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How to use jazz concepts to transform lukewarm sales presentations into toe-tapping performances that close the deal. PRESENTATION JAZZ offers a unique highly personalized way to quickly and easily structure a presentation for maximum impact. Includes examples, realistic scenarios, and checklists.
This enhanced e-book combines video and text to create a learning experience that is engaging, informative and fun. In addition to the full text of Presentation Zen, you’ll find high-quality video training that brings the topics to life through friendly visual instruction from experts and industry professionals. Best-selling author and authority on presentation design and delivery Garr Reynolds invites you to create provocative presentations with solid designs and Zen simplicity. This enhanced e-book combines a 50-minute video by Garr as well as the groundbreaking book Presentation Zen. Together they will challenge you to go beyond the conventional slide presentation style and think more creatively to achieve simpler, more effective presentations. You’ll learn to: •¿¿ ¿plan and prepare your presentations, and craft your story with storyboarding techniques •¿¿ ¿utilize design principles that enable you to communicate messages more effectively and emotionally •¿¿ ¿deliver your presentations by successfully connecting with your audience This provocative mix of illumination, inspiration, education, and guidance will change the way you think about making presentations with PowerPoint or Keynote. Presentation Zen challenges the conventional wisdom of making "slide presentations" in today’s world and encourages you to think differently and more creatively about the preparation, design, and delivery of your presentations. Garr shares lessons and perspectives that draw upon practical advice from the fields of communication and business. FOREWORD BY GUY KAWASAKI Presentation Zen, The Video has won numerous awards, most recently a CINE Golden Eagle Award and a a Silver Telly Award.
A spectacular musical and scientific journey from the Bronx to the cosmic horizon that reveals the astonishing links between jazz, science, Einstein, and Coltrane More than fifty years ago, John Coltrane drew the twelve musical notes in a circle and connected them by straight lines, forming a five-pointed star. Inspired by Einstein, Coltrane put physics and geometry at the core of his music. Physicist and jazz musician Stephon Alexander follows suit, using jazz to answer physics' most vexing questions about the past and future of the universe. Following the great minds that first drew the links between music and physics-a list including Pythagoras, Kepler, Newton, Einstein, and Rakim — The Jazz of Physics reveals that the ancient poetic idea of the "Music of the Spheres," taken seriously, clarifies confounding issues in physics. The Jazz of Physics will fascinate and inspire anyone interested in the mysteries of our universe, music, and life itself.
THE TIMES TOP 10 BESTSELLERA GUARDIAN, TELEGRAPH, THE TIMES, IRISH TIMES, ROUGH TRADE, MOJO, CLASH, ROLLING STONE, UNCUT BOOK OF THE YEARFrom award-winning musician and composer Warren Ellis comes the unexpected and inspiring story of a piece of chewing gum. FEATURING AN INTRODUCTION BY NICK CAVE'Warren has turned this memento, snatched from his idol's piano in a moment of rapture, into a genuine religious artefact.'NICK CAVE'Such a mad, happy book about art and music and obsession. I'm so glad I got to read it. It made the world feel lighter.'NEIL GAIMAN'In praise of meaning-rich relics and magical things. Totally heartwarming project.'MAX PORTER'A unique study of a fan's devotion, of transcendence and of the artistic vocation - it's got depth and great warmth. It's a beautiful piece of work.'KEVIN BARRYI hadn't opened the towel that contained her gum since 2013. The last person to touch it was Nina Simone, her saliva and fingerprints unsullied. The idea that it was still in her towel was something I had drawn strength from. I thought each time I opened it some of Nina Simone's spirit would vanish. In many ways that thought was more important than the gum itself.On Thursday 1 July, 1999, Dr Nina Simone gave a rare performance as part of Nick Cave's Meltdown Festival. After the show, in a state of awe, Warren Ellis crept onto the stage, took Dr Simone's piece of chewed gum from the piano, wrapped it in her stage towel and put it in a Tower Records bag. The gum remained with him for twenty years; a sacred totem, his creative muse, a conduit that would eventually take Ellis back to his childhood and his relationship with found objects, growing in significance with every passing year.Nina Simone's Gum is about how something so small can form beautiful connections between people. It is a story about the meaning we place on things, on experiences, and how they become imbued with spirituality. It is a celebration of artistic process, friendship, understanding and love. 'This is such a beautiful f*@king book. Thank you, Warren. I highly recommend this motherf*@ker.'FLEA'A beautifully written book about the power of music and objects. I powered through it in two days.'COURTNEY BARNETT'A moving, inspiration insight into a beautiful mind.'JIM JARMUSCH'The year's most eccentric and joyful musical memoir.'DAILY TELEGRAPH (Books of the year)'[Nina Simone's Gum] is a metaphor for [Ellis'] creativity - the blossoming of a small idea into something bigger and bolder - but also a journey inside the impulsive, improvisatory mind of Warren Ellis, his passions, obsessions and superstitions.' OBSERVER'[A] beautiful, strikingly idiosyncratic book - part memoir, part essay, part conceptual art project, all testament to humans at their strangest and best . . . [Ellis] sees signifiance where others might not.'MOJO'A glorious piece of object fetishism . . . Marvel as Ellis' collection of eccentric personal mementos morphs into a celebration of the intangible wonder of music.'UNCUT'Wonderful.' THE TIMES'The most peculiar book I've ever read.' CRAIG BROWN, MAIL ON SUNDAY'Delightful . . . A joy from start to finish.' BIG ISSUE'A joyous work full of love, connection, creativity and gratitude.' THE SPECTATOR'Completely charming and joyful . . . glorious.' LA REVIEW OF BOOKS'Beautiful . . . remarkable.' NEW EUROPEAN
Reports for 1980-19 also include the Annual report of the National Council on the Arts.
