30 Day Challenge #2 - 100 Push-ups a Day

This is the second entry in my series of monthly challenges. In January, I quit alcohol and sugar and reported on the things I learned. In February, I took the 100 push-up challenge, logging at least 100 push-ups, usually in four sets of 25, every day for 30 days. 

I couldn't have done this without preparation. This 55-year-old body wasn't ready to start any intense exercise without some trial runs. While I was abstaining from alcohol and sugar in January, I was also building my upper body strength. 

To facilitate this, I joined a Push-ups Twitter group, promoted by the Teachers on Fire Podcast logging my daily totals into this impressive spreadsheet. I struggled at first, but persisted. By February 1, I was ready for this month's challenge.

So, what did I learn?

I learned that my body, even at this age, responds positively when challenged. I can easily drop and power out 30 without breaking a sweat. Doing 100 push-ups daily became easier and easier.

My posture has improved. I stand slightly taller and more comfortably, especially after a work-out.

It is an amazing way to start your day. At first, I was doing the full 100 in the evening. Mid-month, I switched the routine. I now do 25 when I start the coffee maker and 25 more after my first cup. I'm not sure if it is the exercise or the caffeine that makes me more alert.

What's Next?

I will continue to complete at least 50 push-ups daily. I recently passed the 4000 mark and I am in the top 5 in the group for average push-ups per day. I know I am significantly older than most of the participants, so that has me chuffed.

In March, I am going to try 30 days as a pescetarian. A pescetarian follows a vegetarian diet that includes fish. I'll report again at the end of the month.

Thanks for reading - feel free to join in, I'd love to hear about your discoveries.

The 500 - #381 - The Smile Sessions - The Beach Boys

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone's 2012 edition of The 500 Greatest Albums of All Time. 

Album # 381

Album Title: The Smile Sessions
Artist: The Beach Boys
Genre: Eclectic - Rock, Pop, Surf, Psychedelic, Doo-Wop, more
Recorded: (1965-1971) - Multiple Studios in Los Angeles
Released: October, 2011
My age at release: 46
How familiar was I with it before this week: One song
Song I am putting on my Spotify: Heroes & Villains

Writing about this record was a struggle. There is so much background information I discovered. I had initially considered a discussion of the relationship between mental health and creativity. However, in the end, I have only provided an overview on the record's unusual history. Fortunately, the Beach Boys appear on this list twice more...next time!

Although recorded in the late sixties, the album Smile by The Beach Boys was not released until 2011, just seven months before Rolling Stone Magazine's list of The 500 Greatest Albums was published. Quirkily, that has made it the youngest entry on the list...despite being nearly 50 years old.

Additionally, it is not a conventional album. It is a boxed-set containing previously released material and dozens of tracks from abandoned recording sessions. 

To set the stage, The Beach Boys were one of the biggest bands on the planet in 1967. They had just released their landmark album Pet Sounds, which appears at #2 on The 500 List, a staggering achievement being only one spot behind the album that it inspired, Sgt. Pepper's Lonely Hearts Club Band, by The Beatles. They were also touring the world, playing to massive crowds.

Pet Sounds & Sgt. Pepper's Lonely Hearts Club Band
Numbers 2 and 1 on The 500 List

Smile was plagued by internal and external issues from the start, much of it due to band leader Brian Wilson's deteriorating mental health. Wilson had not been a touring member for a few years instead choosing to write and work in the studio. Initially, it was believed he was prone to panic attacks; however, it would later be learned that he suffered with a schizoaffective disorder. 

While the band toured, Wilson put his energy into songwriting and sound engineering. Through his unorthodox and revolutionary approach, he has been hailed by critics and peers alike as musical genius.

The recording sessions continued to be fraught with tension. Brian's band mates simply didn't understand his vision. Lead singer Mike Love, who was Wilson's cousin, wanted the group to return to the surf-rock formula that had made them international stars.

Brian Wilson in the studio (1967)

Eventually the entire project fell apart and Smile was shelved for decades with Wilson blocking any attempts to complete or release it. A down-scaled version called Smiley Smile was made available in 1967 which contained The Beach Boys biggest hit, Good Vibrations. 

In 2014 Wilson released new recordings of the songs that were planned for the Smile album under the moniker, Brian Wilson Presents: Smile.

Brian Wilson Presents Smile album cover

Finally, in 2011, the Smile box set that is on The 500 list was released. It immediately garnered critical acclaim winning the 2013 Grammy Award for Best Historical Album. 

