Perez on A Critical Analysis of Rap Shield Laws

Alexa Perez, Drake University Law School, is publishing A Critical Analysis of Rap Shield Laws in volume 110 of the Cornell Law Review. Here is the abstract.

For years, scholars have been sounding the alarm on "rap on trial," or the use of rap as evidence in criminal proceedings, pointing out that the fundamental characteristics of rap music make it uniquely susceptible to misinterpretation and prejudice. Scholars have also cautioned that rap on trial has the potential to chill artistic expression in violation of the First Amendment. The heavy reliance on rap lyrics in the recent RICO prosecution against rapper Young Thug has shed a renewed spotlight on the rap on trial concerns. In response to these growing concerns and a perceived gap in evidence law, state and federal legislators have proposed, and in some states enacted, statutes that seek to limit the use of rap lyrics as evidence-what this Article refers to as "rap shields." This Article provides the first critical analysis of rap shield proposals. More specifically, this Article demonstrates that rap shield laws are largely duplicative and, therefore, unnecessary from both an evidentiary and constitutional standpoint. Nevertheless, from a social justice standpoint rap shields serve important functions that may justify their enactment, such as offering guidance that increases judicial scrutiny and decreases judicial discretion. Those benefits, however, come with unintended costs-costs that may outweigh the important functions rap shields serve-including impeding defendants' right to present a defense. This Article concludes that the administration of justice may be better served and the concerns with rap on trial better addressed when the firmly rooted canons of evidence law are stringently applied rather than amended.

Download the article from SSRN at the link

Kerr on When To Admit Art as Evidence @PKUSTL @WUSTL

Andrew Jensen Kerr, Peking University School of Transnational Law, is publishing When To Admit Art as Evidence in the Washington University Law Review Online. Here is the abstract.

Jeffery Lamar Williams, better known as Young Thug, is the latest high-profile rapper to have his rap “lyrics” potentially entered into evidence as part of a criminal trial. Young Thug himself faces several racketeering, drugs and weapons-related charges. The rap clique he co-founded, Young Slime Life (“YSL”), has been branded by Atlanta District Attorney Fani Willis as a street gang, whose affiliate members together face well over 60 separate criminal charges, ranging from car hijacking to aggravated assault and murder. The case is sprawling. As is Young Thug’s vast catalog, from which the District Attorney intends to isolate some snippets of vocalizations as evidence of YSL’s alleged gang-like ambitions. In this Article, I suggest why this is problematic. But given the practical reality facing Young Thug, I offer a compromise position that comports with how the Constitution thinks about art and evidence law, and that also does justice to Young Thug’s innovative form of music. In the first line of this abstract, I place “lyrics” in quotation marks not to express skepticism towards rap as a genre, but to question whether a form of music as daringly sonic as Young Thug’s can be legibly reduced to the supposed text that undergirds it. I argue, consistent with my prior work on constitutional art speech, that it cannot. Here I make the limited claim that in keeping with evidence rules like Ga. Code § 24-4-403 (whether probative value of evidence is substantially outweighed by the danger of unfair prejudice) that District Attorney Willis may enter tracks like “Eww” (2014) or “Slime Shit” (2018) into trial as she intends to do later this year, but only in their original audio form, in full (not as parsed snippets) and without subtitles or lyric sheets. As a corollary claim, I argue that the court need not invite experts (whether police or “rap scholars”) to try to make sense of Young Thug’s music. It doesn’t need any explanation. Like most all popular music, its only measure is whether it is enjoyable for an audience.

Download the article from SSRN at the link.

Okidegbe on "A 'Bad Rap': R. v. Skeete and the Admissibility of Rap Lyric Evidence @NgoziOkidegbe @CardozoLaw

Ngozi Okidegbe, Cardozo School of Law, has published A ‘Bad Rap’: R. v. Skeete and the Admissibility of Rap Lyric Evidence at 66 Crim. L.Q. 294 (2018). Here is the abstract.

This paper explores the evidentiary treatment of violent and prejudicial defendant-authored rap lyrics in Canadian criminal trials. It argues that the current evidentiary threshold jeopardizes trial fairness by allowing the Crown to adduce highly prejudicial rap lyric evidence at trial. It also problematizes the judicial reliance on corroborative evidence, which does not establish the truthfulness of the lyrics tendered, to admit these violent rap lyrics at trial. It argues that the reliance on such corroborative evidence results in a misapprehension of the lyrics’ evidentiary value and ultimately in the admission of defendant-authored rap lyric evidence of low probative value at trial. This result is particularly concerning in the case of young black male defendants, since the introduction of their lyrics at trial can prime a jury’s unconscious anti-black bias and therefore serve to increase the distortive effect of this type of evidence on the fairness and integrity of criminal proceedings. It concludes by advocating for a rap specific approach to the admissibility of this evidence.

Download the article from SSRN at the link.

Kerr on Interpreting the Rapper in an Internet Society

Andrew Jensen Kerr, Georgetown University Law Center, is publishing Rap Exegesis: Interpreting the Rapper in an Internet Society in the Columbia Journal of Race and Law. Here is the abstract.

The Law and Literature movement has had limited influence on the work of lawyers and judges. But a rap lyric’s dual quality as aesthetic and “truth” document makes it uniquely amenable to literary interpretation. The competing problems: lyrics are meant to be heard and not read, and the ambition of the contemporary rapper is no longer to be didactic or suggest authenticity. The #rapgame has changed. I argue the internet rapper is the paradigm of creative identity. The guiding questions for this Article are how the law should respond to the individual who lives life as art, and if the social knowledge project will lead to the crowdsourcing of hermeneutics of both rappers and legal texts.

Download the article from SSRN at the link.

The Meaning of Rap

Andrea Dennis, University of Kentucky College of Law, has published "Poetic (In)Justice? Rap Music as Art, Life and Criminal Evidence" in volume 31 of Columbia Journal of Law and the Arts (2007). Here is the abstract.

Courts routinely admit defendant-authored rap music lyrics as substantive evidence in the adjudication of criminal cases. In doing so, courts fail to recognize that rap music lyrics are art. Rather, judges view the interpretation of rap music lyrics as a subject of common knowledge, interpret the defendant's lyrics literally, and characterize lyrics as autobiographical depictions of actual events. In making admissibility decisions, courts must give consideration to the social constraints and artistic conventions impacting the composition and interpretation of rap music lyrics. More particularly, they must understand the commercialized nature of the rap music industry, artist claims of authenticity, and the use of poetic devices such as metaphor, boasting, perspective, and narrative. Likewise, jurors must be informed of such information when tasked with evaluating the weight of such lyrical evidence. Factoring this information into the admissibility analysis reveals that courts are admitting artistic evidence masquerading as real-life events, impermissible evidence of character and propensity, and unfairly prejudicial evidence. To avoid these problems, I suggest that courts considering admission of rap music lyrics written by defendants should determine the meaning of the lyrics from the artistic perspective of the defendant-lyricist as well as permit the defense to offer judges and jurors expert testimony respecting the composition of rap music lyrics. This approach can operate within the current system of evidence rules and balances the interests of defendants, the prosecution, and society.

Download the paper from SSRN here.