[1]
Fabian Holt, ‘Chapter 1: Introduction’, in Genre in Popular Music, University of Chicago Press, 2007. [Online]. Available: https://ebookcentral.proquest.com/lib/vuw/detail.action?docID=686254
[2]
T. Rose, ‘Introduction’, in The hip hop wars: what we talk about when we talk about hip hop--and why it matters, New York: BasicCivitas, 2008.
[3]
J. A. Williams, Ed., ‘Chapter 1: MC Origins : Rap and Spoken Word Poetry’, in The Cambridge companion to hip-hop, Cambridge: Cambridge University Press, 2015. [Online]. Available: https://doi.org/10.1017/CCO9781139775298
[4]
M. Forman, The ’hood comes first: race, space, and place in rap and hip-hop. Middletown, Conn: Wesleyan University Press, 2002.
[5]
Mark Katz, ‘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, 2012. [Online]. Available: https://ebookcentral.proquest.com/lib/vuw/detail.action?docID=886549
[6]
Shelley Brunt , and Geoff Stahl, ‘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, 2018. [Online]. Available: https://ebookcentral.proquest.com/lib/vuw/reader.action?docID=5398326&ppg=184
[7]
M. Oware, ‘Brotherly Love: Homosociality and Black Masculinity in Gangsta Rap Music’, Journal of African American Studies, vol. 15, no. 1, pp. 22–39, Mar. 2011, doi: 10.1007/s12111-010-9123-4.
[8]
O. Kautny, ‘Lyrics and flow in rap music’, in The Cambridge Companion to Hip-Hop, J. A. Williams, Ed. Cambridge: Cambridge University Press, 2015, pp. 101–117. doi: 10.1017/CCO9781139775298.011.
[9]
Dyson, Michael Eric, ‘It’s Trendy to Be the Conscious MC’, in Know What I Mean? : Reflections on Hip-Hop, Basic Books, 2007. doi: 10.1016/.
[10]
Grem, Darren E., ‘“The South got something to say”: Atlanta’s dirty South and the Southernization of Hip Hop America.’, Southern Cultures, vol. 12, no. 4, pp. 55–73, 2013, [Online]. Available: https://go.gale.com/ps/i.do?p=AONE&u=vuw&id=GALE%7CA155871520&v=2.1&it=r
[11]
T. Rose, ‘Hip Hop Demeans Women’, in The hip hop wars: what we talk about when we talk about hip hop--and why it matters, New York: BasicCivitas, 2008. [Online]. Available: https://www.fulcrum.org/epubs/70795816m?locale=en#/6/250[xhtml00000125]!/4/1:0
[12]
ERIC CHARRY, ‘A Capsule History of African Rap’, [Online]. Available: https://www.jstor.org/stable/j.ctt16gz8kj.4?refreqid=excelsior%3Af2008ffa8b6b912a802f84431f8b7356&seq=1#metadata_info_tab_contents
[13]
D. Elflein, ‘From Krauts with attitudes to Turks with attitudes: some aspects of hip-hop history in Germany’, Popular Music, vol. 17, no. 3, pp. 255–265, Oct. 1998, doi: 10.1017/S0261143000008539.
[14]
‘View of The Great Hip Hop Grant Scandal’, [Online]. Available: https://ojs.victoria.ac.nz/jnzs/article/view/136/87
[15]
A. K. Henderson, ‘Dancing Between Islands’:, in The Vinyl Ain’t Final, D. Basu and S. J. Lemelle, Eds. Pluto Press, 2015, pp. 180–199. doi: 10.2307/j.ctt18mbd22.17.
[16]
E. G. Armstrong, ‘Eminem’s Construction of Authenticity’, Popular Music and Society, vol. 27, no. 3, pp. 335–355, Sep. 2004, doi: 10.1080/03007760410001733170.
[17]
Edited by Justin D. Burton and Jason Lee Oakes, ‘"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, [Online]. Available: https://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780190281090.001.0001/oxfordhb-9780190281090-e-27
[18]
Michael Eric Dyson, ‘Culture, Rhetoric, Crack, and the Politics of Hip Hop’, in Know What I Mean?: Reflections on Hip-Hop, Civitas Books.
