CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

Minority Youth Empowerment, Self-Actualization and Creative Expression Through Music

A graduate project submitted in partial fulfillment of the requirements For the degree of Master of Science in Counseling, Marriage and Family Therapy By Maribel Palafox

December 2016 The graduate project of Maribel Palafox is approved:

______Cecile G. Schwedes, M.A. Date

______Tovah Sands, Ph.D. Date

______Stan Charnofsky, Ed..D, Chair Date

California State University, Northridge

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Acknowledgements

I cannot express enough thanks to my committee for their continued support and encouragement: Dr. Stan Charnofsky, my committee chair; Dr. Tovah Sands; and Mrs. Cecile G.

Schwedes. I offer my sincere appreciation for the learning opportunities you provided me.

The completion of this project could not have been accomplished without the support of my friends, John Anthony, Vanessa and Jess; and my children. To Evelia, Derek, and Jathan – thank you for allowing me time away from you to research and write. You have been at the root of my inspiration as this project is inspired by the passion that we four so dearly share.

Finally, to my caring, loving, and supportive father. Dad, thank you for always believing in me and for dedicating yourself to my children while I’m pursuing my dreams. Thank you for never letting me quit. Dad, gracias por siempre creer en mis sueños. Gracias por dedicarte a mis hijos incondicionalmente mientras yo luchaba por lograr mis metas. Gracias por no dejarme dar por vencida. Te quiero mucho.

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Dedication

To the youth that fly with broken wings. True passion never has to hide. Allow music to breathe salvation into your heart. Be Dope and do Dope Things. “Children will be brilliant if adults can be brave enough to give them space to be.”- ASHES the CHOSEN

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Table of Contents

SIGNATURE PAGE………………………………………………………………..…… ii

ACKNOWLEDGEMENTS………………………….………………………………….. iii

DEDICATION...………………………………………………………………………… iv

ABSTRACT…………………………………………………………………………….. vii

Chapter 1: Introduction 1

Statement of Need 2

Statement of Purpose 2

Statement of Significance 2

Terminology 3

Limitations 3

Organization of the Remainder of the Project 4

Chapter 2: Review of Literature 5

Minority Youth 5

Youth Empowerment 6

Self-Actualization 7

Music Therapy 8

The Role of Music in Adolescent Development 9

Rap Therapy Model 11

Receptive Music Interventions 12

Organization of Small Groups 13

Chapter 3: Project Audience and Implementation Factors 15

Development of Project 15

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Intended Audience 16

Personal Qualifications 16

Environment and Equipment 16

Project Outline 17

Chapter 4: Conclusion and Recommendations 18

Summary of Project 18

Recommendations for Implementation 19

Recommendations for Future Research 19

Conclusion 20

References 21

Appendix A: Group Forms 25

Appendix B: “Rap Remedies” Group Curriculum 31

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ABSTRACT

MINORITY YOUTH EMPOWERMENT, SELF-ACTUALIZATION AND CREATIVE

EXPRESSION THROUGH MUSIC

By

Maribel Palafox

Master of Science in Counseling,

Marriage and Family Therapy

As adolescents of racial and ethnic minorities experience adverse childhood experiences and trauma, music therapy can provide an opportunity to encourage understanding and incite change. The impact of participating in a music therapy group, specifically focused on hip-hop and rap, can present youth with socially relevant avenues of self-empowerment, and provide the opportunity to tap into their inner most influential artists and genres through music, creative expression, and self-actualization. Through the utilization of music therapy techniques these youth may gain the ability to generate their own personal catharsis and develop positive coping behaviors. The purpose of the small group designed in this project is to awaken adolescent’s sense of self-actualization, self-empowerment, and creative expression.

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CHAPTER 1

Introduction

Documented research has indicated that racial and ethnic minorities in the United States are more likely to terminate mental health treatment prematurely and underutilize these services despite their continued need for supportive services. Tomas Alvarez III, social entrepreneur and pioneer of Hip-Hop Therapy, explains that now more than ever, our youth need culturally responsive avenues for healing and development. When mixing music, the ability to be autonomous and self-determined can lead to creative expression. Adolescents are given an opportunity to restore hope lost due to adverse childhood experiences, cultivate resiliency, thrive, foster a sense of belonging to their communities, increase self-love, and become responsible for taking care of their behavioral, social, and physical health.

The curriculum of this graduate project is intended to present youth with socially relevant avenues of self-empowerment, and give them the opportunity to tap into their inner most influential artists and genres through music, creative expression and self-actualization. Seattle- based MC, ASHES the CHOSEN (2016), advocates for the current generation of minority youth, and inspirationally declares that “children will be brilliant if adults can be brave enough to give them space to be.” The project is designed so that youth will be given a safe and inspiring space to be brilliant, empowered and self-actualized through the use of music.

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Statement of Need

Music - vocal or instrumental sounds (or both) combined in such a way as to produce beauty of form, harmony, and expression of emotion. (Merriam-Webster, 2003).

Music creates diverse and welcoming communities, with powers so influential; it can define a generation for minority youth. Music is sought after for its creation as a perpetual symbol of hope, prosperity and connectedness. Music, as an intervention, can be implemented to improve mental health and social-emotional practices among marginalized youth. There is a need for the utilization of music, in particular hip hop, as a catalyst for positive change and development, permits youth to incubate the kinds of innovation, creativity and progress they deserve and yearn for.

Statement of Purpose

The purpose of this graduate project is to review literature regarding how music empowers adolescents, fosters their self-awareness, encourages their creative expression, and to create a small group curriculum based on Literature Review. Minority adolescents and their families of origin hail from diverse backgrounds and lifetime experiences, and their unique, and sometimes traumatic stories provide the foundation of their perceptions and point of view. It is through the utilization of music therapy techniques where these youth can gain the ability to generate their own personal catharsis and develop positive coping behaviors.

Statement of Significance

The proposed nine-week group seeks to bridge the world of personal development, education, music, and therapy by providing youth with diversified real-world, hands-on experiences that supplement their creativity, critical thinking skills, personal development, and emotional wellbeing. Youth would actively participate in the development of music-driven

2 activities in conjunction with group counseling to collectively continue to push the boundaries of what is possible in youth empowerment and music through self-actualization, self-empowerment, creative expression, and other development opportunities. The theme of this group will center on

Hip-Hop/Rap music and its contributing poets in order to elicit stories of origin and develop self- awareness and empowerment.

Terminology

Youth Empowerment: is the outcome by which youth, as change agents, gain the skills to impact their own lives and lives of other individuals, organizations, and communities.

Self-Actualization: the desire for self-fulfillment, namely the tendency for him [the individual] to become actualized in what he is potentially.

Music Therapy: Music Therapy is the clinical and evidence-based use of music interventions to accomplish individualized goals within a therapeutic relationship by a credentialed professional who has completed an approved music therapy program.

Rap Music: a style of popular music, developed by disc jockeys and urban blacks in the late

1970s, in which an insistent, recurring beat pattern provides the background and counterpoint for rapid, slangy, and often boastful rhyming patter glibly intoned by a vocalist or vocalists.

Hip-Hop Music: is a subculture of Rap and a music genre formed in the United States in the

1970s that consists of a stylized rhythmic music that commonly accompanies rapping, a rhythmic and rhyming speech that is chanted.

Limitations of Project

This review will focus on articles published after the year 1994. The study is limited in terms of demographical information due to lack of research available, a focus on specific populations, and the scope of material.

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Organization of the Remainder of the Project

In order to better understand the needs and issues of minority youth and the influence of music in their day-to-day life, it is necessary to review previous studies and research regarding the efficacy of youth empowerment treatment through music that focus on minority youth and the access to support services, which will be reviewed in the following chapter. The review will cover a variety of interventions and strategies for working with and utilizing music to empower youth. Chapter three will reveal the development of this project and illustrate how to implement the curriculum. Chapter four will include a summary of the project along with recommendations for the implementation and recommendations for the future, and will end with a conclusion. The last section will be the appendix that illustrates the outline for the curriculum.

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CHAPTER 2

Review of Literature

This chapter will illustrate how multiple interventions and applications can be effective and utilized when incorporating music, but in particular hip hop and rap as a method of empowering and self-actualizing minority youth. The literature review will begin with defining youth empowerment and identifying the role of music in adolescent development. Furthermore, the review of literature will focus on the support for the use of multiple interventions and implementations of music therapy through self-actualization and creative expression.

Minority Youth

Specific predictors and factors, or a combination of them, contribute to minority youths’ deficiency in opportunities of empowering themselves and becoming self-actualized through creative expression. Some predictors or factors include perceived racism and discrimination, lack of self-efficacy, lack of mentorships, institutional characteristics, and community influences.

Minority youths’ perceived racial and ethnic discrimination affect their ability to resolve conflicts because they may result in problem behaviors. The lack of available mental health support services impedes their ability to develop optimally.

Tobler et al. (2013) present persistent findings that there “…are strong associations between perceived racial discrimination and negative mental health outcomes including depression and anxiety, psychological distress, and general well-being [e.g., self-esteem, life satisfaction, quality of life]” (p. 338). Further, Tobel et al. (2013) explained that biological and behavioral stress responses are a result of such negative emotional states caused by perceived racial discrimination, which results in increased alcohol, tobacco and other substance use.

Finally, Tobler et al. (2013) found that “…youth who experience racial/ethnic discrimination are

5 at increased risk for a number of maladaptive outcomes, including physical aggression, delinquency, victimization, depression, suicidal ideation and risky sexual behavior…” (p.345).

Minority youth encounter racism and discrimination, in addition to other issues such as poverty and abuse that impacts their ability to become self-empowered and self-actualized individuals. As evident in Tobler et al.’s study, racial and discriminatory acts perceived by youth may be internalized and manifested in ways that result in negative outcomes. This notion indicates the significance and need for mental health services, especially during the adolescent years where growth and development are highly impressionable.

