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404 Inklings #6
Flip the Script: How Women Came to Rule Hip Hop
Hip hop is an art form that originated in the margins, and can be simultaneously devastating and celebratory; an expression of pain, love and desire or an ode to the other, the underdog and the underground. For Arusa Qureshi, it became a safe haven, the genre she turned to in highs and lows. In particular, it was the women to whom she owes her thanks.
Flip the Script explores many of the phenomenal women who have paved the way in UK hip hop both at the forefront and behind the scenes, through interviews, research and Qureshi's lifelong love of the form. From the influence of the genre's beginnings in the Bronx to formation of distinctive regional scenes across the country, the barriers women faced to the magazines and club nights that fostered thriving hip hop communities, readers get to know the women who led the charge in one of the country's most innovative and exciting music scenes, and those picking up the torch today.
This is a love letter to UK hip hop, and to the women changing the game.
Flip the Script explores many of the phenomenal women who have paved the way in UK hip hop both at the forefront and behind the scenes, through interviews, research and Qureshi's lifelong love of the form. From the influence of the genre's beginnings in the Bronx to formation of distinctive regional scenes across the country, the barriers women faced to the magazines and club nights that fostered thriving hip hop communities, readers get to know the women who led the charge in one of the country's most innovative and exciting music scenes, and those picking up the torch today.
This is a love letter to UK hip hop, and to the women changing the game.
- GenresNonfictionMusicFeminism
Paperback
Published October 28, 2021
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Displaying 1 - 19 of 19 reviews
February 28, 2026
First Dance Policy book club read 🪩
A fun, digestible read about a great genre led by what the book calls wild women! To more women doing wild fun things xx 🥂
A fun, digestible read about a great genre led by what the book calls wild women! To more women doing wild fun things xx 🥂
January 1, 2023
The perfect way to start off my 2023 reading. Arusa Qureshi takes a brief tour of some of the prominent and pioneering women of hip-hop, with a focus on the UK scene but acknowledging the women making a splash across the pond. She speaks of each woman with respect for their talents and contributions, admiration for their ingenuity, and with a noticeable excitement about what they can offer the future of UK hip hop. The political significance of rap, particularly that created and performed by women and minority genders, is vastly underestimated and homogenised so it's exciting to hear Qureshi's voice (alongside the rappers she interviewed for this book) which works towards changing that.
July 12, 2026
It doesn’t take much of a look to see that hip hop, like most of the rest of the music industry, has an issue with women. Performers tend to be marginalised, women are heavily underrepresented through the industry – on boards, as agents, in ‘technical’ roles and more and that’s not just hip hop, but the industry as a whole. And then there’s the symbolic annihilation – the ‘she’s pretty good for a girl’ view, as if guitar playing, drumming, wordsmithing and the like was somehow inherently a gendered set of skills.
In this fabulous little book, published by the now sadly defunct 404Inklings, Arusa Qureshi focuses on the UK scene while grounding the exploration in the gendering of the USA’s hip hop world, reminding us of the shameful exclusion of teenage marvel Roxanne Shanté – placed second in the 1985 ‘MC Battle for World Supremacy’ in a competition all (including the judges) agree she clearly won because those same judges “didn’t like the optics of girls winning a rap battle” (p11). Despite this USA-grounding Qureshi makes very clear that the UK scene is distinctly different, developing its own sounds and culture partly linked to the snippets of style making their way across the Atlantic, but also with the UK’s Afro-Caribbean orientation, with the culture of the sound system, and in part the distinctiveness of London – although she also unpacks and critiques the critical and commercial focus on that scene alone.
Weaving together voices of industry insiders, performers, and grounded in her own fan and critical insights, she highlights not only the challenges of a masculinist industry but also the extent of self-organisation and mutual support among women in the UK’s hip hop world. In doing so she draws out difficult much of that work was in the analogue days, where news networks relied on local news sources, the ability of magazines to identify and carry news about underground and locally oriented developments in a young ‘scene’ populated by young and otherwise marginalised performers where the mainstream industry at best operated a one-out, one-in model: it’s as if there was a view that we ‘couldn’t be too much of this culturally disruptive stuff in the mix at any stage’.
Along the way she reminds us of the successes of the Cookie Crew, of Ms Dynamite, of Lady Leshuur, but also of the struggles of artists such as Baby Blue, of the misogyny of the industry and equally of its fickleness, and the hard graft of organisers such as Shay D or Muneera and Sukina Pilgrim building and supporting the scene at its base. Crucially, in a text that is now 5 years old (I read this in 2026), she points to the new and high profile performers such as Speech Debelle and Little Simz whose promise is of a sharper, less misogynistic industry. More so, she notes also the powerful local hip hop worlds not only in major English cities but also in Scotland and Wales (where in the year this was written women hip hop performers – Nova in Scotland, Deyah in Wales – won major national music awards), while noting also the distinct political culture of Northern Ireland that both shapes and obstructs the local set up (despite the subsequent emergence of Kneecap, who at the time Qureshi was writing were still very new).
