A (Sort of) Farewell to Kings/Channeling Neil Peart, Part II

In Part I of this post, I talked about the first set of the June 10th Rush concert I recently attended (really just because I was "In the Mood"), and let the songs guide my reminiscence of my ten years as a Rush fan ("Making Memories" if you will). Here we have part II. 

1. Tom Sawyer: I don't even need to say anything about this song. Rush's most popular song. This is no deep cut, but it still gives me chills every time it starts. My drum teacher Jim had introduced me first to "Closer to the Heart" (mentioned later), which I liked. He tried to have me play "Tom Sawyer" but I was intimidated by the amount of notes on the page, and held off for a while. When I asked him to bring it back out again, I was instantly hooked. This was drumming on a level I'd never experienced before (at that age, having listened only to pop, country, and some classic rock for most of my life). I proceeded to pursue Rush's discography (using mostly FYE stores because I had no idea where to shop for music when I was 15) and devoured every album. On June 10th, I didn't quite catch the opening moment because we were running to our new seats, but it was still a command performance. And the South Park "Li'l Rush" parody gets funnier every time.

2. The Camera Eye: A deep cut that resurfaced during 2011's Time Machine Tour, celebrating the 30th anniversary of Moving Pictures. It is one of the longer songs at almost 11 minutes, describing the hustle and bustle of big cities, switching back and forth between sharply focused verses and a deeply satisfying mid-tempo rock riff. It was also here (during the show) that I could not help but admire Neil Peart and Rush's control - if I was playing these songs, I'd be excitedly speeding the tempos up every song, or at least trying desperately not to. But these guys make it look easy (even if they are playing to a click track).

3. The Spirit of Radio: This can be best summed up by Mike's reaction as he sat next to me. The song's opening riff poured out of Alex Lifeson's amps and all I heard from my left was, "Aw, yes!" It's the great listener's anthem whose message about music and artists vs. advertisers and corporate executives still rings true today. I love "begin[ning] my day with a friendly voice, a companion unobtrusive." And when the lights go from rainbows over the crowd to small intimate Jamaica colored spots for the reggae-ish part? That's just gravy.

4. Jacob's Ladder: Another deep cut from 1980 - an epic grooving jam featuring a brief but epic lyric that, if you close your eyes, really makes you feel like the heavens' fury is coming down in a storm (which is appropriate for this week's Buffalo weather).

5. Cygnus X-1, Book II: Hemispheres, Part 1: Prelude: This track (leading into its own part I) is the only one I couldn't identify in the first five seconds...but as soon as I heard the signature riff I knew it. This is another one where reading the backdrop of the song is quite helpful. For one, in the studio track, even I have to admit that Geddy's high vocals are sometimes hard to follow. For another, it's also a pretty cool tale - again heavy on the sci-fi, though this one features a spacefaring protagonist.

6. Cygnus X-1, Book I: Parts 1 and 3 (with drum solo): The gift that keeps on giving.

7. Closer to the Heart: "This is a great song from 'A Farewell to Kings'...it's got a pretty little acoustic intro." As soon as Geddy said it, the entire audience quaked with anticipation and then broke into raucous cheers. This was the first Rush song I learned to play on the drums, and, as my friend Mick stated leading up to the concert, it proved that radio-friendly songs could have loftier lyrics and more complex themes. I defy anyone not to sing along with Geddy when he tells us we can be the captain and he will draw the chart. I DEFY YOU. 

8. Xanadu: No, this is not that Olivia Newton-John movie. But it is based on the same Coleridge poem. Man, people got a lot of mileage out of his work - that movie, Citizen Kane, and a Rush epic that, in 1978, had the works - gong hits, chimes, woodblock and cowbell hits, as well as thundering rolling-down-the-stairs drum fills. They brought a little bit of that magic back for this, and Peart could be seen rising from his throne to hammer the chime notes of the song's introduction - which was pretty cool.

9. 2112: Parts I, II, IV, VII: A retrospective wouldn't be complete without the 20-minute, 37-second song that put Rush on the map. Admittedly, they did a shortened version for this concert. But as the opening ARP Odyssey Synthesizer tones hit my ears and the overture burst into existence, I was immediately transported to yet another dystopian tale, a concept revived in 2012's Clockwork Angels. As Geddy alternately channels the protagonist (with his discovery of the guitar and music) and the Temple Priests (who shut the former down), it's easy to see why this song brought them back from the brink of musical failure and thrust them into a spotlight that carries on to this day.

Encore: TH-TH-TH-THROWBACK!

