Uncharted Paths

Dedication to Craft: Brian Green on Life as a Musician

Episode Summary

Joining us today is the incredibly talented Brian Green, a virtuoso guitarist who has graced stages and studios with some of the biggest names in music. From touring with Michael Buble and John Legend to recording with Rufus Wainwright and Brandi Carlile, Brian's musical journey is nothing short of extraordinary. You've heard his skills on hit TV shows like Dancing With The Stars, The Voice, and American Idol, and even in the lush soundscapes of Bridgerton. With two solo recordings under his belt, "Impressions for Headphones" and "Music For Home," Brian continues to inspire as a studio musician, teacher, and solo artist. Join us as Brian shares about his relentless dedication to his craft, the challenges and triumphs of navigating the music industry, and the importance of staying true to one's passion.

Episode Notes

Connect with Brian Green: LinkedIn | IG

Episode Transcription

[00:00:00] Welcome to Uncharted Paths. The podcast that dives deep into the journeys of courageous individuals who listen to their inner wisdom and forge paths of authentic expression. In a world where conventional success often overshadows personal passion, we illuminate those who have dared to venture off the beaten track.

In Season One, we're uncovering the untold stories of unique alumni from Harvard-Westlake School. You may recognize names like astronaut Sally Ride, the former mayor of Los Angeles, Eric Garcetti, and actors Jake and Maggie Gyllenhaal. But now we're shining a light on the hidden gems. I'm Lindsey, and I'm Kristin.

Join us as we explore the stories of these remarkable individuals, share their triumphs and challenges, and uncover the lesson that can inspire possibility for all, especially today's generation. It's time to follow your heart and chart your own path. Welcome to Uncharted Paths.[00:01:00]

Joining us today is the incredibly talented Brian Green, a virtuoso guitarist who has graced stages and studios with some of the biggest names in music. From touring with Michael Bublé and John Legend to recording with Rufus Wainwright and Brandi Carlile, Brian's musical journey is nothing short of extraordinary.

You've heard his skills on hit TV shows like Dancing with the Stars, The Voice, and American Idol, and even in the lush soundscapes of Bridgerton. With two solo recordings under his belt, Impressions for Headphones, and Music for Home, Brian continues to inspire as a studio musician, teacher, and solo artist.

Join us as Brian shares about his relentless dedication to his craft. The challenges and triumphs of navigating the music industry and the importance of staying true to one's passion. 

Brian, thank you so much for being here on Uncharted Paths. What led you to say 'yes' to being here today? 

[00:02:00] Oh gosh, I mean, it was an easy 'yes.

I always have fond memories of Harvard-Westlake, and it's fun to think back and not just reminisce, but actually take a moment to reflect on the past 20 something years since I've been here. 

When you hear 'uncharted paths,' what do you think of? 

It's really just following whatever feels like the most authentic version of whatever you want to be doing.

I don't think it always needs to be something that nobody's ever heard of or that's completely original or unique to you, but something that feels like it's the most natural place for you to be. 

What is your Uncharted path like? 

I was fortunate in the sense that I never felt like I had to struggle with that.

I started playing guitar probably when I was eight. And from the time I was probably ten or eleven, I knew this is what I wanted to do for my life. I fell in love with music very early on, and it never wavered. If anything, it feels even stronger connection now, which is wonderful and a good testament, I think, to why when you follow those kind of paths for yourself, it can keep giving.

It's shifted in terms [00:03:00] of specifically what within music that I'm doing. There's been times it's been more oriented on different genres of music or playing with different artists and touring versus being more in the studio side of things and making records and TV commercials and different kind of things. 

When you first picked up an instrument, can you remember that moment? 

It was definitely playing guitar. I wouldn't say that it was a moment, but I remember it as a general feeling that I had in terms of my relationship with the instrument. I think that there's something very special that happens when you're learning an instrument, because it's very much a solitary connection.

You're just sitting there, you with an instrument in a room. If you're going to get good at it, it has to be for a really extended period of time. I have snapshots of myself doing that since I was 10 years old. I can visualize being by myself in a room for hours when I was 10. I can envision what it was like doing that when I was 13, when I was 18, when I was 25, [00:04:00] and still.

I think that it forces you to have a relationship with your inner dialogue and yourself in a way that certain other professions or activities might not. There's just no way to get good at it or proficient without spending that incredible long amount of time just with yourself and the instrument. So I have a lot of memories of that.

