Formal Report: Win-Win Negotiations

WIN-WIN NEGOTIATIONS IN MUSIC MANAGEMENT:

When interviewing some of Saint Louis' elite music insiders, it was agreed that "win-win" negotiations were the best tactics to keep all players content. The skill of win-win negotiation is required in the role of a music manager. Win-Win negotiations are not to be confused with compromise or settling for less...It is an agreement where both parties can walk away with what they need and build on a goal together.  A music manager must know their musician's worth and have a concise goal with what the artist wants to do with their career. Upon reviewing interviews with a successful entertainment lawyer, a music producer, an owner of an independent record label, and an aspiring musician; a positive attitude where everyone in the agreement gets what they want is the best way to keep long lasting business relationships in the music industry.

What does a Talent/Artist/Music Manager do?:

    There are millions of musicians out there trying to be heard, seen, and known by the mainstream media. The competition is steep, but the fact of the matter is, the bulk of the mainstream music industry boils down to two things; money and negotiation skills. Record labels throw millions of dollars at their artists to make the best music videos, have the best tours and have to best public relations so their company can generate even more money in return. Since many music managers do not possess millions, it is hard to be able to just wave a magic wand and have their music artist noticed. This is where the art of great negotiation skills come into play. A talent/ music manager, is in charge of the business side of being in a band. Often, band members are great at the creative side of things, but aren't so great at promoting themselves, booking their own gigs, or negotiating deals. In a very general sense, the task of a manager is take care of the day to day running of the band's career, so the band can focus on the creative side of things. A good talent manger will negotiate their artist's way to the top to be seen by industry insiders. Talent managers work on a commission base making roughly about 15-20% of what ever their musician makes. It is easy for some to try to be greedy and manipulative, but with the music industry being so exclusive, news of shady practices travel fast and can ruin many future chances for the talent manager and their artist. Benjamin Franklin expressed it best when he said, “Trades would not take place unless it were advantageous to the parties concerned. Of course, it is better to strike as good a bargain as one’s bargaining position admits. The worst outcome is when by overriding greed, no bargain is struck, and a trade that could have been advantageous to both parties, does not come off at all.” Also, with there being so many other talents out there, if a manager does not have good negotiating skills, they will be dismissed and their talent will be replaced by someone else who has a better offer. Upon speaking with a record label owner, an aspiring artist, and a music producer, the best negotiation tactic is a win-win negotiation. A win-win negotiation leaves everyone with a since of happiness and security. And it is agreed by some of the industry's heavy hitters, if a manager or musician wants longevity, they must know how to do a win-win negotiation. So how does win-win negotiation work?

Win-Win Negotiations:

    The aim of win-win negotiation is to find a solution that is acceptable to both parties, and leaves both parties feeling that they've won, in some way, after the event. The win-win concept of negotiation is not simply based on ethical considerations. Win-win negotiating is simply “good business.” When parties in an agreement are satisfied with the outcome, they will work to make it succeed, not fail (Maddux, Robert B). Author Stephen Covey points out most of us learn to base our self-worth on comparisons and competition. We think about succeeding in terms of someone else failing--that is, if I win, you lose; or if you win, I lose. Life becomes a zero-sum game. There is only so much pie to go around, and if you get a big piece, there is less for me; it's not fair, and I'm going to make sure you don't get anymore. We all play the game, but how much fun is it really?

    To ensure a solid foundation with a win-win negotiation one must research and verify a concise goal for what both parties want out of the negotiation. The negotiation itself is a careful exploration of your position and the other person's position, with the goal of finding a mutually acceptable compromise that gives you both as much of what you want as possible. People's positions are rarely as fundamentally opposed as they may initially appear – the other person may have very different goals from the ones you expect! With music business negotiations, think of what services are being traded and what both parties can bring to the table to come to a favorable outcome. When negotiating, the role of power also plays a huge factor in the process. For instance, when trying to book your artist as an opening act for a show, you must realize who has the most power. If the talent being represented is newer and has less of an audience than the main performer, it will be hard to explain the benefit to the opposing side (promoters, tour managers, venues). Asking for a fee in the beginning is almost unfeasible. A win-win negotiation in this case could cause a financial sacrifice on the side of the artist and manager, but if an artist puts on a good show, more fans are made.  After a while of doing various openings, the artist will have a solid fan base and can begin doing negotiations with promoters for compensation because the artist is now bringing in consumers. With a new found fan base, the artist now has future investors wanting more. That leaves the artist, the venue, and the artist’s manager (who makes their 15-20% commission) happy. Also, building an artist's resume with quality shows can make for even better negotiations as time goes on. Record label contract agreements can be sticky. There are many horror stories, but a good music manager know exactly what the label is looking for and why their artist would be a benefit for their company (and vice-versa).

