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To beat the market, focus on investments well within your knowledge and ability to evaluate, your “circle of competence.” Be sure your information is current, accurate, and essentially complete. Be aware that information flows down a “food chain,” with those who get it first “eating” and those who get it late being eaten. Finally, don’t bet on an investment unless you can demonstrate by logic, and if appropriate by track record, that you have an edge. Whether or not you try to beat the market, you can do better by properly managing your wealth, which I talk about next.
A Man for All Markets
Edward O. Thorp
Next, try to recall the sensations you felt in your body during the actual stressor. For instance, how did it feel when you couldn’t obtain your mother’s approval even when trying your best? How did your heart feel when you were teased by a classmate? What was it like to be in your body when you had no control over the death of a loved one? Try to connect with the pain or the memory of how the experience felt in your heart. Really try to feel it without getting stuck in your thoughts or your memories. Your heart remembers. Do you feel a tightness there . . . the feeling of a heartstring being tugged . . . a jittery sense of anxiety in the center of your chest . . . a crushing heaviness . . . or something…
Heart Breath Mind
Leah Lagos
Part of what makes recording studios somewhat odd, a little museum-like in spirit, is that the gear of the past is not always rendered obsolete, even as the very latest technologies are welcomed in. A Telefunken U47 microphone from the 1940s is a favorite among artists across genres. Still. A Fairchild 670 compressor from the 1950s—they can cost some thirty thousand dollars on the vintage market—is regularly used in the digital environments of today’s best commercial studios. “There is a mystical air about a Fairchild 670,” Pete Townshend has said. “Sorry, but that’s a fact.” Old technologies, mythic technologies, and the very latest gear mix together in a way that is singular to recording culture. With the shift from analog to digital recording, the mixing of old and new would be ever more conspicuous and common. Imagine an office in which individual workstations have equipment from different eras: a typewriter in one, a Macintosh from 1985 in the next, and, in the following cubicle, a MacBook Pro from 2022. It wouldn’t happen. When the new stuff comes in, the old goes out. Computers, printers, copiers. In a recording studio, because different eras of technology do come together, a common language must be found.
Deliver Me From Nowhere
Warren Zanes
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