Under Lock & Key

A people's culture is as important to their survival as food is. Without the guide-posts and direction signs that a culture offers to its adherents, they can soon become disillusioned, confused and easily led into self-detrimental paths. That "lostness" is what is being demonstrated by the hip hop culture of today. Obviously, hip hop has taken on the 'look' of a culture, but what kind of culture is it? From this writer's perspective, it is for the most part, a very negative and rebellious way of life. Make no mistake, the dominant culture that we live in here in Amerikkka is definitely not the way that we are supposed to and should live, but with that clearly understood, to put in it's place the glorification of violence and the degradation of your women, is just as bad!

As far as hip hop having a revolutionary value that can generate a positive environment that is conducive to rearing a nation that is capable of taking control and making manifest Justice and Equality for all, this has yet to be demonstrated. This culture-of-death that we operate in today has taken complete control of the hip hop movement and any signs of life; any signs that hip hop may have some redeeming values is quickly put to death through this culture's use of materialism and ruthless violence!

The awakening to our true culture is going to happen and a Hip-Hop culture that is dominated by artists such as: KRS ONE, DEAD PREZ, ASKARI X, etc., will play an important role in that culture!

MIM(Prisons) responds: We agree with this comrade's critique of hip hop today as needing to take up more revolutionary politics and disavow glorification of violence and degradation of wimmin. See our article on hip hop for a more complete critique.

T.H.U.G. L.I.F.E.
Sanyika Shakur
Grove Press, 2008.

This novel by former Eight Tray Gangsta Crip, current New Afrikan Revolutionary and captive of California’s Security Housing Units promotes peace, unity and discipline among the lumpen of the oppressed nations. As such, we rate this book positively as a cultural work. The story weaves the THUG LIFE code promoted by Tupac and Mutulu Shakur throughout. In this reviewer’s limited exposure to the collection of fiction branded as “street lit” and marketed mostly to younger New Afrikans, we see this as a superior example. A thorough analysis of this genre might parallel our discussion of hip hop music in a lot of ways.

The bulk of the story is gangster, but lessons and gems are peppered throughout. In the context of the ongoing conflict between the gangs of Los Angeles, the author introduces principles of dialectical development, though he doesn’t develop them very extensively. Cultural references to revolutionary music and movies are also dropped in the story in a way that may promote further investigation by readers who are attracted to the overall gangster story. A comrade and obvious admirer of Tupac Shakur, Sanyika seems to take a similar approach in his writing that Pac took in his music.

In one of the tensest moments of the book, Shakur paints a picture of a disciplined unit of gangsters awaiting a raid, “These bangers had grown fed up with police tactics of intimidation, false arrests, no-knock raids, and summary executions that always seemed to accompany their public ‘protect and serve’ image. They had made a pact to stand and fight when confronted without an escape route.”

Following another police raid, this time of the main character Lapeace’s apartment, we briefly meet Mrs. Delaney, founder of the Black Scouts Youth Brigade, who gives us a lesson in security: “what I do ain’t no secret, it’s just nobody’s business but my own.”

Later, Sekou, Lapeace’s road dog, promotes scientific thinking and attacks identity politics, “I could care less who speaks the truth, I want to hear it.” This is in reference to the Tupac character named Askari Shakur. Interestingly, characters in the book regularly listen to Tupac songs, while this character, Askari Shakur, is used as a stand in for Tupac in the Las Vegas beef that ends in his fatal shooting.

Throughout the book there is a theme of Lapeace searching for a family legacy of revolutionary resistance that he knows little about. Meeting Askari Shakur really encourages this desire for him, but the relationship is cut short by Askari’s assassination. This story line is typical of New Afrikans as a whole who are very ignorant of the struggles lived by their parents just a generation before. In ULK 9, a comrade told a story very similar to Lapeace’s. His mother was in the Black Panthers, resulting in their home being raided regularly as a child. But until her death, he thought she was just a criminal gangster.

