0:11
How To Read A Meta-Analysis
Meta‑analyses pull together data from lots of individual studies, so they can give a bigger picture than any single trial. Think of them as a weighted average: each study’s size and reliability shape the overall estimate.
The first thing to check is how the authors chose which studies to include. If they only grabbed the ones that look good, the result can be skewed. Look for a clear, pre‑specified criteria list and a flow diagram that shows what was excluded and why.
Next, see how they handled differences between studies—called heterogeneity. A low heterogeneity score means the studies are fairly consistent; a high score suggests the pooled result might be mixing apples and oranges, so the authors should explain why they still combined them.
Finally, watch for publication bias. If the analysis only includes published papers, especially positive ones, the overall effect can be overstated. Good meta‑analyses will include a funnel plot or similar test to show whether missing studies might be hiding a different story.
1:23
Nepal’s Rhino translocation success in numbers masks habitat struggles
While Nepal’s efforts to revive its rhinoceros population is hailed as a conservation success, habitat degradation is forcing translocated rhinos to wander far beyond their designated release zones, according to a new study, reports contributor Bibek Bhandari for Mongabay. The population of the vulnerable greater one-horned rhinoceros (Rhinoceros unicornis) in Nepal grew by 16.6% between 2015 and 2021, reaching a total of 752 individuals. To expand the range of rhinos, authorities also established new rhino populations in Bardiya and Shuklaphanta national parks. Bardiya, which had no surviving rhinos until the early 1980s, now has about 38 rhinos, according to the last census in 2021. To see how the reintroduced rhinos use habitat in Bardiya, researchers attached GPS collars on five rhinos moved from Chitwan National Park to Bardiya in 2016-17. Their tracking showed that the rhinos maintain unusually large home ranges in the park’s Babai Valley. The study authors said that the behavior is likely due to fragmented riverine forests, limited grassland and seasonal water scarcity. Study co-author Babu Ram Lamichhane, currently associated with the nonprofit Wild Care Nepal, said that massive floods in 2015 and 2017 inundated the Babai Valley, reducing the grassland patches and wallowing sites rhinos require for thermoregulation and skin maintenance. Lamichhane said during the dry season, a lack of water in the Babai River forces rhinos to travel long distances, sometimes even crossing into India. “The rhino habitat is not at an optimal level in Babai Valley,” Lamichhane said. As rhinos seek resources outside the…This article was originally published on Mongabay
3:20
Insights into creativity, well-being, and self-actualization
Welcome to Beautiful Minds Newsletter by me, Scott Barry Kaufman. Humanistic psychologist exploring the depths of human potential | New book: Transcend (April 7, 2020) | @psychpodcast | @sciam | #neurodiversity
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3:46
The geniuses of our generation are still arriving
When George Beauchamp invented the first true electric guitar he set in motion a stunning chain of events.
With his instrument in the hands of the free loving generation of the 60s, this new sound caused jazz to fade and the music scene was claimed as their own.
Beauchamp’s genius was akin to creating fire both symbolically and literally—because when Jimi Hendrix took the stage at the Monterey Pop Festival in 1967, deciding to burn and destroy his electric guitar on stage, Rolling Stones printed the iconic moment. Revealing an image that human eyes hadn’t yet seen and begged the question, “Why has no one thought of doing that before?”
The way we think about genius can cause those who have it to deny belief in it. Our society cultivates genius through the eyes of the past which can stunt it. Yet genius, by definition, requires freedom from what has occurred to create what hasn’t yet happened. We would think it was silly to study Victorian carriages from the 19th century in order to invent an electric car. Yet this is what we do.
Pianists study Mozart, writers mimic Kafka, Didion and Eliot and philosophers teach Plato as if they came up with his thoughts.
Fixation on the past may help with learning basic foundations but they are not the ideal or the end—they are a beginning and the genius has a duty to go beyond them. Because when they are nurtured and left open to inspiration they go beyond the present and bring back the future, revealing to the world what it has not yet experienced before.
We cannot believe that the inventions are finished, human potential is tapped and that there is nothing new to see as this disrespects the human imagination. Though there will never be another Jung, Björk, Kahlo, Cobain, Lynch or Beauvoir that does not mean that the list is complete. Far from it.
There are people who are living today, who are doing their work right now and are unrecognised. However they will not be realised without unparalleled effort or true originality.
