If you can't remember Vince Cable's best lines, nor can he!

I'm grateful to Martin Shovel for drawing my attention to an interesting article about Vince Cable by Decca Aitkenhead in today's Guardian (via @MartinShovel on Twitter).

As it's only rarely (e.g. in this example from Ronald Millar) that we get to hear politicians and/or their speechwriters commenting on memorable lines from speeches, I was especially intrigued by the following part of the interview:

... I mention Cable's famous joke about Brown morphing from Stalin to Mr Bean, and ask if he knew it would be such a hit.

"No, and in fact I get a bit frustrated, because I'm actually quite good at one-liners, and I've had hundreds of them over the years, and they sink without trace, and I get very frustrated. Every party conference I really work on the speeches, and I always have two or three things I'm quite proud of, and no one ever remembers them. I can't even remember them myself. I think they're brilliant," he chuckles, "and no one else notices. So every week at PMQs I had a very good line, I thought. And yet that's the only one that anyone remembers."


In case you never saw it, here it is:



What made it so memorable?
As readers of my books (and various posts on this blog - see below) will know, contrasts are among the most important and powerful rhetorical techniques in the armoury of public speakers and, not surprisingly, feature in some of the most famous quotations of all time.

But this particular contrast between a notoriously authoritarian leader and a bumbling idiot had at least two added advantages - both of which, I've suggested in an earlier blogpost may be critical in making a line or a speech 'memorable': timing and context.

On timing, it came when Gordon Brown had come increasingly under attack for his alleged indecisiveness - and therefore touched an aptly topical nerve with the audience.

On context, the fact Mr Cable was a new (and temporarily 'acting') party leader who was addressing the contrast directly to Mr Brown across the floor of the House of Commons gave it a chirpy cheekiness - as if a schoolboy were poking fun at the headmaster in front of the whole school.

But...
One of the problems in coming to any definitive conclusions about what makes some lines more memorable than others is that you always have to approach them with the wisdom of hindsight.

Take, for example, the most famous line from John F Kennedy's inaugural speech - "ask not what the country can do for you; ask what you can do for your country." A powerful contrast it may have been, but it was hardly noticed by the media at the time (HERE).

SOME PREVIOUS POSTS ON RHETORICAL TECHNIQUES

Go back to your constituencies and prepare for government

In anticipation of strange things happening during the first party conference season since the coalition government came to power, Liberal Democrat Voice has just posted some funny bits from Tory Party conferences of yesteryear.

I was rather surprised that they didn't balance them with a few clips from past Liberal Democrat Conferences and/or Liberal Assemblies of yesteryear, which has prompted me to start looking through my archives for gems.

What better place to start than David Steel's final words to the Liberal Party Assembly in 1981 (even though it's taken 29 years for them to come true)?

Another example where 100% of the communication is 'non-verbal'



Regular readers will know that I'm not over-impressed by 'experts' who exaggerate the importance of body language and non-verbal behavior, and especially those who continue to spread the Mehrabian myth that 93% of communication is 'non-verbal' (for more on which, see links below).

But there are exceptions where 100% of the communication is indeed non-verbal, as in the case of a World Cup referee sending a player off for not having hit an opponent in the face that I posted a few weeks ago HERE.

A more elegant example where 100% of the communication is non-verbal is to be found in the way conductors interact with the orchestra during a concert.

No doubt the Mehrabianistas would want to put a percentage on how much of the communication is coming from Simon Rattle's facial expression as compared with movements of his hands (left, right and/or together), body, mouth, eyebrows, face, etc.

But how you'd go about arriving at such measurements is quite beyond me, and I'd be most interested to hear from anyone who could enlighten me on the matter. Meanwhile, I'll just have to make do with watching (and listening to) the music....

P.S. Since posting this, John Hindmarsh, to whom thanks, has drawn my attention to a fascinating TED talk by Itay Talgram comparing the styles of great conductors

Other posts on body language & non-verbal communication:
P.S. Since posting this, Jon Hindmarsh, to whom many thanks, has drawn my attention via Twitter (@jonhindmarsh) to a fascinating TED talk by Itay Talgram comparing the styles of great conductors: