Abstract
This paper explains that the movie is a refreshing and provocative story of a Japanese man who breaks out of his humdrum existence through the unlikely intervention of ballroom dancing lessons. It discusses how Suo's adept direction makes this film erotically charged and hilariously comic at the same time, as well as full of interesting and believable characters. The cinematography is flawless and engaging, and the viewer is soon immersed in the world of the unlikely hero. Ultimately, the movie's greatest strength is in its ability transform the mundane and comic into the beautiful and sublime.

From the Paper
"Shall We Dance" is director Masayuki Suo's largest break into North American cinema. Previously, his works include a "pink" (X-rated) movie called "Daughter in Law", a TV drama, a documentary called "A Taxing Woman", and a major picture called "Manic Zen", followed by a movie depicting a college Sumo wrestler. Though released in English, "Manic Zen" was only seen in movie festivals and not released in the United States. When asked about Japanese director Yasujiro Ozu's influence on "Shall We Dance", Suo replies, " I didn't think very much about Ozu, therefore I don't know how I was influenced... However, he credits Ozu as a great influence on his first movie, "Daughter-in-Law" (Kaufman)."

Tags:japanese, film

Abstract
The paper is an in-depth study of the history of hip hop dance, from before and after the 1970s, and its effects on society. It explores how this type of dance is unlike other dance forms and the elements that make it up. There are no fixed forms to dance, but only styles. The rest is up to the dancer. It is a style of dance for all society giving the freedom to all to dance according to their desires. The paper also shows how hip hop is very much an American product. The hip hop trend enables the path for several dancers, and at the same time it also fosters and promotes more suggestive dance moves. The paper provides clear indications of the effects on culture; some hip hop is racist in theme, while others are sexist. Many hip hop musicians concentrate on such issues like social inequity and the dangers of heroin use. The conclusion is that hip hop is more than just music. It is becoming the soul of pop culture as never before, and steadily moving from the street corners and music videos towards usage in the fitness centers, dance studios as well as television shows.

From the Paper
"Hip hop may be viewed as a culture and is often used to refer to commercial rap music, but hip-hop is not only music. It is loved by the American ghetto youth who claim that it is their method of self-expression and use hip hop to rise over their physical situations. The culture of hip hop has its roots based on truth, self-determination, courage and pride. This is the reason why it has grown to have its impact on almost every part of the world. (Hip-hop History) Some hip hop is racist in their themes, while others are sexist. At the same time, there are also many hip hop musicians who concentrate on such issues like social inequity and the dangers of heroin use. From its early days in the US, the music is being played in projects and some underground clubs, but, now it has achieved a profile that has led to include it in the 1992 presidential debates over Sister Soljah. In the 20th Century Fox movie, Bulworth, there is Warren Beatty playing a Senator who berates his opponents using rap. Hip hop, it would seem, has become a part of our lives. (Classified Hip-Hop or I wanna blow up like Marilyn Monroe's skirt) At the same time, hip hop is not only music. This form of dancing has become very popular and this is clear from the opinions of some experts. "There's a definite surge in the white neighborhood that wouldn't necessarily be exposed to hip-hop in their everyday life," says Keith Pinto, who is an MC and hip-hop dance teacher at the Dance Attack in Los Gatos, California. "They watch MTV, see other kids doing it and want to be a part of it. You can pretty much go to any dance studio in the Bay area and they'll have a hip-hop class." (Hip-hop dance fever)"

Tags:break, dance, graffiti, rapping, afrika, bambaataa, grandmaster, flash, universal, zulu, nation, scratch, rapping, djing, don, campbellock, bboying, scooby-doos, popping, boogaloo, krump, popping

Abstract
Hip hop can be termed as one of the most influential cultural movements of the early 1970's and thereafter. This paper studies the development and influence of hip hop dance: the cultural, sociological and dance style evolution of street dance.

Outline
Introduction
Literature Review
Methodology
Results
Conclusion

From the Paper
"While many consider the Hip Hop dance to be the most influential phenomenon, Carl S. Taylor and Virgil Taylor (2004) think otherwise. They believe that hip hop street dance phenomenon has taken a back seat. "Throughout the last 25 years, a new form of expression has continually evolved despite the efforts of many in the so-called 'establishment' to minimize its influence on young people. This form of expression that was once limited to urban music and dance has become a widespread form of communication and expression by young people throughout the world."

