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6 episodes with Rick Altman
2 episodes with Rick Altman
2 episodes with Rick Altman
We're back with an episode featuring just Neil and myself discussing a cinematic topic we both are invested in: The crime/heist genre. The core of this chat is an examination of how the structures of the genre intersect with social, racial, and economic contexts in four specific films. Sparked by our shared admiration for Justin Kurzel's The Order, we trace the lineage of socially conscious crime narratives from classic noir to contemporary thrillers. We consider genre cinema's desire to convey a sense of prestige - think of the notion of elevated horror - and revisit some of the core theoretical foundations of genre as a self-contained system, as proposed by thinkers such as Steve Neale and Rick Altman. Then we tackle four films as case studies: The Order (2023) - Justin Kurzel Odds Against Tomorrow (1959) – Robert Wise Collateral (2004) – Michael Mann Widows (2018) – Steve McQueen We analyse how each of these films, in varying ways, deploy genre frameworks to narrate the struggle for power, identity, and survival, and we interrogate the evolving relationship between cinematic pleasure and political subtext. Shownotes Rick Altman - Film/Genre (London: British Film Institute, 1999) Neil Fox - Ashley Clark Curates BFI's Black Star - Director's Notes Luis M. Garcia-Mainar - Say it with generic maps: Genre, identity and flowers in Michael Mann's Collateral - Screening the Past Steve Neale - Genre and Hollywood (London and New York: Routledge, 2000) Cayton Purdom - Mann Men - Los Angeles Review of Books ——— Visit our Patreon at www.patreon.com/cinematologists ——— You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast, so please do that if you enjoy the show. ——— Music Credits: ‘Theme from The Cinematologists' Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass & guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing.
What did going to the movies sound like back in the “silent film” era? The answer takes us on a strange journey through Vaudeville, roaming Chautauqua lectures, penny arcades, nickelodeons, and grand movie palaces. As our guest In today's episode, pioneering scholar of film sound, Rick Altman, tells us, the silent era has a lot to teach us about why sound works the way it does at the movies today. And as our other guest, sound and film historian Eric Dienstfrey tells us, “What we think of today as standard practice is far from inevitable.” In fact, some of the practices we'll hear about are downright wacky. Audiences today give little thought to the relationship between sound and images at the movies. When we hear a character's footsteps or inner thoughts or hear a rousing orchestral score that the character can't hear, it all seems natural. Yet these are all conventions that had to be developed by filmmakers and accepted by audiences. And as Altman and Dienstfrey show us, the use of sound at the movies could have developed very differently. Dr. Rick Altman is Professor Emeritus of Cinema and Comparative Literature in the Department of Cinema and Comparative Literature, University of Iowa. Altman is known for his work on genre theory, the musical, media sound, and video pedagogy. He is the author of Silent Film Sound (New York: Columbia University Press, 2004), Film/Genre (Bloomsbury, 1999), and A Theory of Narrative (New York: Columbia University Press, 2008). Dr. Eric Dienstfrey is Postdoctoral Fellow in American Music at the University of Texas at Austin. Eric is a historian of sound, cinema, and media technology. His paper “The Myth of the Speakers: A Critical Reexamination of Dolby History” won the Society of Cinema and Media Studies' Katherine Singer Kovács Essay Award for best article of the year in 2016. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
What did going to the movies sound like back in the “silent film” era? The answer takes us on a strange journey through Vaudeville, roaming Chautauqua lectures, penny arcades, nickelodeons, and grand movie palaces. As our guest In today's episode, pioneering scholar of film sound, Rick Altman, tells us, the silent era has a lot to teach us about why sound works the way it does at the movies today. And as our other guest, sound and film historian Eric Dienstfrey tells us, “What we think of today as standard practice is far from inevitable.” In fact, some of the practices we'll hear about are downright wacky. Audiences today give little thought to the relationship between sound and images at the movies. When we hear a character's footsteps or inner thoughts or hear a rousing orchestral score that the character can't hear, it all seems natural. Yet these are all conventions that had to be developed by filmmakers and accepted by audiences. And as Altman and Dienstfrey show us, the use of sound at the movies could have developed