fullsizerender-3Below is a short documentary that gives viewers a peak of what it is like to be a member of one of the programs IDAAY offers known as “Main College Bound Program.” This program provides students with college preparation skills, life skills, and mentoring.


Sequence 11 from Philadelphia Neighborhoods1 on Vimeo.

West Philadelphia, Part I : Serving and Empowering At-Risk youth


The Institute for the Development of African American Youth (IDAAY) seeks to empower and serve at-risk youth through a variety of different programs. Some of the organizations programs include a Main College Bound program, Don’t Fall Down in the Hood, Father’s United, and Intensive In-Home Supervision just to name a few.

The founder Archye Leacock, who began the program back in 1991, can identify with issues in the African American community and really has a passion for uplifting the youth. This non-profit organization, which is located on 56th and Chestnut Street, is important for the community due to the rising number of children growing up without fathers and getting incarcerated.

According to the National Center for Fathering, 57 percent of African American children,img_271431 percent of Hispanic children, and 20 percent of Caucasian children are living without their biological fathers. Growing up without a father can have a major impact on the livelihood and direction a child will go in life. The National Fatherhood Initiative reports that children without fathers have a four times greater risk of living in poverty, are more likely to go to prison, and are two times more likely to drop out of High School. This is an example of why a program such as Fathers United is important for a community to have. IDAAY as a whole has touched and impacted not only those in the program, but those that work for the organization as well (see video below).

idaay from Philadelphia Neighborhoods1 on Vimeo.

Another program that they offer Don’t Fall Down in the Hood, seeks to mentor and help juveniles headed toward a life of crime, realize that there is another path in life. The Crime Stat report for 2015 shows that there were at least 15 thousand violent crimes reported in Philadelphia alone. That number rises to 64 thousand total crimes in Philadelphia last year when you add in theft and burglaries. Out of the 2.3 million people residing in jails today, about 1 million of them are African Americans according to the NAACPimg_2711

These statistics offer evidence as to why Philadelphia and African Americans as a whole can benefit from programs like this one.

Images, Text, Video by Sharee Cole

West Philadelphia: Say Goodbye to Wilson Elementary and Hello to Dorms for Freshmen

On the weekend of October 2nd, 2016, hundreds of people came out
to enjoy a final celebration in memory of Alexander Wilson Elementary School. The school is set to be demolished in January of 2017 to welcome the new development of dorms for University of the Sciences freshmen .image2-2

The event included free food, a DJ, a band, and appearances by many political figures such as State Representative James Roebuck and City Councilwoman Jannie Blackwell. Former students and faculty were also in attendance as well as folks who reside in the area and felt a connection with the school.


finished Wilson video from Philadelphia Neighborhoods1 on Vimeo.

How I feel about incarcerating African Americans

During a class assignment, we were asked to pick an issue in society that we would like to see changed and provide evidence to support that there is indeed an issue. I chose to write about the modern day slavery taking place right under our noses in the prison systems. Here are some stats I found along with my voice on the issue.  war-on-drugs1

First off there is a cycle. Find a way to target African Americans. (War on drugs…check). Find a way to make sure the sentencing sticks. (Make sure the jurors on the panel are predominantly white…check). When they get out, make it so hard for them to find jobs, due to their record, that they have to resort to activities that will land them right back in jail. (Recidivism…check).

  • According to the Center on Budget and Policy Priorities, employer surveys reveal that 74 percent to 96 percent of employers, admit that felony convictions play a major role in the hiring decision.
  • According to The Equal Employment Opportunity Commission, EEO laws prohibit employers from discriminating when using criminal history information.1. Sub-point: The Civil Rights Act of 1964, which was amended as Title VII, prohibits employers from discriminating in employment based on color, race, national origin, religion, or sex.
  • Criminal conduct exclusion is allowed only if the employer can show that it is relevant to at least one of the three determining factors. The nature and gravity of the offense (Ex. conviction of felony theft-deception, threats), the time that has passed since the offense (still recent), and the nature of the job (if the crime relates to the areas of the job description).

Though employers have guidelines to follow in regards to the hiring process, many ex-criminals still cannot find jobs. Why is that?