Tags:break, beat, rhythm

Abstract
This paper explains that the post-civil rights and black power groups, who witnessed so many radical social changes, provided the attitude and style that gave birth to Hip-Hop. The author points out that MCs (emcees), DJs (deejays), break dancing and graffiti art are considered to be the roots of the movement that empowered urban youths to use music, dance and other forms of artistic expression to describe life as they saw it. The paper stresses that, when listening to today's Hip-Hop and R&B, it is important to remember that many artists from the 1990s, who are still around, do not consider today's Hip-Hip as "tru Hip-Hop".

Table of Contents:
What is Hip-Hop?
Roots of Hip-Hop Culture
Creativity
Bling-Bling?
Wrapping It Up

From the Paper
"Depending on who was the first to be commercialized, one thing that will always be argued is that once Hip-Hop was made into a commodity it needed to be mass-produced. From the top, Hip-Hop artists would sign onto independent labels only because the owners were willing to take a risk. No major record label wanted to sign an artist who could only reach a certain group or community and when signing an artist, companies want to make sure that the artist would be able to sell records to all of America and not just the inner city suburbs."

Tags:shakur, commercialize, urban, style, voice

Abstract
This essay analyzes the article 'Playing for Keeps' by Robin D. G. Kelley. This essay discusses how Kelley examines the meaning of play in mainly African-America inner cities. According to the paper, in this case play is defined as street basketball, street art and street performance, which for many of these youth presents potential labor especially in an economic and social climate that provides little opportunity for fulfilling wage labor. The paper also takes an in-depth look at hip-hop's rap music, graffiti art and break dancing.

Tags:publicspace, youth, racerelations

Abstract
This paper explores issues of how hip-hop culture, which includes not just rap music but beat-boxing, turntablism, break-dancing, krumping, and other manifestations, has been the focus of a great deal of negative attention due to what is widely perceived as a negative and debasing image or stereotype of women that is put forth in the culture.

Outline
Introduction
Historical Perspective
Present Problems
Analysis
Conclusion

From the Paper
"From an historical perspective, hip-hop music has not been around for very long, compared to other forms of music that have sparked societal debate, such as rock and roll and disco. Hip-hop music arguably began in the late seventies with artists like Grandmaster Flash and Electro, and focused on talking or rapping rather than singing, over a strong beat, often break-beat, and sampled instrumentation from other songs. Hip hop was male-dominated in its early days, as it continues to be today, and the lyrics for many hip-hop songs focused on presenting an idea of masculinity that was centered on the reality of life on the streets. As hip-hop gained in popularity through the 80s and even mainstream rock groups like Blondie and the Talking Heads dabbled in rap, this ethos was extended, expanded, and reinforced by groups like Public Enemy, Boogie Down Productions, and the Ultramagnetic MC's, who featured male lead rappers who were often dismissive of females and also often sought to stereotype women as being gold-diggers, bitches, and soap opera addicts. "Rap music has been around a little over 25 years now with hip-hop culture being slightly older. We now have generations of heads who grew or are growing up listening to rap. We are just beginning to see the long term effects and benefits of the imagery gleaned from videos and lyrical content; at this point it's safe to say that the effects are deep and long reaching" (Oshun, 2001). The 80s also saw the rise of so-called gangsta rap, which took the ethos of masculinity and mixed it with the myth of the outlaw or crime figure as rapper, supported by groups like N.W.A., Ice-T, and Geto Boyz."

Tags:menace, society, biker, shorts, fly, males, dominant, message, valorized, crime, pimping

Abstract
This paper describes how Hip Hop came to South Africa in the 1980s and was first performed as an imitation of the American version, but then grew into a vehicle for political opinion against apartheid that resounded for more than a decade. The writer explains how Hip Hop diverged into many different genres, depending on its geographical location in South Africa, and how it continued to focus on the political situation even after the 1994 elections. It has also evolved to a form of house music called kwaito, which is very popular dance music. The paper concludes that although used as a voice for all who find themselves oppressed, Hip Hop in South Africa has proved especially difficult for female groups in terms of respect and equality, which seems to show that South African Hip Hop has truly become a mirror of South Africa's unique cultural and political setting.

From the Paper
"During this time, the Hip Hop revolution in the United States provided fertile ground for the oppressed black youth of South Africa. According to Clark, this is one of the reasons why the genre in South Africa evolved to a much greater extent than in the rest of Africa. The country's political paradigm of the time created a sense of resonance for the youth when they heard the radical lyrics of the American form, particularly artists such as Public Enemy, who sang "Fight the Power" during this time. The themes of revolution and empowerment found a home in the hearts of the South African youth."