Record Contract Win-Win Negotiations:

    Record label agreements can get very tricky because every contract is different depending on the artist and what they have to offer. Bradd Young, an Urban R&B artist, writer, and producer formerly signed with Sony states that “…record contracts are not what they used to be. Music is not as lucrative as it used to be, and record contracts are not being handed out like they used to be. It is a manager’s job to come up with an agreement suitable for benefiting the musician as well as the record label…”  Record labels are now looking for music artists that can generate the most money and have their own fan bases already. A manager music negotiate that their artist not only is marketable and talented, but can benefit the company bringing fans. In more recent years, major record companies have evolved to fit the new digital music market. Since there are so many outlets for independent musicians to have their own fan bases and sell their products, record labels have kept their head above water with what is called a "360 Deal". The artists that are the most popular such as Justin Bieber, Lady Gaga, Katy Perry, Rihanna, and Beyonce all have a 360 Deal. A 360 Deal basically states that the record company not only get a percentage of the recordings, but also the publishing (song writing), merchandise, and other endorsements (commercials, movies, television appearances). Again, the talent manager only makes 15-20% of what their artist makes. A manager must prove to the record label that their artist is what their label needs. It would be wise for a talent manager to make sure their musician has good people skills and is open to doing other endorsements to make some extra money since they will be getting a percentage taken out of their publishing and future money made off of albums and promotion. The true meaning of a win-win negotiated settlement is where the agreement reached cannot be improved further by any discussions. So your outcome cannot be improved for your benefit, and similarly, the agreement for the other party cannot be improved further for their benefit either. By definition, there is no value left on the table and all creative options have been thoroughly explored and exploited (Steve Roberts). A "360 Deal" may not be the right fit for your artist depending on their market. If a talent manager works with an Independent record label, their role is not a little bit more important. Though the manager's commission rate stays consistent, the manager must now work as a booking agent and financial adviser. Independent record labels do not have near as much money as major labels do, but they also have less people to work with and split money with which could work in the artist and manager's favor financially. With independent labels, music managers have a much more hands on approach. Music/ Talent managers need to determine whether their goals can be connected to the business goals of the other party. The more they know about their aims, the more they are be able to put together settlement packages that better address the business goals and priorities of both parties. When a manager know what's important to the other party, they can build a beneficial and productive agreement. Many negotiators falsely believe that compromise is a positive approach to gain a win-win negotiation deal. This is plainly incorrect. If you look at the definition of the word 'compromise', it means 'A settlement of a dispute in which two or more parties agree to accept something less than they originally wanted.' If one or both parties agree to lower their aspirations, this is hardly a win-win outcome, is it? Daniel Friedman, an entertainment lawyer for multi-platinum selling artists even stated "If you read the contract, and there is something you do not like, or want to add, speak up. The other party may have a whole different point of view than you, and you must speak up and make sure your ideas are clearly communicated."

    Someone going into a win-win negotiation must also prepare for alternative trades or ideas because their best idea may be shot down. A talent manager also must be flexible with their ideas of how to come about getting what they want and still having the other party get what they want. A good negotiator often spring from presenting multiple offers rather than a single, lone offer or proposal. The reason is that a single offer or proposal often has an anchoring effect. Multiple offers tend to stimulate communication. Multiple offers will often prompt or nudge our counterpart into providing vital information about their objectives and the true nature of their business ambitions. Negotiating will be more energetic and productive because several options will likely enhance the possibility of finding even more creative solutions than would otherwise have been possible (Steve Roberts).

Negotiation's Four possible outcomes:

    Going into a negotiation, it is pivotal to have a win-win mind frame. However, there are certain times when those negotiations do not always work. Lose-Lose negotiations are the obvious opposite of a win-win. This unfavorable negotiation outcome usually stems from egos that are unwilling to compromise certain aspects of their proposals to reach an agreement. An example of a lose-lose with music management is requesting the record label to put millions of dollars into your new artist's promotion. That is almost asking for conflict considering as a new artist, they must pay their dues and prove themselves to the label and the rest of the world. Rapper T.I. lost his first record contract because after his first album failed because of lack of promotion, his management requested a bigger budget or they would not work with the label any longer. Since management did not realize the difference of power between their artist and the label they 'worked for', T.I. was dropped. In turn, the record label lost an artist who could have been a huge asset to the label. There is the win-lose scenario many unmanaged musicians face. Since some musicians do not have the negotiation power of a music manager, they end up signing contracts that leave them with nothing to show for their artistic work. For example, an musician can submit their work to anyone, just like a talent manager can. They can be presented a contract that tells them all of the positive things they will be able to do for the musicians career, but some artist's do not know that they are signing over their rights to the record company. There are numerous stories where artists end up poor and hungry because their record label owns their work, and the money their work has earned through radio, movie, and commercial outlets. Music managers usually avoid the win-lose, but if one lacks the right listening and communication skills, they too can fall into a win-lose negotiation. Then of course, there is the last option of no outcome. That is pretty much when a negotiation is put on the table, but both parties walk away from it because their needs were clearly communicated, but did not match for each other. No outcome could also be an example of a stalemate where both parties would not budge from their opposing side for grounds of a mutual agreement. According to Robert Maddux's 'Successful Negotiation : Effective "Win-Win" Strategies and Tactics', there are 8 ways to lose out on a negotiation: Inadequate preparation, ignoring the give/get principle, use of intimidating behavior, impatience, loss of temper, talking too much and listening too little, arguing instead of influencing, and ignoring conflict. The author says during the negotiation process, avoid these mistakes.

Conclusion:

    Being a successful win-win negotiator is crucial in the field of Music management. Since management does not make any money unless their artist does, they must keep in mind the clear goal of what they artist needs and what oppositions they face. A music manager must do valuable research on business ethics and figure out what is feasible for their musician. With the power of win-win negotiations, there is no way to walk away from any deal empty handed and one win-win negotiation leads to another.

References:

Covey, S. (n.d.). Franklincovey. Retrieved from https://www.stephencovey.com/7habits/7habits-habit4.php

Models of negotiation. (n.d.). Retrieved from http://www.managementstudyguide.com/models-of-negotiation.htm

Nierenberg, A. (1999, January 1). Creating win/win negotiations. Retrieved from http://www.inc.com/articles/1999/01/14527.html

6 win-win negotiation tips for managers. (2010, June 2). Retrieved from http://blog.dalecarnegie.com/leadership/6-win-win-negotiation-tips-for-managers/

Donaldson, M. C. (2011). Win-win negotiating. Retrieved from http://www.dummies.com/how-to/content/winwin-negotiating.html

Kramer, H. (2001). Game, set, match : Winning the negotiations game . New York: American Lawyer Media.

Dietmyer, B. (2004). Strategic negotiation : A breakthrough four-step process for effective business. Chicago: Dearborn Trade, A Kaplan Professional Company

Maddux, R. (1995). Successful negotiation : Effective "win-win" strategies and tactics. Boston: Course Technology Crisp

Camp, J. (2002). Start with no.. and other negotiating tools : What the real negotiators don't want you to know. Westminster: CrownPublishing Group

Virtual Worlds as a Means to Promote Intercultural Communication

In a virtual world, you can pretend to be anyone you want to with a personalized avatar. Sometimes your avatar could represent you culturally, but it is not mandatory. When communicating with different cultures, a digital world can ease the anxiety when it comes to questions, research, or fear of judgment. Dialogue in the virtual world can create new channels of communication between cultures. It is more difficult to approach different cultures in the physical world than it is in discreet behind a computer screen. Instead of risking offense to another culture, one can interact through a virtual world and learn more about cultural customs and how to better approach verbal communication with other cultures in the correct way. Virtual worlds can bridge gaps between cultural similarities rather than differences. In the physical we tend to not extend ourselves socially to someone who is different from ourselves or our norms. The virtual world can work as a tool to expand perspectives on other religions and cultures with first-hand experience.  For instance, King and Fouts cite the example of “the ‘no shoes in the mosque’ rule” (p. 17). Respect demands that shoes be removed before entering the mosque in the real world, and gamers insist this practice be followed in the virtual world as well. Some gamers think this rule is absurd because “virtual soles gather no road dust” (p. 17). However, even in the virtual world, it is a sign of respect and has nothing to do with road dust. It is a custom that signifies respect and therefore must be followed, even in the virtual world (http://vmoyerblog.blogspot.com).

