Archives for July 2020

Oana Groza | Editor-in-Chief | oana.groza@nyu.edu

Oana Groza is a senior majoring in Applied Psychology and Global Public Health. With a vested interest in public health, she has taken on several roles during her undergraduate career to further her interest in the field. During her sophomore year, she joined the Public Health Policy team in the College of Global Public Health. As a research assistant she assisted on projects that identify and investigate nutrition-related campaigns and advertisements to provide policymakers and organizations with empirically supported guidance to improve public health. She is also a part of HealthCorps—a nonprofit aimed to provide school-based health education and outreach to children and adolescents—as a Monitoring & Evaluation intern, where she assists with developing and implementing various wellness initiatives. Oana is interested in improving children’s well-being and health outcomes on a global level, by implementing sustainable programs and interventions to support parents and communities. In the near future, she plans to get her Masters in Public Health, but in the meantime she will be working for the USDA National Hunger Clearinghouse as a Communications Coordinator.

Andrew Han | Editor-in-Chief | han.andrew@nyu.edu

Andrew Han is a senior majoring in Applied Psychology and Global Public Health with a minor in Sociology. Throughout his undergraduate career, Andrew has engaged in several research experiences, including the RISE (Researching Inequity in Society) Team and beELL Lab. Currently, he is a research assistant for the Play and Language Lab, where he codes and analyzes naturalistic video data on how culture, children’s social partners, and features of families’ home environments impact infant learning and development. Under the mentorship of Dr. Catherine Tamis-LeMonda, Andrew conducted an honors thesis examining the influence of sounds in the home environment on Latine mother-infant language outcomes. In addition, he is an Editorial Assistant for the Journal of Social Work Practice in the Addictions in the Silver School of Social Work. Andrew hopes to join a career path that achieves social change by supporting children and their families and incorporates the intersection of education, research and policy. He intends to pursue a PhD in Counseling, School or Educational Psychology. His research interests include strengths-based exploration of culturally-competent practices and education among youth in urban environments.

Chloe Carlson | Layout and Design Director | cec747@nyu.edu

Chloe is a freshman in Applied Psychology with a strong interest in the effects of media on the mind. She hopes to minor in Media, Culture, Communication and continue generating more psychology related media in order to further raise mental health awareness and educate others.

Sydney Liang | Layout and Design Director | syl569@nyu.edu

Sydney is a sophomore in the Applied Psychology program with a minor in Media, Culture, and Communication. She spent this past semester as a Human Resources intern at the Shangri-La while studying abroad in Australia, and has previously volunteered in various organizations pertaining to children’s development and social justice. Sydney plans on exploring the field of research while also seeking further opportunities related to industrial-organizational psychology.

Grace Park | Layout and Design Director | hjp332@nyu.edu

Grace is a sophomore in Applied Psychology minoring in Nutrition. She is interested in raising awareness of mental health in the Asian American community and hopes to one day help individuals in minority populations by providing culturally competent care. Grace hopes to complete her masters at NYU for Counseling for Mental Health and Wellness.

Freya Chen | Communications Director | yc3244@nyu.edu

Freya is a sophomore in Applied Psychology and double majoring in Economics. She’s been highly involved with local charity organizations in helping children in poverty in underdeveloped areas in China. She also volunteered in supporting education in rural areas. She has high enthusiasm in speaking for the underreported groups and caring for their mental health. She’s currently looking for research in areas related to women’s mental health.

Sarah Khullar | Contributing Writer | sk6570@nyu.edu

Sarah is a senior majoring in Applied Psychology, with a minor in Middle Eastern Studies. In the past, Sarah has worked for Dr. Javdani’s lab as an advocate for ROSES, completing three advocacy interventions with at-risk youth. Her cultural background as Indian-Palestinian has led her to explore beliefs and attitudes towards mental health in the Middle Eastern region, in addition to research on refugee populations. She is also interested in prison reform, juvenile justice in the United States, and how gender and race affect incarceration. Sarah hopes to continue working with refugee and incarcerated populations, hopefully continuing her education in social policy and intervention.

