The state's coercive engagement with Black youth expressive culture, and rap music in particular, is a topic of mounting public and scholarly concern. Rap lyrics and videos made by defendants and codefendants are regularly used as evidence in court cases in ways that incite bias against young people in the dock. At the same time, the performance and circulation of rap music are increasingly monitored and constrained by the police and other bodies. Thus, as this special issue explores, the prosecuting and policing of rap music serves as a double-punch against Black youth: the state both showcases rap music as criminal evidence in the courtroom to lock down prosecutions and, at the same time, surveils rappers and suppresses the music's creation and dissemination and, in so doing, the income streams of those who make it.

This article explores the admissibility and use of rap music as evidence in English criminal trials. It presents findings from an analysis of over 30 appeal cases. As well as unpacking the link between rap, race and gangs that is prevalent in these cases, the article challenges the categorisation of rap as ‘bad character evidence’, and critiques the way in which questions of relevance and prejudicial effect have been addressed by the courts. In particular, when making admissibility decisions, the courts appear to give little consideration to the cultural context, artistic conventions or social influences within the rap music genre, or the racialised nature of rap evidence. It is argued that, if rap is to be admissible evidence, a much more rigorous and informed approach is required.

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 other, but whatever the risks or challenges associated with this balancing act, this paper argues that doing so opens up important avenues for intervention and impact that can more effectively end the racially motivated and unjust practice of ‘rap on trial’.

UK drill music frequently features as a prime suspect in newsrooms and courtrooms that charge it with driving the ‘knife crime epidemic’ in Britain's major conurbations. Such prejudicial assumptions about the role of drill in inciting violence are largely unfounded, but nevertheless inform criminal justice policy that leads to unjust and discriminatory outcomes. While drill rappers consciously post violent content on YouTube to increase viewership and gain popularity, the role of YouTube in facilitating and profiting from this traffic in violent imagery is rarely questioned in criminal proceedings – enabling, as it does, the weaponisation of such videos as ‘bad character evidence’ in court. Drawing on a selection of YouTube videos that represent drill rappers as dangerous ‘criminals’, this article argues that such videos function as a resource for the criminalisation of drill by police and prosecutors who present drill lyrics as personal testimony that is robbed of its fictive qualities, and makes rappers vulnerable to prejudicial ruling and discriminatory treatment within the criminal justice system.

Focusing on Manchester, the largest city in the north of England, this paper explores why and how Black rap practitioners have been excluded from performing and promoting rap music in its city centre during the last 20 years. Discussing the intersecting factors of policing of venues and racial bias and class stigma among Manchester's venue owners and promoters, while also scrutinising the city's neoliberal urban expansion and gentrification, the paper analyses the ways in which Black rappers and practitioners have been marginalised but also how they have attempted to resist and overcome these conditions. Drawing on cultural studies, critical race theory and urban geography, while employing qualitative research methods of in-depth interviews, this paper builds on existing research on the marginalisation of Black rap musicians and promoters. It builds on and moves beyond the scholarly emphasis on the policing of rap genres in London to argue that discrimination faced by Black rap practitioners extends far outside the capital and is part of a wider problem of racial capitalism of which policing is but one agent.

This article addresses the linguistic policing of grime and UK drill music. Existing studies often focus on the immediacy of the penal system. This article will instead explore the extent to which institutional bodies uphold and maintain a programme of racialised censorship across radio broadcasts, seeking to understand how these value judgements impact upon creative practice. It presents an ethnographic study of three radio shows that aired on BBC 1Xtra, demonstrating through interviews and analysis how the broadcaster's censorship practice unfairly renders Black artists as dangerous with criminal associations. Lyrical assertions of musical skill are misread as direct threats, while evocations of the quotidian are seen to cause violence rather than reflect artists’ surroundings. Importantly, it will show how artists’ work and words are adversely discriminated against owing to a legacy of racialised public morality that imposes greater sanctions and restrictions on artistic output: radio personalities must strike a balance between presenting voyeuristic excitement about a genre, and the need to meet (racialised) editorial standards; producers assiduously monitor new slang to make sure that it is censored; and artists are encouraged to self-censor and alter their musical output, to protect themselves from unwanted ramifications.

Rap on Trial, the treatment of rap music as evidence in the American criminal legal process, is well-documented and increasingly scrutinised. Research has shown that – with little restraint – police, prosecutors, probation officers and judges use rap lyrics to investigate, prosecute and punish individuals. Less noticed is that a similar phenomenon is occurring in the American K–12 educational system, which disciplines school-age youth who participate in rap culture and sometimes refers them to the juvenile or criminal legal systems for additional punishment. This article describes and analyses a small set of identified cases of this scenario, demonstrating that rap music is used to funnel youth, including vulnerable Black and Brown youth, into what has been coined the school-to-prison pipeline and exposing the extreme dissonance between hip hop and the educational system.

Rap, as with other musical genres, can contain narratives about Colombia's armed conflict. Members of armed groups, such as the Fuerzas Armadas Revolucionarias de Colombia – Ejército del Pueblo (‘Revolutionary Armed Forces of Colombia – People's Army’; FARC-EP), and civilians have used rap as a means of expressing war-related issues and their causes and consequences. Following the signing of the peace agreement with the FARC-EP in 2016, Colombia's new transitional justice system mainly has focused on a restorative rationale rather than a retributive one. Transitional justice, as a set of mechanisms and processes designed to overcome a violent past, demands peace-building narratives that protect the memory of past horrors while setting the stage for reconciliation. This article analyses the interplay of transitional justice and rap from the personal experiences, perspectives and lyrics of two former combatants and two groups from civil society that rap based in Bogotá, other cities and rural municipalities. These cases provide insight into how rap can relate to transitional justice, sometimes acting as a supportive tool for its goals and sometimes by providing a counter-narrative.