An advantage of the virtual world is the anonymous nature of the avatar levels the playing field, while existing in a nonthreatening environment.  Messages presented in this arena may be more easily accepted, as well as help influence the ability to conceptualize the concept(s) presented. Since many people have negative views of the Islamic culture, and view Muslims poorly, the unsupported nature of these thoughts needs to be addressed.  Stereotyping and bias has been perpetuated due to a few extremists who have tainted the overall image of these people.  Terrorists are being linked to Islam unfairly, and it is difficult to change people’s general attitudes toward the Islamic culture.  Virtual worlds and avatars can improve these cultural relations, because they reach many people and offer the information by communicating in ways that give people a chance to change their minds.  Quite possibly, the virtual world is a less harsh environment that may help eliminate racial bias by replacing it with understanding, compassion and empathy, all while offering entertainment (Fischer & Jandt). There are far more advantages and growth from virtual communication than limitations.

Within cultures lie subcultures that may have slightly different dialects, attitudes and personalities. With communication comes interpretation, so it may be easier for some of a subculture to take offense to an action or statement even though it was not meant to be intended offensively. Also, in a virtual world where anyone can be who they want to be, wrong information can be communicated through channels because someone could be pretending to be a certain culture they are not. Also, just as easy it is to learn behind a computer, it is just as easy to display ignorance. Some get on online worlds just to antagonize other races and cultural groups.

For the most part, online virtual worlds can be a good place to start understanding different cultures. An online avatar is less threatening than a real person, and so the communication may flow differently. It is also just as likely that the lack of a physical representation can enable some to be uncharacteristically harsh to those that are different from them. As with most things, the virtual world has the potential for good and bad inter-cultural communications and understanding (Harvey).

REFERENCES:

Mani, B., Stambach, A., & Schamiloglu, U. (n.d.). Retrieved from http://insideislam.wisc.edu

Fischer, A., & Jandt, F. (n.d.). Retrieved from http://writeoncaron.blogspot.com/2011/04/how-virtual-worlds-can-influence.html

Harvey, R. (2011). Virtual worlds as a means to promote inter-cultural communications. Yahoo!. Retrieved from http://voices.yahoo.com/virtual-worlds-as-means-promote-inter-cultural-8517479.html

(n.d.). Retrieved from http://vmoyerblog.blogspot.com/p/intercultural-communications-through.html

Humor in Persuasion

    When watching television, almost every commercial advertising a product contains some sort of humor. Cell phones, clothing, food commercials all tend to keep our attention with humor. The commercials that do not contain humor may get ignored unless they use emotional appeal such as donation commercials, some car insurance commercials, or drug commercials. Humor might be effective in persuasion is by increasing liking for the source. In particular, the choice of humor might illustrate a shared sense of humor that hints at a similar set of underlying values (Meyer, 1997). Research suggests that humor may induce distraction (Duncan, 1979; Sternthal & Craig, 1973). Affective responses elicited by humor may divert a consumer from counter arguing against a discrepant message. Reduced counter arguing, in turn, may allow for greater yielding to the persuasive message. “Persuasion is the coproduction of meaning that results when an individual or group of individuals uses language strategies and/or visual images to make audiences identify with that individual or group (Borchers, T. A. 2002).”

    Sometimes, to break the ice with meeting new people, we crack a joke and gauge the other person's reaction. And most of the time the ice breaker can work to give a sort of trustworthy appearance of the messenger who is trying to persuade. A survey of successful U.S. advertising practitioners revealed that 94% believed humor was effective in gaining attention, and 38% felt humor increased comprehension (Madden & Weinberger, 1984). “Persuasion is intended communication that affects how others think, feel, and/or act toward some object, person, group or idea (Cegala, D. J. 1987)." Humor can soften a blow when it comes to the persuasive process. Many times, someone does not know they are being persuaded because they have adopted the humor and become opened to the idea. One way that humor might be effective in persuasion is by creating positive affect (Kuiper, McKenzie, & Belanger, 1995). According to persuasion theory, people who are in a good mood are less likely to disagree with a persuasive message (Freedman, Sears, & Carlsmith, 1978) and more likely to rely on heuristic/peripheral cues (Bless & Schwarz, 1999). Another way that humor might be effective in persuasion is by increasing liking for the source. In particular, the choice of humor might illustrate a shared sense of humor that hints at a similar set of underlying values (Meyer, 1997). Students have been shown to have a preference for cartoon humor (Burns, 1999), and cartoons in textbooks have been linked to a relaxed learning environment (Carpenter, 1997). It has been suggested that moods during a persuasive message might be attributed to the source (Sinclair, Mark, & Clore, 1994).

