Started in Year
Morganics – from Sydney. Solo artist ; member of Metabass ‘n’ Breath. Started performing in 1984, first solo release in 2002. Morganics is widely known for his community work alongside others such as; Brothablack, South West Syndicate ; The Wilcannia Mob. In 2017 he released Australia’s first Hip Hop movie “Survival Tactics.”
As the Australian rapper Morgan Lewis, who raps in 15 languages, says in Fascination: “We never mimic; that’s a gimmick. Tourists take a nibble, while we eat the whole picnic.”
Australia’s most ubiquitous MC, beat boxer and breaker, an AngloAustralian
former actor and theatre director who has been a mentor and producer to
many fledgling Aboriginal hip hop artists all around the country since the late 1990s,
was another early participant in Sydney hip hop. He began breakdancing in Circular
Quay in 1984, later linking up with Lebanese-Australian MC Sleek the Elite on Oxford
Morganics is an Australian hip hop artist, performer, director and community worker. He has worked in jails, community centres and isolated Aboriginal communities all around Australia teaching hip-hop. In 2002 he released his solo album “invisible forces…” and “All You Mob! Recordings of young Aboriginal Hip Hop from around Australia”. This spawned the now infamous ‘Down River’ track by The Wilcannia Mob. He was recently highly commended in the Justice Awards at New South Wales Parliament House for his work with socially and economically disadavantaged people in rural and regional New South Wales.
He has performed with his old crew MetaBass’n’Breath all around Australia, they twice toured the US and in 2002 he toured solo to the States performing at The Fillmore and The Great American Music Hall in San Francisco.
Parallel to his career as an MC and Bboy he has performed in a number of theatre, TV and film productions. Morganics is arguably Australia’s foremost Hip Hop Theatre practicioner. He started acting at the age of eleven and breakdancing at the age of thirteen. He has been in numerous plays, TV shows and films such as playing Lee Majors son in the CBS production Danger Down Under. He directed ‘Hip Hopera’ a mammoth Community Theatre production in 1995, and performed in ‘The Bridge, a Hip Hop Play’ in ’96.
He performed at the 2002 Adelaide International Festival in ‘The Longest Night’ a theatre show incorporating elements of hip hop created in collaboration with residents of Adelaide’s western suburbs. He has performed solo Hip Hop Theatre Shows at The Cleveland International Performance Art Festival (1994) and Brisbane International Arts Festival (1996). He has presented three different solo shows at The Performance Space in Sydney.
Morganics appears on The Red Room Troubadours CD with a unique Red Room rap. Listen to a recording of Morganics performing his spoken word piece, ‘the fact is…’
Morganics has become one of the key figures in the formation of an Australian hip hop identity, as well as a hip hop pedagogue who has taught MCing,
DJing and breakdancing skills to young people throughout Australia. A former actor and theatre director who frequently sports an Akubra hat, he played roles in the Australian television soaps Neighbours and A Country Practice and worked with the Australian Theatre for Young People before emerging as a prominent hip hop figure. He directed the 1995 Urban Theatre Projects production Hip hopera, which brought together a number of young Western Sydney performers from different ethnic backgrounds. In 1998 Morganics began working as a facilitator on community educational hip hop projects with disadvantaged young people around Australia, teaching beatboxing, breakdancing and MCing, often in tandem with Aboriginal artists Wire MC or BrothaBlack. The ABC TV documentary Desert Rap (2000) featured his, Munkimuk’s and BrothaBlack’s work with Aboriginal young people in Alice Springs, while his album All you mob, released in 2001, was a collection of tracks made with mostly Aboriginal young people from Darwin, Wilcannia, Redfern and a host of other places. In 2002 Morganics was awarded a special justice commendation by the New South Wales Government for his work with disadvantaged youth, and he continues to work as a facilitator on urban and rural youth hip hop projects throughout the country. His 2003 one-man show Crouching b-boy hidden dreadlocks detailed some of his work in prisons and community centres as well as outlining his hip hop philosophy. His second album Evolve (2003) contained the track ‘Multilingual MC’, which includes snippets of lyrics from 15 different languages, including Japanese, French, Spanish and Pitjantjatjara, which Morganics had to learn in order to communicate with young Aboriginals in Central Australia. Evolve was a double album, comprising one CD of his own work together with All you mob 2, a CD sampling tracks made with Aboriginal, Arab, Maori, Pacific Islander and Indian young people, as well as prisoners and juvenile detainees from Kempsey, Bowraville, Bourke, Coffs Harbour, Brisbane, Broken Hill, Melbourne and elsewhere. All you mob 2 also included ‘Baakanji boys are back’, a follow-up track by the Deadly Award-winning Wilcannia
Mob. Most of these tracks were produced under primitive circumstances (some with a simple beatbox backing) and performed by young amateur MCs, but nonetheless offer revealing, touching and raw snapshots and testimonies of disadvantaged and Aboriginal life from around the country. In 2005, Stereotype, Morganics’s theatre collaboration with MC Wire, received a Deadly Award nomination (Australian Music Online 2005). Morganics also released a third album, Odyssey, in 2005. His fourth album, Hip hop is my passport, was released in 2007 and features hip hop sounds from around the world, together with a documentary film about his travels in Africa, Brazil, Germany, Bali, New York and elsewhere. – Tony Mitchell
Lyrically hip hop has always been a lot about identity … Being proud, or taking the piss out of, or whatever, 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 community, and in a positive way. – Morganics
I really love hip hop
Now let me add a letter
Now that’s a bit better
H. O. P. E.
Hope. – Morganics