Your Money: How are you feeling about money? (no, really.)

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Bruce Helmer and Peg Webb

Money isn’t only a matter of arithmetic. It is deeply tied to how we feel about our lives and our futures. Even investors who pride themselves on rational decisions know that fear, excitement or uncertainty can often enter the picture.

Recent surveys reflect this unease. The University of Michigan’s Index of Consumer Sentiment fell to 58.6 in August, signaling growing concern about inflation and economic stability. At the same time, Americans now say it takes $840,000 to feel financially “comfortable” — a sharp increase from last year, according to Charles Schwab’s most recent Modern Wealth Survey. These benchmarks tell us less about balance sheets and more about psychology: Comfort is harder to grasp, even as asset values and income rise.

Why our emotions shape financial outcomes

Behavioral finance has shown for decades that the greatest risk to long-term success is often our own behavior. Markets fluctuate, but it’s the way we react, selling in panic, chasing performance, or freezing up that undermines progress.

Some of the most common patterns include:

Loss aversion. Losses weigh roughly twice as heavily as gains, making it painful to hold steady in a downturn (Tversky and Kahneman,1979).

Mental accounting. We treat identical dollars differently depending on the “bucket” they are in (a bonus, say, or a refund or savings) which can lead to inconsistent decisions.

Status quo bias. We stick with outdated allocations or policies simply because change feels riskier than inertia.

Present bias. Immediate gratification often outweighs long-term goals, creating a constant tension between saving and spending.

Mood effects. Stress or overconfidence distorts risk perception and influences decisions far more than spreadsheets.

Moving from academic theory to action

There is a way to frame the challenge of managing these biases in personal terms: every financial decision has a feeling attached to it. Before acting, it helps to name the driver. Is it fear, pride, or the desire to keep up? Identifying emotion makes it easier to separate genuine needs from less-essential wishes.

We always encourage our clients to broaden their definition of wealth. Assets on a statement matter, but so do time, health, skills, and relationships. Money should be viewed as a tool to protect and expand those forms of wealth.

Relationships add another layer of complexity. Disagreements between spouses, awkward conversations with friends, or mismatched expectations with a new partner can all magnify financial stress. Honest communication can reduce emotional charge and make planning feel collaborative rather than confrontational.

Setting guardrails can help quiet your emotions

Awareness alone is not enough. Putting structures in place keeps emotions from steering decisions off course. A few that work in practice:

Pause before acting. A 72-hour delay on emotional money moves often prevents regrettable choices.

Automate the important. Automatic savings, debt payments, and portfolio rebalancing reduce the influence of mood swings.

Label your goals. Rename vague “buckets” into specific purposes, e.g., a “five-year house fund” or “sleep-at-night cash.” Labels bring clarity which can make trade-offs easier.

Audit your defaults. Replace one outdated choice, whether it is a 401(k) allocation that has moved from your ideal target, or an unused subscription, with something more intentional.

Convert anxiety into action. When stress builds, channel it into one tangible step: raise contributions, rebalance, or schedule a review. Taking action can restore a sense of control.

Wealth beyond the numbers

Despite the headlines, most Americans already report feeling wealthy in the areas that matter most. Eight in 10 say they feel rich in relationships, happiness, and time, according to the Schwab study. This suggests that while money fuels opportunity, it is not the sole measure of a well-lived life.

Financial wellbeing, then, is not about reaching a fixed number. It is about aligning money with values, setting boundaries against emotional impulses, and remembering that true wealth extends beyond what markets deliver.

Emotions and money may appear to be inseparable. Emotions can cloud judgment or serve as useful signals depending on how we respond. By naming the feelings behind financial choices, setting up guardrails against impulsive behavior, and broadening our sense of what it means to be wealthy, we can quiet some of the anxiety and focus on building lives that are not just financially secure but genuinely fulfilling.

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The opinions voiced in this material are for general information only and are not intended to provide specific advice or recommendations for any individual.

Bruce Helmer and Peg Webb are financial advisers at Wealth Enhancement Group and co-hosts of “Your Money” on WCCO 830 AM on Sunday mornings. Email Bruce and Peg at yourmoney@wealthenhancement.com. Advisory services offered through Wealth Enhancement Advisory Services LLC, a registered investment adviser and affiliate of Wealth Enhancement Group.

 

Review: Thomas Zehetmair returns to conduct Brahms, Beethoven at SPCO opening weekend

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For the opening concert of its 2025/2026 season, the St. Paul Chamber Orchestra welcomes the return of former artistic partner Thomas Zehetmair, an Austrian violinist-turned-conductor, who in recent years has broadened his artistry to include composing.

The program traces a path from Zehetmair’s contemporary turbulence back through the romantic reconciliation of Johannes Brahms’s last orchestral work to Wolfgang Amadeus Mozart’s final symphony.

To start things off, the SPCO performs a new string orchestra arrangement of Zehetmair’s 2023 string trio, Passacaglia, Burlesque and Choral. It opens with a slurry beginning, a blurred mass of repeated tone chords built from adjacent notes on a musical scale that evoke eerie disorder.

In time, these dissonant chords start to sound more musical, even as they change in rhythm and tempo, before Zehetmair introduces a sly pizzicato and more strident accented rhythms.

After a pause, the composition takes on a searching quality, as the melody travels from one instrument to the next, including a compelling viola solo performed by principal viola Maiya Papach, eventually fading out to nothing, leaving the audience suspended in uneasy quiet.

The work’s last movement, which in his intro Zehetmair noted derives from a theme Mozart used in his “Jupiter” Symphony going back to the 12th century, takes on a cacophonous tumult, swelling, hovering, and exploring strange rhythms, and lopsided, sloppy bliss.

