What's Wrong with the World, part II

I've just finished writing my paper on American cultural failure. I always feel incredibly inspired in that domain when listening to the right hip hop songs, for they, like no other songs in different genres, are able to translate rightful anger and injustice into powerful music. It is their storytelling that makes my mind as focused as their sharp beats. I love these people. They fight for a better world.

Homeland and hip hop. To think about the origins of hip hop in this culture and also about homeland security is to see that there are at the very least two worlds in America. One of the well-to-do and another of the struggling. For if ever there 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 hellholes of prison. They grew up hungry, hated and unloved. And this is the psychic fuel that generates the anger that seems endemic in much of the music and poetry. One senses very little hope above the personal goals of wealth that climb above the pit of poverty. In the broader society the opposite is true, for here more than any place on earth wealth is so widespread 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. They're very opulent 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 U.S Department of Justice. They're just words; they have very little relationship to reality. And do you feel safer now? Do you think you will anytime soon? Do you think ducktape and Kleenex and color codes will make you safer? From Deathrow, this is Mumia Abu Jamal.