Organizing the Hip-Hop Generation
Each generation must out of relative obscurity discover its mission, fulfill it, or betray it.
–Frantz Fanon, The Wretched of the Earth
I have stood in a meeting with hundreds of youngsters and joined in while they sang, “Ain’t Gonna Let Nobody Turn Me Around.” It’s not just a song; it is resolve. A few minutes later, I have seen those same youngsters refuse to turn around before a pugnacious Bull Connor in command of men armed with power hoses. These songs bind us together, give us courage together, help us march together.
–Martin Luther King Jr., Why We Can’t Wait
“You’ll turn around if they put you in jail,” a young black man quips to a peer as counselor LaTosha Brown belts out the classic freedom song.
It’s the kickoff of the 21st Century Youth Leadership Movement’s annual winter summit, held last December at Tuskegee University in Alabama. In 1985 former SNCC activists and their children founded 21st Century on the anniversary of the Selma marches, which ushered in the 1965 Voting Rights Act. Three times a year the group convenes camps to teach movement history to a generation with little appreciation of its accomplishments. They’ve heard of sit-ins but little of SNCC. Media soundbites provide piecemeal knowledge of Malcolm X and Martin Luther King, but who was Ella Baker? 21st Century seeks to fill in the gaps before this generation slips through. Yet the paradoxical pull of preparing for the future by building a bridge to the past reveals just how wide the chasm has grown.
“When spirits got low, the people would sing,” Brown explains: “The one thing we did right/Was the day we started to fight/Keep your eyes on the prize/Oh, Lord.” Her rich contralto, all by itself, sounds like the blended harmonies of Sweet Honey in the Rock, but it’s not stirring this crowd of 150 Southern youth. Two fresh-faced assistants bound on stage to join in like cheerleaders at a pep rally. Most of the others, however, take their cues from the older teens, slouched in their seats in an exaggerated posture of cool repose. Brown hits closer to their sensibilities when she resorts to funk. “Say it loud,” she calls. “I’m black and I’m proud,” they respond. But a brash cry from the back of the room speaks more to their hearts. “Can we sing some Tupac?” Another cracks, “Y’all wanna hear some Busta Rhymes?”