At a time when the struggle of undocumented migrants is highly publicized, the city offers the Stranger a singular status. Sometimes integrated, sometimes assimilated, often excluded, the Stranger is the source of many imaginaries that lead, sometimes to the warmest hospitality, sometimes to the most sordid xenophobia. The city can be rich and plural, but also enclosed within geographical limits that the Stranger undergoes. Host or enemy, integrated or relegated, the Stranger is of all the passages. In addition, the city changes skin. His noises are no longer the same, and his movements undulate more and more. Tag and wall graffiti, rap and chat rappin ', hype and break dance, these murals and musical expressions are visible signs of the metamorphoses of the city that raise the question of the place of the Stranger in the urban universe. Are the wall graffiti and rap the distinguishing marks of the Stranger, which would signal to the rest of the community its presence, or are they evidence of a feeling of strangeness common to all? The author proposes, from a reading of the figure of the Stranger at Simmel, for which even the natives are strangers, a journey through the different forms of mural and musical expressions of the movement Hip-Hop that remain for many, foreign because incomprehensible.