
everyday lives and concerns. Morganics explains
(2003):
Lyrically hip hop has always been a lot about identi-
ty … Being proud, or taking the piss out of, or whatev-
er, just celebrating and discussing where you’re from,
so then that creates a sense of community that people
can relate to. They can debate it and say ‘that’s not true,
it’s not that’. Or you can talk about history, you know,
have different takes on history. It’s an intelligent form,
it’s not just like ‘Baby, I love you’ or ‘I wanna rock real
hard’ or ‘You broke my heart’ or something, it can be
that too, but there is a lot of discussion within it … I had
two girls up in Brissy doing a track that was all about
too many Murris, you know, sitting around, drinking
wine, sniffing petrol, there’s a lot of petrol sniffing in
Brissy, and they’re bagging out their own community.
In the song they’re saying, you know, ‘Elders, you can
see what’s going wrong, why can’t you tell us what we
should do?’ Asking really, not pulling any punches at
all. Serious stuff. They’re having a go at their own com-
munity, and in a positive way.
The two girls, Alkia and Emily, produced a rap
which deals with the issues of substance abuse and
truancy and which calls on their Elders to provide
stronger leadership:
Our Elders are saying this and that
And nothing’s happening
So help our community be happy
Mums and dads
Aunties and uncles
Brothers and sisters
Passing away
Young Murris sniffing paint
To take their pain away
To all our Elders out there
Listen to our song
And see if you know what’s wrong
Young Murris ain’t going to school
Sitting in the park thinking they’re cool
What can we do to stop these fools?
All I see is Murris sniffing
Walking around the streets tripping
All talk no action
What happened to all you blacks then?
Sitting on your backs
And watching it all happen.
In 2002 and 2003 Morganics released two CDs
called All you mob and All you mob 2, respectively,
featuring Aboriginal youth emceeing and beatbox-
ing, recorded during his and MC Wire’s workshops
in Aboriginal communities around Australia. In one
workshop Jesse, a Year 8 emcee from Alexandria
Street Community School, produced a track called
‘The Block’ which received TripleJ airplay. It deals
with the issues of growing up Aboriginal in Redfern
and exemplifies the use of hip hop as a medium for
youth expression and community debate:
This is playing in the park
In the dark
With no shoes on
With needles around the playground
Pemulwuy park is the place to play
But it’s not just younguns I’m here to say
People running around with needles in their arm
Falling on the ground
Doing themselves harm
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9. 52‑ Australian Aboriginal Studies‑‑2005/1
Ngarrindjeri perspectives of archaeology in native title and heritage matters—Roberts et al.
The government took my people away
Now I never, ever gonna see them again
It’s a pain when I’m waiting for a train in the rain
A guy asked me for two buck
For a pie
Not again
I feel sorry for the poor bugger
But no one else seems to bother
He must be a Gubber
A Gubbariginal
No, here comes the rain
Just another day
It’s a vicious cycle
But everyone’s got their role to play
Stand your ground, black people from The Block
We’re not moving on so rack off, cops
The Redfern Housing Company
Gonna manifest our own destiny.
Aboriginal culture is often wrongly present-
ed as a static culture, an opus operatum defined as
‘authentic’ or ‘inauthentic’ according to the degree to
which one lives traditionally. Negotiating relations
between traditional cultural practices and modernity,
Aboriginal culture is actually a culture in the making
and hip hop is a powerful tool in helping Aboriginal
youth with this negotiation. Sampling and represen-
tin’, characteristics which ground it in the local, allow
traditional sounds into the music, traditional dances
into the breakdancing, and traditional values and
language into the raps. The rap itself enacts tradi-
tional knowledge through storytelling. Yet hip hop as
a medium for identity negotiation is not limited by its
attachment to traditional cultural forms. Inspired by
African American oppositional politics, it provides an
avenue for Aboriginal youth to discuss their concerns
in a manner that is not only fashionable, but also
empowering. Importantly, it is energised by that key
ingredient for youth—having fun.
Conclusion
I really love hip hop
Now let me add a letter
E.
Hope
Now that’s a bit better
H. O. P. E.
Hope.
Morganics, by adding the letter E to hip hop’s
second half, coins hope, a hip hope, a hope in hip
hop, in the youth, of the youth, and by the youth. He
expresses a political hope, an artistic hope, a local yet
global hope, a traditional and modern hope, a hip
hope expressed in and by the five elements of hip
hop. The hope Morganics expresses is not an abstract
hope but an embodied hope, embodied in the hip
hop culture he lives. The music, rhymes and dances
produced by Little G, by MC Wire, by Morganics and
by the youth in the workshops, as well as many other
‘conscious’ hip hoppers throughout Australia, are the
vehicles of this hope.