    “Persuasion takes place when a motivator is able to either change or confirm an existing attitude in the minds of listeners (Hazel, H. 1998)." Humor might be effective in persuasion is to block systematic/central processing by distracting receivers from constructing counterarguments (Osterhouse & Brock, 1970). This effect has been confirmed repeatedly (e.g., Romero, Agnew, & Insko, 1996) and has even been observed using "zany films" as the distraction (Festinger & Maccoby, 1964). The effect may be even stronger when ironic humor is used. To understand irony, one must process not only the surface meaning of a statement but also its ironic meaning (Giora & Fein, 1999). Humor can definitely help with a persuasive message, but it can also distract from the message too.

    With advertising, if the humor is unrelated to the claims (incidental humor), however, it may encourage heuristic processing. Thus, to the extent that enhanced processing of a humorous ad encourages evaluation of the central arguments of the communication, strong (vs. weak) arguments may be more persuasive. On the other hand, if enhanced processing of a humorous ad encourages consideration of only the humor, strong arguments may be no more effective than weaker ones. This article focuses on the case of incidental humor. Smith (1993) suggests that a humorous ad may increase attention while at the same time disrupt processing. The increased attention may focus consumers on the humorous part of the ad and simultaneously divert them from the ad claims (Cline, T.W., & Kellaris, J.J. 1999).  Someone could also begin not to even take the message seriously since there is humor being involved. They may look at the message as a joke itself… better yet have a clear understanding that there is a message that is being obviously conveyed to them. Depending on the message, humor can take credibility away from the messenger.



REFERENCES:

Lyttle, J. (2001). The effectiveness of humor in persuasion: The case of business ethics training. The Journal of General Psychology, 128(2), 206-16. Retrieved from http://search.proquest.com/docview/213644389?accountid=32521

Cline, T. W., & Kellaris, J. J. (1999). The joint impact of humor and argument strength in a print advertising context: A case for weaker arguments. Psychology & Marketing, 16(1), 69-69. Retrieved from http://search.proquest.com/docview/227758276?accountid=32521

Seiter. Perspectives on Persuasion, Social Influence, and Compliance Gaining. Pearson Learning Solutions.

Process/Mechanism Description

The face is the first body part many people notice and pay attention to. Your face can be a silent first impression for people. For an adult male, facial hair can define a man’s personality. When seeing a man with  long beard, one would automatically associate it with masculinity and ruggedness. Someone with a clean shaven face can make them look younger and more approachable. Shaving is an important tool for male grooming. Depending on the look you are going for, it is important to know how to shave. These are the steps to getting the best shave possible.

The first step when shaving is the preparation. A good prep cleanses the skin, opens the pores, and softens the skin. To prepare the skin for a smooth shave, always shave after or at the end of a hot shower (Dave Alexander). If a shower is not possible, rinse your face and then apply a warm moistened towel to your face for at least a couple of minutes.  One of the keys to a great close shave without irritation or razor burn is to make sure your beard is thoroughly wet. This will soften the beard and open the pores. Facial hair will absorb moisture up to 30% of its volume. Hair swollen with water becomes quite weak and therefore easier to cut. Facial hair will absorb moisture up to 30% of its volume. Hair swollen with water becomes quite weak and therefore easier to cut. Never shave cold or apply shaving products to a dry face - this is one of the leading causes of razor burn and shaving rash. Always use a high quality, glycerine based shave cream once the beard and face are fully moisturized. While the primary function of the shaving cream is to lubricate your face so that the razor will glide smoothly and effortlessly across the surface, it also serves to lock the moisture into the whiskers, keeping them soft and upright, primed for the cut. The ideal scenario is to leave the shaving cream on your face for at least a minute before you begin cutting, so that the beard is as soft and wet as possible (shaving tips & techniques: How to get the best shave).

Two of the leading causes of ingrown hairs and razor burn are poor lubrication and dull blades (Dave Alexander). Always use a good quality sharp razor blade. Be sure the blade is sharp. Rinse your blade under hot water before you begin to shave and after every few swipes. This removes the accumulated shaving cream, whiskers, and skin gunk. The use of hot water here is to help lubricate (having tips & techniques: How to get the best shave). Ideally shave in the direction of the beard growth. Start with one side of your face and work steadily towards the other side, doing small sections at a time. Then the mustache area and last the chin  because the chin hairs are the toughest. Leaving chin hairs last allows them the most time to soften under the shave cream. This way you won't miss anything. Use short, light, downward strokes (with the grain), keeping the flat of the blade almost parallel with the face, to remove the bulk of the hair. Use your free hand to pull your skin tight (“Shave Your Face”).