The first 19 tracks are an approximation of what the album would have sounded like. The rest of the box set includes over 60 tracks that are session highlights and outtakes. In fact, an entire disc is dedicated to recorded snippets from one song, Good Vibrations (see below).

Consequently, the boxed-set is not really an "album". It is more of a "museum piece" or an archive of rock and roll mythology for die-hard fans of The Beach Boys.

It took me some time to get my head around The Smile Sessions. As I built my understanding of the history behind it, I started to connect with it more and more. It grew on me with each listen and to truly appreciate the craftsmanship that went into these innovative and imaginative songs, I recommend a good pair of headphones.

For further background, consider watching the 2014 biographical-drama Love & Mercy which documents Brian Wilson's struggle with mental illness in the 1960s and 1980s. 

Actor Paul Dano portrays the young Wilson in the 1960s, as he writes and produces the music for both Pet Sounds and Smile while suffering from his undiagnosed schizoaffective disorder. In a connected story line, John Cusak plays Wilson in the mid-80s. This was a time when the performer was heavily medicated and had relinquished his life to the care of an unconventional and controversial therapist, Eugene Landy, portrayed in the film by Paul Giamatti.

Wilson (left) and Landy in 1976

For more information on this fascinating record check out the February 18 release of The 500 Podcast with Josh Adam Meyers which is dedicated to the Smile record. Much like this boxed-set, the additional stories behind it are lengthy and complex, but fascinating. 

 

The 500 - #382 - The Modern Lovers - The Modern Lovers

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone's 2012 edition of The 500 Greatest Albums of All Time. 

Album # 382

Album Title: The Modern Lovers
Artist: The Modern Lovers
Genre: Proto-Punk, Punk, Art Rock
Recorded: (1971-1973) - Multiple Studios
Released: August, 1976
My age at release: 11
How familiar was I with it before this week: One song
Song I am putting on my Spotify: Roadrunner (selected by my friend and The Modern Lovers' fan, Claudio)

 The Modern Lovers self-titled debut

The Modern Lovers' debut album of the same name is considered by some to be the first punk album. That said, there is plenty of debate about this claim. Regardless, the legacy of the four-member band from Boston continues to inform contemporary music.

Released in the summer of 1986, the album was actually recorded five years earlier. Three of the band members (Jerry Harrison, David Robinson, Ernie Brooks) had all moved on to other successful projects. 

Harrison was with Talking Heads who were the subject of my blog last week and have records at #345, #291 and #129 on The 500 list. 

The four Talking Heads records on The 500 list

Robinson, a drummer, helped form The Cars -- even giving that band its name. The Cars 1978 debut record appears at #284 on the list.  Meanwhile, bassist Brooks became a highly-regarded session player who performed with several bands, including New York Dolls who have a record at #215

(l to r) Robinson, Harrison, Brooks and Richman

Consequently, the late release of this record created a conundrum for founder Jonathan Richman -- the band no longer existed. Given the album's critical and commercial success, Richman chose to re-establish The Modern Lovers with new musicians. Sometimes dubbed "The New Modern Lovers" or "Jonathan Richman and The Modern Lovers", they recorded and toured for another decade.In 1988, he retired the band name permanently, continuing as a solo artist. 

Interestingly, many will know Richman best from his contribution to the 1998 Farrelly Brothers' movie There's Something About Mary.

Movie Poster: Something About Mary

In it, Richman plays one half of a two-man Greek Chorus who comment on the plot while performing interstitial music throughout.

Richman in the opening credit sequence to
  There's Something About Mary (1998)

Prior to this week, I was unfamiliar with this debut record. I had heard the song Pablo Picasso, but not the original version. Instead, I knew it from the 1984 cult-film Repo Man, performed by short-lived Los Angeles band Burning Sensation.

Theatrical Poster for Repo Man (1984)

As I listened to and researched this record, I connected with the spirit of innovation which is blended into its history and legacy. As an educator, I am regularly encouraging students to embrace the power of remixing. For example, I was recently teaching my students how to code a simple Rock Blaster game. 

When they mastered the basic code I encouraged them work together to remix it and improve on the game's design. This project taps into the Four C's of 21st Century education: Collaboration, Critical Thinking, Creativity and Communication. The results were spectacular. This particular version is entitled "Cheese Puffs: The Attack Of The Hands". You might say that this student went beyond the Four Cs to create a fifth...Comedy!

As I move through The 500 list it has become clear that remixing is frequently evident. I am discovering music on the list that was informed by previous records. For example, a few weeks ago, I wrote about album #393, Kala, by M.I.A. 

