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Leadership and the Psychology of Turnarounds
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Is your company in a death spiral? Are secrecy, blame, turf protection, and helplessness running rampant? Does no one seem to know how to reverse the decline, never mind halt it?

If so, now is when your leadership matters most. But how do you spearhead a turnaround? Smart financial and strategic decision making help. But they’re useless without a psychological turnaround —restoring your people’s confidence in themselves and each other.

psychological turnaround

To engineer a psychological turnaround, initiate four critical interventions: promote dialogue in lieu of secrecy, engender respect in place of blame, spark collaboration instead of turf protection, and inspire initiative that vanquishes helplessness.

The Idea in Practice

A corporate death spiral culminates in a companywide sense of powerless that spawns collective denial: People pretend to ignore what everyone individually knows, and no one is willing to declare that the emperor isn’t wearing any clothes. The only way to reverse the spiral is to empower people anew—with these antidotes:

exhibit start exhibit end

In recent years, I have been inside nearly two dozen turnaround situations, in various stages of progress, in which new leaders were bringing distressed organizations back from the brink of failure and setting them on a healthier course. In every case, I saw—and agreed with—the need for smart financial and strategic decision making. But along the way, I also noted another important aspect of this leadership task, a related line of effort that seemed to go largely unnoticed and unstudied by observers but that was just as vital to improving the company’s fortunes and just as hard to do well. Each of these executives restored their people’s confidence in themselves and in one another—a necessary antecedent to restoring investor or public confidence. They inspired and empowered their organizations to take new actions that could renew profitability. In short, each had to lead a psychological turnaround.

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Abstract:
This work presents a novel easy-to-use system intended for the fast and noninvasive monitoring of the Lead I electrocardiogram (ECG) signal by using a wireless steering wheel. The system uses a dual ground electrode configuration connected to a low-power analog front-end to reduce 50/60 Hz interference and it is able to show a stable ECG signal with good enough quality for monitoring purposes in less than 5 s. A novel heart rate detection algorithm based on the continuous wavelet transform has been implemented, which is specially designed to be robust against the most common sources of noise and interference present when acquiring the ECG in the hands, i.e., electromyographic (EMG) noise and baseline wandering. The algorithm shows acceptable performance even under non-ordinary high levels of EMG noise and yields a positive predictivity value of 100.00% and a sensitivity of 99.75% when tested in normal use with subjects of different age, gender, and physical condition.
Published in: IEEE Sensors Journal ( Volume: 12 , Issue: 3 , March 2012 )
Page(s): 610 - 616
Date of Publication: 22 February 2011
ISSN Information:
Print ISSN: 1530-437X
Electronic ISSN: 1558-1748
CD-ROM ISSN: 2379-9153
INSPEC Accession Number: 12524288
DOI: 10.1109/JSEN.2011.2118201
Publisher: IEEE
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This comparison is an absolute cause for debate. It's a very interesting animal to dissect, so let's get right to it.
To me, a "beat maker" is someone who creates "beats". Nowadays, it's usually done on some type of computer. A beat machine (like an MPC or sampling keyboard) is the same thing. They are just pieces of hardware with their own internal CPU systems. So for the sake of argument, let's just say that 99% of modern music is done on a system that contains an internal CPU (yes, the Game Of Thrones intro theme song was entirely done on a computer. Crazy, huh?)
So what exactly does it mean to "make beats"? Believe it or not, most non-music-making people still don't quite understand what it is, which is totally ok. Here's a brief explanation of what "making beats" means: Think of it like a "one man band". The "beat maker" is literally composing a full piece of music. They are "playing" the drums (or "programming"), keyboards, instruments, various sounds, percussion, you name it. Sometimes, they take other pieces of music that already exist and "manipulate" them into brand new beats (in other words, "sampling"). All of this is done on a computer (most of the time, with just a keyboard hooked up to it).
Making beats is awesome. It's a skill. It's addicting. There's so many ways to express yourself. So many palettes, colors, sounds to choose from. It's like being a modern day classical composer, minus the paper, sheet music and feather tipped ink pen. It's 2016. We use computers. And software programs. Lot's of them. Almost too many to choose from. It's a skill that requires creativity AND technical know-how.
Ok. Cool.
So, what is a "music producer" then?
Well, in my opinion, a "music producer" is someone who produces music (surprise!). The definition of "produce" is to "make or manufacture from components or raw materials". In this case, our components are music chords, drums, instrument riffs and anything we can manipulate to produce "sound", which ultimately we like to call a "song", or "music".
So the argument becomes "Well, if I make beats, aren't I 'producing music'? And doesn't that qualify me to be considered a 'music producer'?".
In 2016, the answer is yes.
Why is the answer yes? Because music is different now. The music consuming public loves anything that's good. A lot of good music nowadays doesn't necessarily have to contain vocals. There are pieces of music out there that were createdwith a laptop and headphones by people who are simply "making beats". It's 2016. Sh!t is different now.
I think the true argument here is the argument of "What else can you do beyond just making a beat?". Can you write lyrics? Can you compose vocal melodies? Can you play any instruments? Can you manifest song concepts and give purpose to a song? Do you have the skills to commit to the totality of creating a full song, with other people involved (vocalists, musicians, other composers, etc). Are you a leader? Do you know how to inspire other creatives while collaborating?
All of these questions have to do with one thing, and one thing only. The production of a song. Taking raw material and producing an audible collection of sound that provides satisfaction to the human being listening to it, usually lasting a few minutes, with hopes that they will love it, play it over and over, become inspired by it and hopefully remember that very moment in their life when they first heard it.
That's all this stuff really is at the end of the day.
Making beats is awesome. Producing music is awesome. It's all labels that either offend you, or stroke your ego. Having the skill set to do more or less is entirely up to you. Your process of how you "produce music" is also entirely up to you. Who gives a sh!t anyway.
You produce stuff. From scratch. For the world to consume. That idea alone is pretty damn cool if you ask me.
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