Show Biz Training

SHOW BIZ
TRAINING
This Page Intentionally Left Blank
SHOW BIZ
TRAINING
Fun and Effective Business Training
Techniques from the Worlds of
Stage, Screen, and Song
LENN MILLBOWER
AMACOM
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Library of Congress Cataloging-in-Publication Data

Millbower, Lenn, 1951
Show biz training : fun and effective business training techniques from
the worlds of stage, screen, and song / Lenn Millbower.
p. cm.
Includes bibliographical references and index.
ISBN 0-8144-7157-9
1. EmployeesTraining ofProblems, exercises, etc. 2. Group
relations trainingProblems, exercises, etc. 3. Group games. 4.
Experiential learning. 5. Educational games. I. Title.
HF5549.5.T7 M535 2003
658.3124dc21
2003000647
2003 Lenn Millbower

All rights reserved.
Printed in the United States of America.
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and print any pages by reader that are required in the text. Only the original purchaser may make photocopies.
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This publication may not be reproduced, stored in a retrieval system, or transmitted in whole or in part, in any
form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written
permission of AMACOM, a division of American Management Association, 1601 Broadway, New York, NY 10019.
Printing number
10 9 8 7 6 5 4 3 2 1

CONTENTS

Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii
Overture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
ACT ONE
THE INFO-FOG
The Distracted Learner . . . . . . . . . . . . . . . . . . 7

CHAPTER TWO The World Is a Stage . . . . . . . . . . . . . . . . . . . 23
CHAPTER THREE Let Me Entertain You . . . . . . . . . . . . . . . . . 37
CHAPTER FOUR Learnertainment . . . . . . . . . . . . . . . . . . . . . . 61
CHAPTER ONE
ACT TWO
LESSONS FROM ENTERTAINMENT
Lessons from Comedy . . . . . . . . . . . . . . . . . . 89

CHAPTER SIX Lessons from Music . . . . . . . . . . . . . . . . . . . . 135
CHAPTER SEVEN Lessons from Magic . . . . . . . . . . . . . . . . . 183
CHAPTER FIVE
ACT THREE
STAGECRAFT
The Stage. . . . . . . . . . . . . . . . . . . . . . . . . . . 207

CHAPTER NINE Props . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
CHAPTER TEN The Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
CHAPTER ELEVEN Rehearsal . . . . . . . . . . . . . . . . . . . . . . . . . 275
CHAPTER TWELVE The Performer . . . . . . . . . . . . . . . . . . . . . 289
CHAPTER EIGHT
Finale . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Additional Resources . . . . . . . . . . . . . . . . . . . . 333
Show Biz Training Templates . . . . . . . . . . . . . . 337
CHAPTER THIRTEEN
APPENDIX
APPENDIX
Show Biz Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
About Lenn Millbower . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
[v]
ACKNOWLEDGMENTS
The people responsible for my general success are so numerous that the
mention of them would require a separate book. I will not, in the interest of
brevity, list them here. You know who you are, and know that I am forever
grateful.
In contrast, a few specific individuals are largely responsible for my
show biz success. I would like to publicly thank them now: Jacquie Flynn
for embracing the vision of this book; Ray Keppel for introducing me to
ventriloquism; Ron Zollweg and John Miller for tutoring my magic skills;
Angela Rivers for encouraging my entry into the music profession; Doris
Yager for providing me with a solid stagecraft foundation; my wife Rebecca
for providing steadfast support; my father for sharing the joys of jazz music
with me; and my mother for introducing me to show biz. From black gum
to funny costumes to pantomimes, my mother taught me that the world is
indeed a stage. Mom, this book is dedicated to you.
OVERTURE
The mind is not a vessel to be filled,

but a fire to be kindled.PLUTARCH
1
TEN REASONS TO USE SHOW BIZ TRAINING
10.
9.
8.
7.
6.
5.
4.
3.
2.
1.
Your yo-yo will become a vital office tool.

You can behave oddly with impunity.
You can explore toy stores and call it work.
Your CD collection will be tax deductible.
Youll know how Copperfield does those cool tricks.
Wearing funny hats becomes acceptable behavior.
Youll be admired for your wit.
Youll laugh more often.
Your learners will enjoy themselves.
Your learners will pay attention, and retain your message.
started writing this book at age five. Well, that may be an overstatement. After all, I
barely knew how to write my name. I did, however, begin a trek that led to this book.
[1]
Overture
It was a late October morning in Utica, New York. As is true every fall in upstate New
York, summer gives way to an early fall. Around October, winter begins fighting its way
in. On this particular morning, the early morning chill indicated that the fight had begun.
I was underdressed in a tee shirt and shorts. But despite my attire, I was alive with
adrenaline. Today was my debut.
In my kindergarten class, to build awareness of a circus sponsored by a local charity,
we were putting on our own circus, and I was one of the performers. As I entered the classroom, I saw the spectators. A large number of them had already gathered. In retrospect
it was probably just class parents waiting to see their children perform. Who they were,
however, was of no consequence to me. The fact that they were there to watch me is what
mattered.
Our teacher functioned as the master of ceremonies, introducing the acts one by one.
First the lion tamer appeared, with a staple of ferocious catsreally other classmates
with painted noses, painted on whiskers, and frayed rope mains around their necks. Next
came the clowns, all happy and silly. They were followed by a parade of classmates holding hands and lumbering single file around the ring as they bellowed like elephants. I
was next.
I was to be the trapeze performer. As it turned out, I was the trapeze hanger-on-fordear-lifer. My teacher physically lifted me through my paces, first bending me this way,
and then turning me that way. This event occurred in an era before videotape recorders,
and looking back on it, I am glad. I must have been the sorriest trapeze artist in the history
of the Kernan Grade School.
The teacher finished guiding me through my routine. Thankful that the routine was
over, I planted both of my wobbly feet on the ground. I was intently gazing at those feet
and regaining my balance when I heard a strange new sound. In curiosity, I slowly looked
to see what the noise was. What I saw people whom I had never met smiling, nodding approvingly, and applauding . . . ME! It was the most astonishing revelation of my life. If I
could make people smile, they would praise me in return. A performance career was born.
Many people spend their lives searching for meaning, relationships, or a better job.
From that day forward, I focused on reaching people through performance, and found myself drawn to any entertainment form that got a positive audience reaction.
I first performed with marionettes. Next, I transitioned into ventriloquism, and from
there to magic. After a few years of practice, I joined a traveling entertainment troupe,
the Rhythm-Lites. We performed in county, state, and worlds fairs, at a variety of other
widely known venues throughout the United States, and even at the White House. During
my years with the Rhythm-Lites, I performed as a master of ceremonies, a singer and dancer,
a magician and ventriloquist, a pianist and later the musical director, and show writer.
Along the way, I discovered how entertainment reaches and moves people.
Overture
The late teens saw rock and roll take a hold of life. I moved into the musical arena,
learned to play several musical instruments, and gained a music composition degree from
Bostons Berklee College of Music. Next came an entertainment career as a musicianmagician in a variety of acts over 10 years, performing in 40 of the U.S. states, in Canada,
and in the Bahamas.
Many of those acts were eye catching. We named one act after our magical rabbit,
Sydney. Our bass player drank a bottle of beer while standing on his head. I floated a light
bulb across the dance floor. We floated the singer across the dance floor while singing the
Beatles Lucy In the Sky with Diamonds. We burned the next singer alive. She survived
but soon quit. I still wonder why.
Eventually, I put away all my entertainment toys and joined the training and development and collegiate worlds. I tried to be serious . . . really. But over time, I found myself
adding entertainment elements to my classrooms. The similarities between entertainment
and learning were too obvious to ignore. Both disciplines require a professional delivery.
If the delivery is amateurish, the entertainer is booed, and the trainer is ignored. They
both must attract attention, and fail if attention is not captured, or worse, lost after it is
gained. If no one notices the selected playing card, the magicians production of it has no
magic. If no one hears the learning point, that point cannot be remembered.
These similarities led me to fold entertainment elements into the learning environment. Each time I added an element, the learners responded, so Id add another. Simultaneously, I began to notice a change in the attitudes of learners. The people entering the
workforce had shorter attention spans. They did not listen well. They expected more, in less
time. They were quick to begin new things, and just as quick to abandon them.
One day while teaching a college class, I heard two of these new learners praising
James Camerons movie Titanic (1997). Immediately, an incongruity hit me. Titanic is three
hours long! If I attempted a three-hour lecture, they would have mutinied. To make matters more galling, they PAID to see Titanic again and again. None of them would have paid
to repeat my class.
It occurred to me that the entertainment industry knew how to capture and maintain
attention, and that if I could codify those techniques, I could too. I began analyzing the
techniques used in entertainment, and aggressively looked for applications to the learning environment. As I discovered techniques and added them to my classes, I noticed
that test and class evaluation scores rose. The more I employed entertainment techniques,
the more effective learning became. And then, one day, a former learner approached me.
She asked if she could attend a class again! I knew then that entertainment works.
In this book, I share with you a different way to think about learning. It is a combination of learning and entertainment. It is a method for increasing retention while simultaneously making learning engaging and fun. It is Learnertainment.
Overture
In Act One, The Info-fog, we examine the need for Learnertainment, and the theoretical basis underlying its use. Then, in Act Two, Lessons from Entertainment, we
discover the Show Biz techniques entertainment professionals use to create their miracles, and identify classroom applications from comedy, music, and magic. In Act Three,
Stagecraft, we examine specific Show Biz stagecraft techniques that help entertainers
deliver flawless performances. We then identify training applications for those techniques.
Along the way, we explore several templates for placing Show Biz Training in the learning environment. Finally, we conclude by examining how one trainer put it all together
and used Show Biz Training techniques to reach her learners.
With that, I conclude the overture. Please settle in, and enjoy, as we present Show
Biz Training. Maestro: cue the music so we can raise the curtain.
1
Websters Dictionary of Quotations (1992). New York: Smithmark.
ACT ONE
THE INFO-FOG
CHAPTER ONE
THE
DISTRACTED
LEARNER
HARRIET AND THE HOUSEKEEPERS: SCENE 1
When Harriet saw the schedule, she was ticked. Asbestos Awareness! Why?
She was a soft-skills trainer, and this was NOT her area of expertise. Give
her a class on communication, and she was content. But technical training?
How could you do this to me? she complained to her boss.
The housekeepers requested you, her boss beamed.
The smile annoyed her, but Harriet appreciated the compliment.
It seems you have developed quite a reputation for making dry material
interesting, the boss continued. They heard how much fun your diversity
class was.
Then Harriet understood. She had recently drawn the assignment of
teaching the maintenance department about diversity. They had a reputation as a notoriously difficult audience. In an attempt to win them over, she
had built her instruction around music. She made the point that the African
and European musical traditions had combined to create the wonderful
sounds the class regarded as great music. Her kicker had been asking them
to envision a world devoid of such music, and comparing that vision with
[7]
The Info-Fog
the closing off of ideas that occurs when you ignore some people for superficial reasons. It had been a fabulous successand apparently the word
had spread. So, here she was, assigned another snoozer of a subject, all because the housekeepers thought she could make the subject interesting.
You know weve had a problem getting these employees to pay attention. If they dont understand this information, we could be fined by OSHA.
Besides, her boss concluded, Id like your ideas for revitalizing the class.
It certainly needs them.
With that, Harriet was hooked. Asbestos and interesting dont belong
in the same sentence, she thought, but what a challenge. She began to
think about ways to bring the topic to life. Music worked the last time. She
knew that music would have to be a component of her asbestos awareness
class, but asked herself, What other techniques can I use?
We live in a moment of history where change

is so speeded up that we begin to see the present
only when it is already disappearing.R. D. LAING
THE RISE OF INFORMATION
On January 8, 1815, American General Andrew Jackson led American troops in a battle
with English soldiers, led by General Sir Edward Pakenham. It was the War of 1812, and
the new nation and its former mother country were fighting again. Unlike the August 24,
1814, burning of Washington, DC, the Americans won this time, and they recorded it as
a great victory. But the most remarkable fact concerning the Battle of New Orleans was
not the victor. It was the fact that the battle was fought after the war had ended. Communication was so slow that news of the Treaty of Ghent, signed on Christmas Eve, 1814, had
not yet reached the combatants, and would not, until February 11, 1815.2
For thousands of years, the transmission of information was limited by the speed at
which people could move. Vagabond travelers, merchants, and entertainers would carry
news and information from village to village. As a result, information was transmitted
slowly.
Some breakthroughs helped to speed the process. The railroads carried news across
the countryside, and the sailing ships helped information conquer the oceans. Nevertheless, the underlying limitations of physical movement remained. But then, in the late 1880s,
The Distracted Learner
humans began to harness electricity. Electricity did not, by itself, converse, but its use
made new communications devices possible.3
One of the first electronic communications inventions was Samuel Morses telegraph.
It was cumbersome, requiring the operators to learn a complex code of electrical pulses,
but with its introduction in 1844, information finally broke the restraints of physical
movement.4
In just 30 years, the telegraph became a nationwide communicator, even spawning a
national news organization, the Associated Press.5 Certainly American President Abraham
Lincoln recognized its value. During the American Civil War, he would sit for hours in
the governments telegraph office hoping for quick news from the war front. The telegraph
was so successful that by 1880, the number of telegraph messages traveling across America reached 30 million.6
When Cyrus Field laid the first Atlantic cable in 1866, instantaneous cross-ocean
communication became possible.7 Without needing to travel the ocean physically, people
from America and Britain could finally update each other on happenings from both sides
of the pond.
Alexander Graham Bells invention of the telephone advanced communications even
further. It was no longer necessary to learn a code.8 You could simply speak. Suddenly,
anyone could communicate with anyone else. But even the telephone, like the telegraph
before it, had a drawback. Without cable laid in advance, the device was useless.
Perhaps the larger breakthrough was the wireless. Because it did not require cables,
use of the radio grew quickly. By 1920, it had spread throughout the industrial world.9
Over their radios, people got news, information, entertainment, and advertisements. They
were even able to hear their leaders voices for the very first time.
Radio provided the auditory signal. Movies would add the video. In the 1930s, movie
studios and their theater chains helped spread information through news reels. For the
first time, people could simultaneously hear and see the events of the world, within weeks,
in vibrant black and white.
In 1945, with the end of World War II, television entered American life. The television networks, including the Columbia Broadcasting System (CBS) and the National Broadcasting Company (NBC), created news bureaus and broadcast information directly into
viewers homes. This accelerated the speed of information transmission to the point that,
in the 1960s, just 20 years later, reporters delivered videotape, delayed by only a day or
two, from the Vietnam battlefields directly into American homes, much to the consternation of then American President Lyndon Johnson.
Thirty years later still, in the early 1990s, people watched live video feed of East and
West Germans tearing down Berlin wall. The technology was so good, and the information
so current, that the event almost seemed staged for the camera. And as 2000 became 2001,
10
The Info-Fog
THE GROWTH OF ENTERTAINMENT TECHNOLOGY

1909 1939 1942 1945 1948 1954 1956 1961 1963 1965 1969 1972 1975 1976 1977 1979 19820
CD players
Sony Walkman, Compuserve
Apple Computers, video rentals
VHS VCRs
Betamax, Pong home video game
Home video game systems
Research internet (ARPnet)
8-track players, video recorders
Compact audio cassette players
FM radio broadcasts in stereo
Black-and-white portable TVs
Pocket-sized transistor radios
LP records, reel-to-reel recorders
Radio/TV production resumes
Radio/TV manufacture banned
Television, FM radio begins
Radio broadcasting begins

TABLE 1-1
electronic information transmission was so prevalent that people throughout the world were
able to watch each other celebrate the beginning of a new millennium (see Table 1-1).
THE INFO-FOG
This evolution from people-powered information to instantaneous electronic coverage took

less than 200 years. It took 5,000 years, from 3000 BC to 1965, for the amount of information to double, and it doubled again by 1995.10 In fact, futurist Richard Saul Wurman
was reported to have claimed that a weekday edition of The New York Times contains more
information than an average person would be exposed to in a 17th century English lifetime.11 Depending whose prediction you believe, the amount of information available to
us now doubles every seven years,12 or five,13 or three.14 One prediction even claimed
that information will soon double every 20 months!15
The ready availability of information offers great benefits:
>
Research projects that at one time required long hours of library work can now
be done from the comfort of the kitchen table, as is the case with what I am
writing now.
>
Instantaneous e-mail has made it possible to keep in contact with people

quickly, conveniently, and inexpensively.
1983 1984 1985 1987 1988 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 20010
Satellite radio
Recordable DVDs
Napster, MP3players
HDTV television, Recordable CDs
DVD players
CDs surpass audiotapes
Digital camcorders
18-inch satellite receivers
Personal digital assistants
The World Wide Web
Multimedia PCs
Recordable CDs
MP3 format
LCD portable TV
TV broadcast in stereo, CD-ROMs
Cell phones, Hi-fi VCRs, camcorders
>
It is easy to find out what is happening in the world anywhere, at any time.
>
Perhaps the greatest benefit is that it has become more difficult for crooked
politicians and shady business operators to fool large numbers of people. They
still somehow manage, but the glare of the spotlight is a powerful force for truth.
Unfortunately, these advances have a downside. Although this abundance of information

moved in slowly, it has, like a fog, now engulfed us and is difficult to escape. The infofog is also difficult to see through. Information, often rumors of information, or the same
information repackaged, or someones comments on that information confront us at every
turn. For example, the fog that surrounded us during the mid-1990s had a name: O.J.
Former football great O.J. Simpson had been accused of murdering his ex-wife, and
the entire world knew it. It was impossible not to know. The story was everywhere. For
instance, approximately 95 million viewers got to watch Simpsons white Bronco as he
attempted to evade police.16 All of this occurred before the trial of the century even
started. Much more was to come, ad nauseam, for another year.
We survived O.J.s trial, and so did the info-fog. In fact, it has grown. Faith Popcorn,
in The Popcorn Report, described it in this way: Its as if time itself has become faster
than it used to be. Immediate is really immediatethere isnt a chance to stop and take
a breath. The speed of technology brings us the facts of life faster than we can assimilate
them. 17 It has so engulfed us that separating frivolous from critical information is often
impossible.
11
12
The Info-Fog

CUE
CARD:
info-fog

An

has

engulfed
todays
learners.

Not content with the amount of information that engulfs us, we all compound the problem by strapping external sources of information to our bodies. Communications, once
dictated by the speed at which people could travel, now dictates its timing to us, regardless of how quickly we move. The former carrier has become the servant. As Faith Popcorn explained: Information technology not only makes information accessible to us at
all timesit also makes us accessible to the information. We are, quite often, literally,
on the line much of the time. Nowhere to run to, nowhere to hide. Theres just no excuse
not to be reached. 18
As recently as 10 years ago, attending training would have meant being out of touch
with the office for the whole day. If someone wanted to contact a learner, a note would be
taken, and the learner would receive the message during a break. If the message required
a response, the learner would go to the nearest pay phone, stand in line, and wait while
other learners returned their messages.
As you intuitively know, none of this is true today. The office can reach us anytime
and anywhere. Beepers and cell phones are unwelcome but frequent companions in the
classroom. They somehow manage to interrupt loudly, with perfect timing, at the worst
possible moment. It is a common sight to see learners dialing their cell phones as the
instructor begins announcing a break. Some
never quite make it to break. They sit in
their seats, talking on a phone, only to head
to the bathroom once the instructor begins
again.
But beyond messaging systems, the
newer communication devices provide real
time news, video, and shopping capabilities
during learning sessions. I have personally
witnessed a hint of this new world. A group
of learners with whom I was sitting decided,
almost in unison, that the instructor was
not worthy of their attention. They all pulled
out communication devices and began writing furiously. To the instructor it looked like
her words of wisdom were being recorded. In reality, the entire table was playing a roundrobin card game. As our technology improves, these kinds of classroom intrusions will
become more frequent, not less so. Even more technology is in the works. Bill Gates, the
founder of Microsoft, claims that the revolution in communications is just beginning.19
Shouting to Be Heard
Many a small thing has been made

large by the right kind of advertising.
20
Advertising has complicated the info-fog problem. With so much information competing
for our attention, advertisers have found it increasingly difficult to be heard. As a result,
advertisers have become more aggressive, and added to the info-fog (Table 1-2).
Advertising started simply enough, with two seminal events in October, 1945. The
first event was the lifting of a World War II U.S. government ban on the construction of
TV stations and sets, and on the licensing of new broadcast stations.
THE GROWTH OF TV ADVERTISING
1945 1947 1948 1950 1951 1952 1953 1954 1955 1958 1960 1963 1964 1977 1983 1984

$900,000 Apple ad introduces Mac
M*A*S*H finale ads cost $450,000
$7.5 billion spent on ads
The infomercial debuts
TV news surpasses newspapers
Station breaks expand from 30 to 40 seconds
$2 billion spent on ads
NBC charges $4,000 a minute
TV becomes the leading ad medium
FCC approves RCA color system
$288 million spent on ads
The Hallmark Hall of Fame begins
Sponsors switch from radio to TV
Advertising increases 515%
Kraft Television Theatre begins
Television advertising begins

TABLE 1-2
13
14
The Info-Fog
The second event was a public demonstration of commercial television (TV) at Gimbels Department Store in Philadelphia. In a three-week time period, more than 25,000
people stopped what they were doing to watch a mix of NBC and local station content. Anything that attracts the attention of 25,000 people will draw the interest of advertisers.
Television quickly became an advertisers medium.21
At first, television was an addictive novelty, which actordirector Orson Welles
described as follows: I hate television. I hate it as much as peanuts. But I cant stop
eating peanuts.22 People would watch anything, including commercials. Advertisers responded by sponsoring TV shows that aggressively mixed entertainment with commercial
messages.
After a while, people began to object to the intrusions that commercials represented.
In 1967, 63% of those polled in a National Association of Broadcasters survey stated their
dissatisfaction with commercials and said they would choose commercial-free TV. By
1973 however, the public mood had changed. Variety reported, by a margin of 51, that
people regarded commercials as a fair price to pay for watching TV shows. We have
somehow adjusted to the intrusion of commercials. They are now part of the info-fog. Advertisers, because the info-fog tends to block their message, have upped the amount of
advertisements they broadcast:
>
A typical hour of network television now features nine minutes of commercials,

up from six 10 years ago.
>
Americans are subjected to 254 different television commercials a day, up from

seven in 1957,23 and up 25 percent since the mid-1970s.24
>
With all other forms of advertising included, that number rises to 3000-plus
messages a day.25
If advertisers would limit their activities to TV, commercial relief might be possible. But
unfortunately, commercials are everywhere. There are billboards on the highways, product placements in movies, ads on top of taxis, and advertisements slipped in with bills.
Ads have even begun appearing on ATM deposit receipts. Its quite a racket. They take
your money and you get a commercial in exchange.
The ads I find particularly irritating are the ones people experience when they call to
activate a new credit card. One bank in particular makes people hold while they activate
their cards. Of course, the length of time the activation takes is just long enough for
the bank to pitch their other products and services. These types of actions are indicative
of the continued attempts to expand the presence of ads. Be it a supermarket checkout lane,
a gas pump, or a doctors waiting room, every location in daily life is under ad assault.
To be fair, advertisers dont set out to annoy us. An ad that alienates us backfires. Its
just that with so much information out there, advertisers must work harder than ever to
attract attention. Otherwise, their product gets lost in the wealth of choice.
The Wealth of Choice

Perhaps the biggest driver of this info-fog is the overabundance of choice. In the early
1900s, Henry Ford revolutionized the world with the assembly line. His assembly line made
one car, the model T, in one color, black. Ford used to brag that you could choose any
color car you wanted, as long as that color was black. How times have changed.
>
Deciding on a brand and make of car is a maze of confusion. At last check,

more than 30 different brands of car were available in the United States, including Acura, Audi, Daewoo, Honda, Hyundai, Isuzu, Mitsubishi, Nissan,
Subaru, Suzuki, Toyota, and Volvo. In addition, the flood of product choices
extends beyond cars.
>
Have you had to choose your telephone carrier lately? Several companies, whose
names keep changing, advertise nightly on television.
>
Computers are another crowded field, with a wide range of operating systems,
hardware, software, and peripherals.
>
A recent check of a medium-sized supermarket revealed the availability of 21

brands of toothpaste, 27 kinds of potato chips, and 45 different cereals. PricePritchett even reported that 1,000 new products are introduced to Americas
supermarkets every month.26
The multitude of options benefits consumers, but choice requires diligence, and diligence
requires time. Most people are just too busy to wade through the fog of options. As a result, businesses try to educate us about their products and services, and add even more
advertising.
When World War II ended, there were fewer than 7,000 working TV sets in the United
States. Its probably a good thing that the viewing market was so small. There were only
nine broadcasting stations: three in New York, two in Chicago, two in Los Angeles, One
in Philadelphia, and another in Schenectady (Table 1-3).
The number of stations increased greatly, but the choices they presented did not. As
late as the 1960s, there were only three nation-wide networksABC, CBS, and NBC.
In most cities, reception of these stations was poor. Often, only one network would be
15
16
The Info-Fog
received clearly enough to watch. Outside the major cities, reception was even less
dependable.
News sources were also limited. Most Americans received their news and information
from a daily newspaper, or through the nightly newscasts of the three nationally syndicated
networks.
In addition to the three networks, each town had several AM radio stations, an alternative FM station or two, and, if it was a big town, a few movie theaters, each with one
screen. In many locations, a cinema experience consisted of one theater, with one screen,
and one choice of film during any given week.
This kind of world now seems archaic. Today, a vast sea of TV viewing choices face
us, with more than 150 channels to choose from. For example, the Discovery Channel is
offered in eight, and perhaps more, versions, including the Discovery Channel, the Discovery Civilization Channel, the Discovery Espaol Channel, the Discovery Health Channel, the Discovery Home & Leisure Channel, the Discover Kids Channel, the Discovery
Science Channel, and the Discovery Wings Channel!
It is now possible to learn about everything from golf, to home improvement, to foreign language skills, to shopping, to travel, all from the comfort of your own living room.
It is also possible, owing to the expansion of movie channels and pay-for-view movies, to
view your choice of 30 or more movies at one of several different times.
Radio has also expanded. The narrow band of frequencies available in a simpler time
has grown to include mainstream FM stations and expanded AM frequencies. Currently,
THE GROWTH OF TELEVISION

1945
1946
1947
1948
1949
1953
1954
1956
1960
1963
1965

NBC broadcasts in color
Kennedy assassination covered
Nixon-Kennedy debate broadcast
Videotape introduced
The Tonight Show debuts
RCA color system approved
East and Midwest linked
108 stations licensed
Meet the Press debuts
150,000 watch Louis-Conn fight
FCC allows expansion

TABLE 1-3
we are in a transition from a world where radio transmissions fade away as we drive to
global positioning satellite-based radio services that broadcast signals across the entire
country.
Movie theaters have become megacomplexes, with as many as 25 screens. Some of
the individual screens are so far away from the concession stand that you can devour your
popcorn before you reach your seat. You can choose from a wide variety of movies, with
20 different movies playing at any given time, or the same movie playing 20 different times
a day.
If all those entertainment options arent enough, you can click onto the World Wide
Web and access any of the millions of Web sites available on the Internet, on any subject
you choose.
Our news sources have likewise expanded. From the original Associated Press, a wide
variety of news options have opened up. In addition to nightly news broadcasts presented
by the three major networks (ABC, CBS, and NBC), the Cable News Network, the Fox
News Channel, MSNBC, C-Span, CNBC, radio talk shows, news flashes via beeper and
phone, Internet news services and search engines, and other outlets provide news and
information beyond the wildest imaginings of earlier generations.
THE DISTRACTED LEARNER
Yet with all these choices, we are still bored. It turned out that the multitude of channels
merely trained us to see what else is on. With the invention of the remote control, we dont
1968
1969
1975
1977
1978
1980
1982
1987
1988
1989
1993
17
98% of U.S. households own a TV
Pay-per-view launched
Majority of households chose cable
Fox Broadcasting Company launched
Home Shopping Network launched
CNN and MTV launched
Showtime launched
WTBS becomes cable Superstation
Home Box Office launched
Sesame Street launched
World watches Armstrong on moon
18
The Info-Fog
even have to leave our chairs! So, we sit in comfort and channel surf. As a result, we often
dont watch a program to its completion.
We have become so good at channel surfing that our attention span has dropped. A
split focus is the norm today. We watch TV while we eat dinner, while we read work-related
material, while we prepare the children for bed. The speed at which we shift our attention is visible on any music video. The average video image changes approximately every
second. Weve adapted to the pace; as society has sped up, so have we.
This phenomenon is especially prevalent among individuals born after 1977, the
so-called Generation X and Generation Y. With 57 million of them currently in the work
force, these individuals make up an ever-increasing sector of the U.S. population. And,
their presence in the workplace grows every day.27 Thanks to their away-from-home parents, they have grown up independent, self-assured, and curious about new things. Technology doesnt scare them. In fact, computers are an integral part of their lives. They have
learned from computers that speed matters, and will quickly channel-surf people or items
that dont interest them. They will try one thing, add another when the first bores them,
and begin yet a third as it draws their attention.
When you combine the info-fog with the overabundance of choice, and add quickpaced, technology savvy individuals, the result is a population moving at a high rate of
speed, and unable to devote single-minded attention to any one thing. Theres just too much
to absorb, and we dont want to miss anything. We focus less and less, as we try to do
more and more. Its as if we have a collective societal attention deficit disorder. Malcolm
Gladwell, in The Tipping Point, offers a similar point from an advertising perspective: In
the advertising business, the surfeit of information is called the clutter problem, and
clutter has made it harder and harder to get any one message to stick.28 Simply put, the
clutter of everyday life clogs up our human hard drive. Our brain cant compute because
our memory circuits are overloaded.
Assembly Line Learning
Unfortunately, traditional classroom methods are ill equipped to navigate the info-fog.
Todays classroom is a result of a long-term evolution that began with the factory system
popularized in the late 1800s.
At the dawn of humanity, learning was focused on survival. People gathered food and
hunted to survive. The skills considered most critical were those required to pick the
fruit, capture the next meal, find water, and maintain the fire.
Humans eventually progressed to a point at which they planted, rather than gathered.
Children learned how to read the weather, when and where to plant, how to care for the
crops, and how to care for each other. Book learning was not critical to such a society.
As humans achieved success on the farms, the desire for crafted goods emerged, and
those members of the community who demonstrated skills at making furniture, weapons,
and other necessities of life began creating these items under barter arrangements with
local farmers. This basic arrangement, or Trades model, was the standard for centuries.
To increase production, these craftsmen took in apprentices who, over a period of
years, learned the craft. In this way, learning became a focused, local affair between a
mentor and a pupil. This system began to give way in the 1780s with the advent of the
Industrial Revolution. As machinery was invented, and the concept of standardized parts
took hold, the trades gave way to factory-based labor. In roughly a 100-year period, 1780
to 1880, factories replaced the trades.
The factory model suggested that you could, if you distilled all the tasks required to
make a product down to their simplest elements, mass-produce an item with minimally
skilled workers. Henry Ford applied these techniques to the production of an automobile, the model T, and revolutionized the world.
In this new world, finely honed skills were no longer critical. The job requirement
shifted to the ability to repeat a task constantly, without variation. Thought wasnt critical, repetition was. The schools of that era focused on producing factory workers capable
of rote repetition. In a rote-based classroom, order and control were expected. Creativity
was not. People learned their facts and figures. A focus on the meaning behind the facts
was lost. Over time, successive generations were taught not to imagine, but to be quiet,
not to make waves, but to do what is expected, to be an adult.
In fairness, assembly-line learning worked. The factories gained workers, and the
workers gained a steady living. Perhaps the best proof of the factory models success is
the use of this model by the U.S. military to win World War II. Yes sir! became both a
ready reply and a call to organized, dictated action. What it was not, however, was a call
to play, to wonder, to imagine.
Remnants of the assembly-line still haunt learning. Tests often focus on memorization, not comprehension. Subjects are still taught in hour-long blocks, as if reading somehow could be separated from history, and history from science. Learning has become
serious business. Eventually, children learn the lessons they are taught, and grow up
forgetting how to play. In speaking of the results of such a school system, Walt Disney
said: Every child is born blessed with a vivid imagination. But just as a muscle grows
flabby with disuse so the bright imagination of a child pales in later years if he ceases to
exercise it.29 Michael Michalko, in Cracking Creativity, added:
We were born as spontaneous, creative thinkers. Yet a great deal of our

education may be regarded as the inculcation of mind-sets. We were
taught how to handle problems and new phenomena with fixed mental
19
20
The Info-Fog
attitudes (based on what past thinkers thought) that predetermine our

response to problems or situations. in short, we were taught what to
think instead of how to think. We entered school as a question mark and
graduated as a period.30
Added to that is the fear that such regimented thinking becomes ingrained in people. In
their book, The Creative Trainer, Lawlor and Handley commented: Most people have
been conditioned by their home or school environment to believe that their memory, their
creativity, and their overall ability are limited.31
Unfortunately, the classroom reminds many learners of boring classes, pompous
teachers, punishment and embarrassment, mindless facts, and a loss of personal control.
These adults are convinced they cannot learn. This lack of confidence is so ingrained
that it prevents knowledgeable adultspeople who have raised families, bought houses,
and navigated the career worldfrom becoming fully engaged in the adult learning
experience.
As long as the world existed within the industrial model, assembly-line learning worked.
People sat down, didnt speak up, listened to the instructor, and did as they were told.
Information was manageable, and the world simple.
Today, that simplicity no longer exists. As we have discovered, learners are distracted
at every turn. When learners attention is diffused, and other, more enticing possibilities
command attention, rote methods feel like drudgery, and most often fail. With the amount
of information available greater than the time allocated for instructors to talk, and with
learners having other, more engaging, stimuli to absorb, instruction breaks down. Trying
to communicate to todays distracted learners with lecture-based learning methods is like
trying to be heard by an entire football stadium with a megaphone.
In The Entertainment Economy, Michael
Wolf explained it this way: Merely delivering a message is no longer sufficient.
Everyone has a message. So while the
quantity of impressions remains important,
the quality of those impressions is more
important than ever.32 In Learning in
Adulthood, adult learning experts Sharan
Merriam and Rosemary Caffarella, applied
a learning perspective: What is needed to
overcome information overload, is to consider interaction between the quantity and
quality of knowledge.33
It is my belief that enjoyment adds quality to the knowledge being presented, and in
the process cuts through the info-fog.

CARD:
CUE

Enjoyment
cuts

through
the
info-fog.

In the next chapter, we examine the historical role stories have played in communicating
information, as we determine how best to put fun back into the classroom. When we consider that the average person spends about 18,200 hours of his or her life in a classroom,
wouldnt it be nice to focus some of that time on enjoying life?
1
Websters Dictionary of Quotations. (1992). New York: Smithmark.

Johnson, Paul (1997). A History of the American People. New York: HarperCollins.
3 Wallbank, Walter T., et al. (1970). Civilization Past & Present: Book Three1815 to the Present, 6th
edit. Glenview, IL: Scott, Foresman and Company.
4 Wallbank, Walter T., et al. (1970).
5 Johnson, Paul (1997).
6 Ibid.
7 Wallbank, Walter T., et al. (1970).
8 Ibid.
9 Johnson, Paul (1997).
10 Pritchett, Price, and Pound, Ron (1995). A Survival Guide to the Stress of Organizational Change.
Dallas, TX: Pritchett & Associates, Inc.
11 Pritchett, Price, and Pound, Ron (1995).
12 Apps, Jerold W. (1988). Higher Education in a Learning Society. San Francisco: Jossey-Bass.
14 Rose, Colin, and Nicholl, Michael L. (1997). Accelerated Learning for the 21st Century. New York:
Delacorte Press.
15 Whitson, Donna L., and Mstutz, Donna D. (1997). Accessing Information in a Technological Age.
Malabar, FL: Krieger.
16 Advertising Ages History of TV Advertising. <www.adage.com>.
17 Popcorn, Faith (1992). The Popcorn Report: Faith Popcorn on the Future of Your Company, Your World,
Your Life. New York: HarperBusiness.
18 Ibid.
19 Bill Gates in The Road Ahead. Quoted by Rose, Colin, and Nicholl, Michael L. (1997). Accelerated
Learning for the 21st Century. New York: Delacorte Press.
20 Twain, Mark (0000). A Connecticut Yankee in King Arthurs Court. Bantam Classic and Loveswept
21 Advertising Ages History of TV Advertising.
2
21
22
The Info-Fog
22
Websters Dictionary of Quotations (1992).

Advertising Ages History of TV Advertising.
24 Media Dynamics research as reported in Gladwell, Malcolm (2000). The Tipping Point: How Little Things
Can Make a Big Difference. Boston: Little, Brown and Company.
25 Media Dynamics as reported in Gladwell, Malcolm (2000).
27 US Department of Labor Statistics data.
28 Gladwell, Malcolm (2000).
29 Smith, Dave (2001). The Quotable Walt Disney: It Was All Started by a Mouse. New York: Hyperion.
30 Michalko, Michael (1998). Cracking Creativity: The Secrets of Creative Genius. Berkeley, CA: Ten Speed
Press.
31 Lawlor, Michael, and Handley, Peter (1996). The Creative Trainer: Holistic Facilitation Skills for Accelerated Learning. London: McGraw-Hill.
32 Wolf, Michael J. (1999). The Entertainment Economy: How Mega-Media Forces Are Transforming Our
Lives. New York: Random House.
33 Merriam, Sharan B., and Caffarella, Rosemary S. (1999). Learning in Adulthood: A Comprehensive Guide.
San Francisco: Jossey-Bass.
23
CHAPTER TWO
THE WORLD
IS A STAGE
THE FIVE-FOOT BOILER
It was December 1852, and John Hay had just begun his practice of law.
Cases were slow in coming, so when an older, more experienced lawyer became sick and asked for help, he gladly accepted. His task was to represent
a client in Judge Davis Chicago courtroom, some 10 miles away. The older
lawyer gave Hay an overview of the case, and notes that provided the
additional information necessary to win the case.
Court was to begin at 10:30 AM the next day, so Hay left very early that
morning. No sooner had he begun his journey, than a snowstorm blew across
the Illinois landscape. The snow, wet and icy, came down hard all through
the ride. His clothes were covered with snow and his face was caked with
ice. Both he and his horse were cold and miserable.
By the time they finally reached the courthouse, it was 9:30. He had
made it with an hour to spare. Across the street from the courthouse, there
was an inn where all the lawyers gathered. He went to the inn to dry off,
and make himself presentable for the trial.
[ 23 ]
24
The Info-Fog
As he entered the lobby, he saw the lawyers gathered around a potbellied

stove for warmth. He must look like a frozen snowman, he thought. A fellow lawyer, tall and lanky, gave him one look and asked, Well neighbor,
I thought my room was cold, but I can see I was mistaken. What room did
you have? Both men laughed as the young lawyer dried himself off.
Forty-five minutes later, a court messenger announced that court would
begin shortly. That was when he first noticed the problem. Snow must have
blown into his pouch. All the trial papers were ruined. He began to panic.
With no supporting data, he would have a difficult time winning his case.
He would be forced to try this case completely from memory.
But then he calmed down. He realized that he knew the general thrust
of the legal argument. He also knew that his oration skills were excellent.
He had also promised to defend the case. He decided that he would not break
that promise. Determined now, he entered the courtroom and joined in the
case.
When Hays turn to speak came, he did his best. What he lacked in detail he provided in flash. His oratory soared across the room. His gestures,
his vocal tone, and his posture were impressive. When he finished, the jury
was in tears. He sat down pleased, and hoping that the opposing counsel
would not see the hollowness of his argument.
The opposing counsel, the lawyer from the inn, stood up and began to
speak. Hay was heartened by what he heard. The older lawyers speech was
high pitched, almost annoying. His accent sounded Kentucky born. His clothes
fit poorly. The young lawyer thought he had little to fear.
My friend on the other side, the tall attorney began, is all right, or
would be if not for a peculiarity which I am about to explain.
His habitof which you witnessed a very painful specimen, is in arguing a case of bombast without facts. But, it is not a moral fault or blemish.
He cant help it. His oratory completely suspends all action of his mind.
I never knew of but one thing that I could compare to my friend. That
was a steamboat. Back in the days when I was a keel boatman, a little
steamboat used to bustle and puff and wheeze about in the Sangamon River.
It had a five-foot boiler and a seven-foot whistle. Every time it whistled the
boat stopped!
The laughter was loud and long, and the case was lost. But in the process, a lasting friendship was born. For the tall lawyer took a liking to John
Hay, and years later, would hire him to work as his secretary when the man,
Abraham Lincoln, became Americas sixteenth President.1
The World Is a Stage
Stories have always been used as a powerful tool for

communicating vital information from one generation to another;
they have always been used as a vehicle for the wise to educate
the young. And we know that they are highly successful.
If not, they would not have survived.MARGARET PARKIN
2
ONCE UPON A TIME
As we discovered in Chapter 1, getting any message through the info-fog is a daunting

task. Even if a message is of critical importance, unfocused listeners cant absorb it. As
Michael J. Wolf explained in his book, The Entertainment Economy, Merely delivering a
message is no longer sufficient. Everyone has a message.3 The challenge is not in having
a message. The challenge is in getting someone to listen.
There are two overriding reasons people will listen to a message: survival and
pleasure.
Sometimes, a listener perceives the message being conveyed is critical to survival.
This is perhaps the most powerful attention focuser known to humans. It also has limited
usefulness. People can and will stay focused on critical situations, but the extraordinary
level of focus required during a crisis is draining, and will dissipate at the first available
opportunity.
Other times, the listener perceives that the message being conveyed will be pleasurable. When no immediate crisis is present, people invariably turn their attention toward
things that give them pleasure. Its no accident that many factors critical to survival, such
as food, sex, and sleep, are also pleasurable. The enjoyment they produce assures our
survival. Accordingly, people choose to absorb or ignore messages based on their perception of the pleasure to be gained from the message. In other words, people self-select
enjoyment whenever possible.

CUE
CARD:
People
self-select

enjoyment

possible.

whenever

25
26
The Info-Fog
Psychologist Abraham Maslow proposed

that people have two different sets of needs,
deficiency and growth needs, and that deficiency needs must be satisfied before a
person can focus on growth needs.4 In early
history, survival required a constant focus
on deficiency needs. Accordingly, messages
not related to survival had to be pleasurable
to capture attention. Most often, this meant
entertaining the listeners. In an era before
entertainment went big time, before Broadway, movies, television, or even books, information was made pleasurable through
stories.
STORYTELLERS
No one knows when storytelling began. Although the earliest recorded example is the
Sumerian epic, Gilgamesh, dating from 2700 BC, it is reasonable to assume that stories
have always been with us.5 From the beginning of humanity, stories must have entertained
people while communicating critical information. Although we dont know an exact starting date, we do know that stories have helped people:
>
Make sense of their world.
>
Communicate with their deities.
>
Join together.
>
Record cultural history and norms.
>
Share news.
>
Comprehend difficult subjects.
Using Stories to Make Sense of the World

For our earliest ancestors, the world must have been a very strange place. Today, we have
scientific explanations for most of the phenomena we experience. We even think weve fig-
ured out how the world itself was created. In contrast, our early ancestors had no knowledge of what the sun and moon were, and why they moved through the sky, disappearing
only to reappear again. They would have found the weather especially perplexing. They
would have wondered if their actions caused the rain to come, or the snows to fall. It is
reasonable to assume that stories helped early humans make sense of the world that surrounded them.
As Walt Disney explained: Since the beginning of mankind, the fable-tellers have
not only given us entertainment but a kind of wisdom, humor, and understanding that,
like all true art, remains imperishable through the ages.6
Communicating with God through Stories
Stories have helped people communicate with their deities. Every major religion has a
storytelling tradition:
>
BuddhismSiddhartha Gautama, the founder of Buddhism, incorporated the

Jataka or birth tales, stories of previous incarnations of the Buddha, into his
teachings.
>
ChristianityIn the New Testament Jesus Christ used the parable form in his
teachings, telling tales such as the Prodigal Son.
>
HinduismThe Ramayana, the great epic tale of India, part of the Hindu scriptures for Rama, is believed to be an incarnation of the god Vishnu.
>
IslamThe Koran contains many stories including the creation of the world,
the stories of Adam and Moses, and the explanation of the very nature of the
recitations that Muslims believe God taught Mohammed.
>
JudaismHasidic Jews used storytelling to introduce their rituals and beliefs

to young children. Isaac Bashevis Singer is well known for his folk tales from
the Yiddish tradition. One such example is the story of Zlateh, the Goat.7
These traditions probably began the moment that the storytellers realized that their connection to the communitys god got them noticed, and that power and wealth followed.
Soon enough, stories evolved around particular gods that explained the weather, the growth
of crops, the hunt, good and bad health, and perhaps more importantly, morality as the
community saw it. These stories became the legacy of each community, passed on verbally
from generation to generation, until they became the myths and legends of the group.8
27
28
The Info-Fog
Joining People Together with Stories

The survival of early humans would have required teamwork, and teamwork required
bonding. Stories provided a way to share information in a pleasurable manner. Many of
us have experienced the joy of hearing a good story around the campfire. At the dawn of
humanity, such experiences were the norm. Storytelling would have been the nightly
entertainment.
Recording Cultural History and Norms with Stories
Early life was difficult, and death came at what would now be considered middle age. In
an era of short life spans, and before the advent of writing utensils, humans were faced
with a problem: how to remember the past. Memories had to be strong to ensure that basic
ancestral information would pass unabridged from generation to generation. Stories filled
that need. In A Celebration of Neurons, brain researcher Robert Sylwester explained why:
Its much easier to use a narrative format to remember several events that occurred during an experience than to try to remember the events in isolation form each other.9
Communities would recite their history in story form, and thus remember it exactly.
Many of what we know as poems, folk tales, myths, legends, and nursery rhymes come from
that oral tradition.
Tales for Training author Margaret Parkin explained: What all these tales had in
common was that they captured the imagination of their audiences in such a way that they
were committed to memory; they were handed down from generation to generation and
became part of that nations culture. In many case these stories still survive today.10 In
talking about his own entertainment empire, Walt Disney added: And out of our years
of experimenting and experience we learned one basic thing about bringing pleasure
and knowledge to people of all ages and conditions which goes to the very roots of public communication. That is thisthe power of relating facts, as well as fables, in story
form.11
The Shakespeare play Hamlet, Prince of Denmark is one example of a storys staying
power. This particular story had so much relevance for people at a basic level of understanding that many of the lines remain in our language today, for example:
>
Leave her to heaven.
>
Neither a borrower nor a lender be.
>
Sweets to the sweet.
>
Something is rotten in the state of Denmark.
>
The lady doth protest too much, methinks.
>
The plays the thing.
>
To be, or not to be: that is the question.
>
To thine own self be true.
>
Though this be madness, yet there is method in t.
>
Thus conscience does make cowards of us all.
The writing is superb, and the words speak universal truths in story form. As a result, the
words have stayed with us, to the extent that even people who have never seen the play
understand the everyday context of the phrases. In fact, the story keeps recurring. Sometimes its in the usual guise of Hamlet, as in Lawrence Olivers 1948 and Mel Gibsons
1990 versions. Other times, its presence is a little more obscure, as in the Walt Disney
Studios animated hit, and later Broadway stage show, The Lion King. As Walt Disney himself once explained: Through historical time all the races have been dramatizing these
eternal quests and conquests of mind and heart; in arenas, around tribal fires, in temples
and theaters. The modes of entertainment have changed through the centuries; the content of public shows, very little.12
Regardless of location, every culture had its own storytellers.
>
African storytellers related the tale of how Sundiata became the King of Mali.
>
Tanzanians shared wisdom through the adventures of Anansi the spider.
>
West African griots told the stories of their village.
>
One Sumerian epic, Gilgamesh, dating from 2700 BC is the oldest recorded story.
>
Persian shamans told the stories that made up the Hazarafsaneh, which
evolved into A Thousand and One Arabian Nights.
>
In Mongolia, shamans practiced medicine as they told stories.
>
The Scandinavian Norsemen shared sagas of their adventures.
>
In the Celtic tradition, a bard would . . . create and/or perform poetic oral
narrations that chronicle events or praise the illustrious forebears and present
leaders of a tribal, cultural, or national group.13
>
In Greece, epic tales of ancient wars were told in The Iliad and The Odyssey.14
These stories provide an excellent example of the power of storytelling. Homer
29
30
The Info-Fog
wrote them around 1200 BC. The stories where then passed largely unaltered,
generation to generation, for four or five hundred years, until 700 BC when an
effective writing system was created.15
Fidelity to the story was possible because of the importance people placed on faithful
recitation of their history. Margaret Parkin explained: Because of their importance in the
community, storytellers in some cultures were actually required to take a solemn vow in
which, among other things, they promised to repeat their stories faithfully and accurately,
and also to show respect for their audiences and their interest and enjoyment.16
Sharing News Using Stories
During the Middle Ages, there was no national news service, and no way for news to travel
without the physical movement of people. Storytellers served as roving reporters, sharing
information, gossip, and opinions, all packaged with music, magic, and comedy into
pleasurable, entertaining vignettes. For example, African shamans used magic to imply
a connection with the Gods, European troubadours used music to carry their messages,
and court jesters used comedy to comment on current events.
Comprehending Difficult Subjects Using Stories
Margaret Parkin, in Tales for Trainers (1998), explained: It was also the traditional role
of the storyteller to deal with what might be regarded as difficult truths, uncomfortable
issues and complex concepts that were hard for the majority to grasp. They did this by
simplifying the topics and finding ways of making them more accessible and palatable
to the general public.17
Jesters, because of their storytelling
abilities, were welcomed at the courts of
Kings. They were also the only members of
the court who could criticize the Royals
and escape with their lives intact. Consequently, they became adept at political
humor. They would offer political criticisms in once-upon-a-time settings that
made their criticisms seem benign. There
would be nothing tangible for the royals
to object to. In this way, entertainment
became a vehicle for presenting a point of
view.18
Throughout history political leaders have found themselves in a situation in which

they were required to communicate difficult truths to their people. Some of the worlds
most effective political leaders have excelled at comedic storytelling.
Abraham Lincoln, 16th President of the United States, was well known for his storytelling abilities. Lincoln regarded storytelling as an essential component in his ability to
communicate with and influence people. He had a huge collection of stories, and the
ability to produce just the right story at the right moment to make his case. He once
commented as follows: They say I tell a great many stories. I reckon I do; but I have
learned from long experience that plain people, take them as they run, are more easily
influenced through the medium of a broad and humorous illustration than in any other
way; and what the hypercritical Few (original capitalization and emphasis) may think, I
dont care.19
On another occasion, Lincoln said:
I believe I have the popular reputation of being a story-teller, but I do not
deserve the name in its general sense, for it is not the story itself, but its
purpose, or effect, that interests me. I often avoid a long and useless discussion by others or a laborious explanation on my own part by a short
story that illustrates my point of view. Also, too, the sharpness of a refusal or the edge of a rebuke may be blunted by an appropriate story, so
as to save wounded feeling and yet serve the purpose. No. I am not simply a story-teller, but story-telling as an emollient saves me much friction
and distress.20
Two excellent examples of Lincoln stories, and the situations in which he used them,
follow. The first was a reply to a Union general who asked Lincoln how he coped with the
challenges presented by the Civil War. Lincoln told the story of a farmer who once
ploughed a rough patch of land:
It (a large field laden with many tree stumps) was a terrible place to clean
up. But after a while he got a few things growinghere and there a patch
of corn, a few hills of beans, and so on. One day a stranger stopped to
look at his place and wanted to know how he managed to cultivate so
rough a spot. Well, was the reply, some of it is pretty rough. The smaller
stumps I can generally root out or burn out; but now and then there is (a
large one) that bothers me, and there is no way but to plough around it.
Now, General, at such a time as this, troublesome cases are constantly
coming up, and the only way to get along is to plough around them.21
The second example concerns Lincolns avoidance of political patronage:

A delegation once called on Lincoln to ask the appointment of a gentlemen as commissioner to the Sandwich Islands. They presented their case
31
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The Info-Fog
as earnestly as possible, and, besides his fitness for the place, they urged
that he was in bad health and a residence in that balmy climate would be
of great benefit to him. The President closed the interview with the goodhumored remark: Gentlemen, I am sorry to say that there are eight other
applicants for that place and they are all sicker than your man.22
Another example comes from a later president, Franklin D. Roosevelt (FDR), 31st President of the United States. In December 1940, Roosevelt was faced with a sensitive situation regarding the neutrality of the United States during the early stages of World War II.
The English were running low on military supplies, and FDR was determined to aid
Churchill by resupplying the British. The difficulty was that much of the U.S. citizenry
was vehemently opposed to any involvement in the European hostilities. Furthermore, FDR
was running for reelection on the promise of keeping the United States out of European
wars. Nevertheless, FDR recognized that without resupply, England might well fall to the
Nazis, and the United States would then be pulled into the war in spite of itself.
In light of the circumstances, FDR ordered the resupply. Knowing that the effort would
be unpopular, FDR explained it through a simple metaphoric story. Suppose my neighbors house catches fire. If he can take my garden hose and connect it up to his hydrant,
I may help him put out the fire. Now what do I do? I dont say to him, Neighbor, my garden hose cost me fifteen dollars; you have to pay me fifteen dollars for it. What is the
transaction that goes on? I dont want fifteen dollarsI want my garden hose back after
the fire is over.
This story did not change the reality that the United States had decided to intervene
in one side of the conflict, but the story was so simple, and made so much sense that it
was impossible to argue with it. As a result, the British got their supplies and the Americans moved a giant step closer to entering the war.23
The 40th American President, Ronald Reagan, had a nickname: the great communicator. Like Lincoln, Reagan was adept at telling a story to diffuse conflict. For instance,
at 71 years of age, Reagan was Americas oldest president. His age could have been a
cause for concern, but he diffused the issue through stories.
During his first state of the union speech, Reagan referred to George Washingtons
belief that all presidents should report directly to the American people. It was a perfectly
appropriate comment and would have stood by itself. But Reagan didnt stop there. He
then went on to poke fun at his own age by adding that he had personally heard Washington say those words.24
On another occasion, he said, I can still remember my first Republican convention . . . Abraham Lincoln giving a speech that sent shivers down my spine . . . He then
retracted it, saying it wasnt true, that he (Reagan) had been a Democrat back then.25
STORYTELLING TODAY
Storytelling is alive and well today. Like all other facets of society, it has gone high tech,
but, whether in the guise of TV shows, movies, books, news reports, or political speeches,
the underlying storytelling form still exists. Robert Sylwester, in A Celebration of Neurons, addressed this subject:
Metaphoric forms of mass media provide us with many narrative opportunities to consciously stimulate the memories we want to maintain. So
it is with novels, TV programs, songs, games, and pageants. We consciously seek out those that we hope will stimulate our memories of broad
cultural issues that we consider important. Its like were seeking out
dream possibilities while were awake. The most powerful metaphoric
experiences are those that focus on important cultural needs, but define
the storys characters and locations somewhat loosely, so many people
can easily identify with the issues the story explores.26
Donald Hamilton, in The Mind of Mankind, added:

Storytelling has grown immensely in its scope and power from its simple
beginning of telling stories over the camp fire. It now encompasses every
facet of human endeavor. Nearly everyone has a story to tell. We are constantly being bombarded by stories both good and bad, by our family,
friends and the media. Companies spend billions of dollars every year on
advertising, trying to get their stories across to us, trying to influence us
to purchase their products.27
We discuss advertising messages at great length in the next chapter, but a few quick examples can demonstrate how alive storytelling techniques are:
>
To introduce Apples Macintosh computer, advertising firm Chiat/Day hired film

director Ridley Scott. Scott directed a storyline reminiscent of George Orwells
1984, in which the future was portrayed as a world of drab sameness and big
brother tyranny. The commercial, much like the court jesters of old, had a targetIn this instance the gray sameness and uniformity of the then dominant
computer maker, IBM. The commercial ran once, during the January 1984 Super
Bowl, and the Mac was born. The story was so powerful that, to this day, Mac
users regard themselves as rebels against sameness, and view the worldwide
predominance of Microsoft with suspicion, even calling Microsoft the evil
empire.
33
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The Info-Fog
>
In one heartfelt commercial, advertiser McCann-Erickson created a 1980s tale

featuring a fierce football giant, Pittsburgh Steelers defender Mean Joe Greene,
and a little boy. The spot begins with Greene looking his fiercest, and the young
boy, wanting to meet his idol, looking quite afraid. Eventually the boy offers
Greene a Coca-Cola. As a result, Greenes demeanor warms, and he tosses his
football jersey to the boy. The underlying message of a Coke and a smile
comes through loud and clear.
>
One political spot, created by Doyle Dane Bernbach for American President
Lyndon Johnsons reelection campaign against Republican candidate Barry Goldwater, portrayed a young girl picking petals from a daisy interspersed with a
launchpad countdown to a nuclear explosion, was a bomb of its own. It cemented Barry Goldwaters reputation as dangerous, and set off such a firestorm
of protest that Johnson had the ad pulled. This ad story, which ran only once,
marked the beginning of negative political advertising.
Storytelling has always served a valuable need: to communicate in an enjoyable fashion.

From shamans to jesters, to politicians (is there a comparison here?!) stories have aided
leading members of the community in the difficult task of getting a message out. Considering the communication difficulties we discussed in Chapter 1, stories may be more
important now than at any time in history.
1
Hertz, Emanuel, ed. (1939). Lincoln Talks: An Oral Biography. New York: Viking.
Parkin, Margaret (1998). Tales for Trainers. London: Kogan Page.
4 Maslow, Abraham H. (1970). Motivation and Personality, 2nd edit. New York: Harper & Row.
5 Wallbank, Walter T., et al. (1970). Civilization Past & Present: Book OnePrehistory to 1500, 6th edit.
Glenview, IL: Scott, Foresman and Company.
6 Smith, Dave (2001). The Quotable Walt Disney: It Was All Started By a Mouse. New York: Hyperion.
7 Pellowski, Anne (1977). The World of Storytelling: A Practical Guide to the Origins, Development, and
Applications of Storytelling. Bronx, NY: H. W. Wilson.
8 Hamilton, Donald L. (1996). The Mind of Mankind: Humorous ImaginationThe Source of Mandkinds
Tremendous Power. Buffalo, NY: Suna Press.
9 Sylwester, Robert (1995). A Celebration of Neurons: An Educators Guide to the Human Brain. Alexandria, VA: ASCD.
10 Parkin, Margaret (1998).
11 Smith, Dave (2001).
12 Smith, Dave (2001).
13 Wallbank, Walter T., et al. (1970); Pellowski, Anne (1977). <www.middleeastuk.com/culture/mosaic/
arabian.htm> <www.globalvolunteers.org/1main/tanzania/tanzanialegends.htm>
14 Wallbank, Walter T., et al. (1970); Pellowski, Anne (1977).
15 Wallbank, Walter T., et al. (1970); Pellowski, Anne (1977).
2
16
Parkin, Margaret (1998).

Parkin, Margaret (1998).
18 Wallbank, Walter T., et al. (1970); Pellowski, Anne. (1977).
19 Lincoln, Abraham, and Hertz, Emanuel, ed. (1986). Lincoln Talks: An Oral Biography. New York: Bramhall House.
20 Phillips, Donald T. (1992). Lincoln on Leadership: Executive Strategies for Tough Times. New York: Warner
Books.
21 Phillips, Donald T. (1992).
22 Lincoln, Abraham, and Hertz, Emanuel, ed. (1986).
23 Davis, Kenneth C. (1990). Dont Know Much About History: Everything You Need to Know About American History but Never Learned. New York: Crown.
24 Noonan, Peggy (2001). When Character Was King: A Story of Ronald Reagan. New York: Viking.
25 Ibid.
26 Sylwester, Robert (1995).
27 Hamilton, Donald L. (1996).
17
35
CHAPTER THREE
LET ME
ENTERTAIN
YOU
Dear Reader Reviews,

I am submitting this reader review because of a wonderful place we
recently visited called Firehouse 25.
Dad always wanted to be a firefighter. His father had been one, and his
fathers father too. It was sort of a family tradition, and it was his plan until
the accident. While playing high school football, another player unintentionally clotheslined him. He went down hard and never stood again. Instead of fighting fires, he ended up fighting criminals from his wheelchair
as a forensic pathologist.
For Dads 65th birthday, my husband and I wanted to do something special. His health seems to have given out, and we wanted him to enjoy what
might be his last birthday. We considered all sorts of options, but finally
using Dads old firefighter dream for inspiration, we went to Firehouse 25.
[ 37 ]
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The Info-Fog
Firehouse 25 is a former firehouse converted into a restaurant. We

thought it would appeal to Dad, and boy did it! As we approached the
restaurant, Dad caught sight of the building. He started asking about it,
but we didnt reply. We drove into the driveway, and a parking attendant
in a firefighters tee shirt, suspenders, and jeans welcomed us. He said, Welcome recruits. Are you ready to put out your hunger?
We said that we were and entered the building. A fire bell announced our
arrival. On the lower floor, the old fire engine bay served as the lounge area.
Dad loved all the firefighting memorabilia on the walls. The radio room
had become a small gift shop, selling firefighter themed recipes, calendars,
and knick-knacks. (I bought a set of salt and pepper shakers in the shape
of firefighters boots.) The slide poles that firefighters had once used were
off limits to us, but we saw some of the staff using them. They sure looked
inviting.
Once our table was ready, we were taken to the second floor and escorted
to our table. It looked like a kitchen table. We were promptly told we needed
to do our chores, and set the table. Silverware was mismatched, and lying
in wait in a plastic container. The glasses and plates were also mismatched,
and the salt and pepper shakers were in the shape of Dalmatians.
The waiter (Firefighter Phil) went along with the show. He appointed
Dad to be our tables fire chief. He told Dad his job was to keep the troops
in line. Of course Dad said he had been doing that his whole life anyway.
Phil put a firechiefs hat on dad, and gave the rest of us firefighter badges
to wear.
Firefighter Phil wouldnt serve our food until we stated that we had
made our bunks. He asked the kids if they had washed the soot out of their
hair. And one time, when my husband asked him to repeat something he
just said, he commented, Youve been standing near that siren, havent
you? He commented that we should finish our meals. You never know
when that alarm will ring, and if it does ring, it may be hours before you
eat again, so eat up.
The food was good and served family style, with oversized portions, as
if it was prepared for hungry firefighters. We had Captains crab legs, Sarges
fried chicken, Stashs baked beans, Stanleys steak, and Hectors five-alarm
chili.
At dessert time, all the firefighter staff gathered around Dad and sang
Happy Birthday as they lit the giant five-alarm candle. They then presented Dad with an honorary firechiefs certificate. He was beaming.
Let Me Entertain You
The Firehouse 25 turned out to be the right choice. We could have gone
anywhere for this celebration, but we chose a location that would mean
something to Dad. I highly recommend Firehouse 25. It was more than a
restaurant: it was an experience.
The buyer needs a hundred eyes,

the seller only one.GEORGE HERBERT
THE ASCENDANCY OF ENTERTAINMENT
In humans, survival and pleasure exist side by side. They are the ying and yang, the left
and right, the balancing forces of our existence.
At the dawn of human history, survival was critical. Pleasure, although important, was
secondary, but never absent. As noted in Chapter 2, whenever survival needs were met,
even momentarily, pleasure took over. Pleasure could take many guises. Food, sex, and
sleep were always pleasurable, and, for survival purposes, came first. As time progressed
and survival required less attention, people began to seek out other pleasurable experiences. One such early human example would have been the sharing of stories around a
nighttime fire. Out of those early stories, a whole new way of giving and receiving pleasure was born, the entertainment arts.
We know that there are scientific reasons for the development of the entertainment
arts. Robert Sylwester, in his book A Celebration of Neurons, reported the findings as follows: Our brain has more frontal lobe capacity than we normally need to survive because
that critical-thinking and problem-solving mechanisms located there must be sufficient
for crisis conditions.2

CUE
CARD:

arts

The
entertainment

were invented to make use

of excess brain capacity.

