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 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 hell
holes of prison. They grew up hungry, hated and unloved. And this is the
psychic fuel that seems to generate the anger that seems endemic in much of the
music and poetry. One senses very little hope above the personal goals of
wealth and the climb above the pit of poverty. In the broader society the
opposite is true, for here more than any place on earth wealth is more wide
spread and so bountiful. 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 the insecure. And homeland security is a governmental
phrase that is as oxymoronic, as crazy as saying military intelligence, or the
U.S Department of Justice. They're just words that have very little
relationship to reality. And do you feel safer now? Do you think you will
anytime soon? Do you think duck tape and Kleenex and color codes will make you
safer? From Death row this is Mumia Abu Jamal