August 31, 2025 • 17 mins
The wait is over. Season 2 of Find and Tell kicks off with a story that will have you turning the volume up and your head nodding along. Proud Murrawarri and Filipino artist Dobby takes centre stage with Mic Check, a deep dive into the heart of hip hop and why it is one of the most powerful cultural connectors in the world.
From the Bronx to Redfern, Dobby shows how a beat can carry a message, how a rhyme can tell a truth, and how music can keep culture alive. This is not just about making tracks, it is about making space for community, reclaiming language, and raising voices that need to be heard.
He brings the fire with help from voices like Fred Leone and rising star KAYPS, proving that hip hop is more than just a soundtrack. It is a movement, a way to heal, a way to fight, and a way to bring people together.
NRMA Insurance, proud supporters of First Nations’ storytelling. Because that’s what a Help Company would do.
"Dirrpi Yuin Patjulinya" performed by DOBBY
Courtesy ABC Music
Licensed by Australian Broadcasting Corporation
Find And Tell is co-production between BlakCast & iHeart Australia.
Hosted by Mundanara Bayles.
Storytellers are Dobby, Micah Kickett and Aaliyah Jade Bradbury.
Show Producer is Phoebe Adler-Ryan & Aaliyah Jade Bradbury.
Theme music, sound design, mix & mastering by Alex Cox.
Special thanks to Mundanara Bayles, Corey Layton, Alyssa Partington, & Aaron Sokolenko.
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
I'd like to begin by acknowledging the traditional custodians of
the lands on which we've recorded this episode, and also
pay respect to the elders and communities of the many
lands where you, our listeners, are joining us today we
honor the continuing connection to country culture and story. Welcome,
(00:25):
I'm Manzanarabeles and this is Fine and Tell the podcast
where we hand the mic to the next generation of
First Nation storytellers. Each episode, the storytellers are given a
new theme and set loose to find and tell unique,
interesting and personal stories from around the country. Over the series,
(00:46):
you'll hear from Micah Kickin, a Kuri and Nungar comedian,
lawyer and broadcaster making waves on stage and in the
court room, Aliyah J. Bradbury, a proud Indigenous woman of Larikia,
and Miriam Mr. Heritage and she's even won an Emmy.
And today's storyteller Dobby, a proud Murrawari and Filipino Aria
(01:09):
Award winning musician. And what a powerful theme we have
for Dobby to open with, Raise your Voice. It's about
reclaiming our stories, owning our voice and speaking with strength
and pride. Today Dobby takes us deep into the world
of indigenous hip hop, and in this episode you'll hear
deadly voices like fred Leone and rising talent Capes all
(01:34):
right ready to get into it.
Speaker 2 (01:37):
It all starts with a beat, the driving force behind
it all, this vibration of sounds that once you hear it,
once you really listen to it, sends a signal from
your ears to your brain, to the back of your neck,
and once it's there, it sets your whole body movie.
It's called in treatment. When you start to synchronize with
(01:59):
the rhythm, it's like a heartbeat, the heartbeat that was
born in the Boogie down Bronx, one of the five
boroughs of New York City nineteen seventy three, and then
somehow made its way to the streets of Sydney, Gadigle Country,
to the block in Redfern, and eventually traveled out to
the Bush. You might be asking yourself, why why hip hop?
(02:27):
What does any of our story have to do with
hip hop? A love letter to the culture and a
journey through hip hop in our communities where rhythm meets resistance.
Welcome to Mike Check. I remember the first time I
(02:53):
purchased my own CD from sanity the local music store
Elephunk The Black Eyed Peas two thousand and three, an
eclectic showcase of funk, jazz, reggae, rap, R and B
presented by artists will I Am, Apple d'app, Fergie and Taboo.