39
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The Info-Fog
He continued by explaining that the entertainment arts were invented to make use of our
excess capacity:
Since our survival doesnt require our problem-solving mechanisms to
operate at capacity most of the time, were invented social and cultural
problems to keep them continually stimulated and alert. The arts, games,
and social organizations provide pleasant metaphoric settings that help
to develop and maintain our brains problem-solving mechanisms.3
As survival became assured, we have increasingly moved toward those things that give
us pleasure. Whether the forum was a nighttime cave fire, the Greek coliseum, the Elizabethan stage, the vaudeville palace, Broadway, the movies, television, or most recently,
the Internet, a straight line can be traced from the receding of survival needs and the
ascension of entertainment.
We have become a society obsessed with entertainment. In the United States, on
average, we spend 5.1 percent of our income on entertainment. Thats figure is comparable to our spending on health care (5.3 percent), and is more than we spend on clothing
(4.7 percent).
What those figures dont represent is the rise in entertainment spending through the
years. In 193536, we spent just 3.3 percent of our income on entertainment, 4.4 percent on health care, and 10.4 percent on clothing. Even more discouraging, the percentage spent on education, mostly for college and continuing adult education, has remained
relatively unchanged through the years, from 1.0 percent in 193536 to 1.4 percent in
1999.
Where spending on entertainment is at a high, the rate of personal savings is at a low,
under 3 percent.4 After housing (32.6 percent), transportation (19.0 percent), and
food (13.6 percent), enjoyment trumps all.
In addition, the percentage of income spent
on food is misleading, because 5.7 percent
of that category is dining out costs.5 As we
shall soon see, a significant success factor
in the food service industry is the entertainment value a restaurant provides.
In The Entertainment Economy, Michael
Wolf observed, The lines between entertainment and non-entertainment are disappearing.6 He then continued to explain
that entertainment has found itself at the forefront of economic growth and cultural revolution,7 and that we seek entertainment in activities that used to be purely work-related
or at least chore-related (such as buying groceries, choosing a car, looking for a new
home).8
He also suggested that the implications for organizations are huge: Without entertainment content, few consumer products stand a chance in tomorrows marketplace.9
Walt Disney concurred: In my opinion, entertainment in its broadest sense has become
a necessity rather than a luxury in the life of the American public.10
The impact of entertainment that Wolf and Disney referred to is upon us. Advertisers, news organizations, businesses, sports, and educational services have all responded
to the info-fog by placing entertainment content in their products. We will examine the
ways that organizations in each of these arenas use entertainment techniques to communicate. In the process, we will set up our later examination of Show Biz Training
techniques.
Advertisers
Advertisers have an especially difficult task. They must make buyers out of people who
have no knowledge of, or interest in, their products. They must cut through the info-fog,
gain and then hold attention, and move people to favorable action. As advertising executive, Bill Bernach (Doyle Dane Bernbach), stated: The truth isnt the truth until people
believe you, and they cant believe you if they dont know what you are saying, and they
cant know what youre saying if they dont listen to you, and they wont listen to you if
youre not interesting, and you wont be interesting unless you say things imaginatively,
originally, freshly.11
The advertisers task is especially daunting when you consider that the actual difference between products is often minimal. Advertisers cannot rely on reasoning or logic to
prove their point. Instead, they must associate their products with pleasure, and they use
entertainment to induce pleasurable emotions. As Malcolm Gladwell explained in The
Experience Economy: There is a simple way to package information that, under the right
circumstances, can make it irresistible. All you have to do is find it.12
These days, entertainment usually provides the packaging. The entertainment industry
is so involved in the production of commercials that advertising is responsible for approximately 40 percent of the entertainment industrys revenues.13
Television commercials provide excellent examples of how advertisers package information through entertainment techniques. Advertisers start with a solid story that engages
people, add comedy, use props, present gee-whiz magical effects, and play toe-tapping music
to make their points. See if you can identify the use of specific techniques in Table 3-1.
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The Info-Fog
ENTERTAINMENT IN COMMERCIALS
Each of the commercials listed below made extensive use of one of the following elements:
comedy, illusion, props, or music. Determine which commercial relied on which element then
write the appropriate word on the corresponding line. You should use each element twice.
In some cases, more than one entertainment element was utilized. In those cases, select the
one item that the commercial relies on most. The answers are listed below.
____________ 1. A Break TodayMcDonalds staged a full production themed to clean burger
machines.
____________ 2. In the Drivers SeatPeople floated to earth, as Hertz put them in the drivers
seat.
____________ 3. It Takes a LickingTimex tried to destroy its own watches to prove they
keep on ticking.
____________ 4. Plop, Plop, Fizz, FizzSpeedy Alka-Seltzer sang, water fizzled, and what a
relief it was.
____________ 5. Atsa Spicy MeatballFor Alka-Seltzer (again), an actor needs relief after 40
takes.
____________ 6. That Bunnys Still GoingEveready Energizer poked fun at commercials
through a toy rabbit.
____________ 7. Museum ArtThe Honda hangs on the museum wall, until one brave soul
drives it away.
____________ 8. Wheres the Beef?Clara Peller looked at a hamburger as she realized she
should have gone to Wendys.
ANSWERS: 1. MUSIC 2. ILLUSION 3. PROPS 4. MUSIC 5. COMEDY 6. PROPS 7. ILLUSION 8. COMEDY
42
TABLE 3-1
COMEDY IN COMMERCIALS
Comedy is a major factor in ad success. In fact, approximately 42 percent of all commercials use humor to communicate their messages.14 It may also be appropriate to say that
the best commercials use humor, given that 69 percent of the commercials honored with
an International CLIO award had a humorous tone.15
Comedic ads deliver an amazing feat: people watch for them, enjoy them, and talk
about them with friends and colleagues in spite of the fact that the ads are sales pitches.
Think about the number of telemarketing calls you hang up on, and you begin to see the
point. Commercials dodge the hang up reflex by making the product being sold more
appealing and therefore more likely to be marketed successfully. Advertising expert Luke
Sullivan, in Hey Whipple, Squeeze This, explained it this way: In all categories where
products are essentially all alike, the best-known and most-well-liked brand has the
winning card.16
In Table 3-1, we saw some likable ads, including the meatball filmshoot stuck in neutral, and a hamburger without beef. Both commercials demonstrated a sense of humor.
The Alka Seltzer Atsa Some Spicy Meatball commercial, from Doyle Dane Bernbach,
consisted of outtakes from a fake Mamas Meatball company. During filming, everything that could go wrong did. As a result, the actor was forced to eat meatball after meatball, eventually finding solace in Alka Seltzer. The beauty of this commercial was the way
it satirized the advertisers themselves. In the process the ad implied that the advertisers
used the product too.
Wendys Wheres the Beef? commercials, created by Dancer-Fitzgerald-Sample, used
humor to suggest that not all hamburger chains were the same, and that Wendys had a bigger burger.
The ad was so successful that during a 1984 presidential primary campaign debate,
Democratic contender Walter Mondale actually said, Wheres the beef? when he compared the new ideas that fellow Democratic candidate Gary Hart was promoting to the
commercial. By suggesting that Harts new ideas lacked beef, Mondale subtly ridiculed
his main contender, and went on to win the Democratic nomination. (He would later lose
to Republican Ronald Reagan.)
In addition to the commercials already mentioned, three others bear special attention.
For in each case, humor deftly accomplished what a more traditional approach could not.
For years, California wines, and Gallo in particular, were regarded as poor substitutes
for French wines. Originally, the advertising response was to hire Orson Welles to intone
pompously that Gallo would serve no wine before its time. The advent of wine coolers
turned the whole idea of highbrow wines on its head. Wine coolers were intentionally designed as a more casual drink. Stuck with the limits of its own self-created image, Gallo
hired Hal Riney & Partners. They created an ad campaign built around two decidedly
unsophisticated down-home old timers, Frank Bartles and Ed Jaymes. The two men,
completely fictional characters, would sit on the porch, introduce themselves, or rather
Frank would introduce non-talking Ed, and read letters from customers. Each commercial would end with the understated but preposterous line, Thank you for your support. It was self-parody at its best, Gallo became low-brow, and the Bartles and James
Wine Coolers were launched.
Our second example concerns an underappreciated fruit. In the 1900s, Stan Freberg
was one of the funniest men alive. He had a dry, irreverent humor that was ideally suited
to the sale of Sunkist Prunes. For years, prunes were viewed as a fruit for old people. Freberg brilliantly played off this perception by creating a spot featuring an aristocratic,
pompous man. In the spot, the man fussed about his dislike for prunes. He complained
that they are nasty, that they have pits, and are badly wrinkled. The announcer convinced
him to try a prune anyway. Much to his surprise, he liked it. He commented on its flavor
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The Info-Fog
and the lack of a pit. But then, in the most upper-crust manner possible, he concluded
by complaining, They are still badly wrinkled. This was the set-up for the tag line, Today
the pits. Tomorrow the wrinkles. Suddenly, Sunkist Prunes were for the non-pretentious.
Finally, theres the case of an ad that was brave enough to mock its own profession.
The image of the slippery car salesman, who will say anything to make a sale, is ingrained
in our society. It seems like long ago, but at one time most Americans bought their autos
from the big three: Chrysler, Ford, and General Motors. The only exceptions were people
who preferred a more reasonably priced Volkswagen Beetle, or, if really desperate, the
American Motors Pacer. Carmakers from other countries were just entering the U.S. marketplace when Isuzu, courtesy of Della Femina, Travisano & Partners, settled on a novel
approach to making their name known. The ads featured David Leisure as an archetypal
lying car salesman. He blatantly stated falsehoods while the correct information scrolled
across the bottom of the screen.
By making fun of their own kind, Isuzu was in essence acknowledging the largest
challenge in buying a car, and encouraging a perception that Isuzu salespeople were different. As a result, many sales closed, including for David Leisure himself, who became
a regular on the TV show Empty Nest. In addition, the ads have such long-term staying
power that a new series of these, again featuring Leisure, reappeared in 2002.
All three ads, those for Wendys, Bartles and Jaymes, and Izusu, overcame negative
perceptions with humor. The ads captured an emotional essence that people could relate
to, and told their story in an engaging manner that cut through the info-fog.
MAGIC IN COMMERCIALS
Today we live in an era of special effects. Whether you need a walking robot, a sinking
ocean liner, or a full-scale battle of clones, todays Hollywood can create it. Hollywood
developed this capacity because illusions fascinate people. In television commercials,
illusions are an effective method for capturing attention. They force viewers to stop,
look, and wonder if they are seeing what they think they are seeing.
Once illusions have captured attention, they help maintain it. For, once viewers determine that what they think they see is correct, they begin focusing on how the illusion
was achieved. In the process, their focus stays on the ad.
The Hertz ads created by Norman, Craig & Kummel were especially amazing. A person, sometimes two, would, in a seated position, gracefully glide through the air and
downward into the seat of an empty convertible driving itself down the highway. It was a
fascinating and beautiful image to watch, and people did. The tag line of the commercial
was, Let Hertz put you in the drivers seat, and millions still do.
Another example concerns a Honda ad in which an automobile is seen on display in

a museum, as if it is a work of art. One museum patron walks by the car and stops to look
longingly at it. The man looks around to see if anyone is watching, and seeing that the coast
is clear, walks up the wall and into the auto, and drives it away. The ad amazed. The illusion of a hanging car was so perfect that it demanded attention.
A final current example is a 2002 commercial for Propel, a fitness water drink in the
Powerade family. The commercial begins with a blank space, perhaps a darkened gym,
or an empty stage. Oversized water droplets fall onto this floor. As each water drop splashes
on the floor, it morphs into an athletea tennis player, a jogger, a bicyclist, and others.
The commercial ends with a person swimming up and around a Propel bottle. The commercials effect is magical.
The size of the space being presented in the commercial poses several intriguing
questions. Is it small enough to focus on a water drop, or large enough for people? How
could both be true simultaneously? And, how can people appear out of a water drop? In
addition, how can a swimmer float up into the air, and be small enough to swim around
a soda bottle? The bottle is larger than a water drop, and much smaller than a swimmer.
So, which scale is it? All these questions race through viewers minds as they watch the
commercial. In the best tradition of illusion, this ad is impossible to ignore.
PROPS IN COMMERCIALS
Often, an advertiser will use the product being advertised as a prop. In some cases, an
extraneous prop is created to support the product pitch. One such example is the Energizer Bunny. The battery-operated rabbit has become so identified with Eveready batteries
that it is difficult to separate the rabbit from the product.
In actuality, the Energizer Bunny is not the product. The batteries that keep the rabbit going are. The advertisers, Chiat/Day, were faced with the difficult task of portraying
the moving power of a stationary product. To do so, they needed a prop that would move,
and proceeded to create the bunny. The ad campaign began in 1989, and was so successful that it continues to be shown to this day. The Energizer Bunny is one prop that will
keep going for a very long time.
Some ads intentionally use the product as a prop. One notable example was the Timex
commercials created by W. B. Donner and Company that subjected Timex watches to all
sorts of mishandling. The torture tests demonstrated that, as John Cameron Swayze
stated at the close of each commercial, Timex, it takes a licking and keeps on ticking.
Another example comes from the Charmin ad agency Benton & Bowles. In the ads,
grocer Mr. Whipple pleaded with female patrons to stop squeezing the Charmin. The ads
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The Info-Fog
ended with Whipple himself caught squeezing Charmin. It seemed that Charmin is irresistibly soft, even to Whipple. These ads were repeatedly rated as the most disliked by
consumers, and yet, Charmin was number one in sales. The simple, inane use of Charmin
as a prop, propelled the sales.17
MUSIC IN COMMERCIALS
Whether the subject is the joy of fast food, or the indigestion that results from the fast
food, music is a valuable advertising toolso valuable in fact that advertisers pay exorbitant sums, known to reach four million American dollars, to use well known songs in
their ads.18
Advertisers pay these sums because the songs work. For example, one study examined the effectiveness of music as a memory cue in an automobile advertising campaign.
The results indicated that 62 percent of the people surveyed remembered seeing advertising after hearing the products name, but on hearing a 10-second musical cue, 83 percent recognized and associated the music with the ad. The authors concluded that musical
cues appear to be more sensitive than verbal cues as absolute measures of memory.19 In
another study, it was proved that people could recall movie scenes when cued by background music for that scene.20
Some of the music used in commercials is instrumental in nature and often functions
as background information. Tony Thomas, in his book, Music for the Movies, describes the
effectiveness of music as follows: Music comes to bear when helping to define the meaning of the film by stimulating and guiding an emotional response to the visuals. Directly
and pervasively appealing to the subconscious...It is this unique ability to influence the
audience subconsciously that makes music truly valuable to the cinema.21
In one notable example, Benton & Bowles created a pleasing, percolator like Maxwell
House theme, complete with a brewing coffee visual. The catchy audiovisual mnemonic
was so powerful that it evokes the memory of the aroma coffee makes when brewing.
Other times, music used in commercials has lyrics. Songs with lyrics add an additional layer of meaning to commercials. As I explained in Training With a Beat: A familiar song is as comfortable as your worn blue jeans or favorite ice cream. Songs with lyrics,
especially popular hits of the last 50 years, are old, well worn, welcome friends.22 Jeff
Smith, writing in The Sounds of Commerce, added: A popular song title gives any film
almost immediate name recognition. In addition, a particular title may have a nostalgic
resonance for certain audience members.23
By using pop songs, advertisers create an opening into the emotions of viewers.
Consider the usage of these pop songs:
>
When Im Sixty-Four (The Beatles) to sell Allstate Insurance
>
Fly Like An Eagle (The Steve Miller Band) to sell the US Postal Service
mail services
>
Getting Better (The Beatles) to sell Philips home electronics
>
Happy Together (The Turtles) to sell Burger King hamburgers
>
Right Here Right Now (Fatboy Slim) to sell Oldsmobile autos
>
Shes A Rainbow (The Rolling Stones) to sell Apple iMac computers
Those songs were placed in relatively normal contexts. Often, however, advertisers must
discuss potentially embarrassing, extremely personal subjects. Just as court jesters delivered difficult commentary in a nonthreatening manner, advertisers use music to make
the uncomfortable information pleasurable. Here are some examples:
>
Celebration (Kool & the Gang) to sell Celebrex arthritis relief pills
>
I Feel Good (James Brown) to sell Senakot laxatives
>
Forever Young (Rod Stewart) to sell Pampers diapers
>
Let It Whip (Dazz Band) to sell Tampax tampons
>
The Twist (Chubby Checkers) to sell Platex girdles
>
Walking on Sunshine (Katrina and the Waves) to sell Claritin hay fever
medication
By providing a positive emotional musical anchor, these songs made the difficult subject
matter less threatening. Instead of technical clinical discussions, these commercials
entertain.
Sometimes, however, a popular song that matches the need is not available. In that
case, advertisers create their own songs. From the singing Texaco gas station attendants
(You can trust your car to the men who wear the star), to Dinah Shore singing See the
USA in your Chevrolet, to the hilltop of young people singing Id Like to Buy the World
a Coke, original songs have effectively championed products for years.
In the McDonalds commercial listed in Table 3-1, the advertisers created a full-blown
Broadway style production, full of exuberant young people, joyfully cleaning their burger
machines. On the surface, a fast food Broadway musical appears to be an absurd idea.
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The Info-Fog
But in reality, the music provided just the right touch. It is useful to remember that this
ad appeared before McDonalds rise to supercultural status. For many people viewing the
commercial, safe-to-eat fast food in a clean, friendly environment was a new concept. The
musical number joyfully demonstrated that McDonalds was not a greasy spoon. It was a
place to have fun. The ad worked, and McDonalds sold billions and billions of burgers.
The Alka-Selter Plop, Plop, Fizz, Fizz song actually told people what to expect when
Alka-Selter was placed in water. Beyond that, it suggested that the fizzing sound meant
relief was on the way. I doubt that are any studies on the subject, but I imagine that many
an all-night party has ended with someone groping for a glass while warbling Plop, Plop,
Fizz, Fizz. In those instances, the relief was no doubt felt by both the Alka-Selter taker
and the party guests who had already gone home, and thus were spared the serenade.
In summary, advertisers have packaged their commercials with pleasant emotional
content that allows the information to cut through the info-fog.
Infotainment
Information providers have become infotainment presenters.
At the forefront of this change was USA Today, with its one-page stories, multiple
colored pages, vibrant graphics, and less-than-critical statistics. Although it was initially
called the McPaper, implying it was similar to McDonalds fast food, USA Today met
the need for peppy, quick infotainment. It is a success with 2,241,677 average daily sales
in 2001. Thats roughly equal to the combined average daily sales of The New York Times
(1,109,371), The Los Angeles Times (972,957), and The Washington Post (759,864).24
USA Today has had such an effect on newspapers that virtually every paper in the
United States is now printed in color. Even the stogy, conservative Wall Street Journal finally succumbed in 2002, and began printing its front page in multiple colors. Not to be
outdone, the same day that the first colorized Wall Street Journal appeared, USA Today
featured, on its cover, a story with key points represented in pictures rather than in text.
LOCAL NEWS
On television, news shows have become softer, and replaced hard journalism with entertainment-like features. In the 1970s, several image consultants, including Frank Magid,
developed an entertainment-based news presentation formula. Its intent was to increase
rating demographics at a time when viewers were fleeing to national cable stations.
The formula consisted of a handsome/cute co-anchor team, a funny/nerdy weatherman, and an intense/likable sportscaster. Segments were kept short, one to one and a half
minutes in length, and were clearly focused on sensationalistic, local human interest,
stories.25 Teaser ads would run throughout the day to hype the evening broadcast. Here
is a sampling of news teasers that actually ran from February 1 through April 1, 2002 on
my local stations:
>
Are you unintentionally poisoning your children?
>
Should you know more about the school buses your children ride?
>
Your drinking water: Is it safe?
>
You trust them to guard your children, but is your dog a killer?
>
You count on it to protect your home, but could your fire extinguisher fail?
>
Why are your kids praising terrorists?
>
Are your children being taught to cheat?
>
You save for years, but is it all for nothing?
>
What is your daughter saying behind your back?
>
Why is the government making it easy for people to steal your identity?
Each and every one of these promos ended with a similar statement, Details at Eleven!
To the viewer these techniques seem like hype. To the TV station, theyre an inevitable
result of the info-fog. When people are curious, they pay attention. Unfortunately for the
news providers, the news is often ordinary. And yet, the commercial dynamics of TV require viewership. As a result, TV misapplies an ages-old storytelling technique: exaggeration. When the details of a story appear ordinary, storytellers fear the listener will lose
interest. As a result they creatively embellish what they say. When discussing supermarket sales, advertising expert Luke Sullivan offered this explanation:
When a supermarket wants to increase sales of a given product, theyll
put up a promotion sticker in front of it, saying something like Everyday
Low Price! The price will stay the same. The product will just be featured
more prominently. When they do that, supermarkets find that invariably
the sales of the product will go through the roof, the same way they would
if the product had actually been put on sale.26
Whether the venue is supermarkets or local news shows, the technique is the same. Of
course, there is a critical distinction between the motives of storytellers and of local stations. Storytellers have the enjoyment of their listeners at heart, whereas the TV stations
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The Info-Fog
are focused on sales. Readers should not

mistake my observations as praise of the
TV industry. The opposite is true. It is my
belief that trust between entertainer and
audience is a basic responsibility of entertainment, and that the misapplication
of entertainment to news does the community a disservice. Nevertheless, infotainment exists, and increases viewership. As a
result, TV stations misapply entertainment
techniques.
NETWORK NEWS
Infotainment isnt restricted to the local level. Even the network TV nightly newscasts have
placed a toe into the entertainment waters.
Of the three network TV nightly newscasts, the CBS Evening News is perhaps the
most traditional. It begins with anchor Dan Rather seated behind a desk. Most of the
presentation is serious, until it is time for a commercial break. One night, to prevent the
audience from changing channels, Rather sent the broadcast to commercial with the following teaser: Prescription drugs . . . are they overpriced? You may turn purple when
you hear the next report. The next night, the teaser was, Genetically altered salmon.
What will happen if they ever get to your dinner table?
ABCs World News Tonight has a slightly more upbeat presentation. It begins each
broadcast with attention-catching phrases that suggest the stories to follow. On one
night, those phrases included No Warning, Zero Tolerance, and Seeking Justice.
In addition, the screen graphics display some movement whenever the anchor is on
screen.
At NBC, The Nightly News begins, like the ABC broadcast, with several short phrases.
Samples included Dangerous Delivery, War of Words, and Hidden Dangers. In an
attempt to make his presence less static, anchor Tom Brokow has moved out from behind
a desk, and faces the camera. As on World News Tonight, the graphics behind him add
subtle movement.
On the morning news circuit, NBC built The Today Show into an entertainment powerhouse. The thrust of the show is light on news, with short news interviews and breezy infotainment segments. The result has been a drift away from true journalism. As The Today
Show host Matt Lauer himself explained: The audience has made us personalities, and
sometimes they demand things of us that dont follow the strict standards of journalism.
It must work. The Today Show generated $450 million in annual revenue for 2000.27
In one month, January 2002, Today scored an average rating share of 5.9 million viewers,
making it the strongest of all the morning shows. The next most watched show was ABCs
Good Morning America, with an average of 4.5 million viewers. Of the three networks,
CBS trailed, its Early Show averaging 2.5 million total viewers. But regardless of individual ratings, when combined, 12.9 million people tuned in to these shows.28
CABLE NEWS CHANNELS
Perhaps the best application of infotainment can be found in the presentation of news at
the Fox News Channel (FNC). FNC programming displays an irreverent humor, with puns
in their titles, video game style graphics, and news anchors who have personality and are
not afraid to show it. Viewers are encouraged to call in and are heard on the air.29
FNCs signature news show, The Fox Report, presents news dressed up as entertainment. It features staccato pacing, hyperactive graphics, and a sharp, stylistic look. It is
news tailored to the quickened pace of Generations X and Y. Host Shepard Smith, a veteran of the local news format, raises his voice a few decibels above the soft-spoken tone
usually adopted by news anchors. He speaks in staccato bursts, offering phrases such as
A street called Wall as an introduction to the stock market report, and The G-Block,
as he calls the entertainment news segment.
Smith intentionally focuses on keeping his show lively. He covers more stories in an
hour than most news shows, all packaged with catchy buzz phrases and stimulating video
clips, and announcing important facts with musical motives. And it works. The Nov. 2001
Nielson figures gave it a rating of 1.4 million viewers, and climbing.30
Another example can be found in the use of music on The Fox Sunday News (FSN).
In a manner similar to advertising techniques, FSN humorously places songs at the end
of each segment. For example, when the topic concerned two formerly political allies
who had a falling out, the song played was Neil Sedakas Breakin Up Is Hard to Do.
In another instance, Would I Lie to You by Annie Lennox could be heard after segment showcasing some promises offered by various politicians. During a budgetary debate in which additional available funds were discovered, FSN played Steve Millers
Abracadabra.
Fox News Channels application of show biz techniques has worked. In three short
years, FNC has become a major competitor to the Cable News Network (CNN). Neilson
Media Research reported that among the demographic between the ages of 25 and 54, Foxs
viewership increased by 430 percent in just three years, while CNNs declined by 28 percent. By the first quarter of 2002, FNC had topped the cable news networks in primetime
and total day viewership per quarter, with viewership numbers up 81% from 2001.
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The Info-Fog
Meanwhile, in an attempt to stop the erosion to FNC, CNN revamped its stodgier looking Headlines News program, adding splashy graphics, rock music, and a video game
style look with multiple stories splashed on the screen. Jamie Kellner and Garth Ancier,
the two executives behind the change, explained the update by saying that they believed
that younger viewers want their news fast. As a result, reports were shortened and the
pace of delivery increased.31
Regardless of the success of the CNN makeover, or of future viewership numbers for
The Fox Report, or the success of any news network in general, I believe that the future
of news presentations is clear: it will entertain to inform.
And while news entertains to inform, entertainment informs to entertain. Perhaps the
biggest TV programming trend of the late 1990s to early 2000s was reality television,
shows in which people were filmed interacting in supposedly real-life situations. Two
early examples were MTVs The Real World and Foxs Cops. Both shows sought to capture reality, and in the process entertainmentized it. They were followed by the megahit
Survivor, and by other copycats including Big Brother, Blind Date, The Bachelor and The
Amazing Race. All of these shows aggressively blurred the line between entertainment
and information.
Businesstainment
With the rise of the Internet, brick and mortar storefronts have suddenly found themselves
competing against the urge to stay home. When Amazon.com can conveniently deliver a
book or CD overnight at a comparable, or lower, price, businesses have to create a reason to get people out of their homes and into their store. Often, businesses do this by creating an in-store experience so memorable that people want to visit them again. More
often than not, businesses create that feeling through entertainment. Entertainment provides an emotional hook that is unique to every business. When a business can engage
a person at a deeply personal, emotional level, the memory of the experience will stay
with the individual, and bring that person back again and again.
DISNEYLAND
Perhaps the first businessperson to recognize the value of an entertainment experience

was Walt Disney. The three-dimensional world that Disney created in Disneyland was
something entirely new. It not only provided rides, but it also immersed its visitors in
a three-dimensional world of sights, sounds, smells, things to touch, and emotion-based
triggers. As Walt Disney himself explained: I dont want the public to see the world they
live in while theyre in the Park. I want them to feel theyre in another world.32
Even though Walt Disney passed away in 1965, the tradition continues to this day at
the Disney theme parks. Jeff Kurtti of Walt Disney Imagineering offered this observation:
At its heart, the Disney park experience is that of storytelling. As an audience member,
you are participating as opposed to sitting in a chair watching it.33
Disneys theme park may have been the first to create a full experience for patrons,
but it is not the only entity to do so. Other amusement parks quickly adapted to become
theme parks. Universal Studios, Six Flags, Busch Gardens, and SeaWorld have all become fully enveloping experiences.
RESTAURANTS
Although Disneyland may have gained the most attention, restaurateurs have been entertaining for years. Chefs know that the look of the plate matters as much, and sometimes
more, than the taste of the food. From food presentation to entertainment is a small leap,
and many restaurants made that leap years ago. Whether the motif is the sea, the Australian outback, Hollywood, rock and roll, or blues, restaurateurs design their buildings
like stage sets. Several restaurant chains have even established show kitchens by placing the kitchen in plain view. Some restaurants have gone so far as to place the servers
in show roles.
Skeptics reading this may ask, But what about those themed restaurants that have had
financial troubles? It is true that themeing cannot flavor ordinary food. It cannot hide
overly inflated prices, but when the food is great and the price is reasonable for the value,
entertainment themeing is often the critical difference in restaurant success.
Restaurant themeing is not limited to fancy establishments. McDonalds, Burger King,
Wendys, and the other major fast food chains are heavily themed to entertain children.
All the major chains sponsor tie-in promotions to Hollywoods latest kid-friendly films.
Many of them have playgrounds for the kids. Their childrens meals are packaged with toys.
Most will host childrens birthday parties. All these techniques allow the restaurants to
become more than a restaurant; they have become an entertaining experience. In a way,
the Broadway style environment represented in the previously discussed McDonalds
commercial has come into being.
RETAIL
Retail establishments have also added entertainment elements. Nike stores offer one
example. With its trendy look, bold accents, sports photos, and video walls, Nike stores
reinforce the brands Just do it! image.
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Where Nikes presentation is high tech, Wal-Marts is low tech, but nevertheless highly
themed. The superstore-warehouse look is intentional. Its stage suggests plenty of stock,
helpful informality, and low prices.
An excellent retail example can be seen in the Virgin Records Megastores. Rather
than just selling CDs and audiotapes, these stores are a music theme park. Virgin Records
Megastores are usually multilevel. They offer a huge selection of CDs, a wall of listening
stations, separate rooms for different kinds of music, computer software, and childrens
sections, reading areas, and an upscale coffee shop. It doesnt really matter that the overly
loud background music prevents you from sitting and reading. It is enough that the sitting area looks impressive. The total experience is what matters, and the sum of the experience is greater than any of the details.
SPORTS
Sports have also been entertainmentized. The National Football Leagues Superbowl, with
its mega-extravaganza half-time show (and pregame show), flashy graphics, and the debut
of Hollywoods newest commercials is about much more than football. It is an entertainment.
On a more regular basis, the National Basketball Association (NBA) entertains at
every game. Players enter the arena through fog, flashing lights, and pulsating music. The
cheerleading squad performs dance steps worthy of a Broadway show. The players also,
sometimes unfortunately, have become a show unto themselves.
Edutainment
Another area that has successfully harnessed entertainment is edutainment. In edutainment,
show biz techniques are melded with education to capture and maintain attention.
SESAME STREET
Perhaps the father of edutainment was Sesame Street. It was created in 1969 by Joan Gantz
Cooney, Jeff Moss, Jim Henson, and a team of young writers, most of whom did not have
children, but who understood entertainment. It was the first TV program to use show biz
techniques to capture and maintain attention; and to use song and dance, skits, and rhymes
to teach.
Interestingly, Sesame Street was patterned after a then popular TV show, Rowan and
Martins Laugh-In. Laugh-In was a maniacally fast paced, short segment, series of jokes
strung together around a specific subject in recurring segments, all themed to the hippie generation. Two ironies come to mind when discussing Laugh-In. The first is the fact
that it was the only show to have gotten future President Richard Nixon to say, Sock it
to me. The second is that, despite its love-in texture, its material and pacing came straight
out of live vaudeville theater. In fact, most of Laugh-Ins recurring gags were simply repeats of old comic lines given a hippie twist. In this way, Sesame Street owes its concept
directly to show business. The connection is so close that a former comedy writer, Michael
Loman, is Sesame Streets executive producer.34
Originally, Sesame Street was aimed at an audience of three- to five-year-olds, with
the stated purpose of educating poor children who didnt go to preschool. But two-yearolds sitting at home had a different idea. They took to the show, and are now its primary
audience.35
In addition to getting younger, Sesame Street has discovered that the attention span of
its two-year-old audience has shrunk. Sesame Street, as a result, changed its basic structure in 2002. For years, Sesame Street focused on one street story interspersed throughout
the entire program. The restructured version of the show features stories told in 10-minute
blocks.36 Its shorter stories are tailor made for the shorter attention spans of todays
children.
This attention to both the entertainment and education needs of its audience has
made Sesame Street a continued success, both as an entertainment and as a tool for increasing its audiences reading and learning skills.37
SCHOOLHOUSE ROCK
Created by George Yohe and George Newall, Schoolhouse Rock relied heavily on entertainment. Both Yohe and Newall were executives at New York ad agency McCaffrey & McCall, and thus were familiar with the use of entertainment techniques. The co-chairman
of the agency, David McCall, noticed that his son could sing every Beatles lyric but couldnt
remember multiplication tables. He asked Newall, who also played jazz piano, if multiplication tables set to music would help his son learn. Newall agreed to try. He formed a
team that created a song about counting: Three Is a Magic Number. The song worked
for McCalls son. Convinced of the value of their idea, they produced a record album. Its
sales were lackluster.
Yohe, McCaffrer & McCalls other creative directors then became involved. Yohe supplied some drawings and Three Is a Magic Number became a three-minute animated
short. The resulting video worked so well that it attracted the attention of an agency client,
Michael Eisner, then the head of ABCs children programming. (Later, Eisner would go
on to success in Walt Disneys old job as CEO of the Walt Disney Company.) ABC quickly
bought the concept and Eisner placed it on the air in three-minute segments, sandwiched
between ABCs Saturday morning cartoon segments.
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The Info-Fog
Over a period of 12 years, from 1973 through 1985, 41 segments were produced on
a variety of subjects in four categories: Multiplication Rock, Grammar Rock, America
Rock, and Science Rock. The end result was a television icon that, at its peak, rivaled
Sesame Streets success. Not surprisingly, the ad men had a hit. According to Newall, More
kids saw Schoolhouse Rock than ever watched Sesame Street, and the big irony is that it
was all done by a bunch of ad guys in their spare time.38
BLUES CLUES
Another show that teaches through entertainment is Blues Clues. The show, about a blue
puppy named Blue, helps prepare children for kindergarten and the first grade. It entertains through a highly interactive game show format and animated characters. In fact, the
only nonanimated character is the host. All the action takes place in Blues animated
world as the host helps the young viewers solve Blues clues.
The action begins when Blue leaves a pawprint on three items, each one being a clue
to what she wants to do that day. The host will look directly into the camera and ask questions that help the young viewers process the clues. After the puzzles have been solved,
the preschool viewers help the host determine what Blue wants.
Perhaps the most unusual fact about Blues Clues is that the same episode airs every
day for a week. The repetition allows the preschoolers to figure out the clues, and learn
the lessons embedded in the content. Blues Clues made its debut in 1996 on Nickelodeon
as part of the Nick Jr. preschool programming block, and has won numerous awards, including the Television Critics Award for Outstanding Childrens show in 1998 and 1999,
and a 2001 Peabody award.
THE BLUES SCHOOLHOUSE
The combining of entertainment and education is not limited to TV. Many educational
providers have discovered the teaching advantages of entertainment techniques. One excellent example comes from the restaurant chain created by Dan Aykroyd, the House of
Blues, and its educational program, The Blues SchoolHouse. Part of the International House
of Blues Foundation, The Blues SchoolHouse performs for school age children in House of
Blues restaurant locations. In 2001 alone, The Blues SchoolHouse was presented to more
than 38,500 students and teachers.
The show intertwines the history of American Blues, the history and culture of AfricanAmericans, and the struggles for, and success in, achieving equality. The show ends with
the inspirational message that every voice matters; that each and every student has a fu-
ture; and that no one should let his or her voice go to waste. It is a truly uplifting and entertaining performance that captivates the students lucky enough to attend.39
ENTERTAINMENT ARRIVES
The importance of shows such as Sesame Street, Schoolhouse Rock, and The Blues SchoolHouse cannot be overstated. Sesame Street and Schoolhouse Rock raised the bar, not just
for kids, but also for all those former kids who grew up watching them. They proved that
edutainment was both possible and preferable. Experiences such as The Blues SchoolHouse continue that lesson today, proving to kids, who grow up and become the adults of
todays workforce, that learning doesnt have to be boring.
The Internet places additional challenges in front of live instruction. As Michael Wolf
explained:
The Internet brings value in ways that more traditional entertainment
forms cannot easily duplicate. No other media format can provide such a
broad array and depth of content on demand. As the Net embraces entertainment, it will be superior in offering us fun on demand, making it more
powerfully attractive for audiences who want to control what they see
and the doses in which they want to see it.40
If screen-based learning is fun and classroom-based learning is not, the future of

classroom-based learning may be bleak. When you consider the amount of entertainment
learning channels on TV, and the speed at which information is available on the Internet, you begin to see a future in which on-line instruction becomes the norm and live
instruction fights a continuous battle for relevance. I believe that trainers will find their
clout diminishing as more and more learning situations transition to computer and Webbased learning. Although trainers cannot compete with the ease and wealth of information available on line, they can compete and succeed in creating one-of-a-kind events
that captivate as they teach.
Fortunately, the desire to gather and socialize, begun as stories around the cave fire,
remains. This basic fact of human nature is an advantage for live instruction. People want
to share pleasurable experiences. Its not an accident that comedies are funnier in the
theater than they are on a TV at home; and that when we do see something funny in the
privacy of our homes, we feel compelled to tell others what we saw.
Entertainment has always been communal. People want to share it. And exceptional
live instruction offers something that e-learning cannot, an emotional, pleasurable, communal experience.
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The Info-Fog

CUE CARD: Live instruction

offers an emotional, pleasurable,

communal

experience.

In this context, the trainers challenge is to make classroom instruction equal in entertainment value to screen-based versions, to lift classroom instruction from expected to exceptional, from required to desired, from painful to pleasurablein short, to make it fun!
For I believe the future of live instruction lies in enjoyment, and the delivery vehicle is
entertainment.

Sylwester, Robert (1995). A Celebration of Neurons: An Educators Guide to the Human Brain. Alexandria, VA: ASCD.
3 Ibid.
4 U.S. Department of Labor, Bureau of Labor Statistics.
5 Ibid.
7 Ibid.
8 Ibid.
9 Ibid.
11 Sullivan, Luke (1998). Hey Whipple, Squeeze This: A Guide to Creating Great Ads. New York: John Wiley
& Sons.
12 Gladwell, Malcolm (2000). The Tipping Point: How Little Things Can Make a Big Difference. Boston:
Little, Brown and Company.
13 Wolf, Michael J. (1999).
14 Morreall, John, Ph.D. (1997). Humor Works. Amherst, MA: HRD Press.
15 Ibid.
16 Sullivan, Luke (1998).
17 Ibid.
18 Well, M. USA Today, May 24, 1999.
19 Stewart, David W., Farmer, Kenneth M., and Stannard, Charles I. (1990). University of Southern California School of Business, Journal of Advertising Research, AugSep, 30(4):3948.
20 Boltz, M., Schulkind, M., and Kantra, S. Memory and Cognition, 1991; Nov, 19(6):593606.
21 Thomas, Tony (1997). Music for the Movies, 2nd edit. Los Angeles: Silman-James Press.
22 Millbower, Lenn (2000). Training with a Beat: The Teaching Power of Music. Sterling, VA: Stylus.
23 Smith, Jeff (1998). The Sounds of Commerce: Marketing Popular Music Film Music. New York: Columbia
University Press.
24 Audit Bureau of Circulations, Schaumburg, IL.
2
25
Robin Chapman, Orlando Sentinel, 8/12/01.

Gladwell, Malcolm (2000).
27 Hal Boedeker, Orlando Sentinel, January 2, 2001.
28 <www.variety.com>.
29 Marshall Sella, The New York Times Sunday magazine, June 24, 01.
30 Orlando Sentinel, 12/09/01.
31 Jim Rutenberg, College Times, The New York Times, 8/5/01.
33 Kurtti, Jeff Quoted by Lanza, Joseph (1994). Elevator Music: A Surreal History of Muzak, Easy Listening,
and Other Moodsong. New York: Picador USA.
34 The New York Times, AP, Feb. 5, 2002.
35 Ibid.
36 Ibid.
37 Gladwell, Malcolm (2000).
38 <www.nethomeschool.com/schoolhouserock/history.htm>
39 For more information about The Blues SchoolHouse please contact the International House of Blues
Foundation 6255 Sunset Boulevard, 18th Floor, Hollywood, CA 90028, (323) 7694901.
26
59
CHAPTER FOUR
LEARNERTAINMENT
GOOD FUN
Her name was Roach. And boy, did it fit. She masqueraded as a sixth grade
teacher, but to him, she was a bug. Her glasses made her eyes real big, black,
multifaceted, like a bug. Her speech sounded whiny, like a bug. As she
walked up and down the aisles, you could hear her move toward you and
away, like a bug circling a light. You could almost see the students recoil,
afraid that she was going to strike.
He wasnt a bad student. On the contrary, he was exceptional. He always
did his homework. He turned it in on time, sometimes even early.
In reading, he was ahead of the class. He would read all the stories in
the book, even if they werent assigned. Its not that he understood them all.
He didnt. But, unlike Roach, they sparked his imagination. Besides, it was
better than paying attention to the bugs buzz.
He did well in history, but not the facts kind. It didnt matter to him
when Columbus sailed the ocean, or what color the ocean was. He saw the
adventure of sailing to the end of the world in his head, and wanted to talk
about that. Unfortunately, Roach focused on when, and then scurried away.
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One time, he had tried to make history interesting. After visiting an Old
West style theme park, he proposed to Roach that the class recreate a Western
town of their own. She looked at him like he was a can of Raid. He never
offered an idea again. That is, until today.
The world outside the classroom was so much more interesting. Out there,
he imagined a whole world as he watched TV, went to the movies, played
video games, and surfed the Internet. He did all these things, but what he
could not do was sit still while Roach buzzed.
Today was Friday. He looked out the classrooms big windows. It was
the first nice spring day, and gorgeous outside. He couldnt wait for 3:30.
If only he had a teacher remote control. What a remote control that would
be, he thought. One click and she could be muted. Another, and she could
be shut off.
He looked at the clock. It ticked slowly.
3:25 . . . 3:26 . . . 3:27 . . . 3:28 . . . 3:28 and a half, 3:29 . . . but
something was wrong. She wasnt stopping.
3:29 and a half, 3:30 . . .
Finally, he had had enough. He raised his hand. Roach called on him,
and he said, Miss Roach, dont forget, we leave at 3:30. She gave him her
Roach startled look, and responded, Yes, you are right. It is 3:30. Class is
dismissed.
He stood up to leave. Finally, he shouted to himself.
All except for you, Roach continued, pointing at him. You will stay.
What did I do? It WAS time to leave. He thought. Dejectedly, he sat
back down as his classmates ran out of the room.
Once they had all left, Roach explained that he was to be punished for
his imprudence. He would have to stay an additional 15 minutes. For each
of those 15 minutes, he would have to write on the board, I will show more
respect in class. Once that was done, he was to smack the chalk out of the
erasers.
He argued, to no avail. Roach just responded that the longer he argued,
the later he would stay. So, he stopped talking, and began writing. He got
through the 15 sentences fairly quickly, with little focus on the words.
He then opened a window and began clapping the erasers together. The
chalk billowed and rose. They looked like miniature . . . clouds! He was
creating clouds! He watched them float and fall. Now, this is interesting,
he thought. He was suddenly having fun. As he played he wondered, Why
is it that you get to have fun when the teacher thinks youre bad? Wouldnt
it be great if school could be fun when youre good?
Learnertainment
Seeing is believing,
but feelings the truth.PLUTARCH
n the last chapter, we concluded our examination of the factors distracting todays learners. We discovered that an info-fog exists, and that to be successful, entities must cut
through that fog. We also determined that entertainment has enveloped many facets of
society. Finally, we learned that these factors place live instruction at risk.
In this chapter, we begin examining an entertainment-based solution. We intend to do
this by exploring the ways in which our brains take in information. Ultimately for learning to occur, a trainer must influence thinking, and to influence thinking, a trainer should
know how the learners think.
We will provide a general overview of our brain systems, explore the role of emotions
in creating memories, examine a learning system focused on engaging those emotions,
and discover the amazing connection between entertainment and learning. We will learn
how entertainmenet enhances the learning environment, and conclude with the basic
tenets of Show Biz Training.
We begin with the source of thought: the brain.
BRAIN BASICS
The human brain is an amazing organ:

>
It weighs about 3 pounds.2
>
It occupies 2 percent of our weight.3
>
It uses 20 percent of our energy.4
>
It has a trillion cells.5
>
Its cells are capable of connecting with a hundred thousand other cells.6
>
It contains one hundred billion neurons.7
>
There are more possible interconnections between these neurons than there are
atoms in the universe.8
>
All the worlds telephone connections would have to be recreated 1,349 times
to equal the total number of possible brain connections.9
>
It can record a thousand new bits of information every second of our lives.10
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The Info-Fog
These facts can amaze, but pale in comparison to another, more alarming fact: We use less
than 10 percent of our brains capacity! Many of us use just 1 percent or less!11 That underutilization can, in part, be explained in one word: survival.
The Role of Survival
Survival is the baseline concern of our brain. Without survival, learning is irrelevant. Our
brain knows this. In fact, it never stops focusing on survival. Even those higher order
components of the brain responsible for logic and the arts will refocus in a split second
if the brain perceives a threat.
This dynamic cannot be ignored in the classroom. Ideas, and the intellectual application of those ideas, are important, but are of little consequence to a brain searching for
potential threats. It is therefore useful to consider the ways in which our brain functions,
and how the mere possibility of danger impedes learning.
One note of caution should be added before we proceed. Research into human brain
functioning has come a long way in the last century. We do have a general idea of what
happens within the brain, but no one knows exactly how it functions. There are no absolutes. To help us understand basic brain processing, we can, however, make educated
generalizations. With that qualifier in mind, lets examine what we think we know.
The Brain Scouts
The human brain must scan its surroundings for signs of danger, but cannot physically do
so alone. It has no direct connection with the outside world. Instead, the brain gathers
information from a number of scouts, perhaps the most basic of which is our skin.
THE SKIN
In a way, our skin and brain are twins. They both emerged out of our embryonic self. Two
weeks after conception, a layer of embryonic tissue begins to develop in two different
ways, with skin developing on one side, and the brain on the other.12 Its an entirely
logical growth pattern when you consider that our skin helps our brain connect with
the physical world.
THE TASTE BUDS AND SCENT GLANDS
Our taste buds and scent glands are subtle but important information gatherers. They warn
us of potential danger in the air that we breathe or in the food that we eat. Odor has, in
Learnertainment
fact, been proven to affect levels of relaxation and agitation, disrupt sleep, improve performance, and help people relax.13 Our sense of taste makes one of lifes most basic requirements, nourishment, such a pleasurable experience that we continually seek it out.
THE EYES AND EARS
Two other information gatherers allow our brain to extend its reach outside of our body:
our ears and eyes. Our ears tell us the volume, pitch, and timbre of sound waves that
bounce up against our bodies, in the process helping our brain identify the direction and
intensity. Our eyes, perhaps the most important of our brain scouts, allow us to picture
what the world around us looks like.
Taken all together, thats it: the sum total of the ways in which our brain scouts out
the information it needs to help us survive and prosper, five different methods that allow
us to make sense of our world. We now move from the brain scouts to the brain itself,
starting with the cerebellum.
The Cerebellum
There is an internal partner to the five senses that serves basic but critical functions. The
cerebellum, located at the back of the brain, controls our automatic motor systems so that
we can focus our attention outward rather than inward.
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The Info-Fog
The Brain Stem

As information is gathered by the external scouts, it travels through the body, to the spinal
cord, and up to the brain. The lowermost portion of the brain is the brain stem. This region, perhaps our ancient ancestors original brain, emerges out of our spinal column. Its
functions include controlling our breathing, pulse, and heart rate, and our fight-or-flight
instincts.
It also collects information from our skin. Input gathered on our skin makes its way
to the spinal column, and then up into the brain stem. The brain stem does not think
about the information it receives. Owing to its limited processing power, the brain stem
is primarily concerned with ordering this information for processing in the brains higher
regions.
The Limbic System
Wrapped around our brain stem is the limbic system. The phrase limbic system is
actually a catchall identifier for several small structures, each approximately the size of
a grape, that emerge out of our brain stem.
THE THALAMUS AND HYPOTHALAMUS
At the top of our brain stem, the thalamus and hypothalamus function as relay stations. The
thalamus focuses on the external environment. It functions as a relay for the information
gathered from the senses to the brain. The hypothalamus serves a similar function by
monitoring body systems and informing the brain about the internal state of our body.14
THE RETICULAR FORMATION
The reticular formation, at the upper end of our brain stem, sorts the incoming sensory
information relayed to it by the thalamus and hypothalamus, determining which input
deserves the most attention, and which the least.15
THE AMYGDALA
Next to the hypothalamus lies the amygdala. With a general level of attention indicated
by our reticular formation, the amygdala swings into action. Its job is to process the stimulis emotional implications. To do this, it evaluates information sent to it in the context
of that informations potential for danger. It then begins to initiate what it perceives to be
appropriate emotional responses.16
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THE HIPPOCAMPUS
The hippocampus, behind the amygdala, begins selecting facts and situations that could
be important in the future, or are likely to recur, and sends them to other regions of the
brain so that they can join related information in long-term memory.17
Up to this point, most of the incoming information has been dealt with on an instinctual, organizational, or emotional level. This is an important point that we return to later,
but for now, we continue our journey upward into higher brain functions.
The Neocortex
As the information travels into our cerebral cortex thought begins to influence decisions. It is at this level that most instruction functions. Table 4-1 lists some facts about
the neocortex.
THE TWO HEMISPHERES
Our neocortex consists of a left and a right hemisphere, attached by connecting tissue,
the corpus callosum. The corpus callosum provides a communications bridge between the
two halves.18 The two hemispheres need all the communication help they can get, as they
perceive very little in the same manner. They resemble two siblings whose experience is
the same, but who rarely agree about what they experienced. When joined together by
the corpus callosum, the two hemispheres are able to comprehend simultaneously the
details and the context.
NEOCORTEX FACTS
word neocortex comes from the ancient Latin, meaning bask.1
neocortex is a 1/4-inch thick, wrinkled, skin-like tissue layer.2
> The neocortex would be about the size of an office desk when spread out.3
> The neocortex occupies five-sixths of the human brain.4
> The
> The
Ayto, J. (1990). Dictionary of Word Origins. New York: Arcade Publishing.
Jensen, Eric. (1998). Introduction to Brain Compatible Learning. San Diego: The Brain Store.
Merriam, Sharan B., and Caffarella, Rosemary, S. (1999). Learning in Adulthood: A Comprehensive
Guide. San Francisco: Jossey-Bass.
Caine, Renate Nummela, and Caine, Geoffrey. (1991). Making Connections: Teaching and the Human
Brain. Parsippany, NJ: Dale Seymour Publications.
TABLE 4-1
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The Info-Fog
HEMISPHERIC COMPARISON CHART

THE LEFT HEMISPHERE IS:
THE RIGHT HEMISPHERE IS:
Sequential
Metaphorical
Factual
Cerebral
Controlled
Emotional
Rational
Emphatic
Structured
Spontaneous
Theoretical
Experimental
Objective
Subjective
Analytical
Synthesizing
Logical
Intuitive
Detailed
Patterned
Positive emotion
Negative emotion
TABLE 4-2
As shown in Tables 4-2 and 4-3, where the left hemisphere thinks logically; the right
thinks holistically. The left is sequential; the right is random. The left analyzes; the
right synthesizes. The left comprehends words; the right comprehends metaphors. The
left examines what is said; the right discerns how it is said. The left focuses on facts and
details; the right focuses on stories and visuals.
This duality allows the brain to size up unknown situations quickly. The right hemisphere surveys the big picture and looks for possible hints of trouble. Meanwhile, the left
hemisphere analyzes the potential threats, and if no threat is present, looks for the positive aspects of the situation. As Robert Sylwester describes it:
The right hemisphere processes the negatives aspects of emotion that lead
to withdrawal behaviors (e.g., fear, disgust), while the left hemisphere
processes the positive aspects that lead to approaching behaviors (e.g.,
laughter and joy). Strong feelings tend to be negative, probably because
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its more important for the brain

to communicate that a problem exists than to say that everything is
okay.19
Interestingly enough, research has determined that when the incoming information
doesnt fit any recognizable pattern, our
brain tags the information as a potential
threat. Immediately, the brain is on alert.
If the right hemisphere perceives the information as negative, it directs the release of
cortisol. If the left hemisphere determines
the information as positive, adrenaline is
released. Both of these brain chemicals fix memories into our brain, allowing us to remember the events for years afterwards.20
Frontal Lobes
Within the neocortex are the frontal lobes. They are larger than the capacity needed for
day-to-day activity.21 In other words, we all walk around with extra firepower available to
us. This extra firepower comes to the fore when survival seems threatened. During situations where the limbic system and brain stem send emotional snap judgments to our neocortex, the frontal lobes evaluate, and in some cases overrule the emotional responses.22
In many ways, the brain is complicated. But taken as a whole, it functions quite logically. Imagine the brain as a prison-yard searchlight, using the five senses to scan the landscape continually for danger. When it sees danger, it stops searching and focuses tightly
on the perceived threat. If the threat turns out to be unimportant, the brain continues its
search. All this survival energy is unconscious. It exists below or level of awareness, but
it dictates much of our behavior.

CUE
CARD:
The

for
danger

search

our
behavior.

dictates

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The Info-Fog
MOVIES IN THE MIND

BRAIN STRUCTURE
FUNCTION
MOVIE RESPONSE
Cerebellum
Controls the automatic

motor system.
Allows you to eat your popcorn

unconsciously.
Brain Stem
Conduit for incoming

information.
Absorbs the movies audio vibrations, and

the vibrations you feel when the person
behind you kicks the back of your seat.
Reticular
formation
Integrates the amount

and type of incoming
information into general
levels of attention.
Suggests that the movie deserves more

attention than the popcorn, but the seat
kicker is a potential threat.
Hypothalamus
(limbic system)
Monitors internal
regulatory systems,
informs our brain of
internal systems status.
Reminds you of the restroom visit you

should make.
Thalamus
(limbic system)
Relay center for

incoming sensory
information, informs our
brain about whats
happening outside our
body.
Tells you that the popcorn bag is empty,

but the seat kicking continues.
Amygdala
(limbic system)
Processes emotion,
filters and interprets
incoming sensory
information in the
context of our survival
and emotional needs,
helps initiate
appropriate responses.
Feels the emotional content of the film,

and builds anger towards the chair kicker.
Hippocampus
(limbic system)
Classifies and stores

selected memories in
appropriate memory
networks.
Sorts and stores the movie character

names and story details.
Left hemisphere
(neocortex)
Analyzes, processes
information sequentially,
processes the positive
impacts of emotion.
Comprehends the sequential details of the

story and decides you should visit the
restroom and buy more popcorn on the
way back to your seat.
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Right hemisphere
(neocortex)
Syntheses, processes
information conceptually,
processes the negative
aspects of emotion.
Evaluates the story for conceptual validity

and, as you return to your seat, causes you
to lash out at in anger at the seat kicker.
Corpus callosum
Allows the two

hemispheres to
communicate and
collaborate.
Helps the hemispheres match the details to

the concept as you enjoy your popcorn
without distraction.
TABLE 4-3
SUGGESTOPEDIA
A learning theory that engages this unconscious region of the brain is Dr. Giorgi Lozanovs
Suggestopedia. Working as psychotherapist 1950s Bulgaria, Lozanov studied the mediation, concentration, and self-discipline exercises that are staples of yoga. He noticed the
psychophysiological changes in pulse and brain waves that occurred with each yoga posture, the relationship between the Savasana posture and the state of relaxation, and the
effects of breathing exercises and mental concentration. From his studies, he concluded
that yogis were able to tap into reserves beyond those utilized in most learning environments. Lozanov then designed a holistic learning method to activate those brain reserves.
In explaining Suggestopedia, Lozanov stated: One of the most important tasks of
Suggestopedy has been to free and to explain to all students that human capabilities are
much greater than expected, and to provide liberating-stimulating methods to bring these
locked-up human resources into play.23
An overview of Lozanovs theory can be stated in three major points:
>
Adults have memory reserves developed during childhood but forgotten in adulthood. An atmosphere of playfulness taps into those reserves.
>
Adults bring personal learning barriers into the classroom with them. Facilitators should create an aura of joyfulness, and then use that aura to suggest positive learning outcomes.
>
Adults react to information on many levels simultaneously, both consciously

and paraconsciously. All the signals in a classroom should be in concert with
the learning goal.
An Atmosphere of Playfulness
Lozanov focused on the paraconscious, those human brain functions normally beyond
conscious control. He believed that adults have forgotten learning capabilities they had
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The Info-Fog
developed during childhood, but then abandoned in a push toward adultness. He called
these capacities hidden reserves. He believed that, although dormant, these hidden reserves can be tapped into when the right conditions are present. Suggestopedia, as Lozanov
called his method, was designed to tap those reserves. Lozanov believed that once those
reserves were accessed, the learners memory would be stimulated, and memory retention
would increase.
Lozanov recommended creating an atmosphere of playfulness through the use of the
arts. A typical Suggestopedic class would include information presented with Baroque
music accompaniment, colorful artwork on display, rhymes and songs, play acting, and
other emotive devices. The use of these techniques was specifically designed to awaken
the right cerebral hemisphere. As Lozanov himself explained it: Lifes experience and ones
intellectual abilities are not reduced but rather supplemented by the plastic qualities of
the earlier age periods, since these are liberated to a considerable extent.24
In this way, Lozanov believed he could increase the amount of brainpower applied to
learning.
An Aura of Joyfulness
Lozanov believed that adult suspicions about the classroom, documented in Chapter 1,
The Distracted Learner, block learning. He viewed a joyful attitude on the part of the
instructor; one in which the instructor positively suggested relaxed and tension-free
learning as the key to transcending inhibitions.
It is important to note the use of the word suggestion. Lozanov defined suggestion as
a constant communicative factor which chiefly through paraconscious mental activity can
create conditions for tapping the functional reserve capacities.25
Lozanov felt that dictates would be doomed to failure, and that positive, subtle, repeated suggestion, or focused positive attention, would create an atmosphere in which
learners would believe in themselves and embrace the learning.
Lozanov also hypothesized that suggestion is more easily accepted if the learner can
be placed in a deeply relaxed condition, like the conditions created by yoga. He would
use muscle relaxation techniques, deep breathing exercises, Baroque background music,
and almost hypnotic recitations of learning material to reach the reserve capabilities.
Signals in Concert
Lozanov believed that all the elements of the learning environment must be in sync with
the message of the instruction. In Lozanovs words, the classroom environment is an enormous signaling stream of diverse stimuli which, unconsciously or semiconsciously, are
Learnertainment
emitted from or perceived by the personality.26 He believed that any items out of sync,
be they drab walls, workbooks with misspellings, a trainer who continually checks the
clock, or even a momentary hesitation on the part of the trainer may go unnoticed consciously, but will speak volumes about the instruction on a subsconcious level. That
subsconcious message will affect moods, relationships, decisions, and even the importance the instructor places on the instruction itself. To guard against contradictory signals,
Lozanov placed great value on orchestrating every element of the environment, so that,
regardless of the level, the instruction is congruent with itself.27
What a Suggestopedic Class Looks Like

Suggestopedic classrooms have a distinct look. A Suggestopedic learning design would
begin in a way in which the learning is imperceptible. It would include games, singing, and
dancing. If accompanied by a textbook, the text would look and read like a stage play. Positive emotions and energy would be exhibited by the trainer and passed on to the learners.
The class would seem more like purposeful play than hard learning.
Although it would appear at first glance that the pace of learning would be slow due
to the seemingly pointless playing, the truth is that, as the learners draw on more of their
brain fire power, the speed of learning accelerates beyond what would be possible in a
traditional facts-and-dates learning environment. This truth has propelled the theory into
some prominence in the business world, gaining wide popularity under the general umbrella title of Accelerated Learning. There are many books on the subject, whole corporate training programs built around Accelerated Learning, and organizations, such as
The International Alliance for Learning, devoted to the use of Suggestopedia.
LEARNERTAINMENT
The mind is like a sheet of white paper in this,

that the impressions it receives the oftenest, and retains the
longest, are the black ones.JULIUS C. HARE AND AGUSTUS W. HARE
28
We now apply what we have learned about brain functioning and Suggestopedia as we examine four steps in the learning process that form the basis for Learnertainment. The first
of those four steps follows.
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The Info-Fog
Emotion Creates Attention

The word emotion comes from the Latin exmovere, meaning to move out of, and to
agitate. Aristotle believed that people are persuaded not just by logic, but also through
emotion.29 Plato agreed when he said, All learning has an emotional base.30 Carl Jung
added, There can be no transforming of darkness into light and of apathy into movement
without emotion.31 They were correct in many ways. As we shall discover, emotions start
a chain of events that lead to persuasion.
For centuries, folklore stated that emotion was a creature of the heart. As science
gained ascendancy over folklore, it was argued that emotions were a brain function. More
recent research reveals that both folklore and science had it right. We have discovered
that emotion is in fact generated not just in our brain, but also in our immune and endocrine systems. Scientists have also discovered that emotions affect our whole body,
including our heart, lungs, stomach, and skin.32 If you think back through your own life
experience, you instinctively know this to be true. We have all felt the goosebumps of
fear, the sweat of nervousness, and the rapid breathing that comes from excitement. A
gut reaction is just that, an emotional signal from the gut.
The wisdom of gut reactions makes even more sense when you consider that the heart
starts beating in a human fetus before the brain is formed,33 and that, as the brain develops, it begins with the brain stem. From the brain stem, the emotional limbic system
emerges. Next, the thinking brain grows out of the emotional regions.34 Perhaps as a result, more neural connections go from the limbic system to the cortex than the other way
around.35 Certainly as a result, emotional reactions occur before we think. We feel first,
and think later.36
Learnertainment

CUE
CARD:
We
and
think

feel
first,

later.

As researchers Doc Childre, Howard Martin, and Donna Beech explained in their book,
The HeartMath Solution: Emotions are constantly regulating what we experience as
reality. The decision about what sensory information travels to our brain and what gets
filtered out depends on what signals the receptors (for emotion) are receiving.37
The bodys up-front focus on feelings is essential to our survival. In situations where
life or death stands in the balance, quick responses are critical. Emotion serves the purpose of identifying general threat levels. The emotional meaning in any situation captures
our attention and helps us make snap fight-or-flight decisions. Our brains are designed
to flee, or think the worst, at the first sign of danger.
This response is automatic. Although we may be able rationalize our emotions, we
can barely control them. They often control us. Sylwester explained it as follows: Our
attentional system separates foreground from background, and focuses on the foreground.
We dont consciously control the decision about whats important, the system will revert
to survival needsand well end up trampling the beautiful flowers at our feet in a mad
dash toward survival.38
Even when we overpower emotions with logic, the feelings that created the emotion
remain, perhaps forever.39
The next step in our cycle explores the ways in which the brain makes meaning out
of the attention it has focused.
Attention Creates Meaning
We have learned that the brain shifts into a heightened level of attention once danger is
suspected. This heightened level is difficult, if not impossible, to maintain for a long
period of time. To protect itself from overload, and to free up its capacity for the next potential threat, the brain searches for the meaning of the stimuli.
The brain explores our memories, searching for something to compare the present
stimuli to. The brain activates neurons that search through its networks for similar events.
Once a comparison is found, the brain concocts a mental concept or model to explain the
stimuli that confronts it. Through a comparative mental concept, the brain determines
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The Info-Fog
the appropriate response. This is not to suggest that we have made an intellectual decision. Rather, we have captured the general concept of what is happening, and respond
accordingly.40
While this process is occurring, the stimulus that captured our attention is held in
short-term memory. Short-term memory is that portion of our memory devoted to the things
we need to remember in the moment, but may not be significant in the long term. Our
short-term memory can store items for around 30 seconds. This memory is ever changing. As new bits of information come in, the new information replaces the old.41 When
the brain determines that the current information is, or may be, important to us in the future, the information is forwarded into long-term memory, as we explain in the next step
of the Learnertainment Chain.
Meaning Creates Memory
The memories we carry in our brains are of two types: doing or knowing memories.
Doing memory is the type of memory that allows your car to find its own way to work in
the morning. Obviously, the car doesnt drive itself, but you have little conscious awareness of having controlled the movement of your vehicle. You did it without awareness.
Doing memory comes about by repeating something so often that the brain can repeat the
procedure without our focusing attention on it.
Knowing memory is more complicated. Knowing memories are those memories in
which we are conscious of thinking about a subject. There are two kinds of knowing memory: short-term and long-term. Learning, if successful, resides in long-term memory.
Unlike short-term memory, long-term memory has an almost unlimited capacity. Longterm memories develop when the brain determines that the experience has emotional
meaning and might occur again.42
Learnertainment
We have discovered that emotion creates attention, attention creates meaning, and meaning creates memory. We have almost completed the loop, but must first consider methods
for generating the emotion that creates attention. Entertainment is one such source.
Entertainment Creates Emotion
What we learn with pleasure

we never forget.LOUIS MERCIER
43
Have you ever cried at the movies? Ever been scared by the bad guys? Ever felt moved
by the heros tenacity? Ever cheered the triumphal ending? Entertainment creates that
kind of emotion. And entertainment is everywhere in our modern world, except in most
of our classrooms.
In Chapters 1 through 3, we learned that people are faced with a glut of information
and choice, resulting in shortened attention spans. We also discovered that advertisers,
news, and businesses all use comedy, props, magic, and music to capture attention and
maintain interest. Finally, we determined that learning methods have not kept pace with
societal change, despite some entertainment inroads into educational venues.
We also studied the words of advertising executive Bill Bernach: The truth isnt the
truth until people believe you, and they cant believe you if they dont know what you are
saying, and they cant know what youre saying if they dont listen to you, and they wont
listen to you if youre not interesting, and you wont be interesting unless you say things
imaginatively, originally, freshly. 44
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The Info-Fog
If we reread the Bill Bernach quote, and place it in the context of a learning environment, we can see that the underlying point applies to learning. If the learners dont pay
attention to you, they cant hear what you say, and they wont pay attention to you if youre
not interesting, and you wont be interesting unless you present your information in an
original fashion. This need to engage people imaginatively, originally, and freshly raises an
important question: How do we teach learners to ignore the cell phones, stop humming
the jingles, and step away from the info-fog so that they can focus on our instruction? I
believe the answer is by capturing their attention and refocusing their energies through
the pleasant emotionally based content that results when you combine learning and entertainment into Learnertainment.
LEARNERTAINMENT WORKS
Learnertainment aids learning because:

>
Novelty cuts through the info-fog.
>
People expect to be entertained.
>
Entertainment engages the brain.
>
Entertainment overpowers negative emotion.
Novelty Cuts Through the Info-Fog

Novelty cuts through the info-fog because it attracts attention. In their book Making Connections, learning scholars Renate Nummela Caine and Geoffrey Caine make the point that
people are stimulated by novelty.45 And brain scholar Sylwester reported:
Learnertainment
Learning is not primarily dependent on a reward. In fact, ratsas well as

humanswill consistently seek new experiences and behaviors with no
perceivable reward of impetus. Experimental rats respond positively to
simple novelty. Studies confirm that the mere pursuit of information can
be valuable by itself and that humans are just as happy to seek novelty.46
From the entertainment field, but with the same sentiment, magician Sam Sharpe stated:
Variety, or anything that increases interest, helps to shorten the idea of time; whereas
monotony induces boredom and makes time drag.47 Comedic writer Thomas Hood added:
There are three things which the public will always clamor for, sooner or later: namely,
Novelty, novelty, novelty.48

CUE

People

CARD:
are
by

stimulated
novelty.

All of these statements have in common the viewpoint that people seek out the unusual.
Messages that are different from the norm have a greater chance of being noticed. If a
message is ordinary, but somehow becomes noticed, it will be regarded as mediocre, and
treated accordingly. Michael J. Wolf elaborated on this point in The Entertainment Economy: If my product seems as if it does the job and offers fun, an escape, absorbing information, you are going to choose it over another plain-vanilla one. The alternative
product may do the job but if it doesnt engage the emotions, it loses.49
Think of your classroom as a product. Is it the plain vanilla variety, or does it entice
your learners? If your teaching style is boring, it may be successful, but if it is filled with
novel, engaging learning connected stimuli, it will capture and maintain attention. As
Malcolm Gladwell, in The Tipping Point, explained it, By tinkering with the presentation of information, we can significantly improve its stickiness.50
People Expect to Be Entertained

We have become a service, rather than an industrial, society. One of the results of our
transformation from an industrial to a service model is a change in peoples expectations.
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The Info-Fog
In past generations, assembly-line style orderliness and a Yes Sir! willingness to follow commands were valued. Today, people instead focus on their individuals needs, with
little adherence to the dictates of others. They expect to be catered to, and will spend
more to patronize organizations that provide an enjoyable experience.
Wolf explained Fun, usually in the form of entertainment content (or, at the very
least, content that is entertaining), is an overriding cultural value among modern consumers. They expect it. They treat it as an entitlement, and they feel shortchanged when
they dont get it.51
To provide that fun, many organizations have entertainmentized their products. The
result is a culture in which the lines between entertainment and non-entertainment are
evaporating. As master showman Walt Disney once said about edutainment: We have
long held that the normal gap between what is generally regarded as entertainment and
what is defined educational represents an old and untenable viewpoint.52
Entertainment is becoming the norm. Shakespeare was correct. The world IS a
stage.
Entertainment Engages the Brain
Leonardo DaVinci believed that to learn a subject completely, a person had to perceive
the subject from at least three different perspectives.53 Learnertainment relies heavily on
multiple perspectives. Great entertainments routinely establish one perspective, and then,
once the audience has fully embraced it, reveal that perspective to be false. The surprises
of comedy, magic, and drama are all achieved in this manner. Using these entertainment
techniques, learners can explore the multiple perspectives of any subject.
Beyond multiple perspectives, Learnertainment engages the brain on multiple levels.
Psychologist Carl Rogers once wrote the following: Significant learning combines the
logical and the intuitive, the intellect and the feelings, the concept and the experience,
the idea and the meaning. When we learn in that way, we are whole.54
Trainers already have facts and figures at their disposal to be processed by the logical,
analytical portions of the brain. As with Suggestopedia, Learnertainment appeals to other
regions, the emotive portions of the brain. When several regions of the brain are simultaneously engaged, more neurons fire, more brainpower is at work, and greater illumination
of the subject at hand can be achieved. As a result learners receive not a one-dimensional view of the subject, but rather experience multilayered insights.
Learnertainment also engages the brain through physical movement. Carla Hannaford,
in her book Smart Moves, demonstrated that physical activity leads to the firing of more
neurons, which in turn leads to more available brain power for application to the subject
Learnertainment
at hand.55 From laughter, to applause, to toe tapping, to audience participation, much of

entertainment is based on physical movement. This physical movement wakes the brain
up, making it more amenable to learning.

