music. Global forces have thus proven to be powerful in affecting and shaping hip-hop in Israel. Even the beginnings of rap music in Israel portray the dominant and significant nature of the Western world on global music. Even once it was first presented on the show, the performers still maintained hip-hop's American origins by rapping solely in English. Only once hip-hop expanded to include other music artists was Hebrew utilized as a language to spread person opinions and beliefs of society. Even then, English was still used as an effective means of rapping and reaching audiences, and many Israeli hip-hop songs today incorporate some aspects of English lyrics or colloquial terms into their content. Though numerous examples are available, one specific music video exemplifies this phenomenon of language thoroughly. In his video for the song, “Bababa,” Subliminal incorporates various musical elements into his performance, including the talents of Miri Ben-Ari on violin. The first thirty seconds of lyrics rapped are entirely in English and could easily be mistaken for a hip-hop song written and produced in America. Such lyrics as “all my real” and “one is for the money, two is for the show…five for that flow” reveal the immense effect American hip-hop has on music produced halfway around the globe. The music video additionally displays other elements of Americanization including the mention of the Grammys and the presentation of the actors as stereotypical members of the hip-hop subculture. One such African-American man is shown wearing a New York Yankees baseball cap, and scantily clad women dancing throughout the video is representative of the stereotypical American hip-hop culture. Within another one of his music videos, “Toro,” Subliminal further expresses qualities of the Western world. Not only is the video reminiscent of hip-hop in the United States, but it holds some elements of reggaeton and Hispanic roots, especially when explicitly mentioning the word “dinero” in the chorus (Spanish for “money”). Therefore, throughout Israeli hip-hop music, the borrowing from America is quite apparent in the common usage of English language and slang terms in lyrics, as well as through the incorporation of certain American hip-hop culture elements such as break dancing and specific clothing. Not only has Israel maintained a relationship with the United States in its Americanization and adoption of Western qualities, but it has dispersed its own artifacts to America. Though it surfaced only a decade ago, Israeli hip-hop has