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The opening track from 2003’s Boy in da Corner. Dizzee looks around at his surroundings and finds that his neighborhood never changes; it’s always gonna be the same illegal, corrupt shit. This track sets the scene for the rest of the album and, along with closing track Do It, provides an introspective look into Dizzee’s mindset and his true feelings about what’s happening around him.

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This poem is specifically about the death of a soldier and the notification of that death to his family. This is the reality of war.

The word anthem has a few different meanings, the one that seems to be the most pertinent to this poem is: an unusually rousing popular song that typifies or is identified with a particular subculture, movement, or point of view.

Soldiers of WWI would definitely identify with this poem; no one else (i.e. civilians) could understand everything that they went through during the war. They are fighting a war without knowing the real reasons behind it. They were often poorly equipped. They are the doomed youth of their day.

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One of the most famous war poems written by Wilfred Owen, who died in the British Army in the trenches of France and Belgium a week before the end of World War I. “Dulce” uses the powerfully revolting imagery of a soldier’s death from poison gas to call out poets and propagandists who praise the glories of war.

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Who is being addressed here? America? Us? What are the difficult things we don’t want to see that need to be seen?

A great exploration of these themes can be seen in the 2013 documentary on America’s historic relationship with drugs, social manipulation, crime and oppression: The House I Live In.

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According to Google, this translates loosely as “Look Angel I’ve always trusted you”.

The shift into Spanish is deliberate, and political. Byrne is highlighting the non-English speaking communities that are, in ways, victimised by the USA, in that they are not given the economic freedoms afforded to white Americans. Perhaps.

It’s common knowledge that Spanish is the most widely spoken non-English language in America, yet Spanish speakers are often marginalised, if not denigrated. The irony is that these communities have had to trust America in its paternal position.

Very complex, difficult ideas.

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Telling words. America here is depicted as too naive, or perhaps cloudy headed/ inebriated to even recognise her own victims. Has America ever really known it’s victims?
-‘Native’ Americans
- Slaves
- The economic depressed
- Immigrant peoples
- Other worldwide cultures fed American culture
- Consumers of American culture
- etc

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The seduction is so alluring that Byrne wants more. The allure of America is implied in the desperation inherent in this cried out imperative.

Worth noting that America, clearly in need of help, is trying to run away. Esacpe? Flee? Find sanctuary? Return home? It’s a lot more complicated that America = evil…

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The awkwardness at play here is in America’s adolescent thoughtlessness. She seduces and exploits, but she is still a ‘girl’ (innocent?) and a ‘model’ (exploited for beauty, forced to wear high heels in the simile of height).

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An intricate, slippery line this one. The suggestion is that America is manipulating her right to freedom, using it as an excuse for dishonest behaviours.

On a socio-historic level, these are profound assertions. The USA is indeed responsible for a string of atrocities, not least of all the decimation of indiginous peoples in North America, but, of course, it is a country born of rebellion itself.

This can’t give it the right to seduce and fleece peoples as it sees fit, but we (Byrne’s ‘I’) must accept that America is born out of ‘rugged individualism’ a phrase often used by President Hoover to describe the individual’s compulsion to help him/herself out of personal poverty.

It’s complex.

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A soft set-up to the more violent punchline to follow.

America offers sexual gratification, but takes more than it gives. The verb ‘fleecing’ makes this clear – she takes everything, while seducing you into blind acceptance. It’s a great metaphor.

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