CUE
appeals
CARD:
Entertainment

to
the

portions
of
the
brain.

emotive

Entertainment Engages Emotion

Emotion is a critical component of many memories.56 In his pioneering work Emotional
Intelligence, Daniel Goleman explained: We have two very different ways of knowing
the rational and the emotionalwhich are, for the most part, intertwined and exquisitely
coordinated; feelings are essential to thought, thought to feelings.57
Entertainment focuses on the emotional. Master magician Sam Sharpe captured the
point when he said, What is done with feeling; that is to say, artistically, becomes enjoyable and therefore eagerly acceptable.58 It is impossible to be entertained without
feeling emotion. And, by engaging learners emotionally, entertainment speaks to both
emotions and thought.

Entertainment
CUE
CARD:

speaks
to

emotions
and
thought.

both

Entertainment Overpowers Negative Emotion

Negative emotion rarely sleeps, especially in the classroom. The brains crisis prevention
focus often blocks learning. After all, a classroom can be an uncomfortable, almost foreign,
81
82
The Info-Fog
environment. The very act of learning, to some adults, implies a lack of completeness.
Learners suspicious of facilitator motives, or fearful of their own learning disabilities, can
become so wrapped up in their emotions that their mood prevents them from learning.
Given that emotion cannot be stopped, smart trainers find ways to harmonize with and
harness that emotional energy.
Studies have demonstrated that the right hemisphere processes the negatives aspects
of emotion that lead to withdrawal behaviors (e.g., fear, disgust), while the left hemisphere
processes the positive aspects that lead to approaching behaviors (e.g., laughter and
joy).59

CARD:
CUE

Entertainment
style

activities
calm

negative
emotion.

Learnertainment is geared toward relaxing

the fears that the limbic system urgently
relays to the right hemisphere. In effect,
entertainment style activities baby-sit the
right hemisphere, keeping it busy with things
it likes: cartoons, music, games, activities,
visuals. These kind of activities provide the
pessimistic right hemisphere with a positive context for the subject being taught.
Once the right hemisphere is playfully engaged, learning can commence without the
blocking negative emotion brings forth.
Learnertainment further reinforces this
dynamic by creating positive emotion for
the left hemisphere. It engages learners in an experience so enjoyable that attention is
riveted on the positive aspects of learning. Simultaneously, Learnertainment allows a trainer
to compete effectively with the quickened pace of life and overcome the info-fog that confronts all learners.
Learnertainment

CUE CARD: Playful engagement

rivets attention on the

learning.
positive
aspects
of

LEARNERTAINMENT PRINCIPLES
We have come to the conclusion of Act One. We have discovered the need for, and the
reasons behind, Learnertainment. It is now time to introduce the basic principles of
Learnertainment. They are:
Principle 1:
Principle 2:
Principle 3:
Principle 4:
Principle 5:
Principle 6:
Principle 7:
Principle 8:
Make it funcreate an atmosphere of playfulness.

Layer meaningpresent your message on several levels.
Cue the audioadd the auditory signal to the visual.
Evoke emotionengage your learners emotionally.
Direct attentionsuggest the outcomes you expect.
Stage the environmentorchestrate every detail of the environment.
Use mnemonicsprovide visual learning cues.
Stage the performerorchestrate every detail of your performer.
Beginning in the next chapter, and throughout the remainder of this book, we will explore
the techniques that bring these principles to life. We will learn the how to apply Learnertainment through a series of skills collectively called Show Biz Training.

Jensen, Eric (1998). Introduction to Brain Compatible Learning. San Diego: The Brain Store.
3 Ibid.
4 Ibid.
5 Ornstein, Robert, and Thompson, Richard (1984). The Amazing Brain. Boston: Hougton-Mifflin.
6 Ibid.
7 Ibid.
8 Ornstein, Robert, and Thompson, Richard (1984).
9 Jensen, Eric (1998).
11 Ibid.
2
83
84
The Info-Fog
12
Sylwester, Robert (1995). A Celebration of Neurons: An Educators Guide to the Human Brain. Alexandria, VA: ASCD.
13 Howard, Pierce J. (1994). The Owners Manual for the Brain: Every Day Applications from MindBrain
Research. Austin, TX: Leornian Press.
15 Ibid.
16 Ibid.
17 Ibid.
18 Ibid.
19 Ibid.
20 McGaugh, James L., et al. (1990). Involvement of the amygdaloid complex in neuromodulatory influences on memory storage, Neuroscience and Biobehavioral Reviews, 14(4):42531. Quoted by Parkin,
Margaret (2001). Tales for Trainers. Sterling, VA: Stylus.
22 Ibid.
23 Lozanov, Giorgi (1978). Suggestology and Outlines of Suggestopedia. New York: Gordon & Breach.
24 Ibid.
25 Ibid.
26 Ibid.
27 Ibid.
28 Websters Dictionary of Quotations (1992).
29 Aristotle. Rhetoric. New York: Modern Library.
31 Ibid.
33 Rose, Colin, and Nicholl, Michael L. (1997). Accelerated Learning for the 21st Century. New York: Delacorte Press.
34 Childre, Doc, and Martin, Howard, with Beech, Donna (1999). The HeartMath Solution. San Francisco:
HarperCollins.
36 Childre, Doc, and Martin, Howard, with Beech, Donna (1999).
37 Pert, Candace B. (1997). Molecules of Emotion: Why You Feel the Way You Feel. New York: Scribner.
39 Ibid.
40 Ibid.
41 Merriam, Sharan B., and Caffarella, Rosemary S. (1999). Learning in Adulthood: A Comprehensive Guide.
43 Phillips, Bob (1993). Phillips Book of Great Thoughts and Funny Sayings. Wheaton, IL: Tyndale
House.
& Sons.
45 Caine, Renate Nummela, and Caine, Geoffrey (1991). Making Connections: Teaching and the Human
Brain. Parsippany, NJ: Dale Seymour.
46 Richard Restak, M.D. (2001). The Secret Life of the Brain. New York: Dana Press in partnership with
Joseph Henry Press.
47 Sharpe, S. H. (1988). Conjurers Psychological Secrets. New York: Hades Publications.
Learnertainment
50
Gladwell, Malcolm (2000). The Tipping Point: How Little Things Can Make a Big Difference. Boston:
Little, Brown and Company.
Press.
54 Rogers, Carl (1983). Freedom to Learn. New York: Macmillian.
55 Hannaford, Carla (1995). Smart Moves: Why Learning Is not All in Your Head. Arlington, VA: Great
Ocean.
56 Rosenfeld, I. (1988). The Invention of Memory. New York: Basic Books.
57 Goleman, Daniel (1995). Emotional Intelligence: Why It Can Matter More than IQ. New York: Bantam
Books.
58 Sharpe, Sam H. (1988). Conjurers Psychological Secrets. New York: Hades.
85
ACT TWO
LESSONS FROM
ENTERTAINMENT
CHAPTER FIVE
LESSONS
FROM
COMEDY
BERTHA AND BO
This is a true story. I saw it happen.

The year was 1967 and the location was the New York State Fair. It was
a big performance for us Rhythm-Lite kids, and to us, the stage was huge.
It was a nice outdoor amphitheater, with a downward slope of grass and
orange construction fencing separating the audience from the performers.
We were on the same bill with New York State Governor Nelson Rockefeller, Victor Borge, and an elephant act named Bertha and Bo. The plan was
for Rockefeller to proclaim the 1967 New York State Fair officially open. We
Rhythm-Lites would then perform. Next, the elephant act would do its thing.
The entertainment would conclude with pianist-funnyman Victor Borge.
In typical politician fashion, Rockefeller did not arrive at show time.
We all waited backstage for what seemed to this 17-year-old to be hours.
During that time, we got to meet and talk to Victor Borge. We had little else
to do, so we played cards and shared our show biz dreams with him. He was
absolutely delightful toward us would-be stars. There was no hint of the
pretentiousness that some stars display.
[ 89 ]
90
Lessons from Entertainment
Rockefeller finally arrived and gave his proclamation. Our performance

went next. Then it was time for the elephant act, Bertha and Bo. We had
been so taken in with Borge, that we hurriedly packed our props and costumes, and slipped in front of the orange construction fencing, and the
audience, at the bottom of the stage slope.
Bertha and her trainer, Bo, were already performing. Bo directed the huge
elephant through her routine: lifting legs, kneeling, bowing toward the audience, and various other circus style tricks. It was very ordinary. But then,
something went wrong.
Bo placed a bell on a stool and indicated that the elephant should grasp
the bell with her trunk and ring it. There must have been some prior difficulties with this routine, because the elephant was not interested in the bell.
Bo prodded Bertha, but got no response. He physically placed her trunk on
the bell. Bertha swung her trunk back at the now startled trainer.
Bo, seeing his own performance career jeopardized, started poking
Bertha with his prod. This got a violent headshake in response. The trainer,
desperate now, swung his prod, and whacked Bertha on the rump. Bertha
reacted by facing the audience, lifting her front legs into the air, stretching
to an intimidating height of 20 feet. As she pawed the air, she let loose
with a piercing bellow. The sound frightened the audience and especially us
would-be stars sitting at the bottom of the slope. We suddenly realized that
with one quick gallop, Berthas feet would crush us.
Desperate now, the trainer started beating Bertha. His blows were so
hard that they repulsed the audience. Bo had lost the crowd, but Bertha had
not. For Bertha turned out to be the smartest being in the amphitheater. She
looked one way, then another, and perhaps realizing the dire consequences
of a run, chose a different strategy. She let loose a sustained avalanche of
brown and yellow substance that coated the stage.
The mood changed immediately. With that action, Bertha had won. The
act was over. Bertha triumphantly marched off stage, with the trainer slumping embarrassingly behind.
This unexpected set of circumstances caused another performance delay
as the poor technicians cleaned the mess up. Somehow, the audience didnt
notice. Their mood had been fouled by the situation. They were anxious and
nervous. Various audience members whispered, giggled nervously, and pondered quietly as the technicians worked. After much mopping and squeegying, the stage was clean enough for Borges grand piano.
Lessons from Comedy
Once the piano was in place, the show was ready to resume, but the
audience wasnt. Paradoxically, they needed to laugh now, but the combination of trampling danger, animal cruelty, and the mess on the stage had
brought forth a flood of negative emotion. They had become fearful, tense,
and reflective. If Borge didnt handle the situation properly, he would never
reach this audience.
Into this swirl of emotion, Victor Borge entered stage right. He walked
up to the mike stand and said . . . nothing. He let the tension mount. The
audience suddenly had another situation and emotion to ponder: the performer was not performing. Borge waited a minute, then two. He put his thumb
in his mouth. He began sucking on it. This left the audience puzzled. Had
the man reverted to childhood?
After a minute of thumb sucking, and at precisely the moment of maximum tension, Borge pulled his thumb out of his mouth and held it in the
air. He waited another minute, before finally looking at the audience. It was
at this point, four minutes into his act, that Borge said his first words, The
winds blowing this way.
The house was immediately his. After the laughter subsided, he added,
Lets move the piano down wind. This got another laugh, and added a
funny visual as the technicians scurried to move the piano. Borge, tiptoeing,
and looking carefully at the stage floor as if he was afraid of stepping on
something, gingerly approached the piano. This caused a third laugh.
Borges sat down to play, and of course serenaded the audience with the
Baby Elephant Walk. That got laugh number four.
But the best was yet to come. One of Borges standard funny bits was to
play wrong notes intentionally. This time, as he hit his first wrong notes,
he stopped playing, reached into his jacket pocket, and pulled out the elephants bell! Somehow, in the confusion following Berthas exit, Borge had
gotten hold of the prop. Now, he rang that bell as loudly as he could. He
then plopped it down on his piano, and muttered, Stubborn elephant.
Stupid trainer. Smart piano player.
It was a masterful touch. He could have ended his performance right then.
The audience was his. Borge had no way of knowing that the situation
would occur, but knew that he would suffer if he didnt handle it properly.
It seems that he and Bertha had become a comedy team, with her setting
up the joke, and him delivering the punch line. Instead of Bertha and Bo,
the act should have been called Bertha and Borge.
91
92
Laughter is no enemy
to learning.WALT DISNEY
he Show Biz Training techniques in this chapter are based on the following Learnertainment Principles:
Principle 1: Make it funcreate an atmosphere of playfulness.

Principle 2: Layer meaningpresent your message on several levels.
Other Learnertainment Principles applicable to this chapter are:
Principle 4: Evoke emotionengage your learners emotionally.
Principle 7: Use mnemonicsprovide visual learning cues.
LEARNING AND FUN
In his book, Creative Training Techniques, training guru Bob Pike stated, People learn
in direct proportion to how much fun they are having.2 Colin Rose and Michael Nicholl,
in Accelerated Learning for the 21st Century, agreed, Play is an important part of the
learning experience. When we enjoy learning, we learn better.3 So did William Reinsmith
in Archetypal Forms in Teaching, The more learning is like play, the more absorbing it
will be.4 In this chapter, we will discover how an atmosphere of fun impacts health and
emotions, and makes learning irresistible.
We will also explore the ways in which comedy adds depth to learning. In Cracking
Creativity, Michael Michalko discussed the differences in thought processes between
geniuses and people of average intelligence. He reported that Genius often comes from
finding a new perspective that no one else has taken.5 For example, Albert Einstein was
once asked what the greatest difficulty he encountered was when creating his theory of
relativity. He replied, Figuring out how to think about the problem.6 Another genius,
Leonardo da Vinci, believed that the key to true learning was to view any subject from as
many different angles as possible.7 Comedy is unique in this regard. As we explore the
ways comedy interacts with subject matter, we will discover that comedy is predicated on
viewing a situation from multiple vantage points.
THE COMEDY BEGINS
The audience waits. The air is thick with expectation. Finally, the performer steps on stage.
A round of applause welcomes her. She acknowledges the applause and begins her act. She
Lessons from Comedy
makes a statement, and then another, consistent with the first. She makes a third statement.
This one, however, is different. It is at odds with the first two. It rearranges the meaning of
the first two statements. In response, something miraculous happens. One person makes a
sound of surprise. He sucks in his breath, holds it for a second, and lets it out. A repeating
sound results. The people near him repeat his action, as if catching a fever. They make similar sounds, and a ripple effect begins. In a few seconds, the performer must stop and wait,
for the whole audience has suddenly come down with convulsions. The laughter has begun.
Unlike this comedians experience, no one knows what caused the very first laugh.
Some scientists believe that human laughter evolved out of the panting behavior of our
ancient primate ancestors.8 We cannot prove that point, but we do know the origin of the
word comedy. It comes from the Greek word kmos, which meant revelry. This word
was combined with the word for singer, idos. When placed together, the two words
produced kmidos, meaning a singer of revels.9 In other words, it was a description
of the storytellers of old. Another hint of laughters ancient roots comes from this statement in the Koran: Blessed is he who makes his companions laugh.10
The ability to laugh exists within each of us at the beginning of our lives. Scientists
believe that babies begin chuckling very early in life, perhaps within a month of birth. At
four months old, even though they cannot speak, most babies can laugh. No one has accurately counted how often a person laughs, but it is believed that four-month-old babies
laugh about once per hour and four-year-olds once every four minutes.11 In general, children laugh on an average of 400 times a day.12
Laughter seems to be an automatic response to an unexpected, but not unpleasant,
occurrence. Genuine laughs occur without our conscious input. Our brain simply decides
it is time to laugh. In one sense, this automatic response is similar to the way your car
seems to drive itself to work. Obviously, brainpower is required, but not at a conscious
level. On those rare occasions where we consciously force a laugh, our laughter sounds,
and is, fake.
What appears to happen when we laugh is that our brain has followed a path of logic.
One idea leads to another, and then to another, as our brain organizes incoming information in our short-term memory. Then suddenly, in great surprise, our brain realizes that
we have been tricked: that there is more than one interpretation for the information. The
result is a reflexive intake of breath, followed by a release air, and a laugh. This reflex is
universal, regardless of culture, race, or gender. It simply exists.
We seek out this reflex. We want this experience so much that we pay others money to
make us laugh. Many of the most successful American feature films have been comedies.
In 2002, for instance, four comedic films were among the top ten grossing American films.
The four, My Big Fat Greek Wedding, Austin Powers in Goldmember, Men in Black II, and
93
94
THE TOP 100 GROSSING MOVIES OF ALL TIME

(Based on box office receipts up to February 4, 2003)
1. Titanic (1997)$600,743,440
2. Star Wars (1977)$460,935,655
3. E.T. the Extra-Terrestrial (1982)
$434,949,459
4. Star Wars: Episode 1The Phantom
Menace (1999)$431,065,444
5. Spider-Man (2002)$403,706,375
6. Jurassic Park (1993)$356,763,175
7. Forrest Gump (1994)$329,452,287
8. The Lion King (1994)$323,463,878
9. Harry Potter and the Sorcerers Stone
(2001)$317,557,891
10. Lord of the Rings: The Two Towers
(2002)$316,026,494
11. Lord of the Rings: The Fellowship of
the Ring (2001)$313,364,114
12. Star Wars: Episode IIAttack of the
Clones (2002)$309,064,373
13. Return of the Jedi (1983)$309,064,373
14. Independence Day (1996)
$306,200,000
15. The Sixth Sense (1999)$293,501,675
16. Star Wars: Episode VThe Empire
Strikes Back (1980)$290,158,751
17. Home Alone (1990)$285,761,243
18. Shrek (2001)$267,652,016
19. How the Grinch Stole Christmas
(2000)$260,031,035
20. Jaws (1975)$260,000,000
21. Harry Potter and the Chamber of
Secrets (2002)$259,626,842
22. Monsters, Inc, (2001)$255,870,172
23. Batman (1989)$251,188,924
24. Men in Black (1997)$250,147,615
25. Toy Story 2 (1999)$245,823,397
26. Raiders of the Lost Ark (1981)
$242,374,454
27. Twister (1996)$241,700,000
28. Ghostbusters (1984)$238,600,000
29. My Big Fat Greek Wedding (2002)
$238,540,872
30. Beverly Hills Cop (1984)$234,760,478

31. Cast Away (2000)$233,630,478
32. The Lost World: Jurassic Park (1997)
$229,074,000
33. Signs (2002)$227,965,690
34. Rush Hour 2 (2001)$226,138,454
35. Mrs. Doubtfire (1993)$219,195,051
36. Ghost (1990)$217,631,306
37. Aladdin (1992)$216,967,404
38. Saving Private Ryan (1998)
$216,119,491
39. Mission: Impossible II (2000)
$215,397,307
40. Austin Powers in Goldmember (2002)
$213,079,163
41. Back to the Future (1985)$210,609,762
42. Austin Powers: The Spy Who Shagged
Me (1999)$205,399,422
43. Terminator 2: Judgment Day (1991)
$204,843,345
44. The Exorcist (1973)$204,565,000
45. The Mummy Returns (2001)
$202,007,640
46. Armageddon (1998)$201,600,000
47. Gone with the Wind (1939)
$198,655,278
48. Pearl Harbor (2001)$198,539,855
49. Indiana Jones and the Last Crusade
(1989)$197,171,806
50. Toy Story (1995)$191,773,000
51. Men in Black II (2002)$190,418,803
52. Gladiator (2000)$187,670,866
53. Snow White and the Seven Dwarves
(1937)$184,925,485
54. Dances with Wolves (1990)
$184,208,842
55. Batman Forever (1995)$184,031,000
56. The Fugitive (1993)$183,752,965
57. Oceans Eleven (2001)$183,349,128
58. What Women Want (2000)
$182,805,123
Lessons from Comedy
59.
60.
61.
62.
63.
64.
65.
66.
67.
68.
69.
70.
71.
72.
73.
74.
75.
76.
77.
78.
79.
The Perfect Storm (2000)$182,618,434

Liar Liar (1997)$181,395,000
Grease (1978)$181,360,000
Jurassic Park III (2001)$181,166,115
Mission: Impossible (1996)
$180,965,237
Planet of the Apes (2001)
$180,011,740
Indiana Jones and the Temple of Doom
(1984)$179,870,271
Pretty Woman (1990)$178,406,268
Tootsie (1982)$177,200,000
Top Gun (1986)$176,781,728
Theres Something About Mary (1998)
$176,483,808
Ice Age (2002)$176,387,405
Crocodile Dundee (1986)$174,634,806
Home Alone 2 (1992)$173,600,000
Air Force One (1997)$172,888,056
Rain Man (1988)$172,825,435
Apollo 13 (1995)$172,100,000
The Matrix (1999)$171,383,253
Beauty and the Beast (1991)
$171,301,428
Tarzan (1999)$171,085,177
A Beautiful Mind (2001)$170,708,996
80. Three Men and a Baby (1987)

$167,780,960
81. Meet the Parents (2000)$166,225,040
82. Robin Hood: Prince of Thieves (1991)
$165,493,908
83. Hannibal (2001)$165,091,464
84. Big Daddy (1999)$163,479,795
85. The Sound of Music (1965)
$163,214,286
86. Batman Returns (1992)$162,831,698
87. A Bugs Life (1998)$162,792,677
88. The Waterboy (1998)$161,487,252
89. The Sting (1973)$159,600,000
90. Die Another Day (2002)$159,488,587
91. The Firm (1993)$158,348,367
92. X-Men (2000)$157,175,311
93. Scary Movie (2000)$156,997,084
94. Fatal Attraction (1987)$156,645,693
95. What Lies Beneath (2000)$155,370,362
96. The Mummy (1999)$155,247,825
97. Who Framed Roger Rabbit (1988)
$154,112,492
98. Beverly Hills Cop II (1987)
$153,665,036
99. Jerry Maguire (1996)$153,620,822
100. Scooby Doo (2002)$153,288,182
Source: Exhibitor Relations Co., Inc.

TABLE 5-1
Ice Age grossed a combined $807,903,000. If you examine Table 5-1, a list of the top 100
grossing films of all time, you discover that 30 of those films were comedies, and that
virtually every film in the top 100 contained some comedic elements.
Comedy success extends beyond movies. Situation comedies (sitcoms) permeate television. In the first week of April 2002, the major broadcast networks featured a combined
prime-time total of 54 sitcoms, or 27 hours of comedy. In other words, sitcoms made up
one third of the prime-time television schedulethe largest amount of any genre.
In May 2002, TV Guide published what it considered to be the Top 50 TV shows of all
time. The listing is instructive. Of the top 50, 21 were comedies, and an additional 9 had
large comedic elements. In other words, 30 of the top 50 TV shows of all time were comedic.
Comedy is so desired that the comedians who make us laugh are celebrities. From Tim
Allen, through the Marx Brothers, Milton Bearle, Jack Benny, George Carlin, Rodney
95
96
Dangerfield, Red Foxx, Bob Hope, Jay Leno, Eddie Murphy, Chris Rock, Adam Sandler,
and Robin Williams, comedians hold special places in our lives. We admire them for their
wit. They become our companions. They help us determine how to see the world.
The Benefits of Comedy

Our admiration of comedians should not be a surprise. Laughter is one of the great joys of
humanity. It is a feature of all communal gatherings. It is present in stories. It permeates
advertising, entertainment, infotainment, and edutainment. It is also, as we discovered in
Chapter 1, The Distracted Learner, missing from many learning plans. It is not, however,
missing from the learning environment.
Regardless of an instructors comedic intent, comedy hangs about the classroom waiting for a moment to surface. If it is not coordinated and supplied as a vehicle for instruction, it will find its own entry. Learners will always seek comedy out, and for good reasons.
Comedy offers a number of tangible benefits. Comedy:
1.
2.
3.
4.
5.
6.
7.
8.
Improves health.
Releases tension.
Transcends negative emotion.
Deflects conflict.
Builds rapport.
Attracts attention.
Illuminates content.
Aids memorization.
Comedy Improves Health

Scientists have discovered that laughter has an effect on health similar to moderate exercise. During a laugh, our heart pumps harder, blood circulation increases, and our blood
pressure rises. Meanwhile, our lungs take in six times more oxygen than normal. Simultaneously, our abdomen, chest, shoulders, and face muscles contract. After the laughter
stops, amazingly, our muscle tension, heart rate, and blood pressure drops to levels lower
than those before we started laughing. Laughter has also been found to enhance our immune system, release internal painkillers, and reduce inflammation. Finally, and perhaps
most importantly for learning, laughter triggers the release of catecholamine in the brain,
heightening alertness.13
Lessons from Comedy

Laughter
CUE
CARD:

heightens
alertness.

Comedy Releases Tension

One reason people laugh, especially in the learning environment, is to release the tension
they feel. People will often laugh even if the statement that preceded the laugh is not
funny. Laughter at not-very-funny remarks is a mechanism for relieving tension, and we
all use it. In fact, most laughter does not occur as a result of hearing a joke.14
Tension, or stress, is both a physical and a mental state. It affects our endocrine
system as we feel our stomach grow queasy, our circulatory system as our heart begins
pounding, and our muscles as we tense up; our respiratory system works harder as we
breathe more quickly. During stress, our brain functioning also changes. Our dominant
hemisphere shuts down. We behave in ways unlike our usual selves. We are incapable of
functioning at our best.15
Comedy has an amazing affect on stress. As we discovered in Chapter 4, Learnertainment, stress occurs when our brain perceives a survival challenge. The source of
most comedic material is the tragedies and absurdities of life. Once a challenging subject is presented in a comedic fashion, the tension that builds around that subject dissipates and people begin to focus on real issues, instead of survival-based emotions.16 As
positive emotions increase, our body system normalizes itself, and then relaxes. Suddenly,
what a moment ago was perceived as a threat now becomes a source of joy. This in turn
enhances immune system functioning, regulates blood pressure, increases order and balance in the nervous system, and produces smooth, harmonious heart rhythms.17
Comedy Transcends Negative Emotion

As Steve Allen said in his book with Jane Wollman, How to Be Funny: Since comedy is
in some way about tragedy, one of its functions is to alleviate the pain we would constantly
be suffering were we to concentrate on the tragedy that characterizes life on this planet.
Humor is a social lubricant that helps us get over some of the bad spots. It is a humanizing agent.18
97
98
Most instructors have experienced situations in which participants refused to learn

because of negative emotions. Comedy transcends those emotions. As we look for the
humorous aspects of any situation, we redefine that situation. Humor presents those
negatives in such a humorous, enjoyable, nonthreatening manner that people are able to
transcend their negativity.
Comedy Deflects Conflict

In The Singing Entertainer, Jon Davidson and Cort Cassady stated: Humor is one of the
most attractive and disarming tools a performer can use. Laughter breaks down barriers
it makes people feel less inhibited. Once the audience is laughing, they are more accessible. If you can reach an audience with humor, you can win them.19
Although Davidsons area of expertise is vocal performance, his advice is applicable
to the training environment. As people laugh together, conflict dissipates. When we laugh,
we communicate playful intent. It is therefore difficult, if not impossible, to laugh AND
argue simultaneously. For at moment laughter occurs, there is no they, only we.

CUE CARD: Laughter relieves stress,

transcends negative emotion

deflects
and

conflict.

Comedy Builds Rapport

Laughter, perhaps because of its roots around the cave fire, is a social activity. Certainly
Hollywood knows this truth. For most of its history, the entertainment industry has dealt
in group gatherings where laughter becomes infectious. Movie comedies, for instance,
seem less funny when watched in the privacy of our homes. With the advent of TV, live
studio audiences substituted for the group. Sitcoms were another matter. Without communal laughter, they felt cold and aloof. Hollywood responded by creating virtual people,
the laugh tracks, so that people sitting alone at home can join in.
Humor builds rapport by establishing relationships between people. Think about what
you do when you first meet someone. Chances are you smile, strive to be pleasant, and
make a joke if one comes to you. Many romantic relationships have begun because of the
Lessons from Comedy
simple statement, (S)He makes me laugh. Laughter is communal, and its major function is to establish relationships between people.20

Laughter
CUE
CARD:

iscommunal.

It establishes
relationships

between
people.

The bonding glue that laughter provides is a major classroom resource.21 As Regina Barreca wrote in They Used to Call Me Snow White: If you can make people laugh with you,
you have won them over, however briefly, to your side. You have created an atmosphere
of consensus, a moment of agreement when everyone is in sync.22
Comedy draws instructors and learners closer together. When people laugh at the
absurdities of life together, they become partners in humanity. Suddenly, they have something in common; they have discovered a way to understand, and to relate to each other
more fully.
In The Laughing Classroom, educators Diane Loomans and Karen Kolberg explained:
Humor can act as a social lubricant or a social retardant in the educational setting. It
can educate or denigrate, heal or harm, embrace or deface.23 Fellow educator Gilbert
Highet, in The Art of Teaching concurred when he said: The real purpose of humor in
teaching is to link the pupils and the teacher, and to link them through enjoyment. When
a class and its teachers all laugh together, they cease for a time to be separated by individuality, authority, and age. They become a unit, feeling pleasure and enjoying the shared
experience.24
Comedy Attracts Attention
Our attention is quickly drawn by laughter. If we are near a gathering of laughing people,
we instinctively turn toward the laughter. We wonder what we missed. Often, we join the
group, and the laughter, before we know what the humor is about. In fact, experts have
stated that we focus our attention on people who make us laugh.25 As we discovered in
Chapter 1, a major difficulty facilitators face is the info-fog that surrounds learners. Comedy is a major resource for cutting the fog. It gains and maintains attention. As Highet
explained: One of the most important qualities of a good teacher is humor. It keeps the
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100
pupils alive and attentive because they are never quite sure what is coming next.26 And
when people pay attention, they are more likely to absorb your message.

CARD:
gains
CUE

Laughter

and
maintains
attention.

Comedy Engages Both Hemispheres

In Chapter 4, we learned that the brains right cerebral hemisphere tends toward negative
emotions. Comedy suppresses these negative emotions by presenting holistic views of the
subject. In this way, the right hemisphere is engaged.
Comedy also engages the left hemisphere by forcing logical processing. A joke presents details that seem to lead toward a specific conclusion. The joke then takes what we
logically expect, and turns that expectation on its head. Suddenly, the listener discovers
that the details have a completely different, also logical, interpretation. This realization
causes the left hemisphere to process the information logically. In this way, both hemispheres are brought to bear on the subject.

CUE CARD: Laughter results

from a combination of

holistic
and
logical
processing.

Comedy Illuminates Content

Comedy illuminates a subject in ways impossible through lecture alone, by taking a naturally occurring situation and pointing out the absurdities to be found in that situation.
It adds an extra dimension to learning environments, illuminating the subject matter in new,
unexpected ways, that challenge participants to focus on details. In A Smile in the Mind,
graphic design experts Beryl McAlhone and David Stewart offer this analogy:
Lessons from Comedy
When wit is involved, the designer never travels 100% of the way [toward
the audience] . . . The audience may need to travel only 5% or as much as
40% toward the designer in order to unlock the puzzle and get the idea
. . . it asks the reader to take part in the communication of the idea. It is
as if the designer throws a ball which then has to be caught. So the recipient is alert, with an active mind and a brain in gear.27
Comedy requires processing; it asks the participant to take part in the communication.
People, on hearing a joke, process the joke in their mind and then retain the underlying
information.
In addition, a joke requires the examination of a subject from multiple perspectives.
Geniuses often demonstrate this same multiple-perspective ability. In Cracking Creativity, creativity expert Michael Michalko explained: Geniuses think productively, not reproductively. When confronted with a problem, they ask themselves how many different
ways they can look [sic] the problem, how they can rethink it, and how many different ways
they can solve it, instead of asking how they have been taught to solve it.28 He also explained: Einstein was once asked what the difference was between him and the average
person. He said that if you asked the average person to find a needle in a haystack, the
person would stop when he or she found the needle. He, on the other hand, would tear
through the entire haystack looking for all possible needles.29
The act of examining a subject from multiple angles greatly enhances the comprehension of that subject.

CUE
CARD:
Comedy

learners
to

forces

multiple
angles.

examine
a subject
from

Comedy Aids Memorization

Learning psychologist Jack Mezirow, in the article Contemporary Paradigms of Learning, described learning as: . . . a process of using a prior interpretation to construe a
new or revised interpretation of the meaning of ones experience in order to guide future
action.30 Brain theorist Michael Gazzaniga, in Natures Mind, described learning as:
. . . a search through our brains existing library of operating basic networks for the combinations of those that best allow us to respond to the immediate challenge.31
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Great comedy twists the common meaning of experiences to create new insights. To
comprehend a joke, participants must focus on the details. The result is a higher absorption of information. In addition, when people see a joke they reconstruct it in their minds,
causing them to repeat the material.32
As funnyman and learning expert John Cleese explains: Make sure that all humor
arises out of the teaching points . . . if they remember the joke, theyve remembered the
training point.33
CREATING COMEDY
Some of the greatest comedians of all time

never ad-libbed a line in their lives.STEVE ALLEN
34
But Im Not Funny!

At this juncture, you may be thinking, But Im not funny! Its entirely rational to think
that. When you watch a performer as gifted as Robin Williams, it is easy to become intimidated. But the truth is, everyone is funny. Youre funny too! This doesnt mean you
will be the next Robin Williams. Performers like Williams spent years honing their craft.
Fortunately, learners dont expect Robin Williams. What they expect is a boring classroom. What they want is an escape from that boredom.
Learners are so desperate for humor, and the learning environment so devoid of it,
that a mildly amusing presentation is often enough. You certainly have the capacity to be
mildly amusing. The remainder of this chapter provides you with tools and insights to
help you tap into your natural comedic abilities.
Comedians are often no funnier than you or I. When comedians are off stage, many
of them are actually reflective. They must be so. For their comedic material is based on
deep insights about the world around them. Deep insight is difficult, if not impossible,
without reflection. In How to Be Funny, writer Jane Wollman recorded comedian Steve
Allens observations:
The popular conception of a humorist or comedian is of someone who
writes, does or says funny things. But a funny person is also someone to
whom funny things happen. The comedians experiences are probably
no more amusing than others; he or she simply has a certain sensitivity
Lessons from Comedy
to the environment and circumstances and so perceives humor that a more

serious person might miss.35
All the best performers have this ability. In 2002, the A&E Television Network selected
whom they considered to be the greatest comedians of all times. Their choices were Steve
Allen, Lucille Ball, Jack Benny, Milton Berle, Carol Burnett, Sid Caesar, Johnny Carson,
Bill Cosby, Jackie Gleason, Bob Hope, Ernie Kovacs, Steve Martin, Groucho Marx, Richard
Pryor, and Robin Williams.
Every one of these comics was (is) a great performer. Most of them were (are) not
ad-libbers. Virtually all of them did their best work by following a routine. For example,
Groucho Marxs classic You Bet your Life game show was entirely scripted.36 So were most
of Johnny Carsons The Tonight Show conversations. Ditto with Bob Hopes monologues.
Its not that comedians dont improvise. They do. But their improvisation relies upon
a carefully built-up store of memorized material. Comedians draw from, and expand on,
that material during a performance. To the audience, it looks spontaneous. For the performer, superb craftsmanship and a great memory are at work. The words of Steve Allen
are illustrative:
Comics with this ability [to ad-lib] are extremely rare. There may be fewer
than fifty professional comedians on the planet that are skilled at doing
it. [Most] comedians are indeed working without a script, but there is the
crucial distinction that what they are doing is recalling jokes that already
exist, which they apply to the situation of the moment. This is no small
feat either, since one has to think rapidly and also have a remarkable memorya memory card file through which the comics brain can riffle at lightning speed. But again, as impressive as this feat is, it is more a matter of
craftsmanship and professionalism than art.37
We now turn our attention to this craftsmanship as we explore some joke telling formulas
the comedians use to create their art. In the process, we will view several templates and
worksheets that may aid you in creating jokes tailored to your learning environment.
Joke Structure
Its not wise to violate the rules until

you know how to observe them.T. S. ELLIOT
38
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104
Most comedy is built around a basic structure involving three steps:

1. Introduction. First, the subject is introduced in a way that builds curiosity.
2. Detail. Next, additional detail is added. The details build curiosity and tension
without giving away the surprise. As a general rule, the longer the tension
can be sustained, the greater the laugh will be in the surprise ending that
follows.
3. Surprise. Finally, a surprise ending occurs. This ending releases the tension
built during the joke, fits the Introduction and the Detail, but is not the expected conclusion.
For example, heres a joke for the magicians of the world:
My Dad, the Magician
On the first day of school, the teacher went around the room, asking each child about his
or her family.
Whats your fathers occupation? asked the teacher to one boy.
Hes a magician, Maam, said the boy.
How interesting. replied the teacher. What trick does he do?
He saws people in half.
Interesting! Who else is in your family?
One half brother and two half sisters.
Now, lets look at how the three steps work in this joke.
On the first day of school, the teacher went around the room, asking each child about his
or her their family.
1. Introduction. First, the subject is introduced. We can immediately picture the
teacher quizzing each class member. Interestingly, the age of the boy, his name,
and the class size are left out. Those details would not add value to the joke, and
thus are omitted.
Whats your fathers occupation? asked the teacher to one boy.
Hes a magician, Maam, said the boy.
How interesting. replied the teacher. What trick does he do?
He saws people in half.
Interesting! Who else is in your family?
Lessons from Comedy
2. Detail. Next, additional detail is added. We learn that the father is the magician, and that his trick is sawing people in half. We begin to wonder who else
is in the family, and what skills they might hold.
One half brother and two half sisters.
3. Surprise. Much to our surprise, we discover that the subject of the joke is not
the family members, but rather the dual meaning of the word half and that the
word applies to this situation in more than one way, and that the second application implies magic tricks gone awry.
Table 5-2 provides a template for writing jokes. Use it to create some of your own.
With this basic structure in mind, we will now explore different categories of comedy,
beginning with Comedic Words.
Comedic Words
Instructors know that words are powerful tools. So do comedians. Much of comedy is based
on placing the right word in the right context at precisely the right moment. Below are
four different word formulas comedians use:
>
Silly Sounds
>
Double Talk
>
Punnishment
>
Saying the Opposite
>
Twist
>
Multiple Twist
SILLY SOUNDS
In comedy, all words are not equal. Some are more powerful because they sound silly. See
if you can select the comedic words from the listing in Table 5-3.
Comedic words provide an immediate comedic edge. Some words, such as grape, are
not funny. Other words, suc;h as papaya, are. The word carrot does not inspire laughs.
Kumquat does. Three points set the funny words apart:
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JOKE CREATION TEMPLATE

Part 1: How To Write a Joke
1. Identify the subject you wish to joke about (class introductions).
2. List every idea you can think of that relates to that subject (family, family members, brothers and sisters, half brothers and sisters/occupations, magician sawing a woman in half).
3. Group related ideas (half brothers and sisters/sawing a woman in half)
4. Identify two ideas that fit together but have alternative meanings (half brothers and sisters could be siblings or part of a magicians sawing-in-half trick).
5. Write an Introduction (student introductions during the first day of class).
6. Select one of the ideas to be your Surprise (half brothers and sisters).
7. Add Detail that obscures the other idea (fathers occupation is as a magician, his favorite
trick is sawing a woman in half).
8. Set up the surprise (any brothers and sisters?).
9. Try your joke out on people, and keep tweaking it until it gets a favorable response.
Part 2: Structure Template:
1. Introduction.
Introduce the subject.
2. Detail.
Provide additional detail.
> Detail 1.
> Detail
2.
> Detail
3.
3. Surprise.
Conclude with a surprise ending.
1. Funny words have more than one syllable.

2. Funny words include hard consonants.
3. Funny words have syllables that create an unusual rhythm.
The cartoon Witches Brew, on page 109, provides on example. Where the words Turkish
crown can be mildly amusing, circus clown has a decidedly funny ring to it.
Lessons from Comedy
Part 3: Structure Analysis:

1. Introduction.
Is the Introduction brief?
Is it easily comprehensible?
Is the subject introduced in a way that builds curiosity?
2. Detail.
Do the details build curiosity?
Do they add tension?
Is the tension sustained as long as possible?
Do the details effectively hide the surprise?
4. Surprise.
Does the ending release the tension?
Does it fit the Introduction?
Does it fit the Detail?
Is the ending different from the expected conclusion?
TABLE 5-2
DOUBLE TALK
In a Double Talk situation, a word or phrase is used in its common context, only to be
turned completely around and given a different meaning by the follow up statement. For
illumination purposes, we will examine some real comedic lines. But out of respect for
107
WORDS I CONSIDER FUNNY

Below is a table listing a series of paired words. Circle the word in each pair that you think
is the funnier of the two.
Absolutely
Indubitably
Banana
Apple
Celery
Cucumber
Collie
Aardvark
Cornbread
Cupcake
Horse Feathers
Cat Fur
Kazoo
Flute
Nebraska
Minnesota
Sarsaparilla
Soda water
Sausage
Kielbasa
Sorghum
Rutabaga
Succotash
Spinach
What are some other words you consider funny? List them below.
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
What are some possible uses for the words you consider funny?
MINNESOTA, SARSAPARILLA, KIELBASA, RUTABAGA, SUCCOTASH

ANSWER KEY: INDUBITABLY, BANANA, CUCUMBER, AARDVARK, CUPCAKE, HORSE FEATHERS, KAZOO,
108
TABLE 5-3
Lessons from Comedy
currently working comedians, we will limit

the jokes we examine to some past greats.
See if you can spot the dual meaning in
each of these classic lines:
Its hard to lose my mother-in-law.
In fact, its almost impossible.
W. C. Fields
Marriage is a wonderful institution . . . but who wants to live in
an institution?Groucho Marx
I just got back from a pleasure trip.
I took my mother-in-law to the airport.Henny Youngman
Copyright 2002 Stylus Publishing, LLC. Reprinted

by permission from Cartoons for Trainers, Stylus Publishing, Sterling, VA.
Although these jokes are short on detail,

they fit the basic introduction, surprise
format. As in the My Dad, the Magician joke, the surprise occurs when the listener
realizes that a key word has dual meanings, and that the one that is more obscure, less
obvious, is the true meaning.
Table 5-4 lists several words with dual meanings. Try to identify the dual meanings.
PUNNISHMENT
A pun occurs when two words sound similar, but have different meanings, and when one
word is substituted for another in a sentence. The result is an unexpected meaning that
adds dimension to the statement. Here are some examples:
Ice water? Get some onionsthatll make your eyes water!Groucho
Marx
Say what you want about long dresses, but they cover a multitude of
shins.Mae West
He who hesitates is last.Mae West
Puns are good for moans and groans. They do not require great delivery skills, and yet
they demonstrate wit. They also function well as morals to stories. Here is one possible
example themed to customer service and Intranet technology.
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DUAL MEANINGS
Below is a list of words or phrases. Determine an alternate meaning for each one.
Word/phrase: Sentence
Common meaning: A group of words that make up a complete thought
Alternate meaning: A length of time spent in confinement
Word/phrase: Institution
Common meaning: An entity that has become a long-standing tradition
Alternate meaning:
Word/phrase: Tea Bag
Common meaning: A paper bag holding tea leaves
Alternate meaning:
Word/phrase: Outgoing Mail
Common meaning: Packages and letters to be mailed
Alternate meaning:
Word/phrase: Fish Tank
Common meaning: A box of glass designed to hold water and fish
Alternate meaning:
Word/phrase: Civil Servant
Common meaning: A governmental employee
Alternate meaning:
Word/phrase: Stage Coach
Common meaning: A mode of horse-drawn transportation
Alternate meaning:
Word/phrase: Autopilot
Common meaning: A mechanical feature that allows a plane to fly itself
Alternate meaning:
A NICE BUTLER; STAGE COACHAN ACTING TEACHER; AUTOPILOTA CAR DRIVER
OF TS; OUTGOING MAILFRIENDLY MAIL; FISH TANKA MILITARY VEHICLE FOR FISH; CIVIL SERVANT
ANSWER KEY: SENTENCEA PRISON TERM; INSTITUTIONAN INSANE ASLYUM; TEA BAGA SACK FULL
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TABLE 5-4
The Naming of a Continent

Once upon a time, a global organization faced a tremendous challenge. This organization
was contracted by computer manufacturers to provide customer telephone-based answer
services. With independent branches in more than 20 countries, the organization was large,
Lessons from Comedy
but in danger of losing its contracts. Customers of all the branches except one, the Australian branch, complained that their questions were not being answered quickly. Desperate to fix the problem, the CEO sent a fact-finding mission to Australia. The result was a
realization that the Australian branch had continually upgraded its Intranet [local area
network (LAN)] technology, where the other branches had not. The company responded by
upgrading its LAN at all the branches. Within three months, customer complaints had
dropped by 30 percent. The contract was saved and the company discovered the value of
frequent technology upgrades. And from that day forward, the company paid special attention to its Australian branch. It became their LAN down under.
This story has several potential applications. It could be used in communications, leadership, computer, and customer service classes. The writing of the story took a half-hour. I
simply took a pun that matched the point I wanted to make, and concocted a story that would
lead up to the pun. It is fairly easy to do, and requires only a ready collection of puns to
choose from. Table 5-5 provides an opportunity to try your hand at creating such a story.
SAYING THE OPPOSITE
In this situation a comedian makes a statement, and then, speaking literally, says the
exact opposite. See if you can spot the literal opposites:
I could dance with you till the cows come home, on second thought Ill
dance with the cows till you come home.Groucho Marx
Its not the men in my life that countsits the life in my men.Mae West
It is better to be looked over than overlooked.Mae West
Like Double Talk and Punnishment, Saying the Opposite works because the lines surprise. Only in this case, the surprise comes from the contrast between the two statements.
In Table 5-6, some phrases are listed. See what opposites you can come up with.
TWIST
Where Say the Opposite works by contrasting two statements, a Twist, achieves its humor
through an unexpected twist on a prior reasonable statement. Some examples include:
I have had a perfectly wonderful evening, but this wasnt it.Groucho
Marx
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PUNNISHMENT ANALYZER
Part One: How To Write a Pun:
1. Identify the subject of your pun (Communication).
2. List every idea you can think of that relates to that subject (electronic communication,
Internet, intranet, LAN).
3. Select ideas from the list that could have alternate meanings, or are similar to other words.
(What could LAN mean? What if the problem was related to Australia? Could it then be
the LAN down under?).
4. Write the Surprise (the LAN down under).
5. Write an Introduction (a company was having customer service problems).
6. Add Detail that sets up the Surprise without giving it away (traveled to Australia where
computer communications had been upgraded, the Australian branches intranet became
the model).
7. Try your pun out on people, and keep tweaking it until it gets a groan.
Part 2: Pun 2: Pun template:
1. Introduction.
2. Detail.
> Detail 1.
> Detail
2.
> Detail
3.
3. Surprise.
Select a surprise ending.
When Im good Im very, very good. But when Im bad, Im better.Mae

West
There was a girl knocking on my hotel room door all night! Finally, I let
her out.Henny Youngman
In these examples, the first statement seems innocuous enough. The second statement
completely detours the meaning in a whole new direction.
Lessons from Comedy
Part 3: Pun analysis:

1. Introduction.
2. Detail.
4. Surprise.
Does the pun release the tension?
TABLE 5-5
In Table 5-7, several statements are listed. How would you twist them?
MULTIPLE TWIST
A Multiple Twist is similar to a regular Twist, but either delays its twist until the third
statement, or twists twice. The first statement is altogether reasonable. The second is a
little less so. The third completely veers into absurdity. Here are some examples from Multiple Twist expert Groucho Marx:
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SAYING THE OPPOSITE

Below is a series of statements. Add a second statement that Says the Opposite.
He gets up with the chickens.
The chickens get down with him.

The early bird catches the worm.
He who hesitates is lost.
It is better to give than to receive.
Only the strong survive.
I have always believed in destiny.
Hard work is always rewarded.
She may be right.
TABLE 5-6
He may look like an idiot and talk like an idiot but dont let that fool you.
He really is an idiot.Groucho Marx
I suggest we give him 12 years in Leavenworth, or 11 years in twelveworth. I tell you what, I take 5 and 10 in Woolworth.Groucho Marx
Look, if you dont like my parties, you can leave in a huff. If thats too
soon, leave in a minute and a huff. If you cant find that, you can leave
in a taxi.Groucho Marx
Both the regular and the Multiple Twist are especially useful to facilitators who display a
list. Simply twist the last item on the list, and read it off as if it were a serious point. For
instance, a musical list of three could be:
Lessons from Comedy
TWIST
Below is the same series of statements used in Table 5-6, Saying The Opposite. Using those
statements again, add a second statement that Twists the meaning.
He gets up with the chickens.
Twist: He sleeps in the hen house!
Twist:
Twist:
Twist:
Twist:
Twist:
Twist:
She may be right.
Twist:
TABLE 5-7
Those famous classical musicians Beethoven, Mozart, Madonna, or Bach,

Beethoven, Backstreet Boys.
One example from my music in training presentations, based on my book Training with
a Beat, is a situation in which I use the Multiple Twist formula. I begin by discussing classic pieces of music. With the words, Heres a classic by . . . I introduce two samples of
classical music. My third example is then introduced as a classic by Berry. Only in this
instance, the classic I refer to is Chuck Berrys Johnny Be Goode. This is the first nonclassical reference in the presentation, and as such, the Twist is a complete surprise. It
always evokes strong laughter.
In Table 5-8, several Multiple Twist statements are incomplete. How would you complete them?
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MULTIPLE TWIST
Below is the same series of statements used in Table 5-7, Saying the Opposite. Using those
statements again, add a second statement that twists the meaning.
Example: He gets up with the chickens.
Twist: He sleeps in the hen house.
Multiple twist: Yesterday he laid four eggs!
Twist:
Multiple twist:
Twist:
Multiple twist:
Twist:
Multiple twist:
Twist:
Multiple twist:
Twist:
Multiple twist:
Twist:
Multiple twist:
She may be right.
Twist:
Multiple twist:
TABLE 5-8
Lessons from Comedy
We have now completed our look at Comedic Words. Our next joke telling formula is
Comedic Declarations.
Comedic Declarations
In contrast to Comedic Words, Comedic Declarations make comments that are at their core
true, but have been overextenuated for effect. Here are three such formulas:
>
Blunt Truth
>
Exaggerated Truth
>
Outrageous Retort
BLUNT TRUTH
Sometimes, the truth is all the comedy people need. Blunt Truth works best in situations
in which no one expects to hear the truth. This format follows the basic structure of a
joke, but ends with a bit of disarming honesty, spoken plainly, bluntly, and in an unexpected manner. Here are some examples:
I generally avoid temptation . . . unless I cant resist it.Mae West
A child of five could understand this . . . Fetch me a child of five.Groucho Marx
From the moment I picked your book up until I laid it down I was convulsed with laughter . . . Someday I intend reading it.Groucho Marx
Table 5-9 lists several incomplete statements. Try to complete the statements with Blunt
Truths.
EXAGGERATED TRUTH
An Exaggerated Truth, like a Blunt Truth, deals in fact, but stretches the truth to its comic
limits. Some examples include the following:
All the men in my family were bearded, and most of the women.W. C.
Fields
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BLUNT TRUTHS
Below is a series of uncompleted statements. Complete the statements in a manner that
makes them Blunt Truths.
This was great.
Its almost as much fun as visiting the dentist.

I really enjoyed this class.
You are the smartest person I have ever met.
Only someone of your intellect could say that.
That gave me goosebumps.
The wonderful thing about relatives is their dependability.
My mother-in-law is a delightful person.
You car looks clean.
TABLE 5-9
I once spent a year in Philadelphia, I think it was on a Sunday.W. C.

Fields
My hotel room is so small, the mice are hunchbacked.Henny Youngman
During his heyday on the Tonight Show, Johnny Carson was famous for jokes that began
with, Yesterday was so hot . . . The audience would respond with, How hot was it?
Carson would take the opening to offer an exaggeration such as Yul Brenner (a famous
baldie) was frying eggs on his forehead. Table 5-10 provides a format for creating your
own Exaggerated Truths.
Lessons from Comedy
EXAGGERATED TRUTHS
Below is a series of uncompleted statements. Complete the statements in a manner that makes
them Exaggerated Truths.
The test was so hard that . . .
. . . even the teacher flunked.

Yesterdays class went so long that . . .
Today we will have so much fun that . . .
There was so much cheese on the pizza that . . .
Our car is so old that . . .
TABLE 5-10
OUTRAGEOUS RETORT
An Outrageous Retort is a completely absurd reply to a direct statement or question. The

key to making an Outrageous Retort work is in the surprise the retort brings out.
(When asked: How do you like children?) W. C. Fields: Fried!
(When asked by a Hangman: Have you any last wish?) W. C. Fields, Yes,
Id like to see Paris before I die . . . Philadelphia will do.
Outside of a dog, a book is mans best friend. Inside of a dog, its too dark
to read.Groucho Marx
An Outrageous Retort works because it is so unexpected and absurd in contrast to the

introductory statement.
Table 5-11 lists several statements. Try to create some Outrageous Retorts.
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OUTRAGEOUS RETORTS
Below is a series of statements. Reply to the statements in a way that makes them Outrageous
Retorts.
Are you an only child?
I sure hope so.

What makes you successful?
How did you learn so much?
What makes you so special?
How is your day going?
If you could do anything, what would you do?
Why should I believe you?
Whats you favorite food?
TABLE 5-11
Comedic Items
Just as some words are funny and others are not, some items have an inherent comedic
potential. See if you can select the comedic items from the listing in Table 5-12.
For centuries, comedians have used props to create laughter. Ancient storytellers wore
masks to identify themselves with the powers and properties of animals and gods. The
waving of magical staffs added to the effect by enhancing their height. Ancient Greek
actors wore masks to convey emotions to the audience, eventually inspiring the tradition
of a costumed party.39 Jesters wore multipointed hats and held scepters. Vaudevillians
sprayed each other with seltzer bottles and danced with straw hats and canes. Groucho
Marx wore funny glasses and gestured leeringly with his cigar. Jack Benny showcased his
Lessons from Comedy
COMEDIC ITEMS
Below is a table listing a series of paired items. Circle the item in each pair that you think is
the funnier of the two.
Banana
Peach
Broccoli
Spinach
Clarinet
Kazoo
Harpsichord
Accordion
Lemon meringue pie
Apple pie
Oversized clothes
Undersized clothes
Pie tin
Rolling pin
Seltzer bottle
Champagne bottle
String beans
Cucumber
Tuxedo tie
Polka-dot tie
Volkswagen beetle
Lincoln town car
Watermelon
Strawberry
What are some other items you consider funny? List them below.
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
What are some possible uses for the words you consider funny?
ROLLING PIN, SELTZER BOTTLE, CUCUMBER, POLKA-DOT TIE, VOLKSWAGEN BEETLE, WATERMELON
ANSWER KEY: BANANA, BROCCOLI, KAZOO, ACCORDION, LEMON MERINGUE PIE, OVERSIZED CLOTHES,
TABLE 5-12
121
122
violin but not his wallet. And Gallagher displayed prop after prop, with his Sledge-omatic, actually two pie tins and a sledgehammer, smashing watermelons.
It is difficult to say what makes one object funny and the next not. Some of the lure
of individual objects is in the way the object is handled. Jack Bennys violin wouldnt
have been funny if it didnt play into Bennys pomposity. On the other hand, smashing
watermelons is absurdly funny on its own.
Some comedic items include bananas, broccoli stalks, cream pies, glasses with an
attached nose and mustache, plastic fish, hand buzzers, noise makers, plungers, potatoes, and hats. Hats can practically be considered a whole subdivision of comedic items.
The simple act of putting a hat on transforms the person wearing it to anything the hat
suggests.
For detailed information on Comedic Items, please see the props section in Chapter 7,
Lessons from Magic.
Comedic Situations
Not all jokes are verbal. Some involve situations. Comedic Situations are extremely helpful to noncomedians. When situations are properly set up, they are funny without the need
to tell jokes. The comedy emerges organically from the material. In essence, the situation
does the work for you. This is perhaps the biggest secret to television comedy. A properly set up situation can play out over several years. It is no accident that TV comedies are
called sitcoms. Four sitcom formulas are of interest to us here. They are:
>
Double Use
>
Fish Out of Water
>
Opposites Attract
>
Practical Jokes
DOUBLE USE
In a Double Use, as in Double Talk, one item or a context is used for a purpose completely
different from its original intent. In the movie Mrs. Doubtfire Robin Williams scored a
huge laugh with a Double Use. Mrs. Doubtfire is based on the premise that the only way
a divorced husband can see his children is by masquerading as a female housekeeper for
his ex-wife. In one scene, the ex-wifes boyfriend is about to discover Williams true identity because Williams face isnt made up. To prevent discovery, Williams character pushes
Lessons from Comedy
a pie into his face. The pie serves as

some sort of bizarre facial treatment, and
preserves Doubtfires secret. Beyond that,
its funny. The use of the pie is unexpected,
and as a bonus, the pie also happens to
be a time-honored, pie-fight-based, funny
item.
Another example comes from the classic TV sitcom, The Beverly Hillbillies. It is
filled with Double Use humor. The Hillbillies fancy eating table (pool table)
and pot passers (cue sticks) are two such
examples.
From a learners perspective (Figure by permission from Cartoons for Trainers, Stylus Pub5-10), Role-play Extravaganza offers a vi- lishing, Sterling, VA.
sual example, in this case, recasting a
role-play activity into a full-blown Hollywood production. For additional information, examine Table 5-13, which lists several items and some potential misuses for those items.
See if you can match them.
MISMATCHED ITEMS
Below is a series of items. Connect them in a manner that makes them Mismatched Items.
Banana
Drumsticks
Blanket
Bulging eyeballs
Bread basket
Sword
Fork
Woman applying makeup
Marshmallows
Spaghetti
Pencils
Comb
Shoelaces
Hat
Wet Paint sign
Tent
WOMAN APPLYING MAKEUP
MALLOWSBULGING EYEBALLS; PENCILSDRUMSTICKS; SHOELACESSPAGHETTI; WET PAINT SIGN

ANSWER KEY: BANANASWORD; BLANKETTENT; BREAD BASKETHAT; FORKCOMB; MARSHTABLE 5-13
123
124
FISH OUT OF WATER
A Fish Out of Water takes something from its usual habitat and places it where it doesnt
belong. Although The Beverly Hillbillies relied on Double Use comedy, the show was based
on the Fish Out of Water premise that the unsophisticated hillbillies were plucked down
in the middle of upper crust Beverly Hills. The resulting misunderstandings created the
comedy. In one example, upper-crust banker Drysdale advised the Hillbillies to invest in
stock, so they bought some cattle and pigs.
Some examples of this formula include
Hawkeye Pierce, the peace-loving doctor,
serving in a M.A.S.H. combat hospital,
Frasier Crane, the pompous psychiatrist,
hanging out in a bar in Cheers, and Samantha, the witch, trying to fit into American
suburban society in Bewitched.
In the adjacent cartoon, Biker Sharing,
a rough and tough biker is placed in a sensitive classroom discussion environment.
Although his discussion partner doesnt see
the humor, it is a classic fish out of water
situation. Another resource is provided
in Table 5-14, which lists some potential
by permission from Cartoons for Trainers, Stylus Pubhabitats. See if you can mismatch people
lishing, Sterling, VA.
with those habitats.
OPPOSITES ATTRACT
In Opposites Attract, two incompatible people or items are placed together. The tension that
results creates humor. This is a well-used structure of many comedies. Examples include
Felix the neatnick and Oscar the slob living together in The Odd Couple, Martin Crane
living with his son Frasier in the sitcom Frasier, and Sam Malone, the ladies man bartender, becoming involved with Diane Chambers, the pretentious intellectual, in Cheers.
Figure 5-12, Cave Conflict, presents an example of two mismatched individuals,
a Neanderthal and a human. In addition, several different types of people are listed in
Table 5-15. See if you can identify their direct opposites.
PRACTICAL JOKES
Please turn to page 521, and Table 14-1 for a full description of the appropriate classroom applications of practical jokes.
Lessons from Comedy
FISH OUT OF WATER

Below is a listing of people and environments. Mismatch the people and environments in a
manner that places the people in the most ridiculous Fish Out of Water situations.
Beat cop
Convent
Blind man
Hardhat job
Cowboy
War battle
Hooker
China shop
Lounge singer
Harvard Law School
Peace activist
Country farm
Pretentious professor
Society party
Urban teen
Urban ghetto
TENTIOUS PROFESSORHARDHAT JOB; URBAN TEENCOUNTRY FARM
GHETTO; HOOKERSOCIETY PARTY; LOUNGE SINGERCONVENT; PEACE ACTIVISTWAR BATTLE; PREANSWER KEY: BEAT COPHARVARD LAW SCHOOL; BLIND MANCHINA SHOP; COWBOYURBAN
TABLE 5-14
LENNS TEN
Below, I have listed 10 of my favorite instructor-friendly situation comedy bits of

business. These activities are of the type
that comedians and actors use to hone their
improvisational skills. The ten, in alphabetical order, are:
>
Ask the Expert
>
Finger Rating
>
Face Off
>
Gibberish Interpreter
>
Good News, Bad News
>
Id like to help, but . . .
>
Read the Instructions
>
Self-Alliteration

by permission from Cartoons for Trainers, Stylus Publishing, Sterling, VA.
125
OPPOSITES ATTRACT
Below is a list of different people. Mismatch them so that they are in Opposites Attract
situations.
Bachelor
Hooker
Businesswoman
High school dropout
College professor
Classical guitarist
Cowboy
Neatnik
Hard rocker
Construction worker
Nun
Baby
Peace activist
Army sergeant
Slob
City girl
PEACE ACTIVISTARMY SERGEANT; SLOBNEATNIK
HIGH SCHOOL DROPOUT; COWBOYCITY GIRL; HARD ROCKERCLASSICAL GUITARIST; NUNHOOKER;

ANSWER KEY: BACHELORBABY; BUSINESSWOMANCONSTRUCTION WORKER; COLLEGE PROFESSOR
126
TABLE 5-15
>
Theme Park
>
Whats Different?
Ask the Expert

The Action: Learners, one at a time, are brought to the front of the room and introduced
as experts on a ridiculous subject. The learner is required to give a two-minute impromptu talk on the subject, and take questions about the subject from the other
learners.
Suggested Use: Speech, communications, crisis management (thinking on your feet).
Parameters: Any subject will do, but the more ridiculous the expertise, the better the
results. For instance, I have themed this activity to an automotive convention, and introduced learners as New Car Smell inventors, alien abduction record holders, and
professional map folders.
Finger Rating
The Action: Learners rate a just concluded activity by standing, holding the number of
fingers in the air that represents their rating, and finding another participant with the
Lessons from Comedy
same rating, or an opposite rating, depending on the learning need. The new pair then
discusses their observations.
Suggested Use: Interactive evaluations and discussions.
Parameters: Before the activity, provide instruction regarding appropriate finger usage.
During the activity, play appropriate music.
Face Off
The Action: Learners pair off and face each other. The learners turn away from each other
briefly. On the instructors signal, they turn back around, and make funny faces at each
other. The task repeats three times.
Suggested Use: Introductions, reenergizing activity.
Parameters: May be used in other contexts by directing the type of faces learners should
make: angry faces for customer complaints or conflict resolution.
Gibberish Interpreter
The Action: One learner speaks gibberish, while the other translates what was said.
Suggested Use: To increase nonverbal communication skills.
Parameters: Can be used for paired introductions.
Good News, Bad News
The Action: Learners are asked to complete the paragraph, I have some good news and
some bad news.
Suggested Use: To dispel negative emotion.
Parameters: Emphasize the good news statements and treat the bad news statements as jokes.
Id Like to Help, but . . .
The Action: Learners offer excuses for not doing something.
Suggested Use: To build a team spirit of cooperation.
Parameters: After all the excuses have been aired, gain consensus that the learners will
help each other, and not offer excuses for avoiding teamwork.
Read the Instructions
The Action: A trainee, functioning as a assistant, reads a bulleted list of instructions that
the trainer then follows. When the trainer reaches the third bullet, he or she reads, I
dont like this. The trainer pauses, startled, and says, Nevertheless, we have to get
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128
through the instructions. Read the third point. The trainee repeats, I dont like this.
The trainer, realizing that something is wrong with the instructions, looks at them, and
then responds, Well, never mind that point. Read the next one. The trainee responds
with the next line, I still dont like this. The trainer then snatches the instructions
away, and replaces them with a nondoctored set.
Suggested Use: In any situation where point-by-point instructions must be followed.
Parameters: The trainee must be able to read.
Self-Alliteration
The Action: Learners alliterate their own names, as a way of telling others something about
themselves. Some examples might be Daring Denise, Lovable Larry, or Rebecca
the Rebel.
Suggested Use: Introductions.
Parameters: The same principle can be used with any word. By applying the technique
to a classroom subject, the instructor can determine learner attitudes. For instance,
feedback on a test could range from Thought-Provoking Test to Terrible Test.
Theme Park
The Action: Learners are asked the following question: If my organization were a theme
park, it would be . . .
Suggested Use: To open lines of communication regarding workplace issues.
Parameters: The thrust of the question is important, not the term theme park. The sentence can be tailored to the specific training need.
Whats Different?
The Action: Similar to Face Off, learners pair off and face each other. Next, they turn away
from each other and rearrange an article of clothing. Both learners are tasked with spotting the changed item when they face each other again. The task repeats three times.
Suggested Use: Introductory activity, nonverbal communication, observation/listening.
Parameters: Limit the articles of clothing that can be rearranged.
FINDING THE COMIC YOU
Little as I knew about movies, I knew that

nothing transcended personality.CHARLIE CHAPLIN
40
Lessons from Comedy
Now that we know some basic joke telling formulas, and some easy-to-use activities, we
should turn our attention to finding the comic within you. For the truth is that comedy
doesnt work unless it is genuine. And, it cannot seem genuine unless it naturally fits the
person delivering it. As agent extraordinaire Bob Vincent explained in Show Business Is
Two Words: There must be basic honesty in the delivery of humorous material. Comedy
is a very difficult, and a very delicate part of the entertaining arts, and theres nothing
worse than a forced comic or a forced performer.41 The key points are:
>
Be Yourself.
>
Look Funny.
>
Develop a Sense of Timing.
>
Find Funny.
Be Yourself
Look for the humor naturally present in your personality. For instance, when a person
first meets me, my personality comes across as dry and self-controlled. I know this perception and use it to my advantage. When on a stage, I dress in conservative suits. I dont
try to smile. I portray myself as semistuffy. But then things start to go awry in my performance. Sometimes its a case of something unintended happening, where other times, its
a simple case of presenting very funny material with the straight face of an academician.
The jarring contrast between my persona and the wackiness of what occurs makes the
situation funny.
Look Funny
Studies demonstrate that people who smile are more likely to be hired and trusted in the
workplace.42 Smiling is a good start. Because of my persona, as I indicated before, I rarely
smile. Pomposity looks funny without smiling. Whether you use a smile or not, you should
strive to build a reputation as someone who is funny. Once you have that reputation, it is
easier to make people laugh. They will expect funny out of you.
There are several ways to establish such a reputation. Eccentricity helps. So does
looking funny. Outlandish ties, frizzy hair, and comedic items help. Hats, for instance,
are great tools for tickling your funny bones. I have, readily available, a hard hat for
taking flack, an Australian outback hat for walking about, a fishermans cap for talking
to people over cubicle walls (like the character Wilson in Home Improvement), and a
Mountie hat when I need to find someone. The truth is that I rarely wear these hats, but
they establish an attitude of offbeat eccentricity.
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130
Perhaps my favorite hat, in combination with a prop, has helped give me a reputation
as both an intellectual and a comic. I have, always near at hand and always on display, a
princes crown and a rubber skull. Invariably, when people first visit me, they will ask about
the significance of the two items. I will reply, as dryly as possible, that the items are my
emergency Hamlet kit. Often, the statement itself, an example of an Outrageous Retort,
is odd enough to get a laugh of surprise. Other times, I must Twist the answer to get a reaction. In those cases, I put the crown on my head, and say, To be or not to be. I then
explain that you never know when you will feel the need to rant about the madness that
surrounds you. The items and the application I have assigned them are just eccentric
enough that my reputation for an offbeat outlook is enhanced. It makes funny easier.
Develop a Sense of Timing
As we have seen, the greater the tension leading up to a jokes surprise ending, the bigger the potential laugh. One of the worst mistakes novice performers make is stepping
on their own punchlines. It is critical to wait so that the audience can catch up with you.
When you present a surprise ending, your audience must figure out the meaning of the
joke, and that takes time. If you do not give them time to process the jokes meaning, they
wont laugh.
Once your participants have figured out the meaning of the joke, they still need time
for the laughter to take hold physically. If you give them enough time to process the meaning, but not enough time to laugh, you will stifle the laugh. Worse yet, you will discourage future laughs. The audience will determine that the act of laughing prevents them
from hearing what you are saying, and they will not laugh. In effect, you will have trained
them not to laugh. The only solution is to stop and wait for the participants to catch up
with you.
In music, the true art often comes not from the notes, but from the pauses between the
notes. Just as you cant appreciate beauty without ugly, you cant appreciate the music
without silence. The same dynamic holds true for comedy. Silence makes the joke funnier.
Say what you want to say, and stop. Wait. After they have reacted, then continue.
Find Funny
Next, we want to turn our attention to ways of finding funny material, including the
following:
>
Look for Absurdity.
>
Watch Comedy.
Lessons from Comedy
>
Read Comedy.
>
Collect Comedy.
>
Try It Out.
LOOK FOR ABSURDITY
Finding funny is not difficult. The world is full of absurdity. One needs only to look for
it. After all, what great comedians do is comment on the situations we all share. The difference between comedians and average people is that most people are too busy reacting
to the info-fog to focus on the absurdities of life. Comedians instead focus on everyday
details, and look for the absurdities inherent in those details. George Carlin, with his
routines about carrying personal items on vacation, words you cant say on television, and
different meanings for the same words, made a career of such observations.
WATCH COMEDY
We all watch comedy. But to find funny, you should stop watching comedians as an audience member, and begin watching them clinically. Try to identify the joke telling formulas they use. Watch for timing. Look at the ways in which their personas enhance their
comedic presence. Most of all dissect the mechanics. The closer you look, the more
you will appreciate the craftsmanship these performers demonstrate. You will find that you
appreciate their work on a much deeper level.
READ COMEDY
The daily newspaper features a ready source of comic strips. The closer you read them,
the more you will notice that the same gags recur time after time. As you read, you will
begin to get a feel for how comedy is created.
COLLECT COMEDY
Start a file. If you find a comic strip you think is funny, clip it out and save it. Seek out
jokes on the Internet. Join a daily joke list. Get a subscription to Readers Digest or other
magazines that feature comedy. Whatever source you use, the key is to have ready examples available to look through for comedic inspiration. When you have a funny observation, put it in the file too. Pay special attention to anything that makes you laugh. If
you think it is funny, it probably is.
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132
TRY IT OUT
When you come up with something you think is funny, try it out. Slip it into conversation. Share it with your family. Test it out in a classroom. If it gets a laugh, keep it. But
dont stop there. Expand the joke. Try twisting it. See how much mileage you can get out
of the basic insight behind the joke. As long as you still get a laugh, keep expanding it.
When the laughs stop coming, you will know you have gone too far. Simply revert to the
prior version. Then, look for another nugget of humor. Most of all keep working it. For
although comedy looks natural when done correctly, it is hard work.
When Should I Use Comedy?
So, when should you use comedy? I dont know. There is no formula that answers that
question. The audience, the subject matter, the class length, the venue, and your personality are all variables that must be considered. Look for comedic placements that support
and enhance the learning, and use it there. If you have seriously evaluated what you are
saying, and why those words make your instruction more meaningful, then you will make
the correct choices.
If on the other hand, you sense your classroom has turned into a comedy club, then
you are overdoing it. A little earlier, we discussed the concept that silence is necessary
for music to be appreciated. The same idea holds true for the placement of humor. Humor
is not a substitute for good instruction. Imagine instruction as a cake. Comedy is not the
cake. It is the icing. If you use too much of it, you lose the flavor of the cake.
Comedic Pratfalls
Comedy is a serious business. A serious business

with only one purposeto make people laugh.W. C. FIELDS
As we said, comedy is hard work. Avoiding comedic pratfalls is even harder. Comedy requires a level of trust between the audience and the performer. Especially in the classroom, the rapport that comedy can build is too valuable to be carelessly gambled away.
Here is a general list of donts that should help you avoid comedic pratfalls:
>
Never announce in advance that you are going to tell a joke.
>
Comments such as, Youll really like this one guarantee a nonfunny result.
Lessons from Comedy
>
Dont explain a joke, either before or after the telling.
>
If the joke falls flat, move on. Dont dwell on it.
>
Humor is not a way of exerting power. Dont flaunt yourself.
>
Never make jokes at another persons expense, especially if he or she is present.
>
Be sensitive to your audiences sensitivities.
>
Comedy should be good natured, not mean spirited.
>
Dont overdo the jokes. Comedy is not a substitute for solid content.
This list may seem like common sense, and it is. In fact comedy is, in its worldview, its
delivery, its attitude, and its application, common sense. For that reason, its use should
not be feared. It is a part of the natural rhythm of life, and a helpful learning tool. The
trainer who uses humor as an instructional tool will soon discover that trainees respond.
If you use comedy effectively, your learners will enjoy your classroom; they will admire
you for your wit; and, most importantly, they will retain your message.
1
Smith, Dave (2001). The Quotable Walt Disney: It Was All Started by a Mouse. New York: Hyperion.
Pike, Bob (1989). Creative Training Techniques: Tips, Tactics, and How-tos for Delivering Effective Training. Minneapolis: Lakewood.
3 Rose, Colin, and Nicholl, Michael L. (1997). Accelerated Learning for the 21st Century. New York: Delacorte Press.
4 Reinsmith, William (1992). Archetypal Forms in Teaching: A Continuum. Westport, CT: Greenwood Press.
Press.
6 Websters Dictionary of Quotations (1992). New York: Smithmark.
7 Ibid.
8 Provine, Robert, Ph.D. Special Report to MSNBC. May 27, 1999. <www.msnbc.com.>
9 Ayto, John (1990). Dictionary of Word Origins. New York: Arcade.
10 The Koran (500)
11 Allen, Steve, with Wollman, Jane (1998). How to Be Funny: Discovering the Comic You. Amherst, MA:
Prometheus Books.
12 Feinsilber, Mike and Mead, William B. (1987). American Averages: Amazing Facts of Everyday Life.
Garden City, NY: Dolphin Books.
13 Morreall, John, Ph.D. (1997). Humor Works. Amherst, MA: HRDV Press. Childre, Doc, and Martin,
Howard, with Beech, Donna (1999). The HeartMath Solution. San Francisco: HarperCollins.
14 Provine, Robert, Ph.D. (1999).
15 Vermeulen, Andr (May 22, 2000). ASTD International Conference. Session M508.
16 Morreall, John, Ph.D. (1997).
17 Childre, Doc, and Martin, Howard, with Beech, Donna (1999).
18 Allen, Steve, with Wollman, Jane (1998).
19 Davidson, John and Casady, Cort (1979). The Singing Entertainer: A Contemporary Study of the Art and
Business of Being a Professional. Los Angeles, CA: Alfred Publishing.
2
133
134
20
Provine, Robert, Ph.D. (1999).

