Airplane Mode Bones Song Download WORK
Cinderella Zollman
The chorus, "These motherfuckers never own shit, Airplane mode activated, don't call, bitch," reflects a disdain for individuals who lack control over their lives or possess nothing substantial. The activation of airplane mode and the instruction not to call implies a desire to disconnect from negativity or distractions, perhaps to focus on personal goals or to avoid unnecessary drama.
A pattern model that explains the interrelationship of conflict dynamics to students emerged through reconstruction of students' perceptions of conflict and power in song/music preferences to inform theory and praxis in conflict management education
In a journal entry dated October 31, Carolyn integrates multiple conflict management options and makes a personal association in an ego conflict that she perceives in and interprets through writing about the song "Battlestations" by Wham! The ego conflict is interpreted as "they both play head games and the only thing that holds them together is sex." The management options are verbal aggression, "they argue all the time . . . [and] he calls her a baby;" and revenge, "he reads her diary;" and avoidance, "she won't pick up the phone, she lets the answering machine take his calls." Carolyn interprets verbal aggression as the best mode of management in this conflict because: "At least he's getting his anger out (expressing it) even if it's not prosocial." Carolyn identifies a shared power status through skill (lovemaking skills) and comments, "no communication skills here." Her personal association is stated as: "I saw my uncle in many such relationships--it's disgusting."
In Tracy Chapman's "Behind the Wall," Maria perceives and describes a violent domestic conflict involving the police: "The song tells the story of people who are heard [by neighbors] yelling and screaming." She demonstrates awareness of multiple conflict management options by identifying verbal and physical aggression, third party (mediator) intervention and avoidance as the management options. The third party is the police who are called to intervene in the conflict, where a man is beating a woman. Maria perceives that the policemen use avoidance in managing this conflict: "It's a domestic affair and the police don't want to deal with it." Maria demonstrates that she recognizes the outcome of this avoidance option: "The song tells how later on an ambulance comes and then the police[man] says he's trying to keep the peace but by this time it's too late because a woman's been beaten so badly." In this conflict, Maria recognizes the policemen as the power figures and she identifies their type of power: "They have the `Expert Power' because what they say goes no matter what." Maria distinguishes between power types: "The man who does the beating would have `coercive' power because he's capable of beating the woman." Maria demonstrates involvement in this scenario by extending the conflict to include herself. She indicates how the listener [herself] becomes a party to the conflict, ". . . and the conflict is between the police and the listener, because I get so angry knowing those men let crime go on and don't care." Thus, Maria identifies the policemen's delay (avoidance) as not caring, and this not caring attitude makes her angry. Maria also demonstrates involvement with analyses of her perceptions of conflict in Madonna's "Something to Remember." Maria interprets this song as being about a love that was never to be and expresses her involvement in her statement: "It makes me so sad, because this tells of a woman who really loves a man but is never able to have a relationship with him." She makes a personal association with this song: "This happened to me when my boyfriend broke up with me and it was not in my power to get him back." In this analyses, Maria recognizes that while conflict can be painful, it does not have to be bad: "This conflict is not necessarily bad even though the woman's hurt." Maria comments that conflict can occur without "the man being really mean." Maria does not perceive power sources in this conflict: "There isn't really a `power' figure in this conflict. It's just a conflict of love lost without the man being really mean." Thus, Maria approaches awareness of the healthy transitional aspects of conflict. Maria continues her personal association with her perceptions of conflict in song/music through her analyses of "Pictures of You" by The Cure. In this analysis, Maria perceives an internal conflict [intrapersonal] which she describes in the audiotape analyses as "it's just like confusion," and in her journal entry as being "more like loneliness." This internal conflict is created by the absence of her boyfriend who "is in school at Stanford." She personally associates with this conflict through her statement, ". . . and this hits close to home once again because my boyfriend's far away and all I have right now [are] the pictures to look at." Maria does not perceive power in this conflict: "There's not really a source of power." However, she does establish awareness of different power sources: "This has nothing to do with money or power." She recommends that "the only way this conflict could be resolved is for them to see each other." Maria chooses Sarah Brightmann's "Think of Me," to demonstrate her perception of a conflict between characters in the song, although she indicates that she is not sure what the conflict is about, " . . . so I guess its some sort of conflict in that relationship . . . I don't really know the situation." She identifies the participants in this conflict as Christine and Raoul from Phantom of the Opera. Maria perceives that Christine uses the prosocial mode to manage the conflict because "she talks through the problem" in asking Raoul to remember her. Maria identifies the power source as interpersonal attractiveness. Maria perceives the conflict as being resolved because "in the end they're both happy and the love is together again." The conflict is resolved "when the male's voice [Raoul] comes in and says, `I will remember you." Maria does respond to how this conflict relates to her life: "This song relates to my life because I like romance." In her perceptions of a conflict between two lovers in the song "A Little Respect" by Erasure, Maria perceives the man in the song to be using the prosocial conflict management option because "the singer tries to make peace by giving simple comments." Maria recognizes that "the other party doesn't respond." Maria recommends that the conflict could be resolved through the prosocial conflict management option of discussion: "It seems maybe if these folks would discuss their problem, they could be happy."