Her track, Bamboo Banger, includes lyrics directly lifted (with credit) from Roadrunner, the opening track on the original Modern Lovers' record. 

Interestingly, Richman credits his inspiration for writing Roadrunner to the song Sister Ray, by The Velvet Underground from the 1968 record White Light, White Heat. This album appears on The 500 at position #293.

So, while the jury is still out on whether The Modern Lovers released the first "punk" album, there is no doubt that these four musicians have contributed significantly to modern music -- remixes and all.

 

The 500 - #383 - More Songs About Buildings And Food - Talking Heads

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone's 2012 edition of The 500 Greatest Albums of All Time. 

Album # 383

Album Title: More Songs About Buildings And Food
Artist: Talking Heads
Genre: New Wave, Avant-Pop
Recorded: Compass Point - Nassau, Bahamas
Released: July, 1978
My age at release: 13
How familiar was I with it before this week: Somewhat
Song I am putting on my Spotify: Take Me To The River

Talking Heads were officially formed in 1975 in New York City. However, the band's origin can be traced to the Rhode Island School of Design in 1973 where guitarist and vocalist David Byrne formed the band The Artistics with drummer Chris Frantz. Transportation to gigs was often provided by Frantz's girlfriend, Tina Weymouth.

Rhode Island School of Design 

When The Artistics disbanded two years later, the trio moved to a communal loft in the Lower East Side of Manhattan. Unable to find a bassist, Frantz convinced Weymouth to learn the instrument. And the Talking Heads were born.

Talking Heads (original line-up) 1976

The band's name came from television production parlance. It refers to a camera shot, often used in newscasts. In it, only "the head and shoulders of an individual talking" are captured. According to Weymouth, it perfectly fit the aesthetic the band hoped to achieve -- "all content, no filler."

Keyboardist, guitarist and vocalist Jerry Harrison (who was the guest on this week's episode of The 500 Podcast), joined the band in 1977 and the classic line-up, which would remain intact for the next 14 years, was formed.

Talking Heads (1977) l-r Harrison, Byrne, Weymouth, Frantz

More Songs About Buildings and Food is the second studio record by Talking Heads and one of four that appear on The 500 list.  Like many 1970s artists, my first encounter with Talking Heads was their appearance on Saturday Night Live. The date was February 10, 1979, almost 42 years to the day of this post.  It also featured host Cicely Tyson, who passed away two weeks ago. (#Coincidences)

Cicely Tyson in a Saturday Night Live Promotional Photo (Feb. 1979)

Admittedly, I looked up the date of this broadcast's airing. However, I do know I was babysitting at 11:30 p.m. on the night I saw it. Other than the money (a whopping $1/hour), watching Saturday Night Live uninterrupted was my favourite part of a babysitting gig. 

Saturday Night Live - 1979 - The "Not Ready for Prime Time" Players

The children were fast asleep, the parents would not arrive home until at least 1:30 a.m., and I had a full bowl of potato chips and a fridge full of pop at my disposal. It was early-teen heaven.

Talking Heads' performance of Take Me To The River was everything I loved about Saturday Night Live, even if I didn't know how to articulate it at the time. It was entertaining, weird, avant-garde, clever, subversive and, perhaps most importantly, it felt like I was getting a window into the future.

In an uncomfortable interview on Dick Clark's American Bandstand, about a month after their Saturday Night Live performance, a 27-year-old Weymouth said this about the band's music: 

"It's pretty highfalutin, but we want to make our mark in music history."

Well, I suppose, as I write these words 42 years after that awkward exchange between Clark's polished presentation and four artistically gifted introverts, I have to say ... Mission Accomplished, Ms. Weymouth.

"All content, no filler."

The 500 - #384 - A Quick One - The Who

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone's 2012 edition of The 500 Greatest Albums of All Time. 

Album # 384

Album Title: A Quick One
Artist: The Who
Genre: Rock
Recorded: IBC, Regent and Pye Studios (London, England)
Released: December, 1966
My age at release: 1 - My Guest Blogger was not born yet
How familiar was I with it before this week: Somewhat
Song I am putting on my Spotify: So Sad About Us

This week I welcome guest blogger Steve Crew. Steve and I have been friends for about 25 years. However, we would later realize that our time in high school briefly overlapped and we were in the school band together. Steve is a professional musician and multi-instrumentalist. However, he is best known around the London, Ontario, music scene as a drummer for The Rizdales. 