There's certain snapshots that stick out. Like we had some family friends that used to have a Fourth of July party. The father played guitar and he was a really good guitar player and he actually took care of Eddie Van Halen at the time. So he had these Van Halen guitars and was super into him and that was my first guitar icon was Eddie Van Halen.

I remember going there and seeing him play. When I started to play guitar, I could go there and turn up and play really loud and it was great. Those were some of the early memories. My dad also played guitar. So, there are always guitars that are around the house, and I just always had a really positive, natural attraction to it.

 I had a teacher, he's not here anymore, named Dr. Margolis, who was the music teacher when I was here, who [00:05:00] was amazing, and always really, really pushed me and motivated me to live my full potential, and to push me into music. There were certain awards and opportunities in high school that he would always put on my radar to try to do.

He was a super supportive person to have. I really appreciated that, but also putting that expectation of you have to work really hard. 

I was thinking your experience at Harvard-Westlake, a very academic place, and you having this focus on music. Did you feel there was any lonely factor of not relating to other people who are really stressed about other things?

It's a good question. I didn't, to be honest. Part of it was I had really great friends who were really into music, too. They may have not been as obsessed as I was, but they still loved it. That's a big part of how we would interact with each other, listening to records, talking about music, playing music together.

And for me, it was a refuge from all that stuff. I could just be working on that and getting better, and it would allow me to get away from the stress of it. But [00:06:00] if I got an A in a class or not, for better or for worse, was so far down on the list of what mattered to me at that time in my life. If I could go back and do things again, I would have taken more advantage of how wonderful the academic environment was here and taken some other classes and dove into some other sides of that.

But I was super one dimensional and obsessed with music. Nothing else was stressful to me. The only thing that stressed me out is if I felt like I wasn't performing to my degree of how I should be performing. 

You talk about how the guitar is your North Star. So, the uncharted part wasn't not knowing what it is. The uncharted part is what to do with it. 

Even with North Star, I'd probably even reframe that to even beyond just guitar. It's dedication to craft. It's something that I've learned over the years, too. The more that I keep that in mind as a North Star, just something to focus on, the happier I am.

Because it's something that I can fully [00:07:00] control. And it typically tends to lead to better results for me, too. When you start chasing other things, what you think other people are going to like, money, whatever it ends up being, It leads you to different territories that just get further and further away from whatever drew you to it in the first place.

I could easily spend ten lifetimes trying to get better at music, so it's easy for me to focus on that, because there's always material to keep me engaged. 

Knowing that North Star, have you ever felt pulled away from that? 

As you get older, there's different kind of pressures that you start to experience.

I think there's a reason that parents push kids to not do these kind of professions, because they're not as secure and they're not as predictable. Those are very real things the older you get and the more responsibilities you have. So, there's certainly been times where I've felt a little bit less secure about things and felt like a degree of even maybe envy for certain people who have gone into more predictable types of professions where they [00:08:00] knew exactly what the next five years were going to look like.

They felt a degree of security that at times I haven't felt. Even things that can be going well, but not knowing how things are going to go in a year is a difficult thing to deal with. There's people I know who do music that thrive on that, and that's the exciting part. That's never been the exciting part for me.

I just love music, and it's something that I just feel very drawn to and is natural for me, but I've never been excited about who knows what the next two years are going to be. That still can be concerning, because you have more responsibilities and you want to have some level of predictability.

You mentioned that envy piece of, wait, I'm really good at what I do. I've put in so many years and it's not matching the financial circumstances. How do you work through those feelings? 

It's having a broader picture of what's important to you. Once you take that broader picture too, at those times where I'd have those struggles, obviously [00:09:00] everybody needs to make a certain amount of money to live.

So, we're talking about once you get past that initial threshold. But once it's there, I would just think about what is it that ultimately is going to be important to me. We all see these things when people are on their deathbed and they get interviewed. It's like, what are the things that are important to them?

And just trying to have some perspective on that. What do I want to teach my kids? What am I going to be happy leaving with the world, considering how much time I've spent on this. I know legacy sounds like a very pretentious term, but what do you want your legacy to be? Typically, when I'm thinking that way, everything else tends to work out. It's when you're thinking about these other kind of extraneous stimuli that are trying to pull you in different directions that seem shiny, I get into trouble. 

