Hustle and Flow

Hustle and Flow was a good movie. I do not like rap but it was really interesting to see how DJay heard the music in his head and from there wrote the words. It was different from the previous movies because it was not based off of a real person. While it was playing I kept seeing many examples of motivation and emotion terms from chapter nine in our textbook.
Right away in the movie we see Nola and DJay becoming dissatisfied with the life that working the streets had to offer them. DJay decided that music was the way he wanted to go. Through this we see that DJay’s efficacy and outcome expectations were fairly high. They both must be high in order for behavior to be goal directed. DJay knew he would be able to produce music because he constantly had a beat in his head. What he was questioning was his outcome expectation, wondering if what he would do would work. When he randomly ran into his friend from high school that records music his outcome expectation rose. That gave him the courage to talk to his friend about doing his music. In Nola’s case her efficacy and outcome expectations were low until the end of the movie. After DJay made her say that she was in charge after he was arrested, and made her promise to get his music out there, her expectancies rose. Her self-confidence grew and she knew she could get his music out there. She knew her outcome expectation would work. Nola used her seduction techniques to get the DJs to play DJay’s music.
Self-efficacy is a broad topic that covers a lot of the events that occurred in Hustle and Flow. DJay believed in himself and in his music. He knew he had the skills needed to make it big. He knew with the right equipment and people to help him he could use his skills to his full advantage. DJay’s self-efficacy beliefs were formed from various things. There are four categories of how self-efficacy beliefs are formed and each one of them applies to DJay’s ad Nola’s cases.
The individual’s personal history forms self-efficacy beliefs. Of the four, the personal history is the most influential. From the movie we do not know DJay’s personal history when it came to making music. We do not know if he had attempted to do it before. I would guess that he had, because he was so eager to jump into it after receiving the keyboard. The movie does not describe much about Nola’s personal history either. We do know that she never really had taken charge of her own life until the end of the movie when she became in charge. That is when her self-efficacy rose significantly.
Observations of others can form self-efficacy beliefs as well. DJay watched Skinny Black, a man from Memphis as well get famous in hip-hop music. He observed that happening and decided if Skinny could do it then he could to. Nola observed DJay being in charge of his life, which made her want to take charge of her own life. After DJay made her do sexual favors for a man so he could get a microphone she decided she was in charge of her life. Her efficacy expectation became high because she knew she could take charge of her own life, what was lacking was her outcome expectation. She did not know how to take charge until the end of the movie.
Pep talks from people form self-efficacy beliefs. DJay’s friend from school and the guy they got to do sound for DJay really liked his stuff and they told him that. They also were very kind to the pregnant prostitute when she started singing for them. They told her she did great and that made her perceive herself as being important. That raised her self-efficacy. The verbal encouragement that was occurring at the time of the people trying to record the song It’s Hard out there for a Pimp provided the pregnant woman and DJay with enough self-confidence to push out their voice and record an awesome song. Nola received her pep talk from DJay as he was being arrested he made her tell him that she was in charge.
The fourth way that people can form self-efficacy beliefs is from physiological states. DJay could have been pessimistic about the music but instead he was pessimistic in his music. He used the hard circumstances of his life to create lyrics that tell people how it is and that many people in Memphis could relate to. Nola was shown crying when DJay made her perform sexual favors for a man. She yelled at him and told him she was done with that and that she had a say in what she did. This state of mind strengthened her to take control of her life and get DJay’s music on the radio.
Overall, this movie was made very well. It told a really great story that had a lot of motivational basis to it. Throughout the movie DJay’s efficacy and outcome expectations were high, they had to be in order for him to create his rap music. Nola’s expectations were not high until the end of the movie when she was told that she was in charge and she knew that if she did not do something DJay’s music would never get out there. Many different things formed Nola’s and DJay’s self-efficacy beliefs throughout their lives, some of which we do not see in the movie yet know happened because they are evident from the scenes that occurred in the movie.
Terms: efficacy expectations, outcome expectations, self-efficacy, self-efficacy beliefs

I saw a lot of concepts from chapters 8 and 9 in Hustle and Flow, the first is discrepancy. D Jay and Nola both had many discrepancies shown in the movie. Some of these discrepancies are that presently they are poor, while the ideal state would be that they would have enough money to live comfortably (have air conditioning, being able to buy items for recording). For D Jay the present state toward the end of the movie was that his music was not on the radio, and the ideal state would be that his music was on the radio. This discrepancy was diminished at the end of the movie, thanks to Nola. D Jay showed discrepancy creation when he created the goal of recording and getting his song on the radio. D Jay and Nola tried getting the song on the radio so badly because they wanted a better life, and making it in the music business would definitely give them a better life. Nola shows her discrepancy when D Jay makes her perform sexual favors for a man in order to get the microphone he wanted. She state that she wanted something bigger and better in life than where she was at.
Feedback must be given in order for a person to enhance their performance. D Jay receives feedback from his old friend, Key. Key plays an important role in the movie because without him, the recording of D Jays music wouldn’t be possible. Key knows what he is doing, so when D Jay gets his approval, he is getting his feedback. Another example of feedback is when Shug starts singing her part in the song. She starts our singing softly but after Key makes it known that she is doing really well and D Jay tells her to give it all she has and to sing out…she does, and sounds amazing.
Reeve defines self efficiency as “a generative capacity in which the individual organizes and orchestrates his or her skills to cope with the demands and circumstances he or she faces.” D Jay proves his self efficiency when he continues to pursue his rap career even when times are hard. He doesn’t have the best materials for recording, he has no professional training or help, and he doesn’t have the support of one of his “girls,” but he keeps trying and working hard toward his goal of getting his music on the radio. D Jay did what he had to do to make it, even if it wasn’t such a great thing to do, such as kick his one prostitute out on the streets and force Nola to perform sexual favors to get what he wanted. It seems like all the female characters in the movie had low self efficiency. Nola, Shug, and the other prostitute (I can’t remember her name) all demonstrated this. None of them had skills to cope with what was happening in their lives. Nola didn’t want to be a prostitute but she didn’t know how to get out of it, plus she didn’t want to let D Jay down. D Jay cared about Nola very much and encouraged her, but he was still controlling her every move, and she let him. D Jay controlled her until he got arrested when he finally gave Nola the power and control. He had her take charge and get his music on the radio. I can’t see how Shug would be happy about her husband being a pimp, but she dealt with it because she had to.
Of the sources of self efficiency explained in the book, vicarious experience happened, in a roundabout way. D Jay looked at how Skinny Black made it, and tried to mimic him and what he did. Seeing that Skinny Black, who came from the same place as D Jay, was able to make it gave D Jay the confidence that he could too.