The THUG LIFE code is a step. Gangsters living by the code aren’t gonna get us free. Really, gangsters aren’t gonna get us free, period. Not until they start transforming into something other than gangsters. Many lumpen organizations have a parallel analysis of the development of their members that start in the criminal mentality and transition to a more conscious one, in some cases the ultimate stage being promoted is of a revolutionary nationalist nature. To different degrees they promote trading in lumpen individualism for identifying with one’s people, or the people. The problem with these programs is that they are usually presented in a way that is limited by individualism itself. As if each member must go thru these stages. If everyone’s development is the same then we never advance. How we advance as a group is that each generation takes the lessons of the previous generations and builds on them, not making the same mistakes.

By erasing revolutionary history of the oppressed, the government has done much to set back progress. As the lumpen stand in a state of ignorance and criminality, they can only progress as a group through revolutionary nationalism and proletarian internationalism. The progression from nihilistic gang-banging to a code of conduct like THUG LIFE is just one small step, one that has not yet been taken up by the group.

One of the main roles of culture is to create idealized images that represent something that the people can relate to and emulate. Lapeace seems to be a character that merges the author’s past with his present in a way that idealizes the best of the gangster culture. Recognizing the stage we are in is part of a materialist approach to change and to culture. Lapeace is a positive image at this stage of the struggle. And a code of conduct like THUG LIFE is an important stepping stone to where we ultimately need to get.

Our komrades in MIM(Prisons) ask "what role does Hip Hop have to play today?" As a revolutionary culture, that is.

Since rappers are hard core capitalists it's a waste of time for me to even contemplate this question. As revolutionaries we must not waste time or energy on things we know aren't going to change. Let's keep it one hundred on a revolutionary level. Hip Hop has digressed not progressed.

It has come a long way. It's gone from "Fight the Power" by Public Enemy and Cop Killer by Ice T (who ironically enough now plays a pig in one of today's many cop shows) to "You're a Jerk" by the new boyz (the present #1 video on 106th and Park - B.E.T.) and "Throw it in the Bag" by Fabulous featuring The Dream (a shoplifting song).

So you see komrades, what Hip Hop has to do concerning the revolution and what they're doing and continue to do and will always do is on the opposite side of the revolutionary train of thought. I don't knock Hip Hop's hustle. It is what it is. I enjoy Hip Hop as entertainment while disregarding most of their lyrics lest I be tempted to shoplift (humor).

On the real, though, prior to the presidential elections B.E.T. (Black Entertainment Television), the Hip Hop channel, pushed hard for the election of Obama. Almost 24/7. Rappers threw rallies, wore shirts and pins promoting the vote for Obama. What do you think would've happened if this much attention would've been given to Sean Bell when he was murdered by three pigs of the NYPD? What would've happened if every single rapper who was still in the rap game at this time made entire CDs rapping about police brutality? Would it have raised a revolutionary consciousness within our urban youth? What if every CD put out at this time was dedicated to the memory of Sean Bell? What if every CD has the face of Sean Bell on its cover instead of a video girl in a thong bent over a Benz? Yea, that's all we're going to get: what if.

Instead this is the reality check. Michael Vick formerly of the Atlanta Falcons gets sent to prison for fighting some dogs, they're about to send Plexico Burress, formerly of the New York Giants to prison for shooting himself accidentally, and the three pigs who riddled Sean Bell with bullets get sent home to their families. Meanwhile Sean Bell's children have no father. Sean Bell was unarmed.

It's a "bloody" shame too, because the fact is, music in general has always bridged together cultural differences.

Is Hip Hop a vehicle for change? It can be, but it won't be. It will continue to pursue the all mighty dollar. What does the revolutionary culture or revolutionary culture (without the "the") look like? In the Hip Hop culture I don't see it. But if I was a Hip Hop rapper this would be some of my CD titles:

Sean Bell, Blood in my Eye, Police Brutality, Assassins with Badges, Modern Day Gestapo, When will they Murder Me?, Attica 71, It's now or never.

But since I can't rap a lick that ain't gonna happen either. So all we can do is what we can do. If you know how to rap then put it down and bring revolution to the rap game because what's already there is simply a Rapper$ Delight.