You speak about that idea of outside influence pulling you from that core knowing. Have you had an example of that, of when you had a pivotal moment of choosing yourself versus [00:10:00] external needs?

It can be elusive sometimes, the ways to make money doing anything in the arts. I think there tends to be these certain lanes that people discover, this is how you can make money doing this. With music, writing is one of those main territories. Like writing pop songs. That was an example of something that for a period of time I was going down more that lane, because it felt like a time in my life where I wanted to have some more stability. And it was terrible few years, partly because I didn't have a lot of success with it, partly because I felt just completely inauthentic doing it. It was sitting down with lots of sessions, trying to write a great version of something that I don't like to begin with, which is a terrible feeling.

It may have been maybe slightly mitigated if I had had a ton of success with it. It makes it a little bit better. But it still wouldn't have ultimately been a long-term solution. It didn't work for me, at least. 

What was your journey like going [00:11:00] from being just with the instrument, playing it because you enjoyed it, and balancing life and career, making money from it?

When I got out of school here, I wanted to be a jazz guitar player. The idea was go to music school, work on that stuff, then move to New York and play jazz. I had a bit of an interesting path with that because after my freshman year of college, I ended up getting connected with Michael Bublé, who was just starting his career at that time.

When I left school initially, my parents were supportive. The people who were involved in it were people that were known entities, which helped for my parents. David Foster was producing it, and he's one of the most legendary producers of all time. So, the fact that my parents knew who he was, and he was a really successful guy, and he talked to them.

That made a big difference to them. It turned into a several year engagement of working with him. I was still young enough at that time that I fortunately didn't feel those kind of financial pressures at that [00:12:00] time in my life. I left that tour initially because I was like, 'I want to go back to finish school and then go to New York and play jazz.'

I went back to school for three years. So, you have a padding that's built in there in terms of it not being a super stressful situation, because I had a few years to kind of get stuff together. I was fortunate in those years of my career to have things just appear in a way, which is why when that stopped, that's when I ran into that wall of I actually have to make some decisions as to where my life is going to go creatively.

I was already working professionally before those pressures really kicked in. And that kind of carried on for a little while. I don't think I really addressed those pressures until I got, like, my late twenties which made it even scarier in a lot of ways, because it was something I just never really thought about.

I had the idea of, 'Oh, this is just, it's like working out for me. I guess I'm good enough at this that it's just working out.' I mean, there's some truth to that. It's like when you [00:13:00] get good at something and you work at it, you hope that it works. People call you for it and you're able to just continue to work with it.

But naturally there's going to be times that are dry spells with this stuff. And I don't think I was that well prepared to emotionally deal with that. So, for me, when there wouldn't be a clear work that I was doing for a couple of years at that time, my late twenties, I took it personally as like, 'I'm not good enough,' or whatever it ends up being, which ultimately wasn't, isn't the case.

But, without going through that, I think probably the time when I should have gone through those kind of ideas, when I was in my like late teens or something, I feel like it hit a little bit harder. I think what I discovered then later is that when you're younger, you're just doing it purely for the love of it.

It doesn't matter how nuanced or niche a particular thing you're working on. You're just excited about what you're excited about. You don't care whether other people are going to love it. You just care that you love it. The more that I started to get back to that, I realized that the opportunities just [00:14:00] come. There was a few years where I was actively trying to make things happen that didn't feel like they were really what I wanted them to be.

And those were, I'm sure not coincidentally the most difficult times of this career for me. Once I had enough, probably like a combination is a rejection of things that I was trying to have happen that didn't happen and just realizing that it wasn't really what I wanted to be doing. I started to double down more on just what I loved about music, then all that other stuff just works out.

It kind of sold me on that, which is best case scenario anyways, because then I'm also doing more of what feels natural to me. 

It reminds me of having a natural flow, and then when things aren't coming, you get a little off and think, 'Oh, I have to be active or do something else.' But then that sometimes takes you in the wrong direction, off your flow and you have to re-find it. 

Completely. Certainly with music you have to be lots of times like strategic to some degree, because there's not these obvious pathways like if you go to law school or you become a [00:15:00] doctor. It's built-in a lot of ways what the next step is. It's not that way with the arts.

But I think at least now, if I do find myself at any of those crossroads where I feel like I do need to generate whatever the next opportunity is, I know where I should be looking for that. And it's whatever comes most naturally and what I feel like I do the best, that's where I should be focusing on those opportunities as opposed to where are people successful now?

