Just how do you listen to music these days?
From the metal cylinder used to create the first recorded track, through vinyl, iPods and now the online streaming experience, music fans now have literally millions of tracks and songs available to listen to in hundreds of different ways.
I know there has been something of a revival of vinyl, my daughter asked for a turntable for her 17th birthday. I had a temporary moment of cool when I retrieved a number of albums from the loft. Dark Side of the Moon was the first album I ever bought. Sadly, David Cassidy’s How Can I be Sure was my first single.
When I used to listen to music I would often put the album on the turntable and listen to the whole side, true also of cassettes, and would regularly discover great tracks that would be growers. First time out, so-so, but with familiarity came high regard. Often these growers became firm favourites.
Sadly, in some ways, we no longer consume music in that way.
Music, like so many things, has to really grab our attention and hold us in its thrall right from the opening bars to have any chance.
Spotify, one of the world’s largest music streaming services, today said that the era of the 3-minute pop song is somewhat dead. If the song is unable to get you hooked within 30 seconds, forget it. The sweet spot is the opening sequence. For budding songwriters out there, get all the tricks you can to capture the audience or night-night.
To be honest that is not a big surprise to me (nor should it be to any professional negotiator).
Setting the right scene for a negotiation, by controlling the agenda, creating the appropriate tone and managing expectations of a potential outcome, is something that Scotwork have been banging on about for many years. Getting on the front foot can have a wonderful impact on the outcome of the overall meeting (and/or sequence of meetings).
When in court, barristers are offered the chance of an opening statement which when done well can mightily impact on the whole case.
You should certainly do the same.
Or be in danger of being a ‘no-hit’ wonder.