According to the November 2000 issue of the German weekly Focus, it was diagnosed that the German Popular culture was highly obsessed with American cultural imports. In this article, Americanization was even criticized as a malicious form of cultural imperialism, contaminating and colonizing German culture. One such example is MTV shows in which monolingual strategy was imposed, even in the contemporary world of globalization. However, this dominancy was challenged by Viva established in Germany in 1993, which also served to revitalize German rock, pop and hip-hop music. When talking about the US-European relationship, Ron Kroes and others have contended that this intercontinental transfer of popular culture can be theorized as ‘creolization’ or ‘hybridization’. Rather, the assortment in German hip-hop culture was quite evident; still there were three distinct forms of adapting the U.S. model that was the Old School, the New School and the second & third-generation immigrants. The Old School was developed by the pioneers of the current hip-hop since the early 1980s and was meant for post-national identity in the age of global hip-hop. In the Old school descriptions, hip-hop included its own representation of conserving its practitioners and German youth by keeping them away from criminal behavior. The most commonly cited work for such type of hip-hop was Cora E.’s Latchkey kid, which was a compliment on transitional structure of hip-hop culture, stating clearly its stereochemistry. The Old School also reflected its own imagery in hip-hop culture, rather than adopting the impression of the US theology. That was why; many raps of the Old School differentiated between the concepts of realness and the synthetic simulations of the US pop culture. To explain this phenomenon, MC Rene hummed: ‘I can not relate to street violence, so it would be fake to have a gun go off, many love the topics that are trendy, the themes that fly by on MTV, but where is your personality collective clichés, will claim victory over facts, no’,cause rap is communication, expression, modern conversation. A rapper who copies others is a copy for whom I will never have respect’ (1995, n.p). In every form of rap, language played a significant role in designing rap music. It was also observed that when hip-hop was practiced in Germany, the Old School of the US that was going to be taken over, was the message rap of Grandmaster Flash and the Glorious Five and the theory of Zulu nation proposed by Afrika Bambaata. In other words, this school highly criticized the conventional America, regarding pop culture. Since the period of its inception, German hip-hop has served to highlight the societal divergence among the Federal Republic of Germany (FRG) and the United States. The New School was conceptualized as an arena of commercialization and nationalization. However, this phase was the most critical moment for both Germany and the U.S. to remain in the same status of equality. The famous music critic Günther Jacob argued that black musicians had issues of racial discrimination as compared to European artists. Jacob further maintained: ‘They [white hip-hops] engage in posturing only if they imitate contents an