1. Lakeside Park: This encore went all the way back to 1974-5. The first two songs haven't been played by them live in decades, since the vocals go pretty high and Geddy says his head threatens to explode. But a true retrospective necessitated bringing them back. So they tuned down a key or two, but these songs haven't lost a step. I love "Lakeside Park" in particular because it epitomizes Geddy and Alex's ability to write music that completely captures the mood of Neil's lyrics. It even takes me back to playing in parks when I was a boy, although "Beaty Park" doesn't have quite the same magic to it. Maybe Mulberry Park.

2. Anthem: The song that introduced 1975 to the new lineup of Rush, and introduced me to Ayn Rand's philosophies. Sort of. I didn't quite look that deeply into it at the time, I was just enraptured by the sheer prog mastery of the song. I put on this one and the guitar riff started and immediately went into creative drum fills that blasted out of my headphones and I knew I had found my new drum hero.

3. What You're Doing: A great song off their 1974 debut album (before Neil joined the band) - just classic bluesy rebellious rock that needs no explanation. Just turn up your volume and let it blast. Oh, and definitely check out this video someone made of the Peanuts gang singing it:  

4. Working Man (W/Garden Road outro): Ending on a classic, this song is the one track from the 1970s that has always been a staple. I'd like to think even the guys in Rush never get tired of this one, that they still have fun with the guitar solo section. Everyone can relate to this song in some way. Even if you don't understand any other Rush song...you get this one. And the fact that they teased Garden Road (a fun track whose lyrics are almost unintelligible, only released on two live albums recorded back in 1974, shortly after Neil joined the band) at the end is icing on the retrospective cake.

So that was long and self-indulgent. But I hope I made it easy to see how awesome this show was, and how much of a presence this band has been in my life for the past ten years. And how, even if you're not a Rush fan, or if you stopped listening when they introduced synths in the '80s, they still deserve a great deal of merit. Here's hoping for a lot more music, and even a few more shows from the best damn trio period. 

A (Sort Of) Farewell to Kings, or Channeling Neil Peart (Part I)

So about two weeks ago I saw Rush for the fifth time. It might be the last time, unfortunately, solely because they're getting to the point where they're less inclined to be away from their families for long tours that last months at a time. Which is totally understandable, since they're celebrating 40 years of doing that. Forty years, twenty studio albums (plus ten live albums), and solo projects from all three band members (from the experimental fun of guitarist Alex Lifeson's Victor, to the straightforward rock of bass player Geddy Lee's My Favorite Headache, to the drum solo instructionals and thought-provoking books written by drummer Neil Peart), movie cameos, and, of course, concerts, have provided me with hours upon hours of enjoyment in the mere nine years since I became a Rush fan. I mean, it's not the end - they still might do smaller tours or at least infrequent performances (as Mr. Lifeson said in a recent interview), and they probably have more music in them. But in honor of what could be their last big tour, and following in my drumming hero's footsteps with his own blog posts, I thought I'd explore my own retrospective of Rush's albums, using, as a guide, the setlist to what was arguably THE best show I've seen by them.

Before I start, a huge shout out to the First Niagara Center. When a small structural problem threatened the safety of my fellow concertgoers and myself in section 302, they took decisive action to move us to new seats to keep enjoying the show. Strong work.

1. The Anarchist: For my most recent birthday, Fiancée Reptar got me a copy of the Clockwork Angels novel, written by long-time sci-fi writer Kevin J. Anderson and based on the 2012 concept album's lyrics by Neil Peart. The book is solid, a good page-turner that does a great job of fleshing out the characters introduced in Clockwork Angels' twelve songs. This song's tom beat and driving guitar riff made for a great start to the show as they burst into their set.

2. The Wreckers: One of my favorites from the latest album, and one that really comes to life in the book. This song channels the uneasy and lawless concord that the protagonist finds at this point in his journey, which is soon shattered. Also a fantastic use of strings to simulate the idea of a boat on choppy waters, which persists through the whole song.

3. Headlong Flight (w/Drumbastica): The opening bass riff of this song leads into a song that is just as reckless as its title and story indicate, even while it reminisces about the crazy journey the protagonist has taken. The chorus is one of the hardest-rocking in Rush's catalog, and a listener is treated to intriguing images even as he/she can't help but head-bang along. Neil's new pattern of throwing in multiple smaller drum solos instead of one large one continues to delight as he drums his way into our hearts.

4. Far Cry: I became a Rush fan in late 2005, shortly after they completed their R30 tour, and I listened to their entire discography obsessively. I remember regretting that I had just missed that tour, and hoping that I would someday get to see them. My wish came true in 2007 when they announced their new album. The 12-second teaser for this song was unbelievable. And then later that year, when I saw Rush for the first time, the second set exploded (both literally and figuratively) as they ripped through this knock-you-through-the-wall number. Five shows later, this song still has that effect on me. As my friend Stephen said after that first show, "Far Cry was SICK!"