The genius in chrysalis must embrace their own genius before they are witnessed—and there are two areas to embrace if one wishes to do this.
Genius by definition requires difference—in idea, way of thinking, stylistic choices, belief system etc.
This goes against human nature.
Meaning that the embodiment of genius is always possible however it will inevitably put them in stark contrast against the world. Risking acceptance and safety in the process, it is this discomfort in difference that causes many possible geniuses to commit the sin of wanting to think homogenous thoughts and speak in clichés. As well as avoiding the very work that is seeking to morph them into what they are.
Meaning that inspiration and courage is far more important than the intellect for the existence of genius to occur.
When Noam Chomsky revolutionised linguistics with Universal Grammar and was later ridiculed when he stood up and opposed the Vietnam war (causing an entire discussion around the role of intellectuals) he had two moments which showed us his genius. The first was questioning the expertise of an entire established field and the second was breaking new ground in the moral choices of intellectuals who were not, ‘speaking the truth or exposing lies.’
Being different is essential to genius. Yet pure difference must also be combined with excellence at what they do for it to exist.
Geniuses appear after years of diligent focus on their craft.
They are both inspired and have the skills to craft that inspiration into a form that the world experiences.
In Nietzsche's book Thus Spoke Zarathustra he reveals that the prophet Zarathustra who had gone into the mountains for 10 years prior, seeking solitude and contemplation, is inspired to return. Coming down from the mountain he begins preaching the insights that he received. Without this period of contemplation there is no prophet and no inspired proclamations.
It is here that our current conception of what a genius “is” reveals itself as incoherent to the reality of it. As they need to work on and refine their craft with care, focus and devotion for long periods of time in order to meet the actuality of their potential.
Whilst society experiences other people’s genius as a lightning bolt that penetrates what’s known with a new possibility overnight, geniuses find Michaelangelo’s words to be a truer representation of how it works, “If you knew how much work was put into it, you wouldn't call it genius.”
Geniuses are needed in our world—they break the paradigms of convention and usher in new ways of thinking, seeing, feeling and experiencing the world. With a willingness to think the unthinkable and do the never before seen, they inspire entire generations and break us into new eras of progress.
Society imagines our list of icons is calcified and complete, however, many geniuses of our generation are still in formation.
9:10
I studied Sofia Coppola's soft ambition
When people begin pursuing their dreams they inevitably run into hardships and challenges. Acting as rites of passage each obstacle reshapes one’s way of being anew, helping them to carry the responsibility of their vocation.
However, in facing these challenges most relent.
What is asked of them is too heavy and giving up to do something less ambitious and more attainable is chosen. In other words, people deny their calling because it is viewed as not being worth the suffering. Sofia Coppola is not one of these people.
Coppola’s films have gained an intense fandom with the awards to match—an Academy Award, a Cannes Film Festival Award and more.
However under the glamour of success what’s left unnoticed is the unconventional way she approaches her ambitions.
Whilst many point to her father Francis Coppola (the Director of The Godfathers and Apocalypse Now) as being the sole reason why she was able to make filmmaking her profession, this is a superficial take.
Sofia Coppola had to overcome a variety of challenges, including approaching filmmaking in a way that suited her way of being. To create films that were based on her own experience and expression she had to embrace her own visions and hold firmly every step of the way.
Ambition has become associated with aggression. This high energy and fast paced way of being is a reflection on modern culture's mimicry of wall street values. Filled with competitive frameworks that are embedded in its structure, it can cause us to associate ambition and dominance as synonyms.
In this context ambition rarely serves creatives, thinkers, healers and those immersed in spiritually inclined work—causing them to disassociate with it.
However, ambition is worth undertaking.
But rather than pursuing our aims in an aggressive way we must ask what ambition is to us and how does one relate to it as they pursue their calling? Because integrity can still be maintained for many of us if ambition is viewed softly. Allowing for a different type of felt-experience to be created that can take us to new peaks without destroying ourselves and those around us in the process.
In Sofia Coppola’s first feature film, she directed The Virgin Suicides (1999). With the film industry having a clear way that directors should behave in, her style on set was immediately scrutinised. Where was the yelling? Where was the commander? Where was the militant style?
Sofia knew that this way of being in the world was not her way. Deciding that if she was going to produce her best work, she would work in accordance with her nature. Even her father, Francis, tried to convince her to scream “ACTION!” because, “No one respects you.” But Sofia would not budge—this was not how she was going to make movies.
