Outline

Overview

How did the music of enslaved and marginalised people eventually become a dominant force in contemporary popular culture This unit will examine the local reinvention of a wide variety of African American music in communities around the world. From soul and funk in West Africa to ska and reggae in the Caribbean, we will examine how music moves around the world and within local communities to make new forms of meaning.

Unit details and rules

Academic unit	Analysis, History and Cultural Studies
Credit points	6
Prerequisites ?	None
Corequisites ?	None
Prohibitions ?	None
Assumed knowledge ?	None
Available to study abroad and exchange students	Yes

Teaching staff

Coordinator	Charles Fairchild, charles.fairchild@sydney.edu.au

Assessment

The census date for this unit availability is 31 March 2026

Details
Criteria

Type	Description	Weight	Due	Length	Use of AI
Written exam	Final Exam The final exam will be structured very similarly to the weekly quizzes and analysis tests.	30%	Formal exam period	1 hour	AI prohibited
Outcomes assessed:
In-person written or creative task	Musical Analysis Tests You will take two tests meant to give you an opportunity to respond analytically to weekly musical selections.	20%	Multiple weeks	500 to 750 words	AI prohibited
Outcomes assessed:
In-person written or creative task	Weekly Quiz 2 - Early Feedback Task You will take a short quiz each week consisting of 3 to 5 questions	0%	Week 02 Due date: 02 Mar 2026 at 13:00	250 words	AI prohibited
Outcomes assessed:
Written work	Critical Summary Task This is a written essay meant to summarise key analytical and historical concepts.	20%	Week 04 Due date: 16 Mar 2026 at 23:59 Closing date: 17 Apr 2026	1000 words	AI allowed
Outcomes assessed:
In-person written or creative task	Weekly Quizzes (excluding Week 2) You will take a short quiz each week consisting of 3 to 5 questions	20%	Weekly	250 words	AI prohibited
Outcomes assessed:
Contribution	Participation You will be asked to respond to both music and weekly readings.	10%	Weekly	2 hours per week	AI allowed
Outcomes assessed:
= early feedback task ?

Early feedback task

This unit includes an early feedback task, designed to give you feedback prior to the census date for this unit. Details are provided in the Canvas site and your result will be recorded in your Marks page. It is important that you actively engage with this task so that the University can support you to be successful in this unit.

Assessment summary

1: Critical Summary Task

You will be asked to produce a 1000 word critical summary of the first episode of the film Jazz provided to you on Canvas. You will use Arjun Appadurai’s article ‘Disjuncture and Difference in the Global Cultural Economy’ and the materials about this article summarised from our class discussions to write your summary. You will apply the concepts about globalisation and diaspora found in these materials to these film excerpts. You will need to use these author’s major arguments in order to explain how examples from the film illustrate their main ideas. You need to identify and explain how the key concepts each uses and introduces can help us understand this music more completely.

2: Musical Analysis Tests

There will be two musical analysis tests held in class. You will be asked questions about music we have listened to and talked about in class. You will be asked to provide only generally short answers and complete multiple choice questions about the songs presented to you. You will be asked to account for the choices made by the musicians and the sounds they created by finding out as much as you can about the song you have chosen to analyse and interpreting this information within the framework established by the lectures and the course readings discussed in class. Most of the weekly readings will provide you some key background concepts and information so you need to do you reading and incorporate appropriate elements taken form these readings into your understanding.

3: Weekly Quizzes, Attendance, and Participation

You must show up in person to all class sessions, participate in class discussion, and complete all online tasks. Each week you will take a short online quiz after class. The questions will all be about issue addressed directly in class.

4: Final Exam

You will be required to complete a final exam. The questions and tasks on this exam will be of the same type as those from your weekly quizzes and listening tests. They will also be based on the core ideas we address every week in class. Exam questions and tasks can be about any style, genre or tradition of music as well as about the historical and social contexts that produced the music.

