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HIP HOP CULTURE‟S OGs: A NARRATIVE INQUIRY INTO THE INTERSECTION OF HIP HOP CULTURE, BLACK MALES AND THEIR SCHOOLING EXPERIENCES ____________________________________________________________ A Dissertation presented to The Faculty of the Graduate School at the University of Missouri-Columbia _________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Education _________________________________ by IAN P. BUCHANAN Dr. Peggy Placier, Dissertation Supervisor MAY 2013 © Copyright by Ian P. Buchanan 2013 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled HIP HOP CULTURE‟S OGs: A NARRATIVE INQUIRY INTO THE INTERSECTION OF HIP HOP CULTURE, BLACK MALES AND THEIR SCHOOLING EXPERIENCES presented by Ian P. Buchanan, a candidate for the degree of doctor of education, and hereby certify that, in their opinion, it is worthy of acceptance. Professor Peggy Placier Professor Noelle W. Arnold Professor Ty-Ron M. O. Douglas Professor Juanita M. Simmons Dedication First, I must thank the Most High for giving me the blessings and gifts that I have. There is not enough ink in the world, there are not enough words in all the languages in the world and there will never enough time on a clock for me to express how grateful I am for His guiding hand. While the Most High has intervened in my life in direct ways, he has also placed a number of “angels” in my path, and they have loved, supported, challenged, inspired and taught me. The five queens in my life are absolute angels. In chronological age, they are Grandmother, Momma, Netra, Carmen and Nia. Grandmother, you are graciousness, love, beauty and faith - all rolled into one feisty, natural hair-sportin‟, choir-singin‟ woman. I will always treasure our times. Momma, you are the reason I am the man I am today. There is not a person alive who is as loving, as committed and as selfless as you. You are my first teacher, and you have taught me wonderful life lessons: put Allah first, be a responsible father and husband, make a difference in the lives of our people and understand that I am one of Allah‟s many vessels. I am the “fruit” from your tree, and I am blessed to be touched by someone so chosen. Netra, you have been a best friend and sister to me, and we have a bond that has never wavered. We have been each other‟s support system, confidante, motivator and encourager for a long time now. You are an inspirational woman in so many ways. Look at God‟s work… Carmen, you are my backbone. It is so hard to believe that God made something so wonderful, so beautiful, so loving, so supportive and so “Christ-like” – and allowed that jewel to be my wife. You have seen me through this dissertation process…and through some of the most difficult times in my life. I could never repay you for all you have done and been. Thanks for being a “ride or die” wife! Nia, you are the real inspiration behind all that I do. I am just one person in a long lineage of your family members who try to model what it means to put God and family first. I thank the Most High for allowing me to be his vessel. The baton is yours now. It‟s your time. Realize your purpose. God has a plan. There are a number of family members who deserve acknowledgement as well, particularly all of my siblings. I love all of you without bounds. Both of my fathers have provided me with unconditional love, discipline, and general “game.” You have given me the tools to stand straight and proudly represent what it means to be a family-centered, joy-bringing, faithful servant. I give the ultimate respect to the true OGs. HT and Brother Ralph, I give you much love and respect. Steel sharpens steel! Finally, I‟d like to thank my research participants. The impact you have had on my life is immeasurable. I appreciate your honesty, vulnerability and depth of knowledge as it relates to the research. Thank you for representing hip hop culture - and thank you for the innumerable ways you have inspired me. Acknowledgements The doctoral journey has been a test of character, discipline, priorities and leadership. Through the process, I have learned a lot about my passions, my skills and my limitations. I have also discovered that I am obsessed with internet music stations, Beats headphones, dual computer screens and lemonade. Together, they have served me well through the dissertation process. I would like to thank my outstanding dissertation chair, Dr. Peggy Placier, for being supportive and honest. I appreciate your belief in me. Dr. Simmons, thank you for playing a vital role in my matriculation through the program. I also thank you for pushing my thinking and my writing. My work would not have been the same without your hands, heart and brain. Dr. Arnold, you have been in my corner throughout the entire process, and I appreciate that very much. I hope that our paths continue to cross. Dr. Douglas, thanks for making solid contributions and suggestions during my defense. Continue to carry the torch for