Disclosure: I received a review copy of this book in exchange for my honest opinion.
Admittedly, Iām not much of a hip-hop listener so it might come as a surprise that I’m reviewing this book. I am a boomer when it comes to music and I donāt know what is popular these days, but I do know that one of the dominant genres in the present day is hip-hop. You canāt go anywhere without seeing or hearing hip-hop. A lot of people think itās a rather new genre, but really it started as we know it 50 years ago, but I believe that there were previous forms of hip-hop, ancestors you might say, like talking blues, spoken word recordings, or Jamaican toasting.
The Jubalairesā 1946 recording āNoahā has been dubbed on TikTok as Season 1 Episode 1 of hip-hop. Itās a banger, and Iām a hardcore atheist who knows nothing about the Bible. Other songs that come to mind are various Bob Dylan talking blues songs, Loveās āBummer in the Summerā, Jefferson Airplaneās āPlastic Fantastic Loverā, and of course Gil Scott-Heronās āThe Revolution Will Not Be Televisedā.
Back to what I said at the very beginning, I am a classic rock blogger and historian so what am I doing talking about hip-hop? Part of my mission here at The Diversity of Classic Rock is to not limit myself. I always try to keep an open mind and I donāt want to limit myself to just classic rock since that would get boring and same-y pretty quickly, so when I saw that there was an opportunity to review Questloveās new book Hip-Hop Is History I jumped on it, pardon the pun.
Itās a sequel of sorts to his 2021 book Music Is History, which looks at the history of mid-late 20th century popular music through a historical lens. As someone with a big interest in history, I was eager to read this book and find out more about this vibrant, influential genre. Iām ready to get an education on hip-hop! That’s why I don’t look down upon newbies to rock and roll. There’s a lot of curious minds out there and I want to encourage curiosity, getting out of your comfort zone, and trying new things. The best artists aren’t stagnant, they’re ever-evolving. Curiosity is an intelligent trait and a good trait to have. Hip-hop and rock music may be two totally different aesthetics and styles of music, but through this book Iāve found out that they have a lot more in common than we would initially think. Like I say in my blogās tagline, it really is really more than meets the eye and ear. What I try to do here on this blog is build understanding and bridges between things that you may not think are similar. Through this, I want to open my mind as well as your mind.
Why 50 years ago? Well, in the intro, Questlove explains that one origin story of hip-hop was a party in August 1973 in New York hosted by Kool Hercās sister. The book is divided into chapters that focus on different eras with most of the chapters focusing on a 5 year period: 1982-1987, 1987-1992, 1992-1997, 1997-2002, 2002-2007, 2007-2012, 2012-2017, and 2017-2022.
The first section of the book focuses on the years of 1979-1982: the birth of hip-hop. What famous pioneering hip-hop song came out in 1979? Sugar Hill Gangās āRapperās Delightā, which samples Chicās disco hit āGood Timesā and was released on Sylvia Robinsonās record label, Sugar Hill Records, named after a posh part of Harlem. Sylvia Robinson was a well-established name in the music industry at that point. A little over 20 years before that, she was in an R&B duo with Mickey Baker and they got a chart topper with a Bo Diddley composition called āLove Is Strangeā. That song was famously covered by Buddy Holly and the āhow do you call your lover boyā line was referenced in The New York Dolls song āTrashā.
Like Iāve said many times on this blog and Questlove says in the book, the music of the present builds upon the music of the past, like Legos. You couldnāt have hip-hop without the music that came before it and disco, funk, and R&B were major influences on hip-hop. For Questlove, hearing āRapperās Delightā was like kids in the 50s listening to Bill Haleyās āRock Around The Clockā or Elvis Presleyās āHound Dogā. From there, Questlove got into other rap music and he lists some songs he loves. Keep your favourite streaming service or YouTube handy and queue up these songs as youāre reading the book for the best experience.
