It’s the beginning of the glorious Independence Day weekend. Here in Boston, it’s particularly poignant. As I’m typing this I can look out the window on the Boston Harbor and easily imagine crates and crates of tea happily bobbing up and down in defiance.
A few stats courtesy of Spotify’s incredible “Year in Music” personal audit of my listening habits:
The holidays are upon us — a great time of year for bad sweaters, chestnuts roasting on an open fire, and parties with friends and family. It’s also a time when those friends and family might ask you (if you’ve been “good”) what you want for a gift. Or when it comes to my wife, sometimes she doesn’t ask me what I want — she just watches what I say and do leading up to the holidays, and invariably arrives at the thing I want or need most.
Classical music is just that— classic. Painstakingly crafted (it’s estimated that Beethoven’s Ninth Symphony took a very deliberate nine years to compose) and scripted down to the minutest detail, each classical performance is mainly an exercise in trying to match the exact score in the composer’s head with as little deviation as possible. Whether London, Vienna, or The Met, classical performances adhere to the original notes on the page for the most part. Then there’s Jazz. Legendary pianist Herbie Hancock tells a story of how the even-more-legendary Miles Davis, whom Hancock accompanied for decades, would sometimes not even call out the tune. He’d simply call out a key and then begin playing— and expect everyone to follow in their own way. Here are some lessons today’s marketing band leaders can learn from.
I love Pandora. Truly. But it’s under attack. Spotify has long been a worthy competitor for time, attention, and subscription dollars. The Spotify offering keeps getting better, and with offerings like its “Discover Weekly” playlist, it’s moving away from its “much loved favorites” terrain straight into Pandora’s fertile “discovery” territory.