SUMMARY
Of
THE CREATIVE ACT
A Way of Being
By
RICK RUBIN
BOLD SUMMARIES
SUMMARY
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All rights reserved. No part of this
publication should be reprinted or
transmitted through electronic or
mechanical means without prior permission
by the Author, except for citations by critical
users.
Copyright © BOLD-SUMMARIES 2023
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TABLE OF CONTENTS
ABOUT THE AUTHOR
PROLOGUE
ABSTRACT
BOOK REVIEW
ABOUT THE BOOK
BOOK SUMMARY
EPILOGUE
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TO READERS
This is a summary of (Rick Rubin) book
(The Creative Act: A Way of Being).
This is not meant to take the place of the
main book; rather, it is designed to provide
you with essential information on the
contents of the book.
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ABOUT THE AUTHOR
American record producer Rick Rubin was
a former co-president of Columbia Records.
Along with Russell Simmons, he co-founded
Def Jam Recordings, American Recordings.
Rubin produced music for groups including
the Beastie Boys, Geto Boys, Run-DMC,
Public Enemy, and LL Cool J, which helped
to popularize hip hop.
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Rubin was listed on Time magazine's list of
the "100 Most Influential People in the
World" in 2007 and was hailed by MTV as
"the most important producer of the last 20
years."
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PROLOGUE
The Creative Act is a way of being's main
message is that everyone has the right to
express their creativity. A warning and an
invitation to a new way of being are given at
the outset. Any page can be turned to find
tidbits or entire drumsticks of knowledge.
Some of the creative processes are well-
known, while others seem simply absurd,
such as thumping a pillow for five minutes
nonstop. It is somewhat of a self-help book,
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but it does not read at all like one. Not a
step-by-step recipe, but rather a collection
of components that may be creatively
combined to make a variety of multi-course
dinners. Something that should be read
again when one is stuck, not just once.
Imagine having the opportunity to use the
Creative Act in your notes to friends,
furniture arrangements, holiday plans, side
projects, family life, or career. Ruben serves
as a reminder that many of life's events offer
opportunities for artistic expression. A
mode of being that can be improved by
transforming into Source; less of a thing in
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the traditional sense and more of an idea-
essence-active-practice If we learn to look
for them, we will find that the seeds for
creativity are everywhere. Many of the best
musical works of our generation were
produced by Rick Rubin.
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ABSTRACT
The Creative Act is a very moving book that
will inspire anyone who wants to live a more
creative life.
The creative process is demystified by Rick
Rubin, who demonstrates that it largely
revolves around discipline, experimentation,
and self-reflection. Definitely a good read!
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BOOK REVIEW
In this book, fantastic, profound, universal
truths will be revealed. Although it is simple
to read from cover to cover, this doesn't
seem to be intended to be read like a typical
"book." It is more of a compendium of pithy,
proverbial insights about art, creativity, and
life in general.
This book was fantastic! The authors, Neil
Strauss and Rick Rubin, expertly describe
how everyone is creative. Poetry and
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spiritual meditation combine to create each
story's stunning visuals. I return frequently
to look for fresh information to highlight.
The advice is sincere, kind, and incredibly
relatable. Highly recommended…
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ABOUT THE BOOK
The American super-producer contributed
to the early tunes for the Beastie Boys and
LL Cool J in the 1980s, whose credits stated:
"Reduced by Rick Rubin." In his dorm room
as a student, he also co-founded the hip-hop
label Def Jam.
However, Rubin rapidly began employing
his particular minimalism to amplify other
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clamorous genres, with huge commercial
success. Reign in Blood by Slayer and Walk
This Way, the revolutionary rap rock
collaboration between Aerosmith and Run-
DMC, are two of his faves.
He lifts creative achievement to the highest
level of human accomplishment, and this
has a somber, even holy character.
In recent years, Rubin's laconic reductivism
has changed into a more sage-like gravity.
The barefoot, bearded enabler is now
arguably most known for his assistance with
the late-life masterpieces by Johnny Cash,
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as well as for his contributions to Adele's 21
and 25 and Neil Young's most recent album,
World Record.