MIM(Prisons) replies: While we certainly agree with the points made on the injustice of the Sean Bell murder, we point out that many people still rap about Sean Bell years later. And a whole CD was put out for Oscar Grant, with many others putting out singles in respect to him. Most of them were very critical of the police and their connection to the state including Obama. These don't get as much play as the other crap out there, even crap by the same artists who put out these revolutionary songs.

It costs millions of dollars to make a song "popular." Therefore, if you look at the list of songs that get the most rotation, they're all owned by two corporations: Universal and Sony (occasionally Capitol gets one in). If you aren't sponsored by one of these companies you cannot afford the payola. That is part of the game. So even the big artists who do some songs for the people have to write most of their songs for the money, or else they choose to not be a "big artist." Therefore most of what the people listen to is still crap.

If you check out some of the artists that aren't on BET, in XXL or on for-profit radio stations then there is no doubt that a revolutionary undercurrent to hip hop is still present. What will never happen is hip hop becoming revolutionary for profit. But hip hop is already playing a revolutionary role at the fringes.

Hip hop culture began in the late 1970s, but it wasn't until the middle to late 1980s that the cultural life and expression of hip hop began to grow and influence youth throughout amerika and the world. Many people wrote this phenomena of hip hop culture as some fad that would soon wither away.

During the late 1980s, early 90s, the era I coin the Black Consciousness era of hip hop, Black and Latino youth found a way to use hip hop to express their anger, fears, ideas, art and frustrations within the dominant white-oppressor culture, police brutality and poverty.

Hip hop culture isn't just about the music, it's about a lifestyle - from the clothes we wear, style of hair, taggin' rail cars and walls with radical art and graffiti, unity and more. It's a culture of resistance.

However, white-owned corporations saw a profit to be made and stepped in to co-opt the movement. Yes, a lot of us found a way to eat, but the result was a lack of potency in the music and a watered-down culture where cars and ICE are the motivating factor. It is a culture that is teaching our youth that it's all about them (as individuals). That it's cool to be a dope field (sippin' syrup, etc.) and to be victims of HIV/AIDS (it's ok to have multiple sex partners). Is there any wonder why the highest rates of HIV/AIDS are among Blacks and Latinos between the ages of 13-24?

Culture in general, and hip hop culture in particular, plunges its roots into the base of the material reality of the environment in which we live in the hoods and barrios and it reflects the organic nature of society, which is more or less influenced by the dominant white society and culture of our oppressed communities.

Can hip hop be a vehicle for revolutionary culture? Yes, it can be, but it is not now. Culture is an essential element of the history of a people, and it's social development. Amilcar Cabral once has this to say about culture: "Study of the history of liberation struggles shows that they generally have been preceded by an upsurge of cultural manifestations, which progressively harden into an attempt, successful or not, to assert the cultural personality of the dominated people by an act of denial of the culture of the oppressor. Whatever the conditions of subjection of a people to foreign domination and the influence of economic, political and social factors in the exercise of this domination, it is generally within the cultural factor that we find the germ of challenge which leads to the structuring and development of the liberation movement."

If hip hop is to transform into a true vehicle for social change, we must demand that our artists keep it a hundred and give us more analysis in their music. Stop promoting the use of addictive narcotics, that they become more active in our communities, and give our youth the encouragement to study, unify, and resist oppression. If they fail to do this, hip hop remains sterile and dead. Long Live 2Pac, Biggie Smalls, Eazy-E, Left Eye, Pimp C, Big Pun and all other hip hop artists that paved the way for the next generation to refuse and resist.

I stopped reading ULK #9 to write this topic across a piece of paper, then I continued my ULK, which I might add is very enlightening. Thank you to MIM and all my comrades who make it possible. It's great to see brothers professing unity in the game instead of killing. I'm no active member but I've got my stripes, and I would be in a unique position to be a huge positive force in these young knuckle heads life by showing them exactly what Amerikkka wants the affiliated to be and what we as humyns should be. The street cliques can easily be revamped into a united front against U$ immorality if we proceed to do such instead of siding with paper and bling which brings me to the subject at hand, hip hop music.

