Women have always been part of hip hop, even though their accomplishments and impact have been understated and unsung. Yet any cursory examination of the history of hip hop reveals countless female musicians and performers. Some, like Queen Latifah, Missy Elliot, Salt-N-Pepa, Lauryn Hill, and Nicki Minaj, become household words. Hundreds of others remain behind the scenes, known mainly to audiophiles or serious music historians. Tracing hip hop back to

Music in the 21st century was accused of being increasingly derivative and irrelevant. Interest in individual performers, in the era of iTunes, was being relegated to the sidelines as teens assembled their own 'mixes' rather than sought to embrace the output of an individual artist. It was said that the era of the great soloist and the great musical concept album was dead. With her first album The Fame in

For example, music revealed disillusionment with the American Dream and expressed criticism of American foreign and domestic policy. In particular, the music industry reflected the anti-war sentiments during the late 1960s and early 1970s when the United States was still involved in Vietnam. Music also reflected shifting social and cultural values. For example, songs in the 1950s were innocent whereas those from the 1970s were darker in tone and often

Music and Dance in Indian Films In sheer quantity, INDIA produces more movies than any other country in the world-over 900 feature-length films in at least 16 languages, according to a recent industry survey. This productivity is explained by several factors: the size of the Indian audience, low literacy rates, the limited diffusion of television in India, and well-developed export markets in both hemispheres. (http://worldfilm.about.com/cs/booksbolly/) In its historical development, India's film industry

Rap Music - a Soundtrack of Revolution Soundtrack of Revolution for the Generations of Rap Artists Since 1980s Hip hop is a culture that encompasses a vast corporation of artistic forms, which originated from marginalized subcultures within the South Bronx in New York City during the 1970s. This culture encloses four distinct elements, representing diverse manifestations of its founding reasons: the rap music (oral), disc jockey (turntablism), graffiti art (visual), and break-dancing

Moreover, the rape symbolism becomes pronounced in "How Low." First, Ludacris walks through the mirror into the girls' room. Initially there were only a few females but when he steps inside, somehow there are several more girls in the room. His stepping through the mirror is a gross violation of their privacy and personal space. The act is a symbolic rape as Ludacris enters the room uninvited while the women