Terms: discrepancy, present state, ideal state, discrepancy creation, feedback, self efficiency, vicarious experience

Dee, Key, and Shelby each had their own present states and ideal states. All three of them perceived incongruity between their two states and that made them uncomfortable enough to formulate and act on a plan of action to remove the incongruity so that their present state would change and become their ideal state. For example, Dee's present state was being a pimp, hustling drugs, and barely making enough money to get by. His ideal state was to not do those things anymore and to make it in the music business. Key's present state was working and paying rent. His ideal state was to have his own studio and label. Shelby's present state was filling up vending machines. His ideal state was to also make it in the music business. Their plan of action to remove their incongruities was to make a recording, have Skinny Black listen to it, and then have him get them into the music business. This would change their present state and get it to become their ideal state.

Discrepancy is synonymous for incongruity. It creates the sense of wanting to change one's present state so that it will move closer toward one's ideal state. There are two types of discrepancy: discrepancy reduction and discrepancy creation. When Dee went over to Key's to show him his music, Key told Dee that what he had was good. This is an example of discrepancy reduction because Key provided feedback to Dee about how well his music (current performance level) matched to what they thought the music should sound like (ideal performance level) at this point in time. The fact that Dee wanted to make it in the music business and wanted to live a different life is an example of discrepancy creation. He looked forward and proactively set a future, higher goal for himself.

Dee's main goal was to make it in the music business by recording a song. He perceived this goal to be difficult, and that energized him to accomplish his goal. Basically, having a difficult goal increased his effort and persistence. Also, the fact that he didn't want to live like he was helped him to go for his goal.

An example of feedback was when Key interrupted Dee while they were recording. Key told Dee that the music Dee was making was just flow and wasn't enough to make a track. Key suggested they needed a hook in order to make a track. This shows that Dee wasn't progressing very well toward his goal. Another time when Key interrupted Dee while they were recording is also an example of feedback. Key told Dee that the recording was getting distorted because the mics were bad. Key told him that they needed new mics otherwise their recording wouldn't be any good. This also shows that Dee wasn't progressing very well toward his goal. Both of these examples created dissatisfaction for Dee and made him aware of goal-performance discrepancies. To eliminate these discrepancies, they had Shug provide the hook in the recording and got new mics thanks to Nola.

People predict what will happen and try to influence what happens to make desirable outcomes more likely. By exercising personal control this way, people attempt to improve their lives and the lives of others. Dee definitely had the desire to exercise personal control because he believed he had what it took to make it in the music business and that Skinny Black and the music business would accept him and his music. The strengths of Dee's expectancies of being able to exercise personal control can be linked to the strength with which he tried to exercise it. There are two types of expectancies: efficacy expectations and outcome expectations. An efficacy expectation for Dee pertains to his capability/confidence that he can do what it takes to make a great recording. An outcome expectation for Dee pertains to his beliefs that once he makes a great recording, then he can have Skinny listen to it, have him accept it, and get into the music business through him.

Dee definitely had self-efficacy. He had the capability to use his personal resources and skills well when faced with trying circumstances. He was able to translate his skills into effective performance and coped well with most situations. One example of Dee's self-efficacy was when he was having trouble laying a track down, and he used one of his personal resources, Shug, to be the hook in the recording. Having her as the hook, helped him to make a great recording. Another example was when Dee needed new mics to get a good recording. Since he didn't have the money to buy them, he sweet talked (one of his skills) the music store owner into getting friendly with Nola in exchange for the mics. So, he used another one of his personal resources, Nola, to get the mics. Nola showed self-efficacy towards the end of the movie. She used her looks (personal resource) and sweet talk (skill) to get Dee's song put on the radio. She coped well with the demand/situation she faced.

Dee's self-efficacy beliefs mainly arose from two sources: his personal behavior history and vicarious experience. He used to dj and make music so he believed he could do even more with music now (write and record a song). He learned his current self-efficacy from his interpretations and memories of past attempts to make music (personal behavior history). He also observed Skinny Black trying to make music (vicarious experience). Skinny started out making underground tapes and ended up becoming a famous musical artist. Seeing someone similar to Dee succeed in making music, raised his sense of efficacy. Basically, if Skinny was able to get into the music business, then Dee believed he could too.

Overall, this movie was ok. I'm not a big fan of rap so that probably didn't help my liking of the movie. However, it was nice to see someone like Dee strive to make a better life for themselves.

My list of terms include: present state, ideal state, plan, discrepancy, discrepancy reduction, discrepancy creation, goal, goal difficulty, feedback, personal control, efficacy expectation, outcome expectation, self-efficacy, personal behavior history, and vicarious experience.

Hustle and Flow is a different from the previous movies we have watched for this class because it isn’t based on a real-life person, rather a fictional person. I liked this movie better than the last movie but it wasn’t my favorite overall. I wasn’t sure how I’d like to the movie because I knew it dealt with rap music which isn’t the type of music I like. After the movie started it was clear those examples from chapters eight and nine are shown throughout the movie.

Chapter eight from the text discusses goal setting and goal striving. From the beginning of the movie it’s clear that DJay is experiencing discrepancy. Discrepancy is the mismatch between a person’s present state and their ideal state. The present state is their current status of how life is going and their ideal state is how the person wishes their life was going. DJay’s present state at the beginning of the movie was making money through essentially hustling. He prostituted out women to make money. His ideal state was the career he so desired. DJay wanted to become a rapper and he believed he could do it because there was a local guy that had already succeeded. The textbook states that there are two types of discrepancy; reduction and creation. Discrepancy reduction is based on detecting feedback that underlies plans and corrective motivation. Discrepancy creation is based on feed-forward system in which the person looks forward and proactively sets a future, higher goal. DJay experienced both of these. An example from the movie in regards to discrepancy reduction was when DJay received feedback compared his current state of becoming a rapper to his ideal state of becoming a rapper. DJay experienced discrepancy creation when deciding to set a goal of becoming a rapper. The textbook states that goal setting is first and foremost a discrepancy creating process.

