Bob Dylan is apparently quite the influence on lawyers:
U.S. District Judge Robert S. Lasnik — Your Honor, not Bobby — has been known to invoke the voice of the vagabond poet in rulings from the federal bench in Seattle. He has recited lines from “Chimes of Freedom” in a case weighing the legality of indefinite detention and “The Times They Are A-Changin’,” the battle cry of the civil rights movement, in a landmark ruling that excluding contraceptives from an employer’s prescription drug plan constitutes sex discrimination.
Lasnik isn’t alone in weaving Dylan’s protest-era pathos into contemporary legal discourse.
No musician’s lyrics are more often cited than Dylan’s in court opinions and briefs, say legal experts who have chronicled the artist’s influence on today’s legal community. From U.S. Supreme Court rulings to law school courses, Dylan’s words are used to convey messages about the law and courts gone astray.
His signature protest songs, “Blowin’ in the Wind” and “The Times They Are a-Changin’,” gave voice and vocabulary to the antiwar and civil rights marches. His most powerful ballads, “The Lonesome Death of Hattie Carroll” and “Hurricane,” have become models for legal storytelling and using music to make a point.
Dylan’s music and values have imprinted themselves on the justice system because his songs were the score playing during the formative years of the judges and lawyers now populating the nation’s courthouses, colleges and blue-chip law firms, says Michael Perlin, a New York Law School professor who has used Dylan lyrics as titles for at least 50 published law journal articles.
Perlin and others lured to the law by the moral siren songs of the 1960s credit Dylan with roles in passage of the 1964 Civil Rights Act, federal sentencing guidelines that purport to ensure more equitable prison terms and due process reforms prohibiting racial profiling.
“Everyone wants to believe that the music they listen to says something about who they are,” says Alex Long, a University of Texas law professor who has researched the penetration of political songwriting into the legal system.
“Being a judge is a pretty cloistered existence, having to crank out these opinions in isolation. Dylan was popular at the time they were coming of age and trying to figure out who they were,” says Long, a 41-year-old exposed to Dylan’s musings as a child at the foot of his parents’ record player. “The chance to throw in a line from your favorite artist is tempting, a chance to let your freak flag fly.”
Awesome.
Thanks, Dad, for the link.