Armstrong, E. G. (2004). Eminem’s Construction of Authenticity. Popular Music and Society, 27(3), 335–355. https://doi.org/10.1080/03007760410001733170
Dyson, Michael Eric. (2007). It’s Trendy to Be the Conscious MC. In Know What I Mean? : Reflections on Hip-Hop. Basic Books. https://doi.org/10.1016/
Edited by Justin D. Burton and Jason Lee Oakes. (n.d.). "I Still Don’t Understand Award Shows”: Kanye West and Hip Hop Celebrity in the Twenty-First Century. In The Oxford Handbook of Hip Hop Music. https://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780190281090.001.0001/oxfordhb-9780190281090-e-27
Elflein, D. (1998). From Krauts with attitudes to Turks with attitudes: some aspects of hip-hop history in Germany. Popular Music, 17(3), 255–265. https://doi.org/10.1017/S0261143000008539
ERIC CHARRY. (n.d.). A Capsule History of African Rap. https://www.jstor.org/stable/j.ctt16gz8kj.4?refreqid=excelsior%3Af2008ffa8b6b912a802f84431f8b7356&seq=1#metadata_info_tab_contents
Fabian Holt. (2007). Chapter 1: Introduction. In Genre in Popular Music. University of Chicago Press. https://ebookcentral.proquest.com/lib/vuw/detail.action?docID=686254
Forman, M. (2002). The ’hood comes first: race, space, and place in rap and hip-hop. In Old School Geography: From the Disco to the Street. Wesleyan University Press.
Grem, Darren E. (2013). ‘The South got something to say’: Atlanta’s dirty South and the Southernization of Hip Hop America. Southern Cultures, 12(4), 55–73. https://go.gale.com/ps/i.do?p=AONE&u=vuw&id=GALE%7CA155871520&v=2.1&it=r
Henderson, A. K. (2015). Dancing Between Islands: In D. Basu & S. J. Lemelle (Eds.), The Vinyl Ain’t Final (pp. 180–199). Pluto Press. https://doi.org/10.2307/j.ctt18mbd22.17
Kautny, O. (2015). Lyrics and flow in rap music. In J. A. Williams (Ed.), The Cambridge Companion to Hip-Hop (pp. 101–117). Cambridge University Press. https://doi.org/10.1017/CCO9781139775298.011
Mark Katz. (2012). Out of the Bronx and into the Shadows: 1978-1983. In Groove Music : The Art and Culture of the Hip-Hop DJ. Oxford University Press USA - OSO. https://ebookcentral.proquest.com/lib/vuw/detail.action?docID=886549
Michael Eric Dyson. (n.d.). Culture, Rhetoric, Crack, and the Politics of Hip Hop. In Know What I Mean?: Reflections on Hip-Hop. Civitas Books.
Oware, M. (2011). Brotherly Love: Homosociality and Black Masculinity in Gangsta Rap Music. Journal of African American Studies, 15(1), 22–39. https://doi.org/10.1007/s12111-010-9123-4
Rose, T. (2008a). Hip Hop Demeans Women. In The hip hop wars: what we talk about when we talk about hip hop--and why it matters. BasicCivitas. https://www.fulcrum.org/epubs/70795816m?locale=en#/6/250[xhtml00000125]!/4/1:0
Rose, T. (2008b). Introduction. In The hip hop wars: what we talk about when we talk about hip hop--and why it matters. BasicCivitas.
Shelley Brunt , and Geoff Stahl. (2018). Giving Back in Wellington: Deep Relations, Whakapapa and Reciprocity in Transnational Hip Hop. In Made in Australia and Aotearoa/New Zealand : Studies in Popular Music. Routledge. https://ebookcentral.proquest.com/lib/vuw/reader.action?docID=5398326&ppg=184
View of The Great Hip Hop Grant Scandal. (n.d.). https://ojs.victoria.ac.nz/jnzs/article/view/136/87
Williams, J. A. (Ed.). (2015). Chapter 1: MC Origins : Rap and Spoken Word Poetry. In The Cambridge companion to hip-hop. Cambridge University Press. https://doi.org/10.1017/CCO9781139775298