Youth Empowerment

Ledford, Lucas, Dairaghi, and Ravelli (2013) explain that youth empowerment is focused on creating greater community change that, in its methods, relies on the development of individual capacity. Opportunities to foster youth empowerment are presented when adults create safe and productive spaces for youth to flourish.

Young people are always considered the most important factors in the development of a nation as they carry the pressure to advance the state of the each nation, and continue the advancing process that will uplift the nation (Rahmi, 2015). When youth are given the tools to problem- solve, collaborate, brainstorm, and reflect, they empower themselves to recognize that their voice matters without placing judgment or criticism on their ideas.

Through empowering processes, youth become better equipped as change agents within their community, education, family, and other microsystems. This process may be executed through learning decision-making skills, critical awareness, managing resources, and working with others (Ledford, et al). On the other side, empowered outcomes allow youth to gain a sense of control, critical awareness and participatory awareness (Zimmerman, 2000). Improving the

6 quality and coordination of youth services and supports is critical to improving youth outcomes, empowerment, and involvement within their community (Pittman, Martin, Williams, 2007).

Gullan, Power, and Leff (2013), conducted a study on inner-city, African American youth and the role of empowerment that promotes positive identity development. Results suggest that youth who experienced the program as empowering, experienced an increase in self-efficacy, sense of civic responsibility, and ethnic identity, over and above general engagement of the overall program.

The concept and theoretical framework of youth empowerment has become influential for social policy and practice. Yet, there isn’t much research to support what is known about the roles that empowerment plays in the ecology of human development, particularly among young people (Christens & Peterson, 2012). As youth become change agents, it is important for mentors to proactively engage and facilitate the process of empowerment in a positive and meaningful manner.

Self-Actualization

Self-actualization as one of the constructs of human development is a desirable life-long outcome for all individuals (Piragasam, Majid & Jelas, 2013). The act of self-actualizing begins at a pivotal stage in an individual’s development, and is a constant process of becoming, learning, growing, maturing, and discovering the individual’s purpose. Through the process of self-actualization, individuals realize their full potential, experience happiness, morality, and strengths that are complemented by effortless thoughts at every moment in time (Sassoon, 1988).

Additionally, self-actualization, involves the striving towards the development of oneself as a unique and empowered individual. Self-actualization is the feeling that “you” have arrived. It comes with a desire to learn what one is good at and doing their very best at everything.

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Maslow (1943) defined self-actualization as “the desire for self-fulfillment, namely, the tendency for him to become actualized in what he is potentially.” Self-actualization refers to the desire for self-fulfillment and empowerment as a core belief in the development process that may be reached through music. Maslow asserted that music is one of the easiest platforms that bestows the experience of heightened self-actualization as it assists in the achievement of self- actualization of those experienced by an individual through musical activities (Lowis, 2002).

Self-actualization is the utmost level of human need and it is an ongoing process, not a stationary state for any individual. Maslow noted only one in a hundred people become fully self- actualized due to society's need to reward motivation primarily based on esteem, love and other social needs.

Music Therapy

When defining music therapy, it is important to consider which facet of music therapy or which clinical approach will be of greatest interest and relevance to the person inquiring and engaging in what music therapy entails (Bruscia, 2013). Each definition must be tailored to the specific need, interest, and background of the individual inquiring about what music therapy is.

According to the American Music Therapy Association, music therapy is defined as the clinical and evidence-based use of music interventions to accomplish individualized goals within a therapeutic relationship by a credentialed professional who has completed an approved music therapy program. Through music therapy, individuals address physical, emotional, cognitive, and social needs that allow them to strengthen their abilities and transfer them to other areas of their lives.

Music, in itself, has the capacity to transform, empower, and heal individuals emotionally, socially, and physically. Music therapy has long been utilized to treat various

8 mental health illnesses, increase emotional support, enhance self-esteem, empower individuals, and provide an outlet for expression. Music therapy demonstrates potential as an effective approach due to the utilization of accessible interactions as a means of nonverbal communication

(Gold, Voracek, & Wigram, 2004). Music therapy has been largely applied and extended to the child and adolescent population (Wigram & de Backer, 1999) in particular with children and adolescents with psychopathologies on a consistent basis in various countries (Aldridge, di

Franco, Ruud, & Wigram, 2001). Progressively, music therapy is being practiced as an intervention in medical and special education settings that have facilitated the healing process for many individuals.

Types of music therapy may include: Active Music Therapy, Analytical Music Therapy,

Behavioral Music Therapy, Creative Music Therapy, Free Improvisation Therapy, Guided

Imagery and Music, Intuitive, Music Psychotherapy and many others. The establishment of an effective therapy method, in which a creative and innovative use of music is utilized, allows skilled and experienced professionals to develop and practice music therapy with individuals or in a small group setting while empowering others.

The Role of Music in Adolescent Development

Research findings have argued that the developmental role of music can create a window and avenue to the psychological, social, and cultural needs of modern adolescents. There are three arguments that are discussed in light of recent research that highlights the role and significance of music within adolescents. First, music influences important aspects of adolescent development. Second, music can represent a protective and a risk factor, and third that music can serve as an adjunct component in prevention and intervention (Miranda, 2013).

Consideration in adolescent’s choice of music and their reactions to and interpretations of it vary

9 with age, culture, and ethnicity. The preferences in music that adolescents identify with provides them with a means to achieve group identity, integration into the youth culture, and the development of their process of identity formation as indicated by the American Academy of

Pediatrics in a study conducted in 1999.

Further research conducted by North, Hargreaves, and O'Neill (2000) indicate that music is important to adolescents because it allows them to portray an “image” to the outside world and satisfy their emotional needs. In addition, the Recording Industry Association of America (1999) reported that adolescents use popular music to deal with loneliness and take control of their emotional status or mood. Music is an ever-present phenomenon in the lives of adolescents as they have proven to be highly motivated to seek involvement with music and to spend significant amounts of time listening to it (Thompson, 1994).

Music carries powerful verbal and nonverbal messages that allow for the listener to find meaning and significance within the content. In addition, music is important to teenagers' identity and helps them define important social and subcultural boundaries (Christens &

Peterson, 2012). Furthermore, the overall involvement in music has been linked to student academic achievement; a supposed connection made obvious in debates over cuts to school music programs. Due to its unique characteristics, music is an important resource for improving adolescent mental health and coping mechanisms. (Laiho, 2004). Additionally, music speaks to adolescent concerns, it is easily accessible, and is capable of reaching multiple levels of human experiences.

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Rap Therapy Model

In 2000, Rap Therapy was introduced by Don Elligan as a psychotherapeutic intervention for working with at-risk youth. Elligan’s primary use of rap therapy was with African American males whose identities were highly influenced by rap music and has been explored among mental health professionals in counseling adolescents (Gonzalez & Grant, 2009). Rap therapy can be used as a means of promoting positive and proactive behavioral change and to improve adolescent’s insight into their lives in order to be active change agents. Moreover, rap therapy interventions may be pertinent with anyone that shares an interest in rap music regardless of race, gender, or socioeconomic status (Gonzalez & Grant, 2009) due to its heavy influence on the self.

In “Rap Therapy: A Practical Guide for Communicating With Youth and Young Adults

Through Rap Music,” Elligan (2004) outlines a fitting approach to a rap therapy model in five stages. The first stage, assessment, is dedicated to identifying the individual's interest in rap and hip-hop music and specific artists and groups through dialogue that recognizes their identity. As a result, a plan is developed to work with the individual. During the assessment process, frequently asked questions may include “Which rap artist do you enjoy listening to?” “Why do you enjoy these particular styles of rap?” and “What rap artist do you like least?”

During the second stage, a relationship and alliance is built with the individual through actively engaging them in listening to music together and discussing possible interpretations of the lyrics (Gonzalez & Grant, 2009). This stage occurs for the sole purpose of building rapport and establishing a bond through trust and empathy. Transitioning into the third or reframing stage, the counselor challenges the individual with the lyrics of the person’s favorite rap icons in order for them to reevaluate their thoughts and behaviors (Elligan, 2000). With this intention, the counselor attempts to promote further cognitive restructuring of the person’s feelings and

11 moods. The fourth stage, role play/reinforcement, relies heavily on written exercises in which the person and counselor write raps about the desired change. In essence, the person creates, develops, and interprets their own lyrics which allows for the counselor to challenge the person to center in on writing lyrics from multiple perspectives and identified topics of concern (Elligan,

2004). Hence, reinforcing the person’s integrity of their constructs and concepts of rap music.

During the final stage, action and maintenance, the counselor encourages the person to write about specific issues that impact their lives and identify and interpret the deeper meaning behind the lyrics (Gonzalez & Grant, 2009). The transition in this stage encourages “writing to action” which influences the person to take action and proactively reduce negative behaviors. At this time, the counselor monitors and maintains the progress made through continued discussions and feedback. The use of a rap therapy model is beneficial as it builds rapport, its structure provides a time-effective intervention, and when used as a catalyst for change, rap music engages and empowers the individual.

Receptive Music Interventions

The use of receptive interventions allows individuals to listen to music and become recipients of the musical experience as opposed to making music. When individuals listen to music in receptive forms of therapy, Briscia (2013) explains that they are exposed to a multitude of experiences. Such experiences include, taking on the sounds and vibrations with their bodies, the ability to relieve their experiences in sound, remembering and thinking in sound, capturing sounds with their psyche, the capacity to hear themselves and the world of others in sound, and the opportunity to approach the divine through sound. Through this process of intervention, the individual’s listening experience may be centered on physical, emotional, intellectual, aesthetic,

12 or spiritual aspects of the music. As a result, the individual’s responses are designed according to the therapeutic purpose of the experience (Bruscia, 1998).