Olivia Matthes Theriault | Contributing Writer | omt228@nyu.edu

Olivia is a graduating senior in the Applied Psychology department on the Pre-health track. She has spent the past three years on ROSES, a strengths-based advocacy program for girls with system involvement in NYC. During her time on the team, she has served as an advocate, peer supervisor, and research assistant. Olivia is also a research assistant in the Department of Child and Adolescent Psychiatry at Bellevue Hospital. Olivia hopes to continue to explore her interest in research postgrad, and to eventually attend medical school.

Kasane Tonegawa | Contributing Writer | kvt219@nyu.edu

Kasane is a graduating senior in Applied Psychology with minors in Italian Studies and Sociology. She is passionate about activism and social justice, especially in the areas of mental health stigma and access to mental health coverage. Kasane has been using her experience working as a Resident Assistant at Carlyle Court and as a Research Assistant at the Suzuki Lab in order to better understand how to work with people and how to re-conceptualize mental illnesses to reduce stigma. Kasane hopes to work in public policy and strives to use her passion for social justice to influence her work.

Maggie Zhang | Contributing Writer | mz1491@nyu.edu

Maggie is a senior studying Applied Psychology. Since her sophomore year, she has been a research assistant at the ISLAND Lab, an infant neurocognitive lab interested in how social and language environments impact early infant development. She has enjoyed the process of collecting data and building relationships with participants, including parents and infants. Maggie is interested in studying the bi-directionality of parent-child interactions both behaviorally and physiologically, which she has explored in her honors thesis. In the future, Maggie aspires to pursue a Ph.D. in Clinical Psychology and hopes to bridge together clinical practice and research.

Will Olesiewicz | Staff Writer | mjo229@nyu.edu

Will is a senior in their final semester in the Applied Psychology program, with a minor in French. Previously, Will has worked as a teaching assistant at various schools in the NYC area, such as the Brooklyn Free School and GO Project. Among many interests, they are passionate about alternative education programs, adolescent mental-health, and advocating for the removal of socio-economic barriers to quality education. Further, Will is an amateur musician who spends their free-time composing music and posting it on the internet. After graduation, Will plans to take a gap-year working at a no-kill animal shelter before pursuing grad school.

Olivia Pagliaro | Editor-in-Training | op496@nyu.edu

Olivia is a junior in the Applied Psychology program, double majoring in Gender & Sexuality Studies. She is passionate about bridging psychology and gender & sexuality, evident by her research interests and experience. She previously worked on the Transgender Identity Formation Study research team her sophomore year, and now works on Dr. Yoshikawa’s research team with the Gender and Sexuality Alliance (Gay-Straight Alliance) Study. Olivia will be interning at Girls Inc. Summer 2020, and will also be an Inside Scoop Mentor during her upcoming senior year. She plans to pursue a Master’s in Mental Health and Counseling upon graduation.

Maya Metser| Editor-in-Training | maya.metser@nyu.edu

Maya is a junior in the Applied Psychology program. She is currently working as a research assistant at the ISLAND Lab, where she explores the impact of early environments on infant neurodevelopment. In the past, she was an advocate for the ROSES research team, where she completed two interventions with adolescent girls. She was also a research assistant at the SCAN Lab, a fetal neuroimaging lab, where she pursued a personal project on the effects of prenatal maternal stress on fetal brain development. Moving forward, she hopes to bridge her passion for neuroscience, education reform, and juvenile justice reform to make early environments better support positive development.

Katie Mundt| Editor-in-Training | kvm256@nyu.edu

Katie is a junior in the Global Public Health/Applied Psychology program. She is interested in improving community health through a psychological lens, applying the skills and theories from psychology to health research and policy reform. She worked at NYU Langone on the Smoke-Free Housing Project, evaluating the effectiveness of a smoke-free policy in NYC public housing developments. Currently, she works as a research assistant for RISE, and has helped develop a research proposal for the Social Perception Action & Motivation (SPAM) lab, which will be carried out Fall 2020. After graduation, she hopes to continue working in public health research, eventually seeking a Masters in Public Health.

Click here to return to the Spring 2020 Issue Contents page. 

New York University’s Applied Psychology Online Publication of Undergraduate Studies, also known as OPUS, was established in 2009. OPUS provides Applied Psychology undergraduate students with a forum for sharing their independent work. This publication is entirely written, edited, and designed by Applied Psychology undergraduates, and is one of the only undergraduate psychology journals in the United States.

We are thrilled to present our Spring 2020 issue this year. The themes of this issue reflect the diverse clinical and research interests of our contributing writers and demonstrate an overarching desire to understand the nuances of psychological

phenomena in a wide range of communities, thus embodying the ethos of Applied Psychology. For the first time ever, OPUS has published album reviews—reflecting the unique creative interests of our department and our drive to push the boundaries of previous OPUS issues.

To our readers: we hope this issue provides a brief escape from the current situation and demonstrates the excellence of our writing staff, all of whom made this release possible. Our issue this semester contains distinct explorations of psychological theories with real-world applications. Utilizing the Bilingual Inhibitory Control Advantage (BICA) hypothesis, Maggie Zhang explores how early childhood bilingualism enriches the relation between two crucial cognitive processes, inhibitory control and emotional regulation development. Sarah Khullar also examines how cultural values among Muslims living in the Middle East influence openness to seeking professional mental health services.

Kasane Tonegawa tackles a fascinating, novel avenue of research, considering how alternative forms of treatment, such as professionally administered low doses of ketamine, can be used for treatment resistant depression. Olivia Matthes Theriault investigates the effectiveness of restraint and seclusion practices in aiding patient recovery in psychiatric in-patient hospitals. To close her piece, she interviewed a Project Coordinator at Bellevue Hospital Child and Adolescent Acute Inpatient Psychiatric Unit about a groundbreaking framework, known as Trauma Informed Care (TIC), a promising approach to replace the use of restraint and seclusion practices in clinical settings.

Oana and Andrew also conducted an interview with Dr. Karthik Gunnia, a Visiting Assistant Professor in the Applied Psychology department, who is teaching a new course, entitled “Mental Health in Contemporary Music,” which explores on how music can serve as a tool to support destigmatize and promote mental health. In their album reviews, Will Olesiewicz and Andrew Han dive into Frank Ocean’s Endless and Lorde’s Melodrama, respectively, exploring prevalent themes seen during the transition from adolescence to young adulthood. Similarly, Oana Groza reviewed each of Kehlani’s projects to date, examining Kehlani’s narrative as she goes through emerging adulthood and motherhood. We hope to see future writers and Editors-in-Chiefs with new ideas that continue to explore the intersection of their creative and psychological interests.

Thank you so much to our enthusiastic and talented writers for your contributions. This semester presented unprecedented additional challenges with the COVID-19 pandemic. Our team worked tirelessly not only to release the issue, but also make it incredible! We would also like to thank our talented Layout & Design team—Chloe, Grace, and Sydney—for their hard work and commitment to bringing the journal to life. Special shoutout to Kylie McManus, who illustrated this issue’s cover, and Olivia Bowen for their beautiful artwork.

We are grateful to Dr. Gigliana Melzi, the Director of Undergraduate Studies in Applied Psychology, and Erica Rodriguez, the OPUS advisor for their continuous support of OPUS. Finally, we would like to thank Dr. Adina Schick, our faculty mentor, for her guidance, wit, and dedication to OPUS, without which this issue would not be possible.

Best,

Oana Groza and Andrew Han

Click here to return to the Spring 2020 Issue Contents page. 

Oana Groza

Amid the era of isolation and social distancing, R&B neo soul songstress Kehlani released her sophomore album It Was Good Until It Wasn’t, a refreshing project providing listeners with an escape from the uncertain realities. Her breakthrough as a finalist on America’s Got Talent with high school teen band Poplyfe put a spotlight on the Oakland born-and-raised artist. Shortly after the show, Kehlani went solo, and, by the age of 19, she released her first mixtape, Cloud 19. Less than a year later she followed up with her second mixtape, You Should Be Here (YSBH), which secured a Grammy nomination, making her the first ever female artist nominated for a mixtape. At an age when most of us were struggling to articulate our own thoughts, Kehlani had a tight grasp on it, translating her experiences into her art. She has always been blunt and transparent about her life – both the good and the bad – while exhibiting continued growth with each new project. Her debut album SweetSexySavage came out of the precipice of her own battles with mental health, showcasing her strength and resilience. And while pregnant, she created another mixtape, While We Wait, dedicated to her daughter. 

