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But whether it’s music(5) or art(18) or journaling(6), having some kind of hobby(21) and engaging in regular learning has consistently been shown to lower stress. And let’s face it: When you’re on your deathbed, do you really want to lie there thinking about how good your marathon times were? That’s why I play guitar. I practice three times a week for twenty to thirty minutes. That’s it. And considering that I played violin for thirteen years, practicing an hour every day, an hour a week of guitar is easy
Beyond Training
Ben Greenfield
Two things happen when you stop holding back and start pursuing goals you actually want to achieve: PEOPLE WANT TO HELP YOU. When other people start to see how much you care, they want to join in. You find your tribe this way. We need other people, a community, to help us create the work and life we want for ourselves. THE PATH WILL PULL YOU. When you’re on your chosen path, you’ll find that you rarely need to push yourself to work. Instead, you begin to experience the joy and excitement of being pulled toward your objectives. If you’ve never felt the pull before, this may sound too good to be true. But it’s legit. Going after your authentic dream is a massive accelerant. There’s nothing more invigorating than pursuing your true calling instead of settling for adjacency: writing instead of editing, acting instead of agenting, being your own boss instead of working for someone else. You may truly want to be an editor or a talent agent or a manager—and that’s great. You simply have to figure that out for yourself. Just don’t tell yourself that settling for less than what you really want is the smart choice. It’s a fool’s bargain. That’s because you don’t even know what’s possible. Listening to what’s calling you and deciding to follow the path makes anything feel possible. Once you’ve felt that pull, you’ll never want to push again.
Creative Calling
Chase Jarvis
You don’t master your recordings to a water-damaged Panasonic boom box if you’re looking to follow up The River. But not only did Springsteen use the Panasonic for mixdown; he also, in the mix process, put all the recordings through a Gibson Echoplex, which put a layer of early Sun Records–style slap echo on, well, everything: vocals, guitars, harmonica, percussion, glockenspiel. As decisions go, to mix every recorded track on a multitrack recording through a single effect is certainly not the kind of choice professional engineers tended to make when they were creating recordings for commercial release. But Springsteen wasn’t thinking like a professional engineer. He just wanted a reference for the “real” recording process, something the band could listen to before they made a final version. “Yeah, everything went through the Echoplex,” he told me, laughing. “Guitar, voice, everything. It all has that weird echo.” When I said to Springsteen that I felt it ended up being a crucial part of the recording’s character, he stopped laughing and nodded, agreeing that it was exactly right for the recordings, even if it was foolhardy.
Deliver Me From Nowhere
Warren Zanes
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