I was very glad to see your editorial about the racist effects of assumptions about rap and related music (The Guardian view on rap and drill music: a song should not land the young in jail, 30 August). This has blighted the lives of many young black men, including those referred to in the linked article about the use of joint enterprise laws in the conviction of 11 teenagers for a killing carried out by one of them.
In 2016, the supreme court found that the principle used in prosecuting multiple defendants in many conspiracy and joint enterprise cases – known as “parasitic accessory liability” – had been wrongly applied for many years, with far too low a bar set for convictions. Parasitic accessory liability means that two or more people commit a crime (which may be minor) during which at least one of them commits another crime.
The others can then be prosecuted for the latter’s crime on the basis that they should have foreseen what the primary suspect would do. A shared enjoyment of rap music is often claimed to show shared intent to commit a crime.
The court ruling has not made a significant difference to convictions. In addition, anyone convicted under this principle who seeks to appeal is faced by the impossible hurdle of the “substantial injustice” test, which essentially requires them to prove their innocence before it can be considered in court. Your editorial shows how racist the effects of this are.
Dr Mary Gibbs
Manchester
• Over the last four years I have discovered the power of urban genres of music such as rap, grime and drill. As a white mother of two in her early 40s, who loves folk music, this has been an unexpected chapter in my life. It is one that I am relishing and which brings me more joy and wisdom from the artists than I could have ever imagined.
I work with care-experienced children and young people in my day job. Four years ago, a life-changing encounter brought the rapper and spoken word artist Dominic Heslop, AKA The1Devotion, into my life. He is a true champion of urban genres and supports young people from a range of backgrounds to perform on stage in mainstream public spaces. Through his SlamBarz project, young people aged 14 to 25 can access mentoring and support for their music. There are opportunities for studio time, film recording and training through local colleges and organisations.
I support SlamBarz behind the scenes and it’s an absolute privilege to hear young people’s authentic voices. The honesty of the lyrics cover everything from the impact of dads leaving; the pressures to go down the wrong path; the desire to make their mum proud and keep clean; and the heartbreak of their first relationship.
Seeing young people develop in confidence and move on to paid gigs and college courses is phenomenal. But it’s also a reminder that there are still plenty of young people out there who are writing lyrics in their bedrooms and are being taken down a difficult path.
These genres should not be feared – they are the folk music of so many young people today. With the right funding and mentorship, rap, drill and grime can be a force for good. It’s time to rethink funding structures and music education to reflect the passion for these genres, and it’s time for us to celebrate their richness and power. These lyrics should not be used to convict young men in court – instead they should be used to build bridges and opportunities for change.
Clare Holdsworth
Sheffield
• Given the use of rap and grime lyrics in legal prosecutions, it is worth noting that in 1974, Eric Clapton admitted to the homicide of an American law enforcement officer, while maintaining he had no involvement in the fate of the officer’s second in command. Mr Clapton remains at large.
Mark Robertson
East Boldon, Tyne and Wear
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