@ValueWithPrem Okay for him if he enjoys it. I have a radically different set of preferences for leisure activities. Reading and discussing classical literature, listening to great music, traveling to see the wonderful world are few among them. Does that make me “middle-class”? I don’t care.
Every salary you accepted, every price you agreed to, every negotiation you walked out of thinking you did okay
The person across the table wasn't guessing. They were calculating.
You were improvising. They were running a system.
That system has a name: Game Theory.
And one Yale professor named Ben Polak taught an entire course on it. The same frameworks that get drilled into students paying $150k for an MBA — laid out clean, in one hour, completely free.
After watching it you'll never sit across from someone in a negotiation the same way again. You'll start seeing the hidden logic behind why people make the moves they make — in business, in hiring, in pricing, in everyday decisions most people treat as instinct.
This is the kind of thinking that separates people who react from people who position themselves three moves ahead.
Yale put it online for anyone willing to spend 60 minutes on it.
That's the most asymmetric trade you'll make all week.
Every time you accepted a salary, chose a price, or walked into a negotiation, the other person was running GAME THEORY in their head.
You were guessing.
This 1-hour Yale lecture by Professor Ben Polak will permanently change how you read people and make decisions.
Most MBAs pay $150k to learn this. Yale posted it for free:
🎸 Tuareg Blues, often referred to as Desert Blues, is a hypnotic and deeply evocative genre of music that originates from the Imazighen people of the Sahara Desert, spanning Mali, Niger, Algeria, Libya, Burkina Faso and many other countries.
Rooted in centuries-old Imazighen traditions, it merges the haunting melodies of North African Imazighen music with the raw energy of American blues and rock.
The Imazighen, have long used music as a means of storytelling, resistance, and cultural preservation. Traditional Imazighen music was played on instruments like the teherdent (a type of lute) and the imzad (a one-stringed violin, traditionally played by women). However, in the late 20th century, as Imazighen communities faced displacement, political struggles, and exile, many young musicians turned to the electric guitar, inspired by the revolutionary sounds of Western blues, rock, and reggae.
This fusion created a distinct style-characterized by pentatonic scales, hypnotic rhythms,
call-and-response vocals, and the steady, trance-like repetition reminiscent of both Saharan folk chants and Mississippi Delta blues. The influence of artists like Ali Farka Touré, whose Malian blues style bridged African and American blues traditions, also helped shape the genre.
The music features driving guitar rhythms, often with reverb-heavy electric guitars that produce a shimmering, almost psychedelic effect. Call-and-response vocals reflect lmazighen oral traditions and communal storytelling. The lyrics are poetic and political, speaking of exile, freedom, rebellion, and the vast beauty of the desert. The hypnotic, repetitive structure of the music creates a trance-like atmosphere, deeply connected to the rhythms of nomadic life and the endless expanse of the Sahara.
by Houssaine Ousbouh