Homeland and Hip-Hop

[Mumia Abul Jamal]:
Homeland and Hip-Hop.
To think about the origins of hip-hop in this culture and also about homeland security is to see that their are, at the very least, two worlds in America.
One of the well-to-do and another of the struggling.
For if ever their was the absence of homeland security it is seen in the gritty roots of hip-hop.
For the music arises from a generation that feels, with some justice, that they have been betrayed by those who came before them.
That they are at best tolerated in schools, feared on the streets, and almost inevitably destined for the
hell-holes of prison.
They grew up hungry, hated and unloved and this is the psychic fuel that generates the anger that is endemic in much of the music and poetry.
One senses very little hope above the personal goals of wealth to climb above the pit of poverty.
In a broader society the opposite is true
for here more then any other place on Earth, wealth is so widespead and so bountiful. That what passes for the middle class in America could pass for the upper class in most of the rest of the world. Their very oppulent and relative wealth makes them insecure, and homeland security is a governmental phrase that is as oxymoronic as crazy as say "Military Intelligence" or "The US Department of Justice."
They're just words that have very little relationship to Reality.
Now do you fell safer now?
Do you think you will anytime soon?
Do you think Duct-Tape and Kleenex and color-codes will make you safer?
From death-row this is Mumia Abul Jamal.
[Sample]:
"and many governments, buisness interests, even religious leaders would love to see me depart this Earth.
I'll grant them their wish soon enough.
But before I do I wish to make a small contribution, a final gesture of good will to the people of this little planet that have given. From whom I have taken so much."