CHIC
STREET
MAN

Mo' Street Music
Education Program

MS Word printable version

Musical Ambassador for Peace and Human Rights

Urban Acoustic Folk Blues

"They have no idea what's going on once
I'm out of the house," kids are saying. The
parents claim "our kids won't talk to us."

"As the country looks for solutions...the example of Chic Street Man is on view...A child received a message: You have a skill, you have a future, you matter...Lives are changed like that." --Colman McCarthy, THE WASHINGTON POST

"Through his music Chic creates an environment so safe that even the most diverse groups join with him to reach out to each other." --Rachel Poliner, BOSTON EDUCATORS FOR SOCIAL RESPONSIBILITY

"You have a winning style that's easy, and a masterful touch that is right on target. Your workshop was outstanding. You have a special quality as a person that should be shared with as many people as possible." --Wendy D. Graham, Instructor of Drama, MERCER COUNTY SCHOOL OF PERFORMING ARTS

"Your ability to reach and bring together such a diverse group of individuals became evident...your high energy level and confidence created an environment which encouraged freedom of expression, risk taking, and enjoyment while learning...your comfort and ease, combined with the skills of master teaching, modeled the principles you sought to teach." --Fran Wallace-Schutzman, Assistant Dean, MILLS COLLEGE

"Chic is a real find. He exudes warmth, tranquility and an easy going charm that naturally extends to his music." --Moira McCormick, BILLBOARD MAGAZINE

"Chic, I want you to know that your song, 'Make It Thru The Night' has really helped me make it thru the night." --Ventura High School Student

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INTRODUCTION

I saw that the two worlds of psychology and music overlapped while working as a psychodramatist at the Community Hospital of The Monterey Peninsula in Carmel, CA. "The best therapy we get around here is when Chic brings his guitar to work". I would here this comment time and time again from patients, staff and administrators; as if music were an emotional magnet drawing tensions out of the body long enough for it to heal.

I left psychodrama and the States for Paris, France to record my first album, "Growing Up", where I sang about some of the complexities of young people growing up in America at the time. When I returned to the States I founded Chic Street Man's School of Performing Arts. I knew the art of performance and the ability to communicate effectively way were based on the same fundamental principles of confidence and self-expression. I knew that music expressed spiritual and emotional values which were both personal and universal, and that it would expand the creative abilities of all who use it. The goal was not to make performers out of participants, but to help generate in all students an enthusiasm for life and a fun and exciting way to express it.

I began to look at some of our most entertaining entertainers. The ones who could really captivate an audience. Groucho Marx. Michael Jackson. Bette Midler. Bill Cosby. Gilda Ratner. Jimmy Durante. Ella Fitzgerald. Ray Charles. John Kennedy. Martin Luther King. What was it about these people that made them so fascinating to look at. To listen to. What made the magic. The charm. What did they all have in common. Apart from talent (we all know they had that), I found they had a willingness to share. To connect with their audience while on stage.

So, what about this willingness to share. What was it. Where did it come from. Why did some have it and not others. Why would some who had it on stage lose it when in a one-on-one situation. And why would some who had it in one-on-one situations lose it on stage.

That summer I offered a class on stage presence to the general public and wound up with fifteen students who appeared to have very little in common. There were professional musicians, poets, and actors mixed in with others who'd never spent a moment on "stage"; a doctor, a mother of three, a fireman, an attorney, two school teachers, a nurse, a bag boy and a little league coach.

But what one might expect to happen didn't always. In many cases, the non-performers were more ready to share and take risks while on stage. Perhaps because there was less ego attached and thus less fear of failure. In other words, if you're not supposed to be good at something then what do you have to lose.

Well, we are all entertainers. Every single one of us. We all have things we want to say. And we all find ways to say them. I call that communication. And I call that entertainment for in order to be understood we have to be listened to, meaning we have to captivate the interest of our audience.

I began designing exercises to stimulate creativity using the stage as a metaphor for getting up, "getting down" and feeling good about ourselves. We examined Michael Jackson's wiggle, Groucho Marx's comic crouch, Ray Charles' free weaving, John Kennedy's stately display and much more. We tried them on and threw them off. We bought none of it. We borrowed. We made it our own laying the groundwork for building self-confidence, effective communication and community interaction. The result was Chic Street Man's School of Performing Arts.