Throughout the listening experience, individuals discuss the elicit thoughts, emotions and feelings with the counselor. In addition, individuals can use receptive music therapy for reaching states of deep relaxation and meditation. There are several methods of receptive music therapy that combine music with other creative arts media to enable clients to express their inner feelings non-verbally. Included in these methods is the use of combining music and art, music collage creations, and a combination of music, drawing and narrative that can be implemented with a wide range of age groups (Grocke & Wigram, 2016). Receptive music intervention awakens creativity, and provides reflections on feelings, personal relationships, and the psyche.

Piragasam, Majid & Jelas (2013), indicate that the act of appreciation while listening to music means to hear music in a less complicated way and evaluating music that is listened to in terms of its ability to express something to us.

Organization of Small Groups

Zinck and Littrell (2000) suggest ways to promote, structure, organize, and evaluate small counseling groups. They say that given the limitations on resources, counselors can make greater use of counseling by maximizing their time and skills (Zinck & Littrell, 2000). One of the first steps to creating a group is to identify students who are in need of support. In addition,

Whiston and Sexton (as cited in Zinck & Littrell, 2000) concluded that group counseling “...is effective in assisting young people to adjust to changes in family structure and to manage aggression and stress.” After having established relationships with school personnel, agency supervisors, or program directors, group facilitators can collaborate with these individuals to reach out to targeted youth.

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Pre-screening begins with identifying and selecting youth, then obtaining permission from their parents to participate. In their study, Zinck and Littrell (2000) selected youth who were “at-risk” which they define as those:

...who indicated that they lived in a household with parents regularly abusing alcohol or

drugs, were sexually active, were involved in alcohol or drug use, had threatened or

attempted suicide, were involved in criminal activity, had been physically or sexually

abused, or had departed their family home and were living elsewhere.

In addition, facilitators have the opportunity to interview youth and assist them in identifying a primary problem they wish to asses in the group and behavioral goals related to resolving the problem or coping with it (Zinck & Littrell, 2000).

Finally, Zinck and Littrell (2000) suggest incorporating three components into every group: education, counseling, and skills. The education component would address identifying community resources, personal boundaries, and communication in relationships (Zinck &

Littrell, 2000). The counseling component would foster “...increased awareness and expression of feelings, [and] recognition of and distinction between needs and wants…” The skills component would include teaching students how to incorporate issues identified in the education component. For example, if students identified anger management as a behavioral goal, then teaching students to recognize unhealthy ways of coping and applying healthy coping tools instead would lead them to strengthen their self-regulation skills. Establishing this structure assists in ensuring a productive, proactive, and effective group that would further demonstrate youth’s successes.

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CHAPTER 3

Project Audience and Implementation Factors

This proposed curriculum will provide youth with an avenue to be voices for the silent and unheard. As a result, youth will incite changes within themselves that renew the vitality of their passions. Group participants will be become confident self-advocates and gain the ability to channel their intellectual pursuits, pursue personal development opportunities, explore musical and creative aspirations, and strengthen their investments in themselves, their communities, and creativity. In addition, this counseling group is intended to support the acquisition of knowledge, skills, abilities, and positive attitudes for youth to apply in real world settings. Music rewards an individual's overall development through active listening and allows youth to grow as individuals, stimulate their creativity, live a happier life, and improve memory and executive functioning.

Development of Project

Compelled to empower youth, fill the void, and bridge the gap between music and youth empowerment; I made the commitment to invest in youth and develop a safe and supportive environment in which they gain real-world, hands-on experiences that supplement their creativity, critical thinking skills, sense of self-empowerment, and leadership development in a manner that is powerful and meaningful. This group is intended to utilize the power, influence, and inspiration of music in order to establish and maintain a sense of self-actualization through the course of nine weeks. This is a youth development endeavor dedicated to cultivating and strengthening the investment in themselves, channel their intellectual pursuits, and igniting their imagination through music.

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Intended Audience

The overall curriculum is designed and intended to serve minority youth within the ages of 12 to 18 who show an interest in music. Youth may be self-referred or referred to by an immediate mentor, counselor, community agency, therapist, educator, or parent. This curriculum can be implemented within a school setting, agency, or community center that offers a safe space for youth to listen to music, share their stories and be active change agents.

Personal Qualifications

This curriculum is designed to be implemented and facilitated by an individual with one of the following qualifications: Licensed Marriage and Family Therapist, Licensed Clinical

Social Worker, Licensed Professional Counselor, Licensed Clinical Psychologist, and School

Counselors. Youth Advocates, School Counseling and Marriage and Family Interns and trainees may conduct the group while under the supervision of a supervisor with the appropriate qualifications.

Environment and Equipment

The development of the group is designed to be conducted in a large sized room that is properly equipped to play music in. The room must be quiet and allow for no outside interruptions. The group is designed to be conducted at a school, community agency, or group home in which the sound of music is not a disruption or interferes with others within the vicinity.

Appropriate times should be established given the age of the participants and environment in which the group will take place. Schedule arrangements allow parents/guardians and the facilitators to make necessary accommodations to guarantee participant attendance.

Printouts of the activities must be given to each participant in the group upon the beginning of each session. For youth who are unable to keep materials and work with them, lead

16 facilitators should supply a file box to store and keep materials and work in a safe and locked area. All sessions will require a source for playing music (i.e. iPod, cell phone, tablet, speaker, etc.). Most sessions will require utensils of some kind (i.e. crayons, markers, color pencils).

Necessary materials will be included in the group leader guidelines in Appendix B.

Project Outline

Session one will focus on completing administrative business (parental consent forms, confidentiality, etc.), getting to know the group members, and the influence of music on each participant. Session two will focus on building a sense of trust and community within the group through the exploration of related music and poetry. The goal of session three will be to help the group members connect through creative expression and receptive listening of influential hip- hop and rap songs. Past trauma, life challenges and obstacles will be addressed in session four along with the installation of hope and empowerment for the future. Emotions and how to express them will be taught in session five. Session six will help group members view the world from a different perspective and build a sense of leadership and identifying strengths. Session seven will focus on how the participants see themselves, versus how others see them, by changing their point of view and developing a sense of self-actualization and self-love. Youth empowerment and creative expression will be examined in session eight. Session nine will be the final session where participants will be allowed to share any work and encouraged to continue listening to music and developing a sense of empowerment.

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CHAPTER 4

Conclusion and Recommendations

Summary of Project

The curriculum is organized as such in order to explore how music empowers adolescents, fosters their self-awareness, and encourages their creative expression. Minority adolescents and their families of origin hail from diverse backgrounds and lifetime experiences.

Their unique, and sometimes traumatic, stories provide the foundation of their perceptions and point of view. It is through the utilization of music therapy techniques that these youth gain the ability to generate their own personal catharsis and develop positive coping behaviors.

The curriculum is divided into six main sections. Sections one, two, three, and four exhibit the necessary research and logistics of the project. The last two sections include the group outline for the group leaders and the workbook for the participants. Chapter One outlines the need for youth to be presented with socially relevant avenues of self-empowerment, and giving them the opportunity to tap into their inner most influential artists and genres through music, creative expression and self-actualization. Terminology relating to this project and writing is defined. The limitations of time and amount of research are examined. Chapter Two is a literature review that analyzes the various forms of music therapy, youth empowerment, and self- actualization. The general topics of music therapy and receptive techniques in the treatment of youth are summarized. Next the literature review dives into the different kinds of youth empowerment and hip-hop/rap therapy research regarding the therapeutic effects, including the influence of music on youth.

Lastly, Chapter Three depicts the development of the curriculum and how it aims to influence and empower the life of youth struggling with the challenges of everyday life. The

18 intended audience and requirements for allowance into the group is provided. The remainder of the chapter details the recommended personal qualifications, group setting, and equipment necessary, ending with an outline of the group. Chapter Four includes a summary of the previous chapters and the appendix. Recommendations for the implementation of the curriculum and future research regarding influential music will be addressed. Chapter Four will end with a conclusion of the group. The curriculum will then turn to the two appendixes. Appendix A will provide the group facilitators with an outline of the sessions and suggestions for how each session should be facilitated. Appendix B will provide a breakdown of the activities and an outline of each session.

Recommendations for Implementation

It is significant for facilitators to assess identify the demographics and musical interests of the group participants. Awareness and insight of musical interests will allow for necessary accommodations to the type of music that will be played through each session. In addition, youth will have an opportunity to express their hip-hop/rap interests and which will then be implemented throughout the group setting. Youth should be encouraged to be active listeners and become aware of feelings and thoughts that arise from the music that inspires them.

Recommendations for Future Research

A future and more in depth exploration and research pertaining to music therapy models, youth empowerment, creative expression, and self-actualization of minority youth can generate new information for the purpose of further providing services to underserved minority youth and their families. Additionally, exploring other theories, models and interventions can allow for the understanding of what kind of cognitive processes are involved when individuals are fully

19 absorbed in music listening practices and how it is applied to their lifetime achievements, personal growth, and behavioral development.

Conclusion

Personal experience and research indicates that hip-hop and youth culture have become increasingly universal, and thus, incorporating music within treatment in a group setting may allow for interactive and empowering outcomes amongst youth. The overall purpose of the curriculum encourages youth and facilitators to share their passion for music and encourages an acceptance of treatment and an understanding of everyday challenges and obstacles while promoting leadership, creative expression, and youth empowerment.

The group will provide a comfortable forum for honest self-examination while helping youth find their way along the path to personal growth and self-actualization. Minority adolescents will actively participate in the development of youth-driven activities in conjunction with music therapy to collectively continue to push the boundaries of what is possible in education and music through self-actualization, self-empowerment, skills training, and mentorship opportunities.

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Appendix A

Group Forms

Parent/Guardian Consent Form

Dear Parent/Guardian:

______is committed to helping youth reach an empowered level of self-awareness and self-actualization through the use of music and creative expression. Sometimes personal issues interfere with their personal, social, and emotional growth. ______will offer nine weekly music empowerment groups designed to assist youth in the development of self-awareness, self- actualization, and thus become more aware of others’ views and experiences, practice new behaviors, and better understand how to deal with the challenges and obstacles life presents.

Your permission is requested for ______to participate in the upcoming groups. The group will involve nine (9) sessions that take place over the course of nine weeks. Each session will be about 50 minutes long and will take place on ______. Youth will actively participate in the development of youth-driven activities in conjunction with music therapy to collectively continue to push the boundaries of what is possible in education and music. The theme of the group will center on Hip-Hop/Rap music and its contributing poets in order to elicit stories of origin and develop self-awareness and empowerment.

In order for the student to participate in group, a standard consent form must be signed which states that: Because group is based upon a trusting relationship between the facilitator and participants, the group leader will keep the information shared by the group members confidential, except in certain circumstances in which there is an ethical obligation to limit confidentiality. In the following circumstances you will be notified: 1. If the child reveals information about harm to himself/herself or others. 2. If the child reveals information about child abuse. 3. If the counselor’s records are subpoenaed by the courts.

By signing this form, I give my consent for my child to participate in group guidance counseling activities.

Parent/Guardian: ______Date ______

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Group Standards

1. Confidentiality

Thank you for participating in the group. As a facilitator, I value your participation and privacy. What is said or done during our time together remains private and confidential. However, your safety is important to us. As mandated reporters, we are required to report the following to someone who can help you: ● If you are being hurt ● If you are hurting others ● If you are hurting yourself Initial:______

2. Share feelings and experiences, but not advice. 3. Accept each other without making judgments. 4. Listen to each other. Give everyone an opportunity to share. 5. Avoid interrupting or having side conversations. 6. Always be honest. 7. Have a positive attitude. 8. Be on time. 9. Be respectful and sensitive to others. 10. Be supportive and encouraging to each other. 11. Silence all cell phones. 12. Keep an open mind.

I have read the ground rules for the group sessions and agree to follow the rules implemented as a group member.

______Youth Participant Date

______Group Facilitator Name Date

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Individual Group Participant Pre-Assessment Surveys are anonymous and confidential.

How did you learn about this group? ______

How do you express your thoughts and feelings? ______

What resources are available to you for support? ______

How would you describe your relationship with your parents/legal guardians? ______

Who are your favorite artists, performers, musicians, etc? ______

What do you hope to gain by participating in this group? ______

What concerns do you have about being a member of this group? ______

What are your strengths? ______

Do you have any questions? ______

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Please respond to each statement by checking T for TRUE or F for FALSE.

T F c c I am satisfied with my life. c c I am nervous in new situations. I easily lose confidence. c c I think before I do things. c c I am satisfied with the relationships I have with my friends. c c I am satisfied with the relationships I have with my family members. c c It is difficult for me to get out of bed in the morning. c c I have trouble concentrating at school or at home. c c I feel hopeful most days. c c I lack motivation or feel hopeless throughout the day. c c I have many interests and actively participate in activities, sports, or other hobbies. c c I have trouble sleeping. c c I have a normal appetite. c c I eat too much. c c I eat too little. c c I drink alcohol or use drugs when I am sad or angry. c c I have thoughts of hurting or killing myself. c c I have tried to commit suicide in the past. c c My moods change frequently throughout the day. c c I worry a lot. c c I am generally a happy person. c c I am often unhappy, depressed, or tearful. c c I get very angry and often lose my temper. c c I have energy and am rarely tired.

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Individual Group Participant Post-Assessment

We would like your feedback on your group experience at the Counseling Center. This information is voluntary and will be kept confidential. We appreciate your honesty and ask that you do not put your name on the sheet so that your responses will remain anonymous. Your feedback will help us improve our group counseling services. Fill out the form and return it to your group leader.

My Name: ______Date: ______Site: ______

Group Title: ______

Before the group started, I wanted to learn: ______

Because of the group, I have noticed these changes in my thoughts, feelings, and actions: ______What was most effective? ______What would you change? ______What have you applied outside of the group? ______

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Please circle the number that corresponds to the most appropriate answer for each statement.

Strongly Disagree Disagree Unsure Agree Strongly Agree

1. Before I participated in this group, my overall well being was where I wanted it to be. 1 2 3 4 5

2. At the end of the 8-session workshops, my overall well-being has improved. 1 2 3 4 5

3. If I need to talk to someone, I know who I can talk to at school, at home, or in my community 1 2 3 4 5

4. The facilitator(s) prepared me enough to help other individuals with problems. 1 2 3 4 5

5. The facilitator(s) set clear guidelines for the group that I can follow and apply in other groups (confidentiality, attendance, appropriate feedback, the role of a group leader). 1 2 3 4 5

6. The facilitator(s) helped me to feel better about myself and/or act more effectively. 1 2 3 4 5

7. I am more aware of how I can express my thoughts and feelings. 1 2 3 4 5

8. I am more confident in presenting myself and vocalizing my thoughts and/or opinions. 1 2 3 4 5

9. I know where to locate resources in my school and/or community. 1 2 3 4 5

10. I would recommend this group to a friend. 1 2 3 4 5

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Appendix B

“Rap Remedies” Group Curriculum

Group Overview:

The nine-week group seeks to bridge the world of personal development, education, music, and therapy by providing youth with diversified real-world, hands-on experiences that supplement their creativity, critical thinking skills, personal development, and emotional wellbeing. Youth will actively participate in the development of music-driven activities in conjunction with group therapy to collectively continue to push the boundaries of what is possible in youth empowerment and music through self-actualization, self-empowerment, creative expression, and other development opportunities. The theme of this group will center on

Hip-Hop/Rap music and its contributing poets in order to elicit stories of origin and develop self- awareness and empowerment.

Target: Youth within the ages of 12 to 18 who show an interest in music and share the need to speak about their experiences with those who understand and can help.

Length: Nine, 50 minute sessions Size: 8 to 10 participants

Group Title: “Rap Remedies”

Group Therapy Objective: To engage, support, empower, and validate youth through:

● Receptive listening of hip-hop/rap music

● The exploration of interest in hip-hop and its influence

● Building healthy relationships and appropriate social skills

● Decrease sense of isolation and build sense of belonging

● Develop self-awareness, self-love, and develop a sense of self-actualization

● Make connections between feelings and actions

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● Relating their own lives to the messages conveyed by hip-hop

● Stimulate discussion, and promote critical examination of life issues, struggles, and

experiences

Goals of Treatment:

● To utilize music as a form of self-care

● To provide a positive and meaningful experience in a safe space

● To cultivate critical thinking and expression of emotions

● To correct cognitive distortions related to traumatic life experiences

● To acknowledge and reduce negative distorted thoughts

● To deconstruct negative attitudes, beliefs, and behaviors held by the youth and to replace

them with healthy and positive goals and objectives

Materials:

1. Bluetooth speaker or any audio player able to play music from a cell phone, iPod, or

other music streaming device.

2. Lyrics to tracks were retrieved from www.genius.com.

3. Two Playlists:

1. J Dilla beats and instrumental tracks ONLY - to be played on shuffle throughout

each session for receptive listening purposes.

2. Facilitator identified hip-hop/rap songs that include:

1. Common - “The Light”

2. 2pac - “Keep Your Head Up”

3. The Fugees - “Fu-Gee La”

4. Eminem - “Lose Yourself”

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5. Too Short - “Gettin’ It”

6. DMX - “Slippin’”

7. Public Enemy - "Fight The Power"

8. ASHES the CHOSEN - “Dear Hip Hop”

4. Printed lyrics of each song.

5. Tupac Shakur’s “The Rose that Grew from Concrete” book - identify nine poems to share

with the youth. Poems will be read out loud by facilitator and youth.

6. Stationery: pencils, markers, and index cards.

7. Notebooks for each participant to utilize during sessions and for homework completion.

Weekly Session Outline:

Week 1 - Pre-Survey, introductions, overview of group standards, and discussion of music’s influence on the lives of youth.

Week 2 - Empowerment and Music.

Week 3 – Self-Love, Self-Acceptance, and Music.

Week 4 – Utilizing creative expression and music to reinforce empowerment, love, and acceptance.

Week 5 – Self-Actualization, Part I

Week 6 – Self-Actualization, Part II

Week 7 – Self-Awareness

Week 8 - Leadership Development

Week 9 – Headed for the Future

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Week 1 - Pre-Survey, introductions, overview of group standards, and discussion of music’s influence on the lives of youth.

Timeline:

1. Youth will complete a pre-survey.

2. Establish group rules by discussing and explaining the items listed.

3. Discuss the goals and objectives of the group.

4. Introduce J Dilla, record producer and rapper. Play his music in the background.

5. Discussion of music’s influence on the lives of youth.

6. Introduce Tupac Shakur’s “The Rose that Grew from Concrete.”

Support Group Ground Rules

1. Confidentiality first. What is said in the group stays in the group.

2. Share feelings and experiences, but not advice.

3. Accept each other without making judgments.

4. Listen to each other. Give everyone an opportunity to share.

5. Avoid interrupting or having side conversations.

6. Always be honest.

7. Have a positive attitude.

8. Be on time.

9. Be respectful and sensitive to others.

10. Be supportive and encouraging to each other.

11. Silence all cell phones.

12. Keep an open mind.

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Introductions

• Facilitators remind members of group contract (emphasize confidentiality).

• Introduce the group to J Dilla’s music as it will be played throughout each session.

• Have group members introduce themselves by stating their name, where they are from,

and their all-time favorite music artist.

Activity: “Hopes and Expectations” Exercise - Allows members to begin to share more personal information with the group and become more comfortable and familiar with self-disclosure. Give each participant an index card. On one side, group members write their hopes and/or expectations of what they may achieve in the group; on the other side, members write their fears about the group. Facilitator collects the cards, shuffles them, and hands them back to the members, who read each other’s cards. Members will be encouraged to share their hopes, expectations, and fears.

