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1

Koviloski, Aleksandar. Hip Hop Recnik: HIP-HOP DICTIONARY (first english-macedonian hip-hop dictionary). Sovremenost, 2008.

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2

Painting without permission: Hip-hop graffiti subculture. Bergin & Garvey, 2002.

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3

Rychła, Joanna. Ucieczka, bunt, twórczość: Subkultura hip-hopowa w poszukiwaniu autentycznego stylu życia. "Impuls", 2005.

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4

Koviloski, Aleksandar. Aspekti na makedonskata urbana kultura: Hip Hop Makedonija. Sovremenost, 2005.

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5

DEFinition: The art and design of hip-hop. Collins Design, 2008.

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6

Gordon, Stephen G. Jay-Z: CEO of hip-hop. Twenty-First Century Books, 2012.

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7

Rose, Tricia. The hip hop wars: What we talk about when we talk about hip hop. BasicCivitas, 2008.

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8

Irarrázabal, Gricelda Figueroa. Sueños enlatados: El graffiti hip hop en Santiago de Chile. Editorial Cuarto Propio, 2006.

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9

Rodrigo, Ganter, ed. Culturas juveniles, narrativas minoritarias y estéticas del descontento. Ediciones UCSH, 2002.

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10

undifferentiated, John Leland. Hip. HarperCollins, 2008.

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11

Hip: The history. HarperCollins, 2004.

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12

Alin, Rus, and Petean Mircea, eds. Made in Romania: Subculturi urbane la sfârșit de secol XX și început de secol XXI. Editura Limes, 2005.

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13

Bomb the suburbs. 2nd ed. Soft Skull Press, 2000.

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14

Wimsatt, William Upski. Bomb the suburbs. 2nd ed. Subway and Elevated Press, 1994.

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15

Subcultura e lingua giovanile in Italia: Hip-hop e dintorni. Aracne, 2004.

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16

That's the joint! : the hip-hop studies reader. Routledge, 2004.

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17

Cossart, Axel von. (Anti-) Mode: --Beatniks, Hippies, Punks, Hip Hopper--. Voco-Edition, 1995.

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18

Performing identity/performing culture: Hip hop as text, pedagogy, and lived. P. Lang, 2009.

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19

Performing identity/performing culture: Hip hop as text, pedagogy, and lived practice. P. Lang, 2001.

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20

Kitwana, Bakari. The hip hop generation: Young Blacks and the crisis in African American culture. Basic Civitas Books, 2002.

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21

Kitwana, Bakari. The hip hop generation: Young Blacks and the crisis in African American culture. Basic Civitas Books, 2002.

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22

O'Connor, Patrick Joseph. Moody's Skidrow Beanery: Kansas underground from beat to hip. Rowfant Press, 1999.

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23

The conquest of cool: Business culture, counterculture, and the rise of hip consumerism. University of Chicago Press, 1997.

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24

Hip Hop Kniga. Prosvetno delo, 2007.

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25

Purists and Peripherals: Hip-Hop and Grime subcultures. The Tufnell Press, 2017.

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26

The Hip Hop Wars. Perseus Books Group, 2009.

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27

Gordon, Stephen G. Jay-Z: CEO of Hip-Hop. Lerner Publishing Group, 2013.

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28

Pabón-Colón, Jessica Nydia. Graffiti Grrlz. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479806157.001.0001.

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Since the dawn of Hip Hop graffiti writing in the late ‘60s, graffiti writers have inscribed their tag names on cityscapes across the globe to claim public space and mark their presence. In the absence of knowing the writer’s identity, the onlooker’s imagination defaults to the gendered, classed, and racialized conventions framing a public act that requires bodily strength and a willingness to take legal, social, and physical risks. Graffiti subculture is thus imagined as a “boys club” and consequently the graffiti grrlz fade from the social imagination. Utilizing a queer feminist perspective,
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29

Is this real?: Die Kultur des HipHop. Suhrkamp, 2003.

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30

The Hip-Hop Underground and African American Culture: Beneath the Surface. Palgrave Macmillan, 2014.

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31

The Hip-Hop Underground and African American Culture: Beneath the Surface. Palgrave Macmillan, 2015.

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32

undifferentiated, John Leland. Hip: The History. Ecco, 2004.

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33

undifferentiated, John Leland. Hip: The History. Ecco, 2004.

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34

Hip: The History (P.S.). Harper Perennial, 2005.

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35

undifferentiated, John Leland. Hip: The History (P.S.). Harper Perennial, 2005.

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36

Wimsatt, William Upski. Bomb the Suburbs: Graffiti, Race, Freight-Hopping and the Search for Hip-Hop's Moral Center. Soft Skull Press, 2008.

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37

Williams, Justin A. Brithop. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190656805.001.0001.

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Brithop investigates rap music’s politics in the twenty-first-century United Kingdom. In it, the author argues that this music is partly an extension of, or often a counter to, political discourses happening in other realms of British society. These rappers are essentially responding through rap to mainstream Britain’s political discourses. The rappers in this book critique the United Kingdom’s more conservative narratives, and they express their relationship to Britain in the politically turbulent climate of the new century, providing valuable perspectives which can go unnoticed by those skep
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38

Wimsatt, William Upski. Bomb the Suburbs. Subway & Elevator Press, 1995.

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39

Wimsatt, William Upski. Bomb the Suburbs. Soft Skull Press, 2001.

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40

Vidal Arizabaleta, Martha. Hibridación cultural en el hip hop como subcultura urbana. Universidad EAN, 2010. http://dx.doi.org/10.21158/9789588153940.

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41

My rules. 2014.

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42

Nelson, George, ed. Fresh, hip hop don't stop. Random House, 1985.

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43

Estilo subcultural en Pereira : la moda / vestido en el Hip Hop / Punk / Metal - 1. ed. Fundación Universitaria del Área Andina, 2013.

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44

Kitwana, Bakari. The Hip Hop Generation: Young Blacks and the Crisis in African American Culture. Basic Civitas Books, 2003.

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45

Frank, Thomas. The Conquest of Cool: Business Culture, Counterculture, and the Rise of Hip Consumerism. University Of Chicago Press, 1998.

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