She intuitively understood the type of environment that was required for her ambitious project to spring to life. This is why those who work with her speak about her sense of safety and calmness on set, which allows them to break into vulnerable terrain that would have ordinarily been off limits. It wasn’t simply her soft voice, it was her deeper knowing that this was how it needed to be done.
Her ambition caused her to reconstitute how one approaches ambition entirely and shows that what we pursue requires a way of pursuing it. For the work to be realised, self-becoming must occur.
Soft ambition protects the inner landscape of experience.
There are certain things in life that we hold dear to our hearts—childhood memories, emotions, the dreams of possible future experiences, a journal that holds who we used to be. All of these are worthy of our protection because we have seeped meaning into them on account of being alive.
However when ambition is pursued without softness, it can sever us from the richness of what we have gathered. The cost is losing what’s treasured when we could have taken the beloved with us.
Instead of cutting off what we care about in life, we can instead protect it and use it to make more of it through our ambitions. Memories can become inspirations, emotions can become creations and dreams can be made visible in films, novels, artworks and songs. When the beauty of interior life is externalised it can become the atmosphere that another can experience.
In hearing that the novel Virgin Suicides by Jeffrey Eugenides was going to be adopted into a film, the news should have been exciting for Sofia. Instead, in finding out that the chosen director was planning on making the film darker, she found herself worrying that they would ruin the book she loved.
This event moved her into a state of action.
Thinking through how she would do it, she started to adapt the chapters until she had completed the entire book.
14:21
Self-Expression Spectrum: A concept that helps craft a truthful public image
In observing mythic terrain we find that the sun symbolises the self, the ego and the organising principle of the universe. It holds the centre and those that surround it are granted warmth and dominion nearby.
Alternatively the moon symbolises the people, the other and represents the giving of light to those that are not ordinarily seen.
It is in this relationship, dual in nature, where we can peer into the symbolism of self-expression and service.
When people express themselves and their works publicly they can feel pulled between personal desires and vocational desires. The want to be witnessed may conflict with serving others. Whilst serving may limit how much of the “self” is allowed to be visible in public.
It’s here, between these two desires, that incongruence can appear in the form of a chaotic public image that others cannot understand.
However, if we separate self-expression from service and begin to understand what our vocation requires from us, we can embrace and craft a truthful public image that properly represents our calling and life’s work. Because some need to focus on pure service whereas others need pure self-expression.
However this is not binary, as there is an entire gradient of possibilities as some of us need a mixture of both.
The Self-Expression Spectrum is a philosophical concept created by myself and Brooke Solis, and is used to help the vocationally minded discern the amount of self-expression needed in one’s work and public expression.
Because of the diverse nature of paths, the amount of self-expression needed differs depending on the calling itself. Meaning that there is no universal rule for all humans and what our calling demands of us will explain where we fit.
This is the difference between the educator who selflessly serves and educates others and the creative who works in solitude, pouring the inner material of their experiences into their works.
Through the Self-Expression Spectrum we can assess what is needed of us in order to walk our path.
On one end of the spectrum we have pure self-expression. Here the orientation of the individual is directed internally and a deep relationship with the self is paramount.
Audience, followers, fans, critiques, these are distractions that pull one away from what the work is seeking to be. Bringing forth what’s real from the reservoir within characterises the work, not external feedback.
Changing the work on account of being more popular is blasphemy and how the work is received is deprioritised, elevating expression to the persevering force that takes them towards their calling.
We need only view Billie Eilish’s musical works and public way of being to understand that self-expression is a necessity for the music to complete itself. One needs to remind those that are on the pure self-expression end of the spectrum that they elevate humanity indirectly, going through the door of the self.
On the opposite end of the spectrum we have pure service.
Here the individual’s attention is directed externally and finds that their work is connected to others. Whilst they may feel the desire to self-express, they know that it may not help those they serve, causing restraint from the raw desire to ensure they aid those in need.
In being attentive to others, they will reorganise how they work based on the feedback they receive from those they work with. Constantly tuning into needs that are not their own.
Nelson Mandela embodied this side of the spectrum and revealed why when he said, “When a man has done what he considers to be his duty to his people and his country, he can rest in peace.”
Pure service is not a self lost but a life given to the betterment of others and in that process one finds who they are.
