Next, McBride introduces a broader, more worldly view of the history of hip hop. He claims that “there is… a desperate fury among the Senegalese” (McBride 794) against the French that may inspire the artists there to turn to rap music. To support this, he includes a chronicle of Assane N’Diaye, his brother, and his cousin who write lyrics about “their lives as village fishermen, the scarcity of catch… and the hardship of fishing” (McBride 794). While this does coincide with the theme that hip hop can be utilized to vent emotion, McBride fails to implant a warrant that connects his support to his claim. For the most part, N’Diaye does not write with acrimony toward the french, he merely touches on ordinary daily struggles. Despite this, it is