Once the goal was set, DJay began playing around on the keyboard that he purchased outside the strip club one evening. He also ran into a friend from high school that they used to create music together and learned that Key was a sound engineer. Key becomes a main support for DJay in regards to reaching his goal of becoming a rapper. Key provides DJay with feedback in many instances. Feedback is knowledge of the results and allows people to keep track of any progress toward their goal. Key stopped DJay while practicing many times to give him feedback and let him know something wasn’t working quite right and that certain changes should be made in order for DJay to better reach his goal. One example of this was when Key told him the microphones were sounding bad and that they needed to be replaced.

Chapter nine of the textbook discusses personal control beliefs. Self-efficacy is the capacity to use one’s personal resources well under diverse and trying circumstances. It is also defined as one’s judgment of how well or poorly one will cope with a situation given the skills one possesses and the circumstances one faces. DJay portrayed self-efficacy many times throughout the movie. One example is when he is thrown in jail after fighting with Skinny. His goal could have easily gone down the drain, but through his persistence and self-efficacy he continued to push towards his goal. DJay could have easily been dissuaded from becoming a rapper because nothing was easy for him or laid out in front of him. He had to seek everything out for himself. The music equipment is an example. DJay used Skinny as a vicarious experience. The textbook defines vicarious experience as observing a model enact the same course of action the performer is about to enact. Although DJay wasn’t apart of each and every step of Skinny’s experience, he was able to realize that he got from where he was (same place as DJay’s) to becoming a rapper.

This movie was a good choice to show examples from chapters eight and nine of the textbook on motivation and emotion. Even though it wasn’t my favorite movie we’ve watched thus far, it also hasn’t been my least favorite. This movie definitely shows that anyone through goal setting and self-efficacy can reach their dreams if they just push forward even when it seems impossible.

Terms: Discrepancy (present/ideal state), Discrepancy reduction/creation, Feedback, Self-efficacy, Vicarious experience

Hustle and Flow was a movie that was very unique, because it also was a story like the first four, in which an individual wants their talent for music to be known to the world. D Jay, is also different because he grows up in the ghetto area and his talent is rapping. I am not a huge fan of rap but I did like his rap songs. Even though Skinny, who is playing the role of Ludacris, throws D Jay’s tape in the toilet, I still liked the song “Whoop that Trick.”
The first term I chose comes from chapter eight,which is discrepancy. Discrepancy can be represented by the magnitude of the arrow below that shows the difference or mismatch between one’s present state and ones ideal state. The present state represents the person’s current status of how life is going. D Jay plays the role of a hustler who is in charge of whores. He is very controlling and tells Nola. ”You will work when I tell you to work.” He acts very arrogant and forces Nola to do things that she does not want to do. Even though D Jay acts as if he is the top dog and in charge, his true feelings come out after he forces Nola to have sex with a man in order to get the microphone he wants. Nola says she doesn’t want to do this anymore and D Jay finally lets out how if he could he would be doing something else. He says he is sick of it and slams his fist against the wall. The ideal state is how the person wishes their life was going. D Jay really wants to become a famous rapper. He wants his music to be well known and making money and hitting the big time. Nola is constantly saying how she wants to do something else that she wants to do. She wants to be in charge of herself. D Jay tries to make her feel this way at one point and tells her to put her hands on the wheel and says we are in charge. This was D Jay’s way of making Nola feel she was important so she would continue to have sex with people to make D Jay more money. Nola does get in charge, but not until the very end after D Jay shoots at Skinny’s gang and is arrested.
The next term is discrepancy creation. This is when a person looks forward and sets a future, higher goal. D Jay wanted to make a record and be made well known. He does get Whoop that trick to reach number one after he is in jail. Discrepancy reduction is feedback of how well or how poorly a person’s current performance level matches with ideal performance level. D Jay is a good rapper and I feel that he could have produced even more records if he would not have gone to jail. His record got good feedback after Nola hits about every radio station in Memphis with his songs.
The next term is goal setting. D Jay had the goal of becoming a famous and well known rapper. Nola had the goal of become independent and to be on her own and away from prostitution. The next term is goal difficulty. This is how hard a goal is to accomplish. It was hard for Nola to accomplish her goal, because she knew she wanted to get out of prostitution because she hated it, but she did not know what she wanted to do. She knew she did not want to do what she was doing for the rest of her life and she had the goal of doing something else on her own. D Jay had a hard time reaching his goal because he obviously had a talent for rapping, but he needed someone famous (Skinny) to team up with him and make his record well known.
The next term is goal-striving. This is when an individual puts forth effort in order to achieve their goals. D Jay not only used Nola for money and spent hours working on his record, but he also admits to lying to Skinny and saying that he knew him in order to help get him famous. He also gives Skinny a sack of weed to suck up to him and get his attention. The next term is mental simulations: focusing on action. This is when a person is focused on the goal they wish to attain. D Jay gets rejected by Skinny when he tells him he does not know him and has never seen him before. After giving Skinny the weed, Skinny again loses focus on D Jay when a girl is put in his lap. D Jay lights a cigareete and turns away and thinks while still keeping his cool.
The next term from chapter 9 is self-efficacy. This is when an individual organizes and orchestrates his or her skills to cope with demands and circumstances they face. D Jay wanted to become a rapper, but did not have any of the equipment to do so. He finds a friend and talks him into working with him so he can use his equipment. If D Jay would not have gotten him and organized it to work out that way he would have never had the equipment to get started in the rapping business. The next terms are effort and persistence. D Jay put forth a lot of effort and persistence in order to get make his record. There is one point in the movie where they are hitting everything perfect and their neighbors next door are being loud. D Jay does not let that stop them and he bribes them with a bag of weed if they will keep quiet so he can keep working on the record.
The last term is hope. This is when an individual becomes motivated and believes they can achieve their goals. They have a feeling that things can turn out for the best. D Jay felt that he could achieve his goal, this is what motivated him to keep going and do all of these things in the movie.
Overall, Hustle and Flow was a good movie, I liked it because it was similar to the others because it was the story of an individual who wanted to achieve their dreams in the music industry. It was also different because D Jay came from the ghetto and lived a different lifestyle than the others we watched. I borrowed the movie from a friend in the class.
Terms used- Discrepancy, (ideal state, current state) ,Discrepancy creation, discrepancy reduction, goal setting, goal difficulty, goal striving, simulations :focusing on action, self-efficacy, effort and persistence, hope.

