[1] Israeli hip hop artists enjoy wide popularity in Israel and have succeeded in appealing to international markets particularly the United States.

Yair Nitzani, then a member of the Israeli rock group Tislam, released an old-school hip hop parody album under the name "Hashem Tamid".

Teeni is credited with encouraging artists to rap in Hebrew, thus making the genre more authentic to Israeli culture and accessible to the local audience.

Yair Nitzani, then a member of the Israeli rock group, "Tislam", released an old school hip hop parody album under the name "Hashem Tamid".

In 1993, Nigel Haadmor and Yossi Fine, influenced by Eric B & Rakim and Flame-3 of the TPA Crew and other late 1980s Hip Hop, produced the album "Humus Metamtem", which was released by Yair Nitzani.

Influenced by his mother, who listened to Jamaican ska at home, Haadmor produced a unique sound based on his Caribbean roots living in the Jewish state.

[3] After the interview, Quami de la Fox created a Hebrew parody of their song “So What’cha Want” to promote their tour in Israel.

Later that year Quami de la Fox collaborated with DJ Liron Teeni, also a host on the Galgalatz station, to produce Esek Shachor (Black Business) – the first all hip hop radio show in Israel.

His major role in the process of making Israeli hip hop the popular genre it is in Israel today was the transformation of the lyrics to the mother tongue of Hebrew.

Even the conflict between Arab and Israeli rappers is documented in films such as Channels of Rage which showcases Subliminal and an Arab-Israeli named MC Tamer Nafer whose friendship ended due to political tension.

Black Business (Hebrew: עסק שחור "Esek Shakhor") is a hip hop radio show, started in 1996, by Liron Teeni and Quami De La Fox.

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.

[14] 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”).

Though it surfaced only a decade ago, Israeli hip-hop has successfully spread to the United States, primarily through the fan base of young Jewish Zionists living in America.

[15] Just as Israeli hip-hop portrays the global trends present in the current times, situations and qualities personal to this specific country are inherently incorporated into the songs and lyrics.

As issues such as politics and religion are being fought through the usage of hip-hop, Israeli rap artists display a wide range of opinions being offered and performed.

Since bumper stickers are very popular in Israel and are often placed on cars to display the driver's political, religious, and social stances, Hadag Nachash accurately portrays the country's numerous perspectives on all localized issues.

While discussing the relationship between global and local influences on Israeli hip-hop to create the effect of “glocalization,” one music video in particular precisely reveals this phenomenon.

“Halayla Zeh Ha’zman,” (or “Tonight is the Time”) performed by Alon De Loco and Gad Elbaz, effectively presents the manner in which glocalization has encompassed Israeli hip-hop.

The song continues to illustrate glocalization through the incorporation of Middle Eastern sounding beats and rhythms, and the chorus is sung in a voice reminiscent of many Israeli musicians and singers.

Thus, the music video acts as a clear representation of how elements derived from global and local sources are utilized in Israel, so as to create a unique hip-hop subculture.

Hadag Nachash (Hebrew: הדג נחש, English: "The Snake Fish”) formed in 1996 was one of the first rap groups to hit the mainstream in Israel.

Two examples for that would be their songs "Gabi & Debi" (Hebrew) which spoofs right-wing Zionist rap music, and "Little man" (English) depicting the despair from the religious collisions in the city of Jerusalem".

Though many Jewish Israeli rappers are present in the country's pop culture, fewer Palestinian hip-hop groups have surfaced, though one has gained widespread popularity.

Formed in 1998, DAM is noted as the first Arab-Israeli hip-hop group and consists of three Palestinian men who hold Israeli citizenship as well: Tamer Nafer, his brother Suhell, and a friend, Mahmoud Jreri.

According to lead rapper Nafer, “our message is one of humanity- but it’s also political- we make protest music.”[22] DAM's first single of 2001, “Meen Erhabe?” (or “Who’s the Terrorist?”) was not even released by an official recording label, but was still downloaded from online by over one million visitors.

After his required 3-year stint in the Israeli Defense Forces, Sagol turned to music, beginning his career in blues, funk and rock before moving on to hip hop in the Mid 1990s.

Within the last decade, Sagol has participated in many events alongside Palestinian and Arab musicians, and has performed alongside many well-known artists and overseas: Matisyahu, DJ Spooky, Kenny Mohammed The Human Orchestra, Remedy, Killah Priest, Sole of Anticon, Spearhead's Michael Franti, Yitz Jordan aka Y-Love, Taskforce, and Israeli artists such as Hadag Nachash, Coolooloosh, Mook-e, Teapacks, Yossi Fine and many others.

By working with Corner Prophets, Sagol's goal is to inspire a new generation of Israelis and Palestinians that turn to art, not violence, as a means to find a common ground.