I was introduced to the term public intellectual almost twenty years ago when I was an undergraduate in a literary course on African American music taught by the cultural critic Farah Jasmine Griffin. The class conversations began with readings of jazz and hip-hop artists as “organic intellectuals” in the sense developed by Antonio Gramsci. We quickly moved to the debates sparked by Edward Said's Representations of the Intellectual (1993) and to the rise of the black public intellectual as demonstrated by the formation by Henry Louis Gates, Jr., of an academic “dream team” in African American studies at Harvard, Cornel West's publication of Race Matters (1994), and Robert Boynton's March 1995 article in the Atlantic entitled “The New Intellectuals,” which added Toni Morrison, Stanley Crouch, Patricia Williams, Michael Eric Dyson, Derrick Bell, June Jordan, and many others to that category. By the time I arrived at Harvard in 1999, for graduate study in African American literature, the idea of the black public intellectual served as a backdrop and a blueprint for how my generation of scholars could live inside and beyond the campus walls. As beneficiaries of that era, my peers and I did not necessarily have to prove that our work belonged in the public; instead, we had to wrestle with newer questions of format and forum in the digital age.