In Idaho the pigs only allow radio, so all day I listen to my cellie thump hip hop. I was raised on MIG and 8 Ball. I'm from Oside SD, CA but I had to look a while back to see if I was being progressive or regressive. In no way is hip hop progressive, with the exception of a very small minority like Dead Prez. It's impossible to extract a positive role in the revolution when your mind is bent on pimpory and slinging packs! What's worse is with your $ from exploiting comrades, hip hop teaches to purchase the goods of the imperialists. The hip hop industry is grossing billions to ensure we are notoriously hypnotized and killing each other for the most idiotic of ideas.

I'm disgusted that something that could be such a huge asset to the liberation of nations all over the world is the main source of ignorant propaganda for the pigs. I don't need to name songs or artists cuz anyone who can formulate the words coming out of the speakers knows. I understand that the skill it takes to be a popular musician and a lot of these people come from backgrounds that this is one of the few skills they developed besides running and thugging, so if hip hop is to be an asset we all have got to teach these artists that the pictures they are painting are influencing more people to stroll down a path that destroys themselves, others, their communities and ultimately their culture.

I'm sure that will be a major struggle of its own because these high level execs will not forsake their deals to teach us that its wrong to be capitalistic. I doubt the U$ would even have allowed hip hop to become nationwide if they hadn't noticed and curbed the industry toward mindlessness. Look what happened to Ice T when kop killer came out, he was damn near lynched. People nowadays are obsessed with the latest hip hop trying to emulate it in every form and fashion. But hip hop is not only fantasy, it is counter revolutionary.

Don't think it's just hip hop either, it's 99% of all that the U.$. feeds you from sports to TV to movies, anything to keep you perpetuating the system instead of disillusionment. Reality is hard to deal with when you're lulled by the song that soothes the savage beast. If these mediums could be utilized the message would spread fast tho. Dare to struggle, dare to win. All power to the people!

Dear God,

I write you this letter from the depths of hell where I have been sentenced to a life of misery and pain. I curse you for opening up my third eye to a rude awakening and destroying the elaborate illusion I had created for myself. You, like a thief, have robbed me of that blissful state of not knowing and I want it back you omnipotent sadist.

You have tricked me. You have tricked me into becoming conscious, so you can laugh and enjoy yourself while I wallow in pain and loneliness as the truth slowly manifests itself to me.

I envy those I left behind, how happy they look as they sit in front of that one eyed monster, as it illuminates images of Hip Hop rappers who exploit bikini clad wimmin.

I want to be like you and laugh at the pain of ignorant people, watching them beat each other up on TV shows like Jerry Springer. I want to be a part of that crowd that cheers on Amerikkka as she invades helpless countries, raping and murdering innocent people under the guise of freedom.

I'm tired of people looking at me like I'm the one who's crazy because I refuse to conversate with snitches, who sold their soul to the prosecutors for mere crumbs. I want to be like other people and talk about basketball and football games instead of being a recluse in my cage reading revolutionary papers and thinking how to form a mass struggle behind these walls.

I want the same elated look of happiness of my face like those prisoners who play dominoes and cards all day without a worry in the world, oh how good that must feel.

I no longer want to feel the repulsive emotion known as love, which only weakens me when I expect it from people, only to be disappointed.

Personally I see nothing revolutionary about so-called hip hop nowadays. As someone who grew up in the 80s living the lifestyle, all I see now is everyone doing the same, saying the same, and looking the same. Hip hop needs a throat lozenge because it's lost its voice. When hip hop was pertinent there was a message in the music. A message which not only brought to light the various socio-economic maladies that affected the youth, but often times offered a remedy or blueprint to initiate change.

There were differing styles of dress depending upon how a particular individual wanted to express himself. Long gone are the Africa medallions or airbrushed jeans and hats that actually had meaning only to be replaced with precious metals and name brand couture. Real hip hop is alive and well in Cuba where they've even set up a position for the continuation of hip hop and expression by the government. Wow! In the U.S. hip hop has sold out to the mass media and has morphed into a watered down form of cheap musical entertainment. Shame on hip hop for allowing itself to become what it has. Notice how those rappers who talk about nothing of substance sell the most records while Mos Def or Dead Prez barely get a mention?

I believe that the bourgeoisie has systematically carried out a sinister plan to eliminate any type of thought provoking messages from being spread via hip hop music in an effort to keep the blind in the blind. I also believe that a direct correlation can be made between recent so-called hip hop's virtual passivity and the staggering number of inmates wandering around the multiple plantations in the good old US of A. We've been getting the message that it's okay for this government to do what it wants because we can't ever change it. There's nothing revolutionary about that!

I just finished reading the latest Under Lock & Key issue 8 and, comparatively speaking, the articles and overall issues seem much more focused than the days when ULK was only a sub-section of MIM Notes. As to the topic of ULK 8 [prison labor and economics], I find myself agreeing with the line drawn by the ministry. In addition, though I can never stress enough that the progress to be made among the prison population, especially among the prison population (whether in regards to labor, health services, or any other abuse of inalienable rights) lies in the political unity and education of the existent Lumpen-Proletariat Organizations within the prison system itself.

As a 32 year old, young Hispanic male, having been raised in the inner city and having spent nearly half my life in the system, hip hop has been a reflection of my (and mines) existence for as long as I can remember. It has been blasted by everyone, from the working moms and pops to the bourgeois conglomerates; from the so-called community leaders to the bona fide revolutionaries of old. It was an expression of struggle and strength, and a message of perseverance and preparation. It was a passing fad that was eventually manacled, manipulated, and monopolized by the evil designs of capitalists who not only see the promise of a dollar, but the perpetuation of our demise.

There is too much to be said of hip hop (its history, present state, and future) than can justly be compiled into one issue of ULK alone. For far too long it has, in my opinion, been neglected by the revolutionary community as a whole. As Frantz Fanon said in regard to the lumpen, the same applies to the culture of hip hop and rap - the revolution neglected, the reactionaries didn't, and so where hip hop should (and could!) be serving as a spearhead of revolutionary spirit, it has been fashioned into one of the greatest bulwarks against revolutionary progress.

Hip hop is an art, it is music, and just as any art it is most relevant to the mind. It is a culture, and as such it is even more directly relevant to the minds of those who embrace it, not just as a form of entertainment, but as a painting of their own reality - the reality of the ghettos and slums the world over. Hip hop is international, and in most Third World countries it can still be experienced in its most free and pure form. And hip hop is a weapon, a weapon of the people, that has been turned against us.

From the days of "get free or die trying" to today's mantra of "get rich or die trying," it is apparent how deep the federal government has affected the core of our production. The government's counter intelligence program (COINTELPRO), under any other name, is still very much involved in countering the produce of intelligence harvested by the oppressed. The east coast - west coast drama that brought the murders of Biggie and Pac (not to mention the nameless bodies laid down in-between) did not occur by chance. The rise of the South and overall materialism and sexploitation permeated throughout today's industry did not occur because it was the "natural" course of hip hop. These things manifested because before hip hop was ever projected to the masses through the mainstream, it was mass inflected through its very own blood stream.

Nas - hip hop's Street Disciple - said hip hop is dead. The ALKN says that the rising of the dead is the spiritual awakening of those who have been sleeping in the graveyard of ignorance. Therefore hip hop can be resurrected and it must be. As the fans continue to bob their heads in a trance and the artists continue to be used, as the record labels continue to sell out the vibe, the revolution and hip hop must re-unite, or die trying!

Rap music has recently been under fire for its misogynistic, materialistic, explicit content and for delivering negative messages to today's youth. But upon deeper examination, one tends to see that those ideas are merely the same ones being transmitted to the society at large by the institutions which govern society.

The parallels between the ideas propagated through the mass media and other sources; and the ones rapped about on the radio by recording artists are not hard to recognize. While this society proposes to thrive on such "rights" as "freedom of speech" and embraces such abstract concepts as individualism, materialism, and using sex to make profit, it lambasts and condemns artists who are the products of such defunct ideas and who have chosen to endorse and promote them for monetary gain—similar to their capitalist counterparts and employers—only creatively set over catchy beats in rhyme form.