As soon as I go word that Apple d App
(03:14):
is Filipino and Taboo is Native American, I suddenly counterpulted
into an all out fan. My mother is from Takloman
She immigrated from the Philippines to Australia nineteen eighty five,
and my dad's family is from Briwarna and Wilmeringle, Nambar
and Motori Country, northwest New South Wales. Hearing Apple, d
(03:37):
App and Taboo stories as part of The Black Eyed
Peas ignited something powerful within me. I felt seen as
a kid. I was looking for my place in the world,
feeling my way through my cultures and constantly searching for
myself in relation to my friends at school. In two
thousand and three, hip hop wasn't visible all so hip
(04:02):
hop music, the CDs and my discmand, the music videos
on MTV, my Double XL magazines. It was a language
in culture that I could understand. It was where I
felt I could belong. It was here where I started
to recite rapper's lyrics. I used to listen and rap
along to Miss Y Elliott or my discmand clipped to
(04:23):
my pants belt while helping mum out with cleaning the
offices of a local real estate agency, vacuuming the floors
while dancing as Snoop Dog's drop it Like It's Hot.
For a week in my school reading class, I brought
in and read the lyric booklet from Eminem's two thousand
and four album Encore. I lived and breathed hip hop.
(04:44):
Then one day I decided to try making my own.
That's when I wrote my very first songs. First now
in Regine what it would be like if we had
no gravity? Wow, it's pretty cringe, I know. At the time,
I was so proud, and eventually I did get better.
(05:13):
Being a rapper has always been about where you're from.
Whether it's the Bronx, Staten Island, Queens, Atlanta, West Coast
Los Angeles. It's about representing your place and your people.
So when hip hop found its way to Sydney circa
nineteen eighty two, we began telling our own stories.
Speaker 1 (05:37):
Welcome back to find and tell as musician Dobby tackles
the topic raise your voice, Let's get back into it.
As Dobbie unites with Fred Leone.
Speaker 3 (05:50):
The hip hop, the Hibbit, the Hibbit, the hip hip hop,
You don't stop fucking out baby Bumma to the boogie
the bag Mate.
Speaker 2 (05:56):
Now what you hear is not a test.
Speaker 3 (05:58):
I'm rapping to. Yeah, that's it. And I was like,
what is this? Wow? What is this?
Speaker 2 (06:05):
Fred Lernie's journey with hip hop began early around the
age of ten with the beats and rhythms first quarter's ear.
It was a sound unlike anything he'd heard before, a
pulse that fell both new and familiar.
Speaker 3 (06:18):
Our words are like the needle and then the cotton
that's sewing it all together are the songs. And we're
weaving it all the way through, through all the dispossession
and the splitting up of clan groups and taking the
missions and moved all around the country.
Speaker 2 (06:35):
A bachelor song man, storyteller, and pioneer, Fred has been
instrumental in showing how culture in hip hop can not
only coexist, but elevate each other. His work bridges ancient
knowledge with modern rhythm, creating a powerful space for truth telling.
And resistance.
Speaker 3 (06:52):
The biggest thing for me is to see how it
inspires young people to want to speak their language, want
to find out who their mob is, find out more
stories from their parents, from their uncles, aunties, old NaN's.
You know, if they're like stolen generation mob, Like what
is it?
Speaker 2 (07:12):
Fred came up against a lot of people who just
didn't understand the need for black voices in the industry.
Speaker 3 (07:17):
When I was shopping this music around, people were saying
to me, oh, indigenous hip hop. But that's like, I
don't know, Like, what is this this Aussie hip hop?
I've heard of OZSI hip hop. When I'm saying it's
the same things, it's the same thing, They're like, Oh,
why aren't you making music for your community? Is it? No,
they'll making music and this narrative in the music is
for the wider population, but no one sort of picked
(07:41):
up on it.
Speaker 2 (07:42):
So we carved out of space. Fred found it impossible
Odds Records, one of the first ever black owned record
labels in the country, to tell our own stories and
to create something on our terms.
Speaker 3 (07:53):
Performing in front of eighty five thousand people in the
middle of the MCG two years ago, and it was
at that moment that I realized the impact of hip
hop as a subculture and what that had done for
me and my community and the people around me and
the community as a whole around the country. Be a
(08:16):
cathartic release. But seeing the fruits of that release, not
having to wait, you know, read about it in fifty
years time or after we're all gone, but seeing the
actual fruits of the labor of so many people, and
then I can walk out into the middle of the
MCG and rock out a rap and a song in Lingo.
