Rose, T. The Hip Hop Wars (New York: Basic Civitas, 2008).
Wood, A. ‘ “Original London style”: London Posse and the Birth of British Hip Hop’, Atlantic Studies 6, no. 2 (2009): 175–90.
On realism/naturalism
Fisher, Mark. Capitalist Realism: Is There No Alternative? (Ropely: Zero Books, 2009).
Innes, Christoper. A Sourcebook on Naturalist Theatre (London: Routledge, 2000).
Lay, Samantha. British Social Realism: From Documentary to Brit Grit (London: Wallflower, 2002).
Vanden Heuvel, Michael. ‘Complementary Spaces: Realism, Performance and a New Dialogics of Theatre’, Theatre Journal 44, no. 1 (1992): 47–58.
Williams, Raymond. ‘A Lecture on Realism’, Screen 18, no. 1 (1977): 61–74.
On gentrification
Harris, Andrew. ‘Art and Gentrification: Pursuing the Urban Pastoral in Hoxton, London’, Transactions of the Institute of British Geographers 37, no. 2 (2012): 226–41.
Lees, Loretta, Tom Slater and Elvin Wyly. Gentrification (London: Routledge, 2007).
Minton, Anna. Big Capital: Who Is London For? (London: Penguin, 2017).
Minton, Anna, Alberto Dumna, Malcolm James and Dan Hancox. Regeneration Songs (London: Repeater Books, 2018).
Pritchard, Stephen. ‘Artwashing: Social Capital and Anti-gentrification Activism’, Colouring in Culture, 17 June 2017, http://colouringinculture.org/blog/artwashingsocialcapitalantigentrification [accessed 1 February 2018].
Notes
Context
1 Pages 32–33.
2 Page 62.
3 Pages 48–49.
4 Chris Richardson, ‘Making “Changes”: 2pac, Nas and the Habitus of the Hood’, in Habitus of the Hood, ed. Chris Richardson and Hans A. Skott-Myhre (Bristol: Intellect, 2012), 193–214.
5 See CHRONOLOGY section of this introduction.
6 Page 44.
7 Pages 70–71.
8 Page 42.
9 Tom Slater, ‘Gentrification of a City’, https://www.geos.ed.ac.uk/homes/tslater/gotcbridgewatson.pdf [accessed 10 February 2019].
10 Jen Harvie, Fair Play: Art, Performance and Neoliberalism (Basingstoke: Palgrave Macmillan, 2013), 119–127.
11 Arinzé Kene, Misty (London: Nick Hern Books, 2018).
Form and Genre
1 Katie Beswick, Social Housing in Performance: The English Council Estate On and Off Stage (London: Methuen Drama, 2019), 111.
2 Christina Zanfagna, ‘Under the Blasphemous W(RAP): Locating the “Spirit” in Hip-Hop’, Pacific Review of Ethnomusicology 12 (2006), https://ethnomusicologyreview.ucla.edu/journal/volume/12/piece/507 [accessed 10 February 2019].
3 Page 28.
4 Pages 65–66.
5 The term ‘iambic pentameter’ describes a line of verse, usually with ten syllables, where the speaker stresses the beat on every second syllable. For example, ‘But, soft! what light through yonder window breaks?’
6 Harry Elm, ‘Revising the Past, Pushing into the Future’, American Theatre (2004), quoted in Nicole Hodges Persley, ‘Hip-Hop Theatre and Performance’, in The Cambridge Companion to Hip-Hop (Cambridge: Cambridge University Press, 2015), 85–98.
7 ‘Hip hop and Shakespeare? Akala at TEDXAldeburgh’, TEDXTalks, YouTube, https://www.youtube.com/watch?v=DSbtkLA3GrY [accessed 7 February 2019].
8 Ibid.
9 Kris Haamer ‘The Function of the Chorus in Greek Drama’ (2019), http://krishaamer.com/function-chorus-greek-drama/ [accessed 7 February 2019].
10 Raymond Williams, Culture and Materialism (London: Verso, 1980), 127.
11 Page 27.
12 See, for example, Michael Vanden Heuvel, ‘Complementary Spaces: Realism, Performance and a New Dialogics of Theatre’, Theatre Journal 41, no. 1 (1992): 47–58.
Themes
1 Caryl Churchill, Serious Money (London: Methuen Drama, 2002).
2 Lucy Prebble, Enron (London: Methuen Drama, 2009).
3 Page 33.
4 Gary Owens, Iphigenia in Splott (London: Oberon Books, 2015).
5 Tom Wicker, ‘Iphigenia in Splott review at the National’s Temporary Theatre London – “blisteringly powerful” ’, The Stage, 30 January 2016, https://www.thestage.co.uk/reviews/2016/iphigenia-in-splott-review-at-the-nationals-temporary-theatre-london-blisteringly-powerful/ [accessed 11 February 2019].