Juanita continues with her perception of the content and meaning of the song: "Then it goes on to tell that Adam & Eve ate an apple, God got mad and then he kicked them out of the garden -but we shouldn't fret because dem bones gonna' rise again." Juanita spoke to [Mr. Brown], the music teacher, about the use of the song, ". . . and it seems that he's teaching the kids this song because he feels it has some historical value or bearing on the Christmas season." She continues to use discussion as an option in managing the conflict: "I quickly reminded him that Christ is not mentioned in this song." Juanita seems to perceive a conflict over fact in the issue of Christ's birthdate, ". . . and that if his intention was to acquaint the children with historical events that perhaps he should wait till Spring, since that's the time of year in which Christ was born." She reminds [Mr. Brown] of his introduction to the song the evening of the school Christmas program: "I reminded him of his . . . introduction of this particular song, he said, 'next is a song I'm sure you've heard a hundred times. But we have our own unique way of doing it because we don't like to do things like everybody else.'" Juanita perceived that she was "given the shaft" in this discussion. She became infuriated, and ended the discussion with [Mr. Brown]. She applied another conflict management option, third party (mediator) and appealed to a higher authority [power]: "So I ended my discussion with him and took it up with the school principal who assured me that it was not the intention of either the school or [Mr. Brown] to indoctrinate the children." Juanita clarifies the issues in this conflict:
Elden (1981, p. 261, cited in Lincoln & Guba, 1985, p. 205) states that participatory research suggests that grounded theory is local theory, and that it facilitates the gathering together and systematizing of isolated, individualized understanding. Lincoln & Guba (1985) interpret this formulation as "an aggregate of local understandings that without the intervention of the researcher, would remain isolated" (p. 205). In bringing together and reconstructing respondents' multiple perceptions of conflict in song/music preferences, the emergence of a pattern model for informing theory and praxis in conflict management education was suggested. Reason, (1981 cited in Lincoln & Guba, 1985, p. 205) draws from Paul Diesings's (1972) book Patterns of Discovery in the Social Sciences to describe how models of explanation emerge; by using data drawn from the field to explain the relations between parts so that meaning is given to each part in the system, thus giving an empirical account of the whole system. In the present study, data were drawn from the field that explain the relations between parts of conflict, thus giving meaning to each part. Therefore, in the present study, conflict is described as a highly abstract system. The interrelationship of conflict elements and their relevance to participants explains the system to the participants, because it describes the interrelationship of the parts, and explains the meaning of the parts. A helpful analogy in understanding the interrelationship of conflict dynamics may be Horton's 1971 study, The Interplay of Forces in the Development of a Small School System (cited in Wax, Diamond, & Gearing 1971, pp.180 194) in which Horton adopts a transactional model to describe the school as a system by explaining the dynamics of the school system in terms of transactions and compromise among and within the powers and influences of the system. Dewey & Bentley (1949) defines transaction as an on going process where parts and elements are aspects or phases of a total situation. Thus, the analogy that is drawn is between the school as a system as described above and conflict dynamics as a system. It is through analysis of the interplay of forces in conflict dynamics, that a pattern model of conflict emerges, i.e., is developed. Bateson (1979, cited in Capra, 1982, p. 81) argued that all definitions should be based on relationships -not on a thing itself, but how it stands in relation to other things. Results of Phase I are consistent with the view that conflict cannot be understood as consisting of separate, isolated entities, but must be defined through their interrelations. As previously stated in the present study, conflict is defined as a highly abstract system. Thus, any theory of conflict must account for the interplay of forces within that system, i.e., the interrelation of conflict dynamics. As shown in Figure 2, by interrelation of conflict dynamics, the researcher means how prior knowledge influences perceptions of power sources which in turn influence the management option selected which may be based on the distribution of power. In like manner prior knowledge of conflict types influence perception of the relevancy of the issues to participants in the conflict. The centrality of the issue and perception of its relevancy may influence the option selected from management options available. The application of the option may depend upon the situation and the cultural context in which the conflict is expressed.