  There would be much philosophizing born of struggles by the new generation. Much credit has to be given to those who had the wherewithal of discipline and fortitude, and good fortune, to survive and leave legacies of accomplishment that continue to enrich Black folks, and others. The Black Arts Movement, for example, had profound impacts through the productions and articulations that gave new directions and meanings to artistic creativity, to the agendas guiding creativity and expression and the mission of service to various audiences. A manifesto, “Towards a Black Aesthetic,” by Hoyt Fuller (1923–1981; Fuller 1994) and his work as editor of the journal Negro Digest, which later was renamed Black World and was followed by First World when the publisher of the latter was pressured to discontinue publication of a journal serving Black radicals, were path-setting ventures during a period much in need of clear paths. Likewise “The Black Aesthetic” by the essayist and theorist Addison Gayle, Jr. (1932–1991), his introduction to an anthology that he edited and published bearing the same title (Gayle, Jr. 1972). A collection of writings on theory, drama, music, and fiction by many of the leading artistic minds in the new Black generation, The Black Aesthetic has come to be regarded by scholars as “the theoretical bible of the Black Arts Movement” and thus did for the makers of this Movement what Locke’s The New Negro had done for the makers of the Harlem Renaissance. Both Fuller and Gayle would play roles similar to Locke’s in serving as midwives to the creative and critically-minded development of a sizable portion of a generation of seriously radicalized Black thinkers-artists.