Everything But The Burden

White kids from the ’burbs are throwing up gang signs. The 2001 Grammy winner for best rap artist was as white as rice. And blond-haired sorority sisters are sporting FUBU gear. What is going on in American culture that’s giving our nation a racial-identity crisis? Following the trail blazed by Norman Mailer’s controversial essay “The White Negro,” Everything but the Burden brings together voices from music, popular culture, the literary world, and the media speaking about how from Brooklyn to the Badlands white people are co-opting black styles of music, dance, dress, and slang. In this collection, the essayists examine how whites seem to be taking on, as editor Greg Tate’s mother used to tell him, “everything but the burden”–from fetishizing black athletes to spinning the ghetto lifestyle into a glamorous commodity. Is this a way of shaking off the fear of the unknown? A flattering indicator of appreciation? Or is it a more complicated cultural exchange? The pieces in Everything but the Burden explore the line between hero-worship and paternalism. Among the book’s twelve essays are Vernon Reid’s “Steely Dan Understood as the Apotheosis of ‘The White Negro,’” Carl Hancock Rux’s “The Beats: America’s First ‘Wiggas,’” and Greg Tate’s own introductory essay “Nigs ’R Us.” Other contributors include: Hilton Als, Beth Coleman, Tony Green, Robin Kelley, Arthur Jafa, Gary Dauphin, Michaela Angela Davis, dream hampton, and Manthia diAwara.

Since launching his career at the Village Voice in the early 1980s Greg Tate has been one of the premiere critical voices on contemporary Black music, art, literature, film, and politics. Flyboy 2 provides a panoramic view of the past thirty years of Tate's influential work. Whether interviewing Miles Davis or Ice Cube, reviewing an Azealia Banks mixtape or Suzan-Lori Parks's Topdog/Underdog, discussing visual artist Kara Walker or writer Clarence Major, or analyzing the ties between Afro-futurism, Black feminism, and social movements, Tate's resounding critical insights illustrate how race, gender, and class become manifest in American popular culture. Above all, Tate demonstrates through his signature mix of vernacular poetics and cultural theory and criticism why visionary Black artists, intellectuals, aesthetics, philosophies, and politics matter to twenty-first-century America.

From one of the most original, creative, and provocative culture critics comes an eye-opening collection of essays and tales about American music and culture. 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, political, and economic subjects. Taking on a wide diversity of subjects from irony of the GOP recruiting Blacks to the crisis of the Black intellectual and the music Miles Davis, James Brown, and many others, Tate writes in a brave and distinctive voice that is angry, joyous, anxious, and funny. In every piece of this collection, Tate offers informed insight into where America is going and why.

Exposes the new generation of whiteness thriving at the expense and borrowed ingenuity of black people—and explores how this intensifies racial inequality. American culture loves blackness. From music and fashion to activism and language, black culture constantly achieves worldwide influence. Yet, when it comes to who is allowed to thrive from black hipness, the pioneers are usually left behind as black aesthetics are converted into mainstream success—and white profit. Weaving together narrative, scholarship, and critique, Lauren Michele Jackson reveals why cultural appropriation—something that’s become embedded in our daily lives—deserves serious attention. It is a blueprint for taking wealth and power, and ultimately exacerbates the economic, political, and social inequity that persists in America. She unravels the racial contradictions lurking behind American culture as we know it—from shapeshifting celebrities and memes gone viral to brazen poets, loveable potheads, and faulty political leaders. An audacious debut, White Negroes brilliantly summons a re-interrogation of Norman Mailer’s infamous 1957 essay of a similar name. It also introduces a bold new voice in Jackson. Piercing, curious, and bursting with pop cultural touchstones, White Negroes is a dispatch in awe of black creativity everywhere and an urgent call for our thoughtful consumption.

A thoughtful and surprising argument for American tax reform, arguably the most overdue political debate facing the nation, from one of the most respected political and economic thinkers, advisers, and writers of our time. THE UNITED STATES TAX CODE HAS UNDERGONE NO SERIOUS REFORM SINCE 1986. Since then, loopholes, exemptions, credits, and deductions have distorted its clarity, increased its inequity, and frustrated our ability to govern ourselves. By tracing the history of our own tax system and assessing the way other countries have solved similar problems, Bruce Bartlett explores the surprising answers to all these issues, giving a sense of the tax code’s many benefits—and its inevitable burdens. From one of the most respected political and economic thinkers, advisers, and writers of our time, The Benefit and the Burden is a thoughtful and surprising argument for American tax reform.

As a serving police officer, Los Angeles Times bestselling author Neal Griffin saw how family ties, loyalty to friends, and their own ambitions could lead young men to make choices that got them hurt, killed, or imprisoned. He explores this complex web of relationships and pressures in The Burden of Truth. In a small city in southern California, 18 year-old Omar Ortega is about to graduate high school. For years, he’s danced on the fringes of gang life, trying desperately to stay out of the cross-hairs. Once Omar joins the Army, his salary, plus his meager savings, will get his mother and siblings out of the barrio, where they’ve lived since his father was deported. One night, everything changes. Newly released from prison, Chunks, the gang’s shot-caller, has plans for Omar. That boy, Chunks thinks, needs to be jumped in. By dawn, Omar will be labeled a cop-killer. Law-and-order advocates and community organizers will battle over Omar’s fate in the court of public opinion while the criminal justice system grips him in its teeth. One night can destroy a man and all who depend on him. That he’s innocent does not matter. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

A NYC pastor and global influencer inspires readers to find their most meaningful and purposeful life. Surprising to many, this life is not measured by success, comparison, or accolades. Rather, free and joyful living stems from a God-centered celebration of our union with Christ and the lives of those around us. Jon Tyson's exploration of the reverse economy of the kingdom frees his readers from merit-based living...not just in terms of salvation, but daily, earthly value. Life is not meant to be a series of competitions or a survival of the fittest rat race. Yet so many of the messages around us, so many of the voices bombarding our hearts and minds tie up our value and package it with our accolades. This book gives another way forward. It shows readers how to value their individual lives based on what God says about them, rather than how they measure themselves against the world. This is a must read for each and every person trying to find their voice and purpose in a loud and frenetic world.

Critics often characterize white consumption of African American culture as a form of theft that echoes the fantasies of 1950s-era bohemians, or "White Negroes," who romanticized black culture as anarchic and sexually potent. In Beyond the White Negro, Kimberly Chabot Davis claims such a view fails to describe the varied politics of racial crossover in the past fifteen years. Davis analyzes how white engagement with African American novels, film narratives, and hip-hop can help form anti-racist attitudes that may catalyze social change and racial justice. Though acknowledging past failures to establish cross-racial empathy, she focuses on examples that show avenues for future progress and change. Her study of ethnographic data from book clubs and college classrooms shows how engagement with African American culture and pedagogical support can lead to the kinds of white self-examination that make empathy possible. The result is a groundbreaking text that challenges the trend of focusing on society's failures in achieving cross-racial empathy and instead explores possible avenues for change.