Steve Crew - behind his kit at  a Rizdale's show

There have been many nights when I've been able to corner him at the bar (often between sets with one of his many bands) to talk hockey and music. I distinctly remember an evening in 1999. I had just seen the Wes Craven movie Rushmore and was enraptured by the soundtrack to the film. 

Rushmore Soundtrack (1988)

When I saw Steve, I asked him if he knew The Who song that was in the film - I think I referred to it as, "You Are Forgiven". Without skipping a beat he said: "It's A Quick One". When I saw this record coming up on The 500, I knew I had to reach out to Steve and ask him if he was willing to share his knowledge as a guest blogger. Fortunately, he agreed. Enjoy.

A little background: The Who are a rock band formed in 1964 in London, England. Their classic line-up was Roger Daltry (lead vocals), Pete Townsend (guitar, secondary lead vocals, principle song writer), John Entwistle (bass and vocals) and Keith Moon (drummer). The Who achieved quick success in the UK and North America, capitalizing on the Mod and pop art sub-cultures. They gained notoriety when they destroyed their instruments on stage at the end of performances. They were, however, more than a "stunt-act". Their talent as musicians was recognized quickly by music critics and fans. They quickly became one of the biggest bands in the world.

The Who: A Quick One album cover (1966)

As it turns out, you shouldn’t judge the album you're about to review based on a casual background listen.

“This isn’t their best showing, is it?” I said to my girlfriend.

A few days and several listens later, my impression changed. “Hey wait, I forgot how amazing this record is!”

Even as a Who fan, this wouldn’t be my first pick. It might not even be my second or third. It’s an important record, though. Released in 1966, A Quick One is The Who’s sophomore effort. It’s exciting, it’s pivotal for band’s future, and it’s LOUD.

By this point the band were already established in North America. Their 1965 debut album included huge hits, The Kids Are Alright and My Generation. This new record was a departure from that Maximum R ’n’ B formula. To make it even weirder, each member wrote material and sang on least one track.

The Who - (left to right) - Daltry, Entwistle, Townsend, Moon 

Let’s start with the hits.

Happy Jack Is about an old-timer that Townsend and his friends would incessantly tease when they were young. It’s a song that showcases The Who’s signature style: Loud-Quiet-Loud. We get the power and force from the backing trio as they hit the instrumental sections. Then, just as quickly, they rein it in when the verse returns.

It’s exciting to hear something so loud and frenetic one moment, and subdued and balanced the next. To me, this is what The Who is all about. Worth noting, this song is not on the original UK release. In its place was a pretty bang up cover of Martha & the Vandals Heat Wave.

Boris the Spider. This is what you get when two bass players get drunk and come up with human names for animals. John Entwhistle and Rolling Stones’ bassist, Bill Wyman, were out for a night on the town and this song was the result.

The subject matter and John’s demonic voice in the chorus give this song its screwball quality. It’s reminiscent of something you might hear on Dr Demento. That aside, it’s a bona fide fan favourite that gets its share of play on rock radio. 

Drummer’s note: check out the late snare drum hit at 1:40. Maybe Mr. Moon thought the song was over or he lost the grip on his stick. But hey, it’s Keith. Perhaps he’s just playing “behind the beat.”

Next: 

Three tracks don’t fit the standard Who “rock radio” designation. For both diehard and casual fans, these songs deserve regular rotation.

Run Run Run has the classic mod-pop Who sound and it’s a great start to the album. With its jangly guitar, sweet vocals, and a catchy chorus, it’s really the sound of the times. A perfect song for ‘66.

So Sad About Us gives us a peek into the band’s future sound. For me, this is the gem on the record. It’s melodic, powerful, and it has harmonies for days. The push and pull of the rhythm section, Roger Daltry feeding those lead vocals, and that amazing chiming guitar are the straight-up goods!

Whiskey Man is John Entwistle’s second number on the record. It tells the tale of a man with an imaginary friend who loves to drink. The production (hello French horn!) and song structure give it a feel reminiscent of The Beatle's Rubber Soul record. This is my choice for best song on the first side.

Alright, it’s time to talk about Keith Moon

When I first started drumming, Keith was one of my top influences. There was so much fun, power, and passion in his drumming. I couldn’t get enough of it. Not surprisingly, there was always room for a Moon-style drum-fill in my playing.

Keith wrote two songs for this record and sang lead vocals on one of them. The first is the instrumental, Cobwebs and Strange. Horns, flutes, and marching drums give it a carnival feel, and every band member plays a wind instrument throughout. Check it out here.