Ibid.
22 Regina, Barreca (1991). They Used to Call Me Snow White . . . But I Drifted: Womens Strategic Use of
Humor. New York: Viking.
23 Loomans, Diane, and Kolberg, Karen (1993). The Laughing Classroom: Everyones Guide to Teaching
with Humor and Play. Tiburon, CA: H. J. Kramer.
24 Highet, Gilbert (1977) The Art of Teaching. New York: Random House.
26 Highet, Gilbert (1977).
27 McAlhone, Beryl, and Stewart, David (1996). A Smile in the Mind: Witty Thinking in Graphic Design.
London: Phaidon Press.
Press.
29 Ibid.
30 Mezirow, Jack (1996). Contemporary paradigms of learning. Adult Education Quarterly, 46(3):158172
quoted by Merriam, Sharan B., and Caffarella, Rosemary S. (1999). Learning in Adulthood: A Comprehensive Guide. San Francisco: Jossey-Bass.
31 Gazzaniga, Michael (1992). Natures Mind: The Biological Roots of Thinking, Emotions, Sexuality, Language, and Intelligence. New York: Basic Books.
& Sons.
33 Cleese, John quoted by Rose, Colin. and Nicholl, Michael L. (1997).
34 Allen, Steve, with Wollman, Jane (1998).
35 Ibid.
36 Ibid.
37 Ibid.
39 The 1995 Grolier Multimedia Encyclopedia. (1995). vr. 7.0.2. Grolier Electronic Publishing.
40 Johnson, Bruce Charlie (1988). Comedy Techniques for Entertainers: Charlies Comedy Creation Course.
La Crosse, WI: Visual Magic Publications.
41 Vincent, Bob (1979). Show-Business Is Two Words. Studio City, CA: Main Track Publications.
21
CHAPTER SIX
LESSONS
FROM
MUSIC
ONE MORE TIME
My mom was a greaser. Or rather, she thought she was. Somehow, she never
outgrew the fifties. She wore ponytails and angora sweaters right up until
her death in 1995.
Another thing I remember is that movie: American Graffiti. She couldnt
get enough of it. She said it reminded her of her high school days. Anyhow,
we had the first videotape player in our neighborhood and a copy of American Graffiti as soon as it came on the market.
She made me watch it over and over. Watch this! shed demand,
Maybe youll learn something. Every Friday night, it was One, two,
three oclock, four oclock rock . . . How I hated that thing.
Perhaps the worst time was the night my friends slept over. We were
watching Solid Gold with Dionne Warwick, and the Bee Gees were being
interviewed. Staying Alive was the number one song in the country, and
we all had a crush on Maurice. Anyhow, Mom made us shut off the Bee
Gees and watch that stupid American Graffiti again. To emphasize the point,
she even moved the couch closer to the TV, So that you can see it better,
[ 135 ]
136
she said. I was mortified. After that, I watched Solid Gold at my friends
house.
But then the world changed. I went to college. Got a job. Got married.
Had a daughter. Got divorced. And moved into Moms old house. Thats why
I was cleaning out the attic today. While going through the various boxes
and junk, I stumbled on a trunk of Moms. In it were her old angora sweaters,
some of her school assignments, her high school yearbook, dated 1961, and
one other item.
And, I got to thinking. My daughter never got to know her grandmother.
We had moved too far away. I took the item, went downstairs, moved the
couch closer to the TV, and called my daughter.
What are we doing Mom? she asked as I motioned toward the couch.
Come, sit here baby. I want you to meet your grandmother. I said, as
I started American Graffiti one more time.
Music, when soft voices die, vibrates

in the memory.PERCY BYSSHE SHELLEY
1
Principle 3: Cue the audioadd the auditory signal to the visual.

Principle 4: Evoke emotionengage your learners emotionally.
Principle 2: Layer meaningpresent your message on several levels.
Principle 6: Stage the environmentorchestrate every detail of the environment.
TRAINING WITH A BEAT
In my 2000 work, Training with a Beat, I fully explored the application of music in the
learning environment. At that time, I listed 12 Training with a Beat applications:
>
Music establishes a positive learning environment.
>
Music minimizes negative conditions surrounding a subject.
Lessons from Music
>
Music creates a metaphor for the task to be learned.
>
Music provides background sound.
>
Music assists with repeated tasks.
>
Music aids memorization.
>
Music transports learners to different times and locales.
>
Music enhances reviews.
>
Music frames games and activities.
>
Music changes energy levels.
>
Music fosters creativity.
>
Music provides closure.
In this chapter, we will explore the techniques show business professionals use to enhance their entertainment with music. We will then search for interrelationships to the
Training with a Beat applications.
MUSIC AND ENTERTAINMENT
Music comes from the Greek word, mousikos, meaning of the muses, in honor of the Greek
goddesses who inspired all artists.2 As the history of the word implies, music is an ancient
art. Robert Sylwester, in A Celebration of Neurons, stated what many scholars believe:
Its possible that music was a precursor of languagea primal ability to
recognize and respond to rhythms and tonal variations that eventually
led to greater complexities of language. When we humans went on to
develop language, we may have kept music around because we liked the
positive emotional overtones that it added to our life and discourse.3
John Blacking, in A Common Sense View of all Music, concurred: There is evidence that
early human species were able to dance and sing several hundred thousand years before
homo sapiens emerged with the capacity for speech as we now know it.4
The first cave fire stories were likely musical in nature. We will never know this for
sure, but we can say assuredly that music was present in early entertainments. Ancient
cave drawings tell us so. Often, they depict people dancing, and dancing implies some
sort of music. In addition, remnants of musical instruments that date back 30,000 years
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have been discovered,5 and artifacts found in ancient caves include bone flutes and percussion instruments.6
It is easy to imagine that early humans who could vocalize would have become known
for their singing. The reverberating acoustics of the caves would probably have encouraged songs around the fire. In fact, archeologists have discovered that caves with the most
primitive wall paintings tend to have the best acoustics.7
We may be able to discover adequate proof in the oral tradition. For example, Australian Aborigines make a lifes study of music, including oral records of the societys
customs, history, and social order.8 Professional musicians (griots) act as historians in
many African societies.9 The African Tiv tribe, for instance, uses music to teach and define cultural norms within its society,10 and Mande bards recount the histories of kingly
lineage and offer counsel to contemporary rulers through music.11
As entertainment became an organized activity, its music usage became codified. Cave
shamans gave way to jongleurs, troubadours, and minstrels. In time, solo instrumentalists
became trios and quartets, and eventually whole symphony orchestras. As music developed into its own art form, entertainment forms that used music came to the fore. Opera
became an established art form. Opera in turn led directly to the vaudeville and the dance
hall stages. From there, it was a short leap to Broadway, and to film. All along, music
grew in importance, until it reached its current stature as a driving force in the success
of entertainment.
In a perfect world, we could discuss the application of music to entertainment in the
context of live performance. However, I cannot bring an orchestra into each of your homes.
And even if I could, the addition of 40 people plus instruments to your household would
be disruptive. Instead of trying to discuss live without being live, we will focus on the application of music in motion pictures. For, although a film performance is not live, the
musical applications are the same and have relevance to the learning environment.
HOLLYWOOD BEFORE MUSIC
Believe it or not, films didnt always have music. In the beginning of the motion picture
industry, the films were silent, and the silence was not welcomed.
Moving pictures, usually a few minutes long, were first shown as a segment on a bill
between live performances. From the first moment people saw the films, there was something wrong. It was too quiet. There was sound, but it was distracting noise. Every cough
and shuffle of feet could be heard. So could the slightest whisper. The projectors rattled
and clanged annoyingly. In that era before air conditioning, all the windows and doors
stayed open, allowing street sounds to intrude on the entertainment. It was not a pleasant
experience.
Lessons from Music
But that wasnt the worst of it. When a

door closed on a screen, no sound accompanied it. Explosions were silent. And the
people talked without sound. Worse yet, the
people on the screen were pale white vapors;
little more than reflected ghosts. Contemporary audiences described films unfavorably as noiseless fleeting shadows, cold
and bare, ghostly shadows, lifeless and
colorless, unearthly, and flat.12
It was a ghastly experience. Fortunately,
because these films were displayed in live
theater halls, the exhibitors had a quick
solution available to them. Much to the
chagrin of their on-break musicians, they told them to play something during the film.
Instinctively the theater owners knew that music would simultaneously neutralize both
distracting sounds and silence. Music became such an internal part of the film experience that it was played continuously. If the picture moved, the musicians played. In
fact, screening a film in silence was considered to be an unforgivable offense worthy
of severest censure.13
This quick, play something approach meant that the music performed had little
relationship to the film being shown. It took several years for the film makers to realize
what their live entertainment colleagues already knew. Music was more than a masking
tool. The kind of music played was important too. In musician historian Charles Bergs
words, musical accompaniment could and should relate to the moving images.14
Unfortunately for the film makers, there was no effective control over the musical accompaniment, until, in 1926, the Bell Telephone Laboratories created a sound-on-disc
recording system. One year later, The Warner Brothers studio released the first American
talkie, The Jazz Singer, with Al Jolson.
As a result of The Jazz Singer, by 1928, one short year later, the whole silent film
industry was wiped out. Silent film stars, directors, musicians, and nontalkie theater locations went out of business. The public clearly preferred sound to silence, and wanted
music as an integral part of that sound. As musicologist George Burt explained in The
Art of Film Music: When placed together to achieve a common goal, a great deal more
is expressed than would be possible by means of either medium alone.15
Years later, radio faced a similar crisis. Television supplanted radio as the entertainment option of choice. In sharp contrast to the experience of silent film, radio did not
die. It adapted, and exists to this day. It seems that the visual signal needed an auditory
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component, but the auditory signal did not need the visual image. In other words, people
would accept the audio without the visual, but not the visual without the audio.

CARD:
will
accept
audio
CUE

People

without

video, but not video without audio.

The classroom implication I take from this is the importance of the auditory signal. Learners who listen to a book on audiotape, will invariably supply their own mental images.
Learners who watch a nonverbal video will invariably start talking to fill the silence.
In many classrooms, great effort is spent on supplying materials, easel pads, posters,
and other visual aids. But, other than the instructors voice, little emphasis is placed on
the auditory cues and textures that accompany those images. The end result is similar to
driving a car with only four of its six cylinders working. The car can drive, but the gas
mileage is significantly reduced. So it is with instruction. The audio signal is too often
neglected, and the learning potential significantly reduced.

the
CUE
CARD:
If
audio
signal
isneglected,

learning
potential
isreduced.

MUSIC AT THE MOVIES
A large part of a films success depends on the simultaneous use of both the visual and
the auditory signals. Where film directors capture the look of the film, film composers,
working with the director, capture the sound of the film. In this way, the film communicates with the audience through both signals.
Orson Welles, the creator of the great film, Citizen Kane, was a true film pioneer in this
dual communication. Welles approached film making with a novel attitude. He believed
Lessons from Music
that every effort should be made to heighten the drama, and that music should emphasize
the dramatic rather than the factual content.16 It was a revolutionary approach.
Welles probably never met Bulgarian psychologist Giorgi Lozanov, but he would have
agreed with Lozanovs comments in Suggestology and Outlines of Suggestopedia: The
language of music, rhyme and rhythm reach not only the ear, but the mind of man as well,
via a much shorter path than logical facts and arguments.17
Other scholars agreed. Composer Arthur Schopenhauser once wrote that Music
was the incarnation of innermost reality, the immediate expression of universal feelings
and impulses in concrete, definite form.18 Sound psychologist John Ortiz, in The Tao of
Music, added that Music freezes images into recollections and releases recollections into
images.19
These observations are backed by practical experience in a completely different field.
Oliver Sacks, made famous in the Hollywood movie Awakenings and Robin Williams portrayal of him, first came to professional attention when, in 1966, at the Beth Abraham
Hospital in the Bronx, he began exploring the connection between music and individuals
with severe neural illnesses. He was able, through music, to reach the most hopeless of
individuals. As Sacks explained:
After a stroke, patients may suffer from aphasia, the inability to use or
comprehend words. But the ability to sing words is rarely affected, even
if an aphasic cannot speak them. Some of my patients are unable to carry
out a complex chain of actions: to dress, for example. Here, music can
work as a mnemonica series of promptings in the form of a verse of
song, as in the childhood rhyme, One, two, buckle my shoe.20
Playwright Tennessee Williams agreed, In memory everything seems to happen to

music.21
Music has become such an integral part of film that approximately one third of every
film has music accompaniment. In fact, successful films without music are rare. In general, the application of music in films has a basic structure, and Show Biz Training techniques follow that structure. Next, we examine those applications, and then explore
applications to the learning environment.
THE STRUCTURE OF FILM MUSIC
As we begin this film music exploration, an important point must be made. Because live
theaters playing silent films used their house musicians to provide film accompaniment,
film music owes a great debt to the musical traditions of those early house musicians.
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Live theatrical music was largely based on melodrama music, and melodrama music was
an exaggeration of Wagnerian opera. Thus, film music structure is based on the structure
of opera. As musicologist Roy Prendergast explained in Film Music: If we equate the
dialogue in a film to the sung words of opera, we can see there is little difference between opera and film.22
Therefore, much of the information contained in this chapter is based on the musical
norms developed in Wagnerian opera.
The Overture
Traditional live stage productions begin with something called an overture. The purpose
of an overture is to set the mood, pace, and style of the presentation to follow. A traditional overture mixes all the musical themes to be featured. Generally, an overture begins brightly, with a fanfare or other attention-getting device that announces its presence.
In the next few minutes, the overture transitions through the other major musical themes.
The quietest point of the overture, the love ballad, is placed in the center. From the ballad, the overture builds to a rousing conclusion that leaves no doubt that the story is about
to begin.
In epic films, this traditional overture format is followed. Ben Hur (1959), The Ten
Commandments (1956), and West Side Story (1961) are but three examples. Often, the
opening film credits are presented at this point.
Other films adapt their overtures to the emotive style of the film. An example is the
John Williams overture for the film Jaws (1975). Jaws begins with murky movement
through the water. With different music, the scene could have just as easily been featured
in a Disney film. But instead, we hear a hint of an ominous lower register rumble. The
camera picks up speed as it moves through the water, and the music increases in volume
and in its threatening tone. Although this overture does not feature a medley of musical
themes, it serves the function of an overture. It set the mood, pace, and style of the film
to follow. The listener knows that this film will be no day at the beach.
Another classic film, Star Wars (1977) uses the overture to throw the viewer immediately into the action. A fanfare announces the beginning. Next, the background story
for the film is scrolled on the screen, and the films main musical theme is introduced.
The effect is grand, magnificent, and sweeping. This overture tells the listener that an
epic tale has begun, and sets the film up for success.
The James Bond series offers a final example. The Bond overture comes after a prologue. This prologue provides a vignette in which the never-defeated Bond conquers seemingly impossible odds. After the prologue, the overture begins. In this particular overture
style, a pop song especially recorded for the film and performed by a well known recording
Lessons from Music
artist is introduced behind the credits. The song will recur throughout the film, and in that
manner, fits the classic definition of an overture.
Overtures in the Learning Environment
The same dynamic can work in a learning environment, when two of my Training with a
Beat applications are applied:
>
Music establishes a positive learning environment.
>
Music minimizes negative conditions surrounding a subject.23
Many learners tense immediately on entering a classroom. For those people, personal
experience suggests that learning is a chore, and learning cannot occur unless the learners
face a number of challenges:
>
The distractions of the info-fog.
>
Admitting knowledge gaps in front of strangers.
>
Negative memories of school experiences.
>
Fear that maturity has dulled learning skills.
>
Fear that inexperience will make learning difficult.
>
Employee suspicion about management motives behind the learning.
As learners enter most classrooms, a sign welcomes them. The visual signal is present.
But more often than not, the auditory signal is missing. The mood, pace, and style of the
class are not projected auditorially, and an opportunity to engage distracted learners is
lost. In Training with a Beat I explained: Your learners should experience a positive,
accepting climate the moment they enter your classroom. The learning environment you
establish should be an irresistible invitation to learn. Music familiar to the learners, or
appropriate to the learning environment, can establish this climate.24 In Emotion and
Meaning, Leonard Meyer concurred: Music activates tendencies, inhibits them, and
provides meaningful and relevant resolutions.25 Music reaches past the thinking brain,
into the emotions of your learners, disarming anti-learning defenses.
A fast, upbeat overture, directly related to the learning subject at hand, and familiar
to the learners, can ease these tensions by, in essence, babysitting the panicky right cerebral hemisphere. It will help trainees open up to the learning in spite of their personal
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OVERTURE PLACEMENT ANALYZER

Use this matrix to determine the effectiveness of the overture music you select.
Step 1: Select the overture music.
Begin brightly, with a fanfare or other attention getting device.
Selection 1: ______________________________________________________________________
Transition through the other major musical themes.
Follow-up selections: ______________________________________________________________
The quietest point is placed in the center.
Midpoint selection: ________________________________________________________________
Build to a rousing conclusion.
Concluding selections: ____________________________________________________________
Step 2: Evaluate the music for effectiveness.
Does the music:
> Immediately
> Set
capture attention?
the mood of the training?
> Match
the style of the presentation to follow?
> Establish
> Sound
familiar to the learners?
> Directly
> End
a positive learning environment?
relate to the subject at hand?
with a fast, upbeat pace?

Total Score (7 maximum)
Yes
No
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
The higher the Yes column score, the more effective the overture will be.
TABLE 6-1
challenges.26 As in the movies, an effective overture will tell your learners that they are
entering a different world. The Overture Placement Analyzer (Table 6-1) is one resource
for identifying overture music.
Defining Time and Place
Every film occurs in a specific time and place. Where in a book an author can state the
time, and discuss the location at length, films cannot. Often, a film must convey its time
Lessons from Music
and place without directly saying so. The visual signal provides some information, and
the audio provides the rest. At the first available opportunity, films use music to establish
this context. In Jaws, its no accident that the beach scenes have a top 40 radio station
playing in the background. The music is from the 1970s, and the radio station soundtrack provides an excellent indicator of a lazy summer day at an American beach.
Perhaps the best film ever made, Casablanca (1942), takes place in Nazi-occupied
Morocco. At that point in history Morocco was a French possession. With the fall of France
to the Nazis, Germany began dictating the governance of all French possessions, including Casablanca.
Consider the difficulty director Mike Curtiz and composer Max Steiner encountered
in establishing time and place. The location is an Arabic country, but governed by the
French, who are in turn being dictated to by the Germans. If this isnt complicated enough,
most of the major action takes place in an American cafe. Simultaneously, the music had
to represent Arabic culture, French nationalism, German militarism, and American pop
culture. A successful mix was achieved by placing Arabic strains, intermixed with echoes
of the French national anthem, in the overture. As the film transitions to the American
location, Ricks Cafe, the music turns to American jazz, and the song Knock on Wood.
In one of Casablancas best musical moments, a group of Nazis begin singing a Nazi
anthem at Ricks Cafe. This is more than the French loyalists can stand, so the band and
the patrons counter by singing the French national anthem. For the film, it is a defining
musical moment. The hearts of the occupied French citizens are clear, as is the oafishness of the Nazi occupiers. The very fact that Rick allows the French national anthem to
be played by his band also clearly identifies his sympathies.
All this activity takes place with minimal dialog. The actors do not discuss their
feelings and motivations. No one explains the action. It just occurs, and in the process,
clearly establishes the time and place. As Arthur Schopnenhauer explained in The World
as Will and Representation: When music suitable to any scene, action, event, or environment is played, it seems to disclose to us its most secret meaning, and appears to be
the most accurate and distinct commentary on it.27
Defining Time and Place in the Learning Environment

Music can help establish time or place in the learning environment.28 For instance:
>
Nationalistic music can build diversity awareness of a specific culture, region,

or country to be studied.
>
Period music can place a history lesson in context.
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>
Show music can introduce or conclude a role-play exercise.
>
Renaissance music can foreshadow a Shakespeare reading.
>
Classical music can establish an aura of elegance for wine tasting seminars.
>
Contemporary nightclub music can introduce bartender and responsible vendor programs.
>
Celebratory music can provide closure to any activity, segment, or class.
The possibilities are limited only by the imagination of the trainer. Table 6-2 may provide a helpful overview of different musical styles.
Defining Characters
One of the primary musical applications that silent film musicians, and later film composers, borrowed from Wagnerian opera was the use of leitmotifs. A leitmotif is a musical
theme associated with a specific person, place, object, or idea in a film.29
The leitmotif assigned to one of these entities is usually previewed during the overture, and fully introduced with the first appearance or mention of the entity. In a way,
the leitmotif is the auditory equivalent to the visual identification of the entity. From the
MUSICAL STYLES OVERVIEW
This listing provides an overview of the major musical styles of Western music. It should not
be used to limit your options. Select the music appropriate to your needs regardless of its
origin.
TYPE OF MUSIC
HISTORICAL
TIMEFRAME
MAJOR
COMPOSERS
COMPOSITION
STYLE
Medieval
Pre-1450
Gregorian
Chant
Voice-based
music, simple
instrumentation
Voices render it
useless for reflection
and small group
discussions
Renaissance
14501600
Desprez,
Dowland,
von Bingen
Simplistic
vocals, light
instrumentation
Light instrumental
selections helpful for
quiet reflection
Baroque
16001750
Bach, Vivaldi,
Mozart
Objective,
steady,
passionate
The best source of

learning music with
steady tones, high
structure, and
emotive qualities
LEARNING USEFULNESS
Lessons from Music
Classical
17501820
Mozart,
Beethoven
Complex,
insightful,
emotional
Varies depending on
the individual
composition;
variations in volume
may make it difficult
to use effectively.
Early Romantic
18201860
Beethoven,
Brahms,
Wagner
Sweeping
melodies,
dynamic
contrasts
Highly melodic music,

changing dynamics
can make this music
difficult to use.
Late Romantic
18601900
Brahms,
Bruckner,
Tchaikovsky
Bigger, bolder
sounds
Widely varying
dynamics, choose
selections carefully.
Impressionistic
18801918
Debussy
Designed to
capture moods
Ideal for
brainstorming
Twentieth
century
19002000
Bartok, Ives,
Ravel,
Stravinsky
Chaotic, atonal,
dissonant
Atonal nature
renders it useless for
learning
Movie
Soundtracks
1927present
Bernstein,
Rogers &
Hammerstein,
Sondheim
Varies, dictated
by the movie
Specific songs for

specific situations
helpful when
properly placed,
nonvocal selections
ideal to recreate
specific moods
Pop
1920present
Various
Top 40, Country,

and Easy
Listening, and
Rhythm and
Blues
Use recognized, but

not current songs as
focal points for
discussion or activity,
to increase energy
levels, to create
better moods.
Rap
1985present
Various
Chants, can be
emotionally
angry
Rhyming aids
retention; use to
recite a string of facts
or statistics.
Jazz
1880present
Miller, Benson,
Strickland
Small combo to
big band
Use light, up-tempo

selections during
breaks.
New Age
1981
Enya, Winston,
Yanni
Reflective,
floating,
dreamlike
Slower selections
ideal for brainstorming, discussion,
reflection
TABLE 6-2
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point of introduction forward, each time the entity appears in the film, the musical theme
repeats.
Leitmotifs must meet several criteria:
>
They must match the entitys characteristics.
>
They must remind the listener of the emotion the entity brings forth.
>
They must be recognizable to the audience.
>
They must be adaptable, so that the film composer can use them in a variety
of settings.30
We will explore the use of leitmotifs through an examination of their applications in a number of highly successful films. All the films we will examine owe their success in large
measure to the effectiveness of their film scores, and the way they utilized leitmotifs for
their hero, heroine, and villain.
THE JAMES BOND SERIES
Perhaps the most successful film series in movie history is the James Bond films. As of
this writing, a total of 20 official Bond films have been produced. Incredibly, the most recent film in the series, Die Another Day (2002), was one of the largest moneymakers of
the series, with more than $300 million in ticket sales worldwide. Like the Energizer
bunny, these films keep going, and going.
The James Bond theme music, written by Monty Norman and orchestrated by John
Barry, is leitmotif based. Repeated in film after film, the music has given the films a
seamlessness, as if they are chapters of a book, rather than individual films. They have
also become ingrained in the pop culture. Musicologist Jeff Smith, in writing about the
series in his work, The Sounds of Commerce, states that over half the worlds population
has seen a Bond film, and it is likely that virtually all of them can identify the James
Bond Theme.31
The basic film formula, with some variation, consists of five leitmotifs:
>
The heros theme.
>
The hero swings into action.
>
The scene changes.
Lessons from Music
>
The heroines theme.
>
The villains theme.
The Heros Theme
The heros theme consists of a repeating low brass four-chord progression. It has an almost
catlike predatory quality, as if Bond is about to pounce. This theme is utilized whenever
the film makers want to remind the audience that Bond is no ordinary man, and that he
is about to solve the predicament he finds himself in.
The Hero Swings into Action
Often, the heros theme is followed immediately by another that indicates Bond has swung
into action. This hero swings into action theme features an electric guitar plucking a
twangy melody played over the hero theme. Here is where Bond triumphs over adversity.
The Scene Changes
Once the hero has beaten the odds, the scene change leitmotif can be heard. It features
a quickly repeating series of four notes, with each set of four being pitched differently
than the set that proceeds it. The motif ends with a small fanfare, and a new scene.
The Heroines Theme
As noted before, each film contained a specially written ballad, sung by known artists,
including Rita Cooledge (An All Time High), Sheena Easton (For Your Eyes Only),
Paul McCartney and Wings (Live and Let Die), and Carly Simon (Nobody Does It Better). Although played in its entirety as an overture, the song then becomes a leitmotif that
repeats throughout the film, most often when the heroine is on screen. The song isnt always a love ballad, but it is used in all the softer moments of the film. Many of these songs
have, because of their movie tie in, become hits in their own right. In some of the films,
the ballad was not directed at the heroine, but rather at the villain. In those cases, special love interest music, soft and flowery, was created.
The Villains Theme
As the heroine is different for each film, so is the villain, and the villains too got their
share of theme songs. Goldfinger (Shirley Bassey), Thunderball (Tom Jones), and
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Tomorrow Never Dies (Sheryl Crow), are three examples. In the films where the villain
didnt rate his or her own song, there nevertheless was a leitmotif assigned to him or her.
These too changed film to film.
THE STAR WARS SERIES
Like the Bond films, the Star Wars films have relied on leitmotifs, and have experienced
a high degree of success. Star Wars featured leitmotifs for each of the major characters.
The epic/hero leitmotif used for both Luke and Han Solo is commonly referred to as
The Star Wars Theme. It features trumpet fanfares, an uplifting marchlike pace, and a
slightly mellower middle section. This theme is introduced in the overture, and serves as
a call to action whenever heroism is required.
A second, more sinister march theme serves as a militaristic theme for the empire.
These two major leitmotifs are supported by a number of smaller ones. Princess Leia has
her own sweet, soft, theme, Obi-Wans leitmotif is mystical and majestic; and Darth Vaders
is a low brass rumble written to imply menace.32
VILLAINOUS PSYCHO JAWS
Perhaps the best villain motifs ever written are John Williams frightening lower register
cello and bass rumble for Jaws, and Bernard Herrmanns slashing violins in Alfred Hitchcocks Psycho (1960). Both themes are so vivid and powerful that they are quoted in virtually every horror film.
We have already discussed how the Jaws theme is introduced in the overture. What
we did not mention is that, during the entire overture, we never see the shark. Director
Steven Spielberg had no shark to film. Bruce, as the film crew dubbed the mechanical
shark used during production, wouldnt work for most of the film shoot. Spielbergs only
option, fortunately for all of us, was to rely on the auditory signal to portray Bruce. Bruce
doesnt show up until almost an hour of the film has passed, and yet, the auditory signal
was so powerful, that ddaaahhh ddaaahhh, dah dah, dah dah, dah, dah still means
underwater terror to people 25 years later!
In The Art of Film Music, George Burt once commented: When we see pictures and
hear music at the same time we invariably make a connection, if only on an unconscious
level.33
Spielberg and Williams, knowing the truth of this statement, used Bruces leitmotif to
play with the audience. Occasionally, Bruces leitmotif sounded, and the audience tensed,
expecting the sharks arrival. Several of these instances turned out to be sharkless audience teases. On other occasions, Bruce showed up without being announced. One such
Lessons from Music
example is the scene in which the Roy Scheider character panned chum, a mixture of
fish blood and guts, into the water, and the shark popped up behind him. Because no leitmotif was present, this appearance caught the audience completely by surprise. It was
powerful film making, with the auditory signal as a full partner to the visual.
Psycho is another example of a leitmotif stealing the scene. In Psycho, Janet Leigh is
knifed to death while taking a shower. The movie was filmed in black and white to make
it as stark as possible. In addition, film director Hitchcock edited the killing scene so that
each image was itself a slash, lasting less than a second. Hitchcocks intent was to not
place music in the scene. In keeping with the stark look he had created, he wanted the
audio to be as cold as possible. In a famous I told you so moment, composer Herrmann
insisted that the scene required music. Hitchcock disagreed, paid Herrmann for his work,
and told the composer that the score was done.
After several viewings, Hitchcock was forced to admit his error. The scene just
didnt work. The lack of an auditory signal doomed it. Hitchcock recalled Herrmann, and
Herrmann wrote the slashing sounds that have become the films lasting implant on the
minds of filmgoers.34
Leitmotifs in the Learning Environment
All the films we have discussed are rightly famous. Their leitmotifs added an extra dimension that made them whole. When integrated in this manner, leitmotifs cannot be
separated from the images that accompanied them. Simply hearing the music again
evokes the feeling of the filmed moment. The two pieces, the auditory and the visual, are
so interwoven that they have become one, and speak with greater clarity than either could
alone.
Obviously, you dont have characters in your learning environmentthat is, in the
Hollywood sense. But you do have themes. Properly selected music can enhance and validate your theme. From Short People for diversity, to Respect for sexual harassment,
to Time After Time for time management, to Burning Down the House for change,
the pop music world is awash in musical selections that can provide leitmotifs for your
learning environment.
Leitmotifs, in the form of sound effects, can be used to add an auditory element to the
classroom. A siren to announce fire extinguisher training, a gong that signifies the end of
a segment, a triangle to announce lunch, or a referees whistle to end a game are all useful
motifs given the right situation. Table 63 can help you select the correct leitmotifs.
Game show style activities are another effective use for leitmotifs. In Training with a
Beat, I explored this topic: Any learning activity can be tied to appropriate musical
themes. For example, game shows allow instructors to test material in a non-threatening
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LEITMOTIF PLACEMENT ANALYZER

Use this matrix to determine the effectiveness of the leitmotifs you select.
Step 1: Select leitmotifs.
1. List the major themes of your learning environment.
Theme 1:
Theme 2:
Theme 3:
Theme 4:
Theme 5:
2. What songs (or sound effects) relate to those themes?
Theme 1:
Theme 2:
Theme 3:
Theme 4:
Theme 5:
3. Where can you place those songs (or sound effects) in the context of your instruction?
Theme 1:
Theme 2:
Theme 3:
Theme 4:
Theme 5:
Do the letimotifs you selected:
> Align
with the class content?

information about their assigned situation?
> Help the learners connect to the assigned situation?
> Make an emotional connection with your learners?
> Communicate
Yes
No
______
______
______
______
______
______
______
______
The higher the Yes column score, the more effective the leitmotif will be.
TABLE 6-3
Lessons from Music
manner. Themed music frames such activities, making them less test like and more
enjoyable.35
Game show music can be used while:
>
Introducing the game showHigh energy music that hypes the activity and relates to the subject matter is appropriate.
>
Displaying the prizesLight, up-tempo music without vocals that stays in the
background.
>
Seeking and introducing game show playersHigh-energy music that creates

a sense of movement and excitement as people come to the front of the room.
>
Asking questionsAtmospheric nonvocal music that heightens tension without attracting too much attention.
>
Timing answersShort, timed, nonvocal pieces of music that stop playing when
it is time for the players to answer the question.
>
Conducting lightning roundsVery short musical segments that keep the energy level focused and forward-moving; tick tock clock sounds work well in this
context.
>
Thanking the playersHigh energy music, usually the same as the Seeking
and Introducing Players music, that creates a sense of movement as people return to their seats.
>
Concluding the activityHigh energy music that concludes the activity on a

positive note, and relates to the subject matter is appropriate; usually the same
theme that opened the activity.
Table 6-4, the Game Show Music Placement Analyzer is provided as a resource to aid
you in selecting appropriate game show music.
Creating an Atmosphere
As we have learned in prior chapters, people absorb information simultaneously on multiple levels. Learning is more effective when you orchestrate your environment so that all
the layers of meaning speak in concert. Film makers pay special attention to this very
principle. Music is often present in the background of films. It serves to create an atmosphere in which the film occurs. In Music for the Movies, Tony Thomas explained: Film
music is essentially dramatic music, not descriptive music. Music functions to point the
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GAME SHOW MUSIC PLACEMENT ANALYZER

Use this matrix to aid you in selecting appropriate game show music.
Introducing the game show
Selection:
Does the music
> Exhibit
high energy?
the activity?
> Relate to the subject matter?
> Hype
Yes
No
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
Displaying the prizes

Selection:
Does the music
> Display
a light up-tempo feel?

> Have no vocals?
> Stay in the background?
Seeking and introducing game show players
Selection:
Does the music
> Display
high energy?
a sense of movement?
> Create a sense of excitement?
> Create
Asking questions
Selection:
Does the music
> Have
no vocals?
tension?
> Heighten
Timing answers
Selection:
Does the music
> Play
in short segments?
> Length match the timed length required?
> Have no vocals?
Lessons from Music
Conducting lightning rounds

Selection:
Does the music
> Play
in short musical segments?

the energy level focused?
> Keep the momentum moving forward?
> Keep
Yes
No
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
Thanking the players

Selection:
Does the music
> Display
high energy?
the players introductory music?
> Create a sense of movement?
> Repeat
Concluding the activity

Selection:
Does the music
> Display
high energy?
> Conclude on a positive note?
Total score (24 maximum)
TABLE 6-4
dramatic atmosphere of the film and add one more emotional plane to an attack which is
already being made on the visual sense.36
George Burt explained the application of music to atmosphere as follows: The music
interacts with the intrinsic meaning of the sequence, as distinct from a surface-level meaning; it is addressed to what is implicit within the drama, not to what is explicit (such as
the visual action), that is, to what you cannot see but need to think about.37
Roy Prendergast, speaking in Film Music, added, The ability of music to make a
psychological point in film is a subtle one, perhaps its most valuable contribution.38
And Composer David Raksin explained that musics function is to help realize the
meaning of a film.39
As these comments indicate, the atmosphere of a film is highly dependent on its music,
and the true art of a film composer is to capture the atmosphere for each film he or she
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works on. Composer Ernest Gold explains that he tries to find musical atmosphere that
belongs to that film alone.40
Successful films capture that atmosphere. The Jaws theme created an atmosphere of
underwater terror. The Star Wars theme established the feeling of grand adventure. Francis
Ford Coppolas The Godfather (1972) and its two sequels makes extensive use of Italian
ballads that build a feeling irony and poignancy.
Psycho provides an excellent example of sophisticated film composing techniques.
The films two main characters were fatally flawed psychopaths. The beautiful girl turned
out to be a thief, while the nice looking boy was revealed as a murderer. As we mentioned
before, Hitchcock filmed the movie in black and white, giving it an empty and stark feel.
Composer Herrmann matched the visual mood with a score that had the orchestral texture
of strings, but lacked the fullness of a complete orchestra. When placed together, the visual and auditory signals gave the entire film an atmosphere of hollowness that added to
the films eerie mystique.
Creating an Atmosphere in the Learning Environment

Perhaps the most important atmospheric element to any learning environment is a feeling of playfulness suggested by the Learnertainment principle: Make it funcreate an
atmosphere of playfulness. Music has the ability to create warmth where none exists. Music
changes the energy level of a room, depending on the instructors need:
>
Fast music featuring high rhythmic activity and short, quick notes suggest
happiness.
>
Slow pieces of music featuring low rhythmic activity indicate sadness.
>
High rhythmic activity implies excitement.
>
Low rhythmic activity suggests calmness.41
With this information, you can establish the atmosphere you want when you want it:
>
Fast, major key music can encourage better moods after a period of intense
concentration.
>
Slow, minor key music can calm your learners down after a heated discussion.
>
Fast, major key music with high rhythmic activity and short, quick notes can
create a happy atmosphere after a depressing, worrisome discussion.
Lessons from Music
>
High rhythmic music can boost excitement levels when learners are bored.
>
Minor key music with low rhythmic activity can calm aggressive tendencies.42
Use the Atmospheric Music Analyzer provided in Table 65 as an aid in selecting atmospheric music.
Providing Background Filler
Some film music serves the mundane function of tying the disparate elements of a film
together. A true silent film was a jarring experience because of its lack of warmth, and
the sense of disjointedness that quick camera shots bring. Music often masks this silence.
As Aaron Copeland described it: This is really the kind of music one isnt supposed to
hear, the sort that helps to fill the empty spots between pauses in a conversation. Music
can help build a sense of continuity in a film. Music can tie together a visual medium
that is, by its very nature, continually in danger of falling apart.43
For films, this application of music is functional. There is no motivation except to
prevent the film from mentally unraveling. Incidental music serves that function, and film
makers were forced by their audience to use music for this purpose. For functional music
predated film.
Functional music got its start after the advent of silent film, but before the talkies,
when one man, Brigadier General George Owen Squier, had a vision that music could
help people be more effective in daily life. In 1922, he created a whole new genre of
music, commonly called elevator music.
Oddly enough, the term elevator music is correct. In the late 1880s, elevators were
a new phenomenon. To many people, the thought of getting into a platform that would
raise them several floors was a nerve-wracking idea. People were even afraid of motion
sickness! To overcome popular reluctance, elevator operators were hired. Eventually, the
economic cost of elevator operators proved too expensive, and they were replaced with
Squires brain child, Muzak.
Muzak was created to fill silence with an auditory signal that could reduce stress,
combat fatigue, and enhance sales. It worked so well that an estimated 90 million people
listen to Muzak each day.44 And, from a musicology standpoint, it is no wonder. Music is
well suited to these applications. Among the studies are the findings that background
music:
>
Creates better moods, happier thoughts, and greater relaxation.45
>
Reduces on-the-job accidents.46
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ATMOSPHERIC MUSIC ANALYZER

Use this matrix as an aid in selecting appropriate atmospheric music.
To enhance feelings of happiness:
> Fast music with high rhythmic activity; short, quick notes
Selection 1:
Selection 2:
Selection 3:
To encourage sadness:
> Slow music with low rhythmic activity
Selection 1:
Selection 2:
Selection 3:
To build excitement:
> High rhythmic activity
Selection 1:
Selection 2:
Selection 3:
To create a feeling of calm:
> Slow, minor key music; low rhythmic activity
Selection 1:
Selection 2:
Selection 3:
To encourage better moods:
> Fast, major key music
Selection 1:
Selection 2:
Selection 3:
To overcome boredom:
> High rhythmic music
Selection 1:
Selection 2:
Selection 3:
TABLE 6-5
Lessons from Music
>
Provides an illusion of distended time.47
>
Boosts worker production.48
>
Increases alertness in reaction time.49
>
Creates dedicated and concentrated moods.50
>
Creates a sense of privacy for small group discussion, making conversations

more satisfying.51
>
Makes people more likely to say what they feel.52
>
Helps people reach a greater depth of self-exploration.53
>
Increases performance on nonverbal tasks.54
>
Increases retention of vocabulary and grammar.55
>
Promotes more affective interaction between people.56
>
Reduces stress levels.57
>
Helps alleviate wait-related stress.58
One of the reasons for Muzaks success has to do with its pacing. Its selections match the
hour of the day, with peppy melodies and hyper rhythms in the morning, light pop at lunch
time, mellow selections in the mid-afternoon, classic pop at dinner time, and higher energy
selections in the evening.
In addition, all of Muzaks programming is arranged into quarter-hour blocks. The
music is designed to match the energy cycles of employees. At the beginning of a programming block, the music starts softly. From that point forward, it builds until, at 15
minutes, it reaches its peak in volume. It then starts over again, repeating this cycle every
15 minutes. Muzaks researchers say that this Stimulus Progression effectively counters
worker fatigue. They have validated that the Stimulus Progression is credited with:
>
Increased office output
>
Reduced stress
>
Enhanced concentration
>
Improved employee morale59
You may be thinking, I dont like the music. Muzaks research suggests likability
isnt necessarily relevant. Joseph Lanza, in Elevator Music, quotes one of the principle
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researchers, Richard Cardinell, as saying: In some cases, it is possible to achieve a

direct production increase by playing a program which completely ignores employee preferences and concentrates on the function aspects only.60
Creating Background Filler in the Learning Environment
Obviously, you do not want background music playing throughout your class. Movies dont
feature continuous background music either. Instead, look for those occasions where background music can enhance the environment. Possibilities include:
>
When many people are talking at once
>
During small group discussions
>
In solo reflection periods
>
During creative visioning exercises
>
While practicing repetitive tasks
>
During breaks
>
To enhance reviews
WHEN MANY PEOPLE ARE TALKING AT ONCE
When large groups are tasked with talking simultaneously, the noise can be deafening. Music
can take the edge off of the sound. In a crowded room, music acts much like lemon to a
plate of fish. Lemon, when sprinkled on the fish, cuts the odor. Music, when played softly
in the background of a discussion period, serves as a masking agent, and cuts the noise.
DURING SMALL GROUP DISCUSSIONS
During small group discussions, learners who are sitting near, and in some cases, next to
each other are placed in different groups. To help your learners focus on their own group,
rather than listening to another groups conversation, play music. Music adds a layer of
sound that prevents learners from focusing on other groups.
IN SOLO REFLECTION PERIODS
When learners are asked to reflect on a subject, any sound can disrupt their thoughts.
Much as theaters used house bands to cover up crowd noise during the projection of silent
Lessons from Music
films, light, slow, reflective music serves as a buffer between individual coughs and whispers. An additional bonus is the fact that slow, reflective music helps learners think.
DURING CREATIVE VISIONING EXERCISES
In Music and the Mind, musicologist Anthony Storr commented: Music plays a special role
in aiding the scanning and sorting process which goes on when we are day-dreaming.61
Music has been proven to enhance creativity.62 For example, it was reported that
classical music intensifies the ability of people, regardless of their visualizing ability, to
be creative. Music used during brainstorming exercises helps your learners develop and
link material in connecting applications.63 Music can give your learners musical anchors
to attach their brainstorms too.64
Table 6-6 may help you select appropriate background filler.
WHILE PRACTICING REPETITIVE TASKS
Repetitive tasks are made easier by music. If you exercise, you may already know this to
be true. Our bodies have a rhythm. Our heart beats, we breathe in and out, and our blood
BACKGROUND MUSIC ANALYZER
Use this matrix as an aid in selecting appropriate background filler.
Part 1: The need for music
Are your learners:
> Involved
in a group discussion?
in a paired discussion?
> Reflecting on a subject?
> Working privately, on solo activities?
> Practicing creative visioning?
> Involved
Yes
No
______
______
______
______
______
______
______
______
______
______
If you answered Yes to any of these questions, background music would be effective.
Part 2: Selecting appropriate music
Is the music you would like to use:
> Slow
> Reflective
> Melodic
> Nonvocal
> Instrumentally
light
Yes
No
______
______
______
______
______
______
______
______
______
______
If you answered Yes to all of these questions, you chose an effective selection.
TABLE 6-6
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pulses, all in time. Some amazing feats have been accomplished by tying tasks to music.
African slaves, for instance, used work chants to survive the backbreaking work of picking cotton. The workmen who built the transcontentinal railroad sang as they drove spikes
into the rails. The soldiers who fought for freedom sang as they marched hundreds of
miles.
If your trainees are required to learn repetitive tasks, background music can help.
Music helps learners:
>
Repeat monotonous tasks with a higher level of interest65
>
Alleviate anxiety66
>
Work longer67
>
Elongate their attention span68
>
Improve task concentration69
>
Increase task speed70
>
Build consistency71
Simply select a piece of music that pulses at a speed complementary to the task at hand.
Table 67 is an aid you can use.
REPETITIVE TASK MUSIC ANALYZER

When selecting music for repetitive tasks, answer the following questions:
> Is
the music steady in its rhythm?

you walk to the rhythm of the music?
> Can you perform the repetitive task to the music?
> If the music has lyrics, will the learners be able to sing them?
> Can the lyrics be rewritten to correspond with the repetitive
task?
> Do you have the ability to speed up the music as task skills
increase?
> If the music is sped up, does it still sound acceptable?
> Can
Yes
No
______
______
______
______
______
______
______
______
______
______
______
______
______
______
If you answered Yes to all the questions, the music is appropriate for repetitive tasks.
TABLE 6-7
Lessons from Music
DURING BREAKS
The lack of sound on breaks can undercut the comfortable atmosphere you may have built.
Select and play music appropriate to the instruction that just occurred. If your learners
are all keyed up and you feel the need to calm them down, play some slower reflective
music. If the segment just ended required intense concentration, play up-tempo music
that will help your learners unwind. As the break reaches its halfway point, switch music.
Play selections more appropriate to the segment you will soon begin. One minute before
the break ends, turn the music up to indicate that the learners should return, and then
turn it off when you are ready to start.
TO ENHANCE REVIEWS
In Chapter 4, we discussed Giorgi Lozanovs theory of Suggestopedia. There are some

specific Suggestopedic techniques relevant to reviews. Lozanov created what he called
passive and active concerts.
Lozanov believes that suggestion is more easily accepted when the student is in a
deeply relaxed condition, both mentally and physically. He described this relaxed state
as a special internal setup of serene memorization without worry, strain or effort.72 To
achieve this level of relaxation in his learners, his reviews would include deep-breathing
exercises, a comfortable and relaxed position, a calm, pleasant atmosphere, a background
of classical music, and the recitation of critical information.
In an active concert, the learners recite the key points. In a passive concert, the instructor reads the points. In this application, slow Baroque or early Classic period music,
pulsing at a rate parallel to that of the human heart, around 60 to 80 beats per minute,
can be employed as background to a recitation review of critical information.
An effective passive concert review method is to place key review points into a
PowerPoint style presentation. Simply create one slide for each review point. Set the
timing of the presentation so that the questions change automatically every few seconds. Next, add music. Immediately prior to presenting this review to your learners, have
them take a few deep breathes, and stretch their muscles out. Then invite them to sit
back, relax, and read the statements that appear on the screen. The end result will be
an automatic and effective review in which you dont need to say a word. For an active
concert version, have your learners recite the review information as the music plays. If
neither of these ideas appeal to you, you could play slow reflective music in the background while your learners silently review. Use Table 6-8 to help you select appropriate
material.
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REVIEW ENHANCING MUSIC ANALYZER

When selecting music for reviews, answer the following questions:
> Is

you easily walk in rhythm to the music?
>Does the rhythm of the music pulse once or less per second?
>Is the music devoid of lyrics?
>Does the music maintain a steady volume level?
>Is the music steady in its instrumentation?
>Does the music tend to make you feel sad?
>When you play the music, does it fade into the background?
>Can
Total (8 maximum)
Yes
No
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
The higher the Yes column score, the more effective the music usage will be.
TABLE 6-8
LENNS TEN
Below, I have listed 10 of my favorite instructor-friendly music CDs. These CDs are ideal
for learning situations. The ten, in alphabetical order, are:
>
Desert Rose
>
Game Show Themes for Trainers
>
Music for Accelerated Learning: Steven Halpern
>
On the Wind
>
Paint the Sky with Stars: The Best of Enya
>
The Set Your Life to Music Series
>
Trainer Sounds
>
Touch
>
Tropical Dreams
>
Tunes for Trainers and Jazzy Tunes for Trainers
Lessons from Music
Desert Rose
Artist: Peter Goslow
Label: Classic Press Recordings
Description: A peaceful collection of Baroque and Classic compositions ideal for
solo reflection. The material is well chosen, the execution is flawless, and the
recording captures every nuance of the
acoustic guitar. The music maintains a
constant approximate volume level with
no jarring contrasts to distract learners.
Suggested Use: To create a state of relaxed
awareness for a passive concert, or during reflection
Parameters: Higher initial cost, but purchase includes usage permission
Where to find it: MediaRider.com
Game Show Themes for Trainers

Artist: James & Lenn Millbower
Label: Offbeat Training Tunes
Description: A collection of original music written for instructors and inspired by favorite
game shows. Selections range in style
from jazz to country to rock, and include
music for game show themes, quizzes,
introducing prizes, TV commercials, and
news breaks. For maximum flexibility,
most of the selections are recorded in
short, long, and talk over versions.
Suggested Use: Ideal for game style reviews,
timed events, group interaction, and TV
themed activities
Where to find it: Offbeat Training, Stylus
Publishing, LLC, Trainers Warehouse,
Tool Thyme for Trainers
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Music for Accelerated Learning: Steven Halpern

Artist: Steven Halpern
Label: Inner Peace Music
Description: Steve Halperns works focus
on the application of the Suggestopedia. Consequently, his music is ideally
suited for the classroom. It is tuneful
and emotive without distracting attention
away from the learning task at hand. Selections feature acoustic and electronic
instruments in a thoughtful, reflective
mix.
Suggested Use: This music is ideally suited
for Lozanov style passive and active
concerts
Parameters: Copyright permission is not granted by purchase
Where to find it: Steven Halperns Inner Peace Music
On the Wind
Artist: Mike Strickland
Label: MSP Records
Description: This collection of light jazz is
familiar without being exceedingly so.
Different tracks are vaguely reminiscent
of Yanni, George Benson, or Sergio
Mendez. Learners will think they have
heard this music before without knowing exactly where. It is comfortable,
light, up-tempo music.
Suggested Use: For the in-between times:
as learners enter, take a break, or exit,
and during the afternoon
Lessons from Music
Paint the Sky with Stars: The Best of Enya

Artist: Enya
Label: Warner Music
Description: Heavily synthesized, but with a light feel, this collection features lilting
melodies, sophisticated musicality, and up-tempo rhythms. Although music with lyrics
is not recommended during thinking activities (see The Use of Pop Songs in the Learning Environment below), the lyrics are mixed into the music in such a way as to make
them indistinguishable from the synthesizers. Consequently, the collection provides
up-tempo, seemingly lyrical pop music that functions as a modern learning equivalent
to Mozart.
Suggested Use: Ideal for afternoon use, during reflection, and group discussions
Where to find it: Most CD retail outlets
The Set Your Life to Music Series

Artist: Various
Label: Phillips Classics, PolyGram Classics & Jazz
Description: The Set Your Life to Music series consists of several classical music recordings designed to complement daily activities. Titles include Bach for Breakfast,
Bach for Book Lovers, Mozart for Meditation, and Mozart for Morning Coffee.
Each CD features music intentionally chosen to compliment the activity listed in its
title. The music it is not boisterous. The selections are mostly minor key, pensive works
that pull learners toward relaxed awareness. Never too loud, or too soft, fast, or slow,
these selections allow you to start and stop the CD at will. In addition, the music
provides a level of musical sophistication that engages both hemispheres of our brains
by displaying both structural complexity and emotional depth.
Suggested Use: Ideal for use before noon, during reflection, study, and small group discussions
Where to find it: Most CD retail outlets
Trainer Sounds
Artist: Various
Label: Performance Insight, Inc.
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168
Description: Trainer Sounds is different

from the rest of the selections in this
listing. It is not a CD. Rather, it is a
royalty-free software collection of music
and sound effects designed for us with
any computer. Once the Trainer Sounds
CD-ROM is placed into the CD-ROM
drive of a computer, it is a simple matter to select and play any specific sound
upon demand. The selections offer a wide
variety of tempos and styles, with selections fitting virtually every musical need.
Suggested Use: Any situation where music
or sound effects are required
Parameters: Requires 100MB of computer memory to run properly
Where to find it: Offbeat Training
Touch
Artist: Michael Jones
Label: Narada Productions
Description: A light, soaring, reflective collection of original compositions played
on a grand piano. The music has a newage feel, backed by a spirituality that
propels it forward. Its lightness makes it
an ideal classroom companion.
Suggested Use: During passive reviews,
reflection, and study
Parameters: Copyright permission is not
granted by purchase
Where to find it: Narada Productions.
Tropical Dreams
Artist: Scott Moulton
Label: Revere Records
Lessons from Music
Description: Tropical Dreams is a light,

mellow, melodic, meditative, minor key
based collection of material. The selections are interconnected, flowing easily
from piece to piece. A hint of ocean surf
connects the whole. All the takes feature
the same light, pensive touch, allowing
you to pause and restart the CD at will.
Suggested Use: Ideal for reflection
Parameters: Higher initial cost, but purchase includes usage permission.
Tunes for Trainers and
Jazzy Tunes for Trainers
Artist: Various
Label: Network Music, LLC
Description: Tunes for Trainers and Jazzy Tunes for Trainers are mixed-use collections. Tunes for Trainers features various campy training related songs, fifties through
eighties pop rock, and light jazz selections. Among the pieces is a delightfully zany,
campy and sickeningly sweet vocal selection called Good Morning. This song, and
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other selections in the training related section, aids in framing a learning environment.
Jazzy Tunes for Trainers is also a compilation album, featuring various big band, cool
jazz, funk, rock, Mexicana, and comedic and patriotic selections. The big band selections alone make the CD worth buying
Suggested Use: Before beginning, to introduce a break to lunch, to welcome the learners
back from break or lunch, and to say goodbye at the end of a session
Parameters: Higher initial cost, but, as in the case of Game Show Themes for Trainers,
purchase includes usage permission
Where to find it: Trainers Warehouse
THE USE OF POP SONGS IN FILMS
In A Celebration of Neurons, Robert Sylwester reported that songs go far beyond words
in their ability to insert emotion into communication.73 Film makers know this, and often
integrate familiar songs into their movies. Pop songs are so successful that movie producers will pay exorbitant sums, in some cases as much as $100,000, to acquire the rights
for the song.74
Sylwester went on to explain:
The songs of our adolescent years often become the beacons of our adult
life because they can help us to recall the important developments of our
adolescence. We often listen to this music to relive the memories in the
extended reverie of song. The song slows the simple message so that we
can savor all the emotions of the experience.75
In a film composers hands, pop songs are chosen and linked to those memories in a way
that adds emotional texture to the film. Films with pop music scores function on two distinct levels. The first is the application of the song in the film. Every song lyric tells a
story and a well placed songs story will dovetail with the films visual.
The second, and deeper level, is the emotional meaning the use of specific songs
brings forth within the listener. The songs become metaphors, placing the subject in the
context of the listeners prior experience. Malcolm Knowles wrote that adults have an accumulated reservoir of experiences.76 Familiar songs draw on those experiences. When
people hear songs they know, and have personal memories of, they immediately are drawn
back into those memories, and the experience is enhanced. In essence, pop music helps
us relate to the story being told in a deeply personal, highly emotional way.
Many films use this technique. Three of the most successful at the use of pop songs
are American Graffiti, The Big Chill, and Forrest Gump.
Lessons from Music
American Graffiti
Although movies have always featured pop songs, American Graffiti (1973) was the first
to treat successfully a whole film as a series of pop music vignettes. American Graffiti
tells the stories of a group of high schoolers, in the early 1960s, experiencing their last
summer before adulthood. George Lucas, the films director, developed the storyline, and
selected the songs almost simultaneously. According to Jeff Smith, writing in The Sounds
of Commerce, Lucas tried to match songs to a story-based mood and melody.77
Lucas paced the films individual scenes in such a manner that each scene was the
length of the song that accompanied it. For example, Bill Haleys Rock Around the
Clock plays during the opening credits. The song sets up the innocence of summer
theme of the movie. The Crests song Sixteen Candles accompanies a young girls 16th
birthday. Teen Angel by Mark Dinning is played when a character is killed in a drag
race. Finally, the film ends with the Spaniels Goodnight, Well Its Time to Go.
Through its almost two-hour running time, the film continues, one song after another.
Each commenting on the visual being shown, and adding to the audiences personalization of the characters and their world.
The Big Chill
The Big Chill tells the story of a group of former 1960s radicals turned 1980s yuppies, who
gather for a weekend to mourn the passing of an old friend. Like American Graffiti, The
Big Chill uses pop songs, although the songs function in a different manner. The film is not
built around the songs. Instead, the songs add commentary to the on-screen occurrences.
Examples of song placement includes the use of Marvin Gayes I Heard It Through
the Grapevine as individuals hear about their friends passing. You Cant Always Get
What You Want by The Rolling Stones is played as an ironic commentary on the friends
death. As the friends discuss relationships, The Young Rascals Good Lovin is performed.
Finally, Bad Moon Rising by Credence Clearwater Revival is played immediately after
a former lover proposes that she and her old flame reunite for an evening.
The best subconscious music placement occurs in a supermarket between the two former lovers, but before they get back together. Although their desire for each other is palpable, both hold back, and converse only about the shopping task at hand. Meanwhile, the
Muzak system in the background symbolically plays Frank Sinatras Strangers in the Night.
Forrest Gump
Forrest Gump is the last of the three films well examine for pop music placement. Forrest
Gump tells the story of a developmentally challenged man, Forest Gump, as he experiences
171
172
a series of life adventures over several decades. Because of the films extended time frame,
the music serves to establish the time and place.
Credence Clearwater Revivals Fortunate Son sets up Gumps Vietnam tour. To state
that Forrests girlfriend has moved to California, California Dreaming by the Mamas and
Papas is used. San Francisco by Scott Mackenzie frames Forrests 1960s visit to San
Francisco. When Forrest returns home to Alabama, Lynyrd Skynyrds Sweet Home Alabama is played. These music placements help the films listeners comprehend the
different locations and eras represented in the film.
American Graffiti, The Big Chill, and Forrest Gump were all highly successful films,
and the pop song application played a huge part in creating that success. All three films
appealed to people at a deeply personal level.
THE USE OF POP SONGS IN THE LEARNING ENVIRONMENT
In Training with a Beat, I discussed at length the application of pop songs in the learning environment. In part, I said:
Concert halls, ballrooms, parties, and yes, the classroom, can be uncomfortable environments. When people hear a song theyve listened to in
the privacy of their home, they relax. Comfortable music emotionally
warms the training room, placing learners in a receptive frame of mind
for learning. Songs with lyrics, especially popular hits of the last 50 years,
are extremely useful for this reason. They are old, well worn, welcome
friends.78
Songs with lyrics have distinct learning advantages. We have already examined the remembrances they bring forth. Lyrics also help people memorize information. The words
and rhythm of a song are largely processed in the brains left hemisphere, where the
melody is largely processed by the right hemisphere. By using songs with lyrics, you help
your learners engage both hemispheres. In the process, they gain a deeper meaning than
is possible with one hemisphere alone.
Song lyrics can, as was the case in The Big Chill, speak directly to the learning topic.
Aretha Franklins Respect could be used for sexual harassment classes. Short People
by Randy Newman might serve as a frame for a discussion about diversity. Kool and the
Gangs Celebration is an effective graduation song. Given the large number of pop songs
available, the options are limited only by your imagination and the musical preferences
of your learners. Simply use Table 69 to determine the song you need.
Another helpful technique for engaging both hemispheres is to take a well known song
and change the lyrics so that they fit your need. Most children learn their ABCs this way.
Lessons from Music
POP MUSIC PLACEMENT ANALYZER