Kurtis Blow also made history in 1979 as the first rapper to sign with a major record label. His debut single was āChristmas Rappināā but his first chart hit was āThe Breaksā, released in 1980. Not long after that, you had white rock musicians trying their hand at hip-hop like Blondie with āRaptureā, The Clash with āThe Magnificent Sevenā, and The Tom Tom Club with āGenius of Loveā and āWordy Rappinghoodā. The bassline for Queenās āAnother One Bites The Dustā was inspired by Chicās āGood Timesā – John Deacon is a big fan of R&B and funk and with his favourite band being Tower of Power, some people in the Queen fandom have dubbed him Disco Deaky. He even tried his hand at hip-hop in 1983, playing bass on Man Friday & Jive Juniorās āPicking Up Soundsā. And of course we canāt forget how Aerosmith teamed up with Run DMC for a remake of āWalk This Wayā.
Want another shocking fact about hip-hop? Did you know that it has British roots? Thatās right! The song considered hip-hopās national anthem āApacheā was originally an instrumental rock song written by Jerry Jordan and performed by The Shadows, who were Britainās answer to The Ventures. So cool to see the cultural exchange in music! That’s right, that hip-hop classic would not exist without this 60s guitar instrumental.
When you really think about it, early hip-hop has some similarities to socially conscious R&B of the 60s and 70s like The Impressionsā āKeep On Pushingā or Marvin Gayeās Whatās Going On and folk and rock protest music of the 60s (Phil Ochsā discography, Buffalo Springfield’s “For What It’s Worth” – famously sampled by Akon in his hit “Bananza”), or leftist punk music (The Clash, Patti Smith, Dead Kennedys). Even if hip-hop isnāt your thing, itās important to appreciate the roots of hip-hop – there were socially conscious songs like Grandmaster Flash & The Furious Fiveās āThe Messageā and āWhite Lines (Donāt Do It)ā or Public Enemyās āFight The Powerā or NWAās āFuck Tha Policeā. People really arenāt that different after all. The Reagan years were when a lot of todayās social problems started, those neoliberal policies that screwed over the working class, the statistics and charts say it all, just look at what happened from the 80s onwards, I rest my case. Music was one way that young people made themselves heard because there’s not a lot of young people in politics, let’s be honest.
The second chapter of the book focuses on the years 1982-1987, when hip-hop starts to take off. You got crossovers with electronic music with Afrika Bambaataaās āPlanet Rockā sampling Kraftwerkās āTrans Europe Expressā. Afrika Bambaataa also collaborated with the Godfather of Soul James Brown. R&B, Soul, and Funk were the basis of hip-hop with a lot of hip-hop songs even to this day sampling 60s and 70s R&B, soul, and funk. Run DMCās crossover with rock music didnāt actually begin with Aerosmith and I’ve learnt that through this book. Two years before they collaborated on their breakthrough version of āWalk This Wayā (this collab broke down barriers and from there more hip-hop musicians started getting airplay on MTV and they became the first rappers to be on the cover of Rolling Stone), they released āRock Boxā, which heavily featured Eddie Martinez on guitar. Their inspiration came from hearing heavy metal band Riot playing while waiting for their turn in the studio.