(08:39):
It was surreal to be able to wear your heart
on your sleeve and put it in a song and
then get the love back that we do nowadays is amazing.
Speaker 2 (08:51):
We talk a lot about balance ancient modern culture platform,
but Fred shows that those aren't opposites. There harm and
those harmonies resonate through to the next wave of black
hip hop. If Fred represents the foundation, then Capes is
the future. He's from broom of Bonimba and one majority heritage.
(09:16):
This fellow is deadly and he's already speaking with the
clarity and confidence of someone who knows exactly what this
moment is about.
Speaker 4 (09:23):
So my name is Capes. I'm a nineteen year old
Momadi Bunerae, hip hop artist from Western Australia. The I'm
a writer, producer, Yeah, just love making making that sort
of shit for sure.
Speaker 2 (09:37):
I first met Capes at the Natsimo Resonate Workshops in
me Engine, Brisbane, a space creative for black artists to
come together, collaborate and build something beautiful.
Speaker 4 (09:47):
We're a bunch of First Nations artists, a coming together
in a collaborative manner to create something really special.
Speaker 2 (09:55):
We clicked immediately when we realized we had the same
musical origin story. The first album that both of us
fell in love with speaker Box The Love Below by
Outcast two thousand and three.
Speaker 4 (10:06):
That was the first hip hop album I ever listened to.
I fell in love with it instantly, just like the
the theatrics and so much character coming through.
Speaker 2 (10:15):
It didn't just blow our minds, it gave us permission.
Speaker 4 (10:19):
Hearing ghetto music for the first time. Like the switches
in the production, with the tempo, breaking it down with
those different vocal tones. It really set the tone of
like there no rules, you can do whatever you want
and you're only limited by your creativity.
Speaker 2 (10:34):
But what makes this brother Caepe so special? Is how
all that global influence is grounded in something deeply local.
He told me about his community near Fitzroy, Crossey, where
he grew up, where stories and music were always around
the fire.
Speaker 4 (10:48):
On a Friday or Saturday. You'd just be like, you'd
have everybody come over, or you go to somebody's house
and somebody's round a campfire playing something. There's always somebody singing.
I think just being around an environment where everybody's sharing
those stories and sharing songs in that way has really
influenced even like the project that I have coming out
(11:10):
that I've been writing is very honest, and I feel
like it's a really accurate representation of that environment and
just trying to showcase that a little bit more.
Speaker 2 (11:21):
I asked keep So if he ever feels any pressure
to represent his mob in any certain way. His answer
was all hot.
Speaker 4 (11:29):
I don't feel pressured. I feel responsible if I have
a platform to be able to speak my truth and
the truth of my family. Whether I'm making hip hop,
whether I'm making more fun like rap dance tracks or
kind of flipping between styles, I know that my truth
(11:51):
still doesn't change.
Speaker 2 (11:52):
We spoke about the weight and pride of being a
black hip hop artist. In this moment, he talked about
fearless activism and the power of artists who refuse to
be silent, and how that energy is needed everywhere right now.
Speaker 4 (12:06):
Hip Hop's always been a platform to express truth, any
sort of adversity that minorities faced on a daily basis,
and I think the community is becoming more comfortable sharing
the adversity and being able to express it in a
way which is almost therapeutic for us. But I think
(12:28):
as well, it's always going to be hard because it's
so personal and generational trauma. It is a very real thing.
Speaker 2 (12:39):
This kind of music isn't just music. It's a rally cry,
a stand for language, land and justice. Capes knows this
too well. He rose to fame so young, sharing stages
with major international acts like Kneecap.
Speaker 4 (12:54):
It is such a pivotal point for hip hop or
artists in general to be using their places platform to
speak about these things, to be able to say, look,
we stand with the oppressed, because that's always been what
hip hop's about.
Speaker 2 (13:08):
And as Cape speaks, it's very clear to me this
next generation is not afraid. They know exactly who they
are and they're ready to take this mic and the
message and run it further. We talked about barriers and
even with the success of hip hop artists like one
four and the Kid LaRoy, there's still a long way
(13:30):
to go. Mainstream visibility in the industry doesn't always mean freedom.