Step 1: Use the following questions to select a pop song.
> What is the purpose for using a pop song?
> What
pop songs will best serve that purpose?
1.
2.
3.
Step 2: Use the following questions to determine the most appropriate pop song.
Yes
No
you want the learners to focus on the song?

you easily walk or sway in rhythm to the music?
> Do the songs lyrics relate to your class subject matter?
> Do you know the meaning of the songs lyrics?
> Is the meaning of the songs lyrics consistent with your message?
> Will your learners positively relate to the song?
> Will the use of the song be inoffensive?
> Do you have the legal rights to use the song?
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
Total (8 maximum)
______
______
> Do
> Can
The higher the Yes column score, the more effective a pop song will be.
TABLE 6-9
The same techniques can be applied in adult learning, if you rewrite a songs lyrics to
reflect your key lesson points and have your trainees sing along. The Create-A-Lyric Template Samples (Table 6.10) will start you on your way to writing your own lyrics.
DIFFICULTIES ASSOCIATED WITH THE USE OF MUSIC
Music does have a number of difficulties associated with it. Fortunately, these difficulties
can be addressed easily if you are aware of them. They are as follows:
>
Music must be used judiciously.
>
Music must be integrated into the whole.
173
174
CREATE-A-LYRIC TEMPLATE SAMPLES

To create your own lyrics, follow three steps:
1. Write out the lyrics to the song you intend to use
2. Based on those lyrics, write out a Create-A-Lyric template
3. Fit your words into the template
To get you started, some sample templates are provided below.
Template key
__
A line indicates a one-syllable word.
__ __
Multiple lines separated by small spaces indicate a multi-syllable word.
__ __ Two lines separated by a large space indicate two different words.
__
Double lines indicates a phrase that repeats.
__
Thick lines indicate words that must rhyme.
1
A number at the end of multiple lines indicates words that must rhyme with each
other.
[
Brackets indicate repeated lines.
Template sample
Mary Had a Little Lamb
With lyrics
First Verse
Mary had a little lamb,
Little lamb,
Little Lamb,
Mary had a little lamb,
Its fleece was white as snow.
Without lyrics
Second Verse
Everywhere that Mary went,
Mary went,
Mary went,
Everywhere that Mary went,
The lamb was sure to go.
__
__
__
__
__
__
__
__
__
__
__ __ __ __ __ ,
__ ,
__ ,
__ __ __ __ __ ,
__ __ __ __1.
__
__
__
__
__
__
__
__
__
__
__ __ __ __ __ ,
__ ,
__ ,
__ __ __ __ __ ,
__ __ __ __1.
Twinkle, Twinkle Little Star

Verse
__
__
__
__
__
__
__
__
__
__
__
__
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__
__
__
__ __
__
__1,
__ __1.
__ __2,
__ __2
__1,
__ __1.
Lessons from Music
Row, Row, Row Your Boat

Verse
__ , __ , __ , __ __ ,
__ __ __ __ __1,
__ __ __ , __ __ __ , __ __ __ , __ __ __ ,
__ __ __ __ __1.
Ive Been Working On The Railroad
Verse
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__ __ __ __ ,
__1,
__ __ __ __ ,
__ __ __1.
__ __ __ __ ,
__ __2.
__ __ __ __ ,
__2.
When The Saints Go Marching In
Verse
__
[ __
[ __
__
__
__
__
__
__
__
__
__
__
__
__
__ ,
__ ,
__ __ __ __ __ ,
__ __ __ __ __ __ .
__ __ __ __ ,
You Are My Sunshine

Verse
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__
__ __ ,
__ __ ,
__ __ ,
__1,
__ __
__ __ ,
__ __ __
__ __1.
Three Blind Mice

Verse
__
[ __
[ ____
__
__
[ ____
TABLE 6-10
__
__
__
__
__
__
__
__
__ ,
__ ,
__
__
__
__
__
__
__ ,
__ ,
__ __ __ __ __ __ ,
__ __ __ __ __ __1,
__ __ __ __ __ __1,
__ .
175
176
>
Music must be appropriate to the situation.
>
Music must match the cultural norms of your learners.
>
The meaning of a songs lyrics must fit the situation.
>
Songs with lyrics should be used only when you want the song to be noticed.
Music Must Be Used Judiciously

In my Berklee College of Music days, I
learned that its not the notes that make the
music. Rather, it is the silence between
the notes. Just as you have to know ugly to
appreciate beauty, silence helps focus your
learners on the music. As composer Max
Steiner stated, My theory is that music
should be felt rather than heard.79 Author
Tony Thomas explained that a composer:
. . . cannot make his effect if music is laid
on with a trowel. The continuous flow of
musical sound begins by merely irritating,
and then the ear tends to ignore it.80
Select your musical moments for specific reasons, not just to create noise. Your musical moments should be allowed to sing.
Music Must Be Integrated into the Whole

When music is applied correctly, it is a seamless component of the learning, not an addon. It should not be noticed. Composer William Alwyn explained: I am a little worried
if someone says to me, I liked your score for such and such a picture. It makes me
wonder whether I have stepped outside my brief, which is to provide music which is as
indigenous to the film as the camera angles and the film sets.81 Composer David Raskin
concurred: The purpose of film music is not to be noticed for itself. Its great usefulness
is the way in which it performs its role without an intervening conscious act of perception. It is most telling when the music registers upon us in a quiet way, where we dont
know its actually happening.82
The music you select should be integrated into the whole. If it is not, remove it.
Lessons from Music
Music Must Be Appropriate to the Situation

In both the film and learning environments, music serves a support function. As Composer Leonard Rossenman explained: Certainly, the music can contribute a great deal
in support of an overall shape, but this shape originates with the film itself, not the
music.83 Composer Bronislau Kaper added: At certain moments in films, nobody knows
the difference between what is visual and what is acoustical. It all comes together. Its
like seeing and hearing lighteningits one effect.84
Pay special attention to the question of appropriateness. Avoid selecting a song because it is a favorite of yours. Particularly avoid changing out appropriately selected music
because you grow tired of the music yourself. Select the best piece for your needs, and
then fully integrate it into your instruction. And, once you know it works, stick by it with
conviction.
Music Must Match the Cultural Norms of Your Learners

Although films like American Graffiti, The Big Chill, and Forrest Gump were big hits, there
were some people who did not connect with those films owing to their personal tastes in
music. Regardless of how appropriately you choose your music, and how successfully you
integrate it into your instruction, music that your learners do not relate to will distract from
your instruction. Oliver Sacks, in discussing the ways music connects with his patients,
explained: To help, however, the music must be the right kind for each patientmusic
that has meaning and evokes feeling for that individual.85
Obviously, you cannot know every cultural and personal factor related to each of your
trainees. You can, however, ensure that the music you select fits your instruction. It
should match so seamlessly that your learners focus on the instruction, not the music.
The Meaning of a Songs Lyrics Must Fit the Situation

One common mistake novices make is selecting material with inappropriate lyrics. Professionals pay attention to this detail. For example, Muzak does not play Stormy Weather
during plane flights.86 Muzak dropped The Yellow Rose of Texas during the aftermath
of Kennedys 1963 assassination in Dallas, Texas.87 Two days after the attacks on the World
Trade Center, I personally witnessed a situation where Bob Seegers Fire in the Sky
played over a restaurants music system. I waited and watched. Within a minute, two different restaurant patrons left their seats, and in another 30 seconds, the music was turned
off, no doubt due to strenuous customer objections.
177
178
I realize these examples are extreme, but they do prove an important point. If the song
your are using has lyrics, know what those lyrics are. Do not allow yourself to be unpleasantly surprised.
Songs With Lyrics Should be Used Only
When You Want the Song to be Noticed
Another common mistake is the misapplication of songs with lyrics. Instructors will ask
learners to reflect or work in small groups, and then begin playing a song with lyrics.
Lyrics are difficult to ignore, and the learners invariably are distracted from their learning. The only time songs with lyrics are appropriate is when you want your learners to
notice the lyrics. In films, songs with lyrics do not compete with dialog. Neither should
they in your classroom.
The Musical Difficulties Avoidance Analyzer in Table 6-11 may help you identify difficulties before they become the focus of your classroom.
MUSIC AND EMOTION
One of our core Learnertainment points is that emotional engagement makes learning
meaningful and permanent. Film composers concur. Many of the film examples we have
discussed are teeming with emotion. The terror the Jaws theme evokes, the sadness of
MUSICAL DIFFICULTIES AVOIDANCE ANALYZER
Use the following questions to avoid some of the difficulties associated with music.
> Is
your usage of music less than 40% of total class time?

you use music, do you have specific reasons for doing so?
> Is your placement of music integrated into the whole?
> Is the music usage appropriate to the learning situation?
> Is your music selection based on need, not on favoritism?
> Does your music match the cultural norms of your learners?
> Are the songs lyrics appropriate to the learning situation?
> If using songs with lyrics, do you want the song to be noticed?
> When
Total (8 maximum)
Yes
No
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
The higher the Yes column score, the more you will avoid difficulties associated with the use
of music.
TABLE 6-11
Lessons from Music
The Godfather ballads, the wonderment of the Star Wars theme, the adrenaline rush the
James Bond Theme brings forth, and the horror of the knife slashes in Psycho are extremely, and intentionally, emotional moments.
Many composers have commented on the connection of emotion and music. For instance, Wagner stated: What music expresses, is eternal, infinite and ideal; it does not
express the passion, love, or longing of such-and-such an individual on such-and-such
an occasion, but passion, love or longing in itself. Arthur Schopenhauser offered an
almost identical observation: [Music] does not express this or that particular or definite
joy, this or that sorrow, pain, or horror, or delight, or merriment, or peace of mind; but joy,
sorrow, pain, horror, delight, merriment, peace of mind themselves.88 Fellow composer
Elmer Bernstein added: Of all the arts, music makes the most direct appeal to the emotions. It is a non-plastic, non-intellectual communication between sound vibration and
spirit. The listener is generally not burdened with a need to ask what it means. The listener assesses how the music made him feel.89
From a completely different field, educator Robert Sylwester added, Music doesnt
even need words to communicate emotion.90
Music is perhaps the most emotional element of a film. You may not notice the music
when you cry at a film, but the music has reached you in a deep, meaningful, moving way.
Perhaps because music is free of the specificity that accompanies words, music is free
to feel.
Heightening Emotional Reactions
in the Learning Environment
Music can be emotionally beneficial in the learning environment. Although music is not
a substitute for good instruction, music is a way to penetrate the info-fog. In Music for
the Movies, Tony Thomas made this statement: Music comes to bear when helping to
define the meaning of the film by stimulating and guiding an emotional response to the
visuals. Directly and pervasively appealing to the subconscious. . . It is this unique
ability to influence the audience subconsciously that makes music truly valuable to the
cinema.91
I suggest that although Thomas was speaking about Hollywood, the same dynamic
applies to your classroom. Composer Jerry Goldsmith explained how when he commented
that The function of a score is to enlarge the scope of a film.92 The function of music
in the classroom is to enlarge the scope of the learning. Music speaks to a level deeper
than words. It adds an extra track of information that layers meaning for your learners.
In Elmer Bernsteins words: . . . part of the fun of being a film composer, (is) that you
are reaching people at a subliminal level, where they are relatively defenseless. Thats an
179
180
exciting thing because you can make people feel a certain way, even though they may not
understand why they feel that way.93

CUE
CARD:
Music
speaks
to

than
words.

a level
deeper

Part of the fun of using Show Biz techniques is the ability to reach people at a subliminal
level. For once you break through the cognitive info-fog, true learning occurs.
Crofton, Ian, and Fraser, Donald, eds. (1985). A Dictionary of Musical Quotations. New York: Schirmer.
Ayto, John (1990). Dictionary of Word Origins. New York: Arcade.
3 Sylwester, Robert (1995). A Celebration of Neurons: An Educators Guide to the Human Brain. Alexandria, VA: ASCD.
4 Blacking, John (1987). A Common Sense View of All Music. Cambridge, UK: Cambridge University Press.
5 The 1995 Grolier Multimedia Encyclopedia (1995). vr. 7.0.2. Grolier Electronic Publishing.
6 Bruney, Charles (1935). A General History of Music from the Earliest Ages to the Present Period. London:
Oxford University Press.
7 Jourdain, Robert (1997). Music, the Brain, and Ecstasy: How Music Captures Our Imagination. New York:
Avon Books.
8 Ellis, Catherine J. (1985). Aboriginal Music: Education for Living. St. Lucia: University of Queensland
Press.
9 Grolier (1995).
10 Keil, Charles (1979). The Song. Chicago: University of Chicago Press.
11 Grolier (1995).
12 Berg, Charles Merell (1976). An Investigation of the Motives for and Realization of Music to Accompany
the American Silent Film 18961927. New York: Arno Press.
13 Ibid.
14 Ibid.
15 Burt, George (1994). The Art of Film Music. Boston, MA: Northeastern University Press.
16 Prendergast, Roy M. (1977) Film Music, A Neglected Art: A Critical Study of Music in Film, 2nd edit.
New York: W. W. Norton.
18 Grout, Donald, and Palisca, Claude (1996). A History of Western Music, 5th edit. New York: W. W. Norton.
19 Ortiz, John, Ph. D. (1997). The Tao of Music: Sound Psychology, Using Music to Change Your Life. York
Beach, Maine: Samuel Weiser.
20 Sacks, Oliver. When music heals body and soul. Parade Magazine, March 21, 2002.
21 Rawson, Hugh, and Miner, Margaret, eds. (1986). The New International Dictionary of Quotations. New
York: E. P. Dutton.
2
Lessons from Music
22
Prendergast, Roy M. (1977).

Millbower, Lenn (2000) Training with a Beat: The Teaching Power of Music. Sterling, VA: Stylus.
24 Ibid.
25 Meyer, Leonard (1996). Emotion and Meaning in Music. Chicago: University of Chicago Press.
26 Millbower, Lenn (2000).
27 Schopnenhauer, Arthur (1966). The World as Will and Representation, Vol. I. New York: Dover.
29 Grout, Donald, and Palisca, Claude (1996).
30 Berg, Charles Merell (1976).
31 Smith, Jeff (1998). The Sounds of Commerce: Marketing Popular Film Music. New York: Columbia
University Press.
32 Smith, Jeff (1998).
33 Burt, George (1994).
34 Ibid.
36 Thomas, Tony (1997). Music for the Movies, 2nd edit. Los Angeles, CA: Silman-James Press.
38 Prendergast, Roy M. (1977).
39 Ibid.
41 MuSICA Research Notes, 2/1 (Spring, 1995): <www.musica.uci.edu>.
43 Prendergast, Roy M. (1977).
44 Lanza, Joseph (1994). Elevator Music: A Surreal History of Muzak, Easy Listening, and Other Moodsong.
New York: Picador USA.
45 Thaut, M., and de lEtoile, S. (1993). The effects of music on mood state-dependent recall. Journal of
Music Therapy, 30/2:7080. Thaut, M. (1989). The influence of music therapy interventions on selfrated changes in relaxation, affect, and thought in psychiatric prisoner-patients. Journal of Music Therapy, 26/3:15566.
46 Lanza, Joseph (1994). Elevator Music: A Surreal History of Muzak, Easy Listening, and Other Moodsong.
New York: Picador USA.
47 Ibid.
48 Ibid.
49 Ibid.
50 Borling, J. (1981). The effect of seductive music on alpha rhythm and focused attention in high-creative
and low creative subjects. Journal of Music Therapy, 18/2:10108.
51 Blood D., and Feriss, S. (1993). Effects of background music on anxiety, satisfaction with communication, and productivity. Psychological Reports, 72/1:17177.
52 Prueter, B. and Mezzano, J. (1973). Effects of background music upon initial counseling interaction.
Journal of Music Therapy, 10:20512.
53 Devlin, Hilton J., Sawatzky, D. Donald (1987). The effects of background music in a simulated initial
counselling session with female subjects. Canadian Journal of Counseling, 21(23):12532.
54 Miller, Leon K, and Schyb, Michael (1987). Facilitation and interference by background music. Canadian Journal of Counseling, 21(23):12532.
55 Wolff, Florence I. (1989). An investigation of the effects of background music on learning of vocabulary
and grammar and in public speaking. Journal of Music Therapy, XXVI(1):4254.
56 Mezzano, Joseph and Prueter, Bruce (1974). Background music and counseling interaction. Journal of
Counseling Psychology, 21:page nos.
57 Routhieaux, R. L., and Tansik, D. A. (1997). The benefits of music in hospital waiting rooms. Health
Care Supervisor, 16(2):3140.
23
181
182
58
Stratton, V. N. (1992). Influence of music and socializing on perceived stress while waiting. Perceptual
and Motor Skills, 75(1):334.
59 Ibid.
60 Ibid.
61 Storr, Anthony. (1992). Music and the Mind. New York: Ballantine Books.
62 Adaman, Jill E., and Blaney, Paul H. (1995). The effects of musical mood induction on creativity.
Journal of Creative Behavior, 29/2:95108.
63 Wlodkowski, Raymond J. (1999). Enhancing Adult Motivation to Learn: A Comprehensive Guide for
Teaching All Adults. San Francisco: Jossey-Bass.
65 Storr, A. (1992).
66 Blood, D. J., and Ferriss, S. J. (1993). Effects of background music on anxiety, satisfaction with communication, and productivity. Psychological Reports, 72/1:17177.
67 Morton, L. L., Kershner, J. R., and Siegal, L. S. (1990). The potential for therapeutic applications of
music on problems related to memory and attention. Journal of Music Therapy, 27/4:195208.
68 Ibid. Thaut, M., and de lEtoile, S. K. (1993). The effects of music on mood state-dependent recall. Journal of Music Therapy, 30/2:7080.
69 Blood, D. J., and Feriss, S. J. (1993). Effects of background music on anxiety, satisfaction with communication, and productivity. Psychological Reports, 72/1:17177.
70 Morton, L. L., Kershner, J. R., and Siegal, L. S. (1990).
72 Lozanov, G. (1978).
73 Sylwester, Robert (1995). A Celebration of Neurons: An Educators Guide to the Human Brain. Alexandria,
VA: ASCD.
74 Chicago Tribune, October 24, 1999.
76 Knowles, Malcolm (1984). The Adult Learner: A Neglected Species. Houston, TX: Gulf Publishing.
77 Smith, Jeff (1998).
79 Thomas, Tony (1997).
80 Ibid.
81 Ibid.
85 Sacks, Oliver. When Music Heals Body and Soul. Parade Magazine, March 21, 2002.
86 Lanza, Joseph (1994).
87 Ibid.
88 Schopenhauer, Arthur (1883). The World as Will and Idea, vol. 1. R. B. Haldane and J. Kemp, eds. London: Trubner.
92 Ibid.
93 Ibid.
CHAPTER SEVEN
LESSONS
FROM
MAGIC
HOCUS POCUS
The magician stands center stage as various assistants enter and exit. Usually a piece of exotic apparatus is introduced. The story line calls for the
magician to don a hood. He does so, as do his assistants. The magician
grabs the leading lady by the arm and places her, usually bound, into the
apparatus and locks it shut. The assistants make a great show of tying ropes
around the box. Once the box is thoroughly tied, the dancers strut around
the stage. They turn the apparatus side to side and end to end as the magician walks around the box. When the box stops turning, the dancers prance
around it. At an appropriately suspenseful moment, the box is opened. Surprise! Its empty. The magician takes his hood off. Surprise. Its the assistant.
But wheres the magician? At this moment, the magician appears, to the
breathless amazement of the audience, at the back of the theater and runs
down the center aisle of the theater. He runs to the stage and receives a welldeserved round of applause.
[ 183 ]
184
The first impulse of people

is to believe.DR. HARLAN TARBELL
Principle 3: Direct Attentionsuggest the outcomes you expect.

THE FIRST ILLUSION
We dont know when man first performed magic. We can, however, assume that it occurred
early in the history of humanity. The word magic is ancient. Where many words came
about as derivatives of other words, magic is an original source word, from the ancient
Greek, mgos, which meant sorcerer.2
We can also assume that the first individual to perform a magic trick was viewed with
awe and wonder. That person must have quickly become a powerful member of the community. In ancient times, conjurers were highly regarded, regardless of the charlatan
nature of their miracles. Magicians communicated with the gods, celebrated tribal rituals,
advised kings, and predicted the future. Traditions, myths, and legends are filled with
stories of such sorcerers. Aladdins genie of the lamp in A Thousand and One Arabian
Nights3, Merlin of King Arthurs court, and the healers of Tanzanias Maasai tribe4 are
three examples.
As humanity grew to understand science, magic gradually separated itself from its
charlatan roots. Magic became less relevant as the source of miracles. It became instead
what it should have been all along, an entertainment art form. The transition took hundreds
of years, finally concluding in the early 20th century with the theatrical entertainments
of magicians such as Keller, Blackstone, Robert-Houdin, and of course, Harry Houdini.
Houdini probably finished the debunking of magics supernatural roots. In the late
1800s and early 1900s, people believed it was possible to communicate with deceased
relatives through mediums. The mediums would use ringing bells and tambourines, lifting tables, and producing ghost written messages as proof of their connection with the
after-life.
Even scientific-minded intellectuals such as Sir Arthur Conan Doyle, author of the
Sherlock Holmes stories, believed in supernatural magic. It seems that Sir Arthur overapplied Holmes most famous adage: When you have eliminated the impossible, whatever remains, however improbable [original emphasis], must be the truth.5 In this case,
Lessons from Magic
Doyle concluded that a mediums shaking of a tambourine was impossible, and the mediums
act, although improbable, must have been true. He was mistaken.
The demise of the medium cult began on July 29, 1913, when Houdinis mother died.6
In a desperate quest to contact her, Houdini attended seance after seance. Unfortunately
for the mediums, their tambourine shakings, bell ringings, table liftings, and ghostly writings did not fool Houdini. He felt betrayed, and this feeling of betrayal turned into a rage
against all mediums. The result was a single-handed crusade that exposed the charlatan
nature of the mediums. Although Houdinis efforts did expose some secrets of magic, they
also completed the transition from magician-as-miracle-worker to magician-as-entertainer.
It is a debt that magicians still owe him.
Magics charlatan legacy has left the public with what psychologists would call a cognitive disconnect. We are suspicious of magicians. The very word illusion, from the Latin
illudere, means to make fun of,7 and most people dont like to play the fool. We know
there is a trick at work, and we want to discover its secret.
Yet, simultaneously, the lure of magic remains. We may have lost our belief in the
divinity of magicians, but not the desire to believe. We watch a fake, and knowing its fakeness, still fall for the illusion.
Magicians have responded to this disconnect by downplaying the trick. Between 1940
and 1975, Dariel Fitzee wrote the three definitive volumes about magic psychology. In
Showmanship for Magicians, he explained it this way: The secret is NOT important. The
ONLY [original emphasis] thing that is important is its favorable impression on the majority of the spectators.8
It may seem that the very nature of magic is trickery, but it isnt so. Granted, magic
is performed through trickery, but audiences rarely leave a magical entertainment bragging about how well they were tricked. The trickery is a tool, not an end in itself. People
do not want to be tricked; they want to be entertained.
The entertainment occurs in spite of the trick. In fact, magicians dont even refer to
their magic routines as tricks. They avoid the devious sounding word trick, preferring to
recast the word illusion into fun with instead of fun of.
MANIPULATION
When people watch magicians perform, they see the manipulation of cards, billiard balls,
silk handkerchiefs, and other paraphernalia. There is a level of manipulation that the
audience never sees: the performers manipulation of the audience. The extraordinary effort that the magician puts into directing the audiences attention is hidden from view.
The audience sees magic. The magician sees deception.
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In Magic by Misdirection, Fitzee explained: The real secrets of magic are those
whereby the magician is able to influence the mind of the spectator, even in the face of
that spectators definite knowledge that the magician is absolutely unable to do what that
spectator ultimately must admit he does do.9
Singer John Davidson, in partnership with Cort Casady, wrote a primer for musical
performers called The Singing Entertainer. In it, they concurred with Fitzee: Entertainment truly is an art form. The art lies in the fact the audience seldom [consciously] realizes it is being manipulated.10
The magician uses two fundamental principles to manipulate the audience: direction
and suggestion. The story that opened this chapter made extensive use of both principles.
Lets look at that story again. Only this time, we will examine the illusion from the magicians point of view, as a switch.
Hocus Pocus Exposed
The magician stands center stage as various assistants enter and exit.
The first time spectators see an assistant enter, they notice. They may even notice the
second entrance. But soon, the comings and goings become routine, and no longer warrant
attention. They become invisible. The magician directs attention away from these entrances, suggesting their lack of importance.
Usually a piece of exotic apparatus is introduced.
The box is not the focus of this illusion, the upcoming switch is. By directing attention
toward the box, the magician directs the spectators attention away from the various personnel on stage, and suggests the box is important. This false focus makes the switch a
total surprise.
The story line calls for the magician to don a hood. He does so, as do his assistants.
No magician wants to wear a hood. Its hot, sweaty, and unattractive. The nature of this
illusion is a switch, and a switch cannot occur if the magician is easy to spot on stage. The
magician dons a hood so that the switch can occur, but audience knowledge of that pur-
Lessons from Magic
pose would telegraph the illusion. A story line that suggests a logical explanation is invented for the hood.
The magician grabs the leading lady by the arm and places her, usually
bound, into the apparatus and locks it shut. The assistants make a great
show of tying ropes around the box.
The ropes are inconsequential as a barrier to escape, but important as a directing tool.
They play no role in the illusion, except to suggest that escape is impossible. In addition,
the rope by-play allows the leading lady time to escape her bonds, take off her outer layer
of clothes to reveal an assistants costume and hood, and slip out a trap door in the back
of the box. As the last of the ropes are tied, the leading lady, now dressed as an assistant,
exits stage left with the other assistants, who are by now not important enough to watch,
as the hooded magician directs attention to him by walking toward the audience.
Once the box is thoroughly tied, the dancers strut around the stage. They
turn the apparatus side to side and end to end as the magician walks around
the box.
With all the whirling, twirling, circling, and strutting, it is hard for spectators to remain
focused on the critical details. There is just too much stimuli directed at them. At this
point, while the spectators are in stimuli overload, the magician boldly walks toward the
wings.
When the box stops turning, the dancers prance around it.
The alluring dancers direct attention away from the magician, who, having reached the
wings, exits stage left. At that precise moment, the dancers execute their most provocative
dance step. Almost immediately, the leading lady enters from the exact area where the
magician exited, and by manner of walk and attitude, suggests that she is the magician.
At an appropriately suspenseful moment, the box is opened. Surprise. Its
empty. The magician takes his hood off. Surprise. Its the assistant.
The suggestion is that the switch occurred at that instant. Of course, the switch is minutes old, but, because the magician purposely directed the spectators attention away from
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the critical events, they completely missed it. They now begin focusing on possible solutions for the switch, but it is too late. The trail has already gone cold. In addition, their attention is about to be directed away from the puzzle with an even more enticing stimulus.
But wheres the magician? At this moment, the magician appears, to the
breathless amazement of the audience, at the back of the theater and runs
down the center aisle of the theater. He runs to the stage and receives a welldeserved round of applause.
To the spectator, the switch is made all the more miraculous by the appearance of the magician at the back of the theater. The unstated suggestion is that the magician has just now
magically appeared behind the audience. A closer look would reveal his fast breathing.
For, he has just run all the way around the theater. But the magician isnt the only one
gasping for air. The audience has been left breathless.
What seemed like a true miracle was accomplished through direction and suggestion.
We will overview each of these fundamental principles in turn, and examine the ways they
relate to the learning environment.
Direction
To create magic, magicians must bend the laws of nature. Or rather, they must seem to
bend the laws of nature. Control isnt necessary; the appearance of control is enough.
The appearance of control comes from directing the audiences attention away from
items that would destroy the illusion, and
toward those that reinforce it. Direction can
take many forms, but is invariably a physical action: a nod, a gesture, a change in
posture, or a verbal statement.
There is an old saying from the training community, Tell them what youre going to tell them, tell them, and then tell
them what you told them. Direction operates in a similar manner, but in reverse.
Magicians tell the audience what the maby permission from Cartoons for Trainers, Stylus Pubgician wants them to see, tell them what
lishing, VA.
Lessons from Magic
they should be seeing, and tell them what they just saw. Where trainers direct attention
toward positive learning outcomes, magicians misdirect attention away from truth.
A simple example is the magicians statement, Nothing up my sleeve. This is an intentional ploy. Calling attention to the obvious preempts future It was up his sleeve
comments. It also gives the audience something irrelevant to think about, thus pulling
their attention away from the bulge in the magicians pocket. Or, in the case of the switch,
away from the critical events of the illusion.
Attention was directed toward the box, and away from the assistants. The hoods are
explained in the story. Because no extra attention is paid to them, they seem unimportant.
The attention placed on the tightness of the ropes implied importance when there is none,
and stalled for time while the assistant changed clothes and slipped through the trap door.
The alluring dance steps directed attention away from the switch. The appearance of the
magician at the back of the theater directed attention away from the true secret of the illusion. All these events were planned to control what the audience saw. Without this
direction, the illusion could not have happened.
Suggestion
The second of our two fundamentals is suggestion. In discussing the importance of suggestion, Sam Sharpe stated: Suggestion is a very potent force in the conjurers armoury
[sic]; indeed without it his magical effects would be impossible to accomplish.11
Where direction is often physical, via gestures, posture, and verbal statements, suggestion is the art of implication. Dariel Fitzee elaborated: The magicians suggestion is
a subtle but positive act of putting something into the mind of the spectator. This biased
stimulus instigates a mental process by means of which a spectator responds to the desires of the performer.12
These statements parallel Giorgi Lozanovs comments about his theory of learning,
Suggestopedia. In Chapter 4, we discovered Lozanovs definition of suggestion: A constant communicative factor which chiefly through paraconscious mental activity can create
conditions for tapping the functional reserve capacities.13
In the Hocus Pocus switch example, several suggestions were employed:
>
The comings and goings of the assistants were not important.
>
The box was a major focus of the illusion.
>
Hoods needed to be worn because of the story.
>
Ropes make escape from the box impossible.
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>
The hooded assistant was the magician.
>
The switch occurred in an instant.
>
The magician magically appeared at the back of the theater.
Each of these suggestions was false, but accepted as true by the audience.
As we also discovered in Chapter 4, Show Biz Training is based on the tendency of
the brain to shut down if danger is perceived. Suggestion is a powerful tool for calming
the anxious right hemisphere, and creating positive emotion. The end result is a more attentive brain. Regardless of the field, be it magic, vocal performance, or instruction, the
goal and the technique for reaching that goal are the same. Subtle, positive, focused suggestion creates an atmosphere of trust. Once that atmosphere is created, the audience will
accept the stimuli offered to them.
Acceptance of Manipulation
The audience subconsciously condones and willingly accepts the manipulation as long as
two factors remain in place:
>
The manipulation must be clearly for the audiences benefit.
>
The audience must not be reminded of the manipulation.
THE MANIPULATION MUST BE CLEARLY FOR THE AUDIENCES BENEFIT.
Magicians place great emphasis on communicating benevolence to the audience. They

suggest supernatural powers, but with their tongues firmly planted in their cheeks. They present their illusions as harmless concoctions for the audiences enjoyment. The audience,
knowing the intent is pleasurable emotion, allows itself to be fooled.
Davidson and Cort added the following explanation:
You are the only one who knows what your show is designed to do and
where it is designed to go. Without revealing your techniquesyour devices and tricksyou must be the one who lets the audience know (a) that
you have a plan for their enjoyment, a map for the journey youre taking
them on; and (b) what that plan is as your journey progresses.14
Show business agent Bob Vincent in his book Show Business is Two Words added: In order
to be truly involved deeply with the audience, you must not be conscious of self and
only be totally committed to the word.15
Lessons from Magic
This advice is applicable to the learning environment. For learning to occur, an instructor must focus the learners on the subject at hand, keep the focus on the subject
throughout the learning process, and create an environment in which the learners amaze
themselves with what they have learned. Instruction is manipulation for the learners
benefit.

is manipulation
CUE
CARD:
Instruction

for

learners
benefit.

the

Trainees allow themselves to be controlled, as long as they trust the trainer. The moment
they suspect the trainer is more concerned with his or her ego than with their benefit, the
level of trust plunges.
I believe this is one of the reasons that securing role-play volunteers is difficult. Unless learners perceive an environment of implicit trust for the trainers motives, volunteers
are hard to find.
THE AUDIENCE MUST NOT BE REMINDED OF THE MANIPULATION.
A willingness to be manipulated is not the same as a conscious awareness of that manipulation. Learners will accept manipulation only if they are not consciously aware of it.

CUE CARD: Learners will accept

manipulation if they are not

consciously
aware
of
it.

To manipulate the audience without calling attention to that manipulation, suggestion

must be employed. The audiences reluctance to be tricked, and the learners reluctance
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to be coerced, dictate the need for suggestion. Both Fitzee and Lozanov felt that dictates
would be doomed to failure. Fitzee stated: It is utterly impossible to force the spectators reason or judgment directly. The spectator must believe he has made his own decision
[original emphasis]. This makes it necessary for the magician to use inducement rather
than persuasion.16
Lozanov believed that adult suspicions about the classroom, like those about the
magician, block learning. He viewed a joyful attitude on the part of the facilitator, one in
which the facilitator positively suggests relaxed and tension-free learning, as the key to
transcending inhibitions.

Suggestion
CUE
CARD:

allows
manipulation

to

without
attention.

occur

USING MAGIC IN THE LEARNING ENVIRONMENT
Now that we have an understanding of the dynamics that simultaneously pull people away
from and toward magic, lets turn our attention to the placement of magic in the learning
environment. Magic can serve a number of learning purposes. Use magic to:
>
Begin the learning.
>
Refocus attention.
>
Illustrate key points.
>
Conclude the learning.
Use Magic to Begin the Learning

As we shall discover in Chapter 8, the purpose of an opening activity is to capture attention and build curiosity about the subject to follow. Fast-paced, showy illusions are highly
effective in this kick-off spot. They capture attention quickly. In addition, illusions presented as metaphors tied to the learning topic build curiosity and frame the discussion
that follows.
Lessons from Magic
Use Magic to Refocus Attention

When performing in nightclubs, I often found that the audiences attention would wander.
Its not that the audience wasnt enjoying the show. Rather, there were more stimuli present
than the average person could absorb. Occasionally, we would be required to perform a
flashy illusion. Often, these illusions would have no intended effect beyond recapturing
the audiences focus.
That situation is similar to the info-fog that classroom learners face. It is occasionally
necessary to remind them of the subject they are supposed to be focused on. A well placed
magic trick captures attention, so that you can make your point. Use them any time the
learners have lost their focus.
Use Magic to Illustrate Key Points

A magic routine built around key learning points creates a strong visual of the point you
wish to make. In the process, you present your learners with a holistic image of the subject that will stick with them beyond the classroom event. In Chapter 9, we shall more
fully explore the power of visual mnemonics.
Use Magic to Conclude a Learning Segment

As we will discover in Chapter 10, The Script, three-act structure concludes with a celebration of learning. Magic is an ideal companion to these festivities. When presented as
the last event of the learning, a magic illusion functions as the exclamation point. It concludes the event in a special, memorable manner.
PROFESSIONAL VS. HOUSEHOLD ILLUSIONS
Some magicians strive to create magic using household items. They believe that people
are more amazed when ordinary, everyday items become magical. This is true for professional magicians. It is not true for trainers performing magic. Magicians are perceived as
magicians, and expected to perform miracles with previously prepared props. When the
magician performs a miracle with an everyday item, it is all the more magical.
On the other hand, there is no expectation of magic from trainers. Trainers who perform homemade illusions run the risk of seeming amateurish. A sharp, clean, professional
magic prop suggests the instructor knows something about magic. Professional illusions
imply competence, and thus make the acceptance of the illusion more likely. In short, go
professional.
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LENNS TEN
Below, I have listed 10 of my favorite instructor-friendly illusions. None of the 10 require

the skill of a master magician, but they are professional illusions, using readily available
professional props. The 10, in alphabetical order, are:
>
Blendo Bag
>
Burned
>
Domino Card
>
Fresh Fish
>
Hot Book
>
Hot Cup
>
Magic Coloring Book
>
Needle Through Balloon
>
Creative Finance
>
Square the Circle
Blendo Bag
The action: Three silk handkerchiefs blend into one multicolored scarf.
Suggested use: Diversity awareness
The Patter: I have here three different silks.
(Display silks bunched up.)
Inwardly, they are much the same.
They are all the same size, and they all are
made out of the same material. But from
outward appearances, they look very different; one is red, one is yellow, and the
last one is green.
(Display each silk individually.)
All three are great colors.
But imagine a world in which only one
of these colors existed. Take traffic lights
for instance. If red was our only color, wed
be stopped at traffic lights all day.
Lessons from Magic
(Place the red silk into the blendo bag.)

If we only had yellow, we wouldnt have an excuse for accelerating through the light.
(Place the yellow silk into the blendo bag.)
And, if green was the only color, no one would stop!
(Place the red silk into the blendo bag.)
Clearly, we need all three colors.
(Shake the bag.)
And when those colors work together, like they do on a traffic light, they achieve
more than one can do alone, for they blend into a beautiful mosaic of color.
(Display blended silk.)
Alternative uses: Any situation in which people or items must work together.
Parameters: Can be performed surrounded, in any size room. The silk handkerchiefs are
usually sold separately from the blendo bag.
Where to find it: Hank Lees Magic Factory (Change Bag/Deluxe), Trainers Warehouse
(One-Hand Change Bag)
Burned
The action: The participants write their negative emotions on individual pieces of
paper. The facilitator collects the paper,
places them in a trashcan, and burns
them up in a flash.
Suggested use: To define leadership
The patter: (Pass out sheets of paper, one
per learner.)
Think back through your work life,
and picture the worst boss you ever worked
for. Then, please draw a picture that represents that boss.
(Learners draw their pictures. Once
complete, the instructor leads a discussion defining what poor leadership looks like.)
(Have all the learners place their drawings into a metal trashcan.)
Because we dont want to work for these leaders again, lets get rid of them.
(Light the papers up, and stand back.)
Now, lets learn how to be great leaders.
Parameters: Can be performed surrounded, but the trashcan must be free of all other
trash.
Where to find it: Hank Lees Magic Factory (Flash Paper)
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Domino Card
The action: The number of black dots on a
domino card changes every time the card
is turned over, until the domino is covered in eight dots.
Suggested use: Communication
The patter: There once was a button manufacturer called Black Dots. Black
Dots. were the favorite of people the
world over, but the business was losing
money. And it was no wonder, for each
manager had his or her own idea of how
many dots should be placed on each shipping card. One manager directed employees to pack each dot on a separate
card.
(Show side one of the domino.)
Another told the employees to put four on each card.
(Show side two of the domino.)
A third manager directed the employees to place three per card.
The fourth manager felt that the company was wasting cards, and directed that the
number be six.
And so it went. One day, the employees were told to pack one per card.
The next day, it was four.
The next, three.
Then six.
Well, the employees had had enough. They complained to the general manager, who
immediately directed that the managers communicate with one another, and come up with
one system. This should have solved the problem, but half of the managers argued that
two was the proper number.
Lessons from Magic
The other half argued for five.

At this point, the general manager stopped production and called a meeting of all
the employees. At the meeting, it was decided to try six dots to a card.
Six worked pretty well, but there was more space available, so the employees upped
the number to eight.
This higher number saved costs because fewer packing cards were used. As a result, the Black Dot company regained financial success. The companys open communications model became a legend in corporate America. In fact, you may have heard of it.
They were celebrated as the first dot-com business.
Alternative uses: Any situation in which a multitude of options are present.
Parameters: Can be performed three-quarters surrounded, in any size room, and is especially visible from a distance.
Where to find it: Hank Lees Magic Factory (Whats Next), Trainers Warehouse (Dubious Domino)
Fresh Fish
The action: A paper sign saying Fresh fish sold here today is torn up one word at a
time, only to be fully restored.
Suggested use: To build teamwork
The patter: There once was a team that functioned poorly. This team had been tasked
with the challenge of creating a sign for a fish market owner. The first team member
came up with a sign that said, Fresh
Fish Sold Here Today.
(Display sign.)
The team could have stopped right
there. But each member of the team felt that
his imprint had to be on the final product
so they all offered suggestions. The second
team member said, We dont need the word
Today. Its obvious that were selling fish
today.
So, the first team member tore off the
word, Today.
(Tear off Today.)
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The third team member took one look at the sign and said, You dont need to say
Here. Of course its here. Where else would we sell the fish?
So, the first team member tore off the word, Here.
(Tear off Here.)
The third team member added, You wouldnt need to say, sold. Its obvious that
fish are for sale.
So, the first team member tore off the word, Sold.
(Tear off Sold.)
The fourth team member felt the need to contribute and said, You could also do
away with Fish. Anyone could smell the fish.
So, the first team member tore off the word, Fish.
(Tear off Fish.)
And, the team, satisfied that everyones imprint was now on the sign took it to their
boss, who said, All it says is Fresh!?
(Display Fresh)
Who could write such a stupid sign? exclaimed the boss. With that, the boss disbanded
the team, and set up a new team to create a sign. That team, in one 10-minute session
came up with the idea for a sign that said, Fresh Fish Sold Here Today.
(Display reconstituted sign.)
The boss loved this sign, and because the second team stayed focused on the goal,
they all got promoted. Meanwhile, all the first team could do was talk about the one that
got away.
Alternative uses: Any situation that involves more than one person or step.
Parameters: Can be performed three quarters surrounded, with a previously prepared piece of paper, and may be hard
to see in a very large room.
Where to find it: Hank Lees Magic Factory
Hot Book
The action: A book is opened, and flames
shoot out of it.
Suggested use: To gain attention
The patter: Todays subject is really hot,
so please pay close attention, and we
wont get burned.
(Open book.)
Lessons from Magic
Alternative uses: While passing out workbooks

Parameters: Can be performed surrounded, in any circumstance.
Hot Cup
The action: Similar to the Hot Book, flames
rise from a cup of coffee.
Suggested use: To introduce a break
The patter: We do have coffee available.
(Display coffee cup.)
It is a little hot.
(Display flames.)
So be careful before you drink it.
(Take a sip from the cup.)
Alternative uses: Prior to lunch
Parameters: Can be performed surrounded,
with any coffee cup, except Styrofoam, but is hard to see in a very large room.
Magic Coloring Book
The action: A coloring book is displayed with blank pages. The next time it is displayed
it has black and white drawings. The third and final time it is displayed, the black and
white drawings have become colorized.
Suggested use: Customer service
The patter: When customers approach you
with a problem, your mind should be a
blank page.
(Display blank pages.)
Listen to what they say, and focus on
the nature of the problem. A customer will
tell you what he feels is necessary to solve
the problem, and expect you to do that for
him.
(Display black and white pages.)
Once you determine the nature of the
problem, provide the solution the customer
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wants. But, because we are known as a service leader, we want you to do more. Once you
have solved the problem, give the customer something extra as a thank you for being
patient while you solved the problem. Your goal should be for that customer to leave feeling better than if the problem had never occurred.
(Display colored pages.)
Alternative uses: Use for situations in which additional information or steps offer
improvement.
Parameters: Can be performed surrounded, in all but the largest rooms.
Where to find it: Hank Lees Magic Factory (Coloring Book), Tool Thyme for Trainers
(Magic Coloring Book), Trainers Warehouse (3-Way Magic Coloring Book)
Needle Through Balloon
The action: A needle is pushed all the way through a balloon. The needle is then removed
and the balloon stays inflated. Finally, the balloon is punctured with the same needle.
Suggested use: Orientation
The patter: (Display balloon and needle.)
As you absorb more . . .
(Begin blowing up the balloon.)
. . . and more information . . .
(Continue blowing up the balloon.)
. . . over the next several days,
(Tie the balloon.)
. . . your head may begin to feel like
its going to explode.
(Put the needle into the balloon.)
It wont.
(Display needle in the balloon.)
Instead, you will soon find that you
comprehend all that information.
(Remove the needle from the balloon.)
And, unlike this balloon, your brain did not pop.
(Pop the balloon.)
Alternative uses: Any situation in which concentration is critical, or people are likely to
feel pressure
Parameters: Can be performed surrounded, in any size room; also purchase the Super
Needled Balloon Wand as a carrying case and protector for the wand.
Where to find it: Hank Lees Magic Factory (Super Needled Balloon)
Lessons from Magic
Creative Finance
The action: A repeated counting bill effect, in which a sum of money grows from $4.00
to $80.00, and back down to $5.00
Suggested use: As a setup to Financial Training
The patter: Id like to tell you how I broke the budget and still managed to stay within
it. I needed to purchase an office supply that cost $56.00. The petty cash drawer had
only $4.00 in it.
(Count out $4.00.)
So, I borrowed what I could from my boss, $19.00.
(Count out $19.00.)
With $23.00 in my pocket, I went to the office supply store.
(Count out $23.00.)
But by the time I got there, something amazing had happened. My $23.00 was now
$80.00.
(Count out $80.00.)
So, I bought the item for $56.00.
(Count out $56.00)
I paid my boss his $19.00.
(Count out $19.00.)
And I was left with $4.00, or so I thought. But then my boss pointed out that $56.00
plus $23.00 plus $4.00 equals $79.00. I should have a dollar left. And sure enough, when
I counted my change,
(Count out $5.00.)
. . . there was one . . . two . . . three . . . four . . . and five dollar bills. The extra dollar, I put in the petty cash drawer. Who
knows . . . Maybe itll multiply again.
Now, can we rely on our finances
multiplying by magic? No, clearly not. But
with some hard work, and a lot of financial
awareness, we can stretch our $4.00 too.
So, lets get started.
Alternative uses: Any subject related to
finances
Parameters: Can be performed surrounded,
in any size room.
(Creative Finance)
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Square the Circle

The action: A shiny metal circle is displayed and then tossed into the air. On catching it,
the performer transforms it into a square.
Suggested use: Career development
The patter: (Display the circle.)
Have you ever felt like a square peg
trying to fit into a round hole?
(Toss the circle in the air.)
Careers can be like that. We get placed
in a job we dont like, or dont do well in,
and yet we stay.
(Toss the circle in the air again.)
Successful career management requires knowing what you do best, so that
you can find a career you can fit into.
(Turn the circle into a square.)
Alternative uses: Any situation where one
item or person can be viewed in multiple ways.
Parameters: Can be performed surrounded, in any size room.
Where to Buy Magic

The appendix provides a listing of magical resources, as well as explanations about the
specifics involved in purchasing magic.
ORCHESTRATION
The magic routines just previewed seem simple. But, think back to the level of detail and
coordination involved in creating the switch that began this chapter. Every element of the
performance had to be in place for the illusion to work. This is true for the routines in
this chapter, and of any entertainment presentation. Without proper orchestration of the
details, the whole enterprise is doomed.
In Act Three, we will strip away the details behind the performance. As you will soon
discover, magicians must deal with a wide variety of challenges; and many of those challenges parallel situations in any classroom. We will examine the solutions magicians have
Lessons from Magic
concocted, and determine their relevance to the learning environment. In the process,
well discover the techniques that allow ordinary people to become wizards, in both the
theater and the classroom.
1
Tarbell, Dr. Harlan (1927). Tarbell Course in Magic. New York: Louis Tannon.
Ayto, John (1990). Dictionary of Word Origins. New York: Arcade.
3 <www.middleeastuk.com/culture/mosiac/arabic.htm>
4 <www.globalvolunteers.org/1main/tanzanialegends.htm>
5 Websters Dictionary of Quotations (1992). New York. Smithmark.
6 Cox, Clinton (2001). Houdini: Master of Illusion. New York: Scholastic.
7 Ayto, John (1990).
8 Fitzee, Dariel (1943). Showmanship for Magicians. Pomeroy, OH: Lee Jacobs Productions.
9 Fitzee, Dariel (1975). Magic by Misdirection. Pomeroy, OH: Lee Jacobs Productions.
10 Davidson, John, and Casady, Cort (1979). The Singing Entertainer: A Contemporary Study of the Art and
Business of Being a Professional. Los Angeles: Alfred.
11 Sharpe, Sam H. (1988). Conjurers Psychological Secrets. New York: Hades Publications.
12 Fitzee, Dariel (1975).
14 Davidson, John and Casady, Cort (1979).
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ACT THREE
STAGECRAFT
CHAPTER EIGHT
THE
STAGE
HARRIET AND THE HOUSEKEEPERS: SCENE TWO
The Technical Skills classroom was one Harriet rarely used. She wondered
what shape it was in, and decided to look it over. A walk-through of the
room might give me some ideas, she thought.
She walked toward the room as if she were a housekeeper required to
attend her class. What she saw surprised her. The hallway outside the training room was dirty. She would get it cleaned.
The door to the room had old notices taped to it. She removed them.
When she turned the corner to enter the room, she saw a wall of files,
left-over computer cables, and other junk. It was the first thing the learners
would see. What message does this mess send? she exclaimed under her
breath, Its certainly not professional. Ill have to clean this up.
The walls of the room were dirty. She could not get the room painted,
but she could put posters over the dirt spots, she thought.
She absorbed the atmosphere of the room itself. Beyond the air conditioning humming cold, the room felt cold and sterile. The posters will help,
she reasoned, So would some music. Maybe I can create a theme song.
[ 207 ]
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Stagecraft
She sat down in a chair. The chairs were comfortable, but arranged in
school house style. She preferred half rounds, and would rearrange them the
day of the class.
Finally, she looked at the area she would stand in during the class. She
discovered that the viewing was partially obscured by a post. She would have
to move a little to her left.
With her walk-through complete, she left the room. She still didnt know
how she would structure the class, but at least she knew her stage.
All the signals in a classroom should be

in concert with the learning goal.GIORGI LOZANOV
he Show Biz Training Principle most applicable to this chapter is:
Principle 6: Stage the environmentOrchestrate every detail of the environment.

Another Learnertainment Principle applicable to this chapter is:
Principle 2: Layer meaningPresent your message on several levels.
AN INTRODUCTION TO STAGECRAFT
There is magic in every illusion show, but its not where you expect to see it. The real
magic can be found in the extraordinary stagecraft that the conjurers employ to control
themselves and their surroundings. For if you can control yourself and your environment,
then you can imply control over nature, and by inference the gift of supernatural powers,
and thus influence the spectator.
When speaking about trainers in their book The Creative Trainers Handbook, Michael
Lawlor and Peter Handley stated: If the information we are receiving comes from a source
which is lacking in authority or which has a negative emotion connected to it, we will tend
to reject it on a subconscious level and not allow it to go in to our long-term memory.2
In the performance arena, if with the wave of a hand the magician can levitate the
assistant, shouldnt the same magician be able to command the workings of a piece of
fabric; or scenery; or his own person? The answer is that the magician should be able to
control these elements, and sets out to do so.
The Stage
Influencing the mind of the spectator depends on stagecraft: the skills, techniques,
and devices of the theater.3 The magician, through careful stagecraft, aligns every possible facet toward the illusion of supernatural control. Dariel Fitzee elaborated in Magic
by Misdirection:
Throughout the presentation of every trick there are hundreds of factors
that shape the course of the spectators thinking. These may range from
the obvious and significant to the most intangible and trivial. All of these
details, even the most minor, even the very order in which they occur,
shape the spectators concept. The expert deceptionist deliberately colors
all the details, both major and minor, to accomplish his purpose.4
One excellent example is the Hocus Pocus illusion discussed in Chapter 7. As you read
the description from the magicians viewpoint, you may been struck with the level of coordination and detail involved. The detail was critical. Without the detail, the performance
would appear ordinary, not magical, and the detail comes in the stagecraft.
There are five specific areas of stagecraft that the magician must control. In this
chapter, and the four that follow, we will explore the stagecraft that magicians and other
performers use to create their entertainment magic. Those areas are as follows:
>
The Environment
>
The Properties
>
The Script
>
Rehearsal
>
The Performer
In Chapter 9, we will examine the use of props in performance. Chapter 10 will focus on
script writing, and Chapter 11 on rehearsal. We will explore basic Three-Act structure, and
learn what is entailed in a show biz rehearsal. Finally, in Chapter 12, we will continue
the persona discussion we started briefly in Lessons from Comedy. But first, we begin
with the environment that the magician must control.
THE ENVIRONMENT
From the theater lobby to the stage to the seating arrangement itself, everything in the
environment must suggest magic.
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The Lobby
Lobbies are designed to be functional. Theater owners want to get you through the lobby
and into the theater as quickly as possiblethat is, of course, once you have purchased
some refreshments. To encourage sales, the refreshment stand is front and center, with
its popcorn enticing you into the theater experience. Off to either side of the refreshment
stand, in the areas the patrons will face as they walk toward the auditorium, lobbies will
often be set with posters, props, and other displays that foreshadow the show.
For the purpose of this discussion, let us assume that two different magicians are to
perform. The first intends to tell a story of an epic fight with the forces of evil. The second
intends a comedic story about miscommunication, referred to in the theater as a comedy
of errors. As the spectators enter the theater, both magicians will attempt to establish an
initial mood. For them, the show begins the moment the spectator enters the theater.
The sinister presentation may choose to set a slightly foreboding environment, with a
sinister poster, and if the space is available, mood lighting or props. The comedic presentation may choose a poster display advertising the comedic nature of the performance
combined with zany music or props. In both cases, great performers will foreshadow their
performance to the full extent the theater owner will allow.
The Seating Arrangement

Stage magicians cannot control this element, but assume they will perform in front of a
theater style arrangement. Club magicians such as myself have some ability to move chairs
around, but must pay close attention to the sight lines. Many magic illusions can be presented only when the entire audience is in front of the illusion. This leaves club magicians
at a disadvantage. Every illusion must be carefully chosen and routined so as to conceal
its secret. In addition a buzz saw illusion, where an unlucky assistant is sliced in half,
may look great from the stage, but close-up it looks fake and, frankly, disgusting.
In the case of our two magicians, the intimate setting of a three-quarters environment
lends itself to comedy, but not to epic struggles. The comedy act can be performed in
either environment, but the sinister performance risks becoming humorous if it is presented up close.
Stage Preparation
The stage itself requires close attention. Most stage shows mark their floors with tape so as
to connote exact placement of props, people, and movable scenery. This taping prevents
performers from bumping into each other. In addition, it documents sight-line problems,
The Stage
and helps position movable set pieces. It also allows the performers to rehearse anywhere
space is available. By simply taping the floor of a rehearsal room, the performers can recreate their stage space.
Stage technicians also ensure that the stage is clean, well maintained, and free of any
unnecessary materials. Both of our magicians would follow the same procedures regarding the taping and maintaining the stage.
Lighting
Lighting is a major component of the magical atmosphere, and consists of two different
light grids, house lighting and stage lighting.
HOUSE LIGHTING
House lighting refers to the lighting over and around the audience. They are the lights
that dim as the performance is about to begin, and brighten when the performance is over,
or when the audience is brought directly into the action and the performer requires audience illumination.
STAGE LIGHTING
All the lighting that is dedicated to enhancing the performance is considered stage lighting, even if the lighting should happen to be in the audience. Lighting functions as an
illuminator of the stage and the performers faces. As Alan Wurtzel and Stephen Acker
explained their work, Television Production: When we light a scene we are painting
with light to create shape, texture, highlight and shadow, accent and detail.5 There are
three types of lights used during a stage performance. They are called key, fill, and
backlight.
>
Key: The word key implies importance, and key lighting is the principle
illumination for a stage, and as such, is usually hung from the ceiling in front
of and facing the performers.
>
Fill: Fill lighting is used to compensate for the shadows created by key lighting.
It is usually positioned on the sides of a stage, facing on-stage.
>
Backlight: Backlight separates the foreground from the background. It provides

contrast, and illuminates background items such as backdrops. These lights
face scenic items that must be illuminated.
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Stagecraft
Although the purpose for each is decidedly different, these three types of lighting work
together to create the unified effect the audience sees.
MOOD LIGHTING
Lighting is an added indicator of the emotional content of the performance. It is often so

critical to success that performances staged outdoors in the daylight will use still lighting. Where white lighting will suggest harshness, amber adds warmth. Red can portray a
nighttime city scene, and blue can remind of water, or melancholy moods.
In the case of our two magical presentations, the sinister performance would not be
believable if the lighting were bright and vivid. On the other hand, the comedy would
have difficulty getting laughs were the stage lighting to be dark and foreboding. Both performances will have created lighting plots, or diagrams, that identify and build the mood
required by that performance.
Scenery
The scenery determines what the stage will look like, and what atmosphere is to be portrayed. Our two magicians would require two very different looking stages. The sinister
fight with the forces of evil would require a dark, somber treatment. This stage might utilize oversized set pieces and lurking shadows that induce a mood of foreboding. On the
other hand, for our magician presenting a comedic farce, the dark, overblown treatment
would seem out of place. The implications of the scenery would be in conflict with the
stated theme. That magicians comedic presentation requires a light, lilting feel, with
details that suggest whimsy.
CLASSROOM-IN-THE-ROUND
In the learning environment, the stage you set has great impact on the learning that occurs. Sharon B. Merriam and Rosemary S. Caffarella summarized the importance of the
environment in their book, Learning in Adulthood, when they said: The most common
explanation (for how the brain handles incoming information) is that information from our
environment is registered within sensory memory through our visual, auditory, and tactile senses.6
The stage you set in your classroom should provide rich sources of information for
your learners visual, auditory, and tactile senses. In Making Connections, brain researchers
Renate Nummela Caine and Geoffrey Caine added: Because the learner is constantly
The Stage
searching for connections on many levels, educators need to orchestrate the experiences
[original emphasis] from which learners extract meaning.7
To create this orchestrated experience, you should think of your classroom as your
stage. In fact, the origin of the word stage can be found in the vulgar Latin word staticum,
meaning a standing place. 8 The classroom is your standing place. It is your theaterin-the-round.

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CARD:
The
classroom
is
atheater-in-the-round.

A properly set stage, with supportive reminders strategically placed throughout the
classroom, reinforces learning. As Nummela Caine and Geoffrey Caine explained: The
teacher can and should organize materials that will be outside the focus of the learners
attention.9

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CARD:
A
properly
set

stage
reinforces
learning.

The Lobby
When we first meet someone, our initial impressions of that person are formed within
seconds, and linger long afterwards. This dynamic is equally true in the classroom. The
first impression presented to your trainees as they enter your learning environment will
establish or diminish your credibility and that of your instruction.10
As the learners enter, they should be enticed into an exciting exploration of learning.
Everything about the entryway should suggest invitation. The first visual images a learner
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CLASSROOM SHOW READINESS FORM

Part 1: Outside the Classroom
The approach to the classroom
> Is
the hall carpet/flooring clean?
Yes
No
Corrective Action to Take:
______
______
________________________
> Are
the walls dirty?
______
______
________________________
> Are
all posted signs neat and orderly?
______
______
________________________
______
______
________________________
> Do
posted signs undercut your message?
> Can
the hallway be more inviting?
______
______
________________________
> Can
the hall support your content?
______
______
________________________
______
______
________________________
______
______
________________________
______
______
________________________
______
______
________________________
The classroom door

> Are
> Is
old notices taped on the door?
the door dirty?
> Will
the door stay open if you need it to?
> Does
the door squeak?
> Can
the door be more inviting?
______
______
________________________
> Can
the door support your content?
______
______
________________________
Yes
No
the room look inviting?
______
______
________________________
> Can
you make it more inviting?
______
______
________________________
> Can
the room support your content?
______
______
________________________
______
______
________________________
______
______
________________________
______
______
________________________
______
______
________________________
______
______
________________________
Part 2: Inside the Classroom

At first glance
> Does
The stage
> How
can the platform be more inviting?
> How
can the platform support your

content?
The room
> Is
the lighting adequate?
> Are
> Is
the walls clean?
the floor clean?
The Stage
> Is
the room cluttered?
> Does
> Is
the room smell pleasant?
the temperature comfortable?
______
______
________________________
______
______
________________________
______
______
________________________
> Will
sound travel well?
______
______
________________________
> Can
the room be more engaging?
______
______
________________________
______
______
________________________
______
______
________________________
The seating
> Are
> Is
the seats comfortable?
the seating arrangement appropriate?
> Can
the stage be seen from every seat?
______
______
________________________
> Are
the tables clean?
______
______
________________________
______
______
________________________
you decorate the room?
______
______
________________________
the decorations support your

content?
______
______
________________________
> Do
the chairs and tables wobble?
The scenery
> Can
> Will
Lighting
> Will
your face be lit?
______
______
________________________
> Will
the learners see their notes?
______
______
________________________
TABLE 8-1
sees in the hallway before he or she enters should be clean and orderly. No stepping
around file cabinets or trash cans. The hall should smell fresh, not mildewed. The classroom door should be open in invitation.
Once the participants walk through the open doorway, the trainer should be waiting,
personally serving as a welcoming presence, not covered in sweat while scrambling to set
up. As the trainees look past the trainer, and into the room, the environment should beckon
them forward and into the enjoyment of learning. If it is morning, the smell of fresh coffee should surround them. Music should comfort their ears. The learning environment
should be alive with items to touch. In short, the learning should begin the moment the
learners enter the classroom. Use the Classroom Show Readiness Form in Table 8-1 to help
you set your stage.
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The
learning
begins
the

moment a learner enters the classroom.

The Seating Arrangement

Just as magicians contend with the theater layout they are given, instructors may not have
control over the seating arrangements in their classroom. You are likely to encounter a
number of seating arrangements:
>
U-shaped
>
Conference Room
>
Schoolhouse
>
Rounds
>
Half-rounds
>
Theater
>
Amphitheater
U-SHAPED
In a U-shaped arrangement, learners sit on the

outer sides of a U shaped table with the instructor in the middle. This arrangement works
best in situations in which the focus is on learner
interaction, not instructor presentation.
CONFERENCE ROOM
A conference room table places the trainees on

three sides with the trainer at the head of the
table. I find this environment more conducive to
The Stage
meetings than to learning. Although I have

conducted a number of trainings in these style
rooms, they are not ideal for entertainment
techniques.
SCHOOLHOUSE
Two or three learners are placed at a table, facing front, in a Schoolhouse arrangement,
with the instructor standing at the front of the room. This arrangement has two major
drawbacks. It feels like school, potentially resurrecting learner fears as discussed in Chapter 1. Schoolhouse seating also tends to discourage group discussions by in effect limiting
the number of people a learner can consult with to one or two.
ROUNDS
Rounds place participants, in groups of seven to nine, at a rounded table, with the facilitator in front of the room. Rounds, if the tables are not too large, provide opportunities
for learners to converse directly with each other. The drawback comes in sight line problems. Regardless of his or her position, the facilitator is always speaking to someones back.
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Stagecraft
HALF-ROUNDS
Learners, in groups of five or six, sit at the

back of a rounded table in half-rounds, while
the instructor stands in front of the room. Halfrounds have a number of advantages, and is
my preferred smaller venue seating style. They
allow learners to confer with each other, while
also avoiding the sight line problems inherent
in rounds.
THEATER
Theater seating places attendees shoulder to shoulder, facing forward, in side-by-side

seats. Although not ideal for group discussions, this arrangement, owing to its traditional
nature, is ripe for show biz techniques. Illusion sight line issues are not a problem, and
audience visibility can be assured by the use of a platform or video projection equipment.
This style has become a preferred arrangement for learning conferences. Some facilitators worry that the seating arrangement makes group activities impossible, but that
assumption is faulty. It is true that theater style seating makes small group activities more
difficult. But, within easy reach of every participant are eight other people to form a group.
(Three in front, three in back, and one on either side.) Theater style seating does not prevent activity, but it does require more careful planning on the part of the instructor.
A factor to consider in theater seating is the
placement of the aisleways. Try to have the aisles
placed on either side, not in the center. If the aisle
is in the center, you will find yourself looking
down a big chasm in the classroom as you speak.
Rather than engaging the majority of the audience
with your eyes every time you look straight ahead,
you will be forced to look either left or right, but
never at all your learners at once. You also run the
risk of people walking in front of you as they come
and go from the classroom.
You may also discover that the majority of attendees choose to sit further back, leaving the first
few rows empty. This makes communication harder
The Stage
for you, and forces latecomers to walk up front for a seat. A smarter technique is to rope
off or place tape across the back rows, so people are forced forward. This will also save
those back rows for the latecomers.
AMPHITHEATER
In amphitheater style seating, learners are slightly wrapped around the facilitator on the
left and right. Amphitheater seating is my personal favorite for large-scale presentations.
It places the instructor in the center of the action. It feels less formal than theater style
seating, and it allows audience members, owing to the wraparound seating, to make eye
contact with other audience members. Because of its great similarity to theater style seating, the same descriptions apply.
Regardless of the arrangement you decide on, or must contend with, show biz techniques add value. You should account for those factors in advance, and design your
presentation accordingly. While advance planning, ask yourself the questions listed in
Table 8-2.
The Stage
A major difference between theatrical performances and instruction is the fact that theatrical audiences are often separated by the theaters fourth wall, where classroom
audiences are within this wall. They are on the stage. In other words, the classroom stage
is not the podium, or the area in front of the room, it is the entire room. The classroom is
your stage, and, as such, it should be staged.
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Stagecraft
SEATING ARRANGEMENT EVALUATION FORM

1. What seating arrangement is possible given the physical layout of the classroom?
2. Which available seating style will best suit the material you will be presenting?
3. How can you stage the entire room, regardless of the seating style?
4. Where can you position yourself to ensure the sight lines are appropriate?
TABLE 8-2
Room Lighting
Just as theatrical lighting establishes a mood and tone, the classroom lighting will either
aid or distract from learning. The fact is that many learning conference rooms, especially
in supposedly state of the art hotels, have poorly designed lighting schemes. Often, the
stage area is placed with little to no attention to lighting, and with no key, fill, or backlight lighting available. The result is an instructor whose face is in shadows because the
only available light comes from available ceiling lighting.
If you have any control over the location of the stage area, place it where the lighting
will pick up your face. If you cannot control the location, consider hanging additional
lighting. During my road years, we traveled with portable lights that could be clamped
onto the ceiling and controlled from the stage. It is a habit I continue to this day. This
may seem like extra work for little gain, but it can be critical. If the venue is large, and the
learners cannot see your face, your props, or your hand gestures, how can they comprehend the meaning of your message?
Adequate lighting is obviously required for reading and note taking, but studies demonstrate that too much light can be stressful. The goal should be for a well lit, but not bright,
environment. An excellent technique is to alternate areas of bright and dark lighting. If,
The Stage
like the seating arrangement, you have no control over your lighting, you should still take
extra care when adjusting light levels for videos. My advice would be to never turn the
lights off. Most videos can be viewed quite adequately without fully darkening the room.
If you turn the lights off, how will you know if your learners are paying attention? If you
must turn the lights off, allow adjustment time when you turn them back on. Turn them
on gradually if possible, or call a break so that people have time to readjust.11
Room Scenery
Few trainers would argue that they have too much time with their trainees, and yet do
not take advantage of all the teachable moments available to them.