My motto is "Even vegetarians have a little bit of ham". A little bit of ham is healthy. It's what makes us want to communicate. We attach this ham to the ordinary vehicles of communication, the way we talk, body language, eye contact and temporarily exaggerate to get a good look at our own willingness to be connected. It's fun. But more than that, it works.
--Chic Street Man

"Chic's presentation received the highest rating on our evaluation form of any of the weekly staff development sessions we had all year."-Michael Kemp, Coordinator of Staff Development, Career and Counseling Services, UCSB

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Do you have a bit of the ham in you? Have you
ever wanted to speak up but were afraid you'd
be laughed at? Many of us have. But the
fear of being embarrassed can turn
natural enthusiasm into green
goose bumps the moment
you are put on the spot.
And it's all because
you have some
thing to say.
Something
you want
to com
muni
ca
te.

WORKSHOP

**Express Yourself**

"Every child has the right to full and free opportunities to explore and develop his capacities in the field of music in such ways as may bring him happiness and a sense of well-being; stimulate his imagination and stir his creative activities; and make him so responsive that he will cherish and seek to renew the fine feelings induced by music."
- From: The Child's Bill of Rights in Music, Music Educators Nat'l. Conference, 1950

This workshop will help students develop better listening and communication skills. It will promote body awareness, stimulate creative potential and strengthen social and spiritual connections. Teachers will learn new ways to encourage risk-taking. Students will share stories, songs, poetry, and dance. Express Yourself is a fun and fascinating way to dissolve fears and misconceptions while adding to the richness of our lives.

"YOU WILL WALK AWAY WITH A NEW
CONFIDENCE IN YOUR ABILITY TO COMMUNICATE
AND DEFINITELY HAVE A GOOD TIME." --Chic Street Man

"Chic showed us how to use ourselves and our environment to enhance our "performance" when teaching and leading groups. Specifically, we learned to use proxemics, non-verbal and para-verbal communication, group involvement and movement as devices to help create and maintain an audience's attention and interest."
--Michael Kemp, Coordinator of Staff Development, UCSB

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THE TEACHER -- EXERCISES

As Leader: A true leader lives what he or she preaches and has proven through dedication and involvement a moral and physical commitment to the success of the group. A leader is "of" the group not above it, sharing success and defeat right along with the group. Rising to leadership from within the group's ranks. Becoming a symbol and a representative of what the group stands for. A role model with a group cause to push for. Someone with whom the entire group can identify.

As Director: The good director is confident. Loose and unafraid to take risks. Willing to explore new ideas while teaching. Enthusiastic and looking to grow from the teaching experience. Able to share spontaneously and ready to reveal weaknesses when necessary, yet commanding in his or her own strength to lead. Making conscious choices to instill in students the notion of fun and play. Above all s/he is patient...patient...patient. The good director will want to have clear insight into the behavior of others. Participating fully in the group's activities and feeling triumphant when the group moves ahead. Feeling the group's failures but unlike the group "leader" s/he is unable to automatically assume the group's support. The group is constantly changing and cultivating the group's trust is a continual re-focusing.

As Informationalist: This person's main interest is to pass on information. With no interest in becoming one of the group nor having any particular attachment to the group's survival. The informationalist may love to work with people but may be more committed to abstract ideas with little interest in the cultural, spiritual and emotional growth of the people. Just the facts. This person is often nowhere near the mountain and has no interest whatsoever in making the climb. The group may have to seek him or her out for information on how to get to the top for s/he has probably done the required homework.

* All exercises are based on real live classroom experience. They are written in dialogue style to give the reader a chance to see their implementation.

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Sample Exercise:
Just Whisper A Happy Tune

DIRECTOR: One of the most common complaints I get from students and professionals is not knowing what to do with their bodies. How to move. Actors, musicians, poets, politicians, doctors, lawyers, dancers, teachers, sales men and women; all are looking for ways to help solve the problem of what to do with their bodies. Their hands. Their heads. Shoulders and hips. What to do with their feet. Their eyes. What kind of face to make. The human body is a well-tuned instrument for transmitting important messages about the way we think and the things we feel. Our ability to convey these messages, however, is diminished to the extent that we are in conflict or stressed.

One standard for handling conflict and stress involves believing in oneself. To do this I like to ask you as students to try seeing the "self" as a whole rather than in separate parts. And to learn to like what you see. I'm reminded of a sixteen-year-old girl from one of my classes who had a beautiful singing voice, but she didn't know what to do with her body. The stress it caused kept her from enjoying herself while singing. "My voice is the only gift I have," she would continually say. During the few weeks that followed, however, she was able to see how her body, her soul and her voice were not at all separate and that her strength was so much greater when finally integrated with the rest of her "self".

