| Course | BMB 670 Music Business Leadership and Ethics |
|---|---|
| Module | Module 7 |
| Paper type | graduate discussion post on harassment at live music events and leaders' responsibility |
| Length | About 400 words, 3 pages |
| Format | APA 7 student paper |
| School | Southern New Hampshire University |
| Program | MBA in Music Business |
| Updated | October 2026 |
Free sample paper for BMB 670 Module 7
Module Seven Discussion
Twenty-Three Texts and a Silence
In 2024 the company's festival had a text line, staffed by trained volunteers, for reporting harassment or feeling unsafe. It received twenty-three reports over three days, mostly unwanted touching in crowds, two of which led to removal of the person and one to a police report. The company's 300 club and theater shows the same year produced two reports in total. It would be comforting to read that as evidence that the clubs are safer. I think it shows the opposite: at the festival, people had a way to report and believed someone would respond; at the clubs, they did not.
The research supports that reading. Fileborn et al. (2020) surveyed festival attendees and found that a large share had experienced harassment or assault at festivals, but that very few reported it, often because they did not think anything would happen or did not know whom to tell. Low numbers, in other words, measure trust in the process as much as behavior.
The staff side of the company shows the same gap. Last spring a bartender told her manager that a touring crew member had repeatedly cornered her near the loading dock. Her manager reported to the talent buyer, whose relationship with the tour's agent mattered to the company, and the complaint sat for three weeks. Edmondson (1999) tied speaking up to a felt sense that raising a problem will not backfire, and a complaint route that runs through someone with a commercial interest in the outcome is not safe.
Individuals are responsible for their own conduct. But the company's leaders are responsible for the conditions: whether every show has trained staff, whether reporting is easy, whether artists' contracts set expectations and whether complaints reach someone independent. Brown et al. (2005) argue that ethical leaders shape behavior through what they model and enforce, and so far the company has modeled a strong response only at the festival.
I propose four steps: a trained responder on every club and theater shift, a code phrase patrons can use at any bar, a conduct clause in every artist and crew contract allowing removal, and a staff complaint route to the operations director and an outside human resources adviser rather than through booking.
For classmates: if the complaint had been against a headliner with three sold-out nights booked, what would you want the company to do, and what would make that possible?
References
Brown, M. E., Treviño, L. K., & Harrison, D. A. (2005). Ethical leadership: A social learning perspective for construct development and testing. Organizational Behavior and Human Decision Processes, 97(2), 117-134. https://doi.org/10.1016/j.obhdp.2005.03.002
Edmondson, A. (1999). Psychological safety and learning behavior in work teams. Administrative Science Quarterly, 44(2), 350-383. https://doi.org/10.2307/2666999
Fileborn, B., Wadds, P., & Tomsen, S. (2020). Sexual harassment and violence at Australian music festivals: Reporting practices and experiences of festival attendees. Australian & New Zealand Journal of Criminology, 53(2), 194-212. https://doi.org/10.1177/0004865820903777
What the BMB 670 Module 7 instructions ask for
The Module Seven discussion in BMB 670 often addresses a current ethical issue in the music industry, such as harassment, discrimination, worker treatment or misconduct by powerful people. Prompts may ask who is responsible, what organizations should do or how leaders should respond when an issue involves an artist or partner. A strong post handles the topic with care, uses evidence about how often problems occur and why they go unreported, separates individual responsibility from organizational responsibility and proposes specific steps a leader can take. Replies can ask how a classmate's proposal would work when the person accused is powerful, such as a headliner or major client, which is where policies are tested.
How this BMB 670 Module 7 discussion example is built
The post compares the festival's text line, which received twenty-three reports in 2024, with the company's club and theater shows, which produced almost no reports across 300 events. It describes a bartender's complaint about a touring crew member that went to her manager, who reported to the person who booked the tour, and sat for three weeks. Citing research finding that most people harassed at festivals never report it, it argues the club numbers show a reporting gap rather than safety. It proposes trained responders at every show, a code phrase at bars, a conduct clause in artist contracts and a complaint route outside the chain of command, and asks classmates how to handle a complaint against a headliner.
Where the BMB 670 Module 7 rubric puts the points
Marks on this discussion usually follow how carefully the issue is framed, how well evidence is used, whether individual and organizational responsibility are distinguished, whether the proposals are concrete and whether replies engage seriously. The strongest posts treat low report numbers as a question rather than good news, explain the conditions that discourage reporting and identify what leaders control, from training to contracts. Posts that treat harassment purely as individual misbehavior, or propose steps without saying who would carry them out, earn less. Replies that test a proposal against a hard case, such as an accused headliner, add the most, particularly when they say what the company should be willing to lose.
BMB 670 Module 7 help: the mistakes that cost points
Posts on harassment sometimes speak in generalities because the subject is uncomfortable. Use specific facts, handled respectfully, and avoid details that would identify anyone. A key insight to show is that report counts measure reporting, not behavior; few reports may mean people do not trust the process. Distinguish what individuals are responsible for from what the organization controls, such as training, contracts and complaint routes. Propose steps with owners and a way to tell whether reporting has improved. If your prompt asks about a powerful accused person, explain how the organization would protect the complainant and act regardless of the person's status.
Get BMB 670 Module 7 written to your instructions
Send the BMB 670 Module 7 prompt. The post will treat a hard workplace or audience issue with care, use research on reporting and leadership, propose concrete steps and invite real debate. About two days; a first post is free. The paper above is an original model document written by our desk, not a submitted student paper and not an official Southern New Hampshire University document.
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BMB 670 Module 7 questions, answered
Where can I find a free BMB 670 Module 7 Discussion sample?
This page includes the full BMB 670 Module 7 post on harassment reporting at a Columbus promoter's shows.
Why do few people report harassment at music events?
Research finds many people doubt anything will be done, do not know whom to tell, worry about not being believed or see the behavior as normal at shows.
Are music venues responsible for harassment by fans?
Venues and promoters control conditions such as staffing, training, reporting options and removal policies, so they are responsible for preventing and responding to harassment on their premises.
How should a promoter handle complaints against touring artists or crew?
Through contract clauses requiring respectful conduct, a complaint route outside the booking relationship and a commitment to act regardless of the person's status.
What can leaders do to make reporting safe?
Provide trained responders and easy reporting channels, respond quickly and visibly, protect people who report and make clear that complaints reach someone independent of the people involved.