5: Early Feedback Task

Assessment criteria

The following assessment criteria are used for written work in this unit of study:

Result name	Mark range	Description
High distinction	85 - 100	Demonstrates high level of initiative in research and reading; sophisticated critical analysis of evidence; high level engagement with theoretical issues, innovative use of reading/research material and impressive command of underlying debates and assumptions; properly documented and written with style, originality and precision.
Distinction	75 - 84	Demonstrates initiative in research and wide, appropriate reading; complex understanding of question and ability to critically review material in relation to underlying assumptions and values; analyses material in relation to empirical and theoretical contexts; properly documented; clear, well-developed structure and argument with some signs of literary style.
Credit	65 - 74	Evidence of broader understanding than pass level; offers synthesis with some critical evaluation of material; coherent argument using a range of relevant evidence; some evidence of independent thought, good referencing. A high credit (70-74) shows some evidence of ability to problematise and think conceptually.
Pass	50 - 64	Written work meets basic requirements in terms of reading/research; relevant material; tendency to descriptive summary rather than critical argument; makes a reasonable attempt to avoid paraphrasing; reasonably coherent structure; often has weaknesses in particular areas, especially in terms of narrow or underdeveloped treatment of question; acceptable documentation.
Fail	0 - 49	Work may fail for any or all of the following reasons: Unacceptable paraphrasing; irrelevance of content; poor spelling; poor presentation; grammar or structure so sloppy it cannot be understood; failure to demonstrate understanding of content; insufficient or overlong word length.

For more information see guide to grades.

Use of generative artificial intelligence (AI)

You can use generative AI tools for open assessments. Restrictions on AI use apply to secure, supervised assessments used to confirm if students have met specific learning outcomes.

Refer to the assessment table above to see if AI is allowed, for assessments in this unit and check Canvas for full instructions on assessment tasks and AI use.

If you use AI, you must always acknowledge it. Misusing AI may lead to a breach of the Academic Integrity Policy.

Visit the Current Students website for more information on AI in assessments, including details on how to acknowledge its use.

Late submission

In accordance with University policy, these penalties apply when written work is submitted after 11:59pm on the due date:

Deduction of 5% of the maximum mark for each calendar day after the due date.
After ten calendar days late, a mark of zero will be awarded.

This unit has an exception to the standard University policy or supplementary information has been provided by the unit coordinator. This information is displayed below:

As per the Sydney Conservatorium of Music resolutions, http://sydney.edu.au/handbooks/conservatorium/rules/faculty_resolutions.shtml (Item 11): (1) It is expected that unless an application for Special Consideration has been approved, students will submit all assessment for a unit of study on the due date specified. If the assessment is completed or submitted within the period of extension, no academic penalty will be applied to that piece of assessment. (2) If an extension is either not sought, not granted or is granted but work is submitted after the extended due date, the late submission of assessment will result in an academic penalty as follows: (a) A penalty of 5% of the maximum mark will be applied per calendar day the assessment is late. (b) After 10 calendar days, mark of zero is given for that assessment.

Academic integrity

The University expects students to act ethically and honestly and will treat all allegations of academic integrity breaches seriously.

Our website provides information on academic integrity and the resources available to all students. This includes advice on how to avoid common breaches of academic integrity. Ensure that you have completed the Academic Honesty Education Module (AHEM) which is mandatory for all commencing coursework students

Penalties for serious breaches can significantly impact your studies and your career after graduation. It is important that you speak with your unit coordinator if you need help with completing assessments.

Visit the Current Students website for more information on AI in assessments, including details on how to acknowledge its use.

Learning support

Simple extensions

If you encounter a problem submitting your work on time, you may be able to apply for an extension of five calendar days through a simple extension.  The application process will be different depending on the type of assessment and extensions cannot be granted for some assessment types like exams.

Special consideration

If exceptional circumstances mean you can’t complete an assessment, you need consideration for a longer period of time, or if you have essential commitments which impact your performance in an assessment, you may be eligible for special consideration or special arrangements.

Special consideration applications will not be affected by a simple extension application.

Using AI responsibly

Co-created with students, AI in Education includes lots of helpful examples of how students use generative AI tools to support their learning. It explains how generative AI works, the different tools available and how to use them responsibly and productively.

Support for students

The Support for Students Policy reflects the University’s commitment to supporting students in their academic journey and making the University safe for students. It is important that you read and understand this policy so that you are familiar with the range of support services available to you and understand how to engage with them.

The University uses email as its primary source of communication with students who need support under the Support for Students Policy. Make sure you check your University email regularly and respond to any communications received from the University.

Learning resources and detailed information about weekly assessment and learning activities can be accessed via Canvas. It is essential that you visit your unit of study Canvas site to ensure you are up to date with all of your tasks.