CARD:
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Use
every
teachable

moment

toyou.

available

What learners see when they look away from you, and they will, is a teachable moment.
If the visual your participants see is a pile of junk in storage along the side wall, you have
unintentionally suggested something about the value of your instruction. In the words
of Renate Nummela Caine and Geoffrey Caine, The subtle signs and surface indicators
reflect what we actually are and not what we try to be.12
These kind of extraneous stimuli negate an opportunity to reinforce learning. Scientists
tell us that 90 percent of all information is taken in visually.13 Your classroom should be
alive with visual stimuli that support the key learning points. You should set the stage
with food for the eyes.

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Set
the
classroom

with

for
the
eyes.

food

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Adorning the Walls

Place posters that align with your learning points on the walls. Renate Nummela Caine
and Geoffrey Caine explained:
The brain absorbs information and signals that lie beyond the field of attention. These may be stimuli that one perceives out of the side of the
eyes, such as gray and unattractive walls in a classroom. Peripheral stimuli also include the subtle signals that are within the field of attention
but are not consciously noticed (such as a hint of a smile or slight changes
in body posture). This means that the brain responds to the entire sensory
context in which the teaching or communications occurs.14
Another technique is to place quotes on the walls. For my own sessions, I have a collection of quotes printed on oversized colored paper, laminated, and cut in odd shapes. Before a class begins I will select laminated quotes appropriate to the subject being taught
and spread them out on the learners tables. As the learners enter the classroom, I instruct
them to select their favorite quotes and tape them to the walls. In this way, I have begun
the session before actual instruction begins. The activity is holistic, engaging, moves
people around the room, and provides a quick reference point for discussion as the learning unfolds.
Projection Viewing
Projection equipment should be placed so that all the attendees can view the presentation. You should also consider the danger
posed by electrical cords that stretch across
the area in which you will be standing. There
are occasions in which theatrical productions must run cables across the floor. In
such cases, the resulting wires are securely
duct taped to the floor. The danger to any
instructor is not so much from electrocution as it is from foolishness. Performers,
including Dick Van Dike and Chevy Chase,
have made careers out of tripping over
things. Trainers should leave pratfalls to
the professionals. Tape those wires down.
The Stage
SLIDES AND OVERHEADS
When creating slides and overheads for training environments, three factors should be
considered:
>
The effects of color
>
Text usage
>
The placement of graphics
The Effects of Color
You should pay special attention to the colors you choose for overheads. Colors are influenced by the colors that surround them. For instance, a light color against a dark background will draw more attention than a dark color against a light background. In their
book Television Production, communications professors Alan Wurtzel and Stephen R. Acker
make this very point:
Important foreground elements ought to be lighter in color and brighter
than the background so that they will stand out more prominently and
attract the viewers attention. Nearly all graphics prepared for television
use light lettering on a dark background. Because of this design decision,
the words come toward the audience, while the background recedes. 15
Scientists have discovered that the brain reacts differently to different color frequencies.
Of special interest is their discovery that people see color before content, and that yellow is usually the first color that people distinguish. Yellow is also conducive to positive
moods. These factors make yellow the ideal color for highlighting critical information in
electronic presentations.16 Table 8-3 provides additional color-related information.

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Yellow
isthe

people
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first
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Stagecraft
COLOR PLACEMENT TABLE

General tendencies:
Bright colors: Spark energy, creativity
Light colors: Enhance learning
Dark colors: Lower stress, increase feelings of peacefulness
Specific colors:
Red
Effect: Engages, elicits emotion
Use:
To elicit creative thinking and boost short-term energy, may trigger
aggressiveness during stress
Yellow
Effect: First color the brain distinguishes, creates positive moods
Use:
To attract attention and elicit positive feelings
Orange
Effect: Exhibits characteristics halfway between red and yellow
Use:
To elicit creative thinking, boost short-term energy, to draw attention
Pink
Effect: Restful and calming
Use:
To create a soothing environment
Blue
Effect: Calming, increases sense of well being
Use:
To enhance study, deep thinking, concentration, when combined with red
frames will create keener insights
Purple
Effect: Creates tranquilizing moods
Use:
To induce relaxation
Green
Effect: Calming
Use:
To enhance productivity and long-term energy
White
Effect: Bright, disruptive, and hard to look at
Use:
Avoid where possible, substitute off-white or beige
Black
Effect: Inhibits learning
Use:
Avoid, substitute off-white or beige
Gray
Effect: Little effect
Use:
In situations where no emotional response is intended
Source: Andr Vermeulen, Neuro-Link. <www.neurolink.co.za>
TABLE 8-3
The Stage
Text Usage
Just as magicians pay careful attention to sight lines, ensuring that everyone in the audience can see, the facilitator should ensure that everyone can see, and understand, the
words placed on the projection screen. Visibility will be increased greatly if you observe
a few simple guidelines:
>
Restrict yourself to one thought idea per slide. A magician would not perform
two illusions at once. The resulting dual focus would confuse the audience.
>
Edit the words you place on any slide to the absolute minimum. Make the remaining words as clear and succinct as possible.
>
The text font should be readable from a distance.
>
Avoid ornate, scriptive fonts.
>
Maintain a minimum font size of
>
18-point is readable, but does require more effort on the part of your participants.
>
Font sizes of
>
The larger the font, the less text you can place on a slide.
>
Limit slide text to six or seven words per line.
>
Avoid lettering thats entirely in uppercase. It is more difficult to read than lowercase text.
24 points.
28 to 32 are easily readable.
The Placement of Graphics
Try to avoid verbal approaches. Start with images. Stay with images.17 Luke Sullivan
offered that advice for advertisers. It is equally valid for instruction. Graphics are an ideal
way to make your point without words, or to reinforce the words you use. They provide a
deeper, holistic level of meaning than words can achieve alone, while fully supporting
the message of the words. The trick is to select graphics that coincide with the meaning
of your text. Ensure, however, that the graphics you select closely relate to the text. Loosely
related graphics will only confuse the focus, and may send different messages than those
you intend.
Sensory Stimulants
Victor Hugo once commented, Nothing awakens a reminiscence like an odor.18
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Stagecraft
In Conjurers Psychological Secrets, Sam. H. Sharpe advised magicians that we judge

things according to our senses.19 A similar comment comes from Joseph Pine and James
Gilmore. In The Experience Economy, they advise businesses to enhance their environment through the use of the five senses: The sensory stimulants that accompany an
experience should support and enhance its theme. The more effectively an experience
engages the senses, the more memorable it will be.20 With these comments in mind, a
few sensory factors should be considered.
ROOM TEMPERATURE
One dynamic that affects a number of senses is the training rooms temperature. An empty
room should be cooler than you intend it to be. When the learners arrive, their body heat
will heat up the room for you. The room temperature should be comfortable: neither warm
or cold, but comfortably cool. Studies have shown that the brain performs better when it
is cooler.21 Keep your temperature ranges between 66 and 72 degrees Fahrenheit, but
slightly on the cool side.
AUDITORY, VISUAL, AND KINESTHETIC APPROACHES
In learning theory, auditory, visual, and kinesthetic approaches use three of the senses,
but ignore the learning potential of smell and taste. I have always felt that an auditory,
visual, and kinesthetic approach is too simplistic. Virtually everything that occurs in the
learning environment can be seen and heard, and if the participants are taking notes, a
lazy instructor can claim that all three are covered, and thus everything possible is being
done to aid learning. I believe in a more expansive approach in which you utilize all five
senses, including taste and smell.
ROOM ODOR
The classroom should give forth an attractive odor. We know intuitively that a foul smell
distracts attention. It is not a stretch to believe that the opposite is also true, and that a
pleasant odor aids learning. It is also reasonable to suppose that, much the way popcorn
draws us into the theater lobby, other odors may draw us into learning.
Although research is ongoing, we do know that our sense of smell is directly linked
with our limbic systems, and that smell has a subtle effect on our level of relaxation or
agitation.22 In addition, neurolingistic programmers recommend the smell of peppermint or lemon to enhance productivity.23 Just as magicians use the smell of fire to draw
The Stage
us a spectacular illusion, trainers can use coffee to draw us into an early morning learning
room.
Odors can also detract when overused. If your classroom becomes heavily perfumed,
and one of your learners suffers from allergies, the classroom time might become extremely
uncomfortable. Commercial room sprays are available, but most only cover existing odors
with other odors. Until the researchers can tell us more, it is sufficient to be aware of the
odors present in your classroom, and to make every attempt to establish an odor friendly
environment.
ROOM TASTE
For centuries, people have regarded the breaking of bread as a major rite of communal
humanity. When people eat together, they feel a sense of community and belonging. Although learning room feasts are unnecessary and can be financially prohibitive, providing basics such as coffee, tea, sodas, candies, popcorn, and other light snacks engages the
sense of taste and in this way increases the sense of belonging.
AN OUNCE OF PREPARATION
By now you have no doubt realized that staging the environment requires advance planning. In Poor Richards Almanac, Ben Franklin once said that An ounce of prevention
is worth a pound of cure.24 Planning allows you to prevent problems before they become
catastrophes. So, plan for the unexpected. Control what you can, and plan for the uncontrollable. Design your instruction in such a way that you are never surprised by the circumstances that confront you. Have a backup plan for your backup plan. And then, back
up your backup plan. Table 8-4 is provided to assist you.
MOVE IN
Your stage will be your home for the duration of the learning. Visit the learning environment well beforehand. Become comfortable with it. Walk up to the stage from as many
different angles as possible. Walk onto it. Walk around it. Become one with it.
Meet with the people who control the room. Make friends with the technicians. They
can make or break your performance. Ask for their help in meeting all of your logistical
needs, and thank them when they assist.
On the day of the event, arrive early. Pick up the mood of the room. Become one with
it. For, in the eyes of your learners, the environment is an extension of you.
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FIVE-SENSES ENHANCEMENT FORM

Use this form to enhance the classroom environment through the five senses.
Sight
> What visuals are present in the classroom?
> What
> How
visuals should be present in the classroom?
can you add those visuals?
Smell
> What odors are present in the classroom?
> What
> How
odors should be present in the classroom?
can you add those odors?
Touch
> What touchable items are present in the classroom?
> What
touchable items should be present in the classroom?
The Stage
> How
can you add those touchable items?
Taste
> What tastes are present in the classroom?
> What
> How
tastes should be present in the classroom?
can you add those tastes?
Hearing
> What sounds are present in the classroom?
> What
> How
sounds should be present in the classroom?
can you add those sounds?
TABLE 8-4
1
2
3
4
5
6
Lozanov, Giorgi (1978). Suggestology and Outlines of Suggestopedia. New York: Gordon & Breach.
Lawlor, Michael, and Handley, Peter (1996). The Creative Trainer: Holistic Facilitation Skills for Accelerated Learning. London: McGraw-Hill.
The American Heritage College Dictionary, 3rd edit. (1997). Boston: Houghton Mifflin.
Fitzee, Dariel (1975). Magic by Misdirection. Pomeroy, OH: Lee Jacobs Productions.
Wurtzel, Alan, and Acker, Stephen R. (1989). Television Production. New York: McGraw-Hill.
Merriam, Sharan B., and Caffarella, Rosemary S. (1999). Learning in Adulthood: A Comprehensive Guide.
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Caine, Renate Nummela, and Caine, Geoffrey (1991). Making Connections: Teaching and the Human
Brain. Parsippany, NJ: Dale Seymour.
8 Ayto, John (1990). Dictionary of Word Origins. New York: Arcade Publishing.
9 Caine, Renate Nummela, and Caine, Geoffrey (1991).
10 Brydon, Steven R. and Scott, Michael D. (2000). Between One and Many: The Art and Science of Public
Speaking, 3rd edit. Mountain View, CA: Mayfield.
12 Caine, Renate Nummela, and Caine, Geoffrey (1991).
13 Andr Vermeulen, of Neuro-Link.
14 OKeefe and Nadel 1978 quoted by Caine, Renate Nummela, and Caine, Geoffrey (1991).
15 Wurtzel, Alan, and Acker, Stephen R. (1989).
16 Howard, Pierce J. (1994). The Owners Manual for the Brain: Every Day Applications from MindBrain
& Sons.
18 Websters Dictionary of Quotations New York: Smithmark.
20 Pine II, Joseph B., and Gilmore, James H. (1999). The Experience Economy. Boston: Harvard Business
School Press.
21 Howard, Pierce J. (1994).
22 Kallan, 1991 as reported in Howard, Pierce J. (1994).
23 Vermeulen, Andr (May 22, 2000).
24 Ben Franklins Wit and Wisdom (1987). White Plains: Peter Pauper Press.
CHAPTER NINE
PROPS
AN INTRO TO TIME MANAGEMENT
It was my turn to teach the time management class. And because it was a
time management class, I wanted to start the class on time. I also knew that
there would be some stragglers. (Anyone who arrived on time probably
didnt need the class anyway.) I decided to frame up the discussion with an
attention-getter that would honor the trainees who had arrived on time,
while giving the stragglers more time to arrive. I grabbed a couple of props
and headed into the classroom.
I began at the exact class start time. After introducing myself, I said,
Todays topic is time management. To help us out, Ive brought in an arrow.
Can anyone tell me how an arrow relates to time management?
No one responded.
How quickly does an arrow fly? I asked.
One student took the bait and responded, Fast.
Thats right. In fact, you could say that time flies like an arrow.
They all nodded.
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I next produced a banana. How about the banana? How does it relate
to time management?
There was no answer. I think they were stunned.
Finally, a quiet voice responded, Err, bananas dont stay fresh long?
Thats right. How long will an uneaten banana last before it spoils?
A few days was the reply.
What would happen if I peeled the banana and let it sit on the counter?
As I asked the question, I peeled the banana.
Warming to the discussion now, another student joked, It would stink.
I nodded. And attract flies. Why though?
Because it spoiled responded another student.
I then asked, How does that relate to managing your time?
Finally one learner got it. You never know how long you have before
you spoil?
Thats correct. I smiled. We dont know how much time we have.
Then, looking as if the idea had just occurred to me, I stated, This reminds me of a quote from Marx. I paused before adding, Groucho Marx
that is.
They laughed and I knew I had them. I displayed the quote.
Time flies like an arrow, but fruit flies like a banana.
With that, they all groaned.
So remember, I continued undaunted, Be an arrow, not a banana.
Lets learn how to manage our time.
With that, I began the class.
Let your concept be so visually powerful that a viewer

would get it with the sound turned off.LUKE SULLIVAN
1
Principle 7: Use mnemonicsProvide visual learning cues.

Props
Principle 1: Make it funCreate an atmosphere of playfulness.

Principle 4: Evoke emotionEngage your learners emotionally.
PROPS AND THEIR USAGE
We have discussed the major elements in the performance environment, with the exception of two: the performer and the performers props. In this chapter, we will focus on the
use of props.
A prop can be defined as any article that a performer handles to make his or her point.
Props are inseparable from staged performances. Imagine the magician without a magic
wand, or a rabbit, and you see the point.
In general there are five common entertainment uses for props:
>
As a visual aid
>
To frame the environment
>
To capture attention
>
As a metaphor for the subject at hand
>
As a pacing device.
We will first discuss each of these uses in the performance arena, and then explore ways
that props can be applied to the learning environment. Then, we will examine the OFFBEATTM Prop Placement Matrix. Finally, we will conclude by discussing specific props,
and their potential use applications.
Props as Visual Aids
Theres an old saying: A picture is worth a thousand words. Its certainly true in regard
to props. They are visual clues that convey information without words.

A
prop
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Often, when a book is made into a live production or a film, whole sections of the book
are omitted. Whereas in a book an author can describe every circumstance in great detail,
an entertainment can only be a few hours long. There is limited time to make each point.
If a script calls for an actor to read a newspaper, the very act of holding a newspaper
in front of her face tells the audience what the actor is doing. With this clear visual, little
explanation is required. The prop saves words. When performers can use props to replace
words, they have in essence freed up time. This in turn allows the audience to focus on
the larger points being made in the entertainment.
Advertising faces an accelerated version of this time crunch. Where a movie or a live
entertainment is typically two hours long, a commercial has only 30 seconds to tell its story.
To communicate quickly, advertisers often rely on props. The commercials we explored
in Chapter 3 offer some great examples:
>
The Timex commercials visually demonstrated the toughness of the product so

effectively that the tag line, Timex, it takes a licking and keeps on ticking,
functioned as a punch line to the visual. The phrase ended the commercial, but
was not necessary as a statement of fact. The visual had already proven the
point. The phrase simply verbalized what the audience had already viewed.
>
The visual of squeezably soft Charmin states, without the needs for words, that
the tissue is soft.
>
The Energizer bunny is a highly visual prop that suggests long-lasting batteries.
Chapter 5 taught us that many comedians rely on props. We also discovered that some
items are inherently funny. Table 9-1 features a listing of performers. See if you can match
each performer with the prop that helped them become famous.
Different performers have become identified with specific props. Perhaps the best
usage of props as visual aids can be seen in Charlie Chaplins portrayal of the Little Tramp.
Chaplin, in that silent film era, could not use dialog. He had to impart information visually. Consequently, his character portrayals relied heavily on props. Chaplin used his
undersized bowler hat, twirling cane, and shoes worn on the wrong feet to create a funny,
inoffensive personality.
He would also interact with the items he found around him. In one famous example,
The Gold Rush (1925), Chaplin portrayed a down-on-his-luck gold prospector trapped
in a desolate Alaskan cabin for the winter. With no food to eat, Chaplins character ate
his shoe. He ate the shoe leather as if it were a steak, and the shoe laces became spaghetti
noodles that he twirled and slurped. It was a masterful performance, and a great demonstration of prop usage.
Props
THE COMEDIANS PROP

See if you can match the performer with the prop(s) that performer used to become famous.
Charlie Chaplin
Cigar and glasses
Gallagher
Cane and derby
Michael Jackson
Oversized glasses
Elton John
Pencils
Larry King
Sequined glove
David Letterman
Suspenders
Groucho Marx
Watermelon
PENCILS; GROUCHO MARXCIGAR AND GLASSES
SEQUINED GLOVE; ELTON JOHNOVERSIZED GLASSES; LARRY KINGSUSPENDERS; DAVID LETTERMAN

ANSWER KEY: CHARLIE CHAPLINCANE AND DERBY; GALLAGHERWATERMELON; MICHAEL JACKSON
TABLE 9-1
Props as Visual Learning Aids

Named after the Greek goddess Mnemosyne, the mother of the Muses, a mnemonic is a
devise that aids in the memorization through the arts.2 In the learning environment, props
are effective mnemonics.

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People process and react to data on many levels. Where traditional learning methods appeal to the logical neocortex, props work on a peripheral level, appealing to the emotional
limbic system. They help people process your learning points holistically. They attract
attention, offer appealing visuals, indicate fun, and give your learners a metaphorical anchor for remembering the material.
In addition, 90 percent of the information people absorb is taken in visually.3 It is no
accident that the introduction of television sounded the death knell for radio drama. When
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given a choice, people preferred to see the information being presented. Yet, many instructors rely on their voices to carry the day. Imagine what would happen if you conducted your classes with the learners sitting facing the back of the classroom. It would
be a short class.
Use this need for visual information. Harness it to your advantage. Bring your classroom to life with visual mnemonics that support key learning points. To emphasize those
points, hold up items that say visually what you are saying verbally. Give your learners
something to look at, and their minds something to anchor the learning to. Set your stage
with food for the eyes.
Props as Frames for the Environment
Another entertainment function of props is as a framing device. Magicians make extensive
use of framing devices. At any illusion show, audience members expect to see swords,
tables, colorful silks, bouquets of flowers, saws, cards, and all sorts of other devices.
Consequently, magicians populate their show with such items. The props visually affirm
the expectation of magic to follow.
Movies frame their scenes with props too. For example, Shakespeare in Love (1998) is
a fictionalized story of the Bards experiences while writing Romeo and Juliet. The movie
often shows Shakespeare writing with a feather pen. Imagine the confusion that would
occur if he instead used a computer. As small a matter as a writing utensil can disrupt,
or frame, a scene.
Props are so effective at framing a scene that non-entertainers have used them too.
One example comes from the political arena. American president Franklin D. Roosevelt
(FDR) was elected during the Great Depression. It was a time of great uncertainty, with
approximately 25 percent of the population out of work. FDR made it a point to flash a
smile whenever possibleand not only to smile, but also to display a can-do aura of jaunty
activity. Considering an early bout with polio left FDRs legs paralyzed and confined him
to a wheelchair, this was no small feat. FDR had to show activity without walking. He did
so through the use of a prop, a cigarette holder. Any cigarette holder would not have
worked. This was a long-stemmed one. The very act of clutching it in his teeth made him
smile, and, by wiggling it with his tongue, he could display extra bodily movement. The
length of the cigarette holder allowed its movement to seem bigger than it was, and gave
FDR an aura of movement when there was none.4
Props as Frames for the Learning Environment
Just as swords, tables, colorful silks, bouquets of flowers, saws, cards, and all sorts of other
devices frame a magical environment, the entertainment savvy trainer props the class-
Props
room with items that draw attention. As learners walk into the classroom, they should
immediately comprehend the nature of the environment they are entering.

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frame
the
environment.

In their excellent book about the placement of entertainment in business service environments, The Experience Economy, Joseph B. Pine II and James H. Gilmore describe just
such a way to enhance any environment: Perhaps the most straightforward approach to
making goods more experiential is to add elements that enhance the customers sensory
interaction with them.5
Frame the classroom as an enjoyable place to be. Create a festive, inviting environment. Make the room seem like a party with a purpose. Put the subject of your class on
display. For machinery training, display the tools the learners will use. If the subject is
leadership, place leadership quote plaques around the room. For a diversity presentation,
display culturally appropriate materials. Regardless of your subject, find small, inexpensive items indicative of that subject, and place them on the learners tables as centerpieces.
Capturing Attention with Props
Props are great attention-getters, and performers use props to set themselves apart from
the crowd. The props made them different. Here are some examples:
>
Charlie Chaplin used his cane and hat to mimic, and thus lampoon, the pompous
mannerisms and attitudes of the pretentious rich.
>
People would go to Elton John concerts in part because of the outrageousness

of his outfits.
>
The one sequined glove helped Michael Jackson break through to superstar
status.
>
Larry Kings suspenders helped differentiate him from other talk show hosts, and
helped propel his CNN show to success.
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For those performers, props provided immediate identification. Even if a member of the
public could not recall their names, especially true of parents trying to remember the names
of current rock stars, those performers could be identified by their signature prop.
Capturing Learners Attention with Props
In my own nightclub performance career there was a constant need to capture attention.
The audience had so much stimuli available to them that their attention was usually split.
To pull distracted people into the activities, we would display an unexpected prop. The
audience members would become interested in the prop and its purpose. As they thought,
What in the world is that for? we would refocus their attention.
In a similar manner, it is often necessary to refocus learners attention once they
become comfortable in the learning environment. To capture your learners attention,
display an item related to your subject matter. In the process, you will be establishing a
mnemonic connection to the learning point. If the prop is small enough to handle, engage
your learners sense of touch by passing it around the room.

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attention.

capture

Props as Metaphors for the Subject at Hand

Props provide great metaphoric examples. Perhaps the worlds most famous play, Shakespeares Hamlet, features a scene in which lead character Hamlet holds the skull of his
former mentor and court jester, Yorick, as he ponders human mortality. Yoricks skull is
a metaphor for the human condition as Hamlet explains it: A man may fish with the
worm that hath eat of a king, and eat of the fish that hath fed of that worm.6
Metaphoric prop usage is not limited to show biz. Political leaders have used them
too. In some cases, the usage was so effective that the verbal mnemonic tied to the usage
has entered our language. Two examples come from different American presidential campaigns featuring relatives.
In 1840, William Henry Harrison won the U.S. presidency from incumbent Martin Van
Buren. Harrisons supporters would make Harrison balls of 10 to 12 feet in diameter.
They would plaster the balls with Harrison campaign slogans. The balls would then be
Props
rolled down the street to the phrase, Keep the ball rolling. In the process, they added
a mnemonic to our language.7
Forty-four years later, Harrisons grandson contributed another phrase. In the 1888
American presidential election, Benjamin Harrison ran against, and beat, incumbent
Grover Cleveland. One of the success factors was the symbolism his followers employed
when they carried large brooms to rallies and parades. Supporters would sweep the
streets with their brooms, while promising to deliver a clean sweep. Although it took
about 50 years for brooms to disappear from the campaign trail, electoral sweeps are
still with us.8
The use of props as political metaphors is not limited to campaigns. In the mid-1980s,
American president Ronald Reagan wanted to demonstrate visually what he considered to
be an out-of-control United States budget. At his State of the Union speech, he produced
the entire budget, all 6,000 pages of it, leather bound in seven volumes, and dropped
each volume onto the podium with a thud. The visual was of a preposterously long document that no one could read or understand.
Props as Metaphors for the Learning Subject at Hand
In the learning environment, metaphors are potent tools. As advertising expert Luke
Sullivan explained: What makes metaphors particularly useful is theyre a sort of conceptual shorthand and say with one image what you may otherwise need 20 words to
say. They get a lot of work done quickly and simply.9 He goes on to explain the use of
metaphors in advertising: Part of what makes metaphors in ads so effective is that they
involve the reader. They use images already in the readers mind, twist them to our messages purpose, and ask the reader to close the loop for us.10
These same observations are true in learning environments. Metaphors can provide visual mnemonics that learners will remember long after the learning event has
passed. This is especially important when
you consider that the average listener remembers only about half of what was said
immediately after it was said. After 48 hours
the average listener remembers only about
one quarter of what was said.11
Props, when used as classroom metaphors, increase retention by providing visual
shorthand representations of the learning.
One method is to tie a prop to a story
with a pun as an ending. The story that
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started this chapter offered an example of how this technique might work. The OFFBEATTM
Prop Placement Matrix (Table 9-2) beginning on page 250 provides additional examples.

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learning.

Props as Pacing Devices

The final common use for props is as pacing devices. Comedian George Burns use of his
cigar is an excellent example. Burns was known for his subtle wit. Often, his wit was so
subtle that the audience needed time digest the meaning of his words. This required Burns
to wait for people to laugh. Rather than just stand there, he would puff on a cigar while
he waited. This gave the appearance that the act was moving forward, when it was really at
a stop.
Groucho Marx used the same technique. In addition to being intellectual, his wit was
risqu. The Hollywood of the 1920s felt an obligation of self-censorship, and would not
allow off-color comments to be filmed. Groucho would circumvent the censors by playing with his cigar as he lifted his eyebrows and leered at the object of his comments. This
gave the audience time to process the more obscure, risqu meaning of the joke. This
technique is not limited to these two performers. Two other examples are Johnny Carson
and David Letterman. Both drum pencils to stall for time, or highlight a comment just made.
Comedians arent the only well known figures to pace events with props. In Clinton
v. Jones, the infamous Paula Jones sexual harassment lawsuit against President Bill Clinton, Clinton was deposed for six hours. The president paced his answers quite effectively
through the use of soda cans. Every time the president was asked a tough legal question
he would pause to sip a soda. This pause gave him time to process his answers without
speaking.12
Props as Classroom Pacing Devices

When placed on the trainees tables, props function as hand amusers. They give learners
something with which to occupy their fingers and mind during the moments when they
Props
are having difficulty focusing on the instruction. Unlike the way comedians control the
pacing through props, classroom props allow trainees to pace their own learning focus.

props
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help

release
pent
upenergy.

learners

Breaks are a second pacing opportunity. Pierce Howard, in his book, The Owners Manual for the Brain, suggests providing activity games for use during breaks. He explained:
The ideal break involves some level of exercise. This can dissipate the results of overarousal or stimulate people out of boredom or under-arousal.13
Carla Hannaford, in her book Smart Moves, recommended building frequent movement into learning. Movement aids learning, enhancing the thinking regions of the brain
and increasing the speed of electrical transmissions in the brain.14

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The placement of bowling pins, plastic horseshoes, beanbag, and other harmless play devices will bring your learners back to the classroom early from break, and wear down any
excess energy.
Bruce Posgate, in Kid-Show Showmanship, discussed this very point in regard to
controlling the excessive energy levels of children during childrens show performances.
He would begin his performances by getting the children to shout on cue two or three
times. In the process, the children would get the rambunctiousness out of their systems.
Although I realize that the needs of children are different than those of adults, the need
to release excess energy still exists, and should be honored.15
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THE PLACEMENT OF PROPS
Having completed an overview of how props aid learning, lets turn our attention to their
selection. The props you select may be partially dictated by your topic, but the other opportunities may present themselves if you run your selection through a filter: The OFFBEAT Prop Placement MatrixTM. The letters of this acronym stands for:
Original
Fascinating
Fun
Build Upon
Elaborate
Appropriate
Tasteful
The Props You Select Should Be Original

The usage you select for a prop should place it in an original situation. Just as comedians
create humor by turning conventional thought patterns inside out; your usage should place
the prop in an unexpected context. As Walt Disney said, Give them what they want, but
surprise them on how you present it.16
Of course, there are those learning props that are exactly what they seem. When
learners are being exposed to a cash register that they will use in their job, there is no
point in camouflaging the usage. Those uses are expected and legitimate. But because they
are expected, their enjoyment value is limited. Seek out additional props your learners
do not expect to see.
One example might be the use of a blender for diversity awareness. You could display the blender and suggest that each person brings a unique flavor to the group, and
that, when people work together, they become stronger because of the blending of ideas.
Or, use the same blender to indicate the need for teamwork. Turn the handles and state
that our attitudes dictate how well we blend together as a team.
Another example could be the use of a suitcase to vent participant complaints you
cannot fix, but must air before the learning can proceed. You could have the learners
anonymously write down their complaints. Next, you could collect the complaints, read
them to the class, and lead a discussion about the comments. Finally, you would put all
the pieces of paper in the suitcase, close the suitcase, and place it in a corner. You could
then conclude by saying, I cant help you with this baggage. But could we at least set it
aside for the duration of this session?
Props
The key point in the last three examples is not the specific usage, but rather the idea
that you should select and use props that surprise your audience, and connect with them
in unexpected ways. The surprise of the connection will work in much the same manner
as a joke. It will create connections that the learners never considered before, and remain
with them as a mnemonic.
The Props You Select Should Be Fascinating
According to Lawrence S. Munson, Getting the commitment of your participants becomes possible only after you have captured their interest.17 The prop you select will
serve this end if the use is fascinating. An effective prop will immediately draw the
learners attention. They should want to know more about it as soon as they spot it.
The best props are those that seemingly have no connection to the subject being taught.
Props that do not relate incite curiosity. This curiosity draws the participants in as they
try to discover what the item has to do with the subject at hand. The ideal prop should not
display its connection to the subject too readily. It should draw attention and curiosity
while the learners attempt to guess its connection.
The blender and suitcase examples already offered function in this manner. Another
example might be the use of a road map to discuss future career paths. Simply produce
and display the map, and after a few seconds, ask the trainees if they know what the significance of the map is. After honoring all replies, state the following: Most people look
at a road map before they plan a long trip. Yet, in life, many people do not. Do you have a
road map for your life? Do you know where youre going? By using this simple, readily
available map, you will have made a powerful, and unexpected, point.
The Props You Select Should Be Fun
In Chapter 5, we discovered that some items bring forth a feeling of fun. Items such as
bananas, broccoli stalks, cream pies, glasses with an attached nose and mustache, plastic fish, hand buzzers, noisemakers, plungers, potatoes, and hats are fun props. If there
is a way to use one of these items in your classroom, do so. Your goal should be to evoke
a feeling of positive emotion through fun.
Michael Michalko, in Cracking Creativity, stated: An environment of playfulness and
humor is highly conductive to creativity. Playfulness relaxes the tension in a group. In a
state of relaxation, individuals show less fixation and rigidity in their thinking.18
Props that bring forth a feeling of fun enhance an environment, making it more playful and less threatening. Undersized and oversized items work especially well. Items of
odd size are visually humorous, and place the item out of its everyday context. For this
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reason, toys make some of the best props. Play phones, fake food, and even fake vomit
have their place in the pathaneon of fun.
The Props You Select Should Build Upon
What Has Already Occurred
Joseph Pine and James Gilmore, in The Experience Economy. explained: The sensory
stimulants that accompany an experience should support . . . its theme.19
The prop should support what you are saying and illustrate what has come before. It
should not disrupt the flow of instruction. Rather, it should seem to your learner that the
props fit in some odd, and as yet undiscovered, manner. When the meaning of the item
is revealed, the prop should be easily recognized as adding value to matters already discussed, and perhaps building a bridge to other topics.
The Suitcase example offered under Fascinating demonstrates how a prop can be
used to build upon what has already occurred. The suitcase is presented almost as an afterthought. The flow of the presentation builds logically out of the content being discussed.
It requires little explanation, and serves as a bridge to other topics. When done properly,
it is, as Bronislau Kaper explained about film music, an effect like lightning.20
The Props You Select Should
Elaborate on the Prior Learning
The prop should add new insight into the subject. It should offer a deeper explanation
than what has been explained verbally. At the juncture when you reveal the meaning of
the prop, it should not just fit with what has already occurred, but should add new information. It should say visually what you are communicating verbally, and should add a
holistic layer of meaning.
In the prior roadmap example, the metaphor of life as a road map is one example. The
map adds a depth of meaning not possible with the words alone. It is the perfect visual
representation of career planning.
The Props You Select Should Be
Appropriate to Your Audience
Cultural expectations are different around the world. Items appropriate for one group of
people may be poorly received by another. For example, a prop that might appeal to front
line employees may not work for senior executives.
The only way to avoid cultural misunderstandings is to know your audience. Think
through the negative comments you might receive and plan around them.
Props
The Props You Select Should Be Tasteful

The final point in regard to prop placement is a caution. Use common sense and good
taste. If the usage of a prop offends your learners, the underlying point will be lost.
One example from my own career centers on a funny prop I discovered in a novelty
store. It was a burlap bag that was tied shut, with a cats tail sticking out of the top of the
sack. Squeezing the sack would cause it to vibrate and emit the sounds of a trapped cat.
My specific usage for the prop was as a verbal complement for the phrase, I guess I can
let the cat out of the bag now.
My fear was that a cat lover would be offended. I could have avoided the situation
altogether by not using the prop, but the prop was so funny that I couldnt resist. Instead,
I prepared for the worst. I added a second gag to the routine. After the cat sack was introduced, I put down the sack, and held up a second prop. This one was a sign, like those
you see added to movie credits, disclaiming that any animals were hurt in the production
of this event. The sign got a laugh, and lightened the situation in a such a way that everyone relaxed.
In summary, when you are preparing to add a prop to your classroom, ask yourself,
Would the average person consider the prop to be offensive? If the answer is yes, come
up with an alternate prop, or find a way around the offense.
LENNS TEN
Below, I have listed 10 of my favorite props. All 10 are readily available, and none require
skill to use. The 10, in alphabetical order, are:
>
Clapboard
>
Clapping hands
>
Dirty hand gag
>
Giant bandage
>
Goodie bag
>
Hats/costume pieces
>
Hoberman sphere
>
Noisemakers
>
Skyliner
>
Whine sticks
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Stagecraft
Clapboard
The action: The instructor displays a directors clapboard and claps it to begin the
action.
Suggested use: To frame a role-play activity
The patter: Take one, scene one, and
action
Parameters: Remember to remove your
finger before you clap down.
Where to find it: Trainers Warehouse (Slate
Clapper), Tool Thyme for Trainers
(Directors Clap Board)
Clapping Hands
The action: The instructor holds up two
plastic hands on a stick. As the instructor shakes the hands, they applaud.
Suggested use: To lead and encourage
classroom applause
Parameters: Overuse can become annoying.
Where to find it: Tool Thyme for Trainers
(Clapping Hands)
Dirty Hand Gag

The action: When a learner is about to handle a prop, the instructor asks the learner
to wipe his or her hands on a cloth. The
learner does so, and leaves black handprints on the cloth.
Suggested use: As a throwaway joke when
a volunteer is about to handle a prop
Parameters: Be careful not to embarrass the
volunteer. Strive for good-natured humor.
(Black Hand Gag)
Props
Giant Bandage
The action: The instructor displays a giant bandage.
Suggested use: As a metaphor for not fixing problems
The patter: We could put a bandage on the
problem, but after a while, the problem
grows to the point where you need a
pretty big bandage.
Alternative uses: When the instructor or a
learner jokes that he or she has been
emotionally wounded.
Parameters: This is a throwaway prop, and
comes in multiple quantities.
Where to find it: Hank Lees Magic Factory (Wand-Aid), Trainers Warehouse
(Giant Band-Aid)
Goodie Bag
The action: Learners reach into a special
bag for a treat or a reward.
Suggested use: Whenever a learner says
something worthy of acknowledgement,
let him or her take a reward out of the
goodie bag.
Parameters: Rewards can range from treats
to small trinkets to items tailored to reflect the learning situation. For instance,
a reward for a leadership program could
be a compass, or a pencil for financial
awareness, or a roadmap for career planning.
Where to find it: A magicians Change Bag works well. So does any bag themed to the
training subject. A hat that will not tip over when placed upside down also works.
Hats/Costume Pieces
The action: The trainer places hats and costume pieces on participants to convey specific
characters.
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Stagecraft
Suggested use: To enhance role plays and

other character-specific activities
Sample items: Fake eyeglasses, hats, canes,
wigs, mustaches, wardrobe pieces
Parameters: May distract from learning if
overused.
Where to find them: Various toy stores, costume shops, novelty stores
Hoberman Sphere
The action: A plastic sphere expands and
contracts as the instructor manipulates it.
Suggested use: To demonstrate that problems
can be large or small, depending on your
viewpoint
The patter: (Display fully expanded Hoberman Sphere.)
Sometimes, a problem confronts us,
and we think that it is too big to solve.
(Contract the Hoberman Sphere.)
But, when you look closer, you realize
that its really a small problem. Its often a
matter of perception. Big problem . . .
(Display fully expanded Hoberman
Sphere.)
. . . or little problem.
(Contract Hoberman Sphere.)
You decide.
Parameters: This item does not pack flat, and thus takes up some space.
Where to find it: Trainers Warehouse, Tool Thyme for Trainers (Hoberman Square), and
childrens science stores
Noisemakers
The action: At an appropriate moment, the trainer utilizes a noisemaker.
Suggested use: To bring a group back together after an activity, or to add a mnemonic
sound effect to any presentation
Props
Sample items: Train whistle, referee whistle,

siren, triangle, and various other noisemakers
Parameters: Must make a noise loud enough
to be heard in a room full of people.
Where to find them: Trainers Warehouse,
Tool Thyme for Trainers, various toy
stores and novelty shops
Skyliner
The action: The instructor holds up, and
twirls, a black rod that emits a series of
laser lights. The lights spell out words
and phrases.
Suggested use: To generate applause, to
help learners remember key words, and
to attract attention
Parameters: This is a great prop that can
be seen in a large room. The room lights
do not need to be turned off. Best of all,
the phrase spelled out can be changed
by the facilitator.
Where to find it: Tool Thyme for Trainers
(Skyliner)
Whine Sticks
The action: One colorful rod with a whiny
sounding noisemaker inside is placed on
each table.
Suggested use: As a device for preventing
participants from overtalking any subject
The patter: You may have noticed a colorful stick on each of your tables. They are
our whine sticks. There are some rules
about their use. (1) You can touch it only
if you intend to use it. (2) When you pick
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Stagecraft
THE OFFBEAT PROP PLACEMENT MATRIXTM

Use this matrix to determine the effectiveness of the props you select.
The props you select should be:
Original
> Will the usage place the prop in an original situation?
> Will the placement surprise your audience?
> Will the prop connect with your learners in unexpected ways?
> Will the connection create a mnemonic learning tool?
Fascinating
> Will the prop command your learners attention?
> Will the learners want to know more about it when they see it?
> Will the prop have no apparent connection to the subject?
> Will the learners attempt to guess the connection?
Fun
> Will the prop bring forth a feeling of fun?
> Will it encourage an environment of playfulness?
> Will it evoke a feeling of positive emotion?
> Will the usage be humorous?
Build Upon
> Will the prop usage build upon what has already occurred?
> Will the usage fit naturally within the flow of instruction?
> When the usage is revealed, will it add value to the subject?
> Will the prop provide a bridge to the next topic?
Elaborate
> Will the prop usage add new insight into the subject?
> Will it say visually what you are communicating verbally?
> Will it add a holistic layer of meaning?
> Will the learners comprehend the subject more completely
as a result of the usage?
Appropriate
> Is the prop usage appropriate to the learners?
> Will the prop meet the learners cultural expectations?
> Will the prop engage the learners at their intellectual level?
> Will the learners understand the meaning of the prop?
Tasteful
> Will the prop be inoffensive to the learners?
> Will they react positively to the usage?
> Can potential problems be addressed in advance?
> Will the usage cause your organization any legal challenges?
Yes
No
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
The higher the Yes column score, the more effective the prop usage will be.
TABLE 9-2
Props
it up, you must make it whine. (3) Once someone has whined the room, I will stop
all conversation, and together, we will decide if it is time to change the subject.
Parameters: Requires one per table
Where to find it: Tool Thyme for Trainers (Noise Stick)
WHERE TO FIND OTHER PROPS
Props are everywhere. Many of the funny food props are as close as your kitchen. Toy
stores are another excellent resource. Some of my best ideas come to me while walking
along the toy aisles. Novelty stores are another good resource. Entertainment supply companies can also help, as can magic supply companies. Some are listed in the appendix.
The main point to remember with regard to the use of props is to have fun. Introduce
props to lighten the mood; keep the learning environment light and positive; keep your
learners guessing what you will do next, and they will pay attention. Present your learners
with props that add relevance, and their learning will increase.
1
Sullivan, Luke (1998). Hey Whipple, Squeeze This: A Guide to Creating Great Ads. New York: John Wiley
& Sons.
2 The American Heritage College Dictionary, 3rd edit. (1997). Boston: Houghton Mifflin.
4 Johnson, Paul (1997). A History of the American People. New York: HarperCollins.
5 Pine II, Joseph B., and Gilmore, James H. (1999). The Experience Economy. Boston: Harvard Business
School Press.
6 Hamlet.
7 Boller, Paul F. Jr. (1984). Presidential Campaigns. New York: Oxford University Press.
8 Ibid.
10 Ibid.
11 Steil, Lyman K., Barker, L., and Watson, Kittie W. (1993). Effective Listening. New York: Random House.
12 <www.washingtonpost.com/wp-srv/politics/special/pjones/docs/clintondep031398.htm>
13 Howard, Pierce J. (1994). The Owners Manual for the Brain: Every Day Applications from Mind-Brain
14 Hannaford, Carla (1995). Smart Moves: Why Learning Is Not All in Your Head. Arlington, VA: Great
Ocean.
15 Posgate, Bruce (1961). Kid-Show Showmanship. Colon MI: Abbotts Magic.
16 Walt Disneys Famous Quotes, compiled by Dave Smith, 1994.
17 Munson, Lawrence S. (1992). How to Conduct Training Seminars: A Complete Guide for Training Managers & Professionals, 2nd edit. New York: McGraw-Hill.
Press.
19 Pine II, Joseph B., and Gilmore, James H. (1999).
20 Thomas, Tony (1997). Music for the Movies, 2nd edit. Los Angeles: Silman-James Press.
251
CHAPTER TEN
THE
SCRIPT
HARRIET AND THE HOUSEKEEPERS: SCENE THREE
With her walk-through complete, Harriet now turned her attention to the
task of making Asbestos Awareness something more than a required chore.
How can I get them to pay attention, and to enjoy the class? she thought.
She tossed and turned for three nights straight trying to figure out some sort
of fun angle, but to no avail.
Finally, while thumbing through a magazine in her doctors waiting
room, she stumbled on a weight loss ad. The ad purported to show a woman
before beginning the weight loss program, and after supposed weight loss
success. It looked so silly. The before picture was old and grainy. The after
picture was a glamorous shot. The jeans she wore in the before picture were
too tight. The after shot showed the woman wearing what were supposed to
be the same jeans, and yet the jeans were at least six inches too large in the
waist. It was obviously a setup. But the photo did give Harriet an inspiration; she would write a story for her class. In the story, she would compare
and contrast two sisters who handled asbestos differently.
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Stagecraft
With this inspiration, she sat down at her computer, and began to write
A BessTess Story.
There is but one art,

to omit.ROBERT LEWIS STEVENSON

Principle 8: Stage the performerOrchestrate every detail of your performance.
TO WRITE, OR NOT TO WRITE
There often is a debate within training circles regarding the need for scripting. Some
instructional designers argue that the words will never be spoken, so there is no point in
writing dialog. Others proclaim that the only chance of documenting what should occur
in the class is to write it all down, even if the trainers dont say the words. Still others
argue that an outline is the most functional solution. There is value in each of these positions. But, these arguments miss the point. There is a transcending reason to script.
Magic is a carefully scripted alternate reality, one in which humans have the ability
to work miracles. The performer knows better, but the audience will suspend belief if that
alternate reality is believable. Therefore, every detail of this alternate reality must be
worked out. It must ring true. It cannot be an alternate reality. It must, for the time the
audience is present, be THE reality.
A show biz production contains a myriad of details that are not readily apparent in
an outline. The scripting process forces the show director to evaluate every second of the
performance, to make choices based on logical criteria. The very act of scripting places
a discipline on the performance that cannot be obtained in any other way.
To offer an example from music, Johann Sebastian Bach was a master improviser. He
also placed on himself an intricate set of rules that governed every note he played. Sometimes, he would break his own rules. But when he did so, it was an informed choice made
to create better music. Bach was a better improviser because he worked through all the
details. His structure made him a better improviser. The result was some of the finest
music ever created.
The Script
Another example comes from the legal profession. The stakes in a courtroom can
literally be life and death. Often, lawyers script their opening and closing arguments, witnesses script their testimony, and judges script the explanations of their rulings. They
rehearse so that what they say in the courtroom will be factually correct, and logically
thought through.
Perhaps the best lawyer/script writer ever was also a political figure, Americas 16th
president, Abraham Lincoln. Lincolns writings and speeches are marvels of simplicity
and clarity. This was no accident. Lincolns assistants reported that He never considered anything he had written to be finished until published, or if a speech, until he
delivered it.2 Lincoln would research, analyze, and rewrite his speeches to the point of
annoyance. He wanted to be absolutely certain his words rang true when he did speak
them.
In Lincoln on Leadership, Donald Phillips shared this observation: Lincolns practice of writing his speeches before he delivered them gave him the time to think about
what he wanted to say and insured that his message would come across the way he
intended.3
The result was some of the finest political speeches the world has ever heard.
Another way to look at script writing is through the eyes of a coach. Scripting is the
show biz equivalent of a professional football teams preparation. Between games, football teams study their next opponent and design a game plan targeted at their opponents
weaknesses. If the plays are brilliantly conceived and executed, the team wins. If, during the game, it becomes apparent to the teams quarterback that a specific play wont work,
the quarterback calls an audible, changing the play. The quarterback, because he knows
all the options, can adapt the plan as circumstances warrant. Imagine the situation that
football team would be in if they had no game plan.
One must learn the rules in order to break them. Scripting provides you with a set of
rules. It helps you determine exactly what you mean, how what you mean connects with
what youve already said, and how what you will say leads inevitably to a grand finale
where every detail of the performance connects. The answer to the discussion I posed at
the start of this section is simply, you script to plan!

CUE
CARD:

Script
to
plan.

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Stagecraft
HOW TO WRITE
The following are specific points to consider when writing a script:

>
Write a speech, not a book.
>
Keep it pithy.
>
Write for your audience, not yourself.
>
Stay focused.
>
Be logical.
Write a Speech, Not a Book

A script is a written document, but it should be written to be said, not read.

CUE
CARD:
Write
to

not
read.

besaid,

Your learners will never read it. They will

hear the words once, and from the auditory
signal alone, will comprehend, or be confused by, your words. Avoid complexity.
Keep your words simple. In the words of
Henry David Thoreau, think Simplicity!4
Limit yourself to one thought per sentence,
and ensure that each sentence flows logically from the one before it.
I script the minimum number of words
I intend to say, even though I know Ill miss
lines in the spontaneity of the classroom
The Script
environment. The process is more akin to documenting what I am likely to say naturally,
rather than forcing a false style of speech. This approach is similar to that of most politicians. American presidents do not have time to write their own words. Instead, they hire
speechwriters who write sentences that match the presidents natural vocal cadence. In
this same manner, match your script to your natural cadence, or the cadences of those
who will be delivering it for you.
Keep It Pithy
In 1991, The Walt Disney film studios released the animated feature Beauty and the Beast.
The film was an immediate hit with both filmgoers and critics. The film was so well received that it received a Best Picture nomination from the Academy of Motion Picture
Arts and Sciences, the first and only animated feature to receive the honor. It also won a
Golden Globe Award for Best Comedy/Musical.
What was not widely known at the time was that the entire film had not been released.
Music composers Howard Ashman and Alan Menken had written a beautiful waltz called
Human Again for the film, but cut it before the premiere. Editing a film before its debut
is an old Hollywood story. What makes this cut remarkable is that Human Again was
cut in spite of the writers and film makers strong desire to keep it in the film. As the
movies producer Don Hahn explained, We tried valiantly to put it in. We could never
fit it into the movie where it didnt stop the plot short. Rather than risk an inferior movie,
the team exercised self control and reluctantly cut Human Again.5
Fortunately, the story doesnt end there. Owing to the films initial success, Beauty
and the Beast: The Broadway Musical was created. The need to fill the longer time period
of a Broadway show led to the reinsertion of Human Again. And, as the original film
team knew it would, the song became a highlight of each performance.
In 2002, when the animated Beauty and the Beast was re-released, Hahn and directors Kirk Wise and Gary Trousdale used the Broadway experience as a guide to place the
song in its appropriate place in the film. The result was, in Hahns words, a greater emotional depth to the story and strong audience reaction.6
The point is that great artists subject themselves to rigorous self-control. Greatness
is possible without self-control, but is infinitely more likely with it. As advertising expert
Luke Sullivan commented, If you leave too much out, youll mystify your audience. If
you put too much in, youll bore them.7
Much of this self-control involves distilling thoughts down to their essence. Maurice
Saatchi, of the London advertising firm M&C Saatchi, explained it as follows: Simplicity is all. Simple logic, simple arguments, simple visual images. If you cant reduce your
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Stagecraft
argument to a few crisp words and phrases, theres something wrong with your argument.8
Magician Dariel Fitzee echoed that point of view:
Make your act just a bit shorter than the length of time you are confident you can hold the audiences highest [original emphasis] attention.
If they havent had enough theyll applaud for more. If theyve had
enoughor too muchthey wont want more. ALWAYS LEAVE THEM
WANTING MORE [original emphasis].9
So did magician Sam Sharpe: Brevity is the soul of art. One test of an artist is to decide
whether his work could be simplified without loss of effect.10

CUE

CARD:
Leave
your

learners
wanting
more.

When scripting for the classroom, distill your thoughts down to their essence. If you
counted yourself among the readers who believes that the trainers will never say the words
you write, you may be correct. If your script is too long, too stylized, or too ornate, your
assumptions will be proven true. If, however, you deliver a pithy script that hits all the
high points, chances of a correct delivery rise greatly.
Write for Your Audience, Not Yourself
A second lesson can be gleaned from the Beauty and the Beast story. You should please
your audience, even at the risk of displeasing yourself. In the case of Beauty and the
Beast, the film makers cut what they knew was some of their best work. But instead of
becoming temperamental artists, they decided in the audiences favor.
Steve Hayden, author of the famous 1984 Apple Computer commercial, agreed
when he said: If you want to be a well-paid copywriter, please your client. If you want
to be an award-winning copywriter, please yourself. If you want to be a great copywriter,
please your reader.11
The Script

CUE
CARD:
Please
your

audience, not yourself.

Musical acts know this all too well. One of the common complaints from musicians is that
they must perform the same songs over and over. In my day, those songs included, Proud
Mary, Celebration, Tie a Yellow Ribbon, and Bad, Bad Leroy Brown. I hope to
never play them again. But on stage, my preferences didnt matter to the audience. If they
wanted Celebration, they got Celebration. Dariel Fitzee echoed that opinion: A magician should not necessarily select the tricks he likes to do best. He should select those
the AUDIENCE [original emphasis] likes best.12
Stay Focused
Every script has a point of view. Attend any successful movie, and you can discover the
film makers point of view for yourself. In the Star Wars films, the point of view is that a
force for good or evil exists within each of us. If we listen to that inner voice, the force
will be with us. In the aforementioned Beauty and the Beast, the point of view is that
beauty comes from within. Forrest Gump takes the point of view that it isnt the supposed
intelligence of a person that matters; it is the behaviors that person exhibits. Or as Forrest Gump said, Stupid is as stupid does.
All three of these films were box office gold, and deservedly so. They had a focus,
and stayed focused throughout the entire film. Entertainments that stay focused on their
point of view succeed. As magic historian Sam Sharpe explained: The first thing a producer should do is to decide what atmosphere he wishes to create. Then he has to arrange
all the influences at his disposal appropriately . . . See that nothing occurs to draw attention from the centre [sic] of action during a presentation. Where there is no focus, attention wanders.13 Fitzee also discussed focus, which he defined as unity, at length:
Unity is the maintaining of a single idea from beginning to end. It is the
stressing of this idea to the subordination of any other suggestion. To
achieve unity, somewhere, in some manner a connecting thread, whether
based on similar objects, an idea, on character work, or the attitude of
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Stagecraft
the performer, or on effects, must tie the whole act together from beginning to end.14
If there is a point youd love to make, but it isnt directly related to THE point, leave it
out, or re-center your whole script around it.

CUE
CARD:
Stay
focused

on

main
point.

the

Be Logical
Each sentence you write should make sense. The logic of the sentence should be readily
apparent to your audience. Likewise, each successive sentence should fit logically with
the one that proceeded it.
Every sentence, every activity, and every joke should, step by step, enhance your
case, propelling the learning ever forward. By writing in this manner, you will ensure fidelity to your point of view. You will also guarantee the logic of your argument, and thus
aid your learners comprehension. The script will also be easier for your trainers to remember. Theyll get the point, and thus be able to articulate it without the false challenge
of memorizing a script.

CUE
CARD:
Every
sentence
should

propel
the
learning
forward.

THREE-ACT STRUCTURE
Now that we know some key script writing points, lets turn our attention to the organizational layout of most performances. Regardless of the performance medium, some commonalties exist.
The Script
A show is structured to achieve maximum audience interest and involvement. It usually begins with an event that captures the audiences attention. From this initial splash,
the pace gradually slows until all the relevant situational points have been presented, or
in a live performance, where the performer communes one-on-one with the audience.
From here, the pace accelerates, building slowly but steadily, until a point of resolution
is reached. The resolution soon proves to be a false conclusion, and the pace drops to the
lowest level of the performance.
From this point forward, the performance crescendos, building in tension and intensity, until past the breaking point. After the moment when the audience thinks the tension
has become intolerable, the resolution occurs. All the information presented throughout
the entire performance comes together in a tidy and, to the audience, extremely satisfying,
package.
This model is called the Three-Act Structure.
Prologue
The prologues function is to set a mood, peak curiosity, and prepare the audience for the
story to come. It usually hints at characters and situations without offering much definition.
Its purpose is not to inform, but to entice.
Act One
Act One is critical. The audience must become engaged in the performance. If not, there
will be no audience for the later acts. As magician Max Dessoir explained, The dramatic
part of the presentation is the most important, because it excites the imagination.15 Fellow magician Sam Sharpe concurred. When an audience has absorbed a magical atmosphere it will be in a state of passive expectation for wonders.16 In a movie, Act One
introduces the main characters, displays their motivations, and provides all the necessary
details for the story to unfold. In a live entertainment, Act One establishes a performers
credibility with the audience.
Act Two
Act Two puts the plot lines in motion. The information presented in Act One is acted
upon, or set in motion by events, in such a way as to bring the characters together. It leads
up to a happy ending that proves unsustainable owing to the complications laid out in
Act One. This tension-release mechanism is intentional. The tension cannot continually
build over a period of two hours. At some point, the audience has to catch its collective
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Stagecraft
breath. John Davidson and Cort Casady elaborated on this point when advising singers
on pacing: The audience cannot maintain the same level of intensity all of the time. From
time to time, you must let them off the hook, allow them to recharge their enthusiasm.17
Act Three
Act Three works all the challenges presented in Act Two to a feverish pitch where the
tension seems unbearable. At the precise moment when the audience feels like they are
about to explode because of the tension, the resolution occurs. Suddenly, all the details
are resolved, and the characters are united in an emotional climax.
THREE ACT STRUCTURE EXAMPLES
This structure can be observed by reviewing the plotting of a few different entertainments.
Three-Act Structure in a Romantic Movie

THE PROLOGUE
The Prologue hints at the film to come. The audience would still be distracted with the
logistics of arriving, finding a seat, and eating their popcorn. Consequently, they are not
attentive, and no critical information is presented. Instead, the prologue displays visual
and auditory indicators of the performance to follow. Because this film is a romantic comedy, the music would be light and the look of the film bright.
ACT ONE
Act One would introduce the hero and heroine, explain the situations they both find themselves in, and provide the opportunity for them to share their hopes and desires with the
audience.
ACT TWO
Act Two would begin with the hero and heroine meeting each other. They would develop
a romantic but uneasy relationship. The act would end with difficulties set up in the first
act that would break the couple apart.
The Script
THREE ACT MOVIE EXAMPLES

MOVIE
PRESHOW
ACT ONE
ACT TWO
ACT THREE
Beauty and
the Beast
A tale is told
of a prince
who could
never love
another.
The main characters are introduced, Belle

expresses her
desire for something more,
ends up at the
Beasts castle.
Belle and the

Beast argue, fall
in love; Belles
father is
imprisoned; the
Beast frees Belle
rather than
become human.
The villagers
attack the castle;
Gaston attacks
the Beast; Belle
admits her love
for the Beast;
the Beast
becomes human
again.
Independence
Day
July 1: The
aliens
approach, the
main characters are
introduced.
July 2: The aliens

arrive; the main
characters react
as events pull
them into the
action.
July 3: The aliens

overpower
humanity; the
main characters
come together.
July 4: Humanity
fights back,
declare independence, and
destroy the
aliens.
Jaws
The shark
attacks a
midnight
swimmer.
The characters
are introduced;
the chief is
prevented from
closing the beach
until a young
boy dies.
The three main

characters go to
sea, fight the
shark, and tell
tall tales around
a nightime table.
The shark
attacks, destroys
the ship, and is
in turn
destroyed.
Raiders of the
Lost Ark
Indiana Jones
escapes multiple perils to
capture a relic.
Information is
provided about
Indy; the ark is
explained; Jones
and Marion form
a partnership and
travel to Egypt;
Marion is killed
in an explosion.
The Ark is discovered; Marion is

alive; a fight for
control of the ark
ensues; a romantic moment ends
with the capture
of Marion and
the Ark.
The ark is
opened; the bad
guys are
destroyed; the
ark is stored.
Titanic
A research
vessel begins
exploring the
wreck of the
Titanic.
The Titanic leaves

Europe; Jack
explores the ship;
Roses desire to
escape high
society is
revealed; Jack
and Rose meet.
Jack and Rose

develop a love
affair; the
romance concludes when Jack
is accused of
stealing; the
Titanic hits an
iceberg.
The Titanic sinks;

Jack saves Rose;
Rose concludes
story and tosses
the diamond
overboard.
TABLE 10-1
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ACT THREE
Act Three would focus on surmounting the complications introduced in Act Two. Eventually, all the complications would be solved, our couple would forgive each other, and
they would live happily ever after.
Three-Act Structure in a Magic Show
THE PROLOGUE
In an illusion show, a warmup performer usually occupies the Prologue spot. This gives
the audience time to settle down before the illusionist begins. Usually, the act presented
is a novelty or comedy act. This act will not duplicate the main act to follow. It will avoid
building tension, focusing instead on creating warm emotion, so that the audience embraces the performance to follow.
Occasionally, a magician will perform without an opening act. In that situation, the first
illusion builds curiosity about the performance to come, while establishing the magicians
credentials. The opening effect would relate holistically to the illusions that follow. For
instance, if a magician were to present a performance of playing card illusions, an opening illusion utilizing doves, unless the dove illusion involved cards as well, would be
counterintuitive. It would not build curiosity in the correct direction.
The first illusion is usually a throwaway. The vast majority of the audience has not
fully settled in, and they may actually miss the magic. In that first spot, magicians place
some highly interesting, but not critical, illusion. That way, the portion of the audience who
noticed the opening effect would evidence interest, and thus pull the other audience members into the action. Often, magicians will present two or three opening illusions with no
expectation of them being remembered, beyond gaining attention and piquing curiosity.
ACT ONE
Once the audiences attention has been focused on the entertainment, the first act begins
in earnest. For several minutes, the activity would be nonstop. The illusions would be big,
showy, and high energy, with little pause in between. The total effect would be breathtaking. The production would build to a peak of excitement that ends at a high energy level.
ACT TWO
Act Two is more intimate. Act One would have proved the magicians skill. Act Twos intent is to establish a personal connection with the audience, to prove that the performer
The Script
is human too. This is the place where the performer comes off the stage, or invites volunteers onto the stage. Either way, the intent is to commune with the audience. The illusions are more intimate, with less hype. Where Act One was energetic, Act Two is warm
and personal.
ACT THREE
Act Three starts at the low energy level established in Act Two, and gradually, but purposely, accelerates in pacing. The act becomes faster and faster, with each illusion building on the one before. In contrast to Act One, the illusions presented here are longer.
They tell a story. The cumulative effect is to build the level of tension beyond the level
achieved at the conclusion of Act One. The act finally ends with an illusion so grand,
amazing, and memorable, that all the pent up tension is released in a torrent of applause.
A more complete description of the Three-Act Structure can be found in Table 10-1,
with examples from some well known films showcased in Table 10-2.
THREE-ACT STRUCTURE IN A CLASSROOM
While Houdini was escaping chains the world over, and Sir Arthur Conan Doyle was,
through his creation Sherlock Holmes, solving crimes, another contemporary was constructing a model of human learning. Carl Jung (18751961), a disciple of Sigmund Freud,
suggested that there are four different ways in which people relate to the world: feeling,
thinking, sensing, and intuiting (Table 10-3).18
Jungs work inspired a wealth of learning style theories. From David Kolb to Gordon
Lawrence, from the Myers-Briggs Type Indicator to the DiSC Personality Profile, fourquadrant models have become prevalent among learning professionals. One specific application of Jungs idea deserves a higher profile. 4MAT is an instructional design method
utilized in education but little known in the training community. Educator Bernice McCarthy
designed 4MAT as an instructional design system with the four learning styles categorized as Types One through Four. The four categories are:
>
Imaginative learners seeking personal meaning through their feelings
>
Analytic learners seeking intellectual competence through thoughtful reflection
>
Common sense learners seeking solutions to problems through trial and error
>
Dynamic learners seeking hidden possibilities through visioning future

applications19
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THREE ACT COMPARISON CHART

MEDIUM
PRESHOW
ACT ONE
ACT TWO
ACT THREE
Movie
Visual sequence;
sets a mood;
piques curiosity;
provides information about
the upcoming
story.
Introduces
characters; shares
characters hopes;
explains current
situation.
Puts the plot in

motion; the
characters come
together; complications ensue;
ends in despair.
Plot lines introduced in Act One

come together
to overcome
Act Two
complications.
TV show
Before the first

commercial;
captures attention; hints at
story to come.
Introduces
characters; shares
characters hopes;
explains current
situation; ends
with suspense.
Puts the plot in

motion; the
characters come
ends with a crisis.

come together
to overcome
Act Two
complications.
Broadway
show
Music overture
introduces music;
sets mood;
builds curiosity.
Introduces
characters; shares
characters hopes;
explains current
situation.
Puts the plot in

motion; the
characters come
ends in despair.

come together
to overcome
Act Two
complications.
Illusion
show
A warm-up act;
focuses the
audience; draws
attention; sets a
mood of illusion.
Starts exciting;
demonstrates
magical ability;
features snappy
routines.
Features novelty
or comedy; closeup magic; one-onone contact with
the audience.
Builds gradually,
constantly faster
and more
intense, ending
with an astounding illusion.
Nightclub
singer
A warm-up act;
relaxes the
audience; draws
attention; sets a
mood.
Starts exciting;
demonstrates
performance
ability; slows
slightly in the
center; ends
strong.
Begins with
dialog; features
humor or novelty
number; ends
with serious
ballad.
Builds gradually,
constantly faster
and more
intense, ending
with a high level
of excitement.
TABLE 10-2
The Script
FOUR WAYS PEOPLE RELATE TO THE WORLD

FEELER
THINKER
SENSOR
INTUITOR
Information
processed through
the emotion of the
experience
Information
processed rationally
based on the logic
of what they see
Information
processed through
concrete sensation
Information
processed instinctually based on
future possibilities
Source: Jung, Carl (1976). Psychological Types. Princeton, NJ: Princeton University Press, Bollingen Series.
TABLE 10-3
The power of 4MAT comes from its balancing act. It has one foot solidly planted in science, and the other in show biz. From the standpoint of science, 4MAT sequences the
four-quadrant learning styles model. It then overlays alternating analytical left hemispheric and holistic right hemispheric activities. 4MAT also follows the contours of basic
Three-Act Structure (Table 10-4). Using 4MAT, lets explore what a Three-Act structure
might look like in a classroom.
A CLASSROOM IN THREE ACTS

Structure
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CARD:

in

acts.

learning
three

McCarthy did not speak in the terminology of show biz. Nevertheless, the similarities are
so striking that I will interchangeably use the 4MAT term quadrant and the corresponding show biz terms as I describe how a 4MAT might relate to Show Biz Training
techniques. As an overview, the steps of a 4MAT design are listed below.
>
Prologue
Step 1. Capture attention.
Step 2. Discuss the opening activity.
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4MAT THREE ACT STRUCTURE CHART

PROLOGUE
ACT ONE
ACT TWO
ACT THREE
(PERSONAL
(INTELLECTUAL
(SOLUTIONS
(HIDDEN
MEANING)
COMPETENCE)
TO PROBLEMS)
POSSIBILITIES)
Initiates problem
solving before
instruction
Deepens the
connection to what
the learners already
know
Provides hands-on
practice
Seeks out
usefulness
Begins with the

familiar
Provides a metaview
of the concept
Checks for understanding
Encourages original
applications
Builds on what
students already
know
Transforms the
concept into an
image
Encourages tinkering
with the concept
Helps mistakes
become learning
opportunities
Guides reflection
and analysis of the
experience
Emphasizes the most

significant aspects
of the concept
Sets up situations
where learners have
to discover
information
Summarizes by
reviewing the
whole
Encourages learners
to share their
opinions
Presents information
sequentially
Provides opportunities for learners

to design their own
explorations
Celebrates shared
learning
Clarifies the reason

for the learning
Draws attention to
important, discrete
details
Requires personalized synthesis
Leaves the students

wondering about
future applications
TABLE 10-4
>
Act One
Step 3. Picture the concept.
Step 4. Share the key points.
>
Act Two
Step 5. Practice the concept.
Step 6. Add complications.
The Script
>
Act Three
Step 7. Seek personal meaning.
Step 8. Celebrate the learning.
Prologue (Quadrant One)

The introductory quadrant honors imaginative learners seeking personal meaning
through their feelings. As in a movie, this
quadrant sets a mood, peaks curiosity, and
foreshadows the upcoming story. It provides the opportunity for the learners to
settle in, become comfortable in the classroom, and develop a commitment to the
learning.
STEP 1. CAPTURE ATTENTION
The training begins by capturing learner attention with an activity that builds curiosity
as it sets up the reason for the learning. The activity should hint at the instruction to
come, with a focus on gaining the learners attention. Show business agent Bob Vincent
explained it this way: Your opening . . . should almost be like an overture. It should start
with an exciting intro.20
It has been said that you should switch instructional methods every 15 or 20 minutes.
I believe that, given the info-fog, either is too long. Instead, I suggest that you structure
your learning so that constant surprises are the norm. Keep the environment enlivened
enough that learners do not want to look away. Keep the room energized, the pacing fast,
and the tone light.
STEP 2. DISCUSS THE OPENING ACTIVITY
Once the opening activity concludes, the learners reflect on the experience, and share
observations with each other. As a result, the learners develop a personal interest in
continuing into the first act. Show biz agent Bob Vincent continued: The end of the
opening . . . should build to an exciting climax, with an obvious, clearly designed, finish,
so there is no doubt in the audiences mind that they should get ready to applaud!21
Of course, in the case of classroom instruction, your goal is learning, not applause.
Instead the opening should end with the audience having no doubt that what they are
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about to learn will be useful to them. This is where you establish the value of, and gain
participant commitment to, the learning that will occur in Act One.
Act One (Quadrant Two)
Now that the learners are engaged by the subject, the topic is fully explored. This quadrant honors the analytic learners seeking intellectual competence through thoughtful reflection. This is where, as in the movies, the facts are presented.
STEP 3. PICTURE THE CONCEPT
To begin the act, the instructor leads a visualization activity. The learners conclude the
activity with a metaview of the concept to be taught.
STEP 4. SHARE THE KEY POINTS
Once the learners have integrated their observations with the upcoming concept, the
instructor presents the relevant concept points sequentially. This is the spot where the
learners should become familiar with the conceptual ideas of the subject. The intent is
to set up the plot lines for the hands-on practice with the concept that will occur in Act
Two.
Avoid a lecture if at all possible. Instead, use a variety of instructional methods. Where
your learners were focused by the end of the Prologue, complacency can set in once they
become comfortable. Structure your learning so that the pace never slows long enough for
complacency to set in. Magician Sam Sharpe addressed this point for magicians: Few
people are interested in conjuring presented like a scientific lecture. Add human interest by using attractive things to conjure with and patter that holds the attention of the
audience.22
Sharpe was obviously referring to an illusion show. Substitute the word learning for
the word conjuring and the classroom connection becomes evident. If your learners
think that something interesting will be coming up, they will pay attention, for fear theyll
miss it.
Act Two (Quadrant Three)
Now that all the plot elements have been introduced, it is time to put them in motion. This
quadrant explores how things work. It is geared toward common sense learners seeking
solutions to problems through trial and error.
The Script
STEP 5. PRACTICE THE CONCEPT
In this act, the learners engage in hands-on practice. It is their opportunity to examine
the concepts through problem solving situations. Simultaneously, the trainer can verify
that the learners understand the concepts.
STEP 6. ADD COMPLICATIONS
Once the trainer determines that the learners comprehend the material, it is time to interject complications. Typically, the instructor will challenge the learners to solve a problem related to the concept without supplying all the relevant information. Through research,
reading, conversations with experts, and other learner-directed activities, the learners
discover additional information that allows them to synthesize their learning in a personal
manner.
Act Three (Quadrant Four)
In the final quadrant, all the elements previously introduced come together and build to
a conclusion, much as a show climaxes. This final act focuses on dynamic learners seeking hidden possibilities through visioning future applications. It provides the opportunity
for the learners to teach new applications to themselves.
STEP 7. SEEK PERSONAL MEANING
The trainees begin the act by exploring possible personal applications. They then share
their application ideas with the class.
STEP 8. CELEBRATE THE LEARNING
After all have shared, the instruction concludes with a celebration of the learning, and a
commitment by the participants to carry their learning into their lives.
MAINTAINING ATTENTION
A final script writing consideration relates to the normal fluctuations in the human attentional cycle. Hobson reported that: Our ability to maintain attention is affected by normal cyclical fluctuations in the efficacy of the neurotransmitter molecules that chemically
regulate attention. These fluctuations occur in 90-minute cycles across the 24 hours.23
Sylwester added:
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People differ in their rhythmic patterns, but at about 6 A.M. many people
experience a sharp rise in the availability of these attentional molecules
(which causes us to wake up), and the average level of molecules remains
relatively high during the morning. The average levels begin to decline
during the afternoon, and reach their lowest levels after midnight, when
sleep becomes almost inevitable. We tend to do things that we have to
do in the morning, when its easiest to maintain attentionand the things
that we want to do in the late afternoon and evening, when its more difficult to maintain attention without the emotional support of personal
interest.24
Maintaining attention throughout the whole of the performance isnt easy. Fortunately,
when people are curious, they pay attention. As a nightclub performer, I was performing
before the toughest audience imaginable, people who had been drinking. Our illusions
had to be placed in such a way as to pull people toward us continually. After much trial
and error, we stumbled on a formula of rapid-fire routining, with no single piece of entertainment taking more than two minutes. When distractions would draw them away, our
flashiness and the quick pacing that we had built into our act would pull them back.
Consequently, our illusions were highly visible with little explanation required, and told
a story that could be resumed by the errant viewer. In this manner, we could keep the surprises coming, and the pacing so unpredictable that people would choose to watch rather
than miss something.
Posgate concurred when he said the following: Fill in every second of your show with
something interesting, a flourish, a flash of color and of humor, but dont deliberately
waste time. It does not pay.25
If your learners think that something interesting will be coming up, they will pay attention, for fear theyll miss it.