very differently. Dr. Rick Altman is Professor Emeritus of Cinema and Comparative Literature in the Department of Cinema and Comparative Literature, University of Iowa. Altman is known for his work on genre theory, the musical, media sound, and video pedagogy. He is the author of Silent Film Sound (New York: Columbia University Press, 2004), Film/Genre (Bloomsbury, 1999), and A Theory of Narrative (New York: Columbia University Press, 2008). Dr. Eric Dienstfrey is Postdoctoral Fellow in American Music at the University of Texas at Austin. Eric is a historian of sound, cinema, and media technology. His paper “The Myth of the Speakers: A Critical Reexamination of Dolby History” won the Society of Cinema and Media Studies' Katherine Singer Kovács Essay Award for best article of the year in 2016. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
What did going to the movies sound like back in the “silent film” era? The answer takes us on a strange journey through Vaudeville, roaming Chautauqua lectures, penny arcades, nickelodeons, and grand movie palaces. As our guest In today's episode, pioneering scholar of film sound, Rick Altman, tells us, the silent era has a lot to teach us about why sound works the way it does at the movies today. And as our other guest, sound and film historian Eric Dienstfrey tells us, “What we think of today as standard practice is far from inevitable.” In fact, some of the practices we'll hear about are downright wacky. Audiences today give little thought to the relationship between sound and images at the movies. When we hear a character's footsteps or inner thoughts or hear a rousing orchestral score that the character can't hear, it all seems natural. Yet these are all conventions that had to be developed by filmmakers and accepted by audiences. And as Altman and Dienstfrey show us, the use of sound at the movies could have developed very differently. Dr. Rick Altman is Professor Emeritus of Cinema and Comparative Literature in the Department of Cinema and Comparative Literature, University of Iowa. Altman is known for his work on genre theory, the musical, media sound, and video pedagogy. He is the author of Silent Film Sound (New York: Columbia University Press, 2004), Film/Genre (Bloomsbury, 1999), and A Theory of Narrative (New York: Columbia University Press, 2008). Dr. Eric Dienstfrey is Postdoctoral Fellow in American Music at the University of Texas at Austin. Eric is a historian of sound, cinema, and media technology. His paper “The Myth of the Speakers: A Critical Reexamination of Dolby History” won the Society of Cinema and Media Studies' Katherine Singer Kovács Essay Award for best article of the year in 2016. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film
What did going to the movies sound like back in the “silent film” era? The answer takes us on a strange journey through Vaudeville, roaming Chautauqua lectures, penny arcades, nickelodeons, and grand movie palaces. As our guest In today's episode, pioneering scholar of film sound, Rick Altman, tells us, the silent era has a lot to teach us about why sound works the way it does at the movies today. And as our other guest, sound and film historian Eric Dienstfrey tells us, “What we think of today as standard practice is far from inevitable.” In fact, some of the practices we'll hear about are downright wacky. Audiences today give little thought to the relationship between sound and images at the movies. When we hear a character's footsteps or inner thoughts or hear a rousing orchestral score that the character can't hear, it all seems natural. Yet these are all conventions that had to be developed by filmmakers and accepted by audiences. And as Altman and Dienstfrey show us, the use of sound at the movies could have developed very differently. Dr. Rick Altman is Professor Emeritus of Cinema and Comparative Literature in the Department of Cinema and Comparative Literature, University of Iowa. Altman is known for his work on genre theory, the musical, media sound, and video pedagogy. He is the author of Silent Film Sound (New York: Columbia University Press, 2004), Film/Genre (Bloomsbury, 1999), and A Theory of Narrative (New York: Columbia University Press, 2008). Dr. Eric Dienstfrey is Postdoctoral Fellow in American Music at the University of Texas at Austin. Eric is a historian of sound, cinema, and media technology. His paper “The Myth of the Speakers: A Critical Reexamination of Dolby History” won the Society of Cinema and Media Studies' Katherine Singer Kovács Essay Award for best article of the year in 2016. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