It is easy to dismiss Morganics’s expression of
hope as the self-indulgence of the privileged. Yet the
reality is that the youth Morganics works with are
some of Australia’s most disadvantaged. They are
in gaol or juvenile detention, dealing with parental
abuse or domestic violence, substance abuse, racism,
suicide, or living in areas of crime and poverty.
Through hip hop Morganics addresses and allows
Aboriginal youth to discuss their local concerns and
construct their own positive representations of their
Aboriginality.
Inevitably, racial experiences are a feature of the
hip hop workshops. The workshops acknowledge
that Aboriginal youth are affected by politics and
race, and as Crispin Sartwell (1998:160) wrote about
African American hip hop and its encounter with
racism in the United States, the best way to deal with
race is not to ignore it, but to articulate it: ‘It must
first be made visible … over and over again in as
many locations as possible and with total specificity’.
In contrast to other Aboriginal youth programs (such
as football workshops held by the AFL) which take a
colour-blind approach to Aboriginal issues, the hip
hop workshops provide a forum for discussing race,
giving youth the confidence to deal with its issues,
and acknowledge it.
As I stood watching Morganics perform I could
not help but reflect on the poster of 50 cent I had seen
earlier that week. As hip hop becomes more popular
with mainstream Australia it has bifurcated into a
commercial scene that features emcees such as 50 cent,
and a collection of Australian scenes that resiliently
claim the local. One of these local Australian scenes,
the ‘conscious’ hip hop scene, exists in contrast to the
values of excess and violence espoused by 50 cent and
his like. The hip hop created and taught by Morganics,
MC Wire and Little G is a positive hip hop that claims
the importance of community values and politics.
As the beats stop and the clapping begins,
Morganics ends his performance by giving a
shout-out14
to all the other hip hoppers involved in
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10. Australian Aboriginal Studies‑‑2005/1 53‑‑ ‑
Ngarrindjeri perspectives of archaeology in native title and heritage matters—Roberts et al.
‘conscious’ hip hop. Reciting a list of names and their
involvement in conducting hip hop workshops for
children from remote areas or gaols, the city or the
missions, Morganics praises their work in improving
and ultimately saving young lives. He (w)raps up his
show with a rhyme that captures his work and the
hope that the ‘conscious’ hip hop scene he is living
provides to Aboriginal youth:
I know a small boy
Who’ll be small for a while
Son of an alcoholic
Lack of height is chronic
But his smile is enormous
How can you ignore this?
Little fella in the outback
When he raps he’s big
Kids play that shit back in their own lives
We’ve got to sow words to save lives
I’ve tried
And many will try before and after
Why focus on the aggro?
I focus on the laughter
Hip hop used to be positive
I offer these words of hope
In this world of hype
Emcees, think of the power that you have
Before you write
I really love hip hop
But let me add a letter
E.
Hope
Now that’s a bit better
H. O. P. E.
Hope.
Acknowledgments
My research could not have been done without the
trust that Morganics, MC Wire and Little G gave me
and I hope I have presented their views as fairly as
possible. Props to Philip Morrissey, whose guidance
and time made this possible, and particular thanks to
Ian Maxwell for his passionate critique and the blind
referees for their engaging reviews. And, of course,
a shout-out to all the crew. I would especially like to
thank the editor, Graeme Ward, for his support and
encouragement.
Notes
1. Hip hoppers usually have two names, their hip hop name, for
example 50 cent, as well as the name on their birth certificate; in 50
cent’s case it is Curtis Jackson.
2. For a discussion, see Maxwell (1994:117–20, 1997:58–60) who
examines media commentaries on hip hop in Australia, arguing
that they are rife with generalisations and factual errors, sensation-
alising hip hop with fictitious youth gang rampages, crime and
drugs.
3. Conscious hip hop exists beside the more commercially popular
gangsta and r’n’b styles, differentiating itself through its engage-
ment with political analysis. Its practitioners need not explicitly
espouse a certain political philosophy, but a progressive attitude.
For example, the sexual references in its lyrics rarely have misog-
ynist tones and there is less macho boasting about violence as the
means of expressing dominance. North American examples are
Public Enemy and The Coup.
4. The popularity of hip hop culture in general in Indigenous com-
munities throughout Australia can be taken as a given. For evi-
dence, see Indigenous youth magazine Deadly Vibe’s many fea-
tures on hip hop, both Aboriginal, Settler and international, espe-
cially hip hop writer Waiata’s (2000) article on hip hop workshops
in remote Australia.
