Despite the presence of connective marginalities, hip-hop consistently undergoes transformations to fit the social contexts of a particular area.

1. Hip-hop has become a global phenomenon because of what Osumare refers to as “connective marginalities;” aspects of the culture that resonates with youth regardless of their nation of origin (267). Despite the presence of connective marginalities, hip-hop consistently undergoes transformations to fit the social contexts of a particular area.
In the 1980s, Black youth in Britain participated in a series of riots in opposition to the poor conditions they were facing (including lack of employment, few educational opportunities, and racial profiling by police). The situation they faced seems almost the same as the racial injustices faced by blacks in the U.S. Look at the videos posted below, then using this week’s readings and film write a brief post describing why Musical Youth’s “Pass the Dutchie” may have resonated with Afro-British youth more than Public Enemy’s “Fight the Power.”
Videos: http://www.youtube.com/watch?v=dFtLONl4cNc

2. Answer the following questions in approximately 150 words per answer:
a. Is it possible for hip hop/rap to “fully develop” in a social/political climate where discussion of race is considered taboo such as in Cuba or Brazil? Use the Osumare text to support your answer.
b. Has the commodification of rap limited it’s impact as a vehicle for global social change and resistance? Why or Why not? readings attached