Kehlani’s songs play like conversations between herself, people in her life (both present and absent), and her listeners. Embedded in her music are recurring themes that propel the message she sends to her listeners. Her grace, growth, and ingenuity has long been admired by her fans and lauded by critics. This review examines how Kehlani’s discography demonstrates growth and renewed understanding as she grapples with both new and old life experiences, such as feelings of love and loss.

Emerging Adulthood and the Rise of Kehlani

Kehlani’s first work was released at the age of 19 and her most recent at 25, a period conceptualized by developmental psychologist Arnett as “emerging adulthood,” which is marked by changes and identity formation (Arnett, 2004). Once seen as a transition, emerging adulthood is now considered a period in psychosocial development where young adults are not yet shifting and settling into their long-term roles, but rather venturing into different experiences (Arnett, 2007). What makes emerging adulthood unique is the prominence of five distinct features: (1) identity, (2) instability, (3) self-focus, (4) feeling in-between, (5) and possibilities/optimism (Arnett, 2004). Through Kehlani’s entire discography we see how she explores feelings of love and relationships, and with each new work, we see a progression, a new understanding guided by old experiences.

Her first mixtape, Cloud 19, put the Oakland native on the map and revitalized the R&B genre. The eight track mixtape primarily focuses on relationships as Kehlani asserts her worth through the exploration of romance and identity. The first track off the mixtape, FWU, narrates the modern-day love story as the rising artist declares her loyalty, singing,

“So if you ride then I’m riding too

By your side kinda stuck on you” (Parrish, 2014, track 1)

Moreover, in the second verse she describes their ambition and commitment to each other in the hopes of building a meaningful future stating,

“You love when I handle sh*t I already get it”

And

“Papi’s a hustler chasing mucho dinero” (Parrish, 2014, track 1).

One of the hallmarks of emerging adulthood is the seemingly endless possibilities. Without the full taste of real life, emerging adults hold high expectations about the future, envisioning a loving and lifelong partnership and a rewarding job (Arnett, 2004). For individuals who grew up in difficult conditions (e.g., poverty), emerging adulthood presents the chance to leave their old environment and create a new network of support, providing young people with optimism about these new possibilities of change (Arnett, 2004). As she envisions her future with her partner —“years down the road when up on out the projects”—she highlights the supportive and hardworking dynamic between them as they chase their dreams (Parrish, 2014, track 1).   

Following FWU, in the track As I Am, Kehlani expands upon her expectations in relationships and opens up about her feelings, asking,

“If I gave you the chance to hold my soul would you just feel me,

see the real me?” (Parrish, 2014, track 2).

Love should not only be reciprocated, but proclaimed loudly and proudly. She will not shy away from admitting her feelings and being her true self and hopes to see the same from others. Cloud 19 as a whole is upbeat, fun, and catchy. Its youthfulness is relatable and emphasizes the playfulness and expectations that are inherent in young love. But this narrative shifts in her second mixtape, You Should Be Here (YSBH), as she dives deeper into the intricacies of relationships. Although the dynamics and expectations of a relationship may vary, the message of her second mixtape is unmistakable; it’s in the title. Her transparency and directness is immediate, beginning in the Intro, where she gives listeners a glimpse into her life: 

“They say God gives his toughest battles to his strongest soldiers and what doesn’t kill you makes you stronger. And as much as anyone can say how invincible I seem or how fearless I am or how brave I must be, I’m still human. And I’ve seen things and I’ve felt more pain than some will in their entire lives, all before the age of even being able to buy a f*cking drink at a bar” (Parrish, 2015, track 1).

While identity formation begins in adolescence, it is much more apparent in emerging adulthood and focuses primarily on exploring love, work, and worldviews. Emerging adults navigate this by engaging in various experiences before slowly making a lasting decision in these areas (Arnett, 2000). During this period, romantic and physical relationships are explored with more focus on intimacy than in adolescence and are more focused on implicitly answering the question: “given the kind of person I am, what kind of person do I wish to have as a partner through life?” (Arnett, 2000, p. 473). Given the identity explorations, emerging adults often experience constant changes and disruptions, which leads to a new intensity and instability in this life stage (Arnett, 2004). With these changes – as a result of their explorations – emerging adults progress, providing clarification for the future they seek with these two features going hand-in-hand (Arnett, 2004). In her YSBH mixtape, Kehlani continues to explore her identity and confronts the instability.