It’s a promising and hopeful picture of the UK hip hop world and one that has, to a large degree, continued to apply. There’s an intriguing sense woven through the discussion of an ethnically diverse UK hip hop world – of the presence of South Asian and other racialized and minoritized peoples – but it is more implicit than explicit (except in discussion of Northern Ireland) that would have been good to see developed, and in the discussions of Scotland and Wales allusions to Gaelic and Welsh language performances that are suggestive of a local style. Get it while you can – with 404Inklings going out of business it’s likely to disappear from circulation.
In this fabulous little book, published by the now sadly defunct 404Inklings, Arusa Qureshi focuses on the UK scene while grounding the exploration in the gendering of the USA’s hip hop world, reminding us of the shameful exclusion of teenage marvel Roxanne Shanté – placed second in the 1985 ‘MC Battle for World Supremacy’ in a competition all (including the judges) agree she clearly won because those same judges “didn’t like the optics of girls winning a rap battle” (p11). Despite this USA-grounding Qureshi makes very clear that the UK scene is distinctly different, developing its own sounds and culture partly linked to the snippets of style making their way across the Atlantic, but also with the UK’s Afro-Caribbean orientation, with the culture of the sound system, and in part the distinctiveness of London – although she also unpacks and critiques the critical and commercial focus on that scene alone.
Weaving together voices of industry insiders, performers, and grounded in her own fan and critical insights, she highlights not only the challenges of a masculinist industry but also the extent of self-organisation and mutual support among women in the UK’s hip hop world. In doing so she draws out difficult much of that work was in the analogue days, where news networks relied on local news sources, the ability of magazines to identify and carry news about underground and locally oriented developments in a young ‘scene’ populated by young and otherwise marginalised performers where the mainstream industry at best operated a one-out, one-in model: it’s as if there was a view that we ‘couldn’t be too much of this culturally disruptive stuff in the mix at any stage’.
Along the way she reminds us of the successes of the Cookie Crew, of Ms Dynamite, of Lady Leshuur, but also of the struggles of artists such as Baby Blue, of the misogyny of the industry and equally of its fickleness, and the hard graft of organisers such as Shay D or Muneera and Sukina Pilgrim building and supporting the scene at its base. Crucially, in a text that is now 5 years old (I read this in 2026), she points to the new and high profile performers such as Speech Debelle and Little Simz whose promise is of a sharper, less misogynistic industry. More so, she notes also the powerful local hip hop worlds not only in major English cities but also in Scotland and Wales (where in the year this was written women hip hop performers – Nova in Scotland, Deyah in Wales – won major national music awards), while noting also the distinct political culture of Northern Ireland that both shapes and obstructs the local set up (despite the subsequent emergence of Kneecap, who at the time Qureshi was writing were still very new).
It’s a promising and hopeful picture of the UK hip hop world and one that has, to a large degree, continued to apply. There’s an intriguing sense woven through the discussion of an ethnically diverse UK hip hop world – of the presence of South Asian and other racialized and minoritized peoples – but it is more implicit than explicit (except in discussion of Northern Ireland) that would have been good to see developed, and in the discussions of Scotland and Wales allusions to Gaelic and Welsh language performances that are suggestive of a local style. Get it while you can – with 404Inklings going out of business it’s likely to disappear from circulation.
April 25, 2026
took way longer than i should’ve to finish this book, but that was no fault of the book itself. this was a really enlightening and eye-opening read and i enjoyed it from beginning to end. whilst there are so many contemporary women hip-hop artists that i love to listen to, im realising now that id never taken it upon myself to explore their historical contributions to the genre—something that this book does a good job at facilitating. there are so many perceptions of hip-hop, and a lot of them are true—but by focusing on the contributions and role of women in its growth, those preconceived notions slowly start to wither away.
i have learnt so much from this read, and i am truly inspired. you can tell that qureshi is a true scholar of the genre and it comes across in every sentence. there are a lot of nuances and dynamics that she unearths in this and it’s really deepened my appreciation for the genre as a whole. this book is an overdue shoutout to all the women emcees that have made hip-hop what it is today, because it truly wouldn’t be anything without them.
i have learnt so much from this read, and i am truly inspired. you can tell that qureshi is a true scholar of the genre and it comes across in every sentence. there are a lot of nuances and dynamics that she unearths in this and it’s really deepened my appreciation for the genre as a whole. this book is an overdue shoutout to all the women emcees that have made hip-hop what it is today, because it truly wouldn’t be anything without them.
September 24, 2022
there's beauty in all differences. at the end of the day, it's poetry
June 29, 2025
Tämä oli varmaan oikeasti neljän tai viiden tähden kirja, mutta gradun aiheuttaman tutkimusartikkeli-ähkyn vuoksi arvosana tipahti kolmeen. Nyt oli totaalisen väärä aika lukea mitään näin analyyttista huvikseen, ja se ei missään nimessä ole kirjan syy.
Tosi mielenkiintoisia lyhyitä artikkeleita britti-skenen naisräppäreistä ja heidän vaikutuksistaan ja asemoinneistaan genren sisällä eri vaiheissa. Energisempänä aikana olisin varmasti myös jaksanut paneutua artisteihin enemmän: nyt lukukokemuksen syventymistä rajoitti se, että tunsin käsitellyistä räppäreistä vain muutaman.