Closing Activity: Facilitator reads to the group: Tupac’s poem “The Rose That Grew From

Concrete.”

Did you hear about the rose that grew from a crack in the concrete?

Proving nature's law is wrong it learned to walk with out having feet.

Funny it seems, but by keeping its dreams, it learned to breathe fresh air.

Long live the rose that grew from concrete when no one else ever cared.

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Week 2 – Empowerment and Music.

Timeline:

1. Press play: J Dilla’s playlist.

2. Icebreaker: Youth will need their notebooks and pen.

3. Empowerment Assessment

1. What does it mean to be empowered?

2. How can music influence you to be empowered?

3. Press Play: Common - “The Light."

4. Open discussion on lyrics and song.

4. Closing: Tupac’s poem: “What Is It I Search 4.”

5. Homework: To be assigned at the end of session.

Icebreaker: Youth will create a rap utilizing adjectives that are representative of themselves using each letter of their first name.

Example: MARIBEL

My thoughts are Majestic

But mostly Ambitions

Some say they Radical

I say they Imaginative

Cause they keep me Beautiful

And Exuberant

But mostly Loving

My thoughts are Majestic

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Example: ASHES

The A stands for ALL

All men

All women

All children

All peoples

All come from dark features

S stands for the SONGS

For the inner city Psalms

That we sing

Hopin’ G-d’ll answer when that phone ring

The H stands for Heard

But not the kind you niggas hearsay

The kind that you hearin’ thru your granny tears off when she pray

The E is for the Echo

That travels through the ghetto

That helps Pinocchio to free himself from Geppetto

The S for Solidarity

Sincerity

Severity

Ingredients of G-d

That’s probably why these haters scared of me

Created in his image

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Can’t diminish

Holy lineage

I’m sunbaked by G-d so muthafuck your white privilege

- CHOSEN

Activity:

1. Share icebreaker raps with the group and transition into the meaning of empowerment.

2. Discuss what it means to be empowered.

3. How can music influence a person to become empowered?

4. Press Play: Common - “The Light”- listen and share thoughts on the song.

Lyrics:

I never knew a luh, luh-luh, a love like this

Gotta be something for me to write this

Queen, I ain't seen you in a minute

Wrote this letter, and finally decide to send it

Signed sealed delivered for us to grow together

Love has no limit, let's spend it slow forever

I know your heart is weathered by what studs did to you

I ain't gon' assault ‘em cause I probably did it too

Because of you, feelings I handle with care

Some niggas recognize the light but they can't handle the glare

You know I ain't the type to walk around with matching shirts

If relationship is effort I will match your work

I want to be the one to make you happiest and hurt you the most

38

They say the end is near, it's important that we close

To the most, high

Regardless of what happen on him let's rely

There are times, when you'll need someone

I will be by your side

There is a light that shines

Special for you, and me

Yo, yo, check it

It's important, we communicate

And tune the fate of this union, to the right pitch

I never call you my bitch or even my boo

There's so much in a name and so much more in you

Few understand the union of woman and man

And sex and a tingle is where they assume that it land

But that's fly by night for you and the sky I write

For in these cold Chi night's moon, you my light

If heaven had a height, you would be that tall

Ghetto to coffee shop, through you I see that all

Let's stick to understanding and we won't fall

For better or worse times, I hope to me you call

So I pray every day more than anything

Friends will stay as we begin to lay

This foundation for a family, love ain't simple

39

Why can't it be anything worth having you work at annually

Granted we known each other for some time

It don't take a whole day to recognize sunshine

There are times, when you'll need someone

I will be by your side

There is a light that shines

Special for you, and me

Yeah yo, yo, check it

It's kind of fresh you listen to more than hip-hop

And I can catch you in the mix from beauty to thrift shop

Plus you shit pop when it's time to, thinking you fresh

Suggesting beats I should rhyme to

At times when I'm lost I try to find you

You know to give me space when it's time to

My heart's dictionary defines you, it's love and happiness

Truthfully it's hard trying to practice abstinence

The time we committed love it was real good

Had to be for me to arrive and it still feel good

I know the sex ain't gon' keep you, but as my equal

It's how I must treat you

As my reflection in light I'mma lead you

And whatever's right, I'mma feed you

Digga-da, digga-da, digga-da, digga-digga-da-da

40

Yo I tell you the rest when I see you, peace

There are times, when you'll need someone

I will be by your side

There is a light that shines

Special for you, and me

(I'll) take my chances before they pass

Pass me by, oh darling

You need to look at the other side

You'll agree

Closing Activity: Facilitator identifies a participant to read Tupac’s poem, “What Is It I Search

4,” to the group and have youth share their closing thoughts.

I know no what I search 4

But I know I have yet 2 fin it

Because it is invisible 2 the eye

My heart must search 4 it blinded

And if by chance I fin it

Will I know my mission is achieved?

Can one come 2 conclusions,

Before the question is conceived?

Just as no one knows what lies beyond the shore,

41

I will never find the answer to what it is I search 4

Homework: Write a rap or poem about empowerment. The rap or poem will encourage students to identify what empowerment means to them. The rap or poem will be discussed in the following session by youth who wish to share.

42

Week 3 – Self-Love, Self-Acceptance, and Music.

Timeline:

1. Press play: J Dilla’s playlist.

2. Icebreaker: Empowerment Rap

3. Self-Love, Self-Acceptance, and Music

1. What does it mean to love and accept yourself?

2. How can music influence you to love and accept yourself in a positive and

empowering way?

3. Press Play: Tupac - “Keep Your Head Up.”

4. Open discussion on lyrics and song.

4. Closing: Tupac’s poem: “In the Depths of Solitude”

5. Homework: To be assigned at the end of session.

Icebreaker: Youth will identify an ideal artist to rap the empowerment song or poem they created. Allow youth to share their empowerment raps with the group.

Activity:

1. Share icebreaker raps with the group and transition into exploring the meaning of self-

love and self-acceptance.

2. Discuss how empowerment and music can influence self-love and self-acceptance.

3. How can music influence a person to maintain their self-love and self-acceptance?

4. Press Play: Tupac - “Keep Your Head Up”- listen and share thoughts on the song.

43

Lyrics: Tupac - “Keep Your Head Up”

Little somethin' for my godson Elijah

And a little girl named Corinne

Some say the blacker the berry, the sweeter the juice

I say the darker the flesh then the deeper the roots

I give a holla to my sisters on welfare

2Pac cares, if don't nobody else care

And, I know they like to beat you down a lot

When you come around the block, brothas clown a lot

But please don't cry, dry your eyes, never let up

Forgive but don't forget, girl, keep your head up

And when he tells you you ain't nothin', don't believe him

And if he can't learn to love you, you should leave him

Cause sister, you don't need him

And I ain't tryin' to gas ya up, I just call 'em how I see 'em

You know what makes me unhappy

When brothas make babies, and leave a young mother to be a pappy

And since we all came from a woman

Got our name from a woman and our game from a woman

I wonder why we take from our women

Why we rape our women, do we hate our women?

I think it's time to kill for our women

Time to heal our women, be real to our women

44

And if we don't we'll have a race of babies

That will hate the ladies that make the babies

And since a man can't make one

He has no right to tell a woman when and where to create one

So will the real men get up

I know you're fed up ladies, but keep your head up

Keep ya head up, ooh, child, things are gonna get easier

Keep ya head up, ooh, child, things'll get brighter

[x2]

Aiyyo, I remember Marvin Gaye used to sing to me

He had me feelin' like black was the thing to be

And suddenly the ghetto didn't seem so tough

And though we had it rough, we always had enough

I huffed and puffed about my curfew and broke the rules

Ran with the local crew and had a smoke or two

And I realize Momma really paid the price

She nearly gave her life to raise me right

And all I had to give her was my pipe dream

Of how I'd rock the mic and make it to the bright screen

I'm tryin' to make a dollar out of fifteen cents

It's hard to be legit and still pay the rent

And in the end it seems I'm headin' for the pen

I try to find my friends but they're blowin' in the wind

45

Last night my buddy lost his whole family

It's gonna take the man in me to conquer this insanity

It seems the rain'll never let up

I try to keep my head up and still keep from gettin' wet up

You know it's funny when it rains it pours

They got money for wars but can't feed the poor

Say there ain't no hope for the youth and the truth is

It ain't no hope for the future

And then they wonder why we crazy

I blame my mother for turning my brother into a crack baby

We ain't meant to survive cause it's a setup

And even though you're fed up

Huh, ya got to keep your head up

Keep ya head up, ooh, child, things are gonna get easier

Keep ya head up, ooh, child, things'll get brighter

[x2]

And uh, to all the ladies havin' babies on they own

I know it's kinda rough and you're feelin' all alone

Daddy's long gone and he left you by your lonesome

Thank the Lord for my kids, even if nobody else want 'em

Cause I think we can make it, in fact, I'm sure

And if you fall, stand tall and come back for more

Cause ain't nothin' worse than when your son

46

Wants to know why his daddy don't love him no mo'

You can't complain you was dealt this

Hell of a hand without a man, feelin' helpless

Because there's too many things for you to deal with

Dyin' inside, but outside you're looking fearless

While tears is rollin' down your cheeks

Ya steady hopin' things don't fall down this week

Cause if it did, you couldn't take it, and don't blame me

I was given this world I didn't make it

And now my son's gettin' older and older and cold

From havin' the world on his shoulders

While the rich kids is drivin' Benz

I'm still tryin' to hold on to surviving friends

And it's crazy, it seems it'll never let up, but

Please, you got to keep your head up

Closing Activity: Facilitator identifies a participant to read Tupac’s “In the Depths of Solitude” poem to the group and have youth share their closing thoughts.