The Creative Act is not, therefore, a
biography of Rubin's explosive career in
which he ripped off 36th takes from titled
guitar superstars. There are no names given.
Instead, it is a distilled version of the
knowledge Rubin has gathered while
making records over the years. Its inevitable
forerunner may be Brian Eno's Oblique
Strategies, a set of artistic challenges the
British producer and Peter Schmidt
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established in 1975 to overcome creative
barriers.
Anyone who has even a basic understanding
of Buddhism, management theory, or the
self-help area will find Rubin's style of
operation to be fairly familiar. The aim is to
make clear that at times, these 400+ pages
can read a bit like "the 73 unexpected habits
of great creatives," not to suggest that Rubin
is not creative or is making a mistake. The
tone is gnomic and epigrammatic, and
Rubin's elevation of artistic endeavor to the
pinnacle of human achievement
reverberates with a melancholic quasi-
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religiosity that is challenging to square with
his bold production work on Jay-epic Z's
smash hit 99 Problems.
Rubin suggests that the creative person
push all personal limitations and he goes on
to advocate for deliberately accepting some
of the Dogme tradition's limitations before
once more raising the artistic life to that of a
higher calling that should not be
constrained by any kind of rule, particularly
the self-restraining beliefs that artists hold
about themselves.
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He suggests that you should "practice." A
regimen-free approach is likewise
acceptable. For Rubin, it is crucial to trust
his gut. He feels just as strongly about
letting go of ego so that the work can
develop more fully. It can be particularly
difficult to square that circle. Does the artist
stick to their guns or compromise? It seems
that the situation will dictate the best course
of action. This book may also seem to some
readers like a compendium of dubious
California new-age nostrums created to
boost Rubin's reputation.
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The Creative Act, on the other hand, has just
the right amount of self-assured loftiness to
provide consolation and practical means of
recontextualizing problems to others,
especially creatives in need of a boost or
anyone close to a customer, loved one, or
impending deadline.
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BOOK SUMMARY
Rubin offers an apothegmatic examination
of creativity. though Rubin, who is often
motivating, begins by saying that creativity
"is not an uncommon ability," the "oblique
tactics" deck of cards by Brian Eno delivers
gnomic instructions. It is not difficult to get
to. Being human requires creativity. Rubin
responded in a sensible way: "You are a
creative being existing in a creative
universe. Despite the fact that the author
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extensively interviewed Paul McCartney for
a recent Hulu series, readers may feel a little
scared by him. a singular work of art. There
are methods for positioning oneself to
prosper in this creative world in the best
conceivable ways. Reading the best books,
seeing the best movies, and looking at the
best art are never bad ideas, according to
the author. The only problem with this
approach is that "no one possesses the same
measures of excellence." However, Rubin
emphasizes that rather than creating a
product to sell, the purpose of art should be
to find a transcending path to something
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great within ourselves. We're playing to
play, not to win, he asserts. To do this, one
must adopt a childlike attitude and be
prepared for the possibility that certain
games may not be as pleasant as others. It
also means forming the habit of never
putting oneself on a leash or telling
themselves no just because they haven't
finished a task. The author continues, "If
there is a skill or piece of knowledge you
need for a given assignment, you can do the
homework and work toward it over time.
"Any skill may be learned.”
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KEY TAKEAWAYS
Universality of creativity
"Creativity is not an uncommon talent.
Accessing it is not tough. Being creative is
important to what it means to be human. It
is a natural right. And that pertains to us all.
Each of us is creative. Though some people
may be more aware of their creativity than
others, everyone is capable of creativity in
some capacity. The book by Rubin is a
rambling manual for assisting you in
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comprehending and developing the
potential of your creativity.
What is an artist?
"Living as an artist is a way of approaching
existence. a method of perception. an
attention-training routine. improving our
ability to detect softer tones. searching for
the things that entice us and repel us.
observing the emergence and progression of
any emotional tones.
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All forms of art, including music, poetry,
painting, and other creative works, result
from paying attention to the outside world
and using your experiences to inform your
work.
