In "Phonographies", Weheyliye explains how new sound technologies used in hip hop encourage "diasporic citizenship" and African-American cultural and political activities. Gilroy states that the "power of hop music in developing black struggles by communicating information, organizing consciousness, and testing out or deploying ... individual or collective" forms of African-American cultural and political actions. In the third chapter of "The Black Atlantic", "Jewels Brought from Bondage: Black Music and the Politics of Authenticity", Gilroy asserts that these elements influence the production of and the interpretation of black cultural activities. What Gilroy calls the "Black Atlantic" music's rituals and traditions are a more expansive way of thinking about African-American "blackness", a way that moves beyond contemporary debates around essentialist and anti-essentialist arguments. As such, Gilroy states that music has been and remains a central staging ground for debates over the work, responsibility, and future role of black cultural and artistic production.