Erik Nielson
Biographic Data
| ID | 653057 |
|---|---|
| NAME | Erik Nielson |
| GIVEN NAMES | Erik |
| FAMILY NAME | Nielson |
| SIGNATURE | NIELSON E |
| AFFILIATIONS | University of Sheffield |
| ORCID | 0000-0001-8663-8723 |
| VERIFIED | Yes |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 13 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 2009 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 2 |
Expert or advocate? The role(s) of the expert witness when rap is on trial
This paper considers the role of the rap music expert in criminal cases involving the use of rap as evidence. In addition to describing ways that an expert can help the defence challenge the use of rap, both before and during trial, it also offers strategies for intervening beyond the criminal justice system. These strategies may require an expert to balance the roles of objective observer on the one hand and criminal justice advocate on the othe…
Hip Hop and Obama Reader
Offers an analysis of hip hop and politics in the Obama era and beyond, with new perspectives on hip hop's role in political mobilization, grassroots organizing, campaign branding, and voter turnout
The Hip Hop & Obama Reader
White Surveillance of the Black Arts
This essay explores the complex relationship between white authority and the Black Arts Movement. Conceived as a radical break from white traditions, the Black Arts Movement was intended to create a creative space, independent of white influence, through which artists could speak directly to the needs and aspirations of the black community. However, as this essay argues, the attempts to clear white presence from black art only succeeded in bringi…
Rap on Trial
In criminal proceedings across the United States, rap music lyrics are being introduced as evidence of a defendant's guilt. In this article, we draw attention to this disturbing practice, what we call "rap on trial," and explore its context, describe its elements and contours, and consider its broader significance. We first offer historical context, demonstrating that although the widespread use of rap lyrics in criminal trials may be a relativel…
A “High Tension” in Langston Hughes’s Musical Verse
Journal Article A “High Tension” in Langston Hughes's Musical Verse Get access Erik Nielson Erik Nielson University of Richmond Search for other works by this author on: Oxford Academic Google Scholar MELUS, Volume 37, Issue 4, December 2012, Pages 165–185, https://doi.org/10.1353/mel.2012.0055 Published: 01 December 2012
The Anthology of Rap (review)
Reviewed by: The Anthology of Rap Erik Nielson Adam Bradley and Andrew DuBois, eds. The Anthology of Rap. New Haven: Yale UP, 2010. 920 pp. $35.00. In Book of Rhymes: The Poetics of Hip Hop (2009), Adam Bradley set out to establish the literary merits of rap music, arguing that rappers are some of the most vibrant and talented poets we have today. Book of Rhymes was by no means the first work to acknowledge rap as poetry; anthologies such as Ishm…
Here come the cops’
When rap music broke into the mainstream in the late 1980s, it was quickly hailed as a vehicle for political resistance against the blatant social and racial inequalities in the United States. However, a closer look at even the most ostensibly rebellious and confrontational songs reveals that the resistive potential within rap music was often undermined, or at least complicated, by the pervasive culture of policing and surveillance from which it …
“Can’t C Me”
Rap music has always been under surveillance, and the purpose of this article is to explore the most significant ways that the genre has been influenced by it. It begins with an overview of some of the ways in which surveillance has played a crucial role in the emergence of hip hop in general and rap in particular. It then uses a close analysis of 2Pac’s track “Can’t C Me” as a point of departure for a broader discussion of the way many of rap’s …
We Are Gone”
Although rap music grew out of live performance and communal interactions, it has steadily shifted toward studio-based production, which favors technological mediation over interpersonal dynamics. The critical response to this shift has been divided, with scholars disagreeing over the ways in which technology redefines human presence or affects collective agency. Using a close analysis of Public Enemy's track “Black Steel in the Hour of Chaos” to…
 My President is Black, My Lambo's Blueâ
Rap on Trial
In criminal proceedings across the United States, rap music lyrics are being introduced as evidence of a defendant's guilt. In this article, we draw attention to this disturbing practice, what we call "rap on trial," and explore its context, describe its elements and contours, and consider its broader significance. We first offer historical context, demonstrating that although the widespread use of rap lyrics in criminal trials may be a relativel…