It takes practice to live an artistic life. Either
you participate in the practice or you don't.
Saying that you are not excellent at it is
absurd. Saying "I'm not excellent at
becoming a monk" is analogous to this.
Either you live as a monk or you don't. The
output is typically thought of as the artist's
creations. The true product of the artist is a
mode of existence.
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Not how prolific or successful you are, but
how you are in the world is what it means to
be an artist. It's a way of being that enables
you to access your individual creativity and
to share with the outside world a portion of
your inner environment.
Each concept has a time.
Have you ever had the experience of having
a wonderful idea for a company or a product
that addresses an issue you have, but not
acting on it, only to see your concept take off
in the world a year later? When you do not
act on your ideas, it happens frequently that
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someone else will carry them out. That is
not because someone else plagiarized your
idea; rather, it is because the moment for
the idea has come.
It is not about commerce to create.
"We are not creating to make or market
tangible goods. The act of creativity is a
venture into an enigmatic world. a desire to
advance. Through our work, we can convey
glimmers of an inner world that is beyond
our comprehension. Our entryway to the
invisible world is art.
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It is not necessary to sell a certain amount of
books or have a certain number of people
listen to your song in order to be considered
creative. It is doubtful that you will produce
your finest work if you create for that
reason. Instead, creating involves tuning
into the experiences you have in the world
and allowing those experiences to flow
through you into a kind of art that enhances
communication beyond what you could do
on your own.
Environment and our inner world
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"Our inner world is just as fascinating,
stunning, and unexpected as nature itself. It
was created by nature, after all. We are
absorbing what is happening outside as we
enter the house. We have merged into one,
we are linked.
Consider how many different shades of
green there are in a single forest or how
many different hues there are in the fish in
the ocean. Even a little portion of the
natural world offers an infinite variety of
singular variations, hues, patterns, and
indescribable beauty that we could never
fully comprehend, despite our best efforts
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and lifetimes of study. Our inner world is
immensely rich, intricate, mystical, and
beautiful, much like nature. And becoming
aware of the wealth in your inner landscape
is a crucial component of becoming a maker
in the world.
Heed your intuition
"To the best of my ability, I have followed
my instinct to change careers, and every
time, it was advised against doing so.
Realizing that it is preferable to follow the
cosmos than those around you is helpful.
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Many people base their decisions on the
principles and counsel of the people in their
lives. This can be effective at times, but it
frequently results in us spending a lot of
time veering off the route. You must learn to
deeply value and trust your intuition, the
wise intellect inside of you that guides you
even when you are unsure of why something
needs to be done if you want to live free
from the cultural gravity of the world
around you.
Leaving a rut
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"Take into account continuing with the
more true perspective that it's a tiny work, a
start. The goal is to finish the project so you
can start the next one. The work that comes
after is a stepping stone. For the duration of
your creative life, it goes on in a fruitful
rhythm.
It is simple to become overwhelmed by your
desire to create something outstanding
when you are working on something
significant. In fact, if you do not learn how
to zoom out and look at the wider picture,
that drive could paralyze and overwhelm
you. The reality is that anything you are
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working on is really just a seed you planted
and are hoping would grow over time. You
have no idea what the seed will grow into or
how that will affect other areas of your life.
If you are having trouble, try imagining a
project as a seed that you need to finish in
order to plant the next one.
Creativity is uninhibited.
"It's simpler to immerse oneself joyfully in
the process of generating things if you start
from the premise that there is no right or
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wrong, no good or evil, and creativity is just
free to play with no rules."
Two types of uncertainty
There are two kinds of uncertainty. Self-
doubt, or failing to believe that you are
capable of producing the art you want to, is
the first. This kind of uncertainty frequently
results in a paralyzing sense of
hopelessness, which might prevent you from
producing anything at all or lower the
quality of your work.
Doubts about the caliber of your work are
the other form of uncertainty. While this can
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potentially be detrimental, it can also
inspire you to look for methods to make
your job better. You can produce something
amazing if you erase your reservations about
the caliber of your work one step at a time.
You are not just one thing.