In the middle of the spectrum we have a balanced mixture between service and self-expression.
Here we have individuals who express themselves in their work but are also aware of others. Over time they come to know where they will and will not compromise. Understanding that self-expression is needed in one area but may jeopardise another. Therefore strong borders must be maintained so that they don’t destroy what they fought hard to create.
Here we can imagine an online holistic wellness guide who makes educational content based on what their audience prefers, whilst also not bending their personality to an algorithm for extra views. Here they are able to nurture themselves whilst also serving the world, finding internal and external balance as time unfolds.
Our position depends on what we have been called for in our sacred work and shows us that there are infinite possible ways to craft a public image. However there is only one that is truthful to our vocation and it’s up to us to pinpoint where that place is for us.
19:39
Recognising our personal taste as self-revelation
This is because the “self” is constantly moving us towards more of what we are.
However, the totality of our “self” is not known to us—requiring a lifetime of experience and reflection to bring full awareness. Meaning that we can be oblivious to how important what we are drawn towards is.
For example we may think about a favourite film as nothing more than a favourite film. But in paying attention, we can notice that there are parts of ourselves communicating to us through the film. Hoping that one day they will be recognised, embraced and celebrated.
For example, if in viewing Michelangelo’s Bacchus one is inspired to learn how to sculpt marble, we can see the chain of events directly.
One does not sculpt, then one is inspired to sculpt, then one learns how to sculpt and finally one can sculpt.
Here more of the self is identified and embraced and we can see that self-revelation has occurred because the individual was drawn towards sculpting in the beginning. However what is less commonly understood, and yet where more self-revelation resides, is in the abstract essence of what someone is pulled towards.
If we go back to Michelangelo’s Bacchus, we might find that one is inspired by it but the reason for that inspiration could be unknown to them.
Further personal inquiry may reveal that the self is seeking mastery, precision and obsession, with Michaelangelo’s work representing these qualities.
Or, it may reveal that the self is pursuing themes of freedom, festivity and intoxication, with Bacchus the Roman god representing these qualities.
What may have been hidden beneath the obvious can come to awareness if one enquires deeper.
There is nothing trivial about our favourite colours, outfits, paintings, bands, cities or humans. They are all lessons of recognition that if taken seriously, tell us about ourselves in the present and future.
Because there is much ‘unconscious’ self-knowledge to be gathered, our personal taste can be a guiding force that brings it to our attention. Informing us of what is within us and allowing us to blend more of it into our lives.
This is why developing one’s personal taste is a crucial part of the union between recognised and unrecognised parts of who we are. By discerning and developing our own personal taste, we can see ourselves clearly against the world. Bringing a richer awareness of who we are and what we are here to do on this Earth.
During the 12th century there were debates over art and architecture in the christian church. The Cistercian Order promoted a life of simplicity, humility and self-denial. This meant that they saw artworks and the beautification of churches as excess—distractions from God.
However, Abbot Suger of Saint-Denis was fascinated by light and coloured window panes. He believed art, design and architecture could be used to elevate one’s mind towards God. With these beliefs he reconstructed the Basilica of Saint-Denis, famously using the notion of lux nova (“new light”) to ensure light would come through the coloured windows, creating an atmosphere of heavenly transcendence.
Though he was met with criticism, because he relied on his beliefs and personal taste, Abbot Suger of Saint-Denis established a church that would later be known as Gothic style, which came to dominate Europe during the medieval period.
Being drawn to light and colour created an iridescent setting that represented who Abbot Suger of Saint-Denis was.
This is because the more self-knowledge we have the better able we are to navigate what is and is not for us.
We also cannot pursue our path in this life guided by the tastes of others.
Pretending to be interested and work on that which is not for us will only cause us suffering. Because our calling requires one to both serve the world whilst simultaneously needing us to come into deep awareness with one’s “self”.
Constantly expanding our self-knowledge is a part of our sacred work.
It’s here that we can pay homage to the ancient philosophers who advised, “The unexamined life is not worth living.” Which also implies it’s opposite: the examined life will inform us of what makes life meaningful.
May we recognise what is seeking us and although we are scattered across a lifetime, remember that much beauty in life comes from the experiences we have as we collect ourselves along the way.
A Career Archetype is a unique pattern of expression that acts as a guiding force in one’s vocation, calling and career.