I'm reminded of one relatively recent president who would wave his hands here and there sometimes several seconds after he'd already made his point. The gesture seemed mechanical. Never emanating from the center of his being. But, if we look at the body holistically movement becomes natural and efficient. The ego wants to get out of the way and we only have to let it. So, Lester, can you come up here, please?

LESTER: Am I gonna enjoy this?

DIRECTOR: Of course. I chose you because you already move your body well.

LESTER: Oh yeah, right.

DIRECTOR: But you do. You just don't know it yet...

LESTER: Neither does anybody else.

DIRECTOR: Okay, but we're going to change all that. You do sing though?

LESTER: I'm getting better.

DIRECTOR: Good. I would like for you to think of a song to sing for us. Okay? Any song.

(The director might have asked him to tell a story or recite a poem. Anything where the voice is the instrument of choice.)

LESTER: I've got one.

DIRECTOR: (To the class) This young man is not shy. Okay. Now, I'm going to ask you to sing that song. And don't just sing it. Perform it, okay? Give it all you got. When I snap my fingers though, I want you to drop the vocal out "almost" completely, so that all we can hear is a feint whisper of the sound coming out of you. Keep singing but make it so low that we really can't hear you. Only you can hear you. Okay?

LESTER: Do I stop performing?

DIRECTOR: No. Keep performing. Just change the volume of your voice. When I snap my fingers again reintegrate the voice to normal volume. And so on. Okay?

LESTER: Okay.

Lester begins to sing an up-tempo song. His voice is good and strong, but a bit forced. He's pushing. A few notes go sharp. His body is stiff and stationary, and his hands are in his pockets. When the director pops his fingers, however, everything changes. Lester's voice, as expected, drops out and goes into a whisper. But suddenly, like a flower in bloom, his hands come out of the pockets and begin to move, painting a perfect picture of the story behind the song. His body leans forward picking up the rhythm and beat. He is loose and flowing freely. When the director snaps his fingers again, Lester immediately brings the voice back up but is unaware that his body has lost its natural flow. His neck stiffens and his hands fall back to the sides. After a few switches back and forth and some coaching from the director Lester gets the hang of it. His voice settles down and he begins to project more evenly and naturally from both states. His face brightens and his eyes are fully engaged.

Sample Exercise:
Master of Ceremonies

DIRECTOR: The warm-up exercises are good one for introducing new students to the stage. Everyone is on stage together. There's no separation between you (the participant), and the audience. But, you're ready for that separation now which in reality is never really there. We just put it there. In our minds. Distance is not directly proportionate to presence (more on that later). We cut ourselves off from the very people we want to connect with. And here is where the fear of failure takes focus. For many of us anyway. Which is why I like to make this transition as much fun as possible. We don't want your legs bucklin' up. Or frogs in your voice or heads spinnin'. The stage can shake you up but it can also pick you up. It will do that once you've made friends with it. Many educators will suggest using your fear to focus. I prefer getting rid of it altogether.

Okay. I'm going to start this exercise by telling you a bit about myself; as if someone has just introduced me. Then I'm going to choose one of you to introduce. That person will come up here, say something about him or herself and then introduce the next person. And so on. Except, when you introduce that person, give him or her a really big build up. Make him or her a celebrity. Somebody special. Of course, we are all special, but for the sake of the exercise let's really make them big shots. Okay? World-renowned. Now, once you are up here, I want you to become the person you are introduced as. Give us about fifteen seconds of acting and talking the way that person would. Then switch by admitting you are not really that person and tell us who you truly are, where you come from, what you do and what you hope to accomplish in the next five years. Try to keep it as short as possible. But, sincere. Once you've done that, introduce somebody else. And remember to give that person a big build up. Okay? Any questions?

JOHN: Yeah. I don't understand.

DIRECTOR: Don't worry. You'll pick it up once we get going. (Some discussion is important and necessary, however, the director is aware he has done a lot of talking and wants to keep the activity moving.)

Now, can I get an applause, please? (The class erupts in applause) Thank you, thank you. Thank you very much.