“There are numerous unique qualities of the
"self." It is conceivable to make a piece, fall
in love with it, and then have an entirely
different opinion of it the next day. Your
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inspired artist and craftsperson sides of you
might disagree, with the craftsperson feeling
frustrated that they cannot make the
inspired artist's idea come to life. Since
there is no direct connection between an
abstract idea and the physical world, this is
a frequent source of tension for inventors.
Every piece of work is an interpretation.
Limit the laws.
It is beneficial to approach your work with
an open mind, a childish ignorance about
the people and circumstances around you.
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When you apply too many restrictions to
your work, you constrict your creativity and
frequently produce more of what has
already been produced rather than
producing something that is authentic to
your inner landscape and particular to your
experience of the outside world. Rules can
serve as useful benchmarks, but most
artistic mediums include a number of norms
that, if ignored, might make it difficult to see
your way clearly.
Adjusting it
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When you are stuck, it may be beneficial to
change your method or the way you
approach the task. There are numerous
methods for doing this, but in reality, you
must experiment to see which method suits
you best at any given time. a few concepts to
consider little steps If you are having trouble
writing, attempt to compose one sentence
every day. To gain traction, divide your job
into the tiniest increments of progress
feasible. Alter your surroundings. Change
your location, alter your furnishings, or
experiment with lighting. Make changes to
the environment where you create.
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Raising the stakes Consider that this is your
final opportunity to paint. Next, paint.
Change the viewpoint. Increase the volume
of the song you are listening to or double the
font size on the pages you're reading.
Use different images. Include any additional
or unnecessary visuals in your work. Watch
how it affects your thinking.
Change up your inputs
"Think about changing your inputs to
change your inspiration. Watch a movie
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with the sound off, play the same song over
and over, read a short tale using only the
first few words, arrange stones according to
size or color, and develop lucid dreaming.
Test your theories.
You may have wonderful ideas in your head,
but they may not work out as planned.
Create tiny experiments to test ideas rather
than using your mind to judge them. You
will discover some ideas are more viable
than others when you start to put them into
practice. While doing this, use your intuition
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rather than your analytical thinking to find
the optimal solution.
Stages in the formation
By finishing the job, "art may only exist, and
the artist may only progress."
You must develop an idea from its birth into
a finished work in order to put a work into
the world. This method includes four
separate stages, and the artist must provide
a different set of skills in each one.
Seeds: Gather as many concepts as you can
in this section. You let the world around you
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and your own inspiration fill your mind with
ideas that you can later plant. Here, it is
important not to evaluate the concepts or
give them too much thought. simply to
gather them so that you can think about
them afterward.
Experimentation: This is when you start to
experiment with some of the high-potential
seeds, investigating them in all the possible
directions to find which ones have the most
promise for life. Here, you are not changing
anything; rather, you're just playing around
a lot to see where you might direct your
attention in the future. The level of
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enthusiasm you experience over time is a
useful indicator of which seeds to prioritize.
The crafting stage is when you have ideas,
have experimented freely, and have a firm
feel of where you are going. As you start to
hone your concepts and get new knowledge
that aids in the direction of the art, you can
find yourself rotating back to the
experimental stage. As a result, even if you
are in the execution phase, you're still
flexible and open to the numerous
possibilities of your task.
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Finishing: This is the last stage of your
work, which can be backed up by a deadline
to assist spread your art around the world.
The focus here is mainly on completing the
stuff, which implies that it is the best you
can create it as. Discovery and construction
are less important because they belong to
previous stages. Avoid making this stage last
too long since you risk losing interest in the
task at hand.
Original work
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Anything innovative has a tendency to
divide people. As many people as you
alienate, you will also draw. Even if
everyone appreciates what you are doing, it
could not be at its best. However, ensuring
that you enjoy your work is a useful
barometer for any endeavor. Without
fulfilling that mission, you are not fulfilling
your responsibility as an artist.
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Do not store up concepts
Give each assignment your best creative
suggestions. Do not hold onto those
concepts until you have a larger audience or
until your creative well is full. If you let it
flow through you, there is an endless supply
of creative material. You run the danger of
stifling the unrestricted creative flow that
will enable you to produce high-quality work
over the course of your life if you adopt a
scarcity mindset and hold back your good
ideas.