It helps you understand what work you were born to do, at a core level.
Today we’ll be looking at The Food Stylist.
In viewing a photograph of a delicious meal we can imagine the possibility of its taste.
24:47
I observed David Attenborough’s ability to lead his field
Accepting our vocation can mean becoming a leader in our field.
Those who pursue their calling can be asked to take first steps into new territory—following an internal compass that guides their path. Meaning that for particular callings, industry progress and devotion are interwoven.
This is what happened in David Attenborough’s career path.
Detailed in his memoir titled Life on Air, we discover that even in working for the BBC, David was able to navigate through the bureaucracy and red-tape to ensure he completed his life’s work at the standard he sought.
A feat that could only be accomplished by an individual attuned to their calling.
He’s known for his documentaries and commentary on biology, natural history, environmentalism and life on earth, winning various awards such as the United Nations Champion of the Earth award.
He was also a pioneer in technology and media and oversaw the first-ever colour television shows in Europe. With a voice that has become the type-caste for nature documentaries, one can be forgiven for not knowing what nature documentaries sounded like before him. Representing just how much of a leader he is.
In observing Attenborough’s story we find insightful lessons on how to surge ahead in one’s field with integrity—helping us to better navigate our own paths.
The vocation can ask us to do what has not yet been done.
Industries have established rules, norms and conventions which create a criteria around the “right” way to pursue a path. Often we’re not aware of the rules until we observe a violation of them.
An example of this is when Frank Ocean dropped his lead single Pyramids with a track length of 9 minutes and 54 seconds. Knowing that radio wouldn’t know how to handle it. Pioneering acts can progress a field however these norms are rarely challenged, often because they can put a career at risk.
In other words, when industries go stale they need progress and progress comes from leaders doing what has not yet been done before. Which requires a will that’s not grounded in maintaining what “is”, but instead seeks what’s best. Whilst it may go against what others believe is correct, is needed and necessary to find new ground.
When David Attenborough was given control over the BBC2, a brand new channel for the BBC, there was no editorial policy. With the channel struggling David decided to produce programs that no other channel was showing.
Instead of copying other channels he asked how they could be different—believing that with this approach he could persuade them to switch. To do this he added a wide range of programs, presented new untouched subjects on television and experimented on neglected subjects with fresh approaches. This approach gifted us with fifty minute documentaries (originally 30 minutes), the serialising of classic novels, science series such as, “Life” and the booking of Jazz legends such as Ella Fitzgerald, Louis Armstrong and Duke Ellington.
David focused on what was not yet there. He was courageous enough to breakaway from the industry norms and present what had not yet been seen on television before.
“I declared that we were not in the business of producing carbon copies of programmes that were already being shown on other networks.” – pg. 203, Life on Air by David Attenborough
Anyone can become proficient in a craft but the vocation requires a pursuit of excellence.
When studying leaders in any field a pattern appears—leaders have knowledge which goes far beyond what’s necessary to “get by”.
This excess of understanding is normally fuelled by an innate hunger for their field. For them, the completion of one’s education does not stop at a certificate or degree or once they’ve arrived at a particular status or income.
In fact, they have no plans on finishing.
Wanting to drink in knowledge and skills and experiences in their field with the same intensity that the Greek Gods Dionysus and Silenus chase festivities. They are sustained by their work in meaning and fulfillment, which is why going beyond what others see as necessary is effortless.
The pursuit of excellence becomes a driving life force.
Around the age of 36 David Attenborough decided to go back to university. Whilst many people think that they are finished with education after their 20’s, David understood the importance of a never ending education. Resigning from a permanent position at the BBC in 1962, he began working for them part-time instead, allowing him to focus on studying. Deciding to learn about social anthropology so as to “...remain fresh.”
Returning to school gave him foundational knowledge that opened up whole new avenues of inquiries and explorations and though he didn’t finish his postgraduate studies (taking the BBC2 position) this experience served his path for years to come.
Had he not done this he would have missed out on expanding his horizons on what was possible.
“So I went back to university.
30:13
Hobbies vs. Callings: On understanding the difference
This question has haunted philosophers for centuries. Arguments have been made for the family, the nation, the human experience, power, god, pleasure, love, awe, friends, beauty, truth and more.
However what is generally agreed by all is that we are human beings who need life-affirming activities. We need reasons to live. We are not here to spectate but experience from the centre of our own being the event of our lives.