DJay,Shug and Nola are motivated by the discrepancies in their life in the beginning. DJay's business isn't bringing in the money he thinks it should. Shug is scared of the situation she is in with the baby. Nola stats that she wants something better than what she has; she wants to be important. Discrepancies lead to action from people. Nola's first step is when she finally stands up to DJay after one particular pimping incident. Mostly the film focuses on the actions that change DJay's current life to his ideal state.

DJay is high on efficacy expectiations and outcome expectations. He knows he can do what he needs to achieve his dreams. For his efficacy expectation, he knows he can make a record that will be a hit. For outcome expectations, once DJay gives his tape to Skinny he states " all that boy got to do is play that damn thing, and its gunna be undeniable."

DJay shows his self-efficacy in every task he does whether it is pimping or rapping. Any time either situations starts to go south, he is able to turn it around. He never seems to show any doubt in his ability to get the job done. When one of his ladies starts to doubt him, he does not hesitate to get rid of her because he knows she is bad for business.With his music, when he is faced with the challenge of needing to change his lyrics so they can be played, he is able to work through it to find a new rhyme. When Key asks him if DJay really thinks he can do this he replies "if I can pimp $20 hoes... I can pimp Skinny." This quote examplifies DJays high believe in himself and his skills.

Several times throughout the movie, DJay employs verbal persuasion to convince others to do things. The movie begins with such a speech about men and dogs to Nola to help encourage her to do her tricks. In his mind, doing the tricks will get her the life she wants, and he is trying to convince her of her ablities to perform. He uses the analogy of the steering wheel to help Nola feel like in their lives, they are in charge not the tricks. Toward the end, when he gives Nola the task of getting his music out there, DJay again gives a speech to Nola and he continues to tell her she is incharge. He always uses this technique when he needs to empower someone around him.

Vicarious experience is one reason DJay believes he can suceed. In school, he and Skinny were both doing the same thing with shooting their flow. He has seen how Skinny was selling his underground tapes and cutting records at home. Evenutally Skinny found sucess in the music industry. To DJay, he sees this as an "if he can do it, so can I" type of situations. Although he isn't hustling his tapes at a drive-in, he does try to hustle his tape to Skinny in a similar way. Similarly,when Nola starts to work on pushing DJay's music out there, she gives the same speech that he would give her before a trick. She realized how effective his speech to her was, so now she is employing it to her goal of getting the radio stations to play his music. If the speech worked for DJay on her, then it will work for her on the stations.

During the recording, Shug is shy at first about her ability to sing the chorus. But that changes with DJay approaches her and tells her to sing it out and that she can do better. (this is again an example of his verbal persuasion techniques.) DJay experiences positive reinforcement first when Key actually decided to "walk" with him. Later on he recieves postitive reinforcement again when the jail officers approach him about his song. The jailers not only start singing his song and recognize him, but they ask him to listen to their demo.

terms: discrepancy, efficacy expectations, outcome expectations, self-efficacy, verbal persuasion,empower, vicarious experience, positive reinforcement

The depiction that DJay’s life was unpleasant on a daily basis was evident in the first scene. The scene also displayed DJay’s creative viewpoints and gave insight to the viewer that he could potentially use that insight to create lyrics. His speech about the differences between man and animal led me to believe that his cognitive perspective allowed him to be motivated to make life altering changes. The mindset that he was now in charge allowed him to start up his musical career.

Throughout the film, DJay’s expectancies resulted in the formation of new behavior. His view that he no longer wished to sell tricks and wanted to be in charge of his own life created a mismatch between his present state and ideal state. This discrepancy and cognitive dissonance left DJay feeling that change was not only needed but necessary. This new need motivated his behavior and he soon took action. After he possessed the necessary motivation, he began making goals. These goals were obtainable but involved a number of difficult tasks. It was soon evident that the difficulty of the tasks energized him to perform well. His persistence began to show and he was able to begin reaching his goals. With the help of his ladies of the night he was able to save up money in order to invest in his musical creations. He was also able to meet up with an old friend and put together a makeshift studio. This studio would be the cornerstone on which Djay’s musical career began.

Feedback was an essential element in Djay’s creation of rap music. DJay was always surrounded by his friends that continually made positive remarks about his lyrics and how they thought they were powerful. However, some remarks were not viewed as positive, especially those from Key. Key had been able to distinguish between what sounded great and what did not. Due to this, he often voiced his opinion about what changes could be made. This positive criticism often prompted anger initially but would eventually lead to satisfaction. One important step this criticism led to was the obtainment of a new mic. The possession of a new mic was especially important due to the quality of sound it produced. Another aspect of feedback that was important was the emotional support given to him. The emotional support that Key, Shelby, Nola, and Shug allowed DJay to reduce the discrepancy between his present state and his ideal state. This positive environment allowed DJay to feel energized and to work hard to achieve his goals.

An intimate relationship between DJay and Shug resulted from Shug’s contribution to the music. Her powerful vocals resulted in the creation of numerous successful songs and gained the attention of DJay. After she made her contributions and was continually kind to DJay during production, DJay began to view her in a more positive way. This view soon created feelings of intimacy which resulted in a display of affection. The scene where DJay returns to his house before leaving to meet with Skinny Black displayed the affection felt. The passionate physical affection between the two made in quite evident that an intimate relationship had formed. DJay’s thoughts of friendship and the creation of high peer rating of Shug allowed him to form feelings of intimacy. The interactive style between the two went from speaking sporadically to being physically affectionate.

Overall the movie dealt with a lot of variations in expectations. This film depicted how expectations can have a significant impact in the outcome of an individual’s life. DJay’s ability to believe in himself and be persistent with his music allowed him to be successful in the long run. This movie also showed that it is important for everyone to consider how you view yourself and your own abilities. These viewpoints can allow you to accomplish your goals or result in an inability to obtain goals.

