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!