
What I learned from the woman who does 52 new things a year
I struggled to stem the rising tide of inadequacy this threatened to unleash in me though, because I doubt I've done five new activities since 2018. I'm still struggling with the aftershocks of my regular supermarket closing and an 'adventure' is trying a new brand of hummus. I did that this week – big mistake.
I had to remind myself that I take a real quiet joy in routine, especially in a world in frightening flux. Feeding the birds first thing, then watching them with my morning coffee. Buying the same cakes from the same place after pilates, pizza on Friday and Antiques Roadshow on Sunday: all my little pleasures and rituals. Running in a well-worn groove creates a freedom that can also be creative: Lucian Freud had breakfast and lunch at the same place for 15 years; the Famous Writing Routines newsletter drills down into the rigid (and less rigid, and absolutely baffling) daily habits of everyone from Maya Angelou to Dan Brown.
We're energised by different things at different times too. New experiences can crack you exhilaratingly open or overwhelm; routine can bury you or feel as if it's holding you steady. The knack is intuiting which you need when, which isn't something I have mastered. So, in the Millington spirit, I've suggested a karaoke trip – something I've never tried but, inexplicably, think I'll enjoy – with my choir chums.
Will it open the floodgates to adventure? Doubtful, but it should take my mind off that hummus.
Emma Beddington is a Guardian columnist
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He was in his late teens when in 1966 he landed his first paid gig, in a folk club in Bathgate's Rendezvous Roadhouse. For his pains he received £2. 'In those days it was all word of mouth and very informal and anarchic, and clubs were generally run by dedicated and pretty fanatical amateurs', he told JP Bean, author of an oral history of British folk clubs, more than a decade ago. 'As I got more work, I just kind of drifted into earning my living exclusively from playing, finally giving up other jobs in January 1970.' He released his first solo album, No More Forever, the following year. In June 1972 he joined Boys of the Lough for eight months, after which he returned to solo work, before, in June 1975, joining the electric folk band Five Hand Reel, with whom he made three albums. Handful of Earth, released in 1981, came to be regarded as classic solo Gaughan, its potent blend of traditional and contemporary folk songs underpinned by his intricate guitar work. 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'As a young listener …I was drawn in by the power and charisma of his stage performances, and the magic guitar playing on things like 'Erin-Go-Bragh' and 'The Snows'. But the deeper magic reveals itself in the more subdued songs, especially 'Craigie Hill' and 'Both Sides the Tweed'. 'Compiling a box-set of live and BBC material as we speak, I know now the other songs in his repertoire in 1980/81 that he might have recorded for Handful of Earth but I can see why he didn't - the mood of it would have changed. 'He got the contents of it exactly right. It's frustrating that much of Dick's 1972-88 commercially recorded work is currently inaccessible. Handful of Earth is the only album from that period that's been physically available ever since. But by happy chance, it's the best of them all!' Handful of Earth would later be described by Billy Bragg as one of his all-time favourite albums. 'World Turned Upside Down', he said, saw Gaughan grabbing the song "by the scruff of the neck and [chucking] it into the twentieth century where it lands at my feet and I think 'f———' hell, that is an incredible song. 'Both Sides Of The Tweed',' he added, 'is probably the best song you could ever imagine about English and Scottish thoughts of independence'. The comedian Stewart Lee accorded Handful of Earth a similar accolade, taking the view that it was 'a great album of Scottish nationalist songs and really old Highland ballads, with this fantastic intricate guitar playing'. It is all happening for Dick Gaughan now: the forthcoming boxset (there will be roughly 500 copies on sale to the general public), plus limited-edition releases of Live at the BBC (on vinyl), a CD, Live in Belfast 1979-82, and a twin CD collection, Live in the 70s. More is on the way. 'Next year', adds Colin, 'we hope to release an expanded True And Bold: Songs of the Scottish Miners [originally out in 1986, long out of print], a 2-CD Andy Kershaw Sessions Plus: 1984-2005 - Dick's six Andy Kershaw Radio 1 sessions plus the best of his other BBC recordings from the 'second phase' of his career - and Collaborations, an exciting album of the best of his studio recordings gifted to themed albums/tribute albums and vocal guest performances with other artists, all from 2000-2015. And from Topic, a new vinyl remaster is in the works.' Dick Gaughan deserves every last moment of his newly restored reputation, having paid his dues in more ways than one. Criss-crossing the country, driving long distances at uncongenial hours and playing in venues that frequently erred on the wrong side of glamorous, was not for everyone. But he persisted, because he was a musician, and because he was very good at it. 'By the time I knock off all the costs of doing my job,' he reflected to JP Bean for his book, Singing from the Floor: A History of British Folk Clubs, 'I probably end up keeping about 15 per cent of what I earn and my taxable income over a year is roughly what I'd earn stacking shelves in Tesco. 'Being on the road isn't a career - it's a way of life. Anyone who gets that the wrong way round isn't going to hack it for long. After a decade they're going to be completely burned out and bitterly disappointed unless they get lucky and hit commercial success outside the folk world … It's just the way of life I chose and it's the price you pay if you decide to do something outside the accepted mainstream.' * The GoFundMe page can be found at Dick Gaughan Live at the BBC 1972-79 (vinyl) is available for pre-ordering from Last Night From Glasgow: ; details of the forthcoming R/evolution boxset can be found at