The nature of Palestinian resistance has undergone numerous transformations in the almost 100 years that it has been present on the world stage. On the cultural level, it took its most definitive form in the 1950s, with poets and novelists like Mahmoud Darwish and Emile Habibi reconstructing resistance identities from both inside the Israeli state and across the diaspora. Today, a new generation of musicians have begun to both engage with and transform these inherited resistance paradigms, recreating their own political identities in the process. Inside Israel, in particular, budding musicians like Tamer Nafar and Jowan Safadi are employing lyrical satire to amplify and redefine their stance in relation to the ongoing occupation of the West Bank, the living conditions of Palestinian refugees, the continuing oppression of Israeli Arabs as second-class citizens in the Jewish state, and the cultural decadence in their own societies. The artists use humorous lyrics reclaim and reconfigure their long history with systemic racism and oppression by addressing such realities as Jewish racism towards Arabs in Israel, forgotten historical and ethnic connections between Arabs and Jews in the Holy Land, and Western support for Zionist oppression of Palestinian natives. For example, in Tamer Nafar’s hilarious “Mama, I Fell in Love with a Jew”, Nafar relays a fictitious story wherein he and an Israeli woman are stuck in the elevator together. What ensues is a humorous dialogue that highlights the condescending attitude held by white Ashkenazi Jews towards dark-skinned Arabs. Furthermore, these musicians use their musical humor to challenge oppressive practices within their own communities, tackling norms imposed by their parent, Arab culture that create cultural stagnation and normalize such practices as the repression of women. In their hit song, “Who You Are”, Tamer Nafar and his band, DAM, mockingly portray the domination of women by having the men in the video speak on behalf of the women who, throughout the song, are reflecting on the expectations that their societies have for them. My paper will present a close examination of the lyrical content of a number of songs to reveal how such subversions are performed, what their practical value is in the lives of those they represent, and what their limitations are with regard to the parent cultures they are addressing.