By adorning our existence with activities that make life worth living, not only does suffering become bearable and monotony subdued, but we speak truth when we say, “The calling will elevate the life and hobbies can enrich it.”
The modern world has confused hobbies and a person’s calling, often merging them together and confusing their aims.
Yet both have their own individual wills.
We can think about this allegorically by imagining a young adult who begins learning to paint frescoes. If they approach painting as a hobby, they will likely receive pleasure from it immediately because the act of painting brings joy, no matter how good or bad they are.
Whereas if they approach painting as a calling they will need to ground themselves in a far off future. Skills need to be mastered and heights are waiting to be reached.
Painting frescoes remains the same in both situations but how they relate to it changes the felt-experience of it. Meaning that if this young adult expects their hobby to take them to excellence whilst being pleasurable the entire time (attributing characteristics of the calling to the hobby) it easily causes confusion and frustration.
This is why it’s important to discern the difference between a hobby and calling.
When an individual finds pleasure in an activity for the activity itself, isolated from other meaningful activities, a hobby occurs.
In other words a hobby is an activity that is done purely for enjoyment.
It exists in the present. Like an archer with no target who pulls back their bow and fires an arrow into the sky, it’s done just to feel the string release. There are no grand aims or heightened expectations because bringing in standards (and thus creating ideals) would cause the constitution of the hobby to morph into something it is not. If one gets better at their hobby it is outgrowth rather than intention.
Everything that a hobby is seeking exists in the very moment it’s being experienced—here it becomes a life-affirming activity.
Hobbies sit outside of responsibility, achievement, validation, social recognition and self-improvement. They beautify life because the enjoyment of them is pure.
In hobbies humans have access to the here and now.
When we think about Emily Dickinson we think about her poems such as, ‘I taste a liquor never brewed’ and lines like, “That it will never come again is what makes life so sweet.”
But she was not in her room from morning to night, penning poem after poem until her hands bled. Instead she regularly found herself in her garden.
Gardening was a hobby that enriched her life and brought nature into her everyday experience. She was not searching to be a horticulturist or botanist but instead found pleasure with both hands in the soil, tugging at weeds and watering her favourite flower, the Ghost Pipe.
Gardening brought meaning into her life without it needing to function as a job, career, business or calling.
Gardening didn’t need to be for anything other than the act itself. She enjoyed it and that was enough.
Whilst hobbies can beautify life, they are susceptible to being taken over by other aims.
This is called hobby corruption. Coined to express how hobbies can become corrupted by other life aims that are antithetical to what a hobby is seeking.
An example of this is when people seek to make their hobby a “side-hustle”. This moves the hobby into a transitional category, now living between hobby and business. Here it is stretched from both sides. The benefits of both are tarred by the restrictions of being neither.
Meaning that making a hobby a “side-hustle” will not provide pure momentary pleasure because an outcome is expected. Simultaneously it is restricted in making money because pure pleasure is still sought after.
Other examples include using hobbies to appear more interesting, more attractive, to find dates, affiliation with social groups or norms etc.
When we corrupt hobbies by asking them to serve purposes other than the pleasure of the activity itself, we kill the hobby.
Every human on earth has a vocation—a sacred calling. This calling is what we’re here to work on in this lifetime and is unique to us as individuals. It is different from a hobby in three main ways.
I.
The first is that our life has a transcendent aim which lives outside of the present moment. Our calling is the road we need to take to reach it. Whilst the hobby exists for the moment, the calling lives beyond the moment and requires a lifetime to be concluded.
35:38
Introducing ‘Path Studies’—lessons & guides for those who know their vocation
So, you know how we've been helping people figure out their calling? Well, we've been working on a new resource called Path Studies, specifically for those who already know what their vocation is. It's a bi-weekly publication that explores the ongoing practice and philosophy of living one's calling in the 21st century. Paid subscribers will get new editions every two weeks, which will be archived for later.
The first edition is coming out on November 12th, but you can subscribe now and get it for $5 a month. If you wait until after January 25th, the price will go up, but you'll still get the early bird rate if you subscribe before then.
Path Studies will cover topics like devotion and discipline, daily routines, ambition, and more. The first lesson explores the role of critics and cheerleaders in making a vocation. You can sign up through the link, and we'll still have a free subscription option available too.