Tosi mielenkiintoisia lyhyitä artikkeleita britti-skenen naisräppäreistä ja heidän vaikutuksistaan ja asemoinneistaan genren sisällä eri vaiheissa. Energisempänä aikana olisin varmasti myös jaksanut paneutua artisteihin enemmän: nyt lukukokemuksen syventymistä rajoitti se, että tunsin käsitellyistä räppäreistä vain muutaman.
June 8, 2022
What a masterpiece of a book!
I have always enjoyed Hip Hop since childhood. It has always been something that I found empowering with its words and articulate with the way it is spoken. Inspired and motivated by movements, Hip Hop is a genre that aims to send messages of struggles and pain.
Flip the Script: How Women Came to Rule Hip Hop is a book that does justice to, not only women in Hip Hop, but to the Hip Hop genre in general. The author reflects on her personal story with Hip Hop, and goes on to tell the stories of rappers and artists involved in the Hip Hop culture. More precisely, the Hip Hop culture in the UK. Arusa Qureshi tackles issues such as sexism and misogyny within Hop Hop and the struggles that women face within the culture. More than that, she addresses the issue of Hip Hop not being taken seriously as a genre and culture in the UK. However, she does give props to the fact that there is hope, with many Hip Hop artists being awarded for their accomplishments and their talent.
This book is definitely one that I would recommend to those who are into Hip Hop and its culture, and to those who would like to learn more about the cultural experiences of others
I have always enjoyed Hip Hop since childhood. It has always been something that I found empowering with its words and articulate with the way it is spoken. Inspired and motivated by movements, Hip Hop is a genre that aims to send messages of struggles and pain.
Flip the Script: How Women Came to Rule Hip Hop is a book that does justice to, not only women in Hip Hop, but to the Hip Hop genre in general. The author reflects on her personal story with Hip Hop, and goes on to tell the stories of rappers and artists involved in the Hip Hop culture. More precisely, the Hip Hop culture in the UK. Arusa Qureshi tackles issues such as sexism and misogyny within Hop Hop and the struggles that women face within the culture. More than that, she addresses the issue of Hip Hop not being taken seriously as a genre and culture in the UK. However, she does give props to the fact that there is hope, with many Hip Hop artists being awarded for their accomplishments and their talent.
This book is definitely one that I would recommend to those who are into Hip Hop and its culture, and to those who would like to learn more about the cultural experiences of others
March 24, 2025
Hold the door open for the next wave of talent!
An insightful dive into the roots of female hip hop, the challenges and underestimation faced compared to male counterparts—highlighting the UK scene and emerging regional voices. I liked the section on Speech Debelle.
A well written and researched book. I hope for follow up in the future.
An insightful dive into the roots of female hip hop, the challenges and underestimation faced compared to male counterparts—highlighting the UK scene and emerging regional voices. I liked the section on Speech Debelle.
A well written and researched book. I hope for follow up in the future.
August 8, 2025
A really enjoyable read; it’s well researched, informative, and features many snippets of interviews with artists who share their insights into the female experience and how women have shaped hip hop .
November 30, 2025
A great bite size history of women’s contribution to one of my fave music genres. I think what I like particularly about this book is that it covers quite a lot on British hip hop, which I loved as I didn’t know much about the women from the UK scene. So it made for a really interesting read.
November 28, 2021
this is fantastic
April 28, 2022
Obviously necessary, with a fine set of recommendations and a great slate of interviewees. Far too short a book!
April 29, 2023
EXPANDED EDITION NOW.
October 19, 2023
A nice wee book with some excellent music recs.
November 3, 2024
just lovely!
May 3, 2025
3.25 stars
Ok!
Ok!
March 2, 2026
it’s a small pocketbook so obvs not the most in-depth but covered a lot of diff areas of hiphop n female artists in these fields very swiftly
July 24, 2025
i have so many thoughts...
December 9, 2021
An incisive journey into the blossoming world of hip-hop and the role of women in developing some of the most important art from the scene.
Qureshi's fascinating study into the roots of hip-hop in the UK details with care and heartfelt admiration the innumerable ways in which women have been a steadfast influence in the subculture.
'Flip the Script' shows us how important representation truly is and urges us not to let the contributions of so many important artists be written out of history.
The book is an ode to the bold women of an empowering and magnetic scene and Qureshi does them such justice in her writing which holds a sparkling vibrance reminscent of the hip-hop that was the soundtrack to so much of her own life.
Qureshi's fascinating study into the roots of hip-hop in the UK details with care and heartfelt admiration the innumerable ways in which women have been a steadfast influence in the subculture.
'Flip the Script' shows us how important representation truly is and urges us not to let the contributions of so many important artists be written out of history.
The book is an ode to the bold women of an empowering and magnetic scene and Qureshi does them such justice in her writing which holds a sparkling vibrance reminscent of the hip-hop that was the soundtrack to so much of her own life.
Displaying 1 - 19 of 19 reviews