47

I exist in the depths of solitude pondering my true goal

Trying 2 find peace of mind and still preserve my soul

Constantly yearning 2 be accepted and from all receive respect

Never compromising but sometimes risky and that is my only regret

A young heart with an old soul how can there be peace

How can I be in the depths of solitude when there R 2 inside of me

This duo within me causes the perfect opportunity

2 learn and live twice as fast as those who accept simplicity

Homework: Youth will identify five traits they love about themselves and five traits they would like to accept about themselves. This homework assignment encourages youth to reflect on themselves and become more self-aware.

48

Week 4 – Utilizing creative expression and music to reinforce empowerment, love, and acceptance.

Timeline:

1. Press play: J Dilla’s playlist.

2. Icebreaker

3. Creative Expression and Music

1. What does it mean to be creative and able to express yourself through music?

2. How can music influence you to be creative and expressive in a positive and

proactive manner?

3. Press Play: The Fugees - "Fu-Gee La.”

4. Open discussion on lyrics and song.

4. Closing: Tupac’s poem: “A Love Unspoken.”

5. Homework: To be assigned at the end of session.

Icebreaker: Youth will be asked to share their identified traits they love about themselves and traits they would like to accept about themselves.

Activity:

1. Youth can provide insight for each participate on how and what they accept about each

other.

2. Discuss what it means to be creative and have the ability to express yourself through

music.

3. How can music influence you to be creative and expressive in a positive and proactive

manner?

4. How can youth reinforce and practice creative expression on a day-to-day basis?

49

5. Press Play: The Fugees - "Fu-Gee La” - listen and share thoughts on the song.

Lyrics: The Fugees - "Fu-Gee La”

We used to be number 10

Now we're permanent one

In the battle lost my finger, mic became my arm

Pistol nozzle hits your nasal, blood becomes lukewarm

Tell the woman be easy naah squeeze the charmin

Test wyclef, see death flesh get scorned.

Beat you so bad make you feel like you ain't wanna be born

And tell your friends stay the hell out of my lawn

Chicken george became dead george stealin' chickens from my farm

Damn, another dead pigeon

If your mafiosos then I'm bringin' on haitian sicilians

Nobody's shootin', my body's made of hand grenade

Girl bled to death while she was tongue-kissing a razor blade

That sounds sick maybe one eday I'll write a horror

Blackula comes to the ghetto, jacks an acura

Stevie wonder sees crack babies be-coming enemies of their own families

What's going on?

Armageddon come you know we soon done

Gun by my side just in case I gotta rump

A boy on the side of babylon, trying to front like he's down with

Mount zion

50

Ooh la la la

It's the way that we rock when we're doing our thang

Ooh la la la

It's the natural la that the refugees bring

Oooh la la la la la la lalala la laaah

Sweet thing

Yeah in saloons we drink boone's and battle goons till high noon

Bust rap toons on flat spoons, take no shorts like poon poon's

See hoochies pop coochies, for gucci's and lucci

Find me in my mitsubishi, eatin' sushi, bumpin' fugees

Hey hey hey

Try to take the crew and we don't play play

Say say say

Like paul mccartney, not hardly

Odd-ly enough

I can see right through your bluff

Niggas huff and they puff but they can't handle us, we bust

Cause we fortified, I could never hide, seen "cooley high"

Cried when cochise died

I'm twisted, black-listed by some other negroes

Don't remove my polos on the first episode

Ha ha ha ha, you shouldn't diss refugees, and

Ha ha ha ha, you whole sound set's bootie, and

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Ha ha ha ha, you have to respect jersey, cause I'm superfly when

I'm super-high on the fu-gee-la

Ooh la la la

It's the way that we rock when we're doing our thang

Ooh la la la

It's the natural la that the refugees bring

Oooh la la la la la la lalala la laaah

Sweet thing

I sit 90 degrees underneath palm trees

Smokin' beadies as I burn my calories

Brooklyn roof tops become brooklyn tee-pees

Who that be, enemies, wanna see the death of me

From hawaii to hawthorne, I run marathons, like

Buju banton, I'm a true champion, like

Farakkhan reads his daily qu'ran it's a phenomenon

Lyrics fast like ramadan

What's goin' on

Armageddon come you know we soon done

Gun by my side just in case I gotta rump

A boy on the side of babylon, trying to front like he's down with

Mount zion

What's goin' on

Armageddon come you know we soon done

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Gun by my side just in case I gotta rump

A boy on the side of babylon, trying to front like he's down with

Mount zion

Ooh la la la

It's the way that we rock when we're doing our thang

Ooh la la la

It's the natural la that the refugees bring

Ooh la la la la la la lalala la laaah, sweet thing

Ooh la la la

It's the way that we rock when we're doing our thang

Ooh la la la

It's the natural la that the refugees bring

Ooh la la la la la la lalala la laaah, sweet thing

Closing Activity: Facilitator identifies a participant to read Tupac’s “A Love Unspoken” poem to the group and have youth share their closing thoughts.

What of a love unspoken? Is it weaker without a name?

Does this love deserve 2 exist without a title because I dare not share its name

Does that make me cruel and cold

2 deny the world of my salvation because I chose 2 let it grow

People tend 2 choke that which they do not understand

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Why shouldn't I be weary and withhold this love from MAN

What of a love unspoken no one ever knows

But this is a love that lasts and in secrecy it grows

Homework: Youth will write a love letter/song/poem to their future self by applying what was discussed and learned during this session. This homework assignment is the catalyst for youth to practice self-acceptance.

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Week 5 – Self-Actualization, Part I

Timeline:

1. Press play: J Dilla’s playlist.

2. Icebreaker

3. Self-Actualization through music.

1. What is self-actualization?

2. How can music influence you to become a self-actualized individual?

3. Press Play: Eminem, “Lose Yourself.”

4. Open discussion on lyrics and song.

4. Closing: Tupac’s poem: “Where There Is a Will.”

5. Homework: To be assigned at the end of session.

Icebreaker: A Rose and a Thorn - youth are asked to state one “rose,” or good thing that happened for them, and one “thorn,” or challenge that arose in the past or recently.

Activity:

1. Discuss what self-actualization is as a group: the realization or fulfillment of one's talents

and potentialities, especially considered as a drive or need present in everyone.

2. Review last week’s homework assignment and discuss the importance of self-love and its

influence on achieving self-actualization.

3. How can music influence you to become a self-actualized individual?

4. Press Play: Eminem, “Lose Yourself” - listen and share thoughts on the song.

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Lyrics: Eminem “Lose Yourself”

Look

If you had

One shot

Or one opportunity

To seize everything you ever wanted

In one moment

Would you capture it

Or just let it slip?

Yo

His palms are sweaty, knees weak, arms are heavy

There's vomit on his sweater already, mom's spaghetti

He's nervous, but on the surface he looks calm and ready

To drop bombs, but he keeps on forgettin'

What he wrote down, the whole crowd goes so loud

He opens his mouth, but the words won't come out

He's chokin', how, everybody's jokin' now

The clocks run out, times up, over, blaow!

Snap back to reality, oh there goes gravity

Oh, there goes Rabbit, he choked

He's so mad, but he won't give up that easy? No

He won't have it, he knows his whole back city's ropes

It don't matter, he's dope, he knows that, but he's broke

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He's so stacked that he knows, when he goes back to his mobile home, that's when its

Back to the lab again yo, this whole rhapsody

He better go capture this moment and hope it don't pass him

You better lose yourself in the music, the moment

You own it, you better never let it go

You only get one shot, do not miss your chance to blow

This opportunity comes once in a lifetime you better

You better lose yourself in the music, the moment

You own it, you better never let it go

You only get one shot, do not miss your chance to blow

This opportunity comes once in a lifetime you better

The souls escaping, through this hole that its gaping

This world is mine for the taking

Make me king, as we move toward a, new world order

A normal life is borin', but super stardom's close to post mortem

It only grows harder, only grows hotter

He blows us all over these hoes is all on him

Coast to coast shows, he's known as the globetrotter

Lonely roads, God only knows, he's grown farther from home, he's no father

He goes home and barely knows his own daughter

But hold your nose 'cause here goes the cold water

His hoes don't want him no mo, he's cold product

They moved on to the next schmo who flows, he nose dove and sold nada

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So the soap opera is told and unfolds, I suppose it's old partna, but the beat goes on

Da da dumb da dumb da da

You better lose yourself in the music, the moment

You own it, you better never let it go

You only get one shot, do not miss your chance to blow

This opportunity comes once in a lifetime you better

You better lose yourself in the music, the moment

You own it, you better never let it go

You only get one shot, do not miss your chance to blow

This opportunity comes once in a lifetime you better

No more games, I'm a change what you call rage

Tear this motherfuckin' roof off like two dogs caged

I was playin' in the beginnin', the mood all changed

I been chewed up and spit out and booed off stage

But I kept rhymin' and stepwritin' the next cipher

Best believe somebody's payin' the pied piper

All the pain inside amplified by the

Fact that I can't get by with my nine to

Five and I can't provide the right type of

Life for my family 'cause man, these God damn food stamps don't buy diapers

And its no movie, there's no Mekhi Phifer

This is my life and these times are so hard

And it's getting even harder tryin' to feed and water my seed, plus

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See dishonor caught up between bein' a father and a prima-donna

Baby mama drama screamin' on and too much

For me to want to say in one spot, another jam or not

Has gotten me to the point, I'm like a snail I've got

To formulate a plot fore I end up in jail or shot

Success is my only motherfuckin' option, failures not

Mom, I love you, but this trail has got to go, I cannot grow old in Salem's lot

So here I go is my shot

Feet fail me not 'cause maybe the only opportunity that I got

You better lose yourself in the music, the moment

You own it, you better never let it go

You only get one shot, do not miss your chance to blow

This opportunity comes once in a lifetime you better

You better lose yourself in the music, the moment

You own it, you better never let it go

You only get one shot, do not miss your chance to blow

This opportunity comes once in a lifetime you better

You can do anything you set your mind to, man

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Closing Activity: Facilitator identifies a participant to read Tupac’s “Where There is A Will” poem to the group and have youth share their closing thoughts.