What should I be starting to pivot towards? I feel fortunate that I learned early enough that that's not a winning strategy in any way for me. 

What would you say were those pivotal moments of choice on your path? 

When I was trying to write songs, and doing more of like pop song writing. There's a song that I almost placed with a really major artist.

In the older days of music, these were things that you could make a ton of money and it would be a really, really major deal. These things can still be big deals, but it's a little bit different than it was before. it would have been a big enough deal that I was kind of like [00:16:00] banking on this in a lot of ways.

These things are protracted. They can go on for a while. You're writing a song with somebody, they have to record it, not really knowing whether these things are going to work out. It seems like it's going to, and then all of a sudden there's another song they like better. And then they love your song.

It's this whole long, long experience. So, it was like six months of that, and it ended up not getting picked. That experience was so draining to me. I think after that, I thought about what am I really upset about that this didn't work? And it was purely money. I was like, 'Is it that I didn't think what I worked on was good enough?'

And I was like, 'No, it's not that.' It was nothing else. It was purely just money, which matters totally. But then it's like, I make money doing other things too. It didn't really ultimately make a difference. And I hated how much I was putting on myself for that and the stress that it caused me. That was one of those moments.

I was like, 'What am I doing?' It's like, this is silly. If I'm going to put that much stress on myself, it should be because I'm doing something that I [00:17:00] really love. And there's plenty in music that I really love that I'm fortunate enough to actually be able to do professionally. That was definitely a bit of a turning point.

Over time, have you gotten quicker to notice when you're getting a little out of alignment? 

Yes, definitely. I notice it pretty immediately. There's still certain situations where then I'll evaluate, 'Is this a valuable thing for me to do for where I'm at in my career?' There's certain times where, I'll balance it, and it might not be something that I'm thrilled about doing, but it makes sense to do.

I can still have enough of a positive attitude to make it worth it. There's times where certain things seem like they might be somewhat valuable, but it's not worth the potential headache that I can tell it could be. 

It's like looking at the reward / pain balance. 

Yeah, completely. And it's a fortunate situation to be.

I am aware of that. Sometimes there can be situations with people where they're not in a position where they can make those balanced choices, and it's just like you have to take what's in front of you. I feel lucky that at this [00:18:00] point in my life and career I can be a bit more discerning about that. 

How does it feel knowing that you're really good at something but it doesn't necessarily mean that you're going to have external recognition?

That's one thing that I feel like I have been fortunate with. The people that I idolized when I was really young, still through today, never had anything to do with external accolades. I really have no idea if my idols ever got Grammys or when it's like the awards sequence of things. It's purely about just are they making great work.

That's really all I focus on. My confidence and feeling good about what I do comes from, 'Do I feel like I'm producing something that's the best of what I can do right now?' Beyond that, it's impossible to know what other people are going to think about it. I don't even judge it as being good or bad. I feel like I'm proficient enough at what I do that if I can have an idea and I can [00:19:00] adequately express that, then that's all I need to do.

I'm just trying to get good enough what I do that I can make the ideas I have come out in the way that they are in my head. As an artist, that's kind of all we can do. That's what we work towards is to get quicker. 

It sounds like from a young age, you didn't have a vision board with Grammy and number one selling artist. It sounds like it was much more of an internal drive. 

Yeah, and none of my idols had those things. The idols I had were just people who were very well respected in what they did. But even like, I love classical music. These were people who were commissioned to make art. And it made some of the most beautiful, lasting stuff of all time.

They weren't people who were most of them regarded as celebrities at the time. That was their craft. And it was combined with them becoming really good at their craft and having some kind of innate ability where their taste or whatever those variables are that can't really be quantified or worked on were in [00:20:00] alignment so that they made incredibly wonderful things.

That was just always what I was excited about and drawn towards. I don't watch the Grammys. It just doesn't even feel like it's related to what I do in a lot of ways, even though a lot of people who win Grammys are great and totally amazing musicians. 

It feels like a really healthy perspective to just live what you enjoy and what lights you up. So you're not attached to the outcome, you're just in the moment. And so just a beautiful, healthy perspective I think for anyone to hear. 