Tags:HIV racism gender sexism politics, break dancing, media

Abstract
This paper explains that Whoopi Goldberg (real name, Caryn Elaine Johnson) grew up in a New York housing project, became a single, teenage mother and dropped out of high school because she was convinced that she was not able to understand basic lessons. (Later she found out that she had dyslexia.) The author points out that, in 1983, Goldberg's career took off when director Mike Nichols attended her show at the New York's Dance Theater Workshop and immediately signed her for a one-woman Broadway show; Steven Spielberg chose her to play the lead in "The Color Purple" for which she received an Oscar nomination and a Golden Globe Award. The paper concludes that Goldberg represents a true pioneer in the motion picture industry not only because of her groundbreaking roles, which place her at the forefront of the black female actors in America today, but also because Goldberg's portrayal of white actors created an environment that breaks down social barriers while tacitly acknowledging and reinforcing others.

Table of Contents
Introduction
Review and Discussion
Background and Overview
Analysis of Selected Goldberg Roles
Conclusion

From the Paper
"Goldberg endured the unendurable for several months ("I had this caseworker who was nasty as hell"), which makes her reaction to her initial success more understandable. Even though she's won a Grammy, a Golden Globe Award and received an Emmy nomination, Goldberg reports that absolutely nothing in her life has come close to the sense of accomplishment that she felt when, after five years on public assistance, she was able to support herself through acting: "The greatest thing I ever was able to do was give a welfare check back. I brought it back to the welfare department and said, 'Here. I don't need this anymore.""

Tags:purple, awards, political, welfare, pioneer

Abstract
This essay shows that Madame Bovary's entire experience is by way of approaching her own obscurity and, indeed, her own demise and her death as an individual. It discusses how the depiction of Madame Emma Bovary's adulterous behavior, beyond the racy fascination readers dipped into as Emma's desire for "self-obliteration" was carried out, was totally unacceptable for the 19th century, and along with her other foibles, indicates a serious dance with transgressions. It then looks at how Edna, the main character from "The Awakening", certainly transforms the image of the stereotypical female of the 19th century from a modest, obedient wife and mother into a woman having an affair and breaking all the rules.

From the Paper
"Before examining further Edna's breaking away from Darwin's ideas, it is worthy to point out that Darwin saw civilization as evolving largely because "a woman's modesty curbs the male's eagerness to couple", Bender continues (488). But Bender also quotes Ruth Bernard Yeazell as saying, as a critique of Darwin, that "females are at once less lustful and more discriminating than males" [and] the satisfying conclusion to Darwin's story preserves the ideals of motherhood and the modest woman who knows nothing of appetite or sexual desire.
Are we talking about women with no appetite for sexual desire? Not in Chopin's characters. She clearly follows a pattern of both accepting and rejecting Darwin, which Bender only scratches the surface with. Chopin is likely embracing Darwin through the many images of the sea that connect Edna with evolution, if you will. "Edna is a post-Darwinian woman-animal who had evolved from the sea in a world without gods", Bender explains."

Tags:female, transgression, transformation, affair, adultry

Abstract
This paper begins with an explanation of the cultural and sociological origins of Hip Hop and then describes how it has evolved over time to have two different faces. The paper describes one version of Hip Hop as more mainstream and accessible to society at large and one version as more underground, authentic, and still representative of the group that first created the Hip Hop culture.

From the Paper
"The reasons why hip hop music became popular and the reasons why it is popular today are interconnected but unfortunately no longer identical. In the beginning, hip hop was based on cultural interrelation, rebellion, expression and accessibility -- its popularity was an organic part of its relationship to the impoverished and disadvantaged black community, and an implicit rejection of the way in which former modes of black music had sold out to white corporate America. Today, leaving aside the few dedicated independent and underground bands, hip hop has largely become part of the corporate machine. Modern hip hop's popularity is based on commercializing shrink wrapped rebellion, promoting the get-rich-quick dreams of an underprivileged class, and a myth of cultural continuity. However, this is not to say that nothing of the original vision remains, and there is certainly a degree to which hip hop is not dead."

Tags:musical, genre, clothing, lifestyle, choices, rap, graffiti, break, dancing, dj, turntable, instrument, mc