If you are having difficulties completing your studies, or are feeling unsure about your progress, we are here to help. You can access the support services offered by the University at any time:

Support and Services (including health and wellbeing services, financial support and learning support)
Course planning and administration
Meet with an Academic Adviser

Weekly schedule

WK	Topic	Learning activity
Week 01	Introduction	Lecture (1 hr)
Week 01	Introduction	Tutorial (1 hr)
Week 02	The emergence of jazz in the cosmopolitan Caribbean	Lecture (1 hr)
Week 02	The emergence of jazz in the cosmopolitan Caribbean	Tutorial (1 hr)
Week 03	Singing the gospel in South Africa	Lecture (1 hr)
Week 03	Singing the gospel in South Africa	Tutorial (1 hr)
Week 04	The portside bars of the colonial black Atlantic	Lecture (1 hr)
Week 04	The portside bars of the colonial black Atlantic	Tutorial (1 hr)
Week 05	The popular music of West African independence	Lecture (1 hr)
Week 05	The popular music of West African independence	Tutorial (1 hr)
Week 06	Fela Kuti and the Pan-Africanist popular aesthetic	Lecture (1 hr)
Week 06	Fela Kuti and the Pan-Africanist popular aesthetic	Tutorial (1 hr)
Week 07	The maroon and rhythm and blues roots of ska and reggae	Lecture (1 hr)
Week 07	The maroon and rhythm and blues roots of ska and reggae	Tutorial (1 hr)
Week 08	From ska to rocksteady to rastafari reggae	Lecture (1 hr)
Week 08	From ska to rocksteady to rastafari reggae	Tutorial (1 hr)
Week 09	Rastafari reggae and the spread of the dub aesthetic	Lecture (1 hr)
Week 09	Rastafari reggae and the spread of the dub aesthetic	Tutorial (1 hr)
Week 11	Jamaican dancehall and the spread of hip hop	Lecture (1 hr)
Week 11	Jamaican dancehall and the spread of hip hop	Tutorial (1 hr)
Week 12	Hip hop across the Black Atlantic	Lecture (1 hr)
Week 12	Hip hop across the Black Atlantic	Tutorial (1 hr)
Week 13	The Contemporary Black Atlantic	Lecture (1 hr)
Week 13	The Contemporary Black Atlantic	Tutorial (1 hr)

Attendance and class requirements

Attendance: Students are expected to attend a minimum of 90% of timetabled activities for a unit of study, unless granted exemption by the Dean, Head of School or professor most concerned. The Dean, Head of School or professor most concerned may determine that a student fails a unit of study because of inadequate attendance. Alternatively, at their discretion, they may set additional assessment items where attendance is lower than 90%.

Study commitment

Typically, there is a minimum expectation of 1.5-2 hours of student effort per week per credit point for units of study offered over a full semester. For a 6 credit point unit, this equates to roughly 120-150 hours of student effort in total.

Required readings

Class Schedule and Readings

• Cluster 1: Globalisation, Blackness, and Popular Music •

Week 1–: Introduction.

Week 2–: The Emergence of Jazz in the Cosmopolitan Caribbean.

Readings

Appadurai, A. (1990) ‘Disjuncture and Difference in the Global Cultural Economy.’ Public Culture 2/2: 1–24.

Denning, Michael. (2015) Excerpts from Noise Uprising: The Audiopolitics of a World Music Revolution. New York: Verso.

Film

Jazz, ep. 1

___________________________

Week 3–: Singing the Gospel in South Africa.

Readings

Erlmann, V. (1988) ‘“A Feeling of Prejudice”: Orpheus M. McAdoo and the Virginia Jubiliee Singers in South Africa, 1890-1898.’ Journal of Southern African Studies, 14/3: 331-350.

Songs

God's Unchanging Hand Independence Church

Tryin' to Make Heaven My Home Independence Church

Shout All Over God’s Heaven Fisk Jubilee Singers (ca. 1920)

Joshua Fit The Battle Fisk Jubilee Singers (1993)

Hewu! Kwaqaqamba Amathambo The Crocodiles

Yek' Emarabin Shooting Stars

Ngazula Emagumeni Solomon Linda and Evening Birds

• Cluster 2: Music, Modernity, and ‘The Black Atlantic’ •

Week 4–: The Portside Bars of the Colonial Black Atlantic

Reading

Collins, John. (1989) ‘The Early History of West African Highlife Music.’ Popular Music, vol. 8, no. 3, 221-230.

