Hanif Abdurraqib via giant steps through a matrix based in the phenomenon placing most of the 7.8 billion of us within 6 or fewer degrees — steps — of each other...
- Steps from Hanif Abdurraqib:
I'LL TAKE YOU THERE! ▶
'mātriks / "source" / from "mater", Latin for "mother". We're real mothers for ya!
I'LL TAKE YOU THERE! ▶
- Steps forward by: The Matrix
Who I Am & Where I Live
- Name: Hanif Abdurraqib
- City: Columbus, Ohio
- Country: United States
My Life & Work
-
Bio:
Hanif Abdurraqib is a poet, essayist, and cultural critic from Columbus, Ohio. His poetry has been published in Muzzle, Vinyl, PEN American, and various other journals. His essays and music criticism have been published in The FADER, Pitchfork, The New Yorker, and The New York Times. His first full length poetry collection, The Crown Ain't Worth Much, was released in June 2016 from Button Poetry. It was named a finalist for the Eric Hoffer Book Prize, and was nominated for a Hurston-Wright Legacy Award. With Big Lucks, he released a limited edition chapbook, Vintage Sadness, in summer 2017 (you cannot get it anymore and he is very sorry.)
His first collection of essays, They Can't Kill Us Until They Kill Us, was released in winter 2017 by Two Dollar Radio and was named a book of the year by Buzzfeed, Esquire, NPR, Oprah Magazine, Paste, CBC, The Los Angeles Review, Pitchfork, and The Chicago Tribune, among others. He released Go Ahead In The Rain: Notes To A Tribe Called Quest with University of Texas press in February 2019. The book became a New York Times Bestseller, and was met with critical acclaim. His second collection of poems, A Fortune For Your Disaster, is being released by Tin House Books in September 2019.
Yes, he would like to talk to you about your favorite bands and your favorite sneakers.
Contact Information
-
Management/Booking:
All speaking / appearance inquiries, brand partnerships or other creative work: Contact Tabia Yapp at BEOTIS:
https://www.beotis.com/contact
For all interviews and press requests:
https://www.beotis.com/press
My Media & Markets
- ▶ Book Purchases: http://www.amazon.com/Hanif-Abdurraqib/e/B07JVM42M1%3F
- ▶ Book Purchases 2: http://www.indiebound.org/book/9781947793439
- ▶ Book Purchases 3: http://utpress.utexas.edu/books/abdurraqib-go-ahead-in-the-rain
- ▶ Book Purchases 4: http://buttonpoetry.com/product/the-crown-aint-worth-much/
- ▶ Instagram: nifmuhammad
- ▶ Website: http://www.abdurraqib.com
More
-
Quotes, Notes & Etc.
GO AHEAD IN THE RAIN: NOTES TO A TRIBE CALLED QUEST
A New York Times Best Seller
“[R]iveting and poetic…Abdurraqib's gift is his ability to flip from a wide angle to a zoom with ease. He is a five-tool writer, slipping out of the timeline to deliver vivid, memoiristic splashes as well as letters he's crafted to directly address the central players, dead and living.”
—Washington Post
“[W]arm, immediate, and intensely personal...This lush and generous book is a call to pay proper respects not just to a sound but to a feeling.”
—New York Times
“Abdurraqib's book doesn't attempt an arm's length, scholarly approach to analyzing the group and its music; instead, Abdurraqib speaks from his own experiences, often in the form of questioning or appreciative open letters to members of the band. It's a bold conceit, but if the book loses a bit of reserved objectivity in the process, it gains much more: an emotional grounding for why the group was so important to the author, and, by extension, why their music should matter to readers, too.”
—Foreword Reviews
“Even those who know little about the music will learn much of significance here, perhaps learning how to love it in the process.”
—Kirkus (starred review)
“Go Ahead in the Rain is more than just an homage to A Tribe Called Quest…it's more like a reckoning. The result is a critical examination of the group—their message and history—as well as a musical memoir of sorts, and an exploration of the lasting impact music can have on the soul.”
—Vanity Fair
“Abdurraqib explores and exposes the power of music, of art, to not just connect with people, but to connect people, to make movements, to inspire change and revolution, on levels both large and small. In powerful, poetic language, Abdurraqib makes clear the legacy of ATCQ, both the one the group called upon for their own creation and the one they left behind.”