Much like rock and roll, hip-hop wasnāt taken seriously by the establishment at first and was seen as a fad and not serious. Some people donāt even consider rap music because thereās no guitars or singing in it and I think thatās a closed minded attitude to have. So it shouldnāt come as a surprise that the charts were still segregated and you wouldnāt see much hip-hop in the Billboard Hot 100 in those days. The Grammys didnāt have a rap category until the 90s (similarly, rock and roll was not a Grammy category until the 90s so during classic rockās glory days these musicians got little to no recognition by the Recording Academy unless their music was poppy enough and appealed to those old fogeys there. You want another similarity? Just like punkās simplicity was a response to the excesses of glam rock and prog rock and grunge was a response to glam metal, hip-hopās simplicity and minimalism was a response to the flashiness of disco. Thereās even a similarity again in Tipper Goreās reaction to āsexualā or āviolentā lyrics in R&B and rap just like parents in the 60s freaked out over the garage rock standard āLouie Louieā or parents in the 50s freaking out over Elvis Presley or Little Richard (the one that really boggles my mind is the fact that Link Wray’s instrumental “Rumble” was banned from the radio – how the hell is an instrumental offensive? The levels of snowflake behaviour in the 50s, far too high!). When MTV banned NWAās āStraight Outta Comptonā and record stories refused to carry their album it reminded me of The Kinksā āDead End Streetā being banned by the BBC and them being banned from touring the US for 3 years and The Sex Pistolsā āGod Save The Queenā being banned by The BBC back in 1977.Ā
Speaking of Elvis, Questlove says that hip-hop had its Elvis moment with The Beastie Boys, a group of white rappers who helped make the genre mainstream. From the late 80s onward, hip-hop really became beloved among every race. The War on Drugs was in full force and we had a couple hip-hop groups talking about social issues: Public Enemy and NWA. By this point too, MTV had caught on and started their Yo! MTV Raps programme. With more television exposure, there came rap that was poppier and more acceptable to listen to in front of your parents was more āwholesomeā. Around this time you also got more black representation on TV with shows like The Fresh Prince of Bel-Air, which had many musicians making cameos – the star Will Smith not only is an actor, he also crossed over into making rap music. Martin, starring Martin Lawrence, similarly had guest appearances from rappers. With greater visibility came the FBI putting hip-hop artists with āradicalā views on a watchlist. But it shows that they didnāt learn from history because the feds going after rock stars didnāt kill rock and roll, if anything it made them more popular, young people just like to rebel. And they did that once again with hip-hop, the taboo increased the genreās mystique.
However, in the early 90s you had pop rap hits like MC Hammersā āU Canāt Touch Thisā and Vanilla Iceās āIce Ice Babyā doing very well on the charts (both ended up becoming one hit wonders) and becoming party music staples. It was Disneyfied hip-hop. But there was still a lot of genuine hip-hop that is very well loved and not a novelty or one-hit wonder.
With hip-hop becoming more commercial, just like in rock and roll, some rappers played characters and basically Flanderised themselves and gave up authenticity for this over the top dangerous character. Questlove cites NWA as going from gangsta rap pioneers to becoming cartoons of themselves.
The 90s is considered to be the golden age of hip-hop and during that decade was the East vs West Rivalry, kind of like the British versus American rock and roll rivalry in the 60s, except in this case there was a lot more violence. During this time, Questloveās hip-hop group The Roots released their debut independently and a couple years later they got a record deal. Some popular artists of the 90s include Dr Dre, Snoop Dogg, Tupac, Notorious B.I.G., Jay-Z, P. Diddy (who is in really big trouble right now), Busta Rhymes, Nas, A Tribe Called Quest, Method Man, The Fugees, and Wu-Tang Clan. Just like a lot of rock bands in the late 60s took an interest in Indian culture fashion and sound wise, Wu-Tang Clan took a lot of inspiration from martial arts, naming themselves after the Hong Kong martial arts film Shaolin and Wu Tang. But where did this influence come from? Well, a lot of these hip-hop artists were latchkey black kids who watched a lot of television and they would watch kung fu movies on TV and Bobās your uncle.
1996-1997 was a painful time in hip-hop with the murders of two hip-hop superstars: Tupac and Biggie happening about six months apart. Questlove had his own story about how Biggie felt like The Rootsā music video for āWhat They Doā made a mockery of him and his music videos. He usually liked their music and had said good things in the past about The Roots and Questlove wanted to respond and say that it wasnāt their intention but just as they were about to send their statement to Biggie, he was dead. Much like Otis Reddingās biggest hit was the posthumously released āSittinā On The Dock of the Bayā, Biggie became best known for āHypnotiseā and āMo Money Mo Problemsā – both topping the charts in 1997. The following year, the hip-hop answer to that famous Art Kane photograph A Great Day in Harlem came out: 177 hip-hop musicians showed up for a photoshoot on 29 September 1998 and it’s considered to be one of the most iconic photos in hip-hop history. The photographer was Gordon Parks.