CUE

Once

know

CARD:
you

the script, improvise.

As a final word of caution, a script is only a plan, and like any plan, it is subject to change
when circumstances dictate it. Even if the plan must be abandoned, the very act of scripting prepares you for the unexpected. For, if youve planned thoroughly, you will have
The Script
already discovered those difficulties, and planned around them. Regard your script as Bach
did his composition rules, or as a professional football team does its game plan. Script to
plan. Then, knowing the plan, improvise. The true art comes not from reading a script,
but from making the script your own.
1

Phillips, Donald T. (1992). Lincoln on Leadership: Executive Strategies for Tough Times. New York: Warner
Books.
3 Ibid.
5 Jay Boyer. Orlando Sentinel 1/02.
6 Ibid.
8 Quoted by Sullivan, Luke (1998).
9 Fitzee, Dariel (1943). Showmanship for Magicians. Pomeroy, OH: Lee Jacobs Productions.
13 Ibid.
14 Dessoir, Max (1893). The psychology of Legerdemain. The American Journal of Psychology. Vol. VI.
15 Sharpe, Sam H. (1988).
16 Davidson, John and Casady, Cort (1979). The Singing Entertainer: A Contemporary Study of the Art and
Business of Being a Professional. Los Angeles: Alfred.
17 Jung, Carl (1976). Psychological Types. Princeton, NJ: Princeton University Press, Bollingen Series.
18 McCarthy, Bernice (1996). About Learning. Wauconda, IL: About Learning.
19 McCarthy, Bernice (1996). About Learning. Wauconda, IL: About Learning.
21 Ibid.
22 Sharpe, Sam H. (1988).
23 Hobson, J. Allan (1995). Sleep. New York: Scientific American Library, W. H. Freeman.
24 Sylwester, Robert (1995). A Celebration of Neurons: An Educators Guide to the Human Brain. Alexandria,
VA: ASCD.
25 Posgate, Bruce (1961). Kid-Show Showmanship. Colon, MI: Abbotts Magic.
2
273
CHAPTER ELEVEN
REHEARSAL
SEEING RED
Florida, we thought as we headed southeast. Weve arrived!

Well, almost arrived. The following week, we were booked to play the
Dutch Americana Resort at Walt Disney World. In the meantime we needed
somewhere between here and there to stay.
We had just finished a highly successful booking in St. Louis, Missouri.
To cut travel expenses, and keep paychecks coming in, we had accepted a
weeklong filler job at a Monroe, Louisiana hotel. The pay was low by our
standards, but it fit our itinerary.
The hotel looked great. The accommodations were clean, the lounge
was large, and the personnel were friendly. Everything was fine until the
hotel manager told me that we could not rehearse in her lounge. This was
unheard of. Our home was the road. And we practiced where we worked: in
hotel lounges. I began expressing the need to keep our material current. She
would have none of it.
You mean youre not a fully rehearsed band? she snapped. Am I
paying for amateurs?
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Stagecraft
I tried to explain the reality of professional traveling bands to her. She

just got angry.
Well, if youre not ready to perform, she shouted, her face now red,
well get somebody else.
At this point, I backed off. The location was convenient, and it was only
for a week. I decided to call off rehearsals, and told her so.
It was then that the other shoe dropped.
By the way, she said. My name is Georgia. Georgia on My Mind
is my favorite song. She was referring to Willie Nelsons latest hit. You know
it, dont you?
This, too, was unusual. Managers rarely cared what songs we performed,
as long as their patrons were happy. Clearly, this manager was new to the
business. Not wanting to engage in further pointless discussion, and knowing that we had intended to learn the song anyway, I replied, Yes, we can
play it for you. Hopefully, we could fake it without rehearsal.
The band did their part. The drummer learned the rhythms, I transcribed
the chord changes, and the guitarist wrote out the lyrics for the bass player,
in red pen for emphasis, he said. The next night, with Georgia literally
on our minds, we began the engagement.
As soon as I saw the manager, I called the song. Lets get it over with.
I muttered. We pulled out our cheat sheets and the bass player taped his
lyrics to his mike stand. Once everybody was set, we began.
The intro sounded fine. It was the last part of the song that would matter.
The bass player began singing something, but it wasnt Georgia on My Mind.
Georgia, Georgia, that old song, . . . its sweet, . . . Its on my mind.
Georgia.
Those arent the lyrics, I thought.
Its a sweet song. Its Georgia.
Hummmm, hummm, hummm.
Something was definitely wrong, but I didnt want to stop playing and
call even more attention to whatever the problem was.
Georgia, . . . Georgia, . . . hummm, . . . sweet Georgia song. Its sweet.
Georgia, . . . I said Georgia, . . . Georgia I said.
Thats a song. Georgia . . . Its on my mind.
Finally, it was over and I was the one turning red.
The bass player quickly explained what had happened. The stage lighting had washed out the red ink! The paper looked like blank and the lyrics
were useless. He had made up what he could.
Rehearsal
Mortified and hiding behind my keyboards, I noticed the manager charging the bandstand. She urgently motioning to our bass player.
Where did you get those lyrics? she shouted.
Uh oh. I thought, Looks like a fight coming on.
The bass player mumbled, We wrote them out.
Ive been looking all over them. She smiled, Can I have a copy?
Here, take these! With that, he shoved the useless paper at the manager.
That was great! She exclaimed as she turned and left the lounge.
First, we were stunned. Then, we began to laugh. Our rendition had
been awful . . . And yet she liked it! Now I knew why her bands didnt rehearse. (They probably needed to though.) I realized that our sound was better than most of the acts that performed in this hotel. I realized that the week
would be no trouble for us.
As I thought it would, the week worked out. The band sounded great
and the patrons responded. By mid-week, word about us had spread through
town. Before the engagement was over, we had filled the lounge to capacity
two nights straight.
I saw the manager once more, when she paid us. As she handed the money
over, she said she had one more request. Given her last request, I braced myself for the worst.
The owner told me that I have to do whatever it takes to get your group
back here for New Years Eve, she explained. Now, how much will it cost?
I quoted a price higher than she could afford. As she gagged on the price,
I said, Oh, and one more thing. The contract would have to state explicitly that we can rehearse in the lounge.
It was worth it, just to see her face turn red again. And of course, we
never went back.
Next week, we played the Dutch Americana as scheduled. It was a great
four-week run. During the whole of the stay, the only red we saw was our
well deserved Florida suntansafter rehearsals of course.
Give strict attention to every

detail.DR. HARLAN TARBELL
1
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Stagecraft

WHY REHEARSE?
Rehearsal! My eyes glaze over at the thought: grueling run through after run through, with
no audience to applaud and cheer you on is hard work. Most performers recognize the
value of rehearsal, for it is relentless rehearsal that brings the extremely complicated details of a magical performance to life.

CUE
CARD:
Rehearsal

brings
the

tolife.

details

Ed Eckl, in his forward from The Professional Routines of Ron Fredrick, backed this position with his description of master close-up magician Ron Zollweg:
Ron Fredricks (Zollwegs stage name) brand of entertainment, which is a
blend of surprise, mystery, and a wry, off-beat humor featuring puns, at
first appears extraordinarily technical. But close observation reveals this is
achieved by careful routining and extensive practice to achieve a fluidity
that completely disarms the spectators.2
Sam Sharpe added: Truly magical effects should seem to work themselves; or be worked
by invisible forces, without the slightest sign of manipulative effort on the conjurers part.
A prominent sign of a master magician is his apparently effortless mastery of his magic.3
Performance, when done properly, is both extraordinarily technical and effortlessly
fluid, and rehearsal bridges the gap between the two. In The Stage Managers Handbook,
Bert Gruver and Frank Hamilton discussed the purpose of rehearsal: The production of
a play may be likened to the manufacture of any complicated article. The various parts
are created separately, are brought together at the proper time by careful planning and
scheduling, and are assembled into a complete unit. After testing, the product is presented
to the public.4
Rehearsal
Rehearsal therefore is, before a dance is learned, before an arrangement is taught, and
before a prop is picked up, about considering all the details and ensuring they all fit together. It is methodical, detailed, step-by-step planning, that works out every detail of
the routine. This orchestration is absolutely necessary. There are so many details involved
in an illusion show that flawless in-the-moment miracles are impossible.
The same can be said for any live performance, or for that matter, for the filming of
a movie. The amount of detail that must be attended to can seem overwhelming. Unless
those details are mastered, time and money are wasted as people stand around waiting
for an unexpected detail to be sorted out.
REHEARSAL STEPS
In general, the steps to rehearsal are as follows:

>
Gather the materials.
>
Plot the stage.
>
Walk the logistics.
>
Add the dialog.
>
Practice beyond endurance.
>
Run a dress rehearsal.
>
Debut the show.
Gather the Materials.

The first step in staging a performance is to gather all the necessary materials. Once your
script is written, it is a simple matter to go through the script, line by line, and create a
list of all the items you will need for your performance. For illusion shows, the list can
be quite lengthy. It is not unusual for a traveling illusion show to fill one or more semitrailers with magical apparatus. Fortunately, a trainers needs arent nearly as extensive.
Table 11-1 will aid you in determining your materials needs.
Plot the Stage.
The second rehearsal task is to determine where all the props and other materials, and the
performers who use them, should be placed throughout the performance, and how each
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Stagecraft
MATERIALS LIST FORM

Use this form to compile a list of all needed materials.
Prologue needs:
> Props
> Participant
materials
> Presentation
materials
Act One materials needed:

> Props
> Participant
materials
> Presentation
materials
Act Two materials needed:

> Props
> Participant
materials
Rehearsal
> Presentation
materials
Act Three materials needed:

> Props
> Participant
materials
> Presentation
materials
TABLE 11-1
item and person will get from point A to point B. To determine this basic placement, a
moment by moment plot is drawn. In Table 11-2, you can see what a stage plot looks like.
A plot, or floor plan, is an overhead view of the stage, including the wings and backstage storage areas. A plot is usually drawn to scale, with 1/4 inch equaling 1 foot. It is
critical for stage shows to diagram every stage movement. When you consider the traffic
that occurs in a very small space, you begin to understand why. For instance, a typical
illusion show will feature five or more performers; two or three technicians; a truckload
of props, some of which can be quite dangerous if handled incorrectly; and animals that
are, in some cases, wild. All these elements must be orchestrated in such as way as to
prevent onstage collisions, get props to and from the required locations, and in the case
of traveling shows, provide for the packing of show props during the performance after
each item has completed its assigned task.
In the learning environment, the need for a stage plot is less critical. It is enough to
consider which items you need, and then determine where the items should be placed before and after their use. You should be able to reach for the item you need at the moment
you need it without having to look for, or at, the item. As childrens show magician Bruce
Posgate explained: You must know where every prop is placed so there is no time lost,
in the middle of a presentation, when you have to start looking around for something.5
Use Table 11-3 to help you plan prop placement.
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Stagecraft
STAGE PLOT FORM
STAGE PLOT FORM EXAMPLE
TABLE 11-2
Rehearsal
Run the Logistics

Once the initial plotting is complete, the action begins on the stage. As Bert Gruver and
Frank Hamilton explained, The primary purposes of the run-through are to consolidate
direction, establish tempo of the play as a whole, get a feeling of unity in the acting company, and establish the playing time.6
Often, the stage is not available for rehearsals. In that case, a rehearsal room is
utilized. To simulate the dimensions and
specifics of a stage, the floor is taped. This
tape outlines the edges of the stage, the
placement of each set piece and large
prop, and the various locations where the
performers should stand throughout the
performance. These locations are called
marks and are indicated by Xs taped
on the floor. For an actor, marks are critical. If you miss a mark chances are your
face will not be lit.
At first, run-throughs are tedious and frustrating. They involve frequent stops as
the performers realize that the blocking is incorrect. The performer may be blocked in
the wrong location for the action required. A prop may not be where it is supposed to be
unless it is moved earlier. The lighting for a specific moment may be inadequate. This
results in a correction to the mark, the prop placement, or to the lighting, and that takes
time.
As time consuming and difficult as run-throughs are, they are critical. Run-throughs
allow the performers to iron out all the annoying details. It is critical that these details
fit. Actions devoid of purpose clutter an act and detract from the acts meaning. As Joseph
Pine and James Gilmore suggested in The Experience Economy: Each and every action
contributes to the total experience being staged, no matter what the venue.7
In the classroom, the details of your performance can build the learning, or detract
from it. Every moment in a classroom is a teachable moment. Some moments are straightforward and obvious. Others are subtle and obscure. It is easy to teach the obvious
moments. Most facilitators do this quite effectively. Unfortunately, nonrehearsed moments
can easily be at odds with the underlying intent. In Magic by Misdirection, Fitzee elaborated: Departures from the usual become prominent because they disturb the harmony
and unity of the whole. They are out of character. There is a jarring note. Dissonance
results. This discord must attract specific notice.8
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REHEARSAL QUESTIONS TO ASK

Here are some theatrical-based rehearsal questions. Use them to help you plan your
performance.
The script:
> What is the message of the script?
> What
is the point of view of each character?
> How
does that point of view support the message of the script?
> How
can the performers convey the point of view of their characters?
> What
costume will best support the point of view of each character?
The props:
> What prop needs to be in what spot at what moment?
> Where
> How
should the prop be placed before the time it is needed on stage?
do I get the prop on stage? Off stage?
Rehearsal
> Where
should it be placed afterwards?
The performers:
> Who walks where, when?
> Where
should each performer stand at any given moment?
Other:
> What lighting will best support the script?
> What
music will best support the script? When should it be cued?
TABLE 11-3
Your run-through is the ideal opportunity to align all the elements and eliminate these
departures. It is a chance to streamline your performance. Years earlier, in Showmanship
for Magicians, Fitzee explained:
The routine must be free from extravagance with time. It must be free
from extravagance of movements or words. Your outlay of time, movement, wordsand, yes, tricksmust be limited to the bare essentials necessary. Cut unnecessary things out of the routine. Retain only the bare
essentials to sell the idea.9
Although a classroom run-through is not as extensive as that of a staged performance, runthroughs help you teach every moment, even the subtle ones. Use your run-throughs to
purposely point every action toward the learning goal.
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Add the Dialog

Once the blocking is complete, it is time to add the dialog. Some show directors prefer
to conduct dialog rehearsals before the blocking is done. Others do both simultaneously.
Regardless of the approach you take, the dialog should be a part of the rehearsal as soon
as it is feasible to do so. Once you add the dialog, you will discover that some lines will
need to be extended, and others cut. The rehearsals will then pick up speed and begin
to reflect what the real performance will look like.
Practice Beyond Endurance
By now, you have gone past the tedious blocking. YEAHHH! Unfortunately, hours of
tedious practice lie ahead. The irony is that the more rehearsed a performer becomes, the
more unrehearsed she looks.

CUE CARD: The more rehearsed

the performer, the less

performance.
rehearsed
the

In entertainment, you can spot the true professional. That performer has mastered her
illusion, her jokes, or her songs so well that she looks unrehearsed. Athletes call it getting in the flow. The flow occurs when you know something so completely that you no
longer concentrate on it. Your body takes over and you lose yourself completely in the
moment, much as your car finds itself at work in the morning. It just happens, or so it
seems. The reality is that flow isnt an accident. Youve rehearsed that drive for months.
All the particulars of the drive have become a doing memory.
The same advice holds true in the learning environment. You should know your
instructional routine implicitly. Practice enough so that your doing memory knows what
needs to be done, and then let the artistry take over. Do not practice to the point where
your delivery appears stale. Focus on ideas, not words. Even in practicing jokes, where
the exact wording is critical, strive to understand the meaning behind the punchline, not
the words of that punchline. If your focus is words and you lose your place, you will find
it difficult to continue. Focus instead on the ideas.
Rehearsal
I have found that the best approach is to practice repeatedly, a couple of times a day,
over a period of days and weeks. This sort of aggressive, disciplined, long-term practice
will help you look professionally casual. It will tighten up your performance, giving the
learners a clearer focus. It will allow you to concentrate on your primary goal, serving
the learning needs of your participants. Finally, it will relax you. After all, you dont worry
about driving your car. You know you know how. Strive to create the same inner peace
with your instruction.
Run a Dress Rehearsal
Once you can present your routine implicitly, try it in real life. In a dress rehearsal, every
item, bit of business, and technical detail of the performance is presented in real time.
This is the opportunity to act out the entire performance before the intended audience
sees it.
There is an old show biz expression that a bad dress rehearsal indicates a strong
opening night. I dont believe it. I have never figured out how lousy suggests good. I recommend that you try for perfection in your dress rehearsal, while realizing that some level
of energy will be missing owing to the lack of an audience.
Debut the Show
Congratulations. You did it! Break a leg! Score lots of Lightner Scale 5s!
1
2
3
4
5
6
7
8
9
Tarbell, Harlan, Dr. (1927). Tarbell Course in Magic. New York: Louis Tannon.
Eckl, Ed, in foreword from Zollweg, Ron (1982). The Professional Routines of Ron Fredrick: As Told to
Ron Zollweg. Beverly, MA: Unikorn Magik.
Sharpe, Sam H. (1988). Conjurers Psychological Secrets. New York: Hades Publications.
Gruver, Bert, revised by Hamilton, Frank (1972). The Stage Managers Handbook. New York: Drama
Publishers, Quite Specific Media Group.
Posgate, Bruce (1961). Kid-Show Showmanship. Colon, MI: Abbotts Magic.
Gruver, Bert, revised by Hamilton, Frank (1972).
Pine II, Joseph B., and Gilmore, James H. (1999). The Experience Economy. Boston, MA: Harvard Business School Press.
Fitzee, Dariel (1943). Showmanship for Magicians. Pomeroy, OH: Lee Jacobs Productions.
287
CHAPTER TWELVE
THE
PERFORMER
NO ESCAPE
It was July 15, 1914, and a family friend had arranged for me to date a
pretty acquaintance. Impressing her was uppermost in my mind, so I decided to do something quite special. I picked her up in an auto I borrowed
from my brother. We went from there to one of the best Italian restaurants
in New York, Mama Leones Restaurante. The meal went well, and the conversation was delightful. It appeared that we were attracted to each other.
But, taking no chances, I had more surprises in store.
I next took her to the Hammersteins Roof Garden Theater, where I had
arranged front row seats to watch magician Harry Houdini perform. I knew
this choice would find favor with her, because Houdinis exploits in New York
had been a part of our dinner conversation.
We were both impressed with the show. Houdini performed one amazing
feat after another. We laughed together; we cried together; we were amazed
together. It was turning out to be a wonderful evening. One illusion in particular, Houdinis presentation of the Chinese Water Torture Cell, stands out
in my memory. It changed my life.
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A curtain slowly opened to reveal the Torture Cell. It was huge. It had
a mahogany frame, metal framing, and a glass panel front that allowed
us to see inside. In front of the box and off to the side was a chair and an
ax, in case the worst might happen.
Houdini, wearing black evening dress, walked on stage. He announced,
Ladies and gentlemen, this is the climax of all my studies and labors. Never
will I be able to construct anything that will be more dangerous or difficult
for me to do.
Growing serious and sinister now, he continued, I shall now attempt
to cheat death by escaping from this, the Chinese Water Torture Cell.
With that bit of drama, he ran offstage. Almost immediately, two male
assistants began adding water to the cell, filling to overflowing. Soon,
Houdini reentered, this time in bathing trunks.
He then asked for a volunteer committee to ensure that no trickery was
involved. And this was one of my little surprises. The stage manager was a
friend of mine. It had already been arranged for me to join the committee.
Houdini selected his volunteers, me included. I feigned surprise, smiled at
my date, and joined the stage.
Houdini invited the committee to inspect the cell, but asked me to stay
with him. He had a special task in mind for me. I was invited to sit down
on the stage and place my own feet in the stocks that Houdini would use. I
sat down, and quickly found my feet encased in wood. While the stocks were
being clamped in place, Houdini asked, Tell me, whom are you attending
tonights performance with?
I mentioned my date.
Houdini asked her to raise her hand. On seeing her, Houdini turned to
me and inquired, Is this your wife?
No, its our first date, I responded.
I would say there are no chains on you, but given current circumstances,
that would not be accurate, would it?
This by-play made the audience laugh, and brought attention back to
the stocks. For try as I might, I could not remove my ankles from their confinement. By this time, the rest of the committee had completely inspected the
torture cell, and I was then released from my confinement. We all started
to leave the stage, but Houdini stopped me.
Sir, you are not free yet, he joked.
I was asked to sit in the chair next to the ax.
The Performer
Houdini then took my place in the stocks. He was hoisted upside down
into the air, and positioned directly over the water cell. He then looked at
the audience, and asked them to follow my lead in holding their breath
when he cued me.
With that said, Houdini swung his arms around. He breathed in deeply
once, and exhaled. He did it again, and then again. The third time he
pointed at me, and I gave the signal for everyone in the theater to hold their
breath.
Houdini was then dropped into the water cell. It happened so quickly
that I thought he might hit his head on the bottom. Almost immediately, a
canopy was placed in front of the water cell, and Houdini was gone from
sight.
With everybody holding his or her breath, the only sound in the theater
was the orchestra playing a mournful Asleep in the Deep.
Thirty seconds passed. Some members of the audience exhaled.
Forty-five. More gave up, including my date.
One minute. I could hold no more. The silence was so tense you could
almost hear it.
One minute fifteen. I caught my dates eyes and we both smiled
nervously.
One minute thirty. The silence was turning to desperation. Someone in
the audience screamed, There must be something wrong. Get him out of
there.
One minute forty five. By now, even the assistants were nervous.
One minute fifty five.
Two minutes.
Enough was enough. One of the assistants headed toward the canopy
while the other grabbed for the ax. But before they reached the canopy,
Houdini, smiling, came crashing through it. Well, the tension had built so
high that the applause was deafening. Once the applause finally subsided,
Houdini climbed on top of the tank and splashed his feet in the water. As
the curtain closed, he shouted to me, Youre free now. He then turned and
waved to my date, who was by now very impressed with her new suitor.
And now its 1966, 52 years to the day after that night, the night we met,
and 50 years after our marriage, and in front of all of our children, our
grandchildren, and all of our friends, I offer this toast to you, my darling
Clara, happy anniversary. This was no escaping you.
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Wherever you direct their attention,

the audience will look there.DR. HARLAN TARBELL
Principle 8: Stage the performerOrchestrate every detail of the environment.

Principle 5: Direct attentionSuggest the outcomes you expect.
PERSONALITY
The theater lobby looked inviting. The popcorn smelled and tasted delicious. The seats were
comfortable. The overture was intriguing. Excitement was building. Then the moment arrived.
The performer stepped on stage. Crawled would be a better word for it. The magician offered
a perfunctory nod toward the audience, and began. The illusions were performed as if they
might not work. The dialog was delivered to no one in particular. The jokes sounded flat. It
was obvious that the performer did not want to be there. Suddenly, neither did the audience.
Entertainment requires personality. All the solid writing, meticulous planning, and
incessant rehearsal cannot deliver an effective performance. A personality is required.
Without a solid performer, a performance is doomed.

CUE
CARD:
Entertainment

is
personality
driven.

The Performer
In Chapter 4, we discovered that our brains constantly scan the horizons for threats. We
also determined that much of the processing that our brains do is subconscious, and that
negative emotion lurks just below the surface of our consciousness, waiting for a reason
to panic.
We all pick up signals from other people. These signals suggest everything we need
to know about each other. This is especially true in entertainment. A performer may be
standing in front of thousands of people, but each individual within that thousand feels
a personal connection from the performer.
Entertainment depends on that connection. Magic, for instance, is very much a confidence art. People believe in the miracles because the performer believes, and they trust
the performer. The performer sets the tone; the audience responds. Emotions are contagious, and people will mimic the emotions suggested to them.2 In discussing magic, Dariel
Fitzee expanded on this theme:
The spectator sees the magician himself. He is aware of the performers
appearance, his dress, his features, and his posture. He is conscious of the
type of person he seems to be, of his style of talking, of his apparent
educational background. He even realizes something of the performers
disposition. Yet much of this information comes to the spectator subconsciously. The mind has a way of putting together clues from here
and there, clues which definitely establish this performer as an individual. It is an automatic process, the details of which the spectator is totally
unaware.3
From a learning perspective, Renate Nummela Caine and Geoffrey Caine concurred: Students respond to subtle stimuli, including all the small signals that show what the teacher
is really thinking and feeling.4
Although the spectators may be consciously unaware of the performers personality, attitude, education, posture, and other attributes, the performer must be completely
aware of these factors. They direct the performance.
When all possible external preparation has been done, the self remains. So, the self
must be practiced too. Some areas that require focus are:
>
Finding a persona
>
Communicating effectively
>
Conquering stage fright
>
Using a mike
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FINDING A PERSONA
Charlie Chaplin, speaking about his start in movies, said, Little as I knew about movies,
I knew that nothing transcended personality.5 Chaplin was correct. The face you wear on
stage is a major part of your appeal.
If you expect people to pay attention to you, they must have a reason to do so. As magician Bruce Posgate says, You must be different from the man on the street.6 Because
you are in the front of the room, you are expected to be different. You must give them a
reason to listen to you. If you cannot give the learners a reason to pay attention to you,
they wont.
Entertainers achieve this distinction by drawing on their own personalities. As Fitzee
described it:
To achieve distinct individuality as a magician it is necessary that you be

distinguished from the rank and file. The distinguishing marks are entirely
due to the combination of features which are exclusively your own. It
this combination is pleasing to others, you have a pleasing personality.
If this combination is superlatively [original emphasis], you are on your
way to stardom.7
Sometimes referred to as charisma, this individuality is the ability to command attention

because of who the audience perceives you are. Although this discussion deals with
the audiences perception of you, it is, more often than not, a true characterization, with
all your faults and attributes publicly on display.
This leads to a dilemma. Do you masquerade as someone else on stage, or do you allow
your personality to come through, warts and all? Bruce Posgate may have the best advice:
Why not just be yourself? Its more fun! It is much easier and needs no effort. Just be
yourself with a friendly smile on your face. If you adopt the attitude, Were all in this
together so lets have a lot of fun you will have your audience with you, all the way. 8
Funnyman Steve Allen backed this position when he said, Your stage self should be
very close to your actual social self. 9 Being yourself has a number of distinct advantages:
>
Youll be more genuine with the audience, and theyll sense it.
>
Youll never have to remember what you character would do. You already know
the answer.
>
You wont have to learn a fake bio. Your character already has one: yours.
The Performer
>
Your genuineness will make it easier to direct the audiences attention toward
the goals you have set.
Exposing your inner self in front of strangers can be frightening. Its easy to think, What
if they dont like me? Its harder to realize that they will like you, but only if they see
you as a real person.
Standing naked in front of your learners implies showing your faults. We are all multifaceted. We all have faults. It is not necessary to present all of you to the audience, just
those parts of you that you wish to share. But, those parts you do share must be genuine.
They must be the real you.
A place to start is in examining your personality traits. Do so by making a list of the
various facets of your personality. Then, determine which of those traits you wish to display,
and which you choose to downplay. Table 12-1 has been created to assist with this task.
It is important to be brutally honest with yourself. Your audience doesnt care about
niceties. If you ignore one of your personality quirks, it wont go away. Your learners will
find it anyway. As Bob Vincent explained:
You are actually being auditioned by them each and every show. The
minute you appear in view on stage, several hundred eyes and ears are
examining you, very carefully [original emphasis]. All of your assets and
liabilities become apparent immediately. If youre an egotist it shows! If
you have no depth of emotion it shows!! and [sic] if your sole purpose
for being on stage is to make money and only please yourself, and not
the audience, that shows too.10
The result would be a lack of confidence in you as the instructor. Magician Max Dessoir,
in speaking about this subject, said: The conjurer must inspire confidence in order to be
believed, and to win from the start the sympathy of the public, so that the audience, without exception, will be willing to follow the intentions of the artist.11
With a firm grasp on the personality traits you intend show the audience, you should
next mold those traits into a base character you can comfortably maintain throughout the
performance. Dessoir continued:
Character shows up in mannerisms, dress, conduct, beliefs, attitudes,

manner of talking, manner of walking, grooming, personal appearance,
reaction under stress and in many other ways. Character is revealed best
by an individuals reactions to impediments, obstacles, stresses, emotions
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ATTRIBUTES EVALUATION WORKSHEET

Part 1
Circle the attributes that people describe you as having. Next, underline the attributes you
believe that you have.
Adaptable
Adventurous
Aggressive
Alert
Analytical
Autonomous
Caring
Challenging
Charming
Clever
Committed
Compassionate
Concerned
Conscientious
Controlled
Cooperative
Creative
Critical
Curious
Decisive
Deep
Demanding
Detached
Determined
Devoted
Diplomatic
Direct
Easygoing
Efficient
Empathetic
Energetic
Enterprising
Enthusiastic
Expressive
Factual
Fair
Firm
Flexible
Forceful
Friendly
Gentle
Harmonious
Idealistic
Imaginative
Impersonal
Independent
Individualistic
Innovative
Inquisitive
Inspirational
Inventive
Logical
Loyal
Modest
Nurturing
Objective
Observant
Opinionated
Orderly
Organized
Original
Outgoing
Outspoken
Patient
Perceptive
Precise
Personable
Persuasive
Playful
Pleasant
Popular
Practical
Pragmatic
Private
Questioning
Quick
Realistic
Reflective
Reserved
Resourceful
Responsible
Responsive
Restless
Sensitive
Serious
Skeptical
Sociable
Speculative
Spontaneous
Strategic
Structured
Supportive
Sympathetic
Tactful
Talkative
Theoretical
Thorough
Tolerant
Tough
Traditional
Trusting
Understanding
Versatile
Virtuous
Visionary
Vivacious
Warm
Witty
Part 2
Based on the words you circled, list the attributes you want your learners to see, and those
you wish to downplay.
I want the learners to see me as:
I do not want the learners to see me as:
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
The Performer
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
> ______________________________________
Part 3
Based on the words that describe the way you want the learners to see you, write a statement
that defines your on-stage personality.
My on-stage personality will be:
TABLE 12-1
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and the like. Throughout your entire routine, this character must be
maintained. Everything you do must be influenced and shaped by this
character.12
To help shape your character, you should ask yourself the questions listed in Table 12-2.
Your character should only do those things that are a part of your natural makeup.
The purpose in answering these questions is not to invent a new you, but rather to force
conscious thought about every aspect of your being your present to your audience. Be a
character. BE YOURSELF!

CUE
CARD:

Beyourself
on
stage.

CONQUERING STAGE FRIGHT
Everyone is afraid of something, including me. Fortunately though, I have never been
afraid of the stage. From the stage I can control the environment. Cocktail parties are
another matter: all sorts of things can go wrong there!
But how do you overcome stage fright? The answer is simple. You overcome stage
fright, and become confident on stage, by being on stage. The more stage experience you
gain, the more confident you become, and the less anxiety you experience. Volunteer to
assist fellow instructors as often as possible. Join a speakers club such as Toastmasters
International. Take part in a community play. Speak out for a cause you believe in. Regardless of the forum you choose, get in front of people as often as possible. Soon, youll gain
confidence.
Although confident, you may never escape the pre-performance jitters. Even the most
polished professionals experience some pre-performance apprehension. But they surmount
it because they know their routine cold. They have already considered and prepared for
every possible detail. As Fitzee explained:
The best solution for the problem of being at ease is to be at ease. A thorough knowledge of your lines. A clear understanding of what you are to
The Performer
CHARACTER EVALUATION WORKSHEET

Part 1
To determine what your character (your stage persona) will look like, answer the following
questions:
> How
does my character stand?
> How
does my character walk?
> How
does my character talk?
> How
does my character dress?
> How
does my character relate to others?
> How
does my character display emotions?
> How
does my character respond to difficulties?
> How
does my character view him or her self?
Part 2
Given the descriptions you wrote in Part 1, write a brief stage persona description of your
character.
TABLE 12-2
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do and when you are to do it. Complete confidence in your ability to do

the tricks you have selected. You can gain this knowledge through the
fact that you have been over the act time after timeperfectly.13
It is normal to experience pre-performance anxiety. It may even be healthy. Nonchalance

can breed sloppiness. It is the difference between excitement and fear. If you are afraid,
then you have not rehearsed enough. If you are not excited, then you are not worthy of
your audience. Once you begin, you will have little time for such self-serving emotions
anyway. They will get lost in the adrenaline of the moment.

CARD:
CUE

Stage
fright
isbad,

anxiety

stage
is
good.

A second method for combating stage fright is to focus on the word and not yourself. In the
words of Bob Vincent: In order to be truly involved deeply with the audience, you must
not be conscious of self and only be totally committed to the word.14
By the word, Vincent means the material you are presenting. Once you become the
message you wish to send, the performance is no longer about you. You transcend your own
emotions and get lost in the word. Vincent added: As a performer, you need to be absolutely sure of yourself when you walk on stage. For this reason, you need to completely
forget about yourself, and make the total commitment to every sound that emanates from
your lips, and every gesture that comes from your body.15

CUE
CARD:
Become

one
with
your
message.

The Performer
COMMUNICATING EFFECTIVELY
There are two ways in which a performer projects information, verbally, and nonverbally.
We will discuss both, beginning with verbal communication.
Verbal Communication
The more obvious of the two communication methods is verbal. There are five factors to
consider in verbal communication:
>
Pitch
>
Inflection
>
Speed
>
Cadence
>
Volume
PITCH
The pitch of your voice is the basic sound your voice makes, and every voice is different.
Vocal pitch is determined in part by a persons gender. A female voice is pitched an octave higher than a male voice. Beyond this difference, each persons voice has its own
comfortable pitch.
There is no specific advantage regarding pitch. Males with low, James Earl Jones style
voices seem to be in demand for voice-over work. But low-pitched voices can put people to
sleep. They can also be perceived as threatening. For instance, James Earl Jones was also
the voice of Star Wars Darth Vader.
Females with low-pitched voices are sometimes considered sultry. For example, in
the film Who Framed Roger Rabbit? (1988), the character Jessica Rabbit was a femme
fatale. To provide an air of sultry mystery, Kathleen Turner was cast for the role.
High-pitched voices, especially female voices such as Joan Rivers, have been successful
too. Rivers has built a career out of gossip, with her line, Can we talk? High-pitched
voices can also be perceived as anxious, excited, or nervous. In men, high-pitched voices
can seem out of place. This has not, however, stopped Joe Pesci from building a highly
successful career for himself in films such as My Cousin Vinnie (1992).
Most of us recoil the first time we hear our own voice broadcast back at us. Nevertheless, the pitch we hear on tape is the instrument we have to work with. Make the most of
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it. Breathe deeply, much as you would while lying in bed, to lower and add depth to your
pitch, and vary the inflection, speed, cadence, and volume of your voice.
INFLECTION
The inflection of your voice is in many ways more important than your pitch. A monotone
delivery will suggest boredom, and a fast, high-pitched delivery will suggest excitement or
anxiety. You cannot significantly change the pitch you have, but you can vary your vocal
inflection. Make your speech informal but energetic, and emphasize the key words in each
sentence. Your speech pattern should imply that you are relaxed and have something interesting to say.
SPEED
The average person speaks at a rate of 125 to 180 words per minute.16 Most people can
process words at a rate of up to 500 words per minute.17 This presents a verbal communications challenge. Your learners will be finishing your sentences in their heads before
you do. Do not rush through your sentences to keep pace with your learners. Instead,
speak the minimum number of words necessary to make your point. Script writing can
help focus your words. In addition, make the inflection of your words interesting. Speak
naturally, and emphasize key words. That way, your learners will focus both on what you
say, and how you say it.
CADENCE
Each of us speaks in a rhythmic pattern. Professional speakers take their natural rhythmic
patterns, and form them into memorable phrases. In the hands of an expert communicator, phrases sound lyrical and poetic. For instance, Winston Churchill rallied the British
nation during its darkest World War II days, in part, because of the following speech. To
help you spot the cadence structure, it has been laid out here as if in poem form:
We shall not flag or fail.

We shall go on to the end.
We shall fight in France,
we shall fight on the seas and oceans,
we shall fight with growing confidence and growing strength in the air,
we shall defend our island, whatever the cost may be.
The Performer
We shall fight on the beaches,

we shall fight on the landing grounds,
we shall fight in the fields and in the streets,
we shall fight in the hills;
we shall never surrender.18
Notice the sing-song approach of the words, created by the repeated cadences. The phrases
are so well constructed that the words, even though they do not rhyme, seem like a poem.
You could almost imagine those words as a song.
Abraham Lincoln had similar poetic abilities. Consider these excerpts from his
Gettysburg Address:
But in a larger sense, we can not dedicate
we can not consecrate
we can not hallow this ground.
It is rather for us to . . . highly resolve that this nation under God
shall have a new birth of freedom;
and that government of the people,
by the people,
for the people,
shall not perish from the earth.19
Note the same sing-song approach. The language sings, and became rightfully memorable.
Jesse Jackson offers an example from our own times. Much of his communication ability comes from the cadences he chooses, and the way he uses those cadences to make his
point. During his 1984 presidential campaign, in a speech before the Democratic National
Convention, he said the following:
Suffering breeds character.
Character breeds faith,
and in the faith will not disappoint.
Our time has come.
Our faith, hope, and dreams have prevailed.
Our time has come.
Weeping has endured for nights but that joy cometh in the morning.
Our time has come.
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No grave can hold our body down.

Our time has come.
No lie can live forever.
Our time has come.
We must leave the racial battle ground
and come to the economic common ground
and moral higher ground.
America, our time has come.20
Obviously, speaking only in rhyme is neither possible nor desirable, but you should be
aware of the natural cadences in your speech pattern, and capitalize on those phrases that
roll lyrically off your tongue.
In addition, you should aggressively strive to rid your speech of annoying patterns such
as ummmm, you know, you guys, its like, and any other phrase you find yourself
repeating often. They waste your learners time, and your breath.
VOLUME
The best example of how not to speak was demonstrated by Ted Knight on the Mary Tyler
Moore Show. Knight portrayed his character, Ted Baxter, as a pompous fool. One of the
techniques Knight used to solidify this portrayal was overly projecting his voice. The
resulting characterization made Baxter seem like a fool. Granted, a trainer must project
enough volume to be heard. But the difference between being heard and appearing pompous is slight. Besides, if you
dont hold some volume back, youll have
no more to give when you must emphasize
a point.
A good mike can help. As we will soon
discover, a mike allows you to talk in a normal manner and still reach your learners.
When no mike is available to you, project
just enough to reach every person in the
room, but have pity on the people in the first
row. Dont stand over them as you shout to
the back of the room.
The Performer
LEARNING TO SPEAK
There is no substitute for practice. For inspiration, listen to old radiotapes of some of the
worlds great speakers. Comedians Jack Benny and Goucho Marx, moral leaders Martin
Luther King Jr. and Billy Graham, and politicians Winston Churchill and Ronald Reagan
provide excellent examples of well modulated tones. If you listen to performers closely,
you will notice a pace to their delivery, with strategic pauses to emphasize key points.
Try delivering some speeches yourself. Record yourself delivering them. Then, play
the recording back. Aggressively analyze your pitch, inflection, speed, cadence, and
volume. Table 12-3 can help with that analysis. Then, rerecord yourself and repeat the
process. With practice, you can deliver your words with such emotion and meaning that
your learners will want to absorb your every nuance.
VOCAL AWARENESS TABLE

Use this table to gain an awareness of your vocal characteristics.
Pitch:
I believe my pitch is
Low
Medium
High
My pitch could be described as ____________________________________________________

Given my pitch, my character should be ____________________________________________
Inflection:
My inflection is
I emphasize key words
To use inflection more effectively, I will . . .
Monotone
Rarely
Varying
Sometimes
Energetic
Often
Cadence:
My cadence is
I speak memorable phrases
To use cadence more effectively, I will . . .
Nonexistent
Rarely
Moderate
Sometimes
Lyrical
Often
Volume:
My volume is
I vary my volume
To use volume more effectively, I will . . .
Soft
Rarely
Medium
Sometimes
Loud
Often
TABLE 12-3
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Nonverbal Communication
A plumber knows how to use a snake, a firefighter knows how to use a ladder, and a carpenter knows how to use a hammer. To not know the tools of their trade would make them
ineffective. The primary tool actors use, just like instructors, is their bodies.
Your body is your tool. It gets you from place to place, it absorbs sensations around
you so that your brain can make sense of the world, and it allows you to entertain. Every
point you emphasize, everything you feel, in fact, your very relationship with the audience,
is transmitted through your body. As Walt Disney said: I have discovered that language
has an autonomy. Every spoken word has its facial grimace, emphasizing the meaning.21

CARD:
think
CUE

What
you

and
feel

communicated
through

body.

is
your

Every spoken word has a nonverbal component. It is not enough just to speak. You must
also ensure that all the nonverbal signals you send align with what you say. The verbal
content of your message accounts for only 7 percent of what people hear, and the tone of
your voice adds another 38 percent. Body language, at 55 percent, adds the rest.22
Davidson and Cort applied this information to show biz when they said: Your body
language [original emphasis]posture, stance, the position of your shoulders, arms and
handssays as much as [sic] to the audience as what you are singing. On stage, your
body is an extension of your mind.23
In Between One and Many, Steven Byron and Michael Scott make much the same
point about public speaking:
Audience members use appearance to initially make judgments about a
speakers level of attractiveness. The consequences of this judgment are
far reaching for speakers. Research tells us that speakers perceived as attractive by audience members also are perceived as smart, successful, sociable, and self-confident. As a result, speakers who fall into this category
enjoy an audience whose initial impression of them is favorable.24
And Michael Lawlor and Peter Handley, in The Creative Trainer, focus the point on
instructors:
The Performer
Most trainers concentrate their attention on what they have to say, that
is, on the verbal content of their lesson. Very few think about the way
they say it or the use they make of their body while they are saying it.
The result is that, although what they say may be understood, it will not
be remembered. This is because it has not penetrated the so-called logical/critical and emotional barriers of their listeners.25
Next we examine several components of nonverbal communication, including:

>
Gestures
>
Stance
>
Eye contact
>
Clothing
GESTURES
In everyday life, people use gestures. Try talking on the phone or giving directions without using your hands and you will discover how important gestures are to your communication style. The same dynamic holds true on the stage.
Each stage gesture is a chance to support your point. Great performers know this, and
make meticulous use of their bodies. When magicians rehearse for a performance, they
work out every hand gesture. Only gestures that enhance the routine are kept. All extraneous gestures are abandoned.
Professional singers often can gesture with only one hand. The other is holding a
mike. The gestures they make are carefully thought out. Each gesture enhances and emphasizes a point in the song. Most often, these gestures are also open handed with the palm
facing toward the audience. Open hand gestures imply honesty and accessibility, whereas
backhand gestures imply superiority and contempt. These gestures are usually avoided,
unless they are required to make a point.
The size of your gestures also matters. Make your arm movement appropriate to the
size of your classroom. If you are in an auditorium, expand the size of your gestures. If
you are in a conference room, tone them down.
Great performers also keep their hands out of their pockets. The hands are too important for communication to be locked up in such a manner. In addition, hands placed
in pockets suggest a lack of openness or confidence. The resulting bulges also make the
performer look chunky.
As part of your rehearsal regimen, stand in front of a mirror and observe what your
hands do as you talk. Look for unnecessary actions and negative connotations in your
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FIGURE 12-8
hand movements. Once you find those weaknesses, learn how to control them, lest they
control you.
STANCE
Like gestures, your stance suggests either openness or inaccessibility. Professional entertainers rarely turn their back on the audience. They half turn. They stand up straight.
A magician cannot slouch. That posture would imply a lack of confidence that could destroy the illusion. Their posture is a three-quarters stance, with both feet firmly planted
a few inches apart, and with their toes pointed outward toward the audience. The entire
stance indicates confidence and accessibility.
You should face the audience at all times. If circumstances require you to turn your
back, turn only halfway. Dont simultaneously talk and write on an easel. Write first, then
talk. Stand up straight. Use the three-quarter stance as displayed in Figure 12-8. Demonstrate to the audience, via your posture, that you are proud of what you have to share, and
are open to their participation.
EYE CONTACT
Magic great Dr. Harlan Tarbell once advised magicians, The audience follows your
eyes.26 Its true. Magicians rely extensively on eye movement to point the audience away
from the illusions mechanics. A simple look is often enough to allow a magical switch to
occur. In this same manner, when during a musical performance the spotlight moves from
one performer to another, the other performers will turn and look at the performer being
spotlighted. This tells the audience where their focus should be. In addition, a performer
who will not look at the audience has a more difficult time building rapport. To the audience, the behavior implies that they are not important. A breaking off of eye contact
with the audience severs the magical electricity that runs between the performer and the
audience.
In the learning environment, your eyes can have a similar effect. They help you connect with your trainees. They tell your learners that you care about them. Maintain eye
The Performer
contact. Do not look away or turn your back. Talk to your audience not the screen. If you
maintain eye contact with the participants they are encouraged to pay attention.27
Just as a singer turns toward the soloing performer, you should watch your own videos.
Yes, I mean that video you have seen 40 times and cant bear to see again. In Chapter 10,
I shared my desire to never play Proud Mary again. Yet, I would gladly perform it if the
audience wanted it. Furthermore, I would smile at them as I did it. That video is your
Proud Mary. Watch it with your learners. When you turn your eyes away from it, you are
suggesting that it doesnt warrant your attention. If it isnt good enough for you, how can
you expect them to watch it?
In large venues, it may not possible to make eye contact with every member of your
audience. Instead, focus on a few individuals who are looking at you and then expand
your circle. If you look in the general direction of all the audience members, it will appear that you are making eye contact with each individual.
Finally, use the whole stage. Dont forget those learners who are seated on your least
favored side. They deserve your attention too. If you cant remember to work both sides,
set your stage in such a way as to force you to use all of it.
CLOTHING
Earlier in this chapter, we discussed the need to become a personality. One of the major
factors performers use to aid their personality is the clothing they choose to wear. This
is especially evident in Madonnas career. The singer changed her clothing with virtually
every album of new material. This gimmick kept her ahead of the times, and even set off
fashion trends. The same is true in the magical arts. Older style magicians performed in
a tuxedo. With the advent of the hippie 1960s, that style looked dated. To create a hipper
image, magician Doug Henning dressed in tie-dyed shirts and blue jeans. As a result, he
enjoyed considerable career success. In the 1970s, another magician entered the public
arenas. David Copperfield looked both romantic and debonair. His wardrobe was more
elegant than Hennings and he too enjoyed much career success.
The goal of clothing should be to present a professional image. Knowing what you want
your character to be, dress in ways that complement your character. For example, I know
that I look formal and somewhat stuffy, so in intimate training sessions, for college classes,
and when speaking to people younger than myself, I do not wear a tie. In this way, I make
myself more accessible. On the other hand, when I am involved in a full-blown presentation, I dress businesslike, and quite conservatively. This allows me, as we discussed in
the section on comedy in Chapter 5, to play stuffy for laughs.
You should also avoid carrying loose change in your pockets. Great performers separate their stage clothes from their daily wear. The chances of needing money or an ID on
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HOW DO I LOOK EVALUATION WORKSHEET

Step 1
To determine how you look on stage, score your effectiveness on the following items by
placing an X in the appropriate box on each line, with 1 representing the worst possible
rating, and 7 representing the best. Skip those items that do not apply to you.
Rating
Shirt
Pressed
Clean
Not faded
Tasteful
Pants
Pressed
Clean
Not faded
Tasteful
Tie
Clean
Hangs straight
Unstained
Shoes
Polished
Laces not frayed
Dont squeak
Pockets
No loose items
No bulges
Jewelry
Understated
Unscratched
Not tainted
Hair
Combed
Neat
Nails
Clean
Polished
Trimmed
Make-up
Understated
Perfume/cologne
Faintly present
The Performer
Step 2
Now that you have scored your effectiveness in each item, connect the Xs. Once you have
connected the Xs, turn the worksheet onto its left side to view the resulting graph.
My three greatest strengths:
My three greatest areas of opportunities:
1. _____________________________________
1. _____________________________________
2. _____________________________________
2. _____________________________________
3. _____________________________________
3. _____________________________________
As a result of this worksheet, I will:
TABLE 12-4
stage are slim. Most performers keep their pockets clear of these items. This allows for
freer movement and a better looking, bulgeless body form, and prevents extraneous pocket
noise.
You should also pay special attention to the color of the stage around you, especially in
larger venues. If you are dressed in the same basic color as the background, your learners
may lose sight of you. Likewise, try not to clash with the background. Choose your attire
for the day with an eye to the environment you will be performing in.
Finally, use Table 12-4 to help you evaluate the message your clothing sends about
you.
USING A MIKE
Novice performers are often afraid of the microphone. Sometimes, this fear is due to stage
fright. Other times its a lack of confidence. More frequently, its simply an unfamiliarity
with microphone technique. The first two reasons are dealt with in the sections on building a persona and conquering stage fright. We will deal with mike techniques now. For
the truth is that a mike is a performers best friend, and once you know some basic mike
techniques, you can use it to great advantage.
A mike allows you to speak at a comfortable volume level, with a natural tone,
and still be heard. It saves wear on your voiceand this is the amazing partplaces a
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manifestation of you at the learners sides. It can build intimacy with each member of the
audience, even those furthest away from the stage.
Instructors most often use two common types of mikes, hand-helds and clip-ons (often
called lavalieres). We will discuss both next.
Hand-held Microphones
The most common type of hand-held microphone is the Shure model SM58. The 58 is an
all-around workhorse. You see it on television, in night clubs, and on the stage. Its draw is
its versatility. It is equally adapt at picking up a singers inflection as a speakers whisper.
Better yet, it is nearly indestructible. The 58 is so prevalent that many club vocalists carry
their own.
Regardless of its advantages, the 58
has a mike cord that comes out of its back,
and connects to a public address system
(PA). This cord provides a temptation that
some vocalists cant resist: wrapping themselves up in it. Many performers become
so engaged in the mike cord that they become one with it, sometimes even blending into the mike stand to the point that
they are all but invisible. Wrapping yourself in a mike cable is counterproductive.
To the audience, this behavior suggests
insecurity, and it makes communication
more difficult. Most people would find it
difficult to hold a conversation without using their hands, and yet the mike wrappers
willingly confine their own hands in an inanimate object. It is a waste of an important resource: your body.
If you find yourself in a situation in which you must use a mike with a cord, ignore
the cord. Forget it exists. Keep your body and your free hands free. Wrap yourself in the
audience, not the mike cord.
To become comfortable with a corded mike, walk around your home with a mike in
your hand while dragging the cord behind you. Basketball players, to become comfortable with ball handling, walk, eat, sit, and sleep with a basketball. They handle the basketball until it becomes an extension of their being. The same dynamic is true with a mike.
Hold it, walk with it, become one with it. Make it what it is, an extension of you, not your
master.
The Performer
In addition to keeping the mike cord away from your body, you should also keep the
mike out of your face. When you hold the mike, aim it at your chin, and talk over the top
of it. If you cant place two fingers between the mike and your chin, you are holding it
too closely.
A second type of hand-held mike is wireless. The techniques for using it are the same
as with a corded mike. In addition, if you have trained yourself properly to ignore the
mike cord, you wont miss the cord when you use a wireless mike. Your audience will never
see you grasping at the air as you subconsciously reach for an invisible mike cord.
Clip-on Microphones
Perhaps the most common type of microphone is the lavaliere lapel mike. This mike has
great pickup when placed properly on a speakers body. Clip the mike to your clothing
about three inches below your chin, and pointed straight up at your mouth.
Some clip-ons are wireless. They have a length of cord that extends from the mike to
a transmitter, usually worn on the belt. I usually run the cord under my shirt to my belt.
In the one instance where I neglected to do this, one of my hands caught the cord and
pulled the mike off of my suit jacket. I have found that by placing the cord under my
shirt, I avoid the problem completely. One additional factor for women to consider is the
clothing you will perform in. Remember to wear an outfit that you can clip the transmitter to. Otherwise you will be forced to hold the transmitter.
Some clip-ons have a cord that attaches to a PA. If you are uncomfortable with this
leach, you audience will notice. Before you place yourself in that situation, practice walking around while dragging a cord. For those readers with small children, pretend the cord
is a child tugging at your leg.
Volume Levels
When you check the mike levels exercise caution. A mike in an empty room sounds completely different than a mike in a room full of learners. Sound waves tend to bounce around
empty rooms. As a result, the room may have an echo. Your tendency will be to turn the
mike down. When your learners are in the room, their bodies will absorb some sound
waves. You will find that you need higher volume levels than it seemed were necessary
during your empty room test.
Feedback
One of a facilitators nightmare scenarios is the situation where all the learners are holding their ears because of mike feedback. Although invisible, sound waves constantly bounce
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around a room. If youve ever heard an echo in your bathroom, or in the mountains, you
have heard sound waves echoing back at you. Feedback occurs when a PA system picks
up its own amplified sound, creating a loop of sound waves. Fortunately, there is an easy
solution. Dont stand in front of the speakers.
In conclusion, know where the speakers are. Become comfortable dragging a mike
cord behind you. Dont hide behind the mike stand. Above all else, become one with your
mike. Control it, lest it control you.

Control
CUE
CARD:

your
mike,

lest
it control
you.

IN CONCLUSION
In the last several chapters, we have explored techniques largely drawn from the magical
arts. We discovered the techniques magicians use to set the stage, and to stage themselves.
We learned that the successful performer is able to weave those techniques together into
a cohesive whole that captures and maintains the spectators attention.
Unfortunately for magicians, they deal in false reality. The spectators attention must
be clearly focused where the magician wants it, and away from those items that, if seen
in their true light, would destroy the illusion. As Sharpe explained: The conjurers aim
should be to ensure a clear perception of the train of events which constitute the illusion,
but a misperception of the technical details by which the illusion is accomplished.28
In a like manner, the successful instructor presents an environment in which the train
of events is clear and focused on the learning goal, and in which the technical details
escape attention. Although learning is not deception, it should be magical.
1
2
3
4
Tarbell, Dr. Harlan (1927). Tarbell Course in Magic. New York: Louis Tannon Magic Routines.
Hatfield, Elaine, Cacioppo, John T., Rapson, Richard L., and Hatfield, Cacioppo (1994). Emotional Contagion (Studies in Emotional and Social Interaction). Cambridge, UK: Cambridge University Press.
Caine, Renate Nummela, and Caine, Geoffrey (1991). Making Connections: Teaching and the Human Brain.
Parsippany, NJ: Dale Seymour Publications.
The Performer
Johnson, Bruce Charlie (1988). Comedy Techniques for Entertainers: Charlies Comedy Creation Course.
La Crosse, WI: Visual Magic.
6 Posgate, Bruce (1961). Kid-Show Showmanship. Colon, MI: Abbotts Magic.
8 Posgate, Bruce (1961). Show Business Is Two Words. Studio City, CA: Main Track Publications.
9 Allen, Steve, with Wollman, Jane (1998). How to Be Funny: Discovering the Comic You. Amherst, MA:
Prometeus Books.
10 Vincent, Bob (1979).
11 Dessoir, Max (1893). The psychology of Legerdemain. The American Journal of Psychology, Vol. VI.
13 Ibid.
14 Vincent, Bob (1979).
15 Ibid.
16 Bedrosian, Maggie (1994). Speak Like a Pro: When What You Say Can Mean Millions. Rockville, MD:
BCI Press.
17 Byron, Steven R, and Scott, Michael D. (2000). Between One and Many: The Art and Science of Public
Speaking. Mountain View, CA: Manfield.
18 Websters Dictionary of Quotations (1992). New York: Smithmark.
19 Thomas, Benjamin (1952). Abraham Lincoln: A Biography. New York: Alfred A. Knopf.
20 Jackson, Jesse (1984). Democratic National Convention Prime Time Speech.
23 Davidson, John and Casady, Cort (1979).
24 Byron, Steven R, and Scott, Michael D. (2000).
25 Lawlor, Michael, and Handley, Peter. (1996).
26 Tarbell, Dr. Harlan (1927).
27 Munson, Lawrence S. (1992). How to Conduct Training Seminars: A Complete Guide for Training Managers & Professionals, 2nd edit. New York: McGraw-Hill.
315
CHAPTER THIRTEEN
FINALE
HARRIET AND THE HOUSEKEEPERS: SCENE FOUR
The A BessTess Story was the breakthrough that Harriet needed. From
that idea sprang the rest of her decisions. She created a story for both Tess
and Bess. She made it humorous but relevant. Music would set the scene,
magic would capture attention, and props would bring Bess and Tess to life.
[ 317 ]
318
Finale
Her preparation took a week, but when the day came, she was ready. As
the housekeepers approached the room, she had confidence. She knew her
A BessTess Story would work.
In the room she had an instrumental version of The Brady Bunch theme
song playing. While the song played, she also ran an electronic presentation she had prepared. The presentation asked asbestos related quiz questions,
and then displayed the answers. Along one wall she had set up an almost
museum-like display table. Prominently displayed were several items, including a pipe wrapped in insulation, a banana, a ceiling tile, a hat, some
dry spackling, a toy car, a shingle, an extension cord, a lollypop, and a
floor tile. As the housekeepers entered the room, she asked each one to select one item from the table, and take it to her seat.
When the electronic presentation and the music ended, and the housekeepers had gathered, she started. Good morning and welcome. We are here
today to talk about . . .
With that, she sounded a toy siren she had placed in the front of the
room.
. . . Asbestos, she continued. Some of the housekeepers began to
groan, but she stopped them. Dont worry, she explained. This class will
be different.
Today, I intend to help you discover what type of, she sounded the
siren again, asbestos materials you may encounter at work, give you some
important information, and answer any questions you might have. To do that,
I need your help with this story, she said.
Harriet displayed the Role Play Extravaganza cartoon.
Now, I realize that volunteering can be a nerve-wracking experience.
I promise not to film it.
That got a laugh. Everyone relaxed a little. Would someone be willing to play Bess? And Tess?
With the laugh still in their minds, two women came forward. Harriet
took a minute to give both them wardrobe props: a pair of nerdy glasses for
Bess and a cigarette prop with an overly long holder for Tess, and then they
began.
She displayed a storybook. I have a really hot story for you today. With
that, she opened up her magical prop, Hot Book. It shot flames six inches
into the air and immediately got everybodys attention.
This is the story of two sisters, Bess and Tess, she continued. In other
words, its A BessTess Story.
Finale
With that, she restarted the Brady Bunch theme music, and keyed her
electronic presentation to display the appropriate lyrics. She then invited
everyone to sing along.
Its a story, of an older sister,
Who was happy doing just what she was told,
By the name of Bess shes known as the Best girl,
Yes, she was made of gold.
Its a story, of a second sister,
Who was busy causing problems thats for sure,
Although her name was Tess the T stood for trouble,
No, she was not demure.
Then one day when both sisters got employment,
And they knew that it was more than just for glory,
That the two of them should work the same department,
Thats how we begin this Bess Tess story.
The Bess Tess story,
The Bess Tess story,
Thats the way we will begin this Bess Tess story.
Bess and Tess were twins. She stopped and looked at the two housekeepers,
who were obviously not twins. One was Jamaican and the other Swedish. As
you can tell, they look exactly alike. But in reality, they were as different
as different could be.
Bess was a true talent. Her family joked that she had been called Bess
because the B stood for best.
She turned to the Bess performer and asked him to demonstrate some
best attitude.
They all cheered as Bess strutted her stuff.
On the other hand, Tess was a rebel. In fact, her family joked that she
was named Tess because T stood for trouble. And trouble she was. She
turned to the Tess performer without saying anything. The housekeeper
knew what to do. She snarled trouble as she puffed on her prop cigarette.
The housekeepers reacted to Tess, some with boos and some with cheers.
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320
Finale
Both sisters went to work in a housekeeping department, much like this

one, in an older building, much like ours. The first day on the job, Bess and
Tess were required to watch the companys mandatory Asbestos Awareness
training video. Coincidentally, the housekeepers in the class looked a lot
like all of you.
Harriet asked the two participants to return to their seats and had the
class watch the video. To emphasize its importance, she watched it too.
When the video ended, Harriet continued, Bess paid close attention to
the video. She then turned to the housekeeper playing Bess, and asked,
You were paying attention, werent you? . . . Say yes!
Bess agreed.
Tess paid no attention whatsoever to the video. She looked at the Tess
performer.
Not one word! the Tess performer replied.
Bess and Tess then settled into their jobs. Oh, Tess complained a little, but they both enjoyed what they were doing. And then, one day, an
amazing coincidence occurred. Both Bess and Tess encountered the same
situation. . .
With that, Harriet threw two globs of white fibers off the display table,
actually torn apart cotton balls, and onto the floor.
. . . white fibers loose on the floor.
Both women bend in close to look at these fibers.
She repeated the line, until both volunteers left their seats to look at the
fibers.
They both said, almost in unison, Look at what we have here. I better
do something about this.
Of course, the line wasnt said in unison, but Harriet led a round of
applause for them anyway.
Next, Harriet divided the room into two teams, one side with the Bess
performer as its group leader, and the other assigned to Tess.
Now, if you remember, Bess paid attention to the video, so she knew
exactly what to do. On the other hand, Tess did not remember. She displayed
a multiple-choice slide. What did Bess and Tess do? Did they. . .
A.
B.
C.
D.
Sweep it up with a broom and dustpan.