From Zehetmair’s searching dissonances, the SPCO moved into Brahms’ Double Concerto, performed by concertmaster Steven Copes and principal cello Julie Albers. Brahms wrote the double concerto — a rare form at the time — for his former friend, Joseph Joachim, as a way to make amends, as well as his frequent collaborator Robert Hausmann. The music allows room for each of the soloists to shine, as well as be in dialogue with the larger orchestra. It often carries a cheerful feeling, with wonderful textures.

After the orchestra launches in with a full flaring sound, the cello takes the lead on a sweet, almost pensive solo. The woodwinds dash in for a moment before the violin arrives, leaping across scales before the orchestra returns with a celebratory flair. The first movement has ample opportunity for Copes and Albers to demonstrate not only their own skill as separate musicians but also an easy camaraderie that comes from years as colleagues.

In the second movement, warmth prevails: woodwinds interject tenderly while violin and cello shadow each other in playful turns. The finale opens with a sneaky cello solo answered by a mischievous violin line. The music feels like a murder mystery caper, propelled by urgency yet never losing its lightness.

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After Brahms’s resplendent dialogue, the SPCO turned to Mozart’s Symphony No. 41, “Jupiter,” his last and most monumental symphony. Zehetmair breathed with the musicians as he conducted, guiding the ensemble with physical clarity rather than showmanship. The opening Allegro vacillates between punchy jabs and fluttery gaiety. The Andante cantabile offers benevolence tinged with shadow, its harmonies turning suddenly ominous.

The Menuetto: Allegretto takes the shape of a dance, its courtly pulse enlivened by fanciful woodwind slides that seem to tumble over each other. You can hear the slide-and-step pattern like footsteps on a ballroom floor. The finale arrives like crashes of thunder and lightning, shifting between forceful and delicate moments. Zehetmair’s arms fly as he leads the orchestra toward its stormy finish.

Opening weekend

Who: St. Paul Chamber Orchestra

What: Mozart’s Jupiter Symphony with Thomas Zehetmair

When: 7 p.m. Saturday, Sept. 13; 2 p.m. Sunday, Sept. 14

Where: The Ordway, 345 Washington St., St. Paul

Tickets: $0-$70

Accessibility: ordway.org/visit/accessibility/

Capsule: Former SPCO Artistic Partner Thomas Zehetmair returns to conduct Brahms, Beethoven, and his own work.

Crafts, live music and stilts: ArtStart block party to celebrate building purchase

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The St. Paul nonprofit ArtStart is hosting a community block party Saturday, Sept. 27, to celebrate the purchase of its building in the Macalester-Groveland neighborhood. The building has been home to its ArtScraps Creative Reuse Materials and Idea Center for 32 years.

“We can’t wait to fill the street with joy, creativity and connection,” said ArtStart executive director Anne Sawyer.

The family-friendly celebration is free and will be from 3-6 p.m. at the ArtScraps store, located at 1459 St. Clair Ave., St. Paul. Highlights include a performance from Hijinks Stilts at 3:45 p.m., music by Brazilian percussion band Batucada do Norte at 4 p.m., on-demand poems from the Poetry Bus, food trucks and art-making activities.

ArtStart collects donations of recycled materials and art supplies and sells them back to the public at low prices at its ArtScraps center. The organization also offers youth art camps, workshops in libraries and artist residencies in schools across the Twin Cities.

A customer looks through a bin of beads at ArtStart’s ArtScraps ReUse Center in St. Paul. (Bennett Moger / Pioneer Press)

Over the summer, ArtStart asked the community to help raise $10,000 for the purchase of its ArtScrap center building. The nonprofit has now raised more than $12,500.

“We’re really happy to have the building, because it helps us keep doing what we’re doing,” Sawyer said.

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University of Minnesota and Teamsters reach tentative deal, Farm Aid concert is on

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After a week on strike, the University of Minnesota and Teamsters Local 320 have reached a tentative agreement.

The Teamsters announced on Facebook that their negotiating team has a tentative agreement for members to vote on, ending the strike and allowing next week’s Farm Aid concert to continue as planned.

“The strike is over!” the post said.

Members of Teamsters Local 320, which represents 1,400 custodial, food service, maintenance and sanitation workers on campuses around the state, went on strike Monday night at the Crookston and Morris campuses and expanded to Duluth and satellite campuses Tuesday morning. Workers at the Twin Cities campus joined the strike Tuesday night.

The union’s current contract expired June 30, and negotiations have been ongoing since late March. Union members filed an intent to strike Aug. 7, with initial plans for the strike to begin Aug. 20, just as students were returning to the Duluth campus.

The university put forth a new contract — its last, best and final offer — on Aug. 19, and the strike was put on hold so workers could consider the contract. With an 82% majority, union members voted to reject the offer, citing frustrations over annual wage increases and changes to the contract’s expiration date.

Farm Aid

The Farm Aid organization said on X that their September 20 concert will go on as planned. The concert had been jeopardized by the strike and organizers considered finding a new venue at the last minute.

Farm Aid staff were set to begin building the stage Friday for the concert featuring Willie Nelson, Neil Young, John Mellencamp, Dave Matthews and a dozen other musical acts, but organizers released a statement Thursday that said: “Our artists, production team and partners have made clear that they will not cross a picket line.”

Just after midnight on Saturday, the organization said on X: “Farm Aid is grateful that the University of Minnesota and Teamsters Local 320 have reached an agreement. We are thrilled to confirm that Farm Aid 40 will go forward in Minneapolis as planned.

“For four decades, Farm Aid has stood with farmers and workers. Today’s agreement is a reminder of what can be achieved when people come together in the spirit of fairness and solidarity.”

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