Terms: intimacy, peer rating, cognitive perspective, expectations, goals, present state, ideal state, feedback

First of all, let me say that I didn’t particularly like Hustle and Flow. I’m not real fond of rap music, but the biggest problem for me was how depressing overall the movie was. However, it did give me a good insight into how the sources and effects of self-efficacy can work, especially with DJay. Self-efficacy is how someone organizes and orchestrates their skills to cope with the demands and circumstances they face (Reeve, 2009).
The four sources of self-efficacy are personal behavior, vicarious experience, verbal persuasion, and physiological state (Reeve, 2009). For personal behavior, we see DJay getting the idea that maybe he can rap and get his stuff on the radio. He’s pretty sure he can do it, which is why he invests his time and effort and money into setting up a studio and recording a demo tape. He knows that making it is the only way he can have the success he feels he needs. One of the best examples of vicarious experiences is when he remembers how Skinny Black’s music made him feel. This makes him feel that if Skinny Black can do it, he can too. Verbal persuasion was important to DJay. He actually threw Lexus out because she told him that he was no good and was never going to be anything but her chauffeur. However, Shug, Nola, Shelby, and Key gave him good verbal persuasion. They liked what he did and believed that he could make it. This helps him to keep going even when he had setbacks, like bad mikes. Physiological state was shown in many ways. DJay would tremble and act nervous, but act like he wasn’t, trying to boost his own self-efficacy.
These four sources show that DJay had a good self-efficacy; he pushed himself and reacted to challenges by rising above them. We can see this in the effects of his self-efficacy, which are choice, effort and persistence, thinking and decision making, and emotionality (Reeve, 2009). For choice, he decided to do one of the few things he knew to get out of the rut he was in. He believed that rapping would help him to make more money and being on the radio would bring him respect, so he started rapping. He made that choice. DJay put a lot of effort in his music, making it something that was real but could also be played on the radio. He also persisted – again, I think of the scene where he needed a better mike. Instead of just giving up, he found a way to get the mike he needed (I don’t like the way he did it, but whatever). DJay applied his thinking and decision making skills to getting what he needed to make a demo tape and then to getting it to someone who he thinks will be able to help him get it to the next level (Skinny Black). When that doesn’t work, he empowers Nola (and redeemed himself after that fiasco with the microphone seller), who is able to get his music out and on the radio. Finally, you see emotionality in this movie. DJay tells several people that this music is his heart and soul. He refuses to take disrespect to his music, as shown when he beats up Skinny Black for tossing his tape in the toilet. In the end, he is successful in what he was trying to do, get his music on the radio, because of his self-efficacy.
Terms I used: self-efficacy, personal behavior, vicarious experience, verbal persuasion, physiological state, choice, effort, persistence, thinking, decision making, emotionality.

This movie was better than I expected. I think the casting director did a great job in picking out the right actors for this movie. The actors made this movie flow.

In the beginning we are introduced to two unhappy people, Nola and Djay. Both want to do more with their lives then what they currently doing but don’t know what. Djay is upset that even his prostitutes think he is nothing. He wants to be competent in something else. Because his need for competence is not being met he is dissatisfied.

Since Djay has a strong need for power he is aggressive with the women. Being aggressive satisfies his need for power. He kicks out Lexus with the baby when she tells him he is just a chauffeur for her. It deeply hurts Shug because she loved the little boy and scares Nola. He showed his control in their lives. He wants to impact others, be in control and have influence on someone other then his prostitutes. He realized things were not going as planned and after finding out local rapper Skinny Black became famous. Djay decides he could do the same. He sets a specific goal to become a rapper and succeed.

Because he wanted to be competent in something, this motivated him to go after his goal of becoming a rapper. He knew there was a discrepancy between his present state and ideal state of becoming a successful rapper. He knew that this task was going to be difficult because he couldn’t get the beat and words from his head to pen and paper. He also didn’t have many people supporting him. Fortunately for him he met Key, a former classmate who was reluctant to help but eventually did.

While in the beginning of producing his demo he did not have much support other than just Key he eventually gained support from Shelby and the women. A main component to his success of making his demo was that he got feedback from Key and Shelby that was honest. When they first started working together Djay would get upset when someone stopped him, but he learned to accept the criticism because he knew he would perform better if he did listen. At first he was dissatisfied because his performance was not very good but it made him work harder. To make himself sound better he needed a new microphone however how he used Nola to get it really hurt her feelings and she told him she wanted to do something more with her life as well. He realizes he had been neglecting to her so he reminds her that she is the primary investor to his organization.

Djay has efficacy expectations that he can accomplish his goal. He has outcome expectations that once his demo is cut he will get a record deal become famous and live the good life. Even though he thinks he has self efficacy he doesn’t, he losses it when after finally hustling Black to take his demo, Black ruins the tape. He couldn’t handle the change in the environment. His rage caused him to go to jail.

Fortunately for him Nola took him seriously when he said she was in charge. She hustled radio DJ’s to put his music on the radio. She showed self efficacy when she accomplished her task of getting the music on the radio even though in the beginning she wasn’t even sure she could do it. Nola had learned helplessness from the past, she thought she couldn’t control her life. This made her feel unmotivated.

However she experienced hope after realizing she was working towards something and had an idea of different ways to make it happen. This is one of the reasons why she succeeded in getting DJay’s music on the radio. Nola also had a need for relatedness and be competent at something. Her need for relatedness was sort of fulfilled with Shelby, they were pretty good friends because he sees her as a person and doesn’t throw it in her face that she is a prostitute. Her competency need was fulfilled when she became more than just a prostitute and had a major role in helping people hear DJay’s music.

Looking at another character in the movie, Shug who was vey depressed that she can’t help earn money and somewhat hurt that the baby she is having is not DJay’s. She is sweet and also dissatisfied with her life. She was really happy that they let her sing on the demo. They made her realize that she was competent at something else. Her need for relatedness is somewhat fulfilled when she becomes closer to DJay. He shows that he loves her by being kinder and more caring towards her and giving her a passionate kiss.

In the end Djay has hope that he can succeed after getting out of jail now that part of his goal is accomplished, so he should be okay. He has had time to reflect on his mistakes and feels in control. So he sees multiple pathways to getting himself back to the top and he has support from so many. The best thing he did for himself is that he now has real self efficacy. So he will chose activities and environments that he feels will help him accomplish his goals.