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Testers versus finishers
Artists can be divided into two categories:
experimenters and finishers. Researchers
enjoy playing when things are still being
created. They enjoy daydreaming, tinkering
with concepts, and sowing seeds. They may
also find it difficult to finish their
assignment because they dislike that phase.
Finishers are distinct in temperament. They
take pleasure in finishing their job quickly,
frequently skipping the experimentation
stage that would enable them to improve it.
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If you're an experimenter or a finisher, you
must embrace both traits if you want to
create excellent art.
Success is a personal, internal process.
"It isn't fame, fortune, or respect from the
critics. Success takes place in the solitude of
the spirit.
Being able to tune out
It is simple to become sidetracked from
creating your art by things that aren't
related to it. Deadlines, marketing, your
reputation, and audience growth are just a
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few of the elements that may intervene and
divert you from your current task. These
extraneous opinions can frequently
immobilize you and keep you from being
able to strike a balance between the need to
service your inner artist and the need to
make sensible commercial judgments.
If this begins to happen, you must have the
ability to block off distractions. Let go of the
need to fulfill all of your and your own
expectations of yourself. It is useful to
remember that you have no control over
your commercial success. When you truly
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embrace this, you can let go and concentrate
on giving it your all.
Observe the waves
"Artists are at the mercy of the creative
rhythms of nature, much like a surfer
cannot control the waves. Because of this, it
is crucial to always be alert and at the
moment. observing and waiting
Avoid taking advice
"Well-known artists frequently draw from
their own life experiences and offer the fixes
that have worked for them. These typically
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apply to their path alone, not yours. It is
important to keep in mind that their method
is not the best.
Advice might be useful for providing you
with experimental ideas. But keep in mind
that you will not produce excellent art if you
adopt the methods and values of other
people. Finding what works for you requires
experimentation and being attuned over
time. Additionally, when you grow as an
artist, what once worked for you might not.
You can avoid letting any rules prevent your
creations from entering the world by
remaining adaptable and open, both to your
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own methods and to those you attempt from
others.
Adhere to the excitement
"The artist's calling is to go with the thrill.
Energy is there wherever there is
excitement. Light exists everywhere there is
energy.
Do not seek the "truth"
Sincerity is a difficult quality to define. It is
distinct from other objectives we might
have. Setting our goals on sincerity may not
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be the best course of action when excellence
is the goal we should be pursuing. The
further distant it gets, the more we stretch
to get there.
Your inner landscape is imperfectly
communicated through art. You cannot fully
express the reality of your life or the ever-
evolving, transient character of your
experience in words or via any form of art.
What you create is merely a little part of
who you are or what you are thinking right
now. You will become paralyzed and may
produce art that is empty and unresonant if
you try to capture experience perfectly. Do
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your best and recognize that it is the flaws
that give your work resonance.
Final adjustments
When you are ready to finish editing a piece,
you should focus on reducing the work to
the essential elements that will make it
shine. Cutting your book in half or selecting
the top five songs from the 20 you recorded
might be two options. Instead of using some
arbitrary statistic, the objective is to
determine what is absolutely necessary for
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this work. Moreover, to be merciless while
distilling the work to its core.
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EPILOGUE
In The Creative Act, Rubin has assembled a
charcuterie of snacks or meals that don't
necessarily need to be consumed in any
particular order. With its various patterns,
routes, crescendos, and decrescendos that
might not catch you on the first read, this
book is amusing, unusual, and
sophisticated. If you look closely, you'll see
that there are 78 different areas of thinking
about creativity rather than numbered
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chapters. There are short quotes that refer
to both the subconscious and creativity that
are included between the majority of the
thought sections. Each mouthful can be read
independently; it is not necessary to read it
from beginning to end. It brings up
memories, wonders, and maybe even a little
hysteria about what the majority of us have
been missing. The Creative Act is a seed that
encourages more of us to adopt a mindset in
which being creative comes first.
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THANK YOU FOR READING!!!
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