While the hip-hop/rap culture is made up primarily of lower-class, urban youth, generally from the New Afrikan community. the question that arises is: Why are these destructive, negative values so unacceptable now? It seems that as soon as these inner-city youth find a way to use this society's own value system to their benefit, and use their experiences an conditions of poverty, drugs, and crime as an avenue to create material wealth, they are demonized for their efforts. "Rap music" as a whole is condemned. This is as backwards a reaction as is a child growing up around parents who constantly use foul language, then reprimanding that child when he uses that same language, without holding the parents to account.

Before further analysis, the distinction must be made between what is referred to as "rap" and hip-hop. This may seem minor to some, but it is an important contrast in regards to the subject at hand. The difference between the who can be compared to saying "I love you" to somebody (rap) and being IN love with somebody (hip-hop). Rap is a more commercial venture, where the artists typically brag about who has the flashiest jewelry, the hottest cars, the highest body count, and the most extravagant sexual exploits. Included in this category would be such popular artists as 50 Cent, Young Geezy, and Lil Wayne. Hip-hop, on the other hand, tends to be the expression of the artist's perception of life, their experiences, and an art form where they can articulate ideas and feelings. Artists falling into this category include Mos Def, Talib Kweli, Common, and Dead Prez. Unfortunately, both categories are lumped together and branded simply "rap" by the mainstream.

Most of the concepts being attacked come from artists in the "rap" category. Here, one can find rappers largely objectifying wimmin, advocating individualism and gangsterism, and supporting their general materialistic message by endorsing such acts as murder, robbery, and deceit, among others. After identifying these trends in rap music, one can't help but see the similarities between rap and the society at large.

Every time one turns on the television, they can not help but notice the many overt references to sex. Wimmin are scantily clad in commercial advertisements to sell almost any commodity imaginable. Wimmin in bikinis walk around boxing rings holding placards showing what round has begun; reality shows televised with wimmin competing for some random guy while employing a wide array of seductive tactics; the list could continue much further. All this is available to a general audience at any given moment throughout the day. The underlying idea is that "sex sells," and this idea is overwhelmingly used by men to objectify and exploit wimmin participants for profit.

Then there is the main reason that these wimmin are objectified—money. They stand next to an expensive car that is supposed to be the fastest and most popular; are in advertisements selling the "classiest" jewelry and apparel; and generally promote obtaining as many of the newest, flashiest, in-style material possessions as possible. This idea has become so widespread and acceptable that in schools the youth who are found to possess the newest, flyest clothes and products are the more popular, while those without the latest trendy clothes and items are the less socially acceptable.

Then there is also the issue of crime. While rappers are being chastised for glorifying violence and criminality, the chastizers fail to confront the underlying causes of such crime and its solution, instead placing the blame on rap culture. From a young age, youth are taught by society that accumulation of wealth is the desired goal of life, to look out for yourself and obtain as much as you can. At the same time—through acts of war at home and abroad— our country reinforces the idea that during the quest for the "almighty dollar." any means may be employed to get more money, including violence, murder, and deceit (among others)—only accepting those from the lower-class. When a person not from a privileged upbringing and background employs these same tactics, even for the same objectives, they are labeled "criminals" and are subject to incarceration and, in some cases, death. The laws that govern this country blatantly display the fact that they were made to protect the privileges of the upper-class at the expense of the lower-class.

This is not a defense for the clearly negative aspects of a culture that influences people from all kinds of different persuasions and races. Objectifying and degrading wimmin, and glorifying drugs and crime are definitely counter-productive and really reflect a symptom of a far wider problem. I am simply attempting to show the correlations between rap music and society, how they both inherently share and promote the same ideas and values, and how by and from the former they are criticized and scorned, yet by and from the latter they are accepted and embraced.

If we want to get to the root of the problem, our attacks shouldn't be aimed at a rap culture that developed from the harsh conditions of this society and which only reflects the same backward ideas and values that have been indoctrinated into the masses since birth. Instead, our attacks should be concentrated at a capitalist system that institutionalizes these degenerate values and ideas, and the ugly conditions it has consequently created in this country. Only when we begin to confront the root causes of crime, poverty, unemployment and racism will we be able to teach and educate our youth, and society as a whole, to new positive and progressive ideas and values, based on people helping and caring about other people-in one world: socialism. Anything short of this is a failure to confront the real issues and is simply a step backward.