Liner Notes

Opika Pende: Africa at 78rpm. Dust to Digital.

Marvellous Boy: Calypso From West Africa. Honest Jon's.

Living Is Hard: West African Music In Britain. 1927-1929. Honest Jon's.

Delta Dandies: Dance Bands In Nigeria, 1936-1941. Savannahphone.

Awon Ojise Olorun: Popular Music In Yorubaland 1931-1952. British Library,

Popular Music Ghana 1931-1957. Disques Arion.

Songs

Akuko Nu Bonto George Williams Aingo

Scrubbs Na Marvellous Boy Famous Scrubbs Marvellous Boy

Menenam Black Beats Band

Onua Do A.K. Anang's Band

Oba Imo Kawa Ifon Aseko Players

Oduduwa Rafiu Bankole

Abasi Olubadan Ojo Babajide & His Ibadan Juju Group

Films

Repercussions: A Celebration of African American Music. (Pt. 7 ‘Africa Come Back’)

___________________________

Week 5–: The Popular Music of West African Independence

Readings

Stewart, Gary. (2000) Excerpts from Rumba on the River: A History of the Popular Music of the Two Congos. London: Verso.

Liner Notes

Electric Highlife: Sessions from the Bokoor Studios. Naxos World.

Congo: Rhumba on the River. Discograph.

Highlife on the Move: Nigerian and Ghanaian Recordings from London and Lagos, 1954-66. Soundway.

Songs

Adikwa Na Bana Loningisa Rumba Tolingana

Independence Cha Cha Grand Kalle Et l'African Jazz

Mama Ngai Habanera Grand Kalle Et l'African Jazz

Waytime Ama T.O. Jazz

Owusu Se M'Amma Koo Nimo

Ensuah Nzema Kotoko F. Kenya's Guitar Band

Friends Today, Enemies Tomorrow Beach Scorpions

Films

Repercussions: A Celebration of African American Music. (Pt. 7 ‘Africa Come Back’)

Rhumba in Kinshasa.

___________________________

Week 6–: Fela Kuti and the Pan-Africanist Popular Aesthetic.

Readings

Olaniyan, Tejumola. (2001) ‘The Cosmopolitan Nativist: Fela Anikulapo-Kuti and the Antinomies of Postcolonial Modernity.’ Research in African Literatures 32/2: 76-89.

Stewart, Alexander. (2013) ‘Make It Funky: Fela Kuti, James Brown and the Invention of Afrobeat.’ American Studies, vol. 52, no. 4, 99-118.

Liner Notes

Nigeria Freedom Sounds! Popular Music and the Birth of Independent Nigeria, 1960-63. Liner Notes. Soul Jazz Records. SJR CD341.

Songs

Olufeme Oscar Sulley and the Uhuru Dance Band

Mondo Soul Funky Ebo Taylor and Wuta Wazuri

Sakatumbe African Brothers

Dye Dye Segun Bucknor

Son of January 15th Segun Bucknor

Zombie Fela Kuti

Sorrow, Tears and Blood Fela Kuti

Water Get No Enemy Fela Kuti

I.T.T. Fela Kuti

Film

Fela Kuti: Music is the Weapon

• Cluster 3: African Diaspora Music in the Caribbean •

Week 7–: The Maroon and R&B Roots of Ska and Reggae.

Reading

Putnam, Lara. (2013) Excerpts from Radical Moves: Caribbean Migrants and the Politics of Race in the Jazz Age. Chapel Hill, N.C.: University of North Carolina Press.

Liner Notes

Calypso: Musical Poetry In The Caribbean 1955-69. Soul Jazz Records.

Boogu Yaaga Gal. Heritage Records.

Mento, Not Calypso: The Original Sound of Jamaica. Liner Notes. Fantastic Voyage. FVDD163.

Calypso: Musical Poetry in the Caribbean, 1955-69. Liner Notes. Soul Jazz Records. SJR CD274.

Calypso Pioneers. Rounder Records.

The Story of Jamaican Music. Mango Records.

Mirror to the Soul: Music, Culture, and Identity in the Caribbean, 1920-72. Soul Jazz Records.