After a shave, the facial skin is very sensitive and vulnerable. You want to first wash the face off with warm water and a facial antiseptic. Once you pat your face dry, you should apply witch hazel to the face and an after shave lotion. While shaving, you are not only getting rid of hair, but also layers of skin. It is important to use an after-shave moisturizing lotion after a facial shave to replace moisture lost from the shave. If you use these tips and shave correctly, it can work very well in your favor visually. If these steps are used correctly, it can prevent razor bumps and facial cuts.

REFERENCE:

Alexander, D. (n.d.). How to shave properly. Retrieved from http://menshair.about.com/od/shavingadvice/a/shavingface.htm

How to shave your face. (n.d.). Retrieved from http://www.wikihow.com/Shave-Your-Face

shaving tips & techniques: How to get the best shave. (n.d.). Retrieved from http://www.men-uusa.com/men-u_shaving_tips.html

Tolerance?

    Adolescent years can be some of the toughest developmental years people can go through. Everyone knows what it is like feeling awkward in high school.  Some, more than others. I feel like there should be an mandatory tolerance class in high school. I feel as though a class that talks about issues such as cultures, stereotypes, sexual preference, and teasing could help many more students feel at ease with themselves and other people. It would be a great ice breaker to social barriers, and make students open their minds. I feel as though the class should be taken as an introductory course to make students feel more welcome and comfortable in their skin.

    Tolerance class would identify with the ethical theory of utilitarianism. The majority of students would benefit from the class because they are seeing that there is a world outside of their own. Many students will find peace with themselves and each other. The results of the class could end up with less violence, less adolescent depression, and more open-minded and culturally accepting teens.

    As per a report, around 20% teens will tend to undergo through a phase of depression prior to adulthood. Normally, depression occurs due to lack of understanding of the view points or due to the filling of guilt in oneself (http://www.knowtheteens.com/). A tolerance class could minimize, perhaps alleviate teen depression by making the students happy with themselves and not feel guilty about not being perfect, since no one is. Teens in whom depression is not treated are more 10 times more prone to engage in antisocial activities such as consuming alcohol, drug abuse, and illicit physical relationships… Over 95% teens with depression will withdraw from friends, family, and career opportunities.

I feel the class could solve this problem with learning tolerance of themselves and other people at the early pivotal pre-adult stage. Making people feel more accepted will lead to a greater confidence and will build a brighter future in career choices and secure socialization.

    Suicide is the third leading cause of 15-24 year olds (http://www.save.org). In a Youth Risk survey 8.5% of students in grades 9-12 reported a suicide attempt in the past year (http://www.teachervision.fen.com). And many of the suicide attempts have to do with feeling unaccepted and insecure. I feel like a Tolerance class can affect the suicide rates by making young people feel more accepted and that there is nothing wrong with who they are. If the class would start with cultural acceptance, then maybe there would not be so many racial barriers in the United States. Every culture would be able to identify with other cultures and know how to respect certain customs. It could also melt many stereotypes younger people may attach to other cultures. Many people fear what they do not know, and judge based on fear. I feel like the class could properly teach students how much more similar they are than different from each other which could make for a friendlier atmosphere. It could also decrease teasing since the class would open students’ eyes to behaviors that are appropriate.

    Also, with teens come sexuality and sexual identity. Gay and lesbian teens were 8.4 times more likely to report having attempted suicide than heterosexual teens. Much of that comes from a lack of self acceptance and the view that society will not accept them. I feel like tolerance class with teach gay and straight students acceptance, thus, making everyone more comfortable.

    The class itself could make everyone see through everyone’s eyes. The class could make students more open to communication which can help them in their future as adults. Students will be able to walk in each other’s shoes and realize the boundaries with teasing and the effects that it causes. Looking at the utilitarianism theory, seems like the class would be fair and produce a better outcome from the future of students. I do not see where the class could be wrong. Ignorance is not bliss, and exposure to people’s differences can only open minds. In most people’s lives, high school is a very pivotal stage. Everyone wants to feel accepted by other’s in their own skin, and I think the class is a huge step in the right direction. Teen suicides mostly happen out of depression or low self esteem… both of which are caused by teasing and heckling. From a deontology stand point, the class is necessary for that reason. Again, looking at the “Golden Rule” theory, no one wants to hurt or feel pain from judgment and rejection, and the class can remind students of  the “Golden Rule” they may have seemed to forgot. No one is flawless, and focusing on other people’s imperfections only seems to make you more weary about your own. The class could build character in the virtue ethic. For instance, they are learning to accept themselves along with others which can disengage social boundaries and make students find the “Golden Mean” of acceptance and tolerance.