(The director talks about himself for a moment, then picks a student from the class and introduces her)

But enough about me. Let me introduce a very famous, world-renowned friend of mine. An artist like no other you'll see around here. Melissa is a flamenco dancer whom I had the chance to meet while doing my doctoral dissertation in Geneva. She's incredible and she happens to be in the audience today. Perhaps she'll come up and give us a little demonstration of her talent...if we are generous enough in our applause. How about it. Ladies and gentlemen, please give a big hand to Melissa Sanchez.

Melissa later revealed that she had lived in Spain with her parents as a child and although she had never studied flamenco dancing, she had always been taken by it. It never occurred to her that she might have assimilated so much.

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Sample Exercise:
Show and Tell

DIRECTOR: All right. We've talked a lot about letting go and creative flow, and the various ways of expressing our power and passions. How we all have our own unique styles and reasons for the choices we make. We've talked about being playful and the importance of having fun up here. This next exercise is no exception. That should make you all want to jump right up and volunteer, right? (No one moves) I see. Well, you know that he or she who volunteers overcomes fears. (There are a few nervous giggles but the stage remains empty). Look, I have no desire to be a dentist. I hate pulling teeth. I need two volunteers...now!

KENDRA: Okay, okay, I'll do it.

The director's having fun and looking to keep the students involved. A little coaxing here and there is natural and to be expected. A reluctant student is not necessarily a disinterested student.

LUCY: Me too.

DIRECTOR: Good. Would you both come to the front of the room please. Now, the way this works is one of you will tell a story. Just make it up on the spot. The other will act the story out. But, it's crucial that you remain standing side by side the whole time, facing the audience. If you're running all over the room the exercise doesn't work.

LUCY: Who gets to tell the story?

DIRECTOR: Lets' have you begin telling the story. When I say switch, Kendra picks up the story exactly where you left off. You then begin acting out the story where she left off. I'll switch you back and forth several times. That's all. It's that simple. Are you ready?

They don't answer. Lucy simply begins with a story about a little fairy who encounters a bee one day while out skipping through a field of daisies. Kendra immediately begins a buzzing sound. Then switches to the fairy, ducking and dodging as the bee menaces her. Switch the Director shouts and suddenly Lucy is the fairy. Kendra, who is usually less confident speaking curiously has no problem taking over the storytelling. She believes all eyes are now on Lucy who's busy swatting the invisible bee. The story goes on, the two girls switching back and forth, making up the story and acting it out as they go along. The rest of the class is in stitches. After a short while a kind of balance and harmony is achieved in their combined presentation. They've become a duet without knowing it.

DIRECTOR: The exercise is just that, an exercise. An opportunity to learn about ourselves. If we'd asked Kendra to simply stand up and tell us a story she would have closed down as she'd done on several other occasions. But, you all saw how easily she jumped into telling the story. She was having fun and not so concerned about the attention being all on her. Regardless of the format, she was up there, in front of all of you, telling a story and enjoying it.

So often we realize in the aftermath that we've broken new ground and surpassed our own expectations of ourselves. A little voice in our heads starts shouting, "Whoa, that was me up there...letting go...feeling good...thinking on my feet...I might like to do that again." And you do.

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Sample Exercise:
Automatic Static

DIRECTOR: I need a volunteer. Somebody to tell a story. Any story. Preferably something from your past because I don't want you improvising on this one. (Julie raises her hand and comes to the front of the room) Good. Now, as Julie tells her story I'm going to give the rest of you cues. When I raise my hand I want you to heckle her. That's right, heckle her. Nothing ugly or vulgar. Remember this is all in fun. When I drop my hand to the side, however, I want you all to cheer her on. Okay? She has suddenly become the most renowned storyteller of the century and you simply adore her. Clap for her. Whistle if you like. Do anything you like to show her your admiration and support. What I want you to do, Julie, is maintain the integrity of your presentation. Don't let them rattle you. Try not to let them throw you off. Okay?

JULIE: Okay.

As Julie begins her story the Director's hands are down and the group bursts forth with handclaps and whistles. They love it. Julie laughs and loves it too. She's direct and playful. Her body leans forward. She's totally engaged and therefore engaging. When the Director raises his hand the heckling begins. "Who wants to hear this same old story again"..."Sit down"..."You forgot your make-up dearie"..."Oh my God, she's singing off key"..."Say what...what...I didn't hear you!" Julie is a veteran, however, and hangs right in there. Only the smile on her face has withered.

The Director switches cues again and again until Julie's smile returns. Until she finds the whole exercise amusing. The hecklers are now looking pretty look funny.