Songs

Gee Bongo Lay J.B. Williams Band

Cat-O-Nine Count Zebra & The Seasiders

Mambo La-La Lord Power and His Calypsonians

Slide Mongoose Count Lasher

Etheopia The Jamaican Calypsonians

Oh Carolina Folkes Brothers

___________________________

Week 8–: From Ska to Rocksteady to Rastafari Reggae.

Reading

Heathcott, J. (2003) ‘Urban Space and Working-Class Expressions across the Black Atlantic: Tracing the Routes of Ska.’ Radical History Review. Issue no. 87, 183–206.

Liner Notes

Studio One Ska. Soul Jazz Records.

Studio One Roots. Soul Jazz Records.

The Story of Jamaican Music. Mango Records.

Songs

You’re Wondering Andy and Joey

Arte Bella Ken Boothe & Stranger Cole

Israelites Desmond Dekker

Ba Ba Boom The Jamaicans

Tell It To Me Stranger and Patsy

Meditation Cyclones With Count Ossie

Natty Don't Go Cornell Campbell

Marcus Garvey Burning Spear

Drum Song Devon Russell

Films

Repercussions: A Celebration of African American Music. (Pt. 6 ‘Caribbean Crucible’)

Deep Roots Music

___________________________

Week 9–: Rastafari Reggae and the Spread of the Dub Aesthetic.

Readings

Veal, M. (2007) Excerpts from Dub: Soundscapes and Shattered Songs in Jamaican Reggae.

Manuel, P., and W. Marshall. (2006) ‘The Riddim Method: Aesthetic, Practice, and Ownership in Jamaican Dancehall.’ Popular Music25/3: 447-70.

Liner Notes

Dub: A Journey in Bass Culture. Metro

Songs

Guess Who's Coming To Dinner Black Uhuru

Ali Baba John Holt

Ali Baba Dub King Tubby

One Step Forward Max Romeo

One Step Dub The Upsetters

Brother Marcus Dub King Tubby & The Aggrovators

Jammy A Shine Prince Jammy

King Tubby Meets Rockers Uptown King Tubby and Augustus Pablo

Loving Version The Roots Radics

Film

Dub Echoes

___________________________

• Cluster 4: Hip Hop Goes Global •

Week 11–: Jamaican Dancehall and the Spread of Hip Hop.

Readings

Cooper, Carolyn. (2004) Excerpt from Sound Clash: Jamaican Dancehall Culture at Large. New York: Palgrave Macmillan.

Liner Notes

Dancehall: The Rise of Jamaican Dancehall Culture. Soul Jazz Records.

Songs

Lend Me Your Sixteen Johnny Osbourne

Under Mi Sleng Teng Wayne Smith

Murder She Wrote Chaka Demus & Pliers

Cu Oonuh Reggie Stepper

Pass the Tusheng Peng Frankie Paul

___________________________

Week 12–: Hip Hop Across the Black Atlantic.

Readings

Charry, Eric. (2012) 'A Capsule History of Hip Hop in Africa.' n Charry, E. (ed.) Hip Hop Africa: New African Music in a Globalizing World. Bloomington, In.: University of Indian Press.

Herson, Ben. (2011) ‘A Historical Analysis of Hip-Hop’s Influence in Dakar from 1984-2000.’ American Behavioral Scientist 55/1: 24–35.

Liner Notes

African Underground: The Depths of Dakar. Nomadic Wax.

Songs

Real Woman Fatim

Keep It Real Pato

Niawal Sen Kumpa

Films

Democracy in Dakar

___________________________

Week 13–: 'Congotronics' and the Contemporary Black Atlantic

Readings

'Congotronics International.' (n.d.) SAMA Music and Art. https://www.seattlesacredmusic.com/artist-listings/congotronics-international.

Berlatsky, Noah (2022) 'Congotronics International is a supergroup as big as the world.' Chicago Reader, 27 April. https://chicagoreader.com/music/congotronics-international-supergroup/.

'Kasai All Stars.' (n.d.) 'In the 7th Moon...' http://www.crammed.be/index.php?id=37&rel_id=119.

Songs

Congotronics International. https://congotronicsinternational.bandcamp.com/album/wheres-the-one.

Kasai All Stars. https://kasaiallstars.bandcamp.com/album/in-the-7th-moon-the-chief-turned-into-a-swimming-fish-and-ate-the-head-of-his-enemy-by-magic.