    As far as relativism, I feel as though people of certain backgrounds may see it wrong to accept certain lifestyles. For instance, a student raised from a Christian background may not find it right to become friends with someone who is homosexual. Maybe an athlete does not want to have to tolerate an inactive, over weight student because of their differences. My argument to this is everyone wants to be treated with respect. No one is the same, and we all should embrace the fact we have differences, but also have the same quality. We are all flawed human beings, and the class is not asking people to change their own culture, but just embrace everyone’s differences as you would like your own to be. With the theory of emotivism, some students may argue they should not have to take a class on acceptance because they are forced to accept other students they do not want to associate with. I think it is a bad argument and it opens up the door to prejudices among students. And as far as ethical egoism, that is almost inevitable. Everyone is going to do what makes them happy… but teasing makes no one happy. This class will bring teasing to a minimum because it will help students embrace each other and respect each other’s differences.

    A mandatory tolerance class could be nothing but positive for high school students. It would lead to a far more relaxed atmosphere, diverse friendships, and self acceptance. It could minimize the social distractions of school and make it easier to focus more on learning that judging.

References:

Suicide Awareness (2011) Suicide Facts. Retrieved from http://www.save.org/index.cfm?fuseaction=home.viewpage&page_id=705d5df4-055b-f1ec-3f66462866fcb4e6

Gay Life (2011) Gay, Lesbian, Bisexual, Transgender and Questioning Youth Suicide Statistics. Retrieved from “http://gaylife.about.com/od/gayteens/a/gaysuicide.htm”

Know the Teens (2011) Teen mental health : Statistics of depression and suicide. Retrieved from “http://www.knowtheteens.com/teen-mental-health-statistics-of-depression-and-suicide.html”

Mosser, K (2010). Introduction to Ethics and Social Responsibility. San Diego, Bridge point Education, Inc Retrieved from “https://content.ashford.edu”

Accept or Reject a Client?

I was asked if I worked at a PR firm, how/if would I handle a client who was undergoing a scandal. The example presented was a baseball player who was accused of using performance enhancing drugs that could possibly be steroids, but it is unknown. I would welcome the baseball player as a client. The player may have made a mistake in the past, but it is nothing they can not move on from. I would respect the agency's honesty ethics, and try my best to keep the image of the player in good light. My proposal would look something like this:

          As we know, as children we look at sports players as heroes. Every game, the players give their all, and show hard work and dedication to their craft. But on the other side of being a hero to millions is the harsh reality of having to live up to constant, almost unreal expectations. As we have seen time and time again, players turn to the use of steroids to enhance their athletic performance. This is definitely a wrong decision, but not coming from the wrong place. Baseball is a very competitive sport, and there are so many players, that the media really focuses mainly on the star players.

        Recently, we have received a client who plays professional baseball and the media has suspected the player may be on, or have a history with steroids and other performance-enhancing drugs. Right now, this is all just speculation. They need our PR team to support and help him through the brutal media scrutiny. We hear this story time and time again, however when meeting with the player's agent, it was said the player took a substance. The player is unsure if it is steroids or not. Now the steps to conflict management, we must take a proactive and systematic approach:

1. Predicting problems
2. Anticipating threats
3. Minimizing surprises
4. Resolving issues
5. Preventing crises

The problem would be the media ripping our client's character into shreds and really ruining his career he has work so hard toward. The first step to getting the media on our side is to have the player begin to make rounds to elementary and middle school for anti-drug pep rallies. He could tell the children first hand that illegal drugs are bad, and ruin lives. He cold also show up at public charity events to show that he cares about bettering the community and uses his craft to do so. For anticipating threats, we must know that if the player is proven guilty of steroid use, he could be exonerated, and he would have disappointed millions. As we saw with Mark McGuire, he denied steroid usage for years, went on to break records, and now his image and hard work is shattered because he was not only on steroids, but lie to the media. With that being said, the media will not sit down with no answers for much longer. We would need our client to sit down on a daytime television show and talk about the pressures of being a public figure. Our client should tell the complete truth and let the interviewer know that they took a substance at one point in time, and was unsure if it was steroids or not, however, they have not/will not be doing it again. Our client would then apologize for letting down people, but still hold on to their integrity by saying how they have learned to be healthy and not put foreign substances in his body.  This tactic would minimize the surprise and put an end to the media speculation before it gets out of control. After the daytime show appearance, we need our client to participate in an anti-drug commercial to solidify that they have changed their ways and are no longer on the "substances".  Interviews after this should speak about how they overcame the obstacle of caving into pressure, and how they feel better and less guilty not taking steroids and still playing well and entertaining the fans. The player would also speak about never wanting to jeopardize his career for something so minuscule like drug use, and nothing is worse than losing that. This would prevent the crisis from blowing out of proportion. The good the player has done with the community and admitting their faults and moving on in the right path should paint a picture of a strong individual who really cares about the viewers and does not want to let them down again.