  • A 2010 study by the Center for Economic and Policy Research estimated that between 1.5 and 1.6 million of those with criminal records are locked out of the job market each year, costing the U.S 65 billion in annual economic productivity.

When employers do not want to hire ex-felons, it can also be viewed as an excuse to sustain racial inequality since African Americans make up 40 percent of the incarceration population but only 12 percent of the U.S population according to the U.S Department of Labor. The United States has less than 5 percent of the world’s population but almost a quarter of the world’s prisoners. Over the last 30 years, the incarcerated population has more than quadrupled, and today, just about 2.3 million men and women are held in prisons and jails.

  • One out of twenty-eight children has a parent behind bars while that number changes to one out of 9 for African American children.

According to MSNBC, in 2011 alone, there were more African Americans in prison or “under the watch” of the justice system than there were enslaved in the U.S in 1850. This stems from the war on drugs but statistics have shown that blacks and caucasians use/sell drugs at the same rate but African Americans are the ones constantly being arrested for the offense.

  • In an article by the Huffington Post, African Americans are frequently illegally excluded from criminal jury service according to a 2010 study by the Equal Justice Initiative. A Kentucky judge by the name Olu Stevens can attest to this since he recently had to dismiss a panel of jurors not once but twice for lacking minorities in cases where the defendant was black.

What better way to keep African Americans in prison except by making sure their kind aren’t on the jury when it comes to sentencing?. Please stay woke people.

Scenarios such as these, show how Africans Americans make up majority of the incarcerated population and how this trickles down to the hiring process and discrimination since they are the ones suffering when it comes to finding jobs.

This is how the cycle of recidivism occurs. Recidivism is when a person is released and resorts back to criminal activities that gets them thrown back in jail. Usually when people sell drugs or steals; it is not for the benefit of them, but to support someone close to them. This will happen if a released criminal cannot find a job. They will do what it takes to find a way to support these people.


Profile/Interview with DJ Damage (celebrity DJ)

Current host on Sean “Diddy” Combs network Revolt TV and Temple graduate, Dj Damage, proves just how hard work and DJ+Damage+REVOLT+TV+First+Annual+Upfront+Presentation+kdCelLkGf72ldedication pays off. At only 25, Damage has made a name for himself in the music industry by working with some of the biggest names in the business such as Meek Mill, Wiz Khalifa, and currently Diddy.

Born and raised here in Philadelphia, DJ Damage aka Abdul-Quddas Muhammad began mixing as early as 11 after realizing that pursuing rapping like his brother was not the path for him, according to an interview by Matt Hassoun. By the time Damage reached High School, he was reported to have already begun generating buzz and gaining attention from those in his city. Majoring in Broadcasting Telecommunications and Mass Media, Damage headed to college where he joined Temple’s WHIP radio station and from there, the possibilities were endless.

Djing for some of Philly’s top radio stations, making appearances on 106 and Park, and to his current hosting job on Revolt TV, Damage has definitely accomplished a lot in such a short amount of time. Getting the opportunity to reach out to Damage, I was able to gain a new perspective on how he handles his new fame. He agrees that most people lose themselves in the industry but he manages to stay grounded stating, “It is very easy to get lost. There are tons of factors that contribute to it. First factor is not truly knowing ones self. To be an entertainer, you must know what you stand for or you will fall for anything. It’s the fast lane and it is full of material poisons. I stay grounded because I stick to what makes me “me”. I refuse to compromise my integrity for fame. I am also aware that everything can be gone tomorrow and it humbles me”. Damage is not only humbled, but he also does not pretend as if the transition from radio to hosting came naturally to him. “It was a pretty good transition. I have live experience, which helps with live television. However, I did have difficulty reading on camera. It was a great learning process switching lanes.”

Damage admits that as a student of broadcast media, he always wanted to transition into being in front of the camera. Being in front of the camera however changes everything for a person. With the new fame, comes a new image that a person must uphold depending on their craft. Damage gives some insight on his opinion of fame and friendship stating, “In entertainment you grow out of old friends. I am from the inner city and some of my old friends are not necessarily good for my image. People change around you when they start viewing you in a bigger light. They sometimes become opportunist, and that can be troublesome. However, with being an entertainer, you gain new friends that understand the lifestyle and can relate.”