DIRECTOR: What is the purpose of this exercise? To handle criticism? For sure. Which means being confident in who we are. Not as easy you might think at times. We fear being told we're not good enough. I do. We fear that more than fear itself. It may be far easier to say we are afraid than to admit we're no good. Being told we're not good enough is both a judgment about our ability and statement about how others feel towards us. How many of us were told at one time or another we weren't good enough. You hear that enough times and you start believing it. You start looking for it. You start fearing it. Fear appears to be greater when anticipating the event rather than experiencing the event itself. "What will they think if"..."What if I get up there and my voice"..."What if I forget the words or"...

So let's create an environment here where you don't anticipate anything. You just go for it. If you wind up looking like an ass you can deal with that. But, at least, you won't have been afraid.

Watch for good strong eye contact with this exercise.

Sample Exercise
Preschoolers Prerogative

DIRECTOR: This next exercise is the one of the easiest and one of the most rewarding. We're going to imagine we are performing for children. Pre-schoolers to be exact. So they're about four to five years old. And can be a lot different than performing for adults. Less demanding in some ways but more so in others. More rewarding in some ways and less so in others. So, I need a volunteer. Anybody. You can tell a story, recite some poetry, sing, dance, act...whatever. (A hand goes up). Steve, good. (Steve goes to the front of the room). Now, Steve, all you have to do is entertain. However, as you do, I'll be sending cues to the rest of the class. They will be asked to switch back and forth acting first as children, and when I raise my hand they will become adults. Then children again, etc. Your job is simply to do the best you can. Stay focused. Give us a ten all the way. You may adjust your presentation in any way you feel is necessary in order to gain and maintain their interest.

STEVE: Are they children now or adults?

DIRECTOR: Let's have them begin as adults. (to class) Okay, do you understand your part? This is one of those exercises where you as an audience play an active role. When I raise my hand you act like children. When I raise it again you instantly grow up. Try not to get too out of hand, however, as children or the exercise won't work. We've had some classes with people running out of the room to go to the bathroom. Climbing up on desks. Throwing spit balls. None of that, okay. Okay? Are you ready, Steve?

STEVE: Ready.

Steve begins telling a story about the first time he got into a fight. He's tentative. His voice is soft, shallow and overly measured. His shoulders seem weighted down as though he's being pushed into the earth. He fidgets with his hands nervously and exhibits very little eye contact. He paces about erratically, scattered and undirected. His arms are locked at his sides as though he were being held against his will, which is surprising because he's describing himself pounding away at the head of his assailant.

DIRECTOR: (Raising his hand) Switch!

Instantly the rest of the class becomes children. They whine, giggle, complain and chatter noisily. Some can't resist and begin tossing little spitballs at each other. Steve, meanwhile, has gone into shock and stands there gawking at them in disbelief. Finally, with considerable encouragement from the director, he shakes it off and jumps in with them. His eyes open wide as silver dollars. His energy jumps from a three to a ten. He races to the front of the audience where he can reach out and touch them (but doesn't). He simply leans forward with his body and scrambles back and forth in front of the irreverent audience, engaging them the best he can.

DIRECTOR: (Raising his hand) Switch!

The audience becomes serious again. They sit back in their chairs. They fold their arms. They're responsive and attentive. Steve's reaction to this, however, is interesting. He suddenly starts backing up, as if they, like his assailant were going to attack him. His body becomes rigid and his speech unclear. He's barely audible now. He's has no commitment and any color he had in his personality has gone flat.

DIRECTOR: (Raising his hand) Switch!

The audience has become children again and Steve lights up again. He's alive and focused and strong and funny even.

DIRECTOR: Freeze! Good, good, good. Steve, I would like to ask you to do something for me.

STEVE: Okay.

DIRECTOR: I don't know if you are aware of this or not, but there's a dramatic change in you when the audience switches. So, just for the sake of the exercise, when the audience becomes adults I want you to maintain the integrity of your presentation just as it was when they were children. Don't lose it when they become adults. Stay alive, connected, colorful, close to them, big, animated and strong. When they became adults you were backing away, getting small and insignificant. Like you had no right being there. But, you do, and you can be just as funny and focused as you were when they were children. It's all there inside of you. Go for it.

STEVE: Whew! Okay.

DIRECTOR: Fact is, we'll always be judged on things we do. So what. Let's just get used to it. Because doing nothing is, in fact, doing something. It's doing nothing. We can't not do. As long as we are breathing we're doing something, and somebody is going to judge us for it.

