Showing results by author "Hanif Abdurraqib" in All Categories

At the March on Washington, Josephine Baker reflected on her life and her legacy. She had spent decades as one of the most successful entertainers in the world, but, she told the crowd, 'I was a devil in other countries, and I was a little devil in America, too'. Inspired by these words, Hanif Abdurraqib has written a stirring meditation on Black performance in the modern age, in which culture, history and his own lived experience collide.

In an age of confusion, fear, and loss, Hanif Abdurraqib's is a voice that matters. Whether he's attending a Bruce Springsteen concert the day after visiting Michael Brown's grave, or discussing public displays of affection at a Carly Rae Jepsen show, he writes with a poignancy that resonates profoundly. In essays that have been published by the New York Times, MTV, and Pitchfork, among others—Abdurraqib uses music and culture as a lens through which to view our world so that we might better understand ourselves, and in so doing proves himself a bellwether for our times.

The seminal rap group A Tribe Called Quest brought jazz into the genre, resurrecting timeless rhythms to create masterpieces. This narrative follows Tribe from their early days as part of the Afrocentric rap collective known as the Native Tongues, through their first three classic albums, to their eventual breakup and long hiatus. Throughout the narrative, poet and essayist Hanif Abdurraqib connects the music and cultural history to their street-level impact and draws from his own experience to reflect on how its distinctive sound resonated among fans like himself.

In his much-anticipated follow-up to The Crown Ain't Worth Much, poet, essayist, biographer, and music critic Hanif Abdurraqib has written a book of poems about how one rebuilds oneself after a heartbreak, the kind that renders them a different version of themselves than the one they knew. It's a book about a mother's death, and admitting that Michael Jordan pushed off, about forgiveness, and how none of the author's black friends wanted to listen to "Don't Stop Believin'". It's about wrestling with histories, personal and shared.

Under the guise of writing about a single subject, Greg Tate’s essays in Flyboy in the Buttermilk branch out from his usual and explore social, pop cultural, political, and economic subjects. Taking on a wide diversity of topics—from the rise of hip-hop; the art of JeanMichel Basquiat; the music of Miles Davis, James Brown, Jimi Hendrix, Bad Brains, and many others; to the crisis of the Black intellectual and the irony of the GOP recruiting Black Americans— Tate writes in a brave and distinctive voice that is angry, joyous, anxious, and funny.

When Aretha Franklin sang, she didn’t just sing...she sparked a movement. As a performer and a civil rights activist, the Queen of Soul used her voice to uplift freedom fighters and the Black community during the height of the 1960s Civil Rights Movement. Her song “Respect” was an anthem of identity, survival, and joy. It gave hope to people trying to make change. And when Aretha sang, the world sang along. With Hanif Abdurraqib’s poetic voice, Sing, Aretha, Sing! demonstrates how one brave voice can give new power to a nation.

For Chicago's Oak Park and River Forest High School's Spoken Word Club, there is one phrase that reigns supreme: Respect the Mic. It's been the club's call to arms since its inception in 1999. As its founder Peter Kahn says, "It's a call of pride and history and tradition and hope." This vivid new collection of poetry and prose - curated by award-winning and bestselling poets Hanif Abdurraqib, Franny Choi, Peter Kahn, and Dan "Sully" Sullivan - illuminates just that, uplifting the incredible legacy this community has cultivated.