What did going to the movies sound like back in the “silent film” era? The answer takes us on a strange journey through Vaudeville, roaming Chautauqua lectures, penny arcades, nickelodeons, and grand movie palaces. As our guest In today's episode, pioneering scholar of film sound, Rick Altman, tells us, the silent era has a lot to teach us about why sound works the way it does at the movies today. And as our other guest, sound and film historian Eric Dienstfrey tells us, “What we think of today as standard practice is far from inevitable.” In fact, some of the practices we'll hear about are downright wacky. Audiences today give little thought to the relationship between sound and images at the movies. When we hear a character's footsteps or inner thoughts or hear a rousing orchestral score that the character can't hear, it all seems natural. Yet these are all conventions that had to be developed by filmmakers and accepted by audiences. And as Altman and Dienstfrey show us, the use of sound at the movies could have developed very differently. Dr. Rick Altman is Professor Emeritus of Cinema and Comparative Literature in the Department of Cinema and Comparative Literature, University of Iowa. Altman is known for his work on genre theory, the musical, media sound, and video pedagogy. He is the author of Silent Film Sound (New York: Columbia University Press, 2004), Film/Genre (Bloomsbury, 1999), and A Theory of Narrative (New York: Columbia University Press, 2008). Dr. Eric Dienstfrey is Postdoctoral Fellow in American Music at the University of Texas at Austin. Eric is a historian of sound, cinema, and media technology. His paper “The Myth of the Speakers: A Critical Reexamination of Dolby History” won the Society of Cinema and Media Studies' Katherine Singer Kovács Essay Award for best article of the year in 2016. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music
What did going to the movies sound like back in the “silent film” era? The answer takes us on a strange journey through Vaudeville, roaming Chautauqua lectures, penny arcades, nickelodeons, and grand movie palaces. As our guest In today's episode, pioneering scholar of film sound, Rick Altman, tells us, the silent era has a lot to teach us about why sound works the way it does at the movies today. And as our other guest, sound and film historian Eric Dienstfrey tells us, “What we think of today as standard practice is far from inevitable.” In fact, some of the practices we'll hear about are downright wacky. Audiences today give little thought to the relationship between sound and images at the movies. When we hear a character's footsteps or inner thoughts or hear a rousing orchestral score that the character can't hear, it all seems natural. Yet these are all conventions that had to be developed by filmmakers and accepted by audiences. And as Altman and Dienstfrey show us, the use of sound at the movies could have developed very differently. Dr. Rick Altman is Professor Emeritus of Cinema and Comparative Literature in the Department of Cinema and Comparative Literature, University of Iowa. Altman is known for his work on genre theory, the musical, media sound, and video pedagogy. He is the author of Silent Film Sound (New York: Columbia University Press, 2004), Film/Genre (Bloomsbury, 1999), and A Theory of Narrative (New York: Columbia University Press, 2008). Dr. Eric Dienstfrey is Postdoctoral Fellow in American Music at the University of Texas at Austin. Eric is a historian of sound, cinema, and media technology. His paper “The Myth of the Speakers: A Critical Reexamination of Dolby History” won the Society of Cinema and Media Studies' Katherine Singer Kovács Essay Award for best article of the year in 2016. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies
Episode #182 - October 15-18 is coming soon. We spend some time with event director Rick Altman to talk about this year's Presentation Summit. Troy, Nolan, and Sandy get answers to the split event format, how this year's onsite venue was selected, and what really happened on that African safari adventure. All three of us will be at the onsite event and hope to say hello to you there! Full Episode Show Notes https://thepresentationpodcast.com/2023/e182 Show Suggestions? Questions for your Hosts? Email us at: info@thepresentationpodcast.com Listen and review on iTunes. Thanks! http://apple.co/1ROGCUq New Episodes 1st and 3rd Tuesday Every Month
Episode #157, PowerPoint celebrated its 35th anniversary this year. The Presentation Summit 2022 is celebrating its 20th anniversary this year. Both amazing benchmarks! This episode we are joined by the Presentation Summit creator and director, Rick Altman for a conversation about what to expect at this year's conference, along with some talk about the evolution of presentation. Full Episode Show Notes https://thepresentationpodcast.com/2022/e157 Show Suggestions? Questions for your Hosts? Email us at: info@thepresentationpodcast.com Listen and review on iTunes. Thanks! http://apple.co/1ROGCUq New Episodes 1st and 3rd Tuesday Every Month
