Using 'clap on the name' to introduce or commend someone

This is a sequel to yesterday's post on How NOT to introduce a speaker, and shows some more examples of the 'clap on the name technique' in action.

In the first one, Michael Parkinson is introducing the next guest on his chat show.

(1) Identify or hint at the person's identity:

".. her latest film, 'In the Cut', is dark and erotic."

(2) Say a few words about him/her:

"She’s a writer who becomes involved with a detective investigating a serial killer. Ladies and Gentlemen"

(3) Name him/her:

"Meg Ryan" [Applause/cheers].

The second example shows how the 'clap on the name' technique doesn't just work for introductions, but is also just as effective when you're congratulating or commending someone.

In this clip, Barack Obama is commending John Kerry at the 2004 Democratic National Convention.

(1) Identify or hint at the person's identity:

"Our party has chosen a man to lead us"

(2) Say a few words about him/her:

"who embodies the best this country has to offer, and that man is"

(3) Name him/her:

"John Kerry" [Applause/cheers].

How NOT to introduce a speaker

About 20 seconds into this clip from the Liberal Democrats' Spring conference at the weekend, you'll see a fine example of how not to do an introduction.

Clap on the name

As far as the structure of the sequence is concerned, it's a reasonable example of how to use the 'clap on the name' technique to elicit applause (for more on which, see my books):

(1) Identify or hint at the identity of who's being introduced

(2) Say a few words about him/her

(3) Name him/her [Audience applauds]

Be positive and confident about who it is

But it really isn't a very good idea to spend stages (1) and (2) raising questions or doubts about the person you're introducing, or to sound less than 100% sure who it is.

Normally, the 'clap on the name' technique works so that the audience is able to come in before you get to the end of saying the person's name - which has the added advantage of making it sound as though they're all so pleased to see him/her that they can't wait until you've finished to start clapping.

But, in this case there's a delay of a whole second before the applause gets under way - which was almost certainly prompted by the hesitancy shown in leading up to the announcement of his name (and/or possibly even because the audience was still mulling over the controversial implications of the first sentence):

CHAIR: "I'd like to introduce you conference to probably one of the very few MPs in British politics at the moment who is genuinely trusted by the British public (What? - 1: Is he only 'probably' one of them, 2: Are there only 'very few' of them, and 3: Where does that leave all the other LibDem MPs?).

"Its - the - shadow - Treasury - uh - shadow Chancellor of the Exchequer rather (What?Doesn't she know who their most famous MP is or what his job title is?), Vince Cable."

Clips showing Michael Parkinson and Barack Obama using the same technique rather more effectively than this can be seen HERE.

Brown may plan to 'keep going' but Mrs Thatcher never said she'd go 'on and on and on'

Yet again, something said in an interview, has landed a politician in a bit of trouble - providing further support for my 'snakes and ladders theory of political communication'.

Gordon Brown's announcement on Woman's Hour that he intends to "keep going" even if he loses the election has, not surprisingly, prompted commentators like Iain Dale to hark back to an interview in the 1987 general election when Mrs Thatcher is alleged to have said that she intended to go "on and on and on".

I say 'alleged to have said', because she never actually said it: what she actually said was "I hope to go on and on" - which, as you'll see, became a headline on BBC Television News:

Thatcher's snake gives Kinnock a ladder

This is not, of course, the only example of a famous quotation being expanded (or contracted) into a three part list - one of the most famous contractions being Churchill's "blood, sweat, toil and tears", which is most frequently quoted as "blood, sweat and tears."

If Thatcher's "on and on" was a nice example of how interviews are the snakes in the game of snakes and ladders (by generating negative headlines for the interviewee), Neil Kinnock was quick to use it to jump on a ladder in a speech (ladder because speeches are more likely to work in the speaker's favour). In this case, he contrasted two repetitive lists of three:

Thatcher adopts 'on and on and on'

By the time the Conservatives came to launch their 1987 election manifesto, 'on and on and on' had been so widely publicised in the media that even Mrs Thatcher felt able to use the revised 3 part phrase in a slightly different and light-hearted context:

MORE ON THE 'SNAKES & LADDERS THEORY OF POLITICAL COMMUNICATION:

• Do interviews ever deliver anything but bad news for politicians and boredom for audiences?
• Political speeches can still make a big difference - like changing the date of an election
• Will the 2010 general election be the first one to leave us speechless?
• Oratory and the sound of music

AND ON WHY THREE:

• Why lists of three: mystery, magic or reason?

Nick Clegg defies Rory Bremner (and me)

More than 30 years have gone by since I first started recording political speeches (during the 1979 general election).

In the meantime, Labour and the Conservatives have each had six leaders (Callaghan, Foot, Kinnock, Smith, Blair & Brown/ Thatcher, Major, Hague, Duncan Smith, Howard and Cameron) and the Liberals/Lib Dems have had five (Steel, Ashdown, Kennedy, Campbell and Clegg).

Over the years, I've written and/or spoken about most of them and worked closely with one of them. In fact, at any point during the last three decades, I could usually come up with some pithy observationally-based points about 16 of these 17 leaders. The one exception, with whom I'm still struggling, is Nick Clegg.

'Definitely OK, absolutely fine, without any doubt not bad'
After Mr Clegg's last annual conference speech, I was sufficiently struck by the above comment from Phil Collins, former Blair speechwriter and Times journalist, that I lifted it for the title of that day's post.