M&E terms: aggressive, goal, competency, goal discrepancy, goal specification, self efficacy, efficacy expectations, efficacy outcome, hope, learned helplessness

In the movie Hustle and Flow, there were several aspects from Chapter 8 of our text that could be seen. Plans, Goal Setting, and Feedback are among a few of the many.
Plans which are derived from discrepancies between one’s ideal state and one’s current state have a motivational push from three aspects of someone’s life; their environmental state, behavioral state and events that are happening in one’s life. Starting off in the movie, you can obviously tell that D-Jay’s living conditions, along with Nola’s and the other two women, aren’t the best. Ideally D-Jay wants to become a rap artist and make in big, while Nola just wants something other than what she is doing. They demonstrate this through various behaviors they engage in. For instance D-Jay spent some of the hard earned cash his girls made for him one night on a little piano from a drug abuser that hardly could do anything. But D-Jay bought it despite the fact that the girls at home needed air and food in hopes of starting to write some music. Nola demonstrates her need to be something better when she finally stands up for herself and says enough is enough after sleeping with a man for a microphone for D-Jay and that she needs something more. She also towards the end of the movie takes charge and does something productive by getting D-Jays music out on the radio for him and it finally makes her feel like she accomplished something. Another aspect of the movie was the environmental objects that were viewed as a discrepancy or incongruence in their lives. These things were where they lived, and the things they had. D-Jay knew that the house that they all lived in wasn’t ideal. The girls were constantly hot due to the lack of air conditioning and so was he. Also the pregnant woman demonstrated the discrepancy for environmental objects when she went out and bought a lava lamp for D-Jay because she saw skinny black had one and she knew D-Jay wanted to be like him. All and all D-Jay and Nola both demonstrated discomfort with their present states and one of them saw their ideal state. Suffering this discomfort allowed them the motivation to push for something better in their lives.
Goal setting was also something that was demonstrated in this movie. A goal is something that an individual strives to accomplish and therefore engages in goal directed behaviors to achieve that goal. Like plans the motivation for a goal comes from discrepancies between what is ideal and the present level of accomplishment. D-Jay makes the goal the he wants to become a rap artist from a mixture of what he is currently doing, where he lives, and where his life is taking him. He demonstrates goal directed behavior when he meets up with an old friend from high school and finds out that he records music. Keyes kind of gives D-Jay the run around when it comes to helping him out so instead of waiting for Keyes to come around, D-Jay just shows up at his door asking for a few minutes of his time. Another way D-Jay demonstrated his level of unwavering determination was when he went to a fourth of July celebration pretending to know Skinny Black so that he could eventually give him his tape. When D-Jay found out that Skinny had just put his tape in the toilet, he lost it and in turn did some things to land him in prison for a very long time. Nola on the other hand wasn’t really sure what she wanted to do, but she knew she wanted to do something. So when the opportunity presented itself, she ran with it and did what she could to make herself feel important and fulfill that goal of feeling a sense of accomplishment.
As far as Feedback is concerned, it is absolutely necessary for making goal setting affective. Without feedback, there would hardly be any energizing effort and persistence in directing attention and strategy towards certain aspects of a goal. In the movie, D-Jay encountered many aspects of feedback from his friends and his girls. At first, he didn’t think any of his material was any good until he rapped in front of Keyes, a friend from school. It wasn’t until then that he started believing in himself and gave himself a shot at making it big. From there he encountered Shelby, the pianist, who also enjoyed what he was doing, and it in turn encouraged him further. It allowed him to show other people in his life what he was doing and soon others were supporting him as well.
All in all I enjoyed Hustle and Flow. It demonstrated very well what someone is capable of even in the worst situations.
Key terms: Goal Setting, Plans, Feedback

This movie shows expectancy. Efficacy expectation is a judgement of one's capacity to execute a particular act or course of action. This is seen with DJay. He beleived that he could be a rapper and that he could get away from his life on the streets as a pimp. He also had an outcome expectation, a judgement that a given action will cause a particular outcome. DJay realized that if he got a group together and they could make a good song then they could get themselves out there and become big. When DJay was talking to Skinny Black, he brought his cassette with him, hoping that Skinny Black would help promote it. DJay knew if Skinny Black could do this, it would increase the likelihood of his success in the music industry. DJay had high expectancies because they motivated him enough to give him high energy and he was goal directed.

In the movie, we see self-efficacy, one's judgement of how well or poorly one will cope with a situation. DJay always seems to have high efficacy. When he realizes he has something in rapping, but he doesn't have the equipment, they make a makeshift studio to start out with. When he has problems with his ladies or friends, he shrugs it off and continues to reach his goal of being a rapper. Even after he is arrested, he asks Nola to get his music out to all the radio stations, a sign that he is still determined to make something of himself. It seems like Nola has mixed self-efficacy. She believes that she can be something, but she always has DJay telling her that she can't do anything and that she should just stay a prostitute, he wouldn't let her sing, and made her have relations with the guy who sold microphones. So she was constantly being beat down.

Self-efficacy comes in part from vicarious experience, the observing of a model enacting the same course of action the performer is about to enact. We see this with DJay and Skinny. DJay saw how Skinny came from the same Memphis life as he had and made himself into a famous rapper. Seeing how Skinny could do it made DJay realize that he could to. This increased DJays's sense of self-efficacy.

When DJay was recording his song, he needed a female backup, so he called Shug to sing. At first she was very timid but after the guys gave her a pep talk. The pep talk made her focus on her strength and potential and less on her weaknesses. She got more into it after their encouragement and when she heard herself, she realized how good she sounded and herself sing, her self esteem went up.

The movie also demonstrates emotionality. DJay spent a lot of time thinking about becoming a rapper. He visualized himself being competent in making and performing music. he showed enthusiasm, optimism, and interest.

Empowerment, the possesing the knowledge, skills, and beliefs that allow people to exert control over their lives. For almost the whole movie, Nola had no empowerment, she took all orders from DJay and let him damage her self-esteem. But at the end when DJay was being taken to jail, he told Nola that she was in charge and told her to get his music out to all the radio stations...and she did. She got his music played on a local hip hop station and people started recognizing him.

Overall I didn't care for the movie but probably because I am not a fan of rap music and it was kind of a depressing movie.

Terms I used: efficiency expectation, outcome expectation, self-efficacy, vicarious experience, pep talks, emotionality, and empowerment.

Well, there was a reason that I had not heard of “Hustle and Flow” before this class, because the movie was simply not that good or memorable. DJay did have a goal of one day becoming a rapper and not having to be a pimp, but his goal lacked specificity and logic. How likely is it that some tape that a man records in his house will actually make him rich? Not very, in my opinion. I think if anything this movie showed the ways not to succeed through poor planning and far-fetched goals. However, even though I disliked the movie, it still provides examples of concepts described in our textbook.

First of all, it is clear that there is a discrepancy between DJay’s current state as a pimp and his ideal state as a rapper. Towards the beginning of the movie DJay tells Shug that he feels like he’s having a midlife crisis and that his dad died when he was around DJay’s current age. I think that the fear of not doing anything with his life and dying motivates DJay to consider what other professions he could pursue.

This fear combined with running into an old classmate (Key) who records music motivates DJay to try his own hand at making music. DJay goes to Key’s house with the goal of getting him to record his rapping. I think that because DJay is acting mainly out of fear and boredom (he’s tired of his life) that his goal is not very specific or well developed. Actually, at this point in the movie I wasn’t really sure what DJay was hoping to accomplish because his goal lacks direction. Key gives him a chance, and this positive feedback motivates DJay to try harder to write some rap songs.

Key is able to give DJay the direction he needs to make his goal specific. Key works hard to set Djay’s home up as a recording studio so that they can make a demo, which is a good short term goal. This is where DJay and Key start to display self-efficacy and actually believe that they can accomplish their goals.

DJay draws on vicarious experiences as a source for his self-efficacy. Because he saw how Skinny Black started out making demo tapes himself and is now a big time rapper, DJay believes that this could happen for him, too. This coupled with verbal persuasion from Key, Nola, and Shug gives Key the motivation to stick to recording his demo, even when he gets frustrated.

Key is in the same boat as DJay, ready for a lifestyle change. He tells DJay that he feels like he let his wife down, and that he wants to own a recording studio. For him personal behavior history comes into play in forming his self-efficacy, because he has recorded other people before with moderate success. Even though he hasn’t hit it big, he is able to live comfortably off of his work recording others, so that probably plays into his self-efficacy.

The main thing is that both DJay and Key have high self-efficacy beliefs because they want to believe that they could have better lives, and there is no room for doubt in their minds. Their outcome expectations are high because they need something to believe in. Because of their high self efficacy beliefs Key and DJay put in a considerable amount of effort and persistence to make their record. In the middle of their work, Key tells DJay that their microphone is not good enough. This roadblock forces DJay to problem solve, and eventually persist in getting a better microphone. DJay is willing to use whatever means necessary to succeed, and in this case he has to pimp Nola in exchange for a better quality mike.

Emotionality comes into play when DJay does not succeed in getting Skinny Black to keep his demo. When Skinny throws DJay’s tape in the toilet DJay gets emotional and violent, hitting Skinny Black and shooting his friend. Needless to say, things did not go according to plan when Skinny threw DJay’s tape away. This action shook DJay’s self-efficacy and as a result he became anxious.

In the end DJay empowers Nola by leaving her in charge of getting the demo played on the radio while he is in jail. This action allows Nola to develop self-efficacy through the verbal persuasion of DJay, who expresses his trust in her with this important task. Nola is finally able to do something for herself and has the power to exercise personal control. And in the end, everyone ends up happily ever after with DJay getting out of jail and his song getting played on the radio.

Terms: present state, ideal state, discrepancy, goal, plan, feedback, self-efficacy, vicarious experience, verbal persuasion, personal behavior history, outcome expectations, emotionality, empowerment

Hustle and Flow, though not a movie I will be adding to my favorites list, had many clear examples of motivation term from chapters 8 and 9. Almost all of the character in this movie showed examples of these terms but I am going to stick mostly to DJay to try for time sake.
When we first meet DJay he is pimping Nola and doesn’t seem incredibly motivated about anything really. In I didn’t start recognizing motivational terms until DJay goes to the store with Nola. He sees a CD of Skinny Black for sale. DJay knew Skinny as a child and thought he was a better rapper than Skinny, which leads to him to feel discrepancy because though he thought he was better but the feedback he was getting said he wasn’t. That particular kind of discrepancy is discrepancy reduction because he is deducing from feedback that he is not performing a well as he should be. Adding to that, DJay runs into Key. Key seems a little surprised at DJays present state because he remembers DJay being a very talented rapper. I think that these two examples of feedback lead DJay to either realize his unhappiness with his present state or spurred him into action to try to change it. Once he had begun to try to change his present state he experiences more discrepancy reduction because Lexus tells him he is a nobody and he will never be anybody. DJay deals with this by throwing her and her baby out. Throughout most of the movie from then on DJay is in a state of incongruity because his present state and ideal state are clashing. His present state is that of a poor man and a pimp but his ideal state is to be a rich and successful rapper.
Another type of discrepancy is discrepancy creation. This is where you goals for the future to relieve the discrepancy. DJay takes his goals one step at a time and an example of this in the movie was when DJay sought out Key to persuade him to help him make a demo tape. His goal was to get Key to help him and he refused to leave until he had convinced key he could walk the walk and not just talk the talk. His next goal is to make a demo tape good enough to give to Skinny when he comes back. He goes to great lengths to make the demo as good as it can be, modifying his house, bribing the neighbors, and taking advantage of Nola to get a better microphone, which causes her serious distress. After this he moves on to his next goal which is to give the tape to Skinny and convince him to watch it. This is where his plans all go downhill; DJay sees that Skinny has torn up his tape and threw it in the toilet and that is when he loses his temper (which he shows throughout the movie is already on the short side) and badly beats Skinny and ends up getting in a shoot out with Skinny’s friends/body guards and lands himself in jail.
DJay has a very high self-concept and a high level of self-efficacy; one might even argue that it was too high. He thought a lot of himself and one particular example of this that irked me throughout the movie was that he kept talking about how hard he was working. Nola argued with him, and rightfully so I think, about “how hard he was working”. Everyone around him, and Nola in particular, were busting their butts for him and all he seemed to be doing was sitting around. Shelby (whom I loved!) was working for a vending company and helping DJay record, Key was working his job and helping set up DJays house and record, poor Nola had to sleep with whomever DJay told her to and all DJay seemed to do was sit in a car writing and rap when the others were able to record . . . hard life . . . His high self-efficacy also ties in with his mastery belief. His high self-efficacy tells him he is a good rapper and his mastery belief allows him to continue to believe he is a good rapper even when he has failed at something or came across an obstacle.
I will also briefly mention the blaringly obvious: DJay has a very high need for both power and autonomy. DJay has to be the one to call the shots for everything from who Nola sleeps with and when to the words in his raps. The way Shug timidly asks for permission to change one word in the hook of the song she was asked to sing in shows both his power and control over her and her understanding that he needs to make the decision about the words.
If I may add to a comment made in a post above from Thea Moe, I also found this movie to have very clear examples of motivational terms we have been reading about for this class, but I also share the same general distaste for the movies we have been watching. I watched the movie Petty Woman this weekend and could just as easily apply what we have been learning about in class to that movie as I could to Hustle and Flow. I understand that watching movies that we would normally not pick out expands our horizons so to speak but I wish that we had the option at least for one or two movies to substitute one of our own choosing . . . just a thought . . .
The terms I used were: Incongruity, Self-concept, Self-Efficacy, Goal, Feedback, Discrepancy, Discrepancy Reduction, Discrepancy Creation, Power, Ideal State, Present State, Control, and Autonomy.