Episode #132, The 19th annual Presentation Summit is September 26-29, 2021. Troy, Nolan and Sandy have each attended many times and have presented at the conference. All three will be at the event in Florida this year. This episode we have Rick Altman, founder and director of the Presentation Summit, and talk not only about the conference, but how the conference is keeping with the times and trailblazing as a robust hybrid event. Full Episode Show Notes http://thepresentationpodcast.com/e132 Show Suggestions? Questions for your Hosts? Email us at: info@thepresentationpodcast.com Listen and review on iTunes. Thanks! http://apple.co/1ROGCUq New Episodes 1st and 3rd Tuesday Every Month
Episode 109, We have a lot of PowerPoint new feature news, a special promo give away and a great conversation with the Presentation Summit Director, Rick Altman and the Presentation Summit Director of Events, Sheila McGurin. We have a great time talking about remote presenting, hearing some of the Presentation Summit statistics and recapping some of our experiences at this year's virtual conference. Full Episode Show Notes http://thepresentationpodcast.com/podcast/109 Show Suggestions? Questions for your Hosts? Email us at: info@thepresentationpodcast.com Listen and review on iTunes. Thanks! http://apple.co/1ROGCUq New Episodes 1st and 3rd Tuesday Every Month
This week on The Spectator Film Podcast… The Band Wagon (1953) 12.19.19 Featuring: Austin, Maxx Commentary track begins at 9:30 — Notes — “The Band Wagon” by Joe McElhaney from Senses of Cinema — Review of The Band Wagon from Senses of Cinema. “Minnelli, Vincente” by Joe McElhaney from Senses of Cinema — Great director profile from Senses of Cinema. “Two-Faced Woman” outtake from The Band Wagon — An excised song from the film. This number further emphasizes Cyd Charisse’s liminal position between Art and Entertainment, and the sets utilize the same art style found in the Isle of the Dead sketch transition. “Ghost singer India Adams appears” by Susan King from Los Angeles Times — This article’s surprisingly brief given its fascinating subject matter, but it still manages to shed some light on India Adams and the practice of ghost singing in Hollywood musicals. “The self-reflexive musical and the myth of entertainment” by Jane Feuer — This links to a PDF of a tremendously insightful essay discussing the concept of spontaneity within the musical genre. Feuer’s discussion of the musical’s valorization of spontaneity and improvisation is incredibly helpful for any examination of The Band Wagon. Genre: The Musical edited by Rick Altman — This is a truly fantastic anthology of essays on the (mostly American) musical. I’m not quite sure if it remains in print, but if you can get your hands on it we highly recommend picking it up. “Vincente Minnelli” by Thomas Elsaesser and “Art and Ideology: Notes on Silk Stockings” by Robin Wood were both helpful in guiding our discussion for this week, but The Band Wagon is mentioned by several more essays as well. We’ll include some relevant passages below: “Vincente Minnelli” by Thomas Elsaesser “For what seems to me essential to all of Minnelli's films is the fact that his characters are only superficially concerned with a quest, a desire to get somewhere in life, i.e. with any of the forms by which this dynamism rationalizes or sublimates itself. What we have instead, just beneath the surface of the plots, is the working of energy itself, as the ever-changing, fascinating movement of a basic impulse in its encounter with, or victory over, a given reality. The characters' existence is justified by the incessant struggle in which they engage for total fulfillment, for total gratification of their aesthetic needs, their desire for beauty and harmony, they demand for an identity of their lives with the reality of their dreams. Minnelli's films are structured so as to give the greatest possible scope to the expansive nature of a certain vitality (call it ‘will', or libido) – in short, to the confrontation of an inner, dynamic, reality and an outward, static one” (15). “Minnelli's typical protagonists are all, in a manner of speaking, highly sophisticated and cunning day-dreamers, and the mise en scene follows them, as they go through life, confusing – for good or ill – what is part of their imagination and what is real, and trying to obliterate the difference between what is freedom and what is necessity… What, in this context, characterizes the Minnelli musical is the total and magic victory of the impulse, the vision, over any reality whatsoever. The characters in his musicals transform the world into a reflection of their selves, into a pure expression of their joys and sorrows, of their inner harmony or conflicting states of mind” (15). “Thus defined, the world of the musical becomes a kind of ideal image of the medium itself, the infinitely variable material substance on which the very structure of desire and the imagination can imprint itself, freed from all physical necessity. The