As she draws on personal experiences throughout this project, she navigates relationships with eloquence and straightforwardness. In the raw title track of YSBH, we already see a change in her expectations from her romantic partner, no longer focusing just on loyalty, opening with: 

“So far gone and you think I can’t tell

Can’t tell that you are disconnected

You pulled away and I miss your presence” (Parrish, 2015, track 2).

We can feel the pain Kehlani feels as she dissects the dissolution of the failing relationship. The chorus articulates her expectations, “you should be here, right here.” Little else matters without presence, which is further illuminated in the emotional and highly visual track, The Letter, where Kehlani confronts the heartbreak and abandonment she felt growing up, sorrowfully singing,

“There’s an emptiness that only few ever feel

And I somehow missed the meaning of love that is real” (Parrish, 2015, track 9).

While not explicitly stated, the track circles back to the message, as Kehlani wishes her biological mother was there with her when she was growing up. Shortly after her birth, Kehlani’s mother was, as the artist stated, in and out of her life. The pain of her biological mother’s intermittent presence has left scars unhealed, and she attempts to reconcile with this relationship in the melancholic track. She further questions her biological mother’s love for her in the second verse when she pleads for an answer,

“And if you weren’t gonna guide me

Why bring me into the light?” (Parrish, 2015, track 9).

The abandonment drives Kehlani to wonder if she ever felt and was taught what love is. She tries to grapple with this, but can only reach the quivering conclusion, “maybe I didn’t deserve you.” In congruence with her theme, Kehlani wants this pain to serve as a reminder to others: you should be here. Even though she is no longer a child, in a period of instability and feelings of in-betweenness, she is processing all the relationships – past and present – in her life.

The confident and unfettered Californian native continues to unravel the complexities of relationships after the release of her debut album SweetSexySavage (SSS), while embracing the woman she became. SSS has swagger, vulnerability, and cognizance as she explores her understanding and expectations of love and relationships. In the second track of SSS, Distraction, she details a fun love, one that is not serious and noncommittal,

“This life can can make you so jaded

So we can stay shaded just to us and try to get it right” (Parrish, 2017, track 3).

During emerging adulthood, there are typically few obligations that require daily commitments to others. The absence of these commitments coupled with newfound independence, suggest that now-emerging adults must make their own decisions (Arnett, 2004). Thus, emerging adults are self-focused and are able to gain the foundation and necessary skills to become self-sufficient before long-term commitments to love, work, and life in general (Arnett, 2004). It is a time for exploration, and Kehlani is doing exactly that. In SSS, Kehlani demonstrates the complexity of love; sometimes you want a casual, fun relationship without the work of a real one, whereas a “real” relationship can be hard to detach yourself from it, even knowing that it isn’t what’s best for you. In fact, she later elaborates on the pitfalls of love in the track In My Feelings, where she’s not afraid to admit she’s been wounded as she reflects on what it means to be in a relationship long after the love has faded and turned sour.

“Why after all these times, you still play all these games?

Why after all these nights, I still give you all my days?” (Parrish, 2017, track 15).

As she learns from each experience, whether casual or serious, she comes to realizations that allow her to understand what she is looking for. The autobiographical track Not Used To It  stories the singer’s life growing up and how that has made it difficult for her to let her guard down and trust the partners in her relationships. She admits that her reluctance to open up is not necessarily a unique experience – “I don’t mean for it to sound so damn common” – but regardless, she is still adjusting to this process. She cites that the traditional idea of love, marriage, and family was not been present in her life growing up,

“And I still never been to a wedding

And I just see my family stressing

Over the sons who grow up with no daddies in every generation” (Parrish, 2017, track 8).

The absence of her father (who, as stated earlier in the track, passed away when she was young), coupled with the single mothers in her family, has put a strain on her ability to form a trusting relationship with men. Through her inner turmoil laid bare on the track, we see how she struggles to overcome this when she reveals,

“But when I say it’s hard to open up to you

It’s hard to get close to you

I want it with everything in me

To one day just say I’m in love with you” (Parrish, 2017, track 8).