black male professors at Mizzou. You are supported by a strong legacy. Finally, I would like to acknowledge: Monique Kyles, Harvey (Laqweda) Taylor, Jr., Shonda Isaac, Demarko (Brigid) Taylor, Aliyah (Steven) Muhammad, Karriem Muhammad and the Nupes. ii Table of Contents Acknowledgments ii List of Tables vi Abstract vii CHAPTER 1. INTRODUCTION 1 Background of the Study 1 Statement of the Problem 28 Research Purpose 35 Research Questions 36 Theoretical Framework 37 Design for the Study 38 Significance of the Study 39 Definition of Terms 40 Organization of the Remainder of the Study 44 CHAPTER 2. LITERATURE REVIEW 45 Introduction 45 Hip Hop Culture: The Beginnings 46 Hip Hop Culture‟s National and International Outreach 57 Hip Hop as A Movement Committed to Social Critique and Change 58 Troubling Narratives of Black Masculinity in Hip Hop Culture 62 Limited Research on Hip Hop Culture in Schools 64 Critical/Antiracist Pedagogy in Schools: The Research 71 Culturally Relevant/Responsive Pedagogy in Schools: The Research 76 iii Hip Hop in Extracurriculars and Therapeutic Interventions: The Research 79 Summary: Hip Hop Culture – History and Educational Research 81 Critical Race Theory 81 The Counterstory: A CRT Artifact 83 Conclusion 85 CHAPTER 3. DESIGN AND METHODS 86 Introduction 86 Statement of the Problem 87 Research Questions 89 Research Methodology 90 Research Design 92 Population and Sampling Procedures 96 Ethical Considerations, Consent and Confidentiality 95 Data Collection 97 Data Analysis 99 Researcher Reflexivity 103 CHAPTER 4. FINDINGS 106 Introduction 106 Welcome to the Museum of Hip Hop Culture: The Story Begins 107 The OGs‟ Aspirations for Hip Hop Culture 112 Critical Analysis of Hip Hop Culture 115 Further Exploration of Hip Hop Culture and Masculinity: The OG 124 Hip Hop Culture‟s Capital Summarized 128 iv The Schooling Experiences of the OGs 133 Conclusion 148 CHAPTER 5. DISCUSSION 150 Summary of the Study 137 Further Connections: The Literature and the Findings 151 Implications of the Research Study 156 Limitations of the Study 169 Recommendations for Further Study 171 Conclusion 171 REFERENCES 173 APPENDIX A. Invitation to Participate in the Research 188 APPENDIX B. Consent Form 189 APPENDIX C. Focus Group Interview Question Guide 191 VITA 193 v List of Tables Table 1. Progressive Principles of Exemplary Black Male Leadership Table 2. Problematic Lessons of Black Male Leadership Table 3. Platform of the Universal Zulu Nation Table 4. Hip Hop Action Network Platform Table 5. Antiracist Actions in Three Areas of Schooling Table 6. Research Participant Information Table 7. Focus Group Guiding Questions/Statements Table 8. Books from the Literacy Lineage of the OGs Table 9. Antiracist Actions in Three Areas of Schooling Table 10. Archetypes that Connect Boys to Literacy Table 11. Congruence between Brozo and the OGs vi ABSTRACT Using a critical race lens, this narrative study employs a focus group design to explore the intersections between black males, hip hop culture and schooling experiences. To provide a sociocultural grounding, this study first reviews the research literature around hip hop culture‟s sociocultural development and its impact as a culture force that contributes to both dominant narratives and counter narratives around black male students in the hip hop generation. This overarching purpose of the research study is to explore the ways that black males‟ engagement with hip hop culture might inform liberatory educational outcomes. Using the composite counterstorytelling methodology, this research study synthesizes the participants‟ experiences and perspectives around the intersections black masculinity, schooling and hip hop culture. Finally, as it relates to schooling and school leadership, this research outlines the possible implications and recommendations that emerge from the findings. One of the primary implications of this research is that it can inform culturally responsive and antiracist pedagogies that lead to increased self and community agency for boys of color. vii CHAPTER 1 INTRODUCTION Background of the Study Over 100 years ago, W.E.B. Du Bois, one of Harvard University‟s first black Ph.D. graduates, painted a vivid picture of the unresolved conflict, contradiction and inner turmoil that would help define the black man‟s experience and identity development in the United States. In The Souls of Black Folks, first published in 1903, Du Bois suggests that the black male‟s experience in America is “a longing to attain self- conscious manhood, to emerge from his double self into a better and truer self” ( 1970, p. 2). In Souls, Du Bois further spells out the black man‟s dilemma: After the Egyptian and Indian, the Greek and Roman, the Teuton and Mongolian, the Negro is a sort of seventh son, born with a veil, and gifted with second-sight in this American world - a world which yields him no true self-consciousness, but only lets him see himself through the revelation of the other world.