I don't believe children sit in judgment the way adults do, although they have their likes and their dislikes. But, whether we are good or bad has nothing to do with it. They just want to have fun and be safe. Like you and me.

In some instances the student is more comfortable in front of adults than children. In these cases the intentions are reversed. The value of the exercise, however, remains the same.)

DIRECTOR: My job as the Director's is to instill trust. You may need to experience a little discomfort in order to move beyond feeling embarrassed. Any time we take a risk it's a little discomforting. But, the potential gain is really high. Those of you who are comfortable on stage may want to stay there much longer, but the director has to keep the show moving. Encouraging laughter and being loose. Creative. Helping to explore new ideas and thoughts. On the spot. Clearing the way for you to use your body as much as possible. Letting it all show in your face. So you're always looking for eye contact and letting go. Enjoying yourselves. And the moment. This is where the barriers between you and the audience break down.

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PREPARING FOR CHIC
Discussion Questions:

a) On Listening: What is sound? What is listening? How do we listen? Is listening hearing? What is the difference? What is communication? When (hearing has been achieved has communication been successful? What is the difference? Who do we listen to? Do we listen to ourselves? When? Why? How? Why do we listen and why do we block out sound? When do we block out sound? What are some pleasant sources of sound? What are some unpleasant sources of sound? What are the benefits of effective listening? What are the problems associated with poor listening? How do we feel when no one listens to us? Why is it so important to have others listen to us? Why is it so important to listen to others? How do we feel when we are listened to? Tell one important situation where you were not listened to and how it made you feel. Tell one important time you were listened to and how that made you feel. What action can you take when you want to be heard and no one is listening? What makes us want to listen to some people and not others? What can we do to make ourselves more worthy of being listened to? How can we verify if we were listened to or not?

b) On Seeing: What is seeing? How do we see? What is the difference between seeing and looking? Who do we look at and who do we see? Do we see ourselves? When? Why? How? Why do we choose to see and why do we choose not to see? When do we block our vision? What are some pleasant visual sources? What are some unpleasant visual sources? What are the benefits of seeing clearly? What are the problems associated with poor sight? How do we feel when no one sees us? How do we feel when we are looked at? Tell one important situation where you wanted to be seen and were not seen and how it made you feel. Tell one important time you were seen and how that made you feel. Why is being seen so important? Or is it? What action can you take when you want to be seen and no one is seeing you? What makes us want to see some people and not others? What can we do to make ourselves more worthy of being seen?

c) On Feeling: What is feeling? In what ways do we feel? Is feeling touching? What is the difference? When feeling has occurred has anything changed? Who do we feel close to? Far from? Can we feel close to ourselves? When? Why? How? Why do we feel and why do we block out feeling? When do we block out feeling? What makes us feel good? What makes us feel bad? What are the benefits of feeling good? What are the problems associated with feeling bad? What's it like when no one feels for us? What's it like when we have no one we feel for? Why is it so important to have feeling for others? What's it like when others have feelings for us? Tell one important situation where someone made you feel bad and what you did about it. Tell one important time you showed positive feelings for someone and what difference that made. What action can you take when you want to feel good and there's no one to talk to. What makes us feel for some people and not others? What can we do to make others have more feeling for us? How can we verify if others have feelings for us?

d) Teachers and students can substitute any number of subjects and ask almost the same questions. i.e. honesty-communication-rhythm-fear-anger-love-desire-curiosity-appreciation respect awkwardness kindness thankfulness forgiveness violence soul cool. For example, what is being "cool"? What is not being cool? Who is cool? Why? Are you always cool in all situations? Why is it so important to be cool? Who decides whether we are cool or not? Why? Who cares if we are cool or not? How does being cool differ from being square? Who says? What are the advantages of being cool? Disadvantages? How can you make yourself cool? Are your parents cool? It's the discussion and the passion, the interest and the involvement we're seeking with these issues. Enlightenment of the soul and peace of mind will hopefully follow.

Music expresses spiritual and emotional values that are both personal and universal and expands the creative abilities of all who use it.

"It's total involvement that creates understanding," Chic says, "and understanding promotes growth."

---------Assembly Programs

* In a 45-minute assembly, Chic uses his music to inspire trust and group participation. Audiences are invited to sing, clap, tap or snap their fingers. "It's total involvement that creates understanding," Chic says, "and understanding promotes growth."

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