quickly changing décor, the transitions in the lighting and the colours of a scene, the freedom of composition, the shift from psychological realism to pure fantasy, from drama to surreal farce, the culmination of an action in a song, the change of movement into rhythmic dance – all this constitutes the very essence of the musical. In other words, it is the exaltation of the artifice as the vehicle of an authentic psychic and emotional reality. Minnelli's musicals introduce us to a liberated universe, where the total freedom of expression (of the character's creative impulse) serves to give body and meaning to the artistic vitality of the director, both being united by their roles as metteurs en scene of the self” (16). “The paradox of the musical, namely that a highly artificial, technically and artistically controlled décor and machinery can be the manifestation of wholly spontaneous, intimate movements, or the visualization of submerged, hardly conscious aspirations, becomes not only Minnelli's metaphor for the cinema as a whole, but more specifically, it makes up his central moral concern: how does the individual come to realize himself, reach his identity, create his personal universe, fulfill his life in a world of chaos and confusion, riddled with social conventions” (16-17). “Art and Ideology: Notes on Silk Stockings” by Robin Wood “The validation of ‘entertainment as against ‘art.’ ‘Entertainment’ – as something to be passively absorbed rather than actively participated in, dedicated to the discouragement of awareness – is a central ‘bourgeois-Capitalist’ concept and one inherent in the Hollywood musical as a genre, surfacing in the case of individual films as an explicit concern. The overt, if often only superficial, anti-intellectualism of a number of Hollywood musicals… is obvious… Art, both classical and avant-garde… is belittled and ridiculed because it is potentially disturbing and subversive and because it demands active concentration. Entertainment gives people what they ‘really want’ – the kind of temporary escape and distraction that prevents their dissatisfactions from reaching articulation” (63). “This particular ideological project is neatly epitomized in the ‘That’s Entertainment’ number in The Band Wagon, which explicitly reduces all cultural achievements indiscriminately to the same level of innocuousness. (Cyd Charisse’s ballet-dancing in the same film can be presented straight, partly because she is a woman and ballet is regarded as a feminine art, partly because ballet here is decorative rather than disturbing, hence poses poses no challenge to the entertainment concept.) The blatancy of this is concealed beneath an appeal to debased democratic principle: Entertainment is anti-elistist because it is what anyone can appreciate without much effort” (63-64). The Routledge Dance Studies Reader [2nd Ed.] edited by Alexandra Carter — We didn’t feature this book during our conversation, but it’s still worth mentioning for the two insightful pieces by Richard Dyer and John Meuller analyzing the ‘Dancing in the Dark’ sequence. If those pieces are any indication, this is a useful volume for anyone looking to learn more about dance.
What did going to the movies sound like back in the “silent film” era? The answer takes us on a strange journey through Vaudeville, roaming Chautauqua lectures, penny arcades, nickelodeons, and grand movie palaces. As our guest In today’s episode, pioneering scholar of film sound, Rick Altman, tells us, the silent era has a lot to teach us about why sound works the way it does at the movies today. And as our other guest, sound and film historian Eric Dienstfrey tells us, “What we think of today as standard practice is far from inevitable.” In fact, some of the practices we’ll hear about are downright wacky. Audiences today give little thought to the relationship between sound and images at the movies. When we hear a character's footsteps or inner thoughts or hear a rousing orchestral score that the character can’t hear, it all seems natural. Yet these are all conventions that had to be developed by filmmakers and accepted by audiences. And as Altman and Dienstfrey show us, the use of sound at the movies could have developed very differently. Film sound scholar Rick Altman and Mack after their interview at the University of Iowa. Dr. Rick Altman is Professor Emeritus of Cinema and Comparative Literature in the Department of Cinema and Comparative Literature, University of Iowa. Altman is known for his work on genre theory, the musical, media sound, and video pedagogy. He is the author of Silent Film Sound (New York: Columbia University Press, 2004), Film/Genre (Bloomsbury, 1999), and A Theory of Narrative (New York: Columbia University Press, 2008). Dr. Eric Dienstfrey is Postdoctoral Fellow in American Music at the University of Texas at Austin. Eric is a historian of sound, cinema, and media