The main reason for this number? A drum solo! Keith’s maniacal playing takes centre stage as each segment quickens to a frantic pace. The speed and accuracy of Pete Townsend’s right hand strumming is pretty amazing too. This is easily one of the most bizarre songs The Who ever recorded.

I Need You, Keith’s second track on the record, illustrates his love of surf music. The drums are incredibly loud, with as much presence as Moon’s lead vocal.

Finally, a bit about the album’s title track

At a whopping nine minutes, A Quick One is a tale of loss, infidelity, and redemption in six parts. It is Townsend’s first attempt at mini rock opera. He actually wanted cellos for the finale, but producer Kit Lambert, said they couldn’t afford them. You can actually hear the band singing “cello, cello, cello” in place of the real thing.

The song was groundbreaking for its time. It challenged the conventions of what a rock song could be, and led the way to era-defining records, Tommy and Quadrophenia, which appear on The 500 list at #96 and #267 respectively

For me, the perfect version of A Quick One is from The Rolling Stones Rock and Roll Circus, a concert organized by the Rolling Stones in 1968. 

Promotional Poster for Rock and Roll Circus film

The Who, fresh off a concert tour of their own, unleashed their seemingly reckless power, then effortlessly dialed it all back. Worth checking this out to see the true essence of the band on full display.

And that, my friends, is The Who, A Quick One. Enjoy!

30 Day Challenge #1 - "I went alcohol and sugar-free for January" What did I learn?

Every winter we are warned about the perils of over-indulging.  The health-conscious embark on an annual crusade to protect us from ourselves. For if December is sleigh bells, roaring fires and Christmas cheer then January surely follows with bloated bellies, swollen livers, shameful gloom, and promises to reform.

For years, I have smugly boasted of practising sobriety in January or, as it is known in the Social Media world, #DryJanuary. Admittedly, there was always a little bit of cheating involved.

I would start on the first Sunday before returning to school, which could be any date from January 2 - 7. "After all", I would justify, "I am still on vacation!"

Additionally, I would compensate for the lack of boozy-treats with sugary and savory distractions. Without a beer on Saturday, a double-cheese pizza and a few bowls of M&Ms were a fine replacement.

Often, my alcohol abstinence would ended prematurely. If the last Friday in January fell on the 26th and I'd had a tough week, I'd triumphantly announce (to my better instincts): "Good enough" and pour a dram. The siren song of the nearest liquor store summoned, and I would capitulate. Unlike Odysseus, this untethered and sober sailor was quickly dashed on the rocks and bourbon shores.

The abundant selection at a typical LCBO store.

This year was different. I committed to the full 31 days and added to my no-drink policy an abstinence from refined sugars and heavy carbohydrates (no bread, no rice, no pasta, no chips).

So, how did it go?

Wonderfully well. I am writing this on February 4 and have been dry for 35 days having avoided sugars with the exception of a day when my students and I baked cookies during remote learning.

Cookie Ingredients waiting for my virtual class to log in.

What did I learn?

Quitting alcohol was easy. Quitting sugars and carbs was a different story. I craved sweets or salty snacks, especially watching television in the evenings. Additionally, when I spotted anything sugary, I would desperately try to find any justification  or flimsy excuse that would allow me to take a bite. 

The day I made the cookies with my class I wisely baked only nine and froze the remaining dough. This was sagacious. I devoured those nine biscuits like it was my job.

After three days everything gets better.

Sleep is deeper and more restful. I awake energized after 7 hours in the sack. In fact, I started looking forward to sleep. As a friend who was a new parent once said to me: "Eight hours uninterrupted sleep is my new drug of choice."

My mind became sharper, and my mental acuity improved. I found myself quicker-witted and funnier. Due to Covid-isolation, most of my satire was shared through group texts. Sadly, the speed of my clever retorts were hampered by clumsy thumbs. Alas, comedy is tragedy, plus timing.

A significant benefit has been weight loss -- less than hoped for, but 4 kilograms is pretty good. Professional trainers tell us not to fixate on the number on the scale. Bottom line, I felt better, less bloated and my clothes seem to fit more comfortably. No doubt, my blood pressure has also improved.

Finally, I got a lot more done. Whenever I was bored or drawn toward eating -- I poured my energy into positive distractions. I prepared lessons, wrote report cards, played guitar, practised piano and Spanish, or crafted a blog post...like this one.

Coming up next, 100 push-ups a day for 30 days. Four days in, I'm confident of succeeding. I'll update in March.