Growing up in the streets Djay has been exposed to everything; he has either seen it or done it. Hustling is the only option readily available to approach meeting Djay’s physiological needs regardless of his psychological need for competence—a developmental constant not fostered in the drudgery of his routine day-to-day. To top it all off, he can rarely find a decent song on the radio. His perceived control and self-efficacy as a pimp-hustler have afforded him street credibility and an impoverished standard of living—rims on his jalopy while apparently subsisting on cigarettes; he is a survivor with no realistic way out, the short term goal of seeing another day and the dream (long-term goal) of getting radio play. Though he has mastery of Memphis street life, Djay longs for something more empowering; he is not the only one.

Djay’s self-efficacy in the streets is supported by his long personal behavioral history of hustling as passed on by his elders (vicarious experience coupled with verbal persuasion). His perceived control is confined to domineering his sex workers and his ability to coerce customers into their services and/or his marihuana. His self-efficacy, paired with unequal access to resources and the physiological needs of his dependents, affords him severely compromised goal-setting and-striving opportunities. His effort and persistence on the grind ultimately transform Djay into a slave to the game: "squeezin' a dollar out of a dime and I don't even have any cents right now." Though he longs for competence in another arena the streets are all Djay has ever known; with growing exposure to Skinny, he has realized his self-efficacy, skills, and knowledge in note pads and beats that will empower him through goal-setting strategies.

After repeatedly seeing Skinny Black on the tube, running into Key at the store, and sitting in on a recording of Key’s church choir, Djay has vicariously experienced all he needs to bolster his intrinsic motivation to the point of initial plan implementation. As an artist, Djay’s self-efficacy sources are initially underdeveloped; however, his long term goal of radio play eventually becomes the internalized aim of the group. Key is the first to realize similar creative aspirations as a way of approaching his own childhood dreams; his wife exerts power over many life facets. As the “light-skinned brother”, Shug, and Nola recognize Djay’s lyrical and vocal competency they similarly contribute skills and knowledge, energy and direction to master the new challenge. His personal behavioral history rapping is sparse: “I was doin’ the same thing over at my school.” Soon his limited prior experience yields to Djay “hearin’ the beat all day.”

Shortly thereafter, his precious time, energy, and resources are pooled almost entirely into fully developing artist agency. What he cannot afford is given, or if necessary, taken by any means: his social capital provides multiple pathways to attaining/obtaining short term goals (building blocks towards ultimate goal). This is made particularly apparent when Nola exchanges her oral duties for the studio-quality microphone; Key begins choosing to record in the majority of his free time, even skipping supper with his wife. Djay’s cognitions and behavior revolve around cataloguing choices and activities regularly experienced in his daily life, though somewhat sensationalized. Djay’s notepad and microphone, with Key as sound technician and DJ Qualls on keyboards and percussion, empower him through expression of present-ideal inconsistencies constructing the bleak livelihood choices available to him. Music is his scenario for success: in the studio Djay has mastery over lyrical composition. Group effort and persistence are vital in accessing the resources to make the demo possible and, ultimately, in reaching mainstream radio.

As Djay’s sources of self-efficacy expand, his efficacy expectations settle and his outcome expectations as an artist become increasingly self-assured. In achieving outcome expectations Djay’s coping mechanisms and optimistic explanatory style keep him intrinsically motivated never to give up. Congruent with his long-held street mentality— in thinking and decision making—he focuses undivided attention to the present task; calm, cool and collected in all of his handlings. Djay’s seeming lack of emotionality in favor of a problem-focused approach is obvious in his perceived, and exercised, control over desirable outcomes—likely a product of desensitization to abject conditions and acceptable gender roles. Two instances emerge when Djay is momentarily out of his element, allowing emotion-focused coping to takeover: he initially hesitates in approaching Skinny and his reactance to the sight of his demo in the toilet subsequently; aggressive opposition results as the pathway is blocked. However, in the face of his incarceration Djay has the presence of mind to reiterate the goal, delegating tasks to the group. His social network provides multiple pathways to various ends.

Empowerment is experienced by all group members to some degree. As Djay wholeheartedly shifts his attention to music, he genuinely distinguishes the instrumentality of each group member. In doing so, the dominant power structure endorsed by Djay’s authoritarianism is challenged; Key and DJ Qualls have control over the track’s direction, except for vocal contributions; though minimal, Shug's background vocals offer her autonomy in adapting the words and the liberation to sing out, truly feeling it. As Lex and Nola realize their skills and knowledge, even as docile sex slaves, the fog of learned helplessness lifts to reveal self-esteemed, unwavering feminist demands. Lex, the overwhelmingly negative thought-brewer, oversteps her boundary and is given the boot; this marks the first, most influential blow to Djay’s omnipotence as breadwinner and decision maker. Similarly, Nola addresses Djay after the final straw of exploitation: throwing the newly-acquired microphone on the ground she responds, “Don’t ever do that again! From now on I gotta have a say."

Each individual actively searches for competent functioning in new arenas. The reciprocal relationship between feedback and competence enhances goal striving and successful implementation of goal intentions start to finish. Self-efficacy, explanatory style, and coping mechanisms work to instill mastery beliefs and the hope that ‘he (we) can do it and it will work’. Empowerment is made possible only through collective efforts. Individual agency becomes internalized by the group and these pathways provide the means to the end, radio exposure. Through verbal persuasion Djay entrusts Nola to his position: “I’m in charge”; the difficulty and specificity of hitting every station in Memphis to spread the demo and seek radio play becomes Nola’s endless mission; her skills and self-efficacy provide the pathway to win over 107.1’s dee-jay. Finally, Djay can hear his shit in the yard. This film delivers the overall theme of hope even in maladaptive environments, developing agency and discovering multiple pathways to achieve desired ends.

Terms: competence, mastery, empowerment, agency, efficacy and outcome expectations, perceived control, self-efficacy, goals-setting, striving, short-term, long-term, personal behavioral history, vicarious experience, verbal persuasion, present-ideal inconsistencies, coping, optimistic explanatory style, emotionality, reactance, learned helplessness, autonomy, feedback, implementation intentions