...packaging of hip-hop as a global commodity has facilitated its easy access by young people in many different parts of the world. Moreover, such appropriations have in each case involved a reworking of hip-hop in ways which engage with local circumstances. In every respect then, hip-hop is both a global and a local form. (Bennett, 1999, 5)
Hip-hop culture, especially the music, is so malleable that consumers can find in it different meanings. In other words, the ... elements (i.e., DJing, MCing, graffiti, breakdancing) take on differing significance and importance weights depending on the artist and the audience (c.f., Kjeldgaard and Askegaard, 2006). Individuals process them in diverse ways and incorporate hip-hop into their everyday cultural lives for varying reasons. This flexibility and pliability is what has lead, in part, to hip-hop music being able to crossover into and be adapted within multiple (sub) cultures of connective marginalities. Individually, or collectively, those miles and oceans away from New York City seek it out, like it, embrace it, and want to make their own (Motley and Henderson, 2008, p. 249).