I was extremely pleased to come across your editorial discussing the discriminatory impact of assumptions surrounding rap and related genres of music (The Guardian view on rap and drill music: a song should not land the young in jail, 30 August). This issue has significantly affected the lives of numerous young black men, as highlighted in the linked article which sheds light on the use of joint enterprise laws in the conviction of 11 teenagers for a crime committed by one of them.
Back in 2016, the supreme court recognized that the principle employed in prosecuting multiple defendants in conspiracy and joint enterprise cases, known as “parasitic accessory liability,” had been incorrectly applied for many years, resulting in a low threshold for convictions. Parasitic accessory liability implies that if two or more individuals are involved in a crime, even if one committed another offense, the others can be prosecuted based on their supposed knowledge of the primary suspect’s actions. The shared enjoyment of rap music is often used as evidence of shared intent to commit a crime.
Despite the court ruling, convictions have not significantly changed. Moreover, individuals convicted under this principle face the insurmountable hurdle of the “substantial injustice” test when seeking an appeal. This test essentially requires them to prove their innocence before their case can be considered by the court. Your editorial effectively exposes the racist implications of this system.
Dr. Mary Gibbs from Manchester
Over the past four years, I have discovered the transformative power of urban music genres like rap, grime, and drill. As a white woman in her early 40s who has always enjoyed folk music, this unexpected chapter in my life has been a source of great joy and wisdom bestowed upon me by these artists.
In my day job, I work with care-experienced children and young people. Four years ago, a life-changing encounter introduced me to the rapper and spoken word artist Dominic Heslop, also known as The1Devotion. He is a true advocate for urban genres and provides support and opportunities for young people from diverse backgrounds to perform in mainstream public spaces through his SlamBarz project. The project offers mentoring, support, and access to resources like studio time, film recording, and training at local colleges and organizations.
As a behind-the-scenes supporter of SlamBarz, I consider it an absolute privilege to witness the authentic voices of young people. The honesty in their lyrics covers a range of topics, from the impact of absent fathers to the pressures leading them astray, the desire to make their mothers proud and stay on the right path, and the heartbreak of first relationships.
Witnessing these young people gain confidence, secure paid gigs, and enroll in college courses is truly phenomenal. However, it also serves as a reminder that there are still many youth out there who are writing lyrics in their bedrooms and being led down a challenging path.
We should not fear these genres; they are the folk music of today’s youth. With proper funding and mentorship, rap, drill, and grime can be forces for positive change. It is time to reconsider funding structures and music education to embrace the passion for these genres. Let us celebrate their richness and power. Instead of using these lyrics to convict young men in court, let us utilize them to create bridges and opportunities for transformation.
Clare Holdsworth from Sheffield
Given the use of rap and grime lyrics in legal prosecutions, it is worth noting that in 1974, Eric Clapton admitted to being involved in the homicide of an American law enforcement officer, while maintaining his lack of involvement in the fate of the officer’s second-in-command. Despite this admission, Mr. Clapton has managed to evade legal repercussions.
Mark Robertson from East Boldon, Tyne and Wear
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