REFERENCES:

Cameron. Public Relations Today: Managing Competition and Conflict. Pearson Learning Solutions

Power of Love and Relationships

Love is something can not be explained, yet it is all something we strive to obtain. Most of us have been raised to have a set goal to fall in love with one person and start a family filled with love. What is odd, everyone has a different definition of love. "Love" is a word with a multitude of meanings. To say you love your mother is different from saying you love your shoes or you love your romantic partner or you love chocolate donuts (Feenstra, 2011). To fall "in love" with someone is a process. There are various components to falling in love.

A variety of factors exist that help determine our liking of others. We like those we see or interact with often, as the mere-exposure effect predicts. We also like those who are attractive. Although we would prefer to interact with those who are attractive, we usually end up with those who are similar to us in attractiveness, as proposed by the matching hypothesis. We tend to like those who are similar to us in values and interests rather than those who are different. We prefer to not overbenefit or underbenefit in a relationship but have a relationship characterized by equity. We also tend to like those who like us and only us (Feenstra, 2011). We like to spend time with people we can talk with because we have same opinions as them or we love to stay and mingle with people that show same interest as us. If you love going to clubs or malls, you might end up with people that does the same and loves doing the same thing. Any similarities can be a good point to start a relationship whether it is platonic or romantic (Neimeyer & Mitchell, 1988). The need to belong has two factors, frequent contact and enduring connections. Evidence of this need is seen in our ease of forming and reluctance in ending relationships. The need is also evident in our happiness when we have social bonds and the negative emotions (anger, sadness) associated with lack of connection. Deprivation is associated with mental and physical health detriments. In loneliness we may interact with others, but do not feel that we have a close connection to anyone (Feenstra, 2011).

Sternberg's Triangular Theory of Love breaks down love into categories. In a nutshell, the Triangular Theory of Love defines “love” as being composed of 3 qualities, passion, intimacy, and commitment (Kantra). Intimacy is the friendship or specialness of the relationship.  The feelings of closeness, bondedness, connectedness, trust, and friendship in the relationship. Passion is the excitement or energy of the relationship.  The feelings of physical attraction, romance, and arousal (particularly sexual arousal) in the relationship. Commitment is the “business aspect” of the relationship. This includes all the shared investments, or the “history,” of the relationship, such as decisions, experiences, and adjustments (Kantra). It takes a certain combination of all three aspects to really fall in love. The 3 components, then, can produce 8 types of love:

1. “Friendship”- Intimacy Only (No Passion or Commitment) – Can be summed up as having intimacy with one another, feeling close,  & trusting one another.

2. “Infatuation”- Passion Only (No Intimacy or Commitment) – This tends to be a superficial relationship that is one-sided, where the couple are temporarily ga-ga over one another.  In Hollyword, this is known as a “whirlwind romance.”

3. “Empty Love”- Commitment Only (No Passion or Intimacy) – This is most often an older relationship where the passion and intimacy have died…like “falling out of love.”

4. “Romantic Love”- Intimacy & Passion (No Commitment) – This can be a blossoming relationship where the couple feel like best friends (“friends with benefits”).  As experiences grow with one another, this type of love may develop Commitment.

5. “Companionate Love”- Intimacy & Commitment (No Passion) – Again, this usually occurs in older relationships where the couple remain best friends, but no longer feel passion for one another. This type of love can still be very satisfying and long-lasting.

6. “Fantasy Love”- Passion & Commitment (No Intimacy) – This is a feeling of love because the couple wants to be in love…but they really have little in common.

7. “Non-Love”-  All Sides Absent (No Passion, Intimacy or Commitment) – Basically, this type of relationship is of just an acquaintance.

8. “Complete or Consummate Love”- (All Sides Present) – The best of all types, the “ideal relationship,” that all couples would like to achieve.

Having the matching components to fall "in love" is difficult to find. Many of us dream to find it and make it last for a lifetime. Many of us think we may have already found it. Again, love has many definitions to people, so being in love and staying in love is a huge challenge that a majority of people want to take on.

References:

Kantra, D. (n.d.). Retrieved from http://psychdigest.com/what-type-of-love-do-you-have-with-your-partner/

Feenstra, J. (2011). Introduction to social psychology. Bridgepoint Education, Inc. Retrieved from www.bridgepointeducation.com