technology. His paper "The Myth of the Speakers: A Critical Reexamination of Dolby History” won the Society of Cinema and Media Studies’ Katherine Singer Kovács Essay Award for best article of the year in 2016. Transcript [ominous music plays] [CRIS CHEEK] This…is…Phantom Power. [MACK HAGOOD] Episode 17… [low horn instruments play] [CRIS] The Sounds of Silents [ERIC DEINSTFRY] We think of going to movies as going to the movies but for a lot of audiences, they were going to hear a live concert that was accompanied by motion pictures. And there’s this great anecdote that Anna Windisch uncovered in their scholarship in Viennese practices from the turn of the century. And they found a series of films, I believe, where you had the motion picture printed on film, but you also had a visual recording of the conductor, conducting a score that was meant to go along with that film. So I believe it was sort of like a superimposed image. So when you screen the film, you’ll see the conductor on screen conducting. And then the orchestra that was live in the theater playing would take its cues from the conductor that was on screen. [conductor taps baton, and orchestra plays] [MACK] It’s Phantom Power. I’m Mack Hagood. [CRIS] And I’m cris cheek. So what are we listening to here, Mack? [MACK] This is Eric Deinstfry. He’s a historian of sound technology and sound media working at the University of Texas, Austin. And he knows a lot about the history of sound in motion pictures. [CRIS] So what’s he talking about? [MACK] It’s this crazy story told me about the silent film era in Vienna. You know, back in the early days of film, people had to figure out how to combine music and film. And as you can imagine in Vienna they had this illustrious classical music today. With fame conductors, and it seemed like a good idea to just put the conductor in the film and let the local orchestras where the film was being shown just sort of follow his conducting. [CRIS] Yeah, but I’m imagining this didn’t go so well. [MACK] No, it didn’t. [orchestra music continues] [ERIC] And, like a lot of these practices, they’re fine. They’re enjoyable, but they don’t always work.
Episode 85 - Next month, October 2019, is the 17th annual Presentation Summit. This conference gathers 200 people in the presentation industry for insightful seminars on presentation design and delivery, deep skill building with PowerPoint, and invaluable networking. This episode Nolan, Sandy and Troy are joined by the conference organizer, Rick Altman, talking with us about the conference background, its philosophy and goals, and what to expect this year in San Antonio! Full Episode Show Notes http://thepresentationpodcast.com/podcast/85 Show Suggestions? Questions for your Hosts? Email us at: info@thepresentationpodcast.com Listen and review on iTunes. Thanks! http://apple.co/1ROGCUq New Episodes 1st and 3rd Tuesday Every Month
In this episode, I have the great pleasure to have Rick Altman as my guest. Host of The Presentation Summit for 17 years, trainer and consultant, he has a lot of stories and experiences to share. You will learn: * How being over-prepared, with a full writer's script, can be as bad as not enough preparation. * That there is no end to speaking challenges when hosting a conference. * About "The Mom"'s legacy at The Presentation Summit. * About Rick's clock analogy for orienting and preparing for his talks. * How we agreed that being "perfectly imperfect"... is perfect. ;-)
In this episode, I have the great pleasure to have Rick Altman as my guest. Host of The Presentation Summit for 17 years, trainer and consultant, he has a lot of stories and experiences to share. You will learn: * How being over-prepared, with a full writer's script, can be as bad as not enough preparation. * That there is no end to speaking challenges when hosting a conference. * About "The Mom"'s legacy at The Presentation Summit. * About Rick's clock analogy for orienting and preparing for his talks. * How we agreed that being "perfectly imperfect"... is perfect. ;-)
Welcome to the 3rd Episode of CDS PARADIGM podcast hosted by Bassist Christopher Dean Sullivan. On this Installment there is music from various artists and genre directions... vibraphonist Rick Altman, La Fuerza, Oliver Nelson, Language of Swans (soprano saxophonist Joe Giardullo, bassist Christopher Dean Sullivan, drummer Michael T.A. Thompson), trumpeter Matt Jordan, vocalist Renee Marie, alphornist Eliana Burki. Interesting PRI World report on Saudi Arabia looking to invest in Entertainment. Commentary and Reflection. CDS PARADIGM Podcast is a verve consisting of New Music Artists of various genres, Spoken Word, Interviews, Messaging, and Commentary based on Current News, Community, Human Interest, and more. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/cds-paradigm/message