I think it's the only way. I'm also fortunate enough to be able to have that perspective and make a living, which is not a given with these professions. Assuming you do the work to become good enough at what you do, I think it's a better recipe and you're more likely to stand out too, because there's too many people in every one of these artistic professions who can do a good enough job mimicking whatever trends there are. Then at that point you're playing a purely luck based game. And then you're focusing on [00:21:00] networking and a bunch of things that have nothing to do with how you actually play music.

It's what you can control. 

Did you have other people in your life that really showed you that way? 

My parents are definitely influences on me and I still see them all the time. I was very fortunate to have, I still am, to have amazing parents who are super supportive of me. They definitely gave me a sense of confidence of if you work hard at something, that's the goal. That's what they expected of me.

It wasn't to meet any type of specific achievements other than if you love something, you want to be good at something, you have to dedicate yourself to it and work hard, which I think is one of the best values you can have. They gave me that roadmap. But in terms of what I was speaking on before, I think it was just the people that I was drawn towards when I was younger as musicians.

I had some amazing teachers which I was very fortunate to have. There is a guitar player who lived out here named Ted Green who's a [00:22:00] legendary guy. He passed away about 20 years ago or so. But I was able to study with him. He was an incredible teacher. I was just inspired by people who could do their craft at the highest levels.

That's just what got me excited. It still is. That was the reward in itself to me. And I think because of that, I was never really too motivated or swayed by whatever attractions music might have. So things like touring, I see with certain people there can be a certain level of prestige that's associated with that, if you're playing with certain artists.

It's like you've got your name associated with them. I never felt that when I was working with people. It was like, this is their thing. I had the confidence of knowing I was good enough to play with them and do the job well. Because it can happen to people, and I think it's kind of sad when it does, because those opportunities just go away, too. And I think it hits really hard if somebody associates their own self worth. With a particular [00:23:00] gig, those things just go away and then you're left, I'm sure, very upset afterwards. 

 I'm really hearing how your dedication and practice and relationship with the instrument has been that connection point no matter what point you were in your life, like whether you're a student or aas an adult, but just always coming back to that instrument as your presence. And I was going to ask how your relationship has changed or evolved with the guitar. 

It's very much like home to me. It's one of the most comfortable feelings in the world is holding a guitar for me, because I've been doing it for such a big part of my life.

I think I had more of a competitive approach to it when I was younger and wanting to have a certain technical facility on the instrument. That I could do anything, like there was nothing somebody could throw at me that I wouldn't be able to hang with. At this point, it's not so much that, but it's being able to convey whatever music I want to express.

 It's a lot less technically driven, and more just, can I [00:24:00] express what I'm trying to express out of the instrument. 

It's a tough question. Yeah. But has your guitar ever betrayed you? 

This ends up being one of these deep philosophical things. I think my perspective on things has made it a tenuous relationship at times.

If you're working on something your whole entire life, and if there's moments where it doesn't feel like it's working out the way you want it to work out, the initial instinct is to just be pissed off at whatever it is that you've been doing that doesn't seem like it's been working. You can start to develop this kind of resentment towards music and what you've been spending your time on.

Fortunately, I don't feel that way now and I feel like I have enough of a perspective to realize that the inanimate object of the guitar is not the one who's determining the course of my life. So, yeah, it feels very healthy right now. 

Where do you source your inspiration from? 

It's like filling your mind with positive things and not polluting it, which is harder and harder.

Trying to set good habits of listening to music often, trying to read things [00:25:00] that I'm inspired by often, spending time with kids and spending time with family, being surrounded by things that are important to me, and trying to diminish the things that I'm spending time on that are not important to me that I can control.

And you hope that that leads to good results. 

Do you have other, maybe hobbies, interests to supplement or complement your musical work? 

I have two young kids now, so like the hobbies are definitely not number one priority at this point. I've loved to surf since I was in high school. That's probably my favorite thing to do aside from playing music.

I feel like there's a lot of similarities, especially with improvising. It's very unpredictable, it's constantly in movement and flux and nothing's ever really repeating. It's just a constant state of reaction that you have to be in, seeing what's happening and trying to move with it instead of fighting it.

It's similar to, I think, being creative. I should preface this, there's certain times where you're hired to do something where you need to have a certain type of outcome, and you do have to have enough of a [00:26:00] clear path to know how to get there and to know those directions. If you're talking about creativity for creativity's sake, you're trying to work with the elements.