A landmark in jazz studies, Thinking in Jazz reveals as never before how musicians, both individually and collectively, learn to improvise. Chronicling leading musicians from their first encounters with jazz to the development of a unique improvisatory voice, Paul Berliner documents the lifetime of preparation that lies behind the skilled improviser's every idea. The product of more than fifteen years of immersion in the jazz world, Thinking in Jazz combines participant observation with detailed musicological analysis, the author's experience as a jazz trumpeter, interpretations of published material by scholars and performers, and, above all, original data from interviews with more than fifty professional musicians: bassists George Duvivier and Rufus Reid; drummers Max Roach, Ronald Shannon Jackson, and Akira Tana; guitarist Emily Remler; pianists Tommy Flanagan and Barry Harris; saxophonists Lou Donaldson, Lee Konitz, and James Moody; trombonist Curtis Fuller; trumpeters Doc Cheatham, Art Farmer, Wynton Marsalis, and Red Rodney; vocalists Carmen Lundy and Vea Williams; and others. Together, the interviews provide insight into the production of jazz by great artists like Betty Carter, Miles Davis, Dizzy Gillespie, Coleman Hawkins, and Charlie Parker. Thinking in Jazz overflows with musical examples from the 1920s to the present, including original transcriptions (keyed to commercial recordings) of collective improvisations by Miles Davis's and John Coltrane's groups. These transcriptions provide additional insight into the structure and creativity of jazz improvisation and represent a remarkable resource for jazz musicians as well as students and educators. Berliner explores the alternative ways—aural, visual, kinetic, verbal, emotional, theoretical, associative—in which these performers conceptualize their music and describes the delicate interplay of soloist and ensemble in collective improvisation. Berliner's skillful integration of data concerning musical development, the rigorous practice and thought artists devote to jazz outside of performance, and the complexities of composing in the moment leads to a new understanding of jazz improvisation as a language, an aesthetic, and a tradition. This unprecedented journey to the heart of the jazz tradition will fascinate and enlighten musicians, musicologists, and jazz fans alike.
Watching Jazz: Encounters with Jazz Performance on Screen is the first systematic study of jazz on screen media. Where earlier studies have focused almost entirely on the role and portrayal of jazz in Hollywood film, the present book engages with a plethora of technologies and media from early film and soundies through television to recent developments in digital technologies and online media. Likewise, the authors discuss jazz in the widest sense, ranging from Duke Ellington and Jimmy Dorsey through the likes of Dizzy Gillespie, Art Blakey, Oscar Peterson, Miles Davis, John Coltrane and Charles Mingus to Pat Metheny. Much of this rich and fascinating material has never been studied in depth before, and what emerges most clearly are the manifold connections between the music and the media on which it was and is being recorded. Its long association with film and television has left its trace in jazz, just as online and social media are subtly shaping it now. Vice versa, visual media have always benefited from focusing on music and this significantly affected their development. The book follows these interrelations, showing how jazz was presented and represented on screen and what this tells us about the music, the people who made it and their audiences. The result is a new approach to jazz and the media, which will be required reading for students of both fields.
This 2002 book presents a unique sociological vision of the evolution of jazz in the twentieth century. Analysing organizational structures and competing discourses in American music, Paul Lopes shows how musicians and others transformed the meaning and practice of jazz. Set against the distinct worlds of high art and popular art in America, the rise of a jazz art world is shown to be a unique movement - a socially diverse community struggling in various ways against cultural orthodoxy. Cultural politics in America is shown to be a dynamic, open, and often contradictory process of constant re-interpretation. This work is a compelling social history of American culture that incorporates various voices in jazz, including musicians, critics, collectors, producers and enthusiasts. Accessibly written and interdisciplinary in approach, it will be of great interest to scholars and students of sociology, cultural studies, social history, American studies, African-American studies, and jazz studies.