Ah, the Presentation Summit! I've had the most exciting September... last week I shared about the top 10 essential speaking lessons from the STORY Gathering in Nashville - and I went straight from Nashville to Tampa. I was met with gorgeous beaches and weather. Not bad for a work trip. :) But here's the deal: I wasn't sure I was going to like this conference. Last spring, I got an email from this man named Rick Altman, the creator of this conference and CEO of Better Presenting. He said, "Hey, you should come to this conference I put on!" Now, I had HEARD about this conference as a great conference for Power Point users and designers, but because I'm not a Power Point designer, I thought it wasn't for me. Not only am I not a designer, I'm not a huge fan of Power Point. :) I recognize it is a powerful tool - and a tool that many, many of my clients use. But I really wasn't sure there'd be much for me at this conference. But Rick said - HECK NO - it's for any presentation professional. Well, ok! So, off I went! I had no idea what to expect, except that a few people I had connected with online couldn't stop talking about how excited they were for it! Well, that's a good sign... And can I say? I loved it. It was FULL of insight, powerful tools that I need to be aware of for my clients and that might be useful for YOU, and AMAZING PEOPLE. So, win-win-win. And, it was the most fun I've ever had at a conference, ever. So - here are 5 of the most important takeaways from The Presentation Summit:
Rick Altman - founder of Better Presenting and the Presentation Summit Conference - joined me on the show to talk about how we can make better presentations with better slide decks. What an important mission! As he said, hating PowerPoint is a badge of honor for so many people - but Rick's knowledge of PowerPoint has given him a chance to see the benefits of such a powerful tool, as well how we normal humans (read: not design or software experts) can use it well - in order to serve our audience and our goals. Rick is a passionate advocate - and brings that passion and joy into this conversation. Enjoy!
Episode 17 Troy, Nolan, and Sandy were featured presenters at the 2016 Presentation Summit in Las Vegas, NV and managed to secure a presentation slot for this special live audience recording of The Presentation Podcast! The podcast hosts were joined by conference director Rick Altman and a room full of presentation design experts! Full Episode Show Notes http://thepresentationpodcast.com/podcast/17 Show Suggestions? Questions for your Hosts? Email us at: info@thepresentationpodcast.com Listen and review on iTunes. Thanks! http://apple.co/1ROGCUq New Episodes 1st and 3rd Tuesday Every Month
The Presentation Summit w Rick Altman http://www.presentationsummit.com Thanks for listening to “Speaking with TJ Walker.” Please subscribe to the show here https://itunes.apple.com/podcast/id1072936158?mt=2&ls=1 The show about public speaking, media training, presentation skills, crisis communications, and presentation training. Please send any speaking-related questions you have directly to TJ at tj@mediatrainingworldwide.com and he will answer them in future episodes. Please connect with us at Media Training Worldwide and post your questions here http://www.mediatrainingworldwide.com/blog/ On Facebook: https://www.facebook.com/tjwalkerinteractive Twitter: https://twitter.com/tjwalker Linkedin: T.J. Walker Youtube https://www.youtube.com/user/MediaTraining iTunes: https://itunes.apple.com/podcast/id1072936158?mt=2&ls=1 Receive Free online Public Speaking or Media Training Course today http://www.mediatrainingworldwide.com/give-away.html Call +1.212.764.4955 now to discuss a customized media training or presentation training program for you or your organization. For keynote speech and media inquiries, call +1.212.764.4955 Online media and presentation training at http://www.mediatrainingworldwide.com/online-training.html Media Training Worldwide teaches people how to speak effectively to the media and to live audiences. We train people on all aspects of media training, public speaking, PowerPoint Presentations, crisis communications and presentation training.
Rick Altman is a public speaker, consultant, author of “Why Most PowerPoint Presentations Suck”and founder of “The Presentation Summit”, a conference devoted to creating captivating presentations. Rick covers the whole industry through his teachings of message crafting to presentation design, slide creation, software technique and delivery.
Rick Altman is an author, speaker, consultant and the presentation ninja behind Presentation Summit, a conference devoted to creating great presentations.
IKKM Lectures 2012/2013: Rick Altman (Iowa, IA)»New Wine in Old Wineskins: The Rise and Fall of Early Sync Sound Systems«Paper presented as part of the IKKM Lectures 2012/2013 on November 7th, 2012For further information, please visit www.ikkm-weimar.de
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