Emerging adults are no longer adolescents, but have ambiguous feelings about being considered adults, generating an in-between sentiment (Arnett, 2004). Generally, emerging adults view their ability to accept responsibility, make independent decisions, and become financially independent as criteria to evaluate whether they consider themselves an adult (Arnett, 2004). Slowly, emerging adults build up confidence in these areas, but at the same time experience a feeling of in-between, which is demonstrated by the  juxtaposition of her hesitations in the lyrics and the punchy and upbeat nature of this song. However, the song retains a sense of optimism and hope as Kehlani aspires to become more confident in her future relationships, which is further echoed by the sentiment in the post chorus. She strives to “one day” reach a point where she can be vulnerable and push past the uncertain feelings (Parrish, 2017, track 8).

Ultimately, emerging adulthood emphasizes a broad range of experiences in love and relationships which make for an intense period in life, and we see this reflected through Kehlani’s early projects. They are not always enjoyable; these explorations can still result in feelings of rejection, disappointment, and loss (Arnett, 2000). Nevertheless, they provide vital clarity that shapes the future we seek in adulthood.

Reflections of Motherhood in her Music

Kehalni’s third mixtape – While We Wait (WWW) – was written and recorded during her pregnancy with her first child and released just over a month before she gave birth. The title of the mixtape has a double meaning, as Kehlani awaits the imminent birth of her daughter and the release of her second album. The role of motherhood has a notable impact on Kehlani’s outlook, which is subsequently reflected in her music. Developmental psychologist Erik Erikson argued that identity may be renegotiated to some extent when adopting a new role, such as motherhood (Erikson, 1968). In particular, pregnancy for first-time mothers often instigates this negotiation as they create space for their child (Laney, Carruthers, Hall, & Anderson, 2014; Smith, 1994). Research has shown that motherhood causes women to assess their autonomy, appearance, and sexuality, and also has a profound impact on their identity, as their experiences and personalities become intensified (Laney, Hall, Anderson, & Willingham, 2015; Nicolson, 1999; Smith, 1994). Women’s identities are modified and redefined as they reflect on who they are and their relationships with others (Laney et al., 2015; Nicolson, 1999). Now, the needs of their child are much more immediate and salient in comparison to their own needs (Laney et al., 2014; Smith, 1994). Ultimately, mothers have cited the experience of motherhood as personally expansive, as their compassion and empathy increases and deepens their understanding of others (Laney et al., 2014).

Although always incredibly attuned to herself and surroundings, Kehlani’s emotional intelligence and empathy grow further as she transitions into her new role as a mother. WWW is a distilled project that demonstrates the shift in her work as Kehlani becomes a mother. The artist shows us that there are challenges to relationships, and that it is important to acknowledge these feelings. She circles back to this idea in the first track, Footsteps, as she once more reminisces a lost relationship, but with a new perspective, opening with,

“Patience could’ve done us well

‘Cause I could tell that all we lack was presence” (Parrish, 2019, track 1).

The track sets the tone of mixtape, one of pain and uncertainty, while also expanding upon ideas in her old works. Albeit a dysfunctional relationship, her refreshing honesty allows us to pinpoint the problems, like their inability to meet each other emotionally or communicate their expectations, singing,

“But still, cheers to being honest

Neither of us knew what we wanted

But all we knew is that we cared

Still all we painted was a moment” (Parrish, 2019, track 1).

In her resolve, there is a profound eloquence as she melancholically explains how the relationship, borne out of subdued love instead of nurture, has led to its decay as she sings in the second verse,

“And I really wanna work this out ‘cause I’m tired of fightin’

And I really hope you still want me the way I want you

And it really feels like this sh*t been on autopilot

And it’s habitual to be the b*tch I am, but not the chick you want

Residual damage left in place of what was beautiful

Excuses only work when what we’ve done is still excusable

You let the truth unfold” (Parrish, 2019, track 1).

Although Kehlani was committed to her relationship, only the embers of their love remain. This track in particular demonstrates her evolution from her first mixtape to now; failed relationships are a common theme in her work, but she becomes more articulate in illuminating the pitfalls of romance in WWW as the process of becoming a mother has helped her re-evaluate her personal relationships.

Evolving from Distraction, Kehlani reassesses the intricacies of a casual relationship on her second track, Too Deep. Almost as if in conversation with herself, Kehlani ruminates over her situationship – realizing that feelings are one-sided and her partner is looking for more than she can give. A once “candy crushing” fling, meant to be fun, has turned confusing as she questions why the boundaries are being pushed, 

“I don’t know why you pass for it

Wasting energy texting me

Text messages, threat messages” (Parrish, 2019, track 2).