Where there is a will there is a way

2 Search and discover a Better Day

Where a positive heart is all u Need

2 Rise Beyond and succeed

Where young mind grow and respect each other

Based on their Deeds and not their color

When times R dim say as I say..

"Where there is a will

There is a way!"

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Homework: Write a poem, song, or rap on how you take responsibility for your life. Make sure to incorporate empowerment, love, acceptance, and self-actualization. Facilitators and youth will explore how these topics manifest themselves within their lives including thoughts, actions, and feelings and within interpersonal interactions.

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Week 6 – Self-Actualization, Part II

Timeline:

1. Press play: J Dilla’s playlist.

2. Icebreaker

3. Self-Actualization through music.

1. Discuss last week’s homework assignment.

2. Continue discussion on self-actualization and how it may be achieved and

influenced through music.

3. Press Play: Too Short - “Gettin’ It.”

4. Open discussion on lyrics and song.

4. Closing: Tupac’s poem: “The Power of a Smile.”

5. Homework: to be assigned at the end of session.

Icebreaker: The group facilitator will read the following statement and allow youth to share their thoughts:

Maslow, a psychologist stated that “Self-actualization is the utmost level of human need and it is an ongoing process, not a stationary state for any individual. Additionally, he noted that only one in a hundred people become fully self-actualized due to society's need to reward motivation primarily based on esteem, love and other social needs.”

Activity:

1. Discuss what self-actualization means to each youth as they are aware of what it means

and how it may manifest in their lives.

2. Review last week’s homework assignment and discuss how expressing their thoughts and

feelings on paper has influenced their responsibility to love and care for themselves.

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3. Press Play: Too Short - “Gettin’ It” - listen and share thoughts on the song.

Lyrics: Too Short - “Gettin’ It”

That's right, album number ten, Short Dawg's in the house

It's gettin close to the end y'all

But we gonna kick it like this on the last album

Verse One: Too $hort

Now let me holler at ya partner, spit this game

In you ear for a minute, quit

Complaining

Bout how you can't spend it cause you ain't got it

You got what it takes but not enough to get started

I hope you get the message, no it's not a test it's

Just me ridin’ legit, they can't arrest me or bust me

I'm still hungry, I want some more stuff

Get fat and watch my whole crew blow up

So get yours, and buy my new album

Peep the game and don't be like Calvin

Get everything you want, get real, get you mail

Get your girl to make bail and get your ass out of jail

You should be getting’ it, everything you want

Everything you dreamed of, never have to front

You should be gettin’ it, gettin’ money

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I'm talking ‘bout you black, don't laugh it ain't funny

You should get a good lawyer, like Johnny Cochran

Swear to tell the truth, hell no I didn't pop him

Get your kids in school, so they can get an education

Get a degree, and take a vacation

You see I got all my game from the streets of California

Young millionaire with no high school diploma

Livin’ real good, taking care of my folks

Roll up a fat one for the players to smoke

Short Dawg in the house, I know you ain't trippin’

Cause Life is Too $hort you gotta Get In Where You Fit In

Stop looking for what you never seem to find

It ain't what you think you got to read between the lines

Cause life ain't long, for a young black man

Tryin’ to make money doing all he can

Sellin’ dope don't ya hope he would go to class

But the boy makes money and he makes it fast

With the twenties on top and the fifties on the bottom

A flock a top notches oh yes we got 'em

It's been a long time since I first got down

But I still keep makin’ these funky sounds

Get your money man

Get yours

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Chorus: P-Funk

You should be gettin’ it

Get it while the gettin' is good, get it while you can

You should be gettin’ it

Get it while the gettin’ is good (repeat as necessary)

Verse Two: Too $hort

I know you tired of being broke just hanging out

You gotta lot a dreams but you can't get out

The first thing you need to do is set yourself some goals

Think positive, everything else is old

And work hard, never stop hustlin’

Cause they just love to see the black man strugglin’

(So what are you saying Todd?)

It's time to come up, put your dollar bills in the air

He said meet me at the White House and I was there

Cause I'm one in a million, black man rising

They wanna keep me down but I always surprise ‘em

Spend my money in the hood, I know it's all good

And you should do the same I told you peep the game

Too $hort, you know I'm the man

I lend my brother a hand cause I know I can

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I keep going and goin’ but I'm not the pink bunny

I'm not beatin’ on a drum I never stop thinkin’ money

I'm gettin’ all I can if you don't ya slip

I can't wait to get to heaven just to have a grip

When I was broke, I couldn't afford a meal

But now I'm now rich I can't be fake I gots to keep it real

It's been a long time baby since I first got down

But it still keep making these funky sounds

Chorus

(I earned my respect in the street

The ghetto's been good to me

I'm never going to turn my back

The true and living so I got to kick the facts)

Closing Activity: Facilitator identifies a participant to read Tupac’s “The Power of a Smile” poem to the group and have youth share their closing thoughts.

The power of a gun can kill

And the power of fire can burn

The power of wind can chill

And the power of the mind can learn

The power of anger can rage inside

Until it tears you apart

But the power of a smile,

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Especially yours, can heal a frozen Heart

Homework: Youth will write a letter to their favorite artist. In the letter, youth will address how they will become self-actualized individuals. This homework assignment encourages youth to utilize their critical thinking skills and provides a sense of motivation on taking initiative.

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Week 7 – Self-Awareness

Timeline:

1. Press play: J Dilla’s playlist.

2. Icebreaker

3. Self-Awareness and music.

1. Discuss last week’s homework assignment.

2. Introduce self-awareness.

3. Press Play: DMX, “Slippin’.”

4. Open discussion on lyrics and song.

4. Closing: Tupac’s poem: “A River that Flows Forever.”

5. Homework: To be assigned at the end of session.

Icebreaker: Youth will share the letter with their favorite artist where they addressed how they will become self-actualized individuals.

Activity:

1. Review last week’s homework assignment and transition the group into the topic of self-

awareness.

2. What is self-awareness and how it is applied in your day-to-day life?

1. Self-awareness—accurately assessing one’s feelings, interests, values, and

strengths; maintaining a well-grounded sense of self-confidence.

2. How is self-awareness influenced by music?

3. Press Play: DMX, “Slippin’”- listen and share thoughts on the song.

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Lyrics: DMX, “Slippin’”

Ha ha ha ha ha ha uhh

See to live is to suffer but to survive

Well that's to find meaning in the suffering.

[Chorus]

Ay yo I'm slippin' I'm fallin' I can't get up

Ay yo I'm slippin' I'm fallin' I can't get up

Ay yo I'm slippin' I'm fallin' I gots to get up

Get me back on my feet so I can tear shit up!

[Repeat]

[1]

I been through mad different phases like Masons

To find my way & now I know that happy days are not far away

If I'm strong enough I'll live long enough to see my kids

Doing something more constructive with they time

Than bids I know because I been there

Now I'm in there sit back & look

At what it took for me to get there

First came the bullshit the drama with my mama

She got on the fly shit until i split

And said that I'm gonna be that seed

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That doesn't need much to succeed

Strapped with mad greed and a heart that doesn't bleed

I'm ready for the world or at least I thought I was

Baggin' niggas when I caught a buzz

For thinking about how short I was

Going too fast it wouldn't last but yo I couldn't tell

Group homes & institutions, prepare my ass for jail

They put me in a situation forcin' me to be a man

When I was just learnin' to stand without a helpin' hand

Damn, was it my fault, somethin' I did

To make a father leave his first kid at 7 doin' my first bid?

Back on the scene at 14 with a scheme

To get more cream than I'd ever seen in a dream

And by all means I will be living high off the hog

And I never gave a fuck about much but my dog

That's my only motherfucker I had offered my last

Just another little nigga headed nowhere fast

[Chorus]

[2]

That ain't the half shit gets worse as I get older

Actions become bolder heart got colder

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Chip on my shoulder that I dared a nigga to touch

Didn't need a click cause I scared a nigga that much

One deep went to for kicks

Catchin' vicks throwin' bricks gettin by bein' slick

Used to get high just to get by used to have to puff my L

In the morning before I get fly

I ate something a couple of forties made me hate somethin'

I did some coke now I'm ready to take something

3 years later showing signs of stress

Didn't keep my hair cut or give a fuck how I dressed

I'm possessed by the darker side livin' the cruddy life

Shit like this kept a nigga with a bloody knife

Wanna make records but I'm fucking it up

I'm slippin' I'm fallin' I can't get up

[Chorus]

[3]

Wasn't long before I hit rock bottom

Niggas talking shit like damn look how that rock got him

Open like a window no more Indo look at a video

Sayin' to myself that could've been yo ass on the TV

Believe me it could be done something's got to give

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It's got to change cause I've got a son

I've got to do the right thing for shorty

And that means no more getting high drinking forties

So I get back lookin' type slick again

Fake niggas jump back on my dick again

Nothin' but love for those that know how it feel

& much respect to all my niggas that kept it real

Kept a nigga strong kept a nigga from doin wrong

Niggas know who they is and this is yo fuckin' song

And to my boo who stuck with a nigga through

All the bullshit you'll get yours because it's due

[Chorus]

Can't get up...I gots to get up

This is from the heart baby, don't get it twisted

Ah X RATED!!!!!

Closing Activity: Facilitator identifies a participant to read Tupac’s “A River that Flows

Forever” poem to the group and have youth share their closing thoughts.

As long as some suffer

The River Flows Forever

As long as there is pain

The River Flows Forever

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As strong as a smile can be

The River Will Flow Forever

And as long as u R with me we'll ride the River Together

Homework: With self-observation, we encounter discrepancies between our ideal selves and the lives we are living. Youth will be asked to look at their reflections in a mirror for 2-5 minutes and record their thoughts and feelings after. This homework assignment stimulates youths’ ability to observe their actions and reflect on who they are.

