Australian fur seals (Arctocephalus pusillus doriferus) are conspicuous, top-level predators in coastal waters of south-eastern Australia that were over-harvested during the 1800s and have had a delayed recovery. A previous species-wide estimate of live pups in 2002 recorded a near-doubling of annual pup production and a 5% annual growth rate since the 1980s. To determine if pup production increased after 2002, we estimated live pup numbers in 2007. Pups were recorded at 20 locations: 10 previously known colonies, three newly recognised colonies and seven haul-out sites where pups are occasionally born. Two colonies adjacent to the Victorian coast accounted for 51% of live pups estimated: Seal Rocks (5660 pups, 25.9%) and Lady Julia Percy Island (5574 pups, 25.5%). Although some colonies were up and some were down in pup numbers, the 2007 total of 21 882 ± 187 (s.e.) live pups did not differ significantly from a recalculated estimate of 21 545 ± 184 in 2002, suggesting little change to overall population size. However, the colonisation of three new sites between 2002 and 2007 indicates population recovery has continued.
Clara Law's film Floating Life was the first Australian film to be nominated for an Oscar for Best Foreign Film, and the first Australian film to deal with migrant Hong Kong Chinese identities 'from inside'. From perspectives of transnational Chinese migration and flexible citizenship, this article looks at Floating Life as a Hong Kong Chinese migrant reading of Australia, which defamiliarizes and recontextualizes familiar Australian localities and geopolitical formations, contrasting them with the film's other principal loci of Hong Kong and Germany. It also interprets the film as a neo-Confucian study of family disintegration in a migrant context, and an exploration of notions of home and identity.
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Munki Mark: "The architect of Aboriginal hip hop'The history of hip hop in A ustralia is largely a question of often com peting oral histo ries of local developm ents in various places. It began w ith breakdancing, largely inspired by M alcolm M cLaren's 1983 video clip Buffalo gals, w hich w as follow ed by o u t breaks of graffiti w riting, inspired by Charlie A h earn's 1982 film Style wars. Rapping, rhym ing and DJ-ing followed on, partly encouraged by Stan L atham 's 1984 film Beat street, and recordings by Kool Here, G randm aster Flash, Africa Bam baata and other pioneers of w h at at the tim e w as a predom inantly A frican-A m erican m usical idiom.Ian M axw ell's book Phat beats, dope rhymes is an ethnographic study of hip hop in Sydney from 1992 to 1994, w hich focuses m ostly on Def W ish Cast, Sound U nlim ited and other w estern Sydney crews, filtering a lot of his historicisation through authority figures in the scene such as Blaze and M iguel D 'Souza. O ne of the m yths of origin for Sydney hip hop th at Maxwell notes is the scene w hich took place in B urw ood Park in 1983, w ith breakdancing crew s such as the W estside Posse, later Sound U nlim ited, rep resenting a m ulticultural gathering of the faithful, m any of them com ing by train from east Sydney. As Sound U nlim ited put it in their track 'Tales from the W estside': 'L et's get back / I'll start at B urw ood park / hip hop breakin' after dark / m any crew s w ould join the fray / travel from east to w est upon the train / som e to break som e to inflict p a in .'1 M axwell provides accounts for only tw o exam ples of Aboriginal hip hop, both fem ale crews, in the early 1990s w ho never recorded, and w hose nam es he mis-spells. He describes perform ances by the 'A ran ta' (A rrernte) D esert Posse, w ho com bined tra ditional dance w ith a rath er artifical enactm ent of rap at the Pow erhouse M useum in Sydney, and quotes lyrics about Aboriginal genocide from the short-lived duo 'Black Justice' (Blakjustis), a R edfern-based crew w ho recounted to him Public E nem y's rather tokenistic attem pts to com m unicate w ith Redfern youth. M axwell then quotes local lum inary Blaze to the effect that Blakjustis w ere 'n o t really Hip Hop'2 and after noting the w idesp read appeal of African-A m erican hip hop to A boriginal youth, although it w as yet to sell as m any records as country and w estern, m oves on to broader questions of class and ethnicity. M axw ell's account is not at all reprehensible, but it dem onstrates 1. 2.
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