UIC School of Law UIC Law Open Access Repository UIC Law Open Access Faculty Scholarship 2012 Legal Writing, the Remix: Plagiarism and Hip Hop Ethics, 63 Mercer L. Rev. 597 (2012) Kim D. Chanbonpin John Marshall Law School,
[email protected] Follow this and additional works at: https://repository.law.uic.edu/facpubs Part of the Entertainment, Arts, and Sports Law Commons, Intellectual Property Law Commons, Legal Education Commons, Legal Ethics and Professional Responsibility Commons, and the Legal Writing and Research Commons Recommended Citation Kim D. Chanbonpin, Legal Writing, the Remix: Plagiarism and Hip Hop Ethics, 63 Mercer L. Rev. 597 (2012). https://repository.law.uic.edu/facpubs/4 This Article is brought to you for free and open access by UIC Law Open Access Repository. It has been accepted for inclusion in UIC Law Open Access Faculty Scholarship by an authorized administrator of UIC Law Open Access Repository. For more information, please contact
[email protected]. Legal Writing, the Remix: Plagiarism and Hip Hop Ethics by Kim D. Chanbonpin I. PRELUDE I begin this Article with a necessary caveat. Although I place hip hop music and culture at the center of my discussion about plagiarism and legal writing pedagogy, and my aim here is to uncover ways in which hip hop can be used as a teaching tool, I cannot claim to be a hip hop head.' A hip hop "head" is a devotee of the music, an acolyte of its discourse, and, oftentimes, an evangelist spreading the messages contained therein.2 One head, the MC' (or emcee) KRS-One,4 uses religious * Assistant Professor of Law, The John Marshall Law School (Chicago).