And as the song progresses, the confusion and back-and-forth escalates ultimately ending with both hurt as she narrates the unexpected whirlwind in the bridge, culminating with,

“You just wanna talk, I don’t wanna listen

Now I wanna talk, you don’t wanna listen

I don’t ever wanna lose you again

You don’t ever wanna see me again

Say that I’m done, leave you alone

Mark you, then call you again” (Parrish, 2019, track 2).

Perfectly encapsulated in a simple sentiment, Kehlani showcases the messy realities of undefined relationships. However, WWW is not all about lost hope and unlucky love. The second to last track, Butterfly, explores the metamorphosis of a new relationship and the process of opening up to one another. While she patiently understands and navigates the barriers in the relationship, she longs for her partner to open up – like a butterfly emerging from its cocoon – so that she can learn more about who they are. She encourages him to share with her, softly rapping in the outro,

“I see you duck and dodge at every bend

Afraid to play your card, be forced to show your hand

I hope you take from this that it’ll make you no less of a man

To break your walls and simply grab my hand

Love shouldn’t be contraband

It shouldn’t trample on your confidence

Shouldn’t be seen as less than compliments” (Parrish, 2019, track 8).

Committed and willing, she continues to share what she sees from her partner and empathetically and enthusiastically encourages them to shed their walls.  Through the confusion, uncertainty, and pain, Kehlani learns new lessons from each relationship. In a period of transition, she does not veer away from nor dilute previously established themes. Instead, as she becomes a mother, she grows, refines, and clarifies her understanding.

These ideas are further strengthened, retaining a similar vibrancy and versatility as her previous works in her sophomore album It Was Good Until It Wasn’t (IWGUIW), currently one of her most cohesive projects to date. Released just over a year after the birth of her daughter, Kehlani still refuses to hold back, as demonstrated by the precision and directness in her tracks on the album. Her past has made her who she is and she embraces exactly that, refusing to hold back. She does not shy away from the apocalyptic nature – further exemplified by the album cover – of relationships and loss in the album. And while the album’s undercurrents are much more somber than her previous raw-but-wistful projects, Kehlani once again reclaims the experiences and showcases her vulnerability as her greatest asset. WWW was just a glimpse into how motherhood transformed her; IWGIUW demonstrates how she translates her maternal wisdom into a new sense of clarity and outlook as she liberates herself from the uncertainties, burying the pain and loss.

In the first track of the album, Kehlani re-explores an unhealthy relationship, aptly naming the track Toxic. Immediately she admits that they are both at fault in the slow trap song, singing,

“Damn right, we take turns bein’ grown

I get real accountable when I’m alone” (Parrish, 2020, track 1).

But if motherhood has shown her anything, it’s that she has no time to entertain these roller coaster relationships. The bridge culminates with Kehlani crystalizing one of the fundamental issues: she wants stability and the relationship doesn’t give her that,

“Somehow, I’m always caught in your dramatics

All in your acrobatics

You know I want the static” (Parrish, 2020, track 1).

Kahalani doesn’t have time for “dramatics.” She has a daughter and family to look after now. This idea is furthered in the pleading track Bad News, which draws on the relationship between her parents as she implores her partner to change their dangerous lifestyle. With worry and concern in her voice she sings, 

“Don’t wanna get no call with no bad news

I know all the stories from your tattoos” (Parrish, 2020, track 3)

Kehlani’s previous projects have established her commitment to her relationships, sometimes even past the point where it can be saved. However, recognizing that she needs to create space for her child, she departs from this mentality in the track Grieving. She somberly documents the extent to which she’s over-committed herself to the relationship in the opening verse: 

“Askin’ for space, I’d give my leg for it

I’ve reached a point, it’s like I beg for it

I give my sweat and tears, damn, I bled for it

No one would bet that you would lose me like that

No one would guess I had the strength to fall back” (Parrish, 2020, track 13).

Although she is devoted and cares deeply, Kehlani cannot put herself in that position anymore. Her time and focus has pivoted to her daughter, who supersedes anyone else. Circling back to earlier messages, motherhood provided her with a growth in unexpected ways; she garnered the strength to pull herself away while also recognizing the time and attention she gave, proclaiming

“It’s a merry-go-round from sun-up to sundown

You want me to stay here, mother all your sons now

This sh*t ain’t no fun now

Name a b*tch patient like that

Name a b*tch to cater like that” (Parrish, 2020, track 13).