As we enter the new millennium, a hip-hop superstar named Eminem impresses Dr Dre and starts to make a name for himself, winning the Grammy for Best Rap Album for The Slim Shady LP. And that was just the beginning, The Marshall Mathers LP and The Eminem Show were big successes and he starred in a semi biographical film called 8 Mile. These releases made a lot of impact.
September 11, 2001 was a day where everything changed. If youāre a millennial, you know where you were when you heard the news about the hijacked planes crashing into the Twin Towers. What the JFK assassination was for the boomers, that was what 9/11 was for millennials. Not only did travelling by plane change forever, so did politics: things started getting really conservative again and you had this new McCarthyism of sorts – if you dare say anything against America youāre a traitor and youāll get cancelled (look up The Dixie Chicks). Another important historical moment in hip-hop history was when Hurricane Katrina hit New Orleans, leading to a lot of destruction and devastation and Kanye West famously said on national television that āGeorge Bush doesnāt care about black peopleā: an iconic moment in his career and him speaking the truth. Later in the decade you had him jump on stage and steal the mic from Taylor Swift who won the VMA for Best Video by a Female Artist, āIāmma let you finish but Beyonce had one of the best videos of all time!ā
It was still a homophobic time and a sexist time too with sexual harassment being normalised on television and toxic, unrealistic beauty standards being pushed on women. Hip-hop too changed with mixtape culture taking off and with the south emerging as a powerhouse in hip-hop with artists like Pharrell Williams (also an incredibly influential producer), Timbaland, Missy Elliott, and Chris Brown hailing from Virginia and artists like Outkast, Ludacris, Lil Jon, TLC, Ciara, and T.I. coming from Atlanta. Still there were famous New York rappers like 50 Cent. Chicagoās most famous rapper is none other than Kanye West, even though heās gone completely insane, thereās no doubt he had a lot of influence, not just as a musician but as a music producer too.Ā
Hip-hop really became a nationwide thing by the early 2000s with musicians from all over America and by the late 2000s/early 2010s, the Obama years, it became international with musicians like Drake, Nicki Minaj, Wyclef Jean, and Iggy Azalea. The Obama years chapters of the book make for an interesting read and discussion even though itās definitely not my favourite era of music. Millennials started to come of age and make names for themselves in the music industry, music transitioned from traditional media like TV and radio to streaming and social media where albums arenāt as important anymore, and there was this mixed feeling where while Obamaās slogan was hope, there was a lot of division in society with race relations becoming more full of tension and we see this trend even now.
The second to last chapter of the book (2017-2022) covers the Trump years and the early Biden years and with it being recent memory, itās a challenge to write about it with a historical perspective, but in short it seemed like things were going backwards. Politically things were going backwards (Iām pretty sure the slogan Make America Great Again makes it obvious) with the repeal of Roe v Wade and the unveiling of Project 2025. Usually it takes a few years for a decade to find itself, but the 2020s were an exception because of a little thing called COVID-19. Finally, the book ends with a look at the state of hip-hop in 2023 and what Questlove was up to. Finally, the book ends with an epilogue and a list of hip-hop songs that Questlove loves.
Hip-Hop is History is a thought-provoking, comprehensive read about hip-hop history full of facts about the musicians and music, historical context, some opinions with him sharing some albums he thinks are the greatest of all time, and some personal stories about the music. Questlove as a musician and someone who grew up in a musical family knows his music history and provides a valuable perspective and I love how he draws parallels to other genres of music like rock and roll and jazz and shows how really all genres of music are interconnected. Thereās a family tree of music and rock and rap arenāt really as far apart as youād think. It helps if you know a lot about hip hop, but even if you donāt itās still an enjoyable read with lots of great suggestions of what to listen to, giving you a good starting point in your hip-hop listening journey.
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Nicely done! ________________________________
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