identifying themselves as the blacks in Israeli society and attributing the relatively poor achievements of Ethiopians and their sense of inferiority and failure to racism. Their language of disappointment, disillusionment and hostility is addressed to those they hold responsible for their situation. They believe Israelis to be prejudiced towards them and see in them the reason that their chances of achieving integration are low: ‘You feel betrayed and are called ‘n-gger’. You made it to Israel and it doesn’t work.’ Identification with the African-American struggle, mainly through music, formed a sense of community and identity among Ethiopian-Israeli teenagers. “Their search for a home is temporarily satisfied by reggae and rap… This encounter with black musical genres is a matter not only of musical taste, but of self-image and image in the eyes of others.” Ethiopian-Israeli reggae and rap, reflecting struggles and racism of daily life of these teenagers, provides a sense of community and identification among Ethiopian-Israeli youth. Ethiopian Israeli hip-hop groups, and artists like Cafe Shachor Hazak, Axum, Jeremy Cool Habash, and others have become very popular amongst all Israelis, and are growing in popularity as Ethiopian Jews integrate into mainstream Israeli society. Strong Black Coffee ("Café Shahor Hazak"; קפה שחור חזק) is an Ethiopian-Israeli hip hop duo. The duo were a nominee for the 2015 MTV Europe Music Awards Best Israeli Act award. Hip hop as a method of globalization Though hip-hop has been adopted by numerous countries throughout the world, Israel remains as a prime example of the manifestation of “glocalization” in the musical realm. Originally hailing from the Japanese business world, this concept was introduced to the Western world by British sociologist Roland Robertson in the early 1990s. As explained by Hartwig Vens in his article in the World Press, the idea of globalization describes the “rising appearance of artistic hybrids that blend the global and the local” which accurately portray the interplay between these seemingly conflicting scenes. By recognizing the dual nature of glocalization, hip-hop's role within Israeli society can be revealed to show its nature of meshing opposing forces to form a creative and original product. Consistent with Vens’ claim, Israeli hip-hop is thus an imitated art, largely globalized and affected tremendously by the United States, while still displaying distinct characteristics specific to Israeli society and culture. Many of Israel's hip-hop artists thus reflect upon the integration of global and local influences into their