Sublime

The great jazz vocalist Mel Tormé was only 11 years old when he first discovered Kay on Chesterfield. He was enthralled by her innovative use of voices and the fact that her group was the very first “to approximate a band.” “Kay knows more about vocal-group writing than any other person alive,” Tormé wrote in his book My Singing Teachers. He partic

Although he maintains a regular working schedule, Adams also tries not to overplan his musical life. “I actually really demand from myself a sort of inordinate amount of unstructured freedom,” he says. “I don’t want to know what I’m doing the next year or even the next week. I somehow have this feeling that to keep the spontaneity from my creative

Changing the instrument is not always the easiest way to change the sound of the music, but it can be the most powerful.

These then are the developmental psychology roots of the Gervais Principle. Recall that Cluelessness goes with overperformance. That overperformance is caused by arrested development around a strength, which has been hooked by an addictive environment of social rewards. Mediocrity is your best defense against addiction, and guarantor of further ope

Our meta-thoughts reveal where and how we think we are broken and what are our fantasies of being fixed or cured. These curative fantasies make up the core of what I call our secret practice. Becoming clear about our secret practice is the only path to true practice.

K. Anders Ericsson. He was a psychology professor at Florida State University and the author of an article titled “Exceptional Memorizers: Made, Not Born.”