Like wherever you're being brought, it's to best serve that, as opposed to being like, I want to try to be like this person, how can I do that? And inevitably, like, it'll suck, whatever you do. Even if you make something that sounds exactly like that person, it sucks even more, because then you just rip somebody off, you know?

And how is your expression of music today? 

I have solo records that I make. That's the most me version of whatever I do, which you can find anywhere that you find music. I'll just say the names of them just in case anybody wants to listen. There's one called Music for Home, one called Impressions for Headphones, and those are solo instrumental records that I've released.

I teach a lot of music too. A friend of mine started a company about six years ago called Sonora Guitar, Guitar Mastery. It's a combination of an app component and then there's also like live instruction and master classes and this whole kind of ecosystem of things. That's a really, really cool thing. I do a [00:27:00] lot of work with them where I'm teaching, which I love, which is one of those things too. I never really expected I would be doing a lot of teaching for music, but it's something that I love. So, you never really know where you're going to land with some of this stuff. I do a lot of studio records, making of records, and I have a studio at home. So, that side of things too, but not a lot of touring these days or for the foreseeable future.

Do you feel you have a good balance today of fueling your own new creative work, teaching, family? 

I feel pretty balanced. Reality is there's been a lot of times where I've been doing a lot of music work that I haven't really wanted to do. I feel like I'm at a place now where I can be selective enough to do what I want to do, not do what I don't want to do for the most part.

Do you envision moving forward this way indefinitely? 

It's clear to me that the more that I double down on, whether it's my own recordings and the things that I release, that I feel like there's nothing that I'm thinking about other than [00:28:00] just the most authentic version of myself coming through. The more of that that I've done over the past five years, it has been very successful in different ways for me.

What would you say, out of our conversation today, you would want people to take home with them? 

If you get into one of these types of professions, I think that it's something that you need to know that there's no other option for you to do. Because no question, no matter how successful somebody is, it's a harder road in a lot of ways.

The most successful people that I know in this field still get met with more rejection than I think most people in traditional fields ever get met with. If you're a super successful songwriter, still this actual percentage of songs that you're getting towards major artists are a lot lower than the ones that are getting said yes to.

You have to be in a place where that stuff has zero impact on the way that you think about [00:29:00] yourself. Then you have to find some way of just making your North Star something that is impenetrable by anybody else's opinions, anybody else's validation. That just has to be its own world that can feel nice for a short period of time, but it really has zero impact on why you're doing it or the way that you work on it.

External validation versus intrinsic motivation. 

Yeah, completely. There's no possibility of doing these kind of professions if you're not resilient. And that's good for anybody just being in this world. It's like you're way better off being resilient than not. But I just think these professions demand it in a different way.

When you keep that North star, your priorities in check. I think it's a lot more important with these kind of professions because no one's holding your hand with these professions. There's no paint by numbers where to go next. It's totally self-motivated. So, whatever you [00:30:00] bring to it in terms of your priorities, that's where you end up.

What would you tell a young musician who knows this is their passion and they may be feeling external pressures to do something different?

I think that you have to try to take that bigger picture view of it. Assuming that at the end of your life, what is it that's going to be really important to you?

It's not even a judgment thing. Work is probably way more important to me than it is to a lot of other people because it's intrinsically tied to my identity. There's benefits to that, but it's harder to turn off. There's something that's really great about just having a traditional job and then you go home and you're happy just not thinking about it anymore.

I think you need to try to do that mental math looking ahead of how you're going to feel in both of those scenarios. If you can feel like, 'Oh, I could be happy just having music be a passion of mine that I do when I come home, but it doesn't need to be my whole life.' You should a [00:31:00] hundred percent do that.

But if you think about that and it makes you cringe and feel like you're a sellout and you're living a lie, then you should probably pursue it. It's like I said before, if you do it for the right reasons and you work on getting really good at what you do, and you're a decent human being, it'll work out. At least with my experience and looking at other people, it always does.

Amazing. Thank you so much. 

Yeah. Of course.

Thank you for tuning in to today's episode of Uncharted Paths. We hope you feel inspired to carve out your own unique journey and embrace the courage to follow your passions. If you enjoyed today's episode, don't forget to like, subscribe, and share. Stay connected with us on social media for updates and behind the scenes content.

Links are in the description below. Until next time, keep exploring, dreaming, and charting your own [00:32:00] uncharted path.