"Gathered here we have a body of work a generation in the making that will certainly shape our thinking, listening, and seeing for generations to come. Greg Tate is the standard-bearer; his critical sensibilities are matched only by his ability to render them in stunning prose. The power and charisma of his intellect emanate from the page. In the tradition of Ellison and Baraka, but unlike them, shaped by the best of Black feminism, Tate forges his own brilliant path."
(Farah Jasmine Griffin)
"The premier hip-hop writer of his generation, a stunning prose stylist, and the inventor of a whole new approach to music and cultural criticism, Greg Tate has been to hip-hop what Albert Murray is to jazz: the standard-setter for a generation of intellectuals who care deeply about race, art, and the future."
"Tate has been an important if underread critic for the past several decades, and this collection will allow more readers to discover him. Not a fast or simple read, but a worthwhile one for fans of music and culture."
(Craig L. Shufelt Library Journal
"Flyboy 2 will be like no other collection of writing you will read this year, and probably this decade. Refer back to the original Flyboy book to whet your palate, and to note and compare the evolution of Tate’s voice and his perception of the world and music around him. Take comfort in knowing that there is a Black writer who has no choice but to be real, poised and dignified, denying all pressures to bastardize the class and power of Black arts criticism and literary excellence."
(Jordannah Elizabeth Amsterdam News
"Whether you are new to his work or a longtime reader, the universe of Black magic lovingly curated in Flyboy 2 will do your soul good."
(Steven W. Thrasher The Guardian
"Flyboy 2 is an immersive, fluid, and genre-bending collection of commentary, essays, and exposition of the self, a beautiful text solidly grounded in the critical theories of late twentieth- and early twenty-first-century academia."
(Patty Comeau ForeWord Reviews
"What Flyboy 1 and 2 show is that Tate has come a long way in the study of this, the feared black planet and, in so doing, came out a more skilful, more humble man. What his style won’t let me forget is this: we are simultaneously in command of this world, and others."
(Kwanele Sosibo Mail & Guardian
"What made Tate’s criticism special was his ability to theorize outward from his encounters with genius and his brushes with banality—to telescope between moments of artistic inspiration and the giant structures within which those moments were produced. . . . Tate has a keen sense for the way that both artists and communities discern where they fit in the world, and what is expected of them, and then either go along for the ride or carefully plot their escapes."
(Hua Hsu The New Yorker
"[T]hought-provoking. . . . There's lots to unpack in Tate's writing, challenging us to come along for the ride--if we're up to it."
(David Hershkovits Paper Magazine
"A Rolling Stone contributor, Greg Tate's ferocious, slang-tinged salvos and deep-rooted historical analysis have inspired readers and intimidated colleagues for decades. This sequel to the 1992 collection Flyboy in the Buttermilk felt particularly acute in the context of 2016's nonstop stream of racial horror, whether Tate is delineating visual artist Kara Walker's unflinching slavery-era silhouettes or eulogizing Richard Pryor and Michael Jackson. . . ."
(Michaelangelo Matos Rolling Stone
"Greg Tate has been responsible for some of the most erudite and energetic cultural criticism of the past thirty years. . . . The book stands as a testimony to the richness and variety of contemporary Black artistic production, and to Tate’s restless curiosity and learning."
(Michael Lapointe TLS