5. There is growing Australian scholarly interest in hip hop, with
Tony Mitchell’s work on global hip hop (including Australian)
and Ian Maxwell’s work on hip hop in Sydney’s western suburbs
during the 1990s both laudable in that they identify hip hop as
a subject serious enough for scholarly analysis. The research this
article is based on was completed in 2003 and since then there
have been two valuable additions to the field: Maxwell (2003) and
Dunbar-Hall & Gibson (2004).
6. Bourdieu (1993) provides a succinct summary of his methodol-
ogy (especially the chapter entitled ‘The paradox of the sociolo-
gist’).
7. It is more common for hip hoppers and hip hop scholars to
declare that there are four elements that make up hip hop, but
within the hip hop community a small but increasing number of
people are recognising beatboxing as the fifth element. I include
beatboxing as the fifth hip hop element because of its popularity
with Australian hip hoppers.
8. The ‘break’ is usually the few seconds of a percussion solo instru-
mental in a disco or funk record.
9. I make the following distinction between rap and hip hop: to rap
is to practise one of the five elements of hip hop, emceeing, but it is
also a word commonly used to refer to hip hop culture in general.
I will use rap in the more restricted sense of emceeing, and use hip
hop to refer to the culture. It is also important to note that hip hop
is more than just the narrative art of the rap (arguably its defining
popular feature), but is the enaction of the culture in all its five ele-
ments.
10. In the articles by Ian Maxwell, Tony Mitchell and Kurt Iveson,
there have only been fleeting references to beatboxing, possibly
because it was not prevalent in the areas and times that they con-
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11. ducted their research, or they thought it insignificant when com-
pared to the other elements.
11. While this may seem like another form of American cultural
imperialism it is important to note that the growth of the culture
in Australia was not provoked by marketing pressures. It is only in
the past few years that Australian commercial television and radio
advertisements have taken up hip hop as a marketing tool.
12. Other musical forms have been appropriated by Aboriginals,
for example Reggae and Country & Western, but hip hop’s strength
lies in it being as much a cultural practice as a music form.
13. Note: Explaining the track ‘Yorta Yorta’, Little G told me that
since she found out she was not from the Yorta Yorta she now dedi-
cates the song to the Yorta Yorta people.
14. To publicly greet and acknowledge, both in presence and in
absence, a person or a crew.
References
Baker, H 1993, Black studies, rap, and the academy, University of
Chicago Press.
Bolt, A 2003, ‘Sold out for 50 Cent’, Herald Sun 16 October,
Melbourne.
Bourdieu, P 1993, Sociology in question, Sage, Thousand Oaks CA.
Dunbar-Hall, P & Gibson, C 2004, Deadly sounds, deadly places,
University of New South Wales Press, Sydney.
Iveson, K 1997, ‘Partying, politics and getting paid: hip hop and
national identity in Australia’, Overland 147:40–7.
Little G 2003, Personal interview, 4 July.
—— ‘Miss communication’, CD (unreleased).
Maxwell, I 1994, ‘True to the music: authenticity, articulation and
authorship in Sydney hip hop culture’, Social Semiotics 4(1-2):117–
37.
—— 1997, ‘Hip hop aesthetics and the will to culture’, Australian
Journal of Anthropology 8(1): 50–70.
—— 2003, Phat beats, dope rhymes, Wesleyan University Press,
Middletown CT.
Mitchell, T 1999, ‘Another root: Australian hip hop as a “glocal”
subculture—re-territorialising hip hop’, in G Bloustien (ed.),
Musical visions: selected conference proceedings from 6th National
Australian/New Zealand IASPM Conference and the Inaugural Arnhem
Land Performance Conference, Wakefield Press, Adelaide, pp. 85–94.
Morganics 2002, All you mob, CD (ABC 12872).
—— 2003a, All you mob 2, CD (Moro 3).
—— 2003b, Evolve, CD (Moro 3).
Morganics & MC Wire 2003, Personal interview, 1 July.
MC Wire 2003, Black, performance at Alexandria Street Community
School, Redfern, personal recording, 1 July.
NWA 1988, Straight outta Compton, record (Ruthless/Priority
Records SL-57102).
Sartwell, C 1998, Act like you know: African-American autobiography
and white identity, University of Chicago Press.
Waiata 2000, ‘Hip hop up top’, Deadly Vibe 54.
George Stavrias graduated in Cultural Studies from
the University of Melbourne, where he wrote his
honours thesis on Aboriginal hip hop. George has
conducted research around Australia, in California
and in New York. He is currently tutoring in the
Department of English with Cultural Studies at the
University of Melbourne.
<gst@unimelb.edu.au>
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