“Can’t C Me”
Surveillance and Rap Music
Bibliographic Data
| ID | 18975187 |
|---|---|
| Authors | Erik Nielson (0000-0001-8663-8723, University of Sheffield, corresponding author) |
| Year | 2010 |
| Volume | 40 |
| Issue | 6 |
| Pages | 1254-1274 |
| Publication date | 2010-07-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Journal of Black Studies (JOURNAL) |
| Journal identifiers | ISSN: 0021-9347 • E-ISSN: 1552-4566 |
| Publisher | SAGE Publications (PUBLISHER • US) |
| DOI | 10.1177/0021934708328906 |
| OpenAlex | W2082757417 |
| Language | EN |
| Citations received | 9 |
| References cited | 13 |
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 lyrical, structural, and thematic features can be interpreted as a response to the perception of being watched. As this article will demonstrate, despite rap’s ostensible emphasis on visibility and recognition, these features indicate a countervailing strain in rap’s aesthetic, one that favors invisibility and anonymity
Aesthetics · Anonymity · Art · Epistemology · Geography · Invisibility · Perception · Political science · Sociology · Visibility · Computer Science · Diverse Musicological Studies · Law · Music History and Culture · Music Technology and Sound Studies · Philosophy · Psychology · Social Psychology
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Here come the cops’
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The conceptual bases of metaphors of dirt and cleanliness in moral and non-moral reasoning
Rebels Without a Pause
Rap on Trial
| Unique citing works | 9 |
|---|---|
| Citations per year | 0.56 |
| Citation span | 2010 - 2022 (13) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 7 |