MIM(Prisons) interviewed Reel Soldier, who previewed a new film they are working on at the StopMax conference in Philadelphia in May.

MIM(Prisons): What was the purpose of the conference?

Well, the StopMax campaign mission reads, "Our mission is to promote and support a national movement to end the use of solitary confinement and related forms of torture in US prisons." And i think it did a very good job of that with the conference. It brought together an impressive group of organizations and people that have been doing work around the issue of isolation and prison torture.

MIMP: So your film fit in well with the theme of the conference. Can you tell us a little about the film?

Yeah, it was really good timing for us. The film is called Unlock the Box, and it is all about the history of and the struggle against the use of long-term isolation in u$ prisons. It is very clear about the emergence of control units (and large-scale incarceration in general) as a form of political repression. If you look at the history of penitentiaries and more severe forms of isolation, it was largely determined to be a failed experiment over a century ago. But with the effective end of Jim Crow and other overt forms of white power, and the national liberation struggles that emerged from that struggle, prisons and isolation become an important tool for controlling the oppressed populations within u$ borders.

So it gets into some history. We also have some factual information on what control units are including new research some comrades have put together on the number and extent of long-term isolation. We think we have the best numbers out there right now, and they're a lot higher than the usual 25,000 that people have been citing for some years. We're seeing upwards of 100,000 people in long-term isolation. But this research is ongoing because it is so hard to get complete statistics, and a number of groups at the conference are collaborating to share this information. The plan is to publish the stats on [url=http://www.abolishcontrolunits.org]www.abolishcontrolunits.org soon, where you can also get information on the movie and how to order the DVD.

MIMP: What led you to create this film? What do you hope to accomplish with it?

The film came out of work that some of us were doing with the United Front to Abolish the SHU, which was a collection of organizations in California working together to build the campaign there. After doing a conference in 2005 by the same name, some of our public work died out and some of us changed focus for various reasons. But it seemed like a good time to sum up and document what had been years of work in California, and we knew of others, including MIM, who were carrying out similar campaigns across the country. In addition, we had felt we had put enough energy into petitioning the legislature to shut down the SHU, and that our window of influence there had closed with little success. We did have success in reaching the public and bringing light to an issue that is very hidden from the public eye though. And the movie was an idea to continue public opinion work in another format.

MIMP: What did people at the conference think of the film? Did you get any useful feedback to help shape the final version?

The response was great. I have to give props to the American Friends Service Committee (AFSC) for bringing together so many people who were so involved in this issue. The audience couldn't have been more catered to the movie. Unfortunately, we only had a rough draft done at that point, but people still felt it was very moving and on point. I was actually even a little surprised, because the film gives a pretty radical analysis of the international connections with the war on terror, the war on gangs, and the role of the amerikan oppressor nation in supporting this torture. And yet, everyone that responded seemed to really like the message and the content of the movie.

As far as feedback, the main thing was probably the suggestions of things that we should add to the film. And with all the great resources at the conference we were able to gather a lot of material to incorporate some of those suggestions. We don't claim to have a comprehensive coverage of the struggle everywhere, but we've got a lot of good examples, and a lot of information packed in to this movie. We got one suggestion to add more persynal stories to win people over on that level, which we have done. Our preview focused on some of the more theoretical material that we wanted to get across for that forum. And a couple of us that have been involved in the film production itself used the opportunity to look at the technical aspects and overall flow in a little more critical light. Just having an audience in the room with you allows you to say, "man, this part is too long" or "that visual just looks cheesy" when just a day ago you're sitting in front of the computer and you can't imagine cutting anything out or changing something.

MIMP: What were the key accomplishments of the conference?

Well, for us it was a huge accomplishment to get a preview of our movie on the screen. If it wasn't for this conference who knows where this project would be now. It really pushed us to get something on disc. I mean i was literally compressing the movie and burning it to disc for the first time less than 24 hours before our presentation. So we got to expose people to the film and we got lots of pre-orders for the DVD. This is important, because at this point we don't have a distributor so we're just going to do one big mass mailing when it comes out in September. So people need to send in their orders now to get one.