—Nylon
THEY CAN'T KILL US UNTIL THEY KILL US
"Hanif Abdurraqib’s They Can’t Kill Us Until They Kill Us is a penetrating and profoundly timely collection of essays. It is music writing at its sharpest, most perceptive, and most urgent... Most remarkable, perhaps, is Abdurraqib’s ability to perceive and define connections between his subjects, himself, and the fractured, complicated culture in which we live."
—Foreword Reviews (starred review)
"Abdurraqib’s essay collection is mesmerizing and deeply perceptive... filled with honesty, providing the reader with the sensation of seeing the world through fresh eyes."
—Publishers Weekly (starred review)
"Abdurraqib writes with uninhibited curiosity and insight about music and its ties to culture and memory, life and death, on levels personal, political, and universal... Abdurraqib’s poignant critiques, a catalog of the current moment and all that preceded it, inspire us to listen with our whole selves."
—Booklist (starred review)
"These are essays about music, but also about culture, race, and life in America today. Willis-Abdurraqib writes about attending a Bruce Springsteen concert the day after visiting Michael Brown’s grave, what it was like growing up in America in the 1990s, the first time he was thrown on the ground by police officers, and much more."
—Book Riot, 20 Great Essay Collections from 2017
"In all of Abdurraqib’s poetic essays, there is the artist, the work, the nation, and himself. The author effortlessly navigates among these many points before ultimately arriving at conclusions that are sometimes hopeful, often sorrowful, and always visceral. Erudite writing from an author struggling to find meaning through music."
—Kirkus
"Certain writers can take a pop song or musician as their subject and turn what they write into a stunning evocation of some aspect of society. That’s very much the case with Hanif Abdurraqib, and in this new collection he covers everything from the Columbus punk scene to Chance the Rapper, coming up with stunning observations along the way."
—Vol. 1 Brooklyn
THE CROWN AIN'T WORTH MUCH
"To pinpoint a highlight of the book is impossible. Every poem is honed, polished, and presented with utter rawness and defiance."―Portland Book Review
"Willis-Abdurraqib possesses a striking gift for merging pop culture with personal narrative."―Publishers Weekly
"THE CROWN AIN'T WORTH MUCH is not so much a book you read, but one you survive―with Willis-Abdurraqib's compassionate, elegiac lyric gently pushing you forward through heartbreak and violence."―Indiana Review
The world's artistry via giant steps through a matrix based in the phenomenon placing most of the 7.8 billion of us within 6 or fewer degrees — steps — of each other ...
... a project conceived and built in the fertile, fecund and atavistic ground zero of Bahia, Brazil initially for the discoverability of this singular region's dispossessed genius.
All explained in the window immediately below. Followed — beneath this window — by scores of magnificent artists, each leading to myriads more artists/categories. Inside this window also may be found our Brazilian record store radio, named by British journal The Guardian as one of 10 of the Best Radio Stations Around the World!
IF YOU CAN'T STAND THE HEAT
Brazil is not a European nation. It's not a North American nation. It's not an East Asian nation. It straddles -- jungle and desert and dense urban centers -- both the equator and the Tropic of Capricorn. It absorbed over ten times the number of African slaves taken to the United States of America, and much of its aboriginal population was absorbed into the general population-at-large. Its people have lived under oligarchy, plutocracy, dictatorships and massive corruption, with elements of these still strongly entrenched today.
But!
Brazil has buzz...not the shallow buzz of a fashionable moment...but the deep buzz of a population which in spite of -- or perhaps because of -- the tough slog through life they've been allotted by humanity's dregs-in-fine-linen, have chosen not to simply pull themselves along but to lift their voices in song and their bodies in dance...to eat well and converse well and much and to wring the joy out of the day-to-day happenings and small pleasures of life which are so often set aside or ignored in the European, North American, and East Asian nations.
For this Brazil has a genius perhaps unparalleled in all other countries and societies, a genius which thrives alongside peeling paint and holes in the streets and roads, under bad organization by the powers-that-be, both civil and governmental, under a constant rain of societal indignities...
Which is all to say that if you don't know Brazil and you're expecting any semblance of order, progress and light, you will certainly find the light! And the buzz of a people who for generations have responded to privation at many different levels by somehow rising above it all.
Raimundo Sodré, in a conversation ranging through New Orleans and Harlem and the South Side of Chicago ... and Appalachia and Irish villages and Russian shtetls and the unofficial symbol of Brazil's Bahian-born national music (the pandeiro) almost certainly having arrived in Brazil in the hands of Sephardic Jews (including conversos) fleeing the Inquisition, once remarked: "Where there's misery, there's music!"
A pandeirista on the roof. And it's not just music. And it's not just Brazil.
