By Lee Bernstein
Within the Nineteen Seventies, whereas politicians and activists outdoor prisons debated the right kind reaction to crime, incarcerated humans assisted in shaping these debates even though a wide variety of exceptional political and literary writings.
Lee Bernstein explores the forces that sparked a dramatic "prison artwork renaissance," laying off gentle on how incarcerated humans produced strong works of writing, functionality, and visible paintings. those incorporated every little thing from George Jackson's innovative Soledad Brother to Miguel Pinero's acclaimed off-Broadway play and Hollywood movie Short Eyes. a rare variety of felony programs--fine arts, theater, secondary schooling, and prisoner-run programs--allowed the voices of prisoners to steer the Black Arts circulation, the Nuyorican writers, "New Journalism," and political theater, one of the most crucial aesthetic contributions of the last decade.
By the Nineteen Eighties and '90s, prisoners' academic and inventive courses have been scaled again or eradicated because the "war on crime" escalated. yet by means of then those prisoners' phrases had crossed over the wall, supporting many american citizens to reconsider the that means of the partitions themselves and, eventually, the which means of the society that produced them.
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Extra info for America is the prison : arts and politics in prison in the 1970s
In this way, the New Right’s “law and order” became a critique not of Marxists with guns, but of a tradition of progressive reform that saw the state as a potential force for alleviating social problems via noncoercive institutions and strategies. Wilson argued not simply for more police in urban areas but for a categorically different way of understanding police work. If authorities increased the num38 We S ha ll Have O r d e r ber of “beat patrols,” also known as “preventive patrols,” police officers would be constantly visible in high-crime areas.
This finding also appeared in the 1965 report of the McCone Commission,68 formed in response to Los Angeles’s Watts riot of August 11–13, 1965. The riot began after a California Highway Patrol officer hit Marquette Frye with a baton during a drunk driving arrest. During the rioting, thirty-four people lost their lives—virtually all at the hands of Los Angeles police officers and California National Guard soldiers, who swept through the city shooting at rock throwers and looters—and more than one thousand people were injured.
Echoing this sentiment in his 1973 Grammy award–winning single “Living for the City,” Stevie Wonder told the story of a hardworking African American unable to find a job in Mississippi. 16 In this political climate, white support grew for repressive criminal justice amid the seemingly contradictory increasing acceptance of the principal of racial equality. This contradiction would ultimately be resolved in the cultural realm as conservative advertisements, books, and articles drew on the language of civil rights, equal citizenship, and defense of liberty as primary justifications for repressive policing and increased incarceration.