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Week 8 - Leadership Development

Timeline:

1. Press play: J Dilla’s playlist.

2. Icebreaker

3. Leadership Development and music.

1. Discuss last week’s homework assignment.

2. What is leadership and how can music influence one's leadership development?

3. Press Play: Public Enemy - "Fight The Power."

4. Open discussion on lyrics and song.

4. Closing: Tupac’s poem: “Family Tree.”

5. Homework: To be assigned at the end of session.

Icebreaker: Youth will discuss and share what they discovered while reflecting in the mirror during last week’s homework assignment.

Activity:

1. Review last week’s homework assignment and transition the group into exploring the

meaning of leadership.

2. What is leadership and how can music influence the type of leader that you are?

1. Assess how youth view leadership by asking “what does it mean to be a leader?”

2. Discuss with youth who they believe are leaders in the music industry.

3. Discuss how youth view themselves in a leadership role or how they may obtain a

leadership role within their community, school, or home environment.

3. Press Play: Public Enemy - "Fight The Power" - listen and share thoughts on the song.

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Lyrics: Public Enemy - "Fight The Power"

1989 the number another summer, get down

Sound of the funky drummer

Music hittin’? your heart, 'cause I know you got soul

Brothers and sisters

Listen if you're missin’? Why?all

Swingin’? While I'm singin’?

Givin’? Whatcha getting’?

Knowin’? What I know and

While the black bands sweatin’?

And the rhythm rhymes rollin’?

Got to give us what we want

Gotta give us what we need

Our freedom of speech is freedom or death

We've got to fight the powers that be

Lemme hear you say

Fight the power

Lemme hear you say

Fight the power

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Lemme hear you say

Fight the power

Lemme hear you say

Fight the power

Lemme hear you say

Fight the power

Lemme hear you say

Fight the power

We've got to fight the powers that be

As the rhythm designed to bounce

What counts is that the rhymes designed to fill your mind

Now that you've realized the prides arrived

We got to pump the stuff to make us tough

From the heart, it’s a start, a work of art

To revolutionize, make a change, nothing’s strange

People, people, we are the same

No, we're not the same, 'cause we don't know the game

What we need is awareness, we can't get careless

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You say what is this?

My beloved, let's get down to business

Mental self-defensive fitness

Yo, bum rush the show

You gotta go for what you know

To make everybody see

In order to fight the powers that be

Lemme hear you say

Fight the power

Lemme hear you

Fight the power

Lemme hear you say

Fight the power

Lemme hear you

Fight the power

Lemme hear you say

Fight the power

Lemme hear you

Fight the power

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Lemme hear you say

Fight the power

We've got to fight the powers that be

Lemme hear you say

Fight the power

Lemme hear you

Lemme hear you say

Fight the power

Lemme hear you say

Fight the power

Lemme hear you say

Fight the power

Lemme hear you

Fight the power

Lemme hear you say

Fight the power

We've got to fight the powers that be

Elvis was a hero to most

78

But he never meant shit to me you see

Straight up racist that sucker was

Simple and plain

Mother fuck him and John Wayne

Closing Activity: Facilitator identifies a participant to read Tupac’s “Family Tree” poem to the group and have youth share their closing thoughts.

Homework: Youth will write a rap, poem, or song on how they will maintain a healthy leadership role utilizing the tools and knowledge they have obtained throughout their experience in the group.

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Week 9 – Headed for the Future

Timeline:

1. Press play: J Dilla’s playlist.

2. Icebreaker

3. RAP-up the group.

1. Discuss last week’s homework assignment.

2. Discuss thoughts on J Dilla’s music playing throughout each session and reading

Tupac’s poetry out loud.

3. Discuss feelings and thoughts regarding the end of the group and how youth will

be active within their self-empowerment process.

4. Press Play: ASHES the CHOSEN - “Dear Hip Hop.”

5. Open discussion on lyrics and song.

4. Closing: Tupac’s poem: “Untitled.”

5. Participant surveys and closing thoughts.

Icebreaker: Youth will share last week’s homework assignment with the group.

Activity:

1. Review last week’s homework assignment.

2. Discuss thoughts and feelings on J Dilla’s music and reading Tupac’s poetry aloud.

3. Discuss feelings and thoughts regarding the end of the group and how youth will be

active youth in their self-empowerment process.

1. What are the youth taking away from this experience and how will they share

their knowledge with others?

2. What are their best memories in group?

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4. Press Play: ASHES the CHOSEN - “Dear Hip Hop”- listen and share thoughts on the

song.

Lyrics: ASHES the CHOSEN - “Dear Hip Hop”

Chorus:

I don’t want to lose ya

Can’t live my life without you

I don’t want to lose ya

Cuz I know I couldn’t make it without

I don’t want to lose ya

Can’t live my life without you

I don’t want to lose ya

Cuz I know I couldn’t make it without

Verse 1:

Dear Hip Hop

Or Whom It May Concern

I just want to see my voice get heard

I just want to see my pain unlearned

We can’t help these

Streets we were tossed in

My survival was awesome

Yeah, my pride’s an obstacle

But how could you blame me

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Before they front paged me

Their hate for me was crazy

Before these streets made me

A product of this game

The ‘80s made my niggas baby products of cocaine

And I promised if I made it in this game

I would never let ‘em take from me again

I would never be the same

I would always be a man

I would always be the man to voice their suffering and pain

I would never claim king

Cuz to me it’s like a brotherhood

They hate me here at home

But they love me in every other hood

You can hate me

But forget me not

Here’s a letter to the love of my life

Dear Hip Hop!

(*Sing it!)

Chorus:

I don’t want to lose ya

Can’t live my life without you

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I don’t want to lose ya

Cuz I know I couldn’t make it without

I don’t want to lose ya

Can’t live my life without you

I don’t want to lose ya

Cuz I know I couldn’t make it without

Verse 2:

Dear Hip Hop

You misunderstood me

You act like you ain’t come from the hood B

You ain’t like you ain’t leaves to our woodtree

Like you ain’t the soundtrack to our movie

Explain to me how could this be

When we gave you flight like a frisbee

How could you turn around and forget we?

How could you turn around and forget me?

Like I ain’t day one

Hip Hop I thought you was listening

See you can’t fool us

Cuz we was really there

Your first block party

For those that really care

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You talk about elements

We talk about elements

The elements of hell cuz where we live ain’t heaven-sent

I grew up with no ends that’s why I’m in this Benz

And we all starved together

That’s why we all friends

...You can hate me

But forget me not

Here’s a letter to the love of my life

Dear Hip Hop!

(*Sing it!)

Chorus:

I don’t want to lose ya

Can’t live my life without you

I don’t want to lose ya

Cuz I know I couldn’t make it without

I don’t want to lose ya

Can’t live my life without you

I don’t want to lose ya

Cuz I know I couldn’t make it without

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Verse 3:

You throw sucker punches at me

And I just roll with them

You looking at the hood 2K Paul Robeson

Basquiat with a ring tone

Gibran of the sing songs

They prayed for me to be born

So ASHES could bring it home

Seattle, I brought it back

And you can reject that

But it wouldn’t be fact

If I forgot the trap

And why would I do that

They love me cuz I care

We share the same diary

So they say word to when hear

And I love all my peers

Though they shun me with disdain

And judge me character

Cuz they don’t understand this pain

I’m fed up with this game

But I don’t write for yall

I write to make it right the inner-cities

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And fight for all

The single parent mothers

Incarcerated brothers

The babies with no fathers

Whose teachers ain’t even bother

You can hate me

But forget me not

Here’s a letter to the love of my life

Dear Hip Hop

(*Sing it!)

Chorus:

I don’t want to lose ya

Can’t live my life without you

I don’t want to lose ya

Cuz I know I couldn’t make it without

I don’t want to lose ya

Can’t live my life without you

I don’t want to lose ya

Cuz I know I couldn’t make it without

Closing Activity: Facilitator identifies a participant to read Tupac’s “Untitled” poem to the group and have youth share their closing thoughts.

Strength is overcome by weakness

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Joy is overcome by Pain

The night is overcome by Brightness and Love - it remains the same

Final Assessment: Facilitator hands out group evaluations and assures youth that they will be successful in their future endeavors as they cultivate and strengthen the investment in themselves, channel their intellectual pursuits, and ignite their imaginations through music.

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Additional Reflection Questions that may be utilized during the closing session.

Personal Reactions/Experiences of the Group

• What has it been like being a member of this group?

• What has been the most helpful (and least helpful) about being in this group?

• What have you learned about yourself or what have you learned about how others view

you?

• As you take a moment and reflect on all the group sessions, what were some of the most

significant/memorable moments for you? What are some of the moments that had the

most meaning for you?

• Is there anything you have not said that you might regret leaving unsaid?

Feelings Regarding Termination

• What are some of the different feelings people are having about this group ending?

• What kind of feelings are you having about the members leaving the group?

• What are some of the reactions people have to have new group members next term?

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Additional Track List

Group facilitators may interchange songs within in session with tracks listed below.

1. 2pac - “Changes”

2. 2pac - “Dear Mama”

3. Aloe Blacc - “Caged Birdsong”

4. ASHES the CHOSEN - “Never Let 'em Break You Down”

5. Big - “Juicy”

6. Blu & Exile - “Below the Heavens, part”

7. Erykah Badu - “Window Seat”

8. Jay Z - “Dirt off Your Shoulder”

9. Method & Mary J. Blige - “All I Need”

10. Mos Def - “Umi Says”

11. Ms. Lauryn Hill - “The Miseducation of Lauryn Hill”

12. Nas - “If I Ruled the World”

13. Outkast - “In Due Time”

14. Outkast - “Rosa Parks”

15. Poor Righteous Teachers - “Allies”

16. Public Enemy - “Fight The Power”

17. Scarface - “Seen A Man Die”

18. The Pharcyde - “Runnin'”

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