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UNDERSTANDING PORTRAYALS of LAW ENFORCEMENT OFFICERS in HIP-HOP LYRICS SINCE 2009 By

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UNDERSTANDING PORTRAYALS of LAW ENFORCEMENT OFFICERS in HIP-HOP LYRICS SINCE 2009 By ON THE BEAT: UNDERSTANDING PORTRAYALS OF LAW ENFORCEMENT OFFICERS IN HIP-HOP LYRICS SINCE 2009 by Francesca A. Keesee A Thesis Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degrees of Master of Science Conflict Analysis and Resolution Master of Arts Conflict Resolution and Mediterranean Security Committee: ___________________________________________ Chair of Committee ___________________________________________ ___________________________________________ ___________________________________________ Graduate Program Director ___________________________________________ Dean, School for Conflict Analysis and Resolution Date: _____________________________________ Fall Semester 2017 George Mason University Fairfax, VA University of Malta Valletta, Malta On the Beat: Understanding Portrayals of Law Enforcement Officers in Hip-hop Lyrics Since 2009 A Thesis submitted in partial fulfillment of the requirements for the degrees of Master of Science at George Mason University and Master of Arts at the University of Malta by Francesca A. Keesee Bachelor of Arts University of Virginia, 2015 Director: Juliette Shedd, Professor School for Conflict Analysis and Resolution Fall Semester 2017 George Mason University Fairfax, Virginia University of Malta Valletta, Malta Copyright 2016 Francesca A. Keesee All Rights Reserved ii DEDICATION This is dedicated to all victims of police brutality. iii ACKNOWLEDGEMENTS I am forever grateful to my best friend, partner in crime, and husband, Patrick. Thank you for inspiring this research project, for keeping me motivated, and for moving to Malta with me. I could not have done this without you. iv TABLE OF CONTENTS Page List of Tables ..................................................................................................................... ix Abstract ............................................................................................................................... x Chapter 1: Introduction ....................................................................................................... 1 The Current Conflict ....................................................................................................... 1 Historical Context ........................................................................................................... 3 Police and Black American Perspectives of Each Other................................................. 6 This Research Project ...................................................................................................... 9 Using hip-hop to research conflict ............................................................................. 10 Goals of the Research .................................................................................................... 12 Conclusion ..................................................................................................................... 13 Chapter 2: A Foundation for Studying Hip-hop ............................................................... 14 Introduction ................................................................................................................... 14 Defining the Black Community .................................................................................... 14 Hip-hop Music............................................................................................................... 16 What is hip-hop music? ............................................................................................. 16 Hip-hop as a subculture ............................................................................................. 24 Hip-hop’s intersection with gangs, politics, and police ............................................. 27 Hip-hop today ............................................................................................................ 31 Positioning Theory ........................................................................................................ 33 Positioning theory and music lyrics ........................................................................... 34 Conclusion ..................................................................................................................... 37 Chapter 3: Research Methods ........................................................................................... 39 Introduction ................................................................................................................... 39 2009-2016...................................................................................................................... 39 Lyrics ............................................................................................................................. 41 Narrative analysis ...................................................................................................... 45 v Black Artists & Mainstream Songs ............................................................................... 48 Qualitative Approach .................................................................................................... 50 Data Collection .............................................................................................................. 50 Advantages & limitations of data collection ............................................................. 52 Recording & Comparison of Songs .............................................................................. 53 Conclusion ..................................................................................................................... 54 Chapter 4: Initial Findings ................................................................................................ 55 Introduction ................................................................................................................... 55 The Forty Songs ............................................................................................................ 56 Grouped by Year ........................................................................................................... 58 2009 ........................................................................................................................... 58 2010 ........................................................................................................................... 59 2011 ........................................................................................................................... 59 2012 ........................................................................................................................... 60 2013 ........................................................................................................................... 60 2014 ........................................................................................................................... 61 2015 ........................................................................................................................... 62 2016 ........................................................................................................................... 62 Grouped by Main Topic ................................................................................................ 63 Street life emphasized ................................................................................................ 63 Protagonist involved in criminal activity................................................................... 64 Black experience ........................................................................................................ 64 Black youth ................................................................................................................ 65 Having a good time.................................................................................................... 66 The world is cruel ...................................................................................................... 66 The United States is unsafe ....................................................................................... 67 Success....................................................................................................................... 67 Grouped by Positioning of Protagonist ......................................................................... 68 Protagonist as Black .................................................................................................. 68 Protagonist from the hood ......................................................................................... 68 Protagonist as reflective and observant ..................................................................... 69 Grouped by Role of Police in Narrative ........................................................................ 69 vi Primary Role .............................................................................................................. 69 Secondary Role .......................................................................................................... 70 Grouped by Protagonist’s Interaction with Police ........................................................ 70 Police are anti-Black .................................................................................................. 70 Police are part of a systemic problem ........................................................................ 71 Police are racially profiling
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