‘Hip-Hop Is History' by Questlove

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Hip Hop is History by Questlove

The new book by Questlove, prominent hip-hop figure and drummer for The Roots, features memoir-style stories from his own life narrating the growth of hip-hop as a genre, combined with a consistent thread of historical touchstones through big names, songs, and albums. Through Questlove’s eyes as a child growing up with hip-hop, readers both familiar with and estranged from the genre will intrigue and fascination in the winding road he traces.

The book is organized into distinct eras, moving from the late ‘70s to present day, through a comprehensive catalog of specific moments or innovations in hip-hop. Questlove also references and credits other genres that would feed into hip-hop over the years, subdividing the genre into distinct sounds.

Questlove details the early days of hip-hop with Sugar Hill Records in New York. He recalls the groundbreaking “Rapper’s Delight,” and how consumption and understanding of early hip-hop tracks became a sort of social currency for him as a young boy: to know the lyrics of a song debuted on TV the night before or to have a tape of a song from the local R&B station at school the next day. He tracks hip-hop’s connection with DJ culture, which led to significant music production innovations and an early intertwining with club culture. He showcases uses of hip-hop as a political artform, beginning with “The Message.” Questlove furthers, “The hip-hop stars of the late eighties weren’t just witnesses to the plague that was gutting their communities. They were also the children of the SNCC and Black Panther activists of the sixties.”

This political action would not be complete without reference to Tipper Gore’s Parents Music Resource Center and immediate white discomfort with the music genre predominantly comprised of Black and brown voices. Questlove shines a light on patron saints of the genre, such as Run DMC, Prince, Lauryn Hill, and The Wu-Tang Clan. He also notes moments when more recent stars entered the ring, including Eminem, J Dilla, Nicki Minaj, and Tyler the Creator. One would be remiss to address recent stars without noting Kanye West, who Questlove cautiously yet scathingly describes as “a provocateur” through his observation of West’s career trajectory.

Overall, the book is both detailed and entertaining, allowing space for both the textbook history as well as Questlove’s personal commentary. Readers who grew up invested in the genre will resonate with the book and look back at both the good times and bad times, while newer listeners will learn a great deal very quickly. It is heavy on name-drops and musical references, so be prepared to use the index of tracks at the back of the book to create a “Must-Listen” playlist. His love for the genre runs deep, evidenced by his decades-old record collection and continuous devotion to sustained production and innovation in the world of hip-hop. This passion also inspires his unique perspective and, at times, critique of major hip-hop moments or associations—including the infamous Biggie/Tupac rivalry, ebbs and flows in musicians’ substance abuse, machismo culture and varied manifestations of racism from white audiences. Satisfyingly, he allows this commentary to sit side by side: the joy, the heartbreak, and all that lies in between.