Speaker 4 (13:35):
I think for Australia, the most popular sound is like
the surf rock or the pop, so it's definitely harder
for hip hop to be on the forefront. With Leroy
coming through with his like melodic, like very modern town,
one four coming through, and obviously they're problems with not
being able to perform, not being able to express themselves.
(13:57):
So it's great that we're getting more radio play, we're
starting to be platformed a bit more, but I still
think we've got a long way to go.
Speaker 2 (14:05):
Even in a moment of growth, there are still limits,
gatekeepers in a sense that creative expression, especially whether it's indigenous,
raw or resistant, is not always welcome. But his dream
is bigger than just airplay. It's about cultural impact, systemic infrastructure,
real change.
Speaker 4 (14:24):
I think for any sort of remote community there's a
real lack of youth engagement. It's very hard to get
kids wanting to learn. For me, it's being able to
create enough of a platform and financially support myself enough
where I can start opening different centers and start offering
(14:47):
resources to be able to engage the indigenous youth in
the creative art.
Speaker 2 (14:53):
In Caps, I see not just the future of black
hip hop, but I see its strength. I see its versatility,
and I see its power to move beyond music into
real healing led by our ancestors building new worlds from
our foundations.
Speaker 4 (15:09):
What we're speaking is our genuine truth. We're not looking
for sympathy. We're not looking for an apology. We're just
looking for change. Yes it comes across as loud, Yes
it comes across as angry, But I think people have
to understand.
Speaker 3 (15:20):
That we have a right to be.
Speaker 4 (15:22):
All we're looking for, especially when it comes to black
hip hop, is improvement and change.
Speaker 2 (15:31):
Hip hop was the rose that grew out the concrete,
blossoming beautifully into the garden that now grows all around
the globe. What we are witnessing with the likes of
Fred Larity and Capes is our own revolution of truth telling,
preservation and sharing of our culture, and leading the groundwork
for the generations to come. This is the legacy our
(15:53):
children will honor as their ancestors.
Speaker 1 (16:00):
That was Dobby sharing his story and music, including his
track dippy ew and Pachulinya from Warrengu Riverstory. Today's theme,
Raise Your Voice, was all about using our voices to
do something meaningful for the people around us. Next time,
you'll hear from Cooury and Jungar comedian lawyer and broadcaster
(16:22):
Micah Kikett exploring the two very different worlds. He walks
between the courtroom and the comedy club, from legal briefs
to punchlines. He'll show us what it really means to
speak your truth. Make sure you hit follow in your
podcast app so you don't miss a moment. I'm ndon
Arabel's and this is Find and Tell. Find and Tell
(16:45):
is a co production between iHeart Australia and the black
Cast podcast network. Black Cast empowers First Nations people and
people of color to reclaim their narratives, strength and cultural
identity and contribute to a more inclusive Australia by showcasing
exciting emergent talent from Australian communities.
I'd like to begin by acknowledging the traditional custodians of
the lands on which we've recorded this episode, and also
pay respect to the elders and communities of the many
lands where you, our listeners, are joining us today we
honor the continuing connection to country culture and story. Welcome,
(00:25):
I'm Manzanarabeles and this is Fine and Tell the podcast
where we hand the mic to the next generation of
First Nation storytellers. Each episode, the storytellers are given a
new theme and set loose to find and tell unique,
interesting and personal stories from around the country. Over the series,
(00:46):
you'll hear from Micah Kickin, a Kuri and Nungar comedian,
lawyer and broadcaster making waves on stage and in the
court room, Aliyah J. Bradbury, a proud Indigenous woman of Larikia,
and Miriam Mr. Heritage and she's even won an Emmy.
And today's storyteller Dobby, a proud Murrawari and Filipino Aria
(01:09):
Award winning musician. And what a powerful theme we have
for Dobby to open with, Raise your Voice. It's about
reclaiming our stories, owning our voice and speaking with strength
and pride. Today Dobby takes us deep into the world
of indigenous hip hop, and in this episode you'll hear
deadly voices like fred Leone and rising talent Capes all
(01:34):
right ready to get into it.
Speaker 2 (01:37):
It all starts with a beat, the driving force behind
it all, this vibration of sounds that once you hear it,
once you really listen to it, sends a signal from
your ears to your brain, to the back of your neck,
and once it's there, it sets your whole body movie.