In a tweet on January 25, 2015, DJ Damage (@TheRealDJDamage) offers encouragement to those wanting more out of life, writing, “sometimes all you need is consistency. Find something you love to do and stick to it. I mean that’s what I did. Followed my dream”.

Inside the Music business with Jamelia Ho-Sang.

The music world is a tough business to make it in. To on lookers, it seems that people in that field have it all together but they too go through challenges to be and remain successful.

Jamaica native Jamelia Ho-Sang aka Yung Whoa, an upcoming pop artist and previous songwriter for certain artists, is no stranger to the music world. Starting off as a model for companies such as Target, Boscov’s and Adidas, Yung Whoa knew early on what it was like to be in front of the camera. It was at the age of 16 that he was discovered by the road manager for The Temptations, Leonard Stanford, who agreed to represent him until he unfortunately passed away only a few months later. Entertainment lawyer, Simon Rosen, who was also good friends of Leonard felt it was his obligation to then take Yung Whoa under his wing and finish what his friend had started. Rosen decided to manage Yung Whoa and brought in Mikey Jarrett, Junior Reid’s road manager to co-manage him until he too passed.

Yung Whoa eventually broke into songwriting. As most

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do, he realized songwriting offered a lot of money when someone offered to buy one of his songs from him. Due to contracts and signing most of his song rights over, he cannot disclose which songs he acted as a ghost writer to and in an article by Gary Roth I was able to read just what happens during this process, “When a writer submits a song to a publisher, the publisher will listen to the demo and decide if the song is one that the publisher wants to represent. If so, the writer will be asked to sign an agreement, usually called a songwriter-publisher agreement. What is unusual in this kind of agreement is that the writer will be asked to transfer his ownership of the copyright to the publisher. That has the effect of leaving the writer with no future ownership interest in his creation.” He did however provide me with some artists he had the privilege of working with over the course of his time in the business thus far. Just to name a few, he has worked with Cassidy, Black Rob (Bad Boys), Jr. Reid, Beanie Man, Coke Boys, and Barrington Levy just to name a few.

Wanting to venture out on his own and make a name for himself, Yung Whoa started his own independent record label called Team X and is also busying himself in the studio to come out himself as a pop/reggae artist.

While conducting this interview during one of his studio sessions, I had the opportunity to meet his engineer Franz Richards. He is also no stranger to the music business having worked with Ruffhouse/Columbia and Ziggy Marley.  He has known Yung Whoa for about five years and says he is surprised by his incredible progress stating, “ the first time we met I knew he had that fire in him and then the second time I could not believe how he transformed from an artist to a mogul. He is responsible for a lot of people’s careers.” This then led to me ask both of them about their opinion on the music business and both had varying things to say. Yung Whoa, having already experienced firsthand how untrustworthy certain people in the business are, did not have too many nice things to say. “This business is very shady, there are backstabbers, and if you do not know the business they will try to take advantage and steal your money. Basically if you are not benefitting the CEO’s they will drop you in a second.” Franz Richards also agrees in his own way of how unfair the business is by stating, “The music business is easier to break into now because of social media. Around twenty years ago you had to wait to get signed but now you can promote your own music. Upcoming artists back then were not getting as good as treatment as the white people were which is why I began engineering.” To confirm what Richards said about social media, in an article written by Omar Akhtar on The Hub, it states that, “In 2013, social media advertising increased by 35 % over 2012, fueled largely by the growth of mobile.” People are now realizing that with promotion and the right fan base, there is a better chance at getting discovered.

I asked Yung Whoa what a typical day is like for him and he said if he is not flying out of town to handle business, he is in the studio which usually lasts four to five hours at a time, or he is meeting with his entertainment lawyer. If he is not doing any of those things, he will spend hours writing new songs. It is pretty clear that he already has a foot in the door for this music business which is more than most people can say. With the same consistency and dedication I am sure that we will soon see him rise as an artist.