Monday, August 20, 2007

Marginalised Identities and Keeping it Real in Aussie Hip Hop

ABSTRACT

This thesis examines Australian hip hop 'identity' and how a marginalised stance equates to a certain level of credibility. By exploring the the idea of authenticity; the importance of community; and the utilisation of hip hop by marginalised individuals, I will argue that a non-mainstream identity is necessary to maintain authenticity in Australian hip hop.

BIBLIOGRAPHY

Connor, Ben “Good Buddah and TZU: Middle Class Wiggers from the Underside”, Youth Studies Australia, Volume 22:2, June 2003, pg 48-54

Hayward, Phillip (1998) Sound Alliances: Indigenous Peoples, Cultural Politics and Popular Music in the Pacific, London: Cassell

Iveson, Kurt “Partying, Politics and Getting Paid- Hip Hop and National Identity in Australia”, Overland, Volume 147, Winter 1997, pg 39-44

Maxwell, Ian (2003) Phat Beats Dope Rhymes: Hip Hop Down Under Comin’ Up, Middleton: Wesleyan University Press

Mitchell, Tony (2001)Global Noise: Rap and Hip Hop Outside the USA, Middleton: Wesleyan University Press

(1996) Popular Music and Local Identity: Rock, Pop and Rap in Europe and Oceania, London: Leicester
University Press

‘Indigenising Hip Hop: An Australian Migrant Youth Subculture” in Butcher, Melissa & Thomas, Mandy (2003)
Ingenious: Emerging Youth Cultures in Urban Australia, North Melbourne: Pluto Press

“Australian Hip Hop As A Subculture”, Youth Studies Australia, Vol 22:2, June 2003, pg 40

“The DIY Habitus of Australian Hip Hop”, Media International Australia Incorporating Culture and Policy,
No.123, May 2007

Neate, Patrick (2003) Where You’re At: Notes From the Frontline of a Hip Hop Planet, London: Bloomsbury

Potter, Russel (1995) Spectacular Vernaculars: Hip Hop and The Politics of Postmodernism, New York: State University of New York Press

Rose, Tricia (1994) Black Noise: Rap Music and Black Culture in Contemporary America, Middleton: Wesleyan University Press

Ross, Andrew & Rose, Tricia (1994) Microphone Fiends: Youth Music & Youth Culture, New York: Routledge

Stavrias, George, “Droppin’ Conscious Beats and Flows: Aboriginal Hip Hop and Youth Identity”, Australian Aboriginal Studies, 2005/2, pg 44

DISCOGRAPHY
Brotha Black (2007) More Than A Feeling (Obese Records)

Curseovdialect (2006) Wooden Tongues ( Mush Records)

Muph and Plutonic (2006) Silence the Sirens, (Obese Records)

The Herd (2005) The Sun Never Sets (Elefant Traks)
‘I was only 19” (2006) on Like A Version 2 (ABC Music)

TZU (2005) Smiling at Strangers (Liberation Music)

Various (2004) Culture of Kings, Volume 2 (Obese Records)

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