I was also struck by the way other commentators had concentrated on his teleprompter-dependent 'walk-about' style of delivery. But so far, all I've been able to come up with about his speaking is what I said at the end of that post:

'If I were advising him, I'd get him to have a go at speaking from a lectern to see if it helped him to lift his performance beyond 'OK' and 'not bad'.

Nor do I seem to be alone

As I haven't been actively involved in LibDem politics since Paddy Ashdown stepped down as leader in 1999, I was pleased to have the chance to mingle with dozens of local party members a few weeks ago - as I was able to ask quite a lot of them what they thought of their leader.

What really surprised me was that not one of them spoke enthusiastically about him. Quite a few regretted that Chris Huhne hadn't won the leadership. Several spoke warmly about the good old days of Ashdown and Kennedy. One came up with a rather negative story about face-to-face encounters she'd had with Mr Clegg. Another even said that it would have been better if one of their Euro MPs had become leader!

In short, if the reactions of these party members were anything to go by, Phil Collins had got it about right with 'Definitely OK, absolutely fine, without any doubt not bad.'

The bland leading the bland?

Since then, it's emerged that the country's top impersonator, Rory Bremner - from whom I've lifted this sub-heading - seems to have been having similar problems to mine in coming up with an angle on Mr Clegg (plus quite a few other current politicians). And, as regular readers of this blog may know, I'm a great admirer of the analytic skills of impersonators - for more on which, see my earlier post on Mike Yarwood.

Is it significant, I wonder, that I was put on to this story by a Twitter tweet from the Liberal Democrat Voice blog posted by Mark Pack, a leading LibDem Blogger?

For those who didn't see it, here's some of what Rory Bremner had to say on the subject in yesterday's Birmingham Mail:

"I struggle with David Cameron, but I find Clegg particularly difficult to master ... I imagined meeting him at the party and him asking 'Can you do me?' I was going to say 'No, can you?' I don't think my life would be significantly poorer if I don't impersonate Nick Clegg. I think life is short enough without sitting up night after night listening to tapes of him and George Osborne.

Professionally speaking I want characters to win the election, but sadly we are probably going to lose a generation of people like David Blunkett and John Prescott. I have no handle on the new generation of MPs ... We have the bland leading the bland."

Who'll be watching Clegg's conference speech tomorrow?

On this evidence, it looks as though Mr Bremner won't be watching Mr Clegg's keynote speech at the LibDem Spring Conference tomorrow.

As for me, I've become so fascinated by our respective failures to get a handle on him that I'll probably watch and record it. As for whether or not I manage to come up with anything of interest, watch this space.

(And, if you have any observations, suggestions or ideas on the subject, I'd very much like to hear from you).

Sales, showbiz and speaking

This post was prompted by an invitation from Angela DeFinis to contribute to her 'blog carnival' on the theme: 'The Impact of Public Speaking on Top Sales Performance'.

I've sometimes been mystified by the willingness of large companies to squander huge amounts of money on sales events without bothering to spend a little extra on preparing key speakers to make the most of such occasions.

One of the most extreme examples of this came at the UK launch of some major new products by a famous American multi-national corporation.

SALES BY SHOWBIZ

They had hired one of the country's best-known radio and television presenter (daily rate: £15,000.00) to chair a discussion with their directors from the stage of one of London's West End theatres (daily rate: £ quite a lot) - from where 'the show' was transmitted live to several more theatres around the UK for others to see on cinema screens (daily rate: £ quite a lot more).

They had also hired me (daily rate: £ very little) to go to one of these distant venues and report back on how it came across to the local audience.

All went well until just before the coffee break, when the TV presenter introduced the company's marketing director to say a few words to bring the first session to a close.

The director was suddenly beamed up from his seat on the stage to appear the screen, where he'd been filmed on a balcony above the factory floor where we could see the new products being assembled in the background.

With his eyes glued to a teleprompter, and an expression on his face serious enough for a funeral oration, he spoke in a flat and regular monotone that sounded like an audition for the the voice-over part of a speaking robot in a science fiction movie.

The verbatim transcript of his final 'few words' went as follows:

"... I hope you're all as excited by these new products as I am."

AUDIENCE ENTERTAINMENT?

The 400+ viewers in the theatre where I saw it exploded into a collective and extended fit of laughter, before adjourning for coffee in a thoroughly jovial mood.

Although I'd be the first to admit that humour can be a powerful weapon in the armoury of public speakers, I don't think this kind of hilarity was quite what the company had in mind for this particular point in the proceedings.

Luckily for me, it made the job of writing the report they were paying me to write that much easier, as I was able to make the very obvious point that, if your directors are going to say that they're excited about something, it's worth spending a few extra pounds on getting someone (e.g. me) to train them to sound as though they really are excited.

WHY 'HA-HA-HA'?

As for why the audience laughter went "Ha-ha-ha", rather than other options like "Ho-ho-ho"or "He-he-he", it was almost certainly because they were latching on two of the last three vowel sounds in the marketing director's final words - i.e. the 'a' sounds in "..as I am" - for more on which, see HERE.

Or, for more on the subject, you can download the original paper by Gail Jefferson - ‘On the Poetics of Ordinary Talk’, Text and Performance Quarterly, 1996, 16(1), 1-61 - by clicking HERE).