It's called in treatment. When you start to synchronize with
(01:59):
the rhythm, it's like a heartbeat, the heartbeat that was
born in the Boogie down Bronx, one of the five
boroughs of New York City nineteen seventy three, and then
somehow made its way to the streets of Sydney, Gadigle Country,
to the block in Redfern, and eventually traveled out to
the Bush. You might be asking yourself, why why hip hop?
(02:27):
What does any of our story have to do with
hip hop? A love letter to the culture and a
journey through hip hop in our communities where rhythm meets resistance.
Welcome to Mike Check. I remember the first time I
(02:53):
purchased my own CD from sanity the local music store
Elephunk The Black Eyed Peas two thousand and three, an
eclectic showcase of funk, jazz, reggae, rap, R and B
presented by artists will I Am, Apple d'app, Fergie and Taboo.
As soon as I go word that Apple d App
(03:14):
is Filipino and Taboo is Native American, I suddenly counterpulted
into an all out fan. My mother is from Takloman
She immigrated from the Philippines to Australia nineteen eighty five,
and my dad's family is from Briwarna and Wilmeringle, Nambar
and Motori Country, northwest New South Wales. Hearing Apple, d
(03:37):
App and Taboo stories as part of The Black Eyed
Peas ignited something powerful within me. I felt seen as
a kid. I was looking for my place in the world,
feeling my way through my cultures and constantly searching for
myself in relation to my friends at school. In two
thousand and three, hip hop wasn't visible all so hip
(04:02):
hop music, the CDs and my discmand, the music videos
on MTV, my Double XL magazines. It was a language
in culture that I could understand. It was where I
felt I could belong. It was here where I started
to recite rapper's lyrics. I used to listen and rap
along to Miss Y Elliott or my discmand clipped to
(04:23):
my pants belt while helping mum out with cleaning the
offices of a local real estate agency, vacuuming the floors
while dancing as Snoop Dog's drop it Like It's Hot.
For a week in my school reading class, I brought
in and read the lyric booklet from Eminem's two thousand
and four album Encore. I lived and breathed hip hop.
(04:44):
Then one day I decided to try making my own.
That's when I wrote my very first songs. First now
in Regine what it would be like if we had
no gravity? Wow, it's pretty cringe, I know. At the time,
I was so proud, and eventually I did get better.
(05:13):
Being a rapper has always been about where you're from.
Whether it's the Bronx, Staten Island, Queens, Atlanta, West Coast
Los Angeles. It's about representing your place and your people.
So when hip hop found its way to Sydney circa
nineteen eighty two, we began telling our own stories.
Speaker 1 (05:37):
Welcome back to find and tell as musician Dobby tackles
the topic raise your voice, Let's get back into it.
As Dobbie unites with Fred Leone.
Speaker 3 (05:50):
The hip hop, the Hibbit, the Hibbit, the hip hip hop,
You don't stop fucking out baby Bumma to the boogie
the bag Mate.
Speaker 2 (05:56):
Now what you hear is not a test.
Speaker 3 (05:58):
I'm rapping to. Yeah, that's it. And I was like,
what is this? Wow? What is this?
Speaker 2 (06:05):
Fred Lernie's journey with hip hop began early around the
age of ten with the beats and rhythms first quarter's ear.
It was a sound unlike anything he'd heard before, a
pulse that fell both new and familiar.
Speaker 3 (06:18):
Our words are like the needle and then the cotton
that's sewing it all together are the songs. And we're
weaving it all the way through, through all the dispossession
and the splitting up of clan groups and taking the
missions and moved all around the country.
Speaker 2 (06:35):
A bachelor song man, storyteller, and pioneer, Fred has been
instrumental in showing how culture in hip hop can not
only coexist, but elevate each other. His work bridges ancient
knowledge with modern rhythm, creating a powerful space for truth telling.
And resistance.
Speaker 3 (06:52):
The biggest thing for me is to see how it
inspires young people to want to speak their language, want
to find out who their mob is, find out more
stories from their parents, from their uncles, aunties, old NaN's.
You know, if they're like stolen generation mob, Like what
is it?
Speaker 2 (07:12):
Fred came up against a lot of people who just
didn't understand the need for black voices in the industry.
Speaker 3 (07:17):
When I was shopping this music around, people were saying
to me, oh, indigenous hip hop. But that's like, I
don't know, Like, what is this this Aussie hip hop?
I've heard of OZSI hip hop. When I'm saying it's
the same things, it's the same thing, They're like, Oh,
why aren't you making music for your community? Is it? No,
they'll making music and this narrative in the music is
for the wider population, but no one sort of picked
(07:41):
up on it.
Speaker 2 (07:42):
So we carved out of space. Fred found it impossible
Odds Records, one of the first ever black owned record
labels in the country, to tell our own stories and
to create something on our terms.
Speaker 3 (07:53):
Performing in front of eighty five thousand people in the
middle of the MCG two years ago, and it was
at that moment that I realized the impact of hip
hop as a subculture and what that had done for
me and my community and the people around me and
the community as a whole around the country. Be a
(08:16):
cathartic release. But seeing the fruits of that release, not
having to wait, you know, read about it in fifty
years time or after we're all gone, but seeing the
actual fruits of the labor of so many people, and
then I can walk out into the middle of the
MCG and rock out a rap and a song in Lingo.
(08:39):
It was surreal to be able to wear your heart
on your sleeve and put it in a song and
then get the love back that we do nowadays is amazing.
Speaker 2 (08:51):
We talk a lot about balance ancient modern culture platform,
but Fred shows that those aren't opposites. There harm and
those harmonies resonate through to the next wave of black
hip hop. If Fred represents the foundation, then Capes is
the future. He's from broom of Bonimba and one majority heritage.
(09:16):
This fellow is deadly and he's already speaking with the
clarity and confidence of someone who knows exactly what this
moment is about.
Speaker 4 (09:23):
So my name is Capes. I'm a nineteen year old
Momadi Bunerae, hip hop artist from Western Australia. The I'm
a writer, producer, Yeah, just love making making that sort
of shit for sure.
Speaker 2 (09:37):
I first met Capes at the Natsimo Resonate Workshops in
me Engine, Brisbane, a space creative for black artists to
come together, collaborate and build something beautiful.
Speaker 4 (09:47):
We're a bunch of First Nations artists, a coming together
in a collaborative manner to create something really special.
Speaker 2 (09:55):
We clicked immediately when we realized we had the same
musical origin story. The first album that both of us
fell in love with speaker Box The Love Below by
Outcast two thousand and three.
Speaker 4 (10:06):
That was the first hip hop album I ever listened to.
I fell in love with it instantly, just like the
the theatrics and so much character coming through.
Speaker 2 (10:15):
It didn't just blow our minds, it gave us permission.
Speaker 4 (10:19):
Hearing ghetto music for the first time. Like the switches
in the production, with the tempo, breaking it down with
those different vocal tones. It really set the tone of
like there no rules, you can do whatever you want
and you're only limited by your creativity.
Speaker 2 (10:34):
But what makes this brother Caepe so special? Is how
all that global influence is grounded in something deeply local.
He told me about his community near Fitzroy, Crossey, where
he grew up, where stories and music were always around
the fire.
Speaker 4 (10:48):
On a Friday or Saturday. You'd just be like, you'd
have everybody come over, or you go to somebody's house
and somebody's round a campfire playing something. There's always somebody singing.
I think just being around an environment where everybody's sharing
those stories and sharing songs in that way has really
influenced even like the project that I have coming out
(11:10):
that I've been writing is very honest, and I feel
like it's a really accurate representation of that environment and
just trying to showcase that a little bit more.
Speaker 2 (11:21):
I asked keep So if he ever feels any pressure
to represent his mob in any certain way. His answer
was all hot.
Speaker 4 (11:29):
I don't feel pressured. I feel responsible if I have
a platform to be able to speak my truth and
the truth of my family. Whether I'm making hip hop,
whether I'm making more fun like rap dance tracks or
kind of flipping between styles, I know that my truth
(11:51):
still doesn't change.