Films

'Konono N°1 - "Lufuala Ndonga".' https://www.youtube.com/watch?v=Los0qjV9Ecg

'Kasai Allstars - "Drowning Goat (Mbuji Mayi)".' https://www.youtube.com/watch?v=my7-WqbCWw8&list=PL3B219D4C315E25BA

Learning outcomes

Learning outcomes are what students know, understand and are able to do on completion of a unit of study. They are aligned with the University's graduate qualities and are assessed as part of the curriculum.

Outcomes
Graduate qualities

At the completion of this unit, you should be able to:

LO1. communicate their interpretations of a given set of ideas from weekly readings
LO2. construct evidence-based, interpretive arguments about music and present them in written form
LO3. construct inventive and grounded interpretations of music through the use of a range of materials across several disciplines

Graduate qualities

The graduate qualities are the qualities and skills that all University of Sydney graduates must demonstrate on successful completion of an award course. As a future Sydney graduate, the set of qualities have been designed to equip you for the contemporary world.

GQ1	Depth of disciplinary expertise Deep disciplinary expertise is the ability to integrate and rigorously apply knowledge, understanding and skills of a recognised discipline defined by scholarly activity, as well as familiarity with evolving practice of the discipline.
GQ2	Critical thinking and problem solving Critical thinking and problem solving are the questioning of ideas, evidence and assumptions in order to propose and evaluate hypotheses or alternative arguments before formulating a conclusion or a solution to an identified problem.
GQ3	Oral and written communication Effective communication, in both oral and written form, is the clear exchange of meaning in a manner that is appropriate to audience and context.
GQ4	Information and digital literacy Information and digital literacy is the ability to locate, interpret, evaluate, manage, adapt, integrate, create and convey information using appropriate resources, tools and strategies.
GQ5	Inventiveness Generating novel ideas and solutions.
GQ6	Cultural competence Cultural Competence is the ability to actively, ethically, respectfully, and successfully engage across and between cultures. In the Australian context, this includes and celebrates Aboriginal and Torres Strait Islander cultures, knowledge systems, and a mature understanding of contemporary issues.
GQ7	Interdisciplinary effectiveness Interdisciplinary effectiveness is the integration and synthesis of multiple viewpoints and practices, working effectively across disciplinary boundaries.
GQ8	Integrated professional, ethical, and personal identity An integrated professional, ethical and personal identity is understanding the interaction between one’s personal and professional selves in an ethical context.
GQ9	Influence Engaging others in a process, idea or vision.

Outcome map

Learning outcomes	Graduate qualities
Learning outcomes

Responding to student feedback

This section outlines changes made to this unit following staff and student reviews.

NO INFORMATION ENTERED HERE YET

Disclaimer

Important: the University of Sydney regularly reviews units of study and reserves the right to change the units of study available annually. To stay up to date on available study options, including unit of study details and availability, refer to the relevant handbook.

To help you understand common terms that we use at the University, we offer an online glossary.

Current students

Overview

Overview

Unit details and rules

Teaching staff

Assessment

Assessment

Early feedback task

Assessment summary

Assessment criteria

Use of generative artificial intelligence (AI)

Late submission

Academic integrity

Learning support

Learning support

Simple extensions

Special consideration

Using AI responsibly

Support for students

Weekly schedule

Weekly schedule

Attendance and class requirements

Study commitment

Required readings

Learning outcomes

Learning outcomes

Graduate qualities

Outcome map

Responding to student feedback

Responding to student feedback

Disclaimer

On this page

Useful links

MUSC2666: Global Sound: Drum and Bass, Rhythm and Soul

Semester 1, 2026 [Normal day] - Camperdown/Darlington, Sydney

Overview

Overview

Unit details and rules

Teaching staff

Assessment

Assessment

Early feedback task

Assessment summary

Assessment criteria

Use of generative artificial intelligence (AI)

Late submission

Academic integrity

Learning support

Learning support

Simple extensions

Special consideration

Using AI responsibly

Support for students

Weekly schedule

Weekly schedule

Attendance and class requirements

Study commitment

Required readings

Learning outcomes

Learning outcomes

Graduate qualities

Outcome map

Responding to student feedback

Responding to student feedback

Disclaimer

On this page

Useful links