Here come the cops’
When rap music broke into the mainstream in the late 1980s, it was quickly hailed as a vehicle for political resistance against the blatant social and racial inequalities in the United States. However, a closer look at even the most ostensibly rebellious and confrontational songs reveals that the resistive potential within rap music was often undermined, or at least complicated, by the pervasive culture of policing and surveillance from which it …
 My President is Black, My Lambo's Blueâ
“Can’t C Me”
Rap music has always been under surveillance, and the purpose of this article is to explore the most significant ways that the genre has been influenced by it. It begins with an overview of some of the ways in which surveillance has played a crucial role in the emergence of hip hop in general and rap in particular. It then uses a close analysis of 2Pac’s track “Can’t C Me” as a point of departure for a broader discussion of the way many of rap’s …
We Are Gone”
Although rap music grew out of live performance and communal interactions, it has steadily shifted toward studio-based production, which favors technological mediation over interpersonal dynamics. The critical response to this shift has been divided, with scholars disagreeing over the ways in which technology redefines human presence or affects collective agency. Using a close analysis of Public Enemy's track “Black Steel in the Hour of Chaos” to…
The Anthology of Rap (review)
Reviewed by: The Anthology of Rap Erik Nielson Adam Bradley and Andrew DuBois, eds. The Anthology of Rap. New Haven: Yale UP, 2010. 920 pp. $35.00. In Book of Rhymes: The Poetics of Hip Hop (2009), Adam Bradley set out to establish the literary merits of rap music, arguing that rappers are some of the most vibrant and talented poets we have today. Book of Rhymes was by no means the first work to acknowledge rap as poetry; anthologies such as Ishm…
Here come the cops’
When rap music broke into the mainstream in the late 1980s, it was quickly hailed as a vehicle for political resistance against the blatant social and racial inequalities in the United States. However, a closer look at even the most ostensibly rebellious and confrontational songs reveals that the resistive potential within rap music was often undermined, or at least complicated, by the pervasive culture of policing and surveillance from which it …
A “High Tension” in Langston Hughes’s Musical Verse
Journal Article A “High Tension” in Langston Hughes's Musical Verse Get access Erik Nielson Erik Nielson University of Richmond Search for other works by this author on: Oxford Academic Google Scholar MELUS, Volume 37, Issue 4, December 2012, Pages 165–185, https://doi.org/10.1353/mel.2012.0055 Published: 01 December 2012
White Surveillance of the Black Arts
This essay explores the complex relationship between white authority and the Black Arts Movement. Conceived as a radical break from white traditions, the Black Arts Movement was intended to create a creative space, independent of white influence, through which artists could speak directly to the needs and aspirations of the black community. However, as this essay argues, the attempts to clear white presence from black art only succeeded in bringi…
Rap on Trial
In criminal proceedings across the United States, rap music lyrics are being introduced as evidence of a defendant's guilt. In this article, we draw attention to this disturbing practice, what we call "rap on trial," and explore its context, describe its elements and contours, and consider its broader significance. We first offer historical context, demonstrating that although the widespread use of rap lyrics in criminal trials may be a relativel…
The Hip Hop & Obama Reader
Hip Hop and Obama Reader
Offers an analysis of hip hop and politics in the Obama era and beyond, with new perspectives on hip hop's role in political mobilization, grassroots organizing, campaign branding, and voter turnout
Expert or advocate? The role(s) of the expert witness when rap is on trial
This paper considers the role of the rap music expert in criminal cases involving the use of rap as evidence. In addition to describing ways that an expert can help the defence challenge the use of rap, both before and during trial, it also offers strategies for intervening beyond the criminal justice system. These strategies may require an expert to balance the roles of objective observer on the one hand and criminal justice advocate on the othe…
Music History and Culture (9 works) · Art (7 works) · Sociology (7 works) · Political science (6 works) · Aesthetics (5 works) · Law (5 works) · Computer Science (4 works) · Theater, Performance, and Music History (4 works) · Criminology (3 works) · Law (3 works)