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Professor John Henrik Clarke’s Impact on the Hip Hop Generation, RBG Street Scholar, w A Hip Hop History Appendix Article

Professor John Henrik Clarke’s Impact on the Hip Hop Generation, RBG Street Scholar, w A Hip Hop History Appendix Article

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Also visit our New 2014 Widescreen Website/ Edublog, RBG Blakademics Core Classrooms
http://rbgblakademics.blogspot.com/
Also visit our New 2014 Widescreen Website/ Edublog, RBG Blakademics Core Classrooms
http://rbgblakademics.blogspot.com/

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Published by: Rbg Street Scholar on Jan 09, 2014
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05/05/2015

 
 RBG Street Scholar- 01-2014-v#1
Professor John Henrik Clarke’s Impact on the Hip Hop Generation
1
Professor John Henrik Clarke’s Impact on
The Hip Hop Generation
“With a comprehensive interactive
Hip Hop History Article
Appendix”
 
RBG Street Scholar © 01-2014-v#1
View/ download article Keepsake Poster  
 
 RBG Street Scholar- 01-2014-v#1
Professor John Henrik Clarke’s Impact on the Hip Hop Generation
2
Professor John
Henrik Clarke’s Impact on the Hip Hop Generation
 
“No people are really free until they become the instruments of their
own liberation. Freedom is not legacy that is bequeathed from one generation to another. Each generation must take and maintain its
reedom with its own hands”
John Henrik Clarke
“…And
what is most, it is the present-day socio-politically conscious genre of rap music and hip hop culture, known affectionately by its followers as RBG Rap, a 21st century Honorable Marcus Mosiah Garvey Revival and Re- Afrikanization Renaissance of sorts, that Professor John Henrik Clarke is a Spirit-force for 
…” From below 
 
Background
In this brief essay I will set out to explain Professor John Henrik
Clarke’s impact on the
hip hop generation by showing that in the Black community music has always been a driving-force for social movements and, by the same token, musicians and artists have always been influenced by the social movements of their time. By connecting some of the historical
dots of African American “
message
and resistance music” to the social
and political currents in the United States over the past fifty years, I will attempt to show how African American teachers, historians and scholars, such as Professor Clarke, in a stealth-type of way, have always been the intellectual grounding and information repository which informs both the music and movements. African American music has always served as a countercultural practice with deep roots in modes of spiritual transcendence and expressions of political resistance. Black music has also historically been the outlet of choice for disenfranchised, rootless and alienated youth who are, more frequently than not, disenchanted by feelings of meaningless and dissatisfaction with the status quo. In
The Hip-Hop Generation: Young Blacks and the Crisis in African-American Culture,
 hip hop historian Bakari Kitwana describes the "hip hop generation" as the generation born between 1964 and 1984. (1) This group is to be distinguished from the so-called Generation X, since it mostly refers to African-American youth, as hip-hop culture and rap music were predominantly developed by African Americans youth in urban centers across the United States.
 
 RBG Street Scholar- 01-2014-v#1
Professor John Henrik Clarke’s Impact on the Hip Hop Generation
3
In sharp distinction from the generation that preceded them (their parents), the hip hop generation faced their own unique set of internal and external social, political and economic challenges and crises.
Their parents’, the
 generation entering maturity during the 1950s and 1960s, were known as the "civil rights and Black Power generation," as their social and political resistance and activism resulted in things like President Lyndon B. Johnson eventually signing the Civil Rights Act of 1964 and the Voters Right Act of 1965. The civil rights movement sought the fruition of democratic civil
 –
rights guaranteed to white people to be equally administrated to Black people. It was a nationally organized movement, which put in motion masses of people in freedom-rides, sit-ins and
marches, which precipitated the eventful call for “
Black P
ower” and nationalist
political consciousness. It was Gospel music alongside the civil right movement and Rhythm and Blues with a socio-political message and the Black Arts Movements poets for the Black Power Movement that supported and elevated the energy and resilience of the youth and adults who were involved in those movements. Without the early contributions of music like Bop and artists like James Brown, Curtis Mayfield, Nina Simone etc.
that sought to defy America’s power structure
 by way of their art, hip-hop may not have assumed such preeminence in mainstream American culture and socio-political discourse.(4) The historical dialectical relationship between Elijah Muhammad
’s
 separatist and Martin L. King, Jr.
’s
 integrationist movement preserved the historical continuity and ideals of both the Marcus Garvey separatist and W.E.B. DuBois integrationist movements of the past. This struggle of unity in opposites resulted in forging the course of struggle towards a synthesis of the two ideals first espoused with the cry and birth pains of
Black
Power”.
 In teaching history, Professor Clarke has coin the term
“the eternal now”, as
 to mean that there is no separation between the past, the present and the future. In this light, one can appreciate that the Hip Hop generation
’s
 experience in America is not separate from that of their parents; rather, they are linked in a chain of events which imposes current-day socioeconomic and political realities encompassing the criteria by which we can best appreciate Professor Clarke
’s
stealth impact upon them [the youth]. We should first be reminded; Professor Clarke
’s writings, teaching
 and mentorship

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