¹ Kajikawa, Loren, “Leaders of the New School? Music Departments, Hip-Hop, and the Challenge of Significant Difference,” Twentieth-Century Music 18, no. 1 (2021): 45–64. doi: 10.1017/S1478572220000262CrossRefGoogle Scholar.

² To watch the series, one must have a Netflix subscription. Many users canceled their subscriptions in late 2021 and early 2022 in protest of transphobic content on the platform and its treatment of LGBTQ+ employees, and thus might not have access to this show (see e.g., Jon Blistein, “Trans Employees and Allies at Netflix Plan Walkout in Protest of Dave Chappelle's ‘The Closer,’” RollingStone.com, October 20, 2021, https://www.rollingstone.com/tv/tv-news/netflix-trans-employees-walkout-protest-dave-chappelle-the-closer-1241802/). Subscriber numbers have also declined due to competition from other services, increases in subscription costs, and other reasons. See Nicole Sperling, “Netflix loses subscribers for first time in 10 years,” New York Times, April 19, 2022, https://www.nytimes.com/2022/04/19/business/netflix-earnings-q1.html?smid=url-share.

³ For more on these allegations, see Leila Wills’ podcast, Trapped in a Culture, 2020, https://open.spotify.com/show/7IFHhgOlYyRauZSwzu1brS.

⁴ Morgan, Joan, When Chickenheads Come Home to Roost: A Hip-Hop Feminist Breaks It Down (New York: Simon & Schuster, 1999)Google Scholar.

⁵ Gaunt, Kyra, The Games Black Girls Play: Learning the Ropes From Double-Dutch to Hip-Hop (New York: New York University Press, 2006)Google Scholar; Rose, Tricia, Black Noise: Rap Music and Black Culture in Contemporary America (Middletown, CT: Wesleyan University Press, 1994)Google Scholar; Smalls, Shanté, “Queer Hip Hop: A Brief Historiography,” in The Oxford Handbook of Music and Queerness, eds. Maus, Fred Everett and Whiteley, Sheila, published online September 2018, doi: 10.1093/oxfordhb/9780199793525.013.103Google Scholar; and Keyes, Cheryl L., Rap Music and Street Consciousness (Urbana: University of Illinois Press, 2002)Google Scholar.