Speaker 2 (11:52):
We spoke about the weight and pride of being a
black hip hop artist. In this moment, he talked about
fearless activism and the power of artists who refuse to
be silent, and how that energy is needed everywhere right now.
Speaker 4 (12:06):
Hip Hop's always been a platform to express truth, any
sort of adversity that minorities faced on a daily basis,
and I think the community is becoming more comfortable sharing
the adversity and being able to express it in a
way which is almost therapeutic for us. But I think
(12:28):
as well, it's always going to be hard because it's
so personal and generational trauma. It is a very real thing.
Speaker 2 (12:39):
This kind of music isn't just music. It's a rally cry,
a stand for language, land and justice. Capes knows this
too well. He rose to fame so young, sharing stages
with major international acts like Kneecap.
Speaker 4 (12:54):
It is such a pivotal point for hip hop or
artists in general to be using their places platform to
speak about these things, to be able to say, look,
we stand with the oppressed, because that's always been what
hip hop's about.
Speaker 2 (13:08):
And as Cape speaks, it's very clear to me this
next generation is not afraid. They know exactly who they
are and they're ready to take this mic and the
message and run it further. We talked about barriers and
even with the success of hip hop artists like one
four and the Kid LaRoy, there's still a long way
(13:30):
to go. Mainstream visibility in the industry doesn't always mean freedom.
Speaker 4 (13:35):
I think for Australia, the most popular sound is like
the surf rock or the pop, so it's definitely harder
for hip hop to be on the forefront. With Leroy
coming through with his like melodic, like very modern town,
one four coming through, and obviously they're problems with not
being able to perform, not being able to express themselves.
(13:57):
So it's great that we're getting more radio play, we're
starting to be platformed a bit more, but I still
think we've got a long way to go.
Speaker 2 (14:05):
Even in a moment of growth, there are still limits,
gatekeepers in a sense that creative expression, especially whether it's indigenous,
raw or resistant, is not always welcome. But his dream
is bigger than just airplay. It's about cultural impact, systemic infrastructure,
real change.
Speaker 4 (14:24):
I think for any sort of remote community there's a
real lack of youth engagement. It's very hard to get
kids wanting to learn. For me, it's being able to
create enough of a platform and financially support myself enough
where I can start opening different centers and start offering
(14:47):
resources to be able to engage the indigenous youth in
the creative art.
Speaker 2 (14:53):
In Caps, I see not just the future of black
hip hop, but I see its strength. I see its versatility,
and I see its power to move beyond music into
real healing led by our ancestors building new worlds from
our foundations.
Speaker 4 (15:09):
What we're speaking is our genuine truth. We're not looking
for sympathy. We're not looking for an apology. We're just
looking for change. Yes it comes across as loud, Yes
it comes across as angry, But I think people have
to understand.
Speaker 3 (15:20):
That we have a right to be.
Speaker 4 (15:22):
All we're looking for, especially when it comes to black
hip hop, is improvement and change.
Speaker 2 (15:31):
Hip hop was the rose that grew out the concrete,
blossoming beautifully into the garden that now grows all around
the globe. What we are witnessing with the likes of
Fred Larity and Capes is our own revolution of truth telling,
preservation and sharing of our culture, and leading the groundwork
for the generations to come. This is the legacy our
(15:53):
children will honor as their ancestors.
Speaker 1 (16:00):
That was Dobby sharing his story and music, including his
track dippy ew and Pachulinya from Warrengu Riverstory. Today's theme,
Raise Your Voice, was all about using our voices to
do something meaningful for the people around us. Next time,
you'll hear from Cooury and Jungar comedian lawyer and broadcaster
(16:22):
Micah Kikett exploring the two very different worlds. He walks
between the courtroom and the comedy club, from legal briefs
to punchlines. He'll show us what it really means to
speak your truth. Make sure you hit follow in your
podcast app so you don't miss a moment. I'm ndon
Arabel's and this is Find and Tell. Find and Tell
(16:45):
is a co production between iHeart Australia and the black
Cast podcast network. Black Cast empowers First Nations people and
people of color to reclaim their narratives, strength and cultural
identity and contribute to a more inclusive Australia by showcasing
exciting emergent talent from Australian communities.
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