But the conference as a whole really seemed to solidify for the first time, what many of us have been striving for for years, a national campaign to oppose control units. The AFSC has stepped up to play the role of providing infrastructure to promote continued communication and collaboration between different parties working around this campaign.

So, it seems like the campaign has reached a critical mass of a sort. And it may be good timing in regards to how many states are re-evaluating their tough-on-crime laws and prison-building crazes.

MIMP: How will attendees be working to carry the struggle forward?

That's a good question. People were really enthusiastic about working together. But we will see how that plays out. Sharing information is always good, so that should help all of us if that continues effectively. But, as we learned with the United Front to Abolish the SHU, it is sometimes hard to bring a lot organizations together when politics are very different. We had some experiences where it seemed that sectarianism seemed to prevent groups who were nominally working on the same issues from joining the United Front, or causing them to leave. And it's clear that some groups have different approaches stemming from their different politics. Which shouldn't necessarily be a problem, since a United Front has room for many different political lines and strategies.

There is a question of whether some strategies or political interests within the movement are somewhat antagonistic though. For example, there is a strong focus on getting the mentally ill out of SHU, which in our analysis usually plays into the states goal of using the SHU as a tool of political repression. This has become the standard because it works. But by works, i mean that they can get the laws passed, but it doesn't necessarily translate into less people being in SHU, just different populations - generally populations that are or potentially would pose political challenges to the white power structure. So this could be a net setback.

Some state campaigns have been successful in actually getting the numbers in SHU decreased legislatively. In contrast, court challenges to the SHU as a whole have been ineffective, only having limited successes in regards to specific conditions or to the mentally ill.

New legislative campaigns are well under way in places like Arizona and Illinois, and likely to spread. Others were more focused on the need to organizing prisoners, street organizations and the oppressed nations in general. Hopefully these two major focuses can complement each other as the campaign advances.

MIMP: How can people who are interested in this struggle get involved with the film or the United Front?

Well, this movie has been largely inspired by the work MIM and now MIM(Prisons) has been doing. And our analysis in the film is along those lines. Which puts us more in the camp of focusing on the organizing of prisoners and by extension street organizations. In fact, i've been talking to a number of comrades in this process about a second film that focuses on the lumpen on the street. But i think one of the lessons you can take from the movie is that control units are a response to a powerful movement of the oppressed, that included a strong prison movement. By prison movement, i mean prisoners organizing on the inside. We don't really see anything like that today, though the possibility exists.

So people on the inside need to make that happen. We need strong cadre organizations with a real analysis and political line to back up these more reformist oriented campaigns that some of the outside organizations are focusing on. And since the nature of prisons and control units is to prevent that from happening, we need people on the outside to provide the infrastructure to help make that happen. I'd point to MIM(Prisons) political books to prisoners program and study programs as important to developing cadre level comrades behind bars. As the movie points out in the conclusion, this is what we need to put an end to the pointless violence that is going on in there right now and to create a system that serves the people. And of course, we've got to work to keep people out of the SHU.

As far as getting involved with the film, we just need to get it out there at this point. Check out the website to order a DVD. And any indie distributors or online stores out there should email the contact there if they are interested in making this thing generally available in the future. If you're on the outside and interested in joining this campaign a good first step would be hosting a showing of this film in your area. You can usually get a free space at the library or local college or church. We will probably post some promo materials online at some point for people to use. And if you are gonna do a showing send them an email and they will promote it on the website, we've actually already had a few groups host other showings of the preview we put out.

I mean, i assume anyone who's reading this is gonna be hip to MIM(Prisons), so that's where i'd look for specific info on campaigns that need your support. And there are a lot of other groups out there working on this issue you might support as well. But i'd encourage people to think seriously about what the best strategy is to actually achieve our goals (and before that you might need to define what your goals are). That is what we are striving for constantly, and i hope this film helps us all consolidate our thoughts around that question.