The second verse solidifies the dismemberment of the relationship: she gave more than most and the tumultuous nature of the relationship has reached her limit. Although the album primarily discusses her romantic relationships, her last track is not her own and instead features Jealous collaborator Lexii Alijai, Lexii’s Outro is dedicated to the late-rapper to honor her legacy. In the track Lexii raps, 

“I told her, “This is life, you just gotta wake up and grasp the sh*t,”

huh

Ain’t got no time to make no accidents ‘cause you gotta be

passionate” (Parrish, 2020).

The tribute is reminiscent of the theme of YSBH: value the time and presence you have with people, you never know when it can be taken away. Similarly, while IWGUIW mostly mourns love lost, Kehlani retains hopefulness as she – in collaboration with Jhene Aiko – envision healthier relationships filled with support and success in the fourth track Change Your Life where she raps,

“I’m here to excel with you

Here to break bread with you,

Here to travel the world and sleep in different beds with you

Here to make revenue

Know it’s impressin’ you.” (Parrish, 2020, track 6).

She is ambitious and driven and expects the same from a partner, a sentiment that is similar to FWU. Although the tone of the album starkly contrasts earlier works, the parallels continue, now with a new perspective, aided by her identity as a mother. Kehlani has not forgotten the life lessons she has learned before motherhood, but she has grown and gained an even deeper understanding of them. Through this album, the R&B singer undergoes a healing. The album is a cleansing, leaving the toxicity and turbulence in the past,reminding us that a new beginning is on the horizon.

Conclusion

Kehlani’s work showcases how life informs and shapes our understanding of relationships. By grounding it in psychological theory, the listener can better how  Kehlani’s development translates in her art. While the artist has been very transparent about her life and experiences, it is important to note that the conclusions generated in this review are limited, as they are not necessarily confirmed by the singer herself. Emerging adulthood is a confusing and exciting time and the artist helps listeners navigate this period through her intensely personal songs. Through the years, Kehlani has continued to grapple with her experiences utilizing her work as a vessel to accomplish this. Motherhood provided a new perspective and clarity reflected in her songs with an even deeper empathy and emotional intelligence than before. And while her priorities change, she does not forget the lessons she has learned. Her past shaped the person she is today, and she is unapologetic about it. Let’s see where her storytelling takes us next.

References

Arnett, J. J. (2000). Emerging adulthood: A theory of development from the late teens through the twenties. American Psychologist, 55(5), 469–480.

Arnett, J. J. (2004). Emerging adulthood: The winding road from the late teens through the twenties. New York: Oxford University Press.

Arnett, J. J. (2007). Emerging adulthood: What is it, and what is it good for? Child Development Perspectives, 1(2), 68-73.

Erikson, E. H. (1968). Identity: Youth and crisis. New York, NY: Norton.

Laney, E. K., Carruthers, L., Hall, M. E. L., & Anderson, T.L. (2014). Expanding the self: Motherhood and identity development in faculty women. Journal of Family Issues, 35(9), 1227–1251.

Laney, E. K., Hall, M. E. L., Anderson, T L., & Willingham, M. M. (2015). Becoming a mother: The influence of motherhood on women’s identity. Identity, 15(2), 126-145.

Nicolson, P. (1999). Loss, happiness, and postpartum depression: The ultimate paradox. Canadian Psychology, 40(2), 162-178.

Parish, K. (2014). Cloud 19 [CD]. Self-released.

Parish, K. (2020). It Was Good Until It Wasn’t [CD]. Los Angeles, CA: Atlantic.

Parish, K. (2017). SweetSexySavage [CD]. Los Angeles, CA: Atlantic & TSNMI.

Parish, K. (2019). While We Wait [CD]. Los Angeles, CA: Atlantic & TSNMI.

Parish, K. (2015). You Should Be Here [CD]. Los Angeles, CA: TSNMI.

Smith, J. A. (1994). Reconstructing selves: An analysis of discrepancies between women’s contemporaneous and retrospective accounts of the transition to motherhood. British Journal of Psychiatry, 85(3), 371-392.

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