Vacuum it.
Ignore it.
Call their manager.
Finale
She instructed the Tess group to choose the worst possible option, and the
Bess group the best. She gave them 45 seconds, the length of her musical
selection, to determine an answer. As they worked, she played a short instrumental version of The Brady Bunch theme. When the music stopped, she
asked them what they had decided.
The Tess group chose answer C, Ignore it as their answer. The Bess
group chose D. After she heard the answers, she went back to her book
and said, Lets see what Tess and Bess did.
Tess never considered calling her manager. It was in her rebel nature
to take care of it herself. She had a pan and broom nearby, so she swept the
fibers up.
The Tess performer came back to the front of the room and swept the
white fibers up.
Meanwhile, Bess was taking a different tack. She called her manager
for help.
With this, Harriet selected a manager from the class, and placed a
gaudy manager tie on the housekeeper. She then gave the manager a
script to read from.
The manager performer read, Bess, thanks for bringing me in on this
one. We dont know what these fibers are. They could contain. . .
Harriet sounded her warning alarm again.
. . . Asbestos, he continued. Lets call in some asbestos removal experts.
And, that is the appropriate answer. Call the experts.
Harriet led a round of applause for the managers decision and invited
the manager back to her seat. She then continued through a series of questions based on the asbestos awareness video. She kept the mood light, but
focused on content. She quizzed them on other reaction scenarios, the different types of asbestos, and the health effects of asbestos related illnesses.
When they had completed the quiz, she thanked them, and reminded them
that they each had picked up a prop when they entered. She asked them
each individually to showcase their prop and indicate whether or not the
material their prop represented was likely to contain asbestos.
Once they had all done so, and she knew that they had absorbed the
lesson, she announced that the class was almost over, except for two pieces of
information. She asked them first to complete their class evaluations. While
the learners completed their evaluations, she brought the Bess and Tess performers into the hallway. She gave them both props, and asked them to
prepare for the finale.
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322
Finale
As you know, Bess handled asbestos in the correct manner, where Tess
did not. Wed like to conclude with a look into the future that faced Bess
and Tess. With that, she reintroduced Tess. The housekeeper playing Tess reentered the room wearing a terrible looking white hair wig, a shawl, and
leaning on a cane as if she were an old, unhealthy lady. She coughed and
shuffled her feet as she walked. In contrast, Bess bounced into the room,
full of energy and looking the same as before.
Harriet had the two stand side-by-side, facing the housekeepers. She
then said, Because Bess didnt smoke, and handled asbestos properly, she
lived a long life. Meanwhile Tess, who had inhaled asbestos fibers, had
breathing problems. Those problems were compounded by her smoking
habit.
But, the story didnt have to end this way. For, this is a made-up story
and the ending is in your hands. In this case, the T in Tess actually stood
for Terrific. She did pay attention during her asbestos awareness class, and
because she knew her smoking put her at greater risk, she was even more
careful around potential asbestos situations. Harriet instructed the Tess performer to remove her shawl and wig. As a result, she continued, both
women stayed safe around asbestos, and they lived happily ever after.
Harriet then presented both with Asbestos Achievers certificates. As the
class applauded the two performers, she joined in with a series of short siren
blasts. She then concluded the class with a reprise of the BessTess song.
Its a story, a made-up story,
Of two sisters who worked safely every day,
By the name Bess and Tess, they were the Best girls,
Yes, they were safe in every way.
The BessTess story,
The BessTess story,
Thats the way we all will end this BessTess story.
With the song complete, Harriet distributed the required legal information
and dismissed the class.
Harriet was pleased with the class results. The evaluations indicated
that the housekeepers enjoyed the class. Better yet, the knowledge retention
quiz had demonstrated that they absorbed the content. Harriet thought the
Finale
matter had ended there, but a week later, a card appeared on her desk. It
was from the housekeepers. In it, they thanked her for taking the time to
make the class interesting. But the best part was the way they had all signed
their names. For, as a part of their signatures, each one had added a new
middle name, Bess.
Do things and make things which give pleasure

to people in new and amusing ways.WALT DISNEY
IN REVIEW
We have come a long way in our journey through Show Biz Training. Act One, The Infofog, focused on the need for Show Biz Training techniques. In Chapter One, The Distracted Learner, we discovered the info-fog our learners face, and the factors that have
caused its existence. Next, in Chapter Two, The World is a Stage, we determined that
stories have always been with humans, and that those stories evolved into the entertainment giant we confront today. In Chapter Three, Let Me Entertain You, we examined
the ways in which various entitiesadvertising, news, business, sports and edutainment
have all used entertainment to increase the effectiveness of their messages.
With all those factors in mind, we next, in Chapter Four, Learnertainment, overviewed the ways in which the human brain functions. A special emphasis was focused on
the role of survival and emotion, and how they interact with each other. We next explored
Giorgi Lozanovs Suggestopedia and its attempt to reach the deep recesses of the brain
through relaxed joy. Finally, and most importantly, we examined the Learnertainment
Chain and saw how entertainment directly related to human brain processing. We then
were introduced to the eight Learnertainment Principles:
Principle 3: Cue the audioAdd the auditory signal to the visual.
Principle 4: Evoke emotionEngage your learners emotionally.
Principle 5: Direct attentionSuggest the outcomes you expect.
Principle 7: Use mnemonicsProvide visual learning cues.
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Finale
Through those principles, we explored the entertainment arts. We learned the tools that
comedians, musicians, and magicians use and discovered ways to apply those tools to the
learning environment.
Principle 1: Make It Fun

Create an Atmosphere of Playfulness
Act Two, Lessons from Entertainment, overviewed three major show biz elements:
comedy, music, and magic.
In Chapter Five, Lessons from Comedy, we learned the benefits of humor. We
examined the joke structures comedians use. We also discovered that people who laugh
together become a community, and that an atmosphere of playfulness unleashes positive
emotions that make learning memorable.
Principle 2: Layer Meaning

Present Your Message on Several Levels
In Lessons from Comedy, we also discovered that comedy works because it presents
information on more than one level. It forces a learner to walk all the way around a subject. It generates an understanding deeper than what would be possible with traditional
lecture-based methods.
Principle 3: Cue the Audio

Add the Auditory Signal to the Visual
In Chapter Six, Lessons from Music, we learned, through movie music, about the
auditory signal. We focused on a case study, the extinction of silent films. From that case
study, we determined that the auditory signal was too powerful a tool to overlook. We also
examined some templates for applying music to the learning environment.
Principle 4: Evoke Emotion

Engage Your Learners Emotionally
Music also taught us how critical emotion is in creating a whole experience. We examined the wholeness that music adds to an environment, from shopping centers to the local
cinema. In addition, we learned that emotional signals are more likely to be remembered
by our brain, and thus aid retention.
Finale
Principle 5: Direct Attention

Suggest the Outcomes You Expect
From magic, in Chapter Seven, Lessons from Magic, we discovered the power of direction to point the learners toward the outcomes we want them to achieve. We discovered
that magicians cheat nature by redefining the events that occur around them. Suggestion
was examined at length as a tool for directing learners toward positive outcomes.
Principle 6: Stage the Environment

Orchestrate Every Detail of the Environment
In Act Three, Stagecraft, we explored the particulars of stagecraft, beginning with
Chapter Eight, The Stage. It found us examining the details of the environment that
must be in place for magicians and other performers to deliver flawless entertainment.
We examined the possible seating arrangements, and their advantages and disadvantages.
The elements of the stage were then examined. We looked at the effects of lighting and
scenery. We even considered ways in which all five senses might be employed to stage
the environment.
Principle 7: Use MnemonicsProvide Visual Learning Cues

Next, in Chapter Nine, Props, we examined the usefulness of props in the learning
environment. We discovered that visual representations save explanatory time, and that
props can serve as visual memory cues. To help us determine appropriate prop usage in
the learning environment, we concluded the chapter with an examination of the OFFBEATTM Prop Selection Matrix.
Principle 8: Stage the Performer

Orchestrate Every Detail of Your Performance
In Chapter 10, The Script, and Chapter 11, Rehearsal, we focused on the performer
and continued examining the environment as we learned how entertainers prepare for a
performance by scripting and then rehearsing the material scripted. We discovered that
entertainments Three-Act Structure is applicable to the learning environment, and that
scripting has distinct advantages. We then we discussed the correct rehearsal steps.
Chapter Twelve, The Performer, helped us evaluate our own performance abilities. We
looked at our personality traits, our vocal projection ability, our posture and our clothing,
and we discussed microphone usage.
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326
Finale
Finally, at the beginning of this chapter, we saw an example as Harriet applied

Show Biz Training to her asbestos awareness class. In the process, she created an
enjoyable experience that increased learner
retention.
We are almost done. There is one matter we should, however, discuss before we
wrap this production. That subject is one
every show biz professional wants to avoid,
but never ever escapes: the critics.
HANDLING THE CRITICS
by permission from Cartoons for Trainers, Stylus Pub-
Every show biz performance has its critics;

yours will too. Expect objections, especially
from those locked in the pre-info-fog world. More importantly, address these objections
in your lesson plan. The most likely complaints will be:
lishing, Sterling, VA.
>
This is a gimmick!
>
Fun detracts from learning!
>
My employees will never go for this!
>
Our instructors arent skilled in these techniques!
>
There are logistic challenges!
>
This will cost more!
>
Were sending a message that were not serious!
This Is a Gimmick!
Traditionally minded thinkers may denigrate Show Biz Training as gimmicky. My emphatic and immediate answer is: Exactly! It is gimmicky. But so is advertising. And
television. And the movies. And edutainment. Gimmicks abound in our society. They
exist, not for the sake of a gimmick, but because they help communicators cut through
the info-fog.
Finale
In The Entertainment Economy, Michael Wolf proclaimed, Generic experiences will

find it harder to attract consumers, while constantly refreshed ones will succeed.2 Although Wolf was discussing the use of entertainment techniques in business, the point is
equally valid in the learning environment. A generic classroom environment will find
itself increasingly at risk from both a learning and a financial standpoint.
Fun Detracts from Learning!
There are two replies to this objection:
>
Fun makes learning more palatable.
>
The medium is not the message.
FUN MAKES LEARNING PALATABLE
The truth is, you can have fun while you learn, and as we discovered in Chapter Four,
Show Biz Training helps people relax so that they can learn. The Learnertainment Chain
can serve as a presentation aid if you need to make this point.
THE MEDIUM IS NOT THE MESSAGE
Joseph Pine and James Gilmore warned in The Experience Economy: Its easy to conclude
that shifting to staged experiences simply means adding entertainment to existing offerings. That would be a gross understatement. Staging experiences is not about entertaining
customers, its about engaging them.3
Good entertainments provide confectionery enjoyment. Entertainments with little
content are like cotton candy: tasty when eaten, but lacking in nutritional value. The entire James Bond series can be viewed in this context. Although I am a fan of these films,
I must admit that the only one who gets taught a lesson is the villain.
Great entertainments do more; they also teach. Because they teach, they seem to have
more staying power than the confections. There is, so to speak, more meat on the bone. Two
films that teach and entertain are Beauty and the Beast (1991), with its message that
beauty comes from within, and Forrest Gump (1994), demonstrating that behavior matters
more than intelligence.
The question therefore is really one of balance, and a proper balance is critical. When
using magic, for instance, the surprise value can overwhelm the learning focus. Learners
may begin focusing on the secret of the illusion, and ignore its meaning.
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328
Finale
Beauty and the Beast displays the necessary balance. When an audience first begins
viewing the film, they may be taken in with the breathtaking animation. But soon, the
equally breathtaking story takes hold, and the technique is forgotten. The technique becomes a means, rather than the message.
Show Biz Training should not be the focus of your instruction. If you add it as sugar,
not nutrition, it will detract from the learning process. Learnertainment cannot substitute
for meaningful content. The Show Biz Training techniques you use should not determine
your learning points. The learning points should determine the Show Biz Training techniques you use.

CUE
Biz
CARD:
Show

Training
should

be

focus
ofyour
instruction.

not
the

MY EMPLOYEES WILL NEVER GO FOR THIS!
It is true that some audiences will be less receptive to Show Biz Training than others, but
no audience is immune to laughter. I have personally witnessed hardened classrooms come
to life when Show Biz Training confronted the negative emotions within the learners. Show
Biz Training techniques are uniquely equipped to replace those negative emotions with
positive, joyful emotions. The end result is engaged learners and increased retention.
In situations in which you perceive resistance, introduce the techniques slowly. Allow
your learners time to grow comfortable in your classroom. As their negative emotions dissipate, add more Learnertainment. Eventually, even hardened skeptics will begin to enjoy
themselves. After all, Im not going to have a good time is not a sustainable attitude
when confronted with laughter.
OUR INSTRUCTORS ARENT SKILLED IN THESE TECHNIQUES!
Instructors who use Show Biz Training must possess, in addition to facilitation and communication skills, comedic timing. They must be able to use props. They will be required to
learn magic tricks. And, they will have to know when to use them, and when not to use them.
Finale
These are unavoidable facts. But, imagine how much more professional you and your
colleagues will become. In addition to the solid knowledge of the content you already possess, you will also develop the presentation professionalism that Show Biz Training techniques entail. Regardless, the world is moving in entertainments direction. We will all
likely be forced to embrace Learnertainment, regardless of our wishes.
THERE ARE LOGISTIC CHALLENGES!
As we have discovered, live entertainment is complicated. It involves much more than

standing in front of a room and placing overheads on a projector. The props and magic
will need to be stored somewhere.
There will also be more materials to transport. Easel pads, classroom supplies, and
laptops are difficult enough to negotiate. Instructors who use Show Biz Training techniques will also have props, magic, and music recordings to lug around. Fortunately, many
props and illusions pack flat. Other items can easily be stored in small bins. And all these
materials can be transported with a small handcart.
Finally, classroom facilitation itself may be a challenge. CD players, overhead projectors, and temperamental laptops can already wreak classroom havoc. Props, magic, and
music recordings add to the logistics that must be managed in a classroom. The scripting and rehearsal process can help in this regard. The more you can commit your performance to procedural memory, the easier these details become. Besides, technology has
evolved to the point where you can integrate the music and video clips you need directly
into your computer presentation.
THIS WILL COST MORE!
Show Biz Training does cost money. It costs more in two different ways:
>
Show Biz materials are expensive.
>
Labor costs will increase.
MATERIALS ARE EXPENSIVE
When you purchase a magic illusion, you are purchasing its secret, and those secrets
are expensive. Magic is intentionally priced high enough to prevent the general public
from discovering the secret of the trick. This cost is really in your best interest. Just as
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330
Finale
you want your learners to focus on the message and not the illusion, you also dont want
someone disrupting the class to share the illusions secret. The costs associated with magic
prevent this from happening.
Props can be costly or not, depending on the prop itself, and where you shop for it. A
situation I experienced is instructive. I purchased a fake cell phone through a reputable
magicians supply company for $20.00. Three days later, I went to the local Wal-Mart and
found an equivalent item in the closeout bin for $1.99. Aggressive toy store shopping will
be your best cost containment procedure.
Musical material can also be expensive. Its not that the music itself is costly. Rather,
the rights to use the music can add cost. Regardless, it is better to pay a little more in
up-front costs. The cost of a copyright infringement lawsuit is even more prohibitive.
The appendix lists suppliers of royalty-free music, as well as comedy, props, and magic
suppliers.
LABOR COSTS WILL INCREASE.
Learning Show Biz Training techniques will take time. So will script writing. And rehearsal. And classroom setup and pack up. All of these incidentals add labor costs. But,
these additional costs will be offset by increased effectiveness. By documenting the
increased effectiveness of Show Biz Training, you can validate the extra costs.
WERE SENDING A MESSAGE THAT WERE NOT SERIOUS!
For some people, the motive behind this objection may be related to their image of professionalism. They may regard themselves as having a serious purpose, and fear that
frivolous behavior will undercut their message. The position reminds me of the aristocrat in the Stan Freberg Sunkist commercial we overviewed in Chapter Three, Let Me
Entertain You. The actors portrayal was stuffy. He warned in advance that he wouldnt
like the fruit. When he discovered, much to his surprise, that the fruit was quite good,
he dropped his primary complaint and switched to another objection.
Likewise, image-motivated objections will surface as one point, and then another. In
the classroom, our professional self-image is important only as it affects our learners abilities to learn. Ironically, the application of Learnertainment is likely to improve our image
with the very people we most need to impact, our learners.
Taken as a whole, these challenges do not add up to an argument for the exclusion of
Show Biz Training. They do, however, suggest the need for careful planning and application. But I wouldnt expect anything less from a Show Biz professional.
Finale

Show
CUE
CARD:

Biz
Training
requires

careful
planning
and
application.

QUESTIONS TO CONSIDER
I would like to close by posing two questions:

>
Is your learning so enjoyable that you could charge admission?
>
Would you give a ticket to your training to someone you liked and admired?
If you answered No to either of these questions, how do you think your learners feel?
And, what are you going to do about it?
YOURE THE STAR: BREAK A LEG!
Assuming that you answered, Im going to add Show Biz Training techniques to my classroom, Id like to leave you with an old show biz term. It stems from a medieval belief in
sprites that enjoyed causing trouble. What made the sprites doubly problematic was the
belief that if the sprites heard you ask for something, they would make the opposite happen. Just in case the sprites were listening, people would wish each other bad luck. (In
fact, this is Chapter Thirteen for that very reason.) Although people no longer fear the
sprites, show biz performers are notoriously suspicious. So in keeping with the show biz
tradition you are about to enter, break a leg!4

CUE
CARD:

Break
a leg!

331
332
Finale
1
2
Smith, Dave (2001). The Quotable Walt Disney: It Was All Started by a Mouse. New York: Hyperion.
Wolf, Michael J. (1999). The Entertainment Economy: How Mega-Media Forces Are Transforming Our
Pine II, Joseph B., and Gilmore, James H. (1999). The Experience Economy. Boston, MA: Harvard Business School Press.
<http://members.aol.com/MorelandC/HaveOriginsData.htm>
APPENDIX
ADDITIONAL
RESOURCES
COMEDY
to answer training-related questions. They

are, however, expert magicians, and excel
in answering questions directly related to
the illusions they sell.
Offbeat Training
329 Oakpoint Circle
Davenport, FL 33837
(407) 256-0501
<www.offbeattraining.com>
Hank Lees Magic Factory

PO Box 789
Medford, MA 02155
(800) 874-7400/(617) 482-8749
<www.magicfact.com>
Cartoons for Trainers

Lenn Millbower & Doris Yager
Stylus Publishing, LLC.
<www.styluspub.com>
Abbotts Magic
124 St. Joseph St.
Colon, MI 49040
(800) 92-MAGIC/(616) 432-3235
MAGIC AND PROP RESOURCES
Magic Supply Companies

Professional magicians purchase their
illusions and props through magic
dealers. These dealers do not know the
needs of trainers, and cannot be expected
Louis Tannen, Inc.

24 West 25th St., 2nd Floor
New York, NY 10010
(212) 929-4500
<http://www.tannenmagic.com>
[ 333 ]
334
Additional Resources
Training Supply Companies

Although they do not specialize in magic,
two training supply companies sell magic
illusions. Because their primary market
is on the needs of trainers, these
companies can address training related
questions with greater specificity than the
magic supply companies. They also offer
a wide variety of props.
Creative Presentation Resources
P.O. Box 180487
Casselberry, FL 32718
<www.presentationresources.net>
The Trainers Warehouse
89 Washington Ave
Natick, MA 01760
(800) 299-3770
<www.trainerswarehouse.com>
Tool Thyme for Trainers
4108 Grace King Place
Metairie, LA 70002
(504) 887-5558
<www.tool-trainers.com>
Novelty Suppliers
Novelty suppliers do not cater to the
needs of trainers, but occasionally stock
items that are useful for training. Also,
because these suppliers must appear to a
wider audience than the training
community, expect to see odd, tasteless,
exotic, and sometimes erotic items in
their catalog. Hundreds of these
suppliers are listed on the Internet.

Below are a few resources.
The Gag Works
PO Box 1293
Los Alamitos, CA 90720
<http://www.gagworks.com>
Incredible Gifts
1746 B Berkeley
Santa Monica, CA 90404
(800) 982-5992
<www.IncredibleGifts.com>
Fun Ideas
P.O. Box 5472
Lighthouse Point, FL 33074
(877) 665-4438
<www.funideas.com>
Music Suppliers
Most music suppliers do not offer royaltyfree music. Insure you know the legal
usage parameters of the music you select.
An asterisk after the suppliers name
indicates that the music they offer is fully
licensed.
Offbeat Training Tunes*
329 Oakpoint Circle
Davenport, FL 33837
(407) 256-0501
MediaRider.com*
2376 Summerwind Place
Carlsbad, CA 92008
(760) 730-7480
<www.mediarider.com>
Additional Resources
Phillips Classics
PolyGram Classics & Jazz
825 Eighth Ave, 26th Floor
New York, NY 10019
<www.philclas.polygram.nl>
Trainer Sounds
Performance Insights
1615 Highway 184
Ghent, KY 41045
Time Warner
5300 Warner Blvd
Burbank, CA 91505
The Music Bakery

7522 Campbell Rd., #113-2
Dallas, Texas, 75248
(800) 229-0313
<www.musicbakery.com>
Narada Productions, Inc.

4650 N. Port Washington Road
Milwaukee, WI 53212
(414) 961-8350
<www.narada.com>
Steven Halperns Inner Peace Music
PO Box 2644
San Anselmo, CA 94979
(800) 909-0707
<www.innerpeacemusic.com>
Network Music LLC*

15150 Avenue of Science
San Diego, California 92128
(800) 854-2075
<www.networkmusic.com>
The Classical Archives*
<www.classicalarchives.com>
335
APPENDIX
SHOW BIZ
TRAINING
TEMPLATES
Files in PDF format of the Show Biz Training Templates on pages 338359 are available at www.amacombooks.org/showbiztraining
[ 337 ]
338
Show Biz Training Templates
JOKE CREATION TEMPLATE

Part 1: How To Write a Joke
1. Identify the subject you wish to joke about (class introductions).
2. List every idea you can think of that relates to that subject (family, family members, brothers and sisters, half brothers and sisters/occupations, magician sawing a woman in half).
3. Group related ideas (half brothers and sisters/sawing a woman in half)
4. Identify two ideas that fit together but have alternative meanings (half brothers and sisters could be siblings or part of a magicians sawing-in-half trick).
5. Write an Introduction (student introductions during the first day of class).
6. Select one of the ideas to be your Surprise (half brothers and sisters).
7. Add Detail that obscures the other idea (fathers occupation is as a magician, his favorite
trick is sawing a woman in half).
8. Set up the surprise (any brothers and sisters?).
9. Try your joke out on people, and keep tweaking it until it gets a favorable response.
Part 2: Structure Template:
1. Introduction.
2. Detail.
> Detail 1.
> Detail
2.
> Detail
3.
3. Surprise.
Conclude with a surprise ending.
Part 3: Structure Analysis:

1. Introduction.
2. Detail.
4. Surprise.
Does the ending release the tension?
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340
PUNNISHMENT ANALYZER
Part One: How To Write a Pun:
1. Identify the subject of your pun (Communication).
2. List every idea you can think of that relates to that subject (electronic communication,
Internet, intranet, LAN).
3. Select ideas from the list that could have alternate meanings, or are similar to other words.
(What could LAN mean? What if the problem was related to Australia? Could it then be
the LAN down under?).
4. Write the Surprise (the LAN down under).
5. Write an Introduction (a company was having customer service problems).
6. Add Detail that sets up the Surprise without giving it away (traveled to Australia where
computer communications had been upgraded, the Australian branches intranet became
the model).
7. Try your pun out on people, and keep tweaking it until it gets a groan.
Part 2: Pun 2: Pun template:
1. Introduction.
2. Detail.
> Detail 1.
> Detail
2.
> Detail
3.
3. Surprise.
Select a surprise ending.
Part 3: Pun analysis:

1. Introduction.
2. Detail.
4. Surprise.
Does the pun release the tension?
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342
OVERTURE PLACEMENT ANALYZER

Use this matrix to determine the effectiveness of the overture music you select.
Step 1: Select the overture music.
Begin brightly, with a fanfare or other attention getting device.
Selection 1: ______________________________________________________________________
Transition through the other major musical themes.
Follow-up selections: ______________________________________________________________
The quietest point is placed in the center.
Midpoint selection: ________________________________________________________________
Build to a rousing conclusion.
Concluding selections: ____________________________________________________________
Does the music:
> Immediately
> Set
the mood of the training?
> Match
the style of the presentation to follow?
> Establish
> Sound
a positive learning environment?
familiar to the learners?
> Directly
> End
capture attention?
relate to the subject at hand?
with a fast, upbeat pace?

Yes
No
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
LEITMOTIF PLACEMENT ANALYZER

Use this matrix to determine the effectiveness of the leitmotifs you select.
Step 1: Select leitmotifs.
1. List the major themes of your learning environment.
Theme 1:
Theme 2:
Theme 3:
Theme 4:
Theme 5:
2. What songs (or sound effects) relate to those themes?
Theme 1:
Theme 2:
Theme 3:
Theme 4:
Theme 5:
3. Where can you place those songs (or sound effects) in the context of your instruction?
Theme 1:
Theme 2:
Theme 3:
Theme 4:
Theme 5:
Do the letimotifs you selected:
> Align
with the class content?

information about their assigned situation?
> Help the learners connect to the assigned situation?
> Make an emotional connection with your learners?
> Communicate
Yes
No
______
______
______
______
______
______
______
______
The higher the Yes column score, the more effective the leitmotif will be.
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344
GAME SHOW MUSIC PLACEMENT ANALYZER

Use this matrix to aid you in selecting appropriate game show music.
Introducing the game show
Selection:
Does the music
> Exhibit
high energy?
the activity?
> Hype
Yes
No
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
Displaying the prizes

Selection:
Does the music
> Display
a light up-tempo feel?

> Have no vocals?
Seeking and introducing game show players
Selection:
Does the music
> Display
high energy?
a sense of movement?
> Create a sense of excitement?
> Create
Asking questions
Selection:
Does the music
> Have
no vocals?
tension?
> Heighten
Timing answers
Selection:
Does the music
> Play
in short segments?
> Length match the timed length required?
> Have no vocals?
Conducting lightning rounds

Selection:
Does the music
> Play
in short musical segments?

the energy level focused?
> Keep the momentum moving forward?
> Keep
Yes
No
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
Thanking the players

Selection:
Does the music
> Display
high energy?
the players introductory music?
> Create a sense of movement?
> Repeat
Concluding the activity

Selection:
Does the music
> Display
high energy?
> Conclude on a positive note?
Total score (24 maximum)
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ATMOSPHERIC MUSIC ANALYZER

Use this matrix as an aid in selecting appropriate atmospheric music.
To enhance feelings of happiness:
> Fast music with high rhythmic activity; short, quick notes
Selection 1:
Selection 2:
Selection 3:
To encourage sadness:
> Slow music with low rhythmic activity
Selection 1:
Selection 2:
Selection 3:
To build excitement:
> High rhythmic activity
Selection 1:
Selection 2:
Selection 3:
To create a feeling of calm:
> Slow, minor key music; low rhythmic activity
Selection 1:
Selection 2:
Selection 3:
To encourage better moods:
> Fast, major key music
Selection 1:
Selection 2:
Selection 3:
To overcome boredom:
> High rhythmic music
Selection 1:
Selection 2:
Selection 3:
BACKGROUND MUSIC ANALYZER

Use this matrix as an aid in selecting appropriate background filler.
Part 1: The need for music
Are your learners:
> Involved
in a group discussion?
> Involved in a paired discussion?
> Reflecting on a subject?
> Working privately, on solo activities?
> Practicing creative visioning?
Yes
No
______
______
______
______
______
______
______
______
______
______
If you answered Yes to any of these questions, background music would be effective.
Part 2: Selecting appropriate music
Is the music you would like to use:
> Slow
> Reflective
> Melodic
> Nonvocal
> Instrumentally
light
Yes
No
______
______
______
______
______
______
______
______
______
______
If you answered Yes to all of these questions, you chose an effective selection.
REPETITIVE TASK MUSIC ANALYZER

When selecting music for repetitive tasks, answer the following questions:
> Is

you walk to the rhythm of the music?
> Can you perform the repetitive task to the music?
> If the music has lyrics, will the learners be able to sing them?
> Can the lyrics be rewritten to correspond with the repetitive
task?
> Do you have the ability to speed up the music as task skills
increase?
> If the music is sped up, does it still sound acceptable?
> Can
Yes
No
______
______
______
______
______
______
______
______
______
______
______
______
______
______
If you answered Yes to all the questions, the music is appropriate for repetitive tasks.
347
348
REVIEW ENHANCING MUSIC ANALYZER

When selecting music for reviews, answer the following questions:
> Is

you easily walk in rhythm to the music?
>Does the rhythm of the music pulse once or less per second?
>Is the music devoid of lyrics?
>Does the music maintain a steady volume level?
>Is the music steady in its instrumentation?
>Does the music tend to make you feel sad?
>When you play the music, does it fade into the background?
>Can
Total (8 maximum)
Yes
No
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
The higher the Yes column score, the more effective the music usage will be.
POP MUSIC PLACEMENT ANALYZER

Step 1: Use the following questions to select a pop song.
> What is the purpose for using a pop song?
> What
pop songs will best serve that purpose?
1.
2.
3.
Step 2: Use the following questions to determine the most appropriate pop song.
Yes
No
you want the learners to focus on the song?

you easily walk or sway in rhythm to the music?
> Do the songs lyrics relate to your class subject matter?
> Do you know the meaning of the songs lyrics?
> Is the meaning of the songs lyrics consistent with your message?
> Will your learners positively relate to the song?
> Will the use of the song be inoffensive?
> Do you have the legal rights to use the song?
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
Total (8 maximum)
______
______
> Do
> Can
The higher the Yes column score, the more effective a pop song will be.
MUSICAL DIFFICULTIES AVOIDANCE ANALYZER

Use the following questions to avoid some of the difficulties associated with music.
> Is
your usage of music less than 40% of total class time?

you use music, do you have specific reasons for doing so?
> Is your placement of music integrated into the whole?
> Is the music usage appropriate to the learning situation?
> Is your music selection based on need, not on favoritism?
> Does your music match the cultural norms of your learners?
> Are the songs lyrics appropriate to the learning situation?
> If using songs with lyrics, do you want the song to be noticed?
> When
Total (8 maximum)
Yes
No
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
______
The higher the Yes column score, the more you will avoid difficulties associated with the use
of music.
349
350
CLASSROOM SHOW READINESS FORM

Part 1: Outside the Classroom
The approach to the classroom
> Is
the hall carpet/flooring clean?
Yes
No
______
______
________________________
> Are
the walls dirty?
______
______
________________________
> Are
all posted signs neat and orderly?
______
______
________________________
______
______
________________________
> Do
posted signs undercut your message?
> Can
the hallway be more inviting?
______
______
________________________
> Can
the hall support your content?
______
______
________________________
______
______
________________________
______
______
________________________
______
______
________________________
______
______
________________________
The classroom door

> Are
> Is
old notices taped on the door?
the door dirty?
> Will
the door stay open if you need it to?
> Does
the door squeak?
> Can
the door be more inviting?
______
______
________________________
> Can
the door support your content?
______
______
________________________
Yes
No
the room look inviting?
______
______
________________________
> Can
you make it more inviting?
______
______
________________________
> Can
the room support your content?
______
______
________________________
______
______
________________________
______
______
________________________
______
______
________________________
______
______
________________________
______
______
________________________
Part 2: Inside the Classroom

At first glance
> Does
The stage
> How
can the platform be more inviting?
> How
can the platform support your

content?
The room
> Is
the lighting adequate?
> Are
> Is
the walls clean?
the floor clean?
> Is
the room cluttered?
> Does
> Is
the room smell pleasant?
the temperature comfortable?
______
______
________________________
______
______
________________________
______
______
________________________
> Will
sound travel well?
______
______
________________________
> Can
the room be more engaging?
______
______
________________________
______
______
________________________
______
______
________________________
The seating
> Are
> Is
the seats comfortable?
the seating arrangement appropriate?
> Can
the stage be seen from every seat?
______
______
________________________
> Are
the tables clean?
______
______
________________________
______
______
________________________
you decorate the room?
______
______
________________________
the decorations support your

content?
______
______
________________________
> Do
the chairs and tables wobble?
The scenery
> Can
> Will
Lighting
> Will
your face be lit?
______
______
________________________
> Will
the learners see their notes?
______
______
________________________
351
352
FIVE-SENSES ENHANCEMENT FORM

Use this form to enhance the classroom environment through the five senses.
Sight
> What visuals are present in the classroom?
> What
> How
visuals should be present in the classroom?
can you add those visuals?
Smell
> What odors are present in the classroom?
> What
> How
odors should be present in the classroom?
can you add those odors?
Touch
> What touchable items are present in the classroom?
> What
touchable items should be present in the classroom?
> How
can you add those touchable items?
Taste
> What tastes are present in the classroom?
> What
> How
tastes should be present in the classroom?
can you add those tastes?
Hearing
> What sounds are present in the classroom?
> What
> How
sounds should be present in the classroom?
can you add those sounds?
353
354
THE OFFBEAT PROP PLACEMENT MATRIXTM

Use this matrix to determine the effectiveness of the props you select.
The props you select should be:
Original
> Will the usage place the prop in an original situation?
Yes
No
______
______
______
______
> Will
the placement surprise your audience?
> Will
the prop connect with your learners in unexpected ways?
______
______
> Will
the connection create a mnemonic learning tool?
______
______
______
______
______
______
Fascinating
> Will the prop command your learners attention?
> Will
the learners want to know more about it when they see it?
> Will
the prop have no apparent connection to the subject?
______
______
> Will
the learners attempt to guess the connection?
______
______
> Will
the prop bring forth a feeling of fun?
______
______
> Will
it encourage an environment of playfulness?
______
______
> Will
it evoke a feeling of positive emotion?
______
______
> Will
the usage be humorous?
______
______
______
______
______
______
Fun
Build Upon
> Will the prop usage build upon what has already occurred?
> Will
the usage fit naturally within the flow of instruction?
> When
> Will
the usage is revealed, will it add value to the subject?
the prop provide a bridge to the next topic?
Elaborate
> Will the prop usage add new insight into the subject?
______
______
______
______
______
______
> Will
it say visually what you are communicating verbally?
______
______
> Will
it add a holistic layer of meaning?
______
______
______
______
______
______
> Will
the learners comprehend the subject more completely

as a result of the usage?
Appropriate
> Is the prop usage appropriate to the learners?
> Will
the prop meet the learners cultural expectations?
______
______
> Will
the prop engage the learners at their intellectual level?
______
______
> Will
the learners understand the meaning of the prop?
______
______
Tasteful
> Will the prop be inoffensive to the learners?
> Will they react positively to the usage?
> Can potential problems be addressed in advance?
> Will the usage cause your organization any legal challenges?
______
______
______
______
______
______
______
______
______
______
The higher the Yes column score, the more effective the prop usage will be.
355
356
MATERIALS LIST FORM

Use this form to compile a list of all needed materials.
Prologue needs:
> Props
> Participant
materials
> Presentation
materials
Act One materials needed:

> Props
> Participant
materials
> Presentation
materials
Act Two materials needed:

> Props
> Participant
materials
> Presentation
materials
Act Three materials needed:

> Props
> Participant
materials
> Presentation
materials
357
358
REHEARSAL QUESTIONS TO ASK

Here are some theatrical-based rehearsal questions. Use them to help you plan your
performance.
The script:
> What is the message of the script?
> What
is the point of view of each character?
> How
does that point of view support the message of the script?
> How
can the performers convey the point of view of their characters?
> What
costume will best support the point of view of each character?
The props:
> What prop needs to be in what spot at what moment?
> Where
> How
should the prop be placed before the time it is needed on stage?
do I get the prop on stage? Off stage?
> Where
should it be placed afterwards?
The performers:
> Who walks where, when?
> Where
should each performer stand at any given moment?
Other:
> What lighting will best support the script?
> What
music will best support the script? When should it be cued?
359
SHOW BIZ
TERMS
Act
n. One of the major divisions of a play.
Ad-lib
v. To improvise and deliver in an extemporaneous manner.
n. An oval or round structure having tiers of seats gradually rising outward from the performance area.
Amphitheater
Backlight
n. Backlight separates the foreground from the background.
Bits of Business
n. A small routine within a performance designed to gain laughs.
Close-up abj. A form of magic that occurs directly in front of spectators without the sep-
aration that a stage provides.

Cue Card
n. A large card containing cues and held off-camera for the benefit of per-
formers.
n. The inflections, mannerisms, and other characteristics a performer uses to
communicate a message.
Delivery
Fill
n. Fill lighting is used to compensate for the shadows created by key lighting.
[ 361 ]
362
Show Biz Terms
Follow Spot n. A spotlight that swivels so that the operator can follow the performer as
the performer moves around the stage.

v. To present an indication or suggestion of events that will occur later in
the performance.
Foreshadow
Fourth Wall n. The stage; performers are said to break the fourth wall when they talk
to the audience or walk into the audience from the stage.

(To Frame) adj. To place actions within a context.
Framing
Gel
n. A material placed in front of stage lights to alter the color of the lights.
House Lights
Illusion
n. An erroneous perception of reality presented as fact by a magician.
Infotainment
Key
n. The lighting over and around the audience.
n. Information packaged and presented with entertainment techniques.
adj. Key lighting is the principle illumination for a stage.
Levitate
v. To rise or cause to rise into the air and float in defiance of gravity.
Mark n. A piece of tape on a stage that indicates the precise location where a performer
should stand.
Misdirection
Monologue
Overture
Patter
Plot
n. A series of jokes delivered by a comedian.
n. A musical composition intended to introduce the performance that follows.
n. The words a magician speaks while performing an illusion.
n. The main story points of a performance.
Pratfall
Prop
Pun
n. To point the audiences attention away from critical activity.
n. A fake fall executed by a comedian to elicit laughs.
n. Any article a performer holds during a performance.
n. A play on words that results in the creation of wit.
Punch Line
Scenery
n. The climax of a joke.
n. The features of the setting in which a performance occurs.
Sight-line
cannot see.
n. The line at the edge of a stage that separates what an audience can and
Show Biz Terms
n. A comedy in which the humor comes about as a result of the situations the
characters find themselves in.
Sitcom
Stage
n. A raised platform on which a performance is delivered.
Stage Lighting
n. Lighting focused on the raised platform where a performance is
delivered.
Take
n. The repeated acting out of a scene in a performance.
n. The single most important person in a performance, charged with ensuring the success of the technical aspects of the performance.
Technicians
n. A machine placed next to a camera that scrolls the text a performer

reads while looking at the camera.
Teleprompter
adj. A stance in which the performer faces the audience while placing
one shoulder forward.
Three-quarters
Theater-in-the-round
n. A performance in which the audience fully surrounds the
performer.
Up-tempo
adj. A musical selection with a fast beat.
Voice-over (Talk-over)
n. The vocal track of narration that runs over an image.
363
INDEX
A
Accelerated Learning for the 21st Century (Rose and
Nicholl), 92
Acker, Stephen B., 211, 223
Advertising
clutter problem, 18
metaphors in, 239
on TV. See Television advertising
Allen, Steve, 97, 102103, 294
Alwyn, William, 176
American Graffiti, pop music in, 171
Amphitheater seating arrangement, 219
Amusement parks
Disneyland, 5253
theme parks, 53
Amygdala, 66, 70
Ancier, Garth, 52
Anxiety
of learners, 143
stage fright, 298, 300
Apprentice system, 19
Archetypal Forms in Teaching, 92
Art of Film Music, The (Burt), 139, 150
Art of Teaching, The (Highet), 99
Ashman, Howard, 257
Associated Press, 9, 17
Atmosphere, created by music, 153, 156158

Attention
attention span and Generation X, 18
focused positive attention, 72
and humor, 99100
and learning, 7476, 78
neural regulation of, 271
props in lesson, 238
redirecting with magic, 186190, 193
script and audience attention, 271272
Audience
manipulation and magic, 185192
writing for audience, 258259
Awakenings, 141
Aykroyd, Dan, 56
B
Bach, Johann Sebastian, 254
Barreca, Regina, 99
Barry, John, 148
Beauty and the Beast, 257, 258, 259, 263
Beech, Donna, 75
Bell, Alexander Graham, 9
Benny, Jack, 120, 122, 305
Benton & Bowles, 45, 46
Bernach, Bill, 41, 77
[ 365 ]
366
Index
Bernstein, Elmer, 179

Between One and Many (Byron and Scott), 306
Beverly Hillbillies, The, 123, 124
Big Chill, The, pop music in, 171, 172
Blacking, John,, 137
Blendo Bag magic trick, 194195
Blues Clues, as edutainment, 56
Blues SchoolHouse, as edutainment, 5657
Borge, Victor, 8991
Brain, 6371
brain stem, 66, 70, 74
cerebellum, 65, 70
facts about, 63
frontal lobes, 69
hemispheric specialization, 6869, 7071, 100
and humor, 100
and laughter, 93
and learnertainment, 82
limbic system, 6667, 70, 74
multi-perspective learning approach, 8081
neocortex, 6769
paraconsciousness, 7172
responses to movie viewing, 7071
and senses, 6465
Brainstorming, music as enhancement, 161
Break time, music during, 163
Buddhism, storytelling in, 27
Burned magic trick, 195
Burns, George, 240
Burt, George, 139, 150, 155
Byron, Steven, 306
C
Cable, trans-Atlantic, 9
Cable News Network (CNN), viewership decline,
5152
Cable television, 16, 17
Cadence of speech, 302304
Caffarella, Rosemary, 20, 212
Caine, Geoffrey, 78, 212213, 221222, 293
Caine, Renate Nummela, 78, 212213, 221222, 293
Cardinell, Richard, 160
Carlin, George, 131
Carson, Johnny, 103, 118, 240
Casablanca, 145
Cassady, Cort, 98, 262, 306
CBS Evening News, 50
CDs, in learning environment, recommendations,
165170
Celebration of Neurons, A (Sylwester), 28, 33, 39, 137,
170
Cerebellum, 65, 70
Chaplin, Charlie, 128, 234235, 237, 294
Characters, defined in music, 146, 148151
Charisma, 294
Chase, Chevy, 222
Cheers, 124
Chiat/Day, 33, 45
Childre, Doc, 75
Choices and options, and overload, 15
Christianity, storytelling in, 27
Churchill, Winston, 302303, 305
Citizen Kane, 140141
Clapboard prop, 246
Clapping Hands prop, 246
Cleese, John, 102
Clinton, Bill, 240
Clip-on microphones, 313
Clothing, nonverbal cues from, 309, 311
Coca-Cola, storytelling ad, 34
Color, for overheads, 223224
Columbia Broadcasting System (CBS), 9
Comedy
films, top hits, 9395
great comedians, 102103
laughter, 93
and learning, 99102
learning exercises, 125128
positive effects of, 96102
resources, 333
in TV ads, 4244
TV shows, 95, 98
Comedy, creation of, 102124
blunt truth, 117, 118
comic material, sources of, 131132
double talk, 107, 109110
double use situation, 122123
exaggerated truth, 117119
fish out of water situation, 124, 125
joke creation template, 106
joke structure, 103105
literal opposites, 111
natural humor, 129
opposites attract situation, 124, 126
outrageous retort, 119120
practical jokes, 124
pratfalls, avoiding, 132133
and presentation of self, 129130
props, 120122, 129130
puns, 109113
silly sounds, 105106, 108
timing, 130
twist and multiple twist, 111116
Common Sense View of Music, A, 137
Communication
nonverbal communication, 306311
verbal communication, 301305
Conference room seating, 216217
Index
Conflict, humor, effects on, 98

Conjurers Psychological Secrets (Sharpe), 226
Content of learning situation
and humor, 100101
illustrations and magic, 193
and pop music, 172173
Cooney, Joan Gantz, 54
Copeland, Aaron, 157
Copperfield, Doug, 309
Cops, 52
Corpus callosum, 67, 71
Cracking Creativity (Michalko), 1920, 92, 101, 243
Creative Finance magic trick, 201
Creative Trainer, The (Lawlor and Handley), 20, 306
Creative Trainers Handbook (Lawlor and Handley),
208
Creative Training Techniques (Pike), 92
Creative visioning, music as enhancement, 161
Creativity
and divergent thinking, 92
music as enhancement, 161
Culture
and choice of music, 177
and storytelling, 2930
and use of props, 244
Curtiz, Mike, 145
D
Da Vinci, Leonardo, 92
Dancer-Fitzgerald-Sample, 43
Davidson, John, 98, 262, 306
Della Femina, Travisano & Partners, 44
Desert Rose, 165
Dessoir, Max, 261, 295
Dirty Hand Gag prop, 246
Disney, Walt, 27, 28, 29, 52, 80, 92, 242, 306, 323
Disneyland, as storytelling experience, 5253
Domino Card magic trick, 196197
Double talk, comedic, 107, 109110
Double use situation, comedic, 122123
Doyle, Arthur Conan, 184, 265
Doyle Dane Bernbach, 34, 41, 43
E
Early Show, 51
Eckl, Ed, 278
Education, evolution since industrialization, 1819
Educational TV, as edutainment, 5457
Einstein, Albert, 92
Eisner, Michael, 55
Elevator music, positive effects of, 157, 159160
Elevator Music (Lanza), 159160
Emotion and Meaning (Meyer), 143
Emotional Intelligence (Goleman), 81
Emotions
and brain, 66, 69, 7475, 82
and comedy, 9798
and entertainment, 7778, 8182
and learning, 7475
and music, 178180
physiological effects of, 74
Entertainment
American obsession with, 4041, 80
and music, 137138
Entertainment Economy, The (Wolf), 20, 25, 4041, 79,
327
Entertainment technology, timeline of events, 1011
Experience Economy, The (Pine and Gilmore), 41, 226,
237, 244, 283, 327
Eye contact, nonverbal cues from, 308309
F
Feedback, microphones, 313314
Field, Cyrus, 9
Fields, W. C., 132
Fight-or-flight, 75
Film
comedic, top hits, 9395
three-act structure, 262263, 266
Film music, 138151
to create atmosphere, 153, 155156
to defined time/place, 144145
and emotions, 178179
functional background filler, 157
history of, 138139
leitmotif, 146, 148151
overture, 142143
pop songs, 170172
power of, 141
Film Music (Prendergast), 142, 155
Fish Out of Water situation, comedic, 124, 125
Fitzee, Dariel, 185, 189, 192, 209, 258, 259, 283, 285,
293, 294, 298
Flow, and mastery, 286
Ford, Henry, 15, 19
Forrest Gump
point of view, 259, 327
pop music in, 171172
4MAT instructional design, 265271
Acts One through Three, 270271
learning style categories, 265, 267
Prologue, 269270
Fox News Channel (FNC), style of, 5152
Fox Report, The, 5152
Fox Sunday News, The, 51
Framing, props as device for, 236237
Franklin, Benjamin, 227
Freberg, Stan, 43, 330
367
368
Index
Fresh Fish magic trick, 197198

Freud, Sigmund, 265
Frontal lobes, 69
G
Gallagher, 122
Game show music, in learning environment, 152,
153155
Game Show Themes for Trainers, 165
Gates, Bill, 13
Gazzaniga, Michael, 101
Generation X
attention span of, 18
and TV news, 51
Gestures, nonverbal cues from, 307308
Giant Bandage prop, 247
Gilgamesh epic, 26, 29
Gilmore, James, 226, 237, 244, 283, 327
Gladwell, Malcolm, 18, 41, 79
Gold, Ernest, 156
Gold Rush, The, 234
Goldsmith, Jerry, 179
Goleman, Daniel, 81
Good Morning America, 51
Goodie Bag prop, 247
Graham, Billy, 305
Greek epics, 2930
Group discussions, music as enhancement, 160
Gruver, Bert, 278, 283
H
Hal Riney & Partners, 43
Half-round seating arrangement, 218
Hamilton, Donald, 33
Hamilton, Frank, 278, 283
Hamlet (Shakespeare), 2829, 238
Hand-held microphones, 312313
Handley, Peter, 20, 306
Hannaford, Carla, 80, 241
Hare, Agustus W., 73
Hare, Julius C., 73
Harrison, Benjamin, 239
Harrison, William Henry, 238239
Hart, Gary, 43
Hats/Costume props, 247248
Hay, John, 2324
Hayden, Steve, 258
Health, and laughter, 9697
Hearing, and information gathering, 65
HeartMath Solution, The (Childre, Martin and Beech),
75
Henning, Doug, 309
Henson, Jim, 54
Herbert, George, 39
Herrmann, Bernard, 150, 151
Highet, Gilbert, 99
Hinduism, storytelling in, 27
Hippocampus, 67, 70
Hitchcock, Alfred, 150
Hoberman Sphere prop, 248
Hodd, Thomas, 79
Holmes, Sherlock, 265
Home Improvement, 129
Hot Book magic trick, 198199
Hot Cup magic trick, 199
Houdini, Harry, 184185, 265, 289291
House lighting, 211
How to Be Funny (Allen and Wollman), 97, 102
Howard, Pierce, 241
Hugo, Victor, 225
Humor. See Comedy; Comedy, creation of
Hypothalamus, 66, 79
I
Illusions, in TV ads, 4344
Independence Day, 263
Industrialization, and education, 1819
Inflection of voice, 302
Information technology
benefits of, 1011
downside of, 1113
evolution of, 810
Internet
educational power of, 57
source of jokes, 131
Islam, storytelling in, 27
J
Jackson, Andrew, 8
Jackson, Jesse, 303304
Jackson, Michael, 237
James Bond films, music of, 142143, 148150,
179
Jaws
music of, 142, 145, 150, 156, 178
three-act structure of, 263
Jazz Singer, The, 139
Jazzy Tunes for Trainers, 169170
John, Elton, 237
Jokes. See Comedy; Comedy, creation of
Jolson, Al, 139
Jones, Paula, 240
Judaism, storytelling in, 27
Jung, Carl, 74, 265
K
Kaper, Bronislau, 177
Kellner, Jamie, 52
Kid-Show Showmanship (Posgate), 241
King, Larry, 237
Index
King, Martin Luther, Jr., 305

Knight, Ted, 304
Knowles, Malcolm, 170
Kolb, David, 265
L
Lanza, Joseph, 159160
Lauer, Matt, 50
Laugh-In, 5455
Laughing Classroom, The (Loomans and Kolberg), 99
Laughter
mechanism of, 93
positive health effects, 9697
Lawlor, Michael, 20, 306
Lawrence, Gordon, 265
Learnertainment, 34, 7383
attention and meaning, 7576
basic principles, 83, 323325
and brain, 82
effectiveness of, 7882
emotion and attention in, 7475
entertainment and emotion, 7778
meaning and memory, 7677
objections/criticisms of, 326330
rehearsal, 278287
Learnertainment methods
comedy, 92133
communication, 301311
magic, 183203
music, 135180
personality factors, 294300
script writing, 254272
stagecraft, 210229
Learning
and brain, 6371
and comedy, 99102
learnertainment, 7383
suggestopedia method, 7173
Learning in Adulthood (Merriam and Caffarella), 20,
212
Learning environment, 212229
amphitheater, 219
conference room seating, 216217
decorating room, 221222
entryway to room, 213, 215
lighting, 220221
odor-friendly room, 226227
projection equipment, 222225
room temperature, 226
rounds and half-rounds seating, 217218
schoolhouse seating, 217
snacks in, 227
theater seating, 218219
U-shaped seating, 216217
Learning styles, types of, 265, 267
Leitmotif
film music, 146, 148151
in learning environment, 151153
Letterman, David, 240
Lighting
of learning environment, 220221
and magic performance, 211212
Limbic system
components of, 6667
and emotions, 66, 7475
Lincoln, Abraham, 9, 24
cadence of speeches, 303
as scriptwriter, 255
as storyteller, 3032
Lincoln on Leadership (Phillips), 255
Lobby, and magic performance, 210
Local news, entertainment features of, 4850
Logical sequence, in script writing, 260
Lozanov, Dr. Giorgi, 7173, 141, 189, 192, 208
Lucas, George, 171
Lyric writing, 172175
M
M & C Saatchi, 257258
McAlhone, Beryl, 100
McCaffrey & McCall, 55
McCall, David, 55
McCann-Erickson, 34
McCarthy, Bernice, 265, 267
Macintosh computer, 1984 style ad, 33
Madonna, 309
Magic, 183203
direction and suggestion in, 186190
history of, 184185
and manipulation of audience, 185192
orchestration of performance. See Stagecraft
props, 193
resources, 333334
three-act show, 264265, 266
Magic Coloring Book, 199200
Magic and learning
and classroom environment. See Learning environment
to end activities, 193
to illustrate key points, 193
magic-based learning exercises, 194202
to open activities, 192
to refocus attention, 193
Magic by Misdirection (Fitzee), 186, 209, 283
Magid, Frank, 48
Making Connections (Caine and Caine), 78, 212
Manipulation, and magic, 185192
Martin, Howard, 75
Marx, Groucho, 103, 111, 113114, 120, 240, 305
Mary Tyler Moore Show, 304
Maslow, Abraham, 26
369
370
Index
Mastery, and flow, 286

Memory
humor, effects of, 101102
and laughter, 93
and meaning, 7677
and music, 141
Menken, Alan, 257
Mercier, Louis, 77
Merriam, Sharon B., 20, 212
Messaging systems, growth of, 1213
Meyer, Leonard, 143
Mezirow, Jack, 101
Michalko, Michael, 1920, 92, 101, 243
Microphones, 311314
clip-on type, 313
feedback, 313314
hand-held type, 312313
volume level, 313
Microsoft Corporation, 13, 33
Millbower, Lenn, 136137, 143, 151, 172, 341342
contact information, 342
Mind of Mankind, The (Hamilton), 33
Mnemonics, props as, 235236, 239
Mondale, Walter, 43
Morse, Samuel, 9
Moss, Jeff, 54
Movie theaters, megacomplexes, 17
Movies. See entries under Film
Munson, Lawrence S., 243
Music
and entertainment, 137138
history of, 137138
and movies. See Film music
resources, 334335
styles, overview of, 146147
in TV ads, 4648
Music for Accelerated Learning, 165
Music and learning
atmospheric music and activities, 156158
audio/visual signal pairing, 140
background music, situations for use, 160163
CD recommendations, 165170
to define time/place, 145146
difficulties related to, 173, 176178
evoking emotional reactions, 179180
game show music, 152, 153155
leitmotifs to enhance themes, 151153
lyric writing, 172175
and memory, 141
Muzak, 157, 159160
overture placement analyzer, 144
pop songs, use of, 172173
positive conditions created by, 143144
review enhancement, 163164
training applications, 136137
Music and the Mind (Storr), 161

Music for the Movies (Thomas), 46, 153, 179
Muzak
lyrics fit to situation, 177178
positive effects of, 157, 159160
My Cousin Vinnie, 301
N
National Basketball Association (NBA), 54
National Broadcasting Company (NBC), 9
Natures Mind (Gazzaniga), 101
Needle through Balloon magic trick, 200
Neocortex, 6769, 7071
Networks, television, 9, 1516
Newall, George, 55
News media, entertainment-like features of, 4852
Newspapers, and infotainment, 48
Nicholl, Michael, 92
Nightly News, The, 50
Nike stores, 5354
Noisemakers, as prop, 248249
Nonverbal communication, 306311
clothing, 309, 311
eye contact, 308309
gestures, 307308
stance, 308
Norman, Craig & Kummel, 44
Norman, Monty, 148
Novelty, and learning, 7879
O
Odd Couple, 124
OFFBEAT Prop Placement Matrix, 242, 250
On the Wind, 165
Opposites Attract situation, comedic, 124, 126
Oral traditions, 138
Ortiz, John, 141
Overheads
design of, 223225
text size, 225
Overture
in film music, 142143
in learning environment, 143144
Owners Manual for the Brain, The (Howard), 241
P
Paint the Sky with Stars: The Best of Enya, 167
Pakenham, Sir Edward, 8
Paraconsciousness, meaning of, 7172
Parkin, Margaret, 25, 28, 30
Personality and performance
creating persona, 294298
microphones, 311314
nonverbal communication, 306311
stage fright, 298, 300
verbal communication, 301305
Index
Pesci, Joe, 301

Philips, Donald, 255
Pike, Bob, 92
Pine, Joseph, 226, 237, 244, 283, 327
Pitch of voice, 301302
Plato, 74
Playfulness, and learning, 72
Point of view, and script writing, 259260
Political advertising, storytelling ad, 34
Political figures, props of, 236, 238239
Pop songs
as film music, 170172
in TV commercials, 4647
Popcorn, Faith, 11
Popcorn Report, The (Popcorn), 11
Posgate, Bruce, 241, 272, 294
Practical jokes, 124
Prendergast, Roy, 142, 155
Professional Routines of Ron Fredrick (Eckl),
278
Projection equipment, 222225
Prologue, and three-act structure, 261, 262, 264,
269270
Props, 233251
as attention-getters, 237238
of comedians, 120122, 129130
entertainment uses of, 233
as framing device, 236
of magicians, 192
as metaphors, 238239
as pacing devices, 240
of political figures, 236, 238239
sources of, 251, 333334
of specific entertainers, 234235, 237
Props and learning
attention-getting classroom, 236237
metaphors and learning, 239240
pacing learning focus with, 240241
props as mnemonics, 235236, 239
refocusing attention, 238
selection of props, criteria for, 242245, 250
types of props, 246249
visual information, need for, 235236
Psycho, music of, 150151, 179
Puns, 109113
R
Radio, growth of medium, 9, 1617, 139140
Raiders of the Lost Ark, 263
Rapport, and humor, 9899
Raskin, David, 155
Reagan, Ronald, 239
as great communicator, 32, 305
Real World, The, 52
Reality television, examples of, 52
Rehearsal, 278287
dress rehearsal, 287
floor plan/stage plot, 281282
functions of, 278279
materials list form, 280281
prop placement, 281282
run-throughs, 283285
Reinsmith, William, 92
Religion, storytelling traditions of, 27
Repetitive tasks, music as enhancement, 161162
Restaurants, theme restaurants, 53
Retail establishments, entertainment elements of, 5354
Reticular formation, 66, 70
Retorts, outrageous, in comedy, 119120
Review, music as enhancement, 163164
Rivers, Joan, 301
Rogers, Carl, 80
Roosevelt, Franklin D.
cigarette as prop, 236
as storyteller, 32
Rose, Colin, 92
Rossenman, Leonard, 177
Round seating arrangement, 217
Run-throughs, rehearsal, 283285
S
Saatchi, Maurice, 257258
Sacks, Oliver, 141, 177
Satellites, radio services, 17
Scenery, and magic performance, 212
Scent, odor-friendly classroom, 226227
Schoolhouse Rock, as edutainment, 5556
Schoolhouse seating arrangement, 217
Schopenhauer, Arthur, 141, 145
Scott, Michael, 306
Scott, Ridley, 33
Script writing, 254272
and attention of audience, 271272
and audience, 258259
concise writing, 257258
logical sequence in, 260
point of view, focus on, 259260
simplicity in, 256257
Three-Act Structure, 260271
Seating arrangement
in classroom. See Learning environment
and magic performance, 210
Senses
enhancing classroom environment, 225227
and information gathering, 6465
Sesame Street, as edutainment, 5455
Set Your Life to Music series, 167
Setting, defined by music, 144146, 149
Shakespeare, 2829, 238
Sharpe, Sam, 79, 81, 226, 258, 259, 261, 270, 278
371
372
Index
Shelley, Percy Bysshe, 136

Sherlock Holmes stories, 184185
Show biz training, positive aspects of, 1
Show Business Is Two Words (Vincent), 129, 190, 293
Showmanship for Magicians (Fitzee), 185, 285
Simpson, O.J., 11
Singing Entertainer, The (Davidson and Casady), 98,
186
Sitcoms, 95, 98
Skin, -brain connection, 6465
Skyliner prop, 249
Slides, design of, 223225
Smart Moves (Hannaford), 80, 241
Smith, Jeff, 46, 148, 171
Smith, Shephard, 51
Snacks, 227
Sounds of Commerce, The (Smith), 46, 148, 171
Speech, versus book, 256257
Spielberg, Steven, 150
Sports, entertainment value of, 54
Square the Circle magic trick, 202
Squier, George Owen, 157
Stage fright, overcoming, 298, 300
Stage lighting, 211212
Stage Managers Handbook, The (Gruver and Hamilton),
278
Stagecraft
and learning. See Learning environment
lighting, 211212
lobby design, 210
scenery, 212
seating arrangement, 210
stage preparation, 210211
Stance, nonverbal cues from, 308
Star Wars
music of, 142, 150, 156, 179
point of view, 259
Steiner, Max, 145, 176
Stevenson, Robert Lewis, 254
Stewart, David, 100
Storr, Anthony, 161
Storytelling, 2634
and culture, 2930
functions of, 2632
modern storytelling, 3334
Stress, laughter, positive effects, 97
Suggestion
and learning, 72
and magic, 186190
Suggestology and Outlines of Suggestopedia (Lozanov),
141
Suggestopedia, 7173
classroom atmosphere, 73
increasing learning, 7273
Sullivan, Luke, 42, 225, 232, 239, 257
Superbowl, entertainment features, 54

Survival needs, 39, 64
Sylwester, Robert, 28, 33, 39, 68, 137, 170, 179,
271272
T
Tales for Training (Parkin), 28, 30
Tao of Music, The (Ortiz), 141
Tarbell, Harlan, 184, 277, 292, 308
Taste buds, and information gathering, 6465
Teaser ads, for TV news, 49
Telegraph, effects of, 9
Telephone, invention of, 9
Television
cable TV, 16, 17
channel surfing, 18
educational TV, 5457
growth of medium, 1516
reality television, 52
sitcoms, 95, 98
three-act structure of shows, 266
Television advertising, 1315
comedic ads, 4244
daily ads, time factors, 14
illusions in, 4344
music in, 4648
origin of, 1314
product as prop in, 4546
public acceptance of, 14
as storytelling, 3334
timeline of, 13
Television news
entertainment-like features of, 4852
Fox News Channel (FNC), style of, 5152
local news, 4850
network news, entertainment features, 5051
sources of, 17
teaser ads, 49
Television Production (Wurtzel and Acker), 211, 223
Temperature, of learning environment, 226
Text size, on slides/overheads, 225
Thalamus, 66, 70
Theater seating arrangement, 218219
They Used to Call Me Snow White (Barreca), 99
Thomas, Tony, 46, 153, 179
Thoreau, Henry David, 256
Three-Act Structure, 260271
in classroom (4MAT), 265, 267271
elements of, 261262
in magic show, 264265
of movies, 263
for romantic movie, 262, 264
Timing
and comedy, 130
and props, 240241
Index
Tipping Point, The (Gladwell), 18, 79

Titanic, 263
Today Show, The, 5051
Tonight Show, The, 103, 118
Touch, 168
Trainer Sounds, 167168
Training with a Beat (Millbower), 136137, 143, 151,
172
Transportation, and information transmission, 8
Tropical Dreams, 168169
Trousdale, Gary, 257
Tunes for Trainers, 169170
Twist, humorous, 111116
U
U-shaped seating arrangement, 216217
Unconscious mind, and learning, 7173
USA Today, 48
V
Van Buren, Martin, 238239
Van Dyke, Dick, 222
Verbal communication, 301305
cadence, 302304
inflection, 302
pitch, 301302
practicing speeches, 305
rate of speech, 302
volume, 304
Vincent, Bob, 129, 190, 293, 295, 300

Virgin Record Megastores, 54
Vision, and information gathering, 65
Volume, and speaking, 304
W
W. B. Donner and Company, 45
Wall Street Journal, colorized, 48
Welles, Orson, 14, 43, 140141
Whine Sticks prop, 249
Williams, John, 150151
Williams, Robin, 102, 122123, 141
Williams, Tennessee, 141
Wise, Kirk, 257
Wolf, Michael, 20, 25, 4041, 57, 79, 327
Wollman, Jane, 97
Words, comedic words, 105110
World News Tonight, 50
World as Will and Representation (Schopenhauer), 145
Wurman, Richard Saul, 10
Wurtzel, Alan, 211, 223
Y
Yohe, George, 55
You Bet Your Life, 103
Z
Zollweg, Ron, 278
373
ABOUT
LENN
MILLBOWER
hrough 30 years of extensive study and hands-on experience, Lenn Millbower has
discovered practical methods for combining music, entertainment, and learning to
create interventions that are creative, meaningful, and fun. He is:
>
The author of Training with a Beat: The Teaching Power of Music, the foremost
book on the practical usage of music in learning situations (Stylus Publishing)
>
The author of Cartoons for Trainers, a popular collection of 75 cartoons for every
type of training situation (Stylus Publishing)
>
The composer and musical arranger of Game Show Themes for Trainers, a CD
of original music for trainers (Offbeat Training Tunes)
>
An in-demand speaker, with successful presentations at ASTD International,

International Alliance for Learning, International Society for Performance Improvement, and TechKnowledge conferences
>
A Learnertainment specialist who as president of Offbeat TrainingTM is dedicated to helping organizations create learning environments that reach past the
noise of daily life
[ 375 ]
376
About Lenn Millbower
>
A dynamic instructional designer and facilitator, formerly with the Disney

University and the Disney Institute, with years of experience in the training
and development industry
>
A respected liberal arts educator with experience teaching at all levels
>
An accomplished arranger-composer skilled in the psychological application

of music to enhance learning
>
A popular entertainer with vast performance experience, having traveled throughout the United States, Canada, and the Bahamas as a comedian, magician, and
musician
Lenn Millbower received his BM in Composition from Berklee College of Music, and his
MA in Human Resource Development from Webster University. He is a member of the
International Alliance for Learning, the International Society for Performance Improvement, and ASTD.
CONTACT INFORMATION
Want more information about Offbeat Training techniques?

Want to contact Lenn Millbower?
Visit www.offbeattraining.com

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AMERICAN MANAGEMENT ASSOCIATION

Library of Congress Cataloging-in-Publication Data

2003 Lenn Millbower

The Distracted Learner . . . . . . . . . . . . . . . . . . 7

LESSONS FROM ENTERTAINMENT

Lessons from Comedy . . . . . . . . . . . . . . . . . . 89

The Stage. . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Show Biz Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

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The mind is not a vessel to be filled,

TEN REASONS TO USE SHOW BIZ TRAINING

Your yo-yo will become a vital office tool.

Websters Dictionary of Quotations (1992). New York: Smithmark.

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HARRIET AND THE HOUSEKEEPERS: SCENE 1

We live in a moment of history where change

THE RISE OF INFORMATION

The Distracted Learner

THE GROWTH OF ENTERTAINMENT TECHNOLOGY

Sony Walkman, Compuserve

Apple Computers, video rentals

Betamax, Pong home video game

Home video game systems

Research internet (ARPnet)

8-track players, video recorders

Compact audio cassette players

FM radio broadcasts in stereo

Black-and-white portable TVs

Pocket-sized transistor radios

LP records, reel-to-reel recorders

Radio/TV production resumes

Radio/TV manufacture banned

Television, FM radio begins

Radio broadcasting begins

This evolution from people-powered information to instantaneous electronic coverage took

Instantaneous e-mail has made it possible to keep in contact with people

The Distracted Learner

HDTV television, Recordable CDs

CDs surpass audiotapes

18-inch satellite receivers

Personal digital assistants

The World Wide Web

TV broadcast in stereo, CD-ROMs

Cell phones, Hi-fi VCRs, camcorders

Unfortunately, these advances have a downside. Although this abundance of information

The Distracted Learner

Many a small thing has been made

M*A*S*H finale ads cost $450,000

$7.5 billion spent on ads

The infomercial debuts

TV news surpasses newspapers

Station breaks expand from 30 to 40 seconds

$2 billion spent on ads

NBC charges $4,000 a minute

TV becomes the leading ad medium

MAS*H finale ads cost $450,000