My Brain Works on Holst

Let me tell you what Spotify did to me.

A few months ago, I was deep in a research hole, and the algorithm blessed me with “Mars” from Gustav Holst’s The Planets. Ever since, I have been obsessed with the entire suite. The orchestration is a vibe. It just hits different.

Now, the funny thing is, I actually used to work for a regional orchestra. But let’s be clear: I was 100% Anne Hathaway at the beginning of The Devil Wears Prada. I walked in determined to shake things up, but I didn’t even speak the language.

I tried! I spent my free time scrambling to catch up, but people spend their entire lives studying music. My little self-study crash course could only get me so far. There was no Stanley Tucci holding my hand, making sure I navigated the internal politics with deftness. Oh no. I was just left out on the battlefield to defend programs I had no idea were causing drama, hired to deal with a ticking time bomb I wasn’t even warned about.

But that… is a story for another day. That is not my focus here.

My focus is that I had to listen to a ton of orchestral music. A lot of it was new, since it was a commissioning orchestra—which is a whole different conversation about how this “dying art” (I call BS) is actually evolving. I also jammed to the standards. In the process, I learned that I am deeply in love with the Russians (Tchaikovsky, Rimsky-Korsakov) and that Beethoven will always get my behind in a seat.

And through all that, I found Holst.My brain just works on Holst. It clicks.

Planetary Alignment

I love thinking about outer space, galaxies, and planets. I’ve always seen myself as the planet Jupiter. For one, it’s massive. For two, it starts with a J. But most importantly, Holst named it the “Bringer of Jollity.”

And folks, I love being jolly. I would almost always rather be laughing. This isn’t some toxic positivity mess; I just genuinely, deeply love the feeling of joy.

So, while some book says Men Are from Mars and Women Are from Venus, I am proudly from Jupiter. If you don’t believe me, go listen to Holst’s “Jupiter” right now. It is a full-body range of fun that gets the entire orchestra hype.

This all gave me an idea. You know I’m all about turning these moments into resources for us. So, let’s get into a family activity.

Family Activity: So, You’re From …?

The Goal: We’re doing two things here. First, we’re practicing active listening and figuring out how music tells a story or paints a picture. Second, we’re using that to talk about the silly (and sometimes harmful) boxes people use, especially around gender.

Here’s How You Do It:

1. Set the Stage: Tell your kids (middle school and up will really get into this) that there’s a super-famous book called Men Are from Mars, Women Are from Venus. Then, just pause. Let them react. Ask ’em what they think a book with that title could possibly be about.
2. Give the “Plot”: Explain that the author’s whole point was that men and women are just built differently. He argued that men have personalities like Mars (the Roman god of war) and women have personalities like Venus (the goddess of love). Again, just pause. Let them react to that. The side-eyes are welcome.
3. The Listening Party (Part 1): Say, “Alright, let’s see what that sounds like.” Play “Mars, the Bringer of War” from Holst’s The Planets. (It’s on YouTube, Spotify, everywhere. It’s the one that sounds like a whole intergalactic battle).
   • Ask ’em: “What instruments did you hear?” (They’ll probably say loud drums and horns). “How did that make you feel? Anxious? Gassed up? Ready to fight?” Then, “Why do you think the composer used those sounds for a planet named after ‘War’?”
4. The Listening Party (Part 2): Now, switch the whole mood. Play “Venus, the Bringer of Peace.”
   • Ask ’em: “How was that different? What instruments did you hear this time?” (Probably more strings, flutes… “pretty” sounds). “How does this one feel?” Then, “Why these instruments for ‘Peace’?”
5. Bring It Home: Circle back to that book title.
   • Ask ’em: “So, based on that music, what kind of person is ‘from Mars’? What kind of person is ‘from Venus’?”
   • “Do you think it’s true that all men are like ‘Mars’ and all women are like ‘Venus’? Why not? Who do you know that breaks that rule?”
   • Let ’em cook. The whole point is for them to see how we use music and metaphors to create stereotypes—and how easy it is to poke holes in them.

Want to Keep Going? (Extensions):

• Planet Playlist: Listen to the whole Planets suite! Before you play each one (like “Mercury, the Winged Messenger” or “Jupiter, the Bringer of Jollity”), have them guess what it will sound like just from the title.
• Who Are You? Play “Jupiter” and ask them, “Who in our family does this song remind you of?” (Hopefully, it’s you!)
• Create-a-Planet: Ask them to pick a planet (real or imaginary) and describe its theme song. What instruments would it have? Would it be fast or slow?

AFROP Rating

• A (Active Brains): High. This isn’t just “hearing” music; it’s listening to it. They have to analyze, compare, and connect abstract sounds to social ideas.
• F (Focused Art): Medium. Okay, Holst isn’t Afrofuturist, but the entire theme of planets, space, and defining our identity outside of the boxes we’re given? That is 100% an Afrofuturist conversation.
• R (Real Experiences): High. This is a full-on sensory experience. You can’t listen to “Mars” and not feel something. It’s a great way to talk about how art creates a physical, emotional reaction.
• O (Opportunities): High. They get to apply what they learned (how instruments make you feel) to challenge a real-world social stereotype. That’s a life skill.
• P (Practicalities): Excellent.
  • Time: 15-30 minutes. Perfect for after-school or a chill weekend moment.
  • Energy: Low. You just need to sit, listen, and talk.
  • Cost: $0. Free-99 on YouTube or your streaming service of choice.

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So here’s your assignment: The next time you’re on a music app, find a “classical for focus” playlist and just let it play. Put it on while the kids are doing homework (or while you’re trying to get work done). Research shows this kind of music can genuinely help with deep focus and concentration.

But when I say explore this music, I’m not just talking about the standards.

That orchestra job I had? For all its drama, it did one amazing thing: it introduced me to living Black composers who are making vital, breathtaking music right now.

This right here is that “F” for Focused Art—that Afrofuturist component we talked about. It’s the proof that this art form isn’t just a relic of the past. It’s about Black artists claiming space in these traditionally white, European institutions and using the full power of an orchestra to tell our stories, centering our experiences.

I’m talking about composers like Joel Thompson, who wrote a shattering, vital piece based on the last words of Black men murdered by police brutality. I’m talking about Valerie Coleman, a Black woman who composed an entire suite called Phenomenal Women. It is literally a musical celebration of Black womanhood, with each movement dedicated to a powerhouse who changed the culture: Maya Angelou, Clarissa Shields, Serena Williams, and Michelle Obama.

I would have never known they, or these pieces, existed if I hadn’t worked there. And that’s the problem. All too often, these incredible commissioned pieces are performed once or twice, and then they disappear into cold storage, and most of us never get the chance to hear them.

So, exploring this music isn’t just about homework. 

It’s about actively seeking out these hidden gems and new voices who are crafting our future heritage.