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Little G (Gina Chrisanthopolous) is a rapper, actor, dancer, and community activist from Melbourne, Victoria. She is of Aboriginal and Greek descent.[1][2][3][4]
Little G has performed at the Big Day Out, Songlines Music Festival and the Royal Melbourne Show and appeared in plays such as Scratchin’ and DiaTribe[3][4][5] and presented a hip-hop showcase for National Indigenous Television
Been keepin on the low, had a few clones tryna hack any device i use to contact the outside world, playing games with an original who enjoy’s a challange and catch’s on quick is a bad idea, so until then ill be here nor there but always active.
Little G feeds of others hate and racism, it makes her grow stronger by turning a negative into a positive, man have i got a few suprise’s coming!
(msg to wannabe little g impersinators that keep tryna hack,try find your own identity, if not i spose i will let ya’s have ya fun for now, so laugh while ya can coz after laughter comes the tears, let’a play fools 🙂 )
Little G has Worked with various artist and producer’s from all stylez/categories of music from country, rock, heavy metal hip hop, classical music, drum n base, experimental music, commercial radio friendly hip hop, to straight up pure to the core hip hop, the list go’s on! Little G’s lyrical skills has no boundary’s when it comes to flowing over any beat or no beat and just flowing out a smooth lyrical spoken word verse.
Little G has been involved in the Hip Hop community since 1999 started of doing gigs with DJ Krissy, She Kat the Heroin, then joined the Spare Change Society, Playing the lead roll character in the Hip Hop musical BassAnger back in in 1999 launched her into the Hip Hop scene and has had her music on a host of different compilations over the years, The first compilation she recorded on was Corroboration which show cased many big name artists such as Jimmy Little and Kylie Minogue, she performed at festivals from Moomba, St kilda Festival, Sydney Rd Festival, Oktober fest, Appolo Bay Festival, The Royal Melbourne Show to The Big Day Out and to gig’ing all over town at venues such as The Prince of Wales, the Corner Hotel, The Empress Hotel, The Tote, Revolver, The Hi Fi Bar, The Forum Theatre and numerous others as well as being a support for Black Eyed Peas at the Palais Theatre just to name a few!
Working as a solo freelance artist, she was busy acting in theatre and short films (1998-2006) (the last play she acted in was ‘Stolen’ and it was the last season of the tour) to being an M.C/B Girl as a profession/full time job and a poetry writer as well as modelling and being the face of Award winning product Li’tya (‘of the earth’) 1999-2005 which was used in day spa’s around australia and the world.
Little G has always been active in the Indigenous Community, Hip Hop Community and Theatre Community, Activist Community, and numerous(to many to name) community’s which she felt passionate of their cause’s or was welcomed into over the years. At the same time she joined various traditional dance groups, as well as fliping the script and morphing into a bgirl doing dance shows along side Wicked Force and other break dance crews as well as traveling all over Vic with ‘White Lion’ and as a solo artist doing workshops all over Victoria in schools.
While back home in Melbourne working teaching Hip Hop writing and Mc’ing in Juvenile Justice Malmsbury, Parkville MJJ and the Tasmanian JJ centres in 2002 – 2004, while completing a Diploma in Performance Arts Small Company’s and Community Theatre between 1999 and 2002, she then went on to teach voice and improvisation at Swinburne University in 2003.
while doing gig’s all over VIC along side Richard Franklin, Kutcha Edwards, TZU, Curse of Dialect, Nicky bomba, The Cat Empire just to name a few etc………..
being so busy and in demand Little G turned down various offers of signing to numerous record labels from Australia and International Record company’s while deciding what her next move would be.
After a few years break she came back because of demand of the people and picked up where she left of with her first gig in a year or 2 at the Art Centre, She joined Payback Records loving the idea of an Aboriginal run and owned Record Label
At this moment Little G is no longer an artist of Payback Records but will continue to work with the artists in the future, being her own boss reppin as a solo/freelance artist working with I.H.H.P as a dancer and MC, and Working with The Community Prophets as a trainer in community’s around N.T while doing gig’s in between. Now she’s back in the game and doing what she does best and doin it well.
Little G continues working on her music always writing when she gets the time in between travelling and other projects, her latest achievement was winning the award for Best Female Artist 2010 at the 2nd Indigenous Hip Hop and RnB Bump Awards put on and run by Redfern Records(Based in Sydney) Which was held in Melbourne this year.
check out my myspace/littlegina007 leave a msg dont be shy! xoxo g
In Melbourne, Little G, also know n as the W ogarigine, due to her mixed Greek
and Aboriginal background (her real name is Georgina Christanthopoulos), illustrates
the crossover between Aboriginal and m ulticultural hip hop.

Little G, as George Stavrias has noted in his 2003 H onours
thesis at M elbourne University, has w ritten and perform ed tracks about Aboriginal
deaths in custody as well as the Yorta Yorta tribe, w hich she initially believed was
w here her m other came from, until she discovered otherwise. As Stavrias points out,
Little G ‘s ‘entry into hip hop occurred sim ultaneously w ith her desire to learn about her
Aboriginal heritage’.27 She started exploring her Aboriginal side after she began taking
lessons in Aboriginal Cultural Studies from an elder, but her negotiation of her Aboriginal
identity was a complex and difficult process, com pounded by her mixed heritage
and involving a great deal of anger as she learned about past massacres and the treatm
ent of Aboriginal people throughout Australian history. H ip hop became a m eans of
channeling this anger, as well as encouraging younger Aboriginals to be proud of their
heritage. As she has said:
Hip hop for me is like another form of boxing, except lyrically … The young people
will not learn through schools to be proud of themselves, so if we can do it
through music, or film, or art, that’s the right choice.28
Little G was one of the protagonists of MC Que and Colleen H ughson’s 2004 film
All the Ladies, which profiled six Australian w om en MCs, m ost of whom come from
mixed non-Anglo heritages, and she sometimes perform s with M elbourne m ulticultural
groups Curse ov Dialect and TZU. Nonetheless she feels doubly marginalised
from much of the M elbourne hip hop scene due to her identification with her Aboriginal
heritage, and her association with ‘conscious’ or ‘felafel’ rap:
You get the ockers, the wogs, the felafel rappers which is us, you know on the outside,
the bloody hippies. I don’t ever think I’ll be accepted by everyone, because
I’m indigenous, and they’re all gonna always com pare me w ith overseas. – http://press-files.anu.edu.au/downloads/press/p171301/pdf/article091.pdf
Lil’ G, a half-Greek, half-Aboriginal MC who calls herself the “Wogarigine”
and raps about subjects like the Yorta Yorta tribe and Aboriginal deaths in custody – Tony Mitchell
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’.
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.’
When I started out, I never had any idea of being political 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 political 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 experiences
in life, the things I learnt. So the songs are all sort of truthful.