5. The Main Monkey Business: A complex instrumental that channels both a jungle feel as well as the metaphorical fun of its title. Neil's explanation in a 2007 issue of Modern Drummer of how the parts for this song came about is recommended reading for any drummer. There's a part at around the three-minute mark when Neil's hands are stretched from one end of his kit to another and his only thought is, "I don't know why I did that to myself."

6. How It Is: In my opinion, this is far from the best song on 2002's Vapor Trails, but still a great deep cut for this retrospective set, with potent lyrics about the importance of expecting the worst while hoping for the best. It's actually a pretty good lyric for today's world.

7. Animate: Rush's 1993 album explored post-grunge alt-rock. My friend Chris tried to get me to name my least favorite Rush album, and cited Counterparts as a potential example - that was a mistake. I love this album. It hit on complex themes (standard fare for any Rush album), as well as commonplace themes in a complex way (including AIDS, bravado (but not the song "Bravado"), and even love). It has some of Rush's coolest songs, including one of my top 5 - "Cold Fire."

8. Roll the Bones: The song inspired by an attitude of taking chances took its own chance in 1991 when Peart wrote an interlude inspired by "LL Cool J and Public Enemy" in a rap that beautifully captures Rush's flippant personalities amidst otherwise serious music. This was further highlighted by a great backdrop video at this concert featuring a host of famous Rush fans mouthing along to the rap, including Paul Rudd and Jason Segel, Peter Dinklage, the Trailer Park Boys, and more.

9. Between the Wheels: This song (and all the following songs from this concert) came out before I was born, but it is arguably my favorite song by the power trio. I love the metaphors describing the downsides to apathy (which, as a concept, is a pet peeve of mine), superimposed on a reggae/ska-infused riff. The song, last track on 1984's Grace Under Pressure, crashes in with power organ spikes and then drags you between the proverbial musical wheels and it's awesome.

10. Subdivisions: Rush's most famous song, post-1981. "Signals" is a fantastic album, even though the members of Rush are hesitant about it because the guitar-vs.-synth balance was a struggle (as it was for so many fans who were listening to Rush in the early 1980s). This album features my favorite Rush song that I thought would never be played live - "Losing It", a beautiful tribute to Hemingway that heavily features Ben Mink and a monstrous electric violin solo. As it turns out, a week after this concert I watched, Ben Mink CAME TO A RUSH CONCERT AND PLAYED IT WITH THEM ONSTAGE AT THE AIR CANADA CENTRE. I SHOULD HAVE GONE TO THAT ONE. DAMN.

At the end of intermission, we got moved to a box (for the aforementioned safety reasons), which was AWESOME. Much closer, parallel to the stage, such a cool way to experience the show. No wonder people pay the big bucks for those.

I wrote about the whole concert, but it's way too long of an entry for one post. So here lies the division - End of Part I.

Ten Opinions in a Row (#shoppingwithreptar Edition)

So I'm shopping with Reptar (correction: she's shopping. I'm just wandering nearby, offering suggestions that she dismisses and then sitting quietly while she tries on things and criticizes her body unfairly). So I figured I'd do something to distract myself. Therefore, I give you another ten opinions.

1. Go see Mad Max: Fury Road. It is brilliantly done. One of the best action movies I've seen in years. Keeps you on the edge of your seat, then lets you catch your breath for an instant until it plunges you back in. Great character development, especially in the span of a suspenseful movie. Just all-around so good.

2. Relating to that: I didn't realize there were websites and forums where "men's rights activists" whine and moan about how movies like Mad Max: Fury Road are ruining cinema because they gave Charlize Theron a lead role in a movie titled "Mad Max", where Max wasn't the good-at-everything superhero of movies gone by. You should watch the movie because it's good - but it's an added perk to stick it to those whiny guys.

3. People complaining that the new Human Torch is black need to pipe down. I have one friend who expresses that he likes the movies to be translated as literally as possible from the comics. Which I can understand, even if I don't agree. But the people who think that it's a bad thing because it's a black and white brother-sister duo (HOW COULD THAT POSSIBLY HAPPEN? ME SO CONFUSED), or, worse, that a black member would "disrupt the team dynamic" (which wouldn't happen because the Fantastic Four aren't as racist as that commenter) - go sit in the corner.

4. Okay, non-film thought: the fact that Ireland just voted to legalize gay marriage (and not just that - it was by POPULAR vote, not some elected officials deciding) is huge, and awesome. I think this is best summed up by this quote, from German official Jens Spahn: "One should think, what the Catholic Irish can do, we [Germans] can too," he was quoted by Welt Online as saying, adding: "The population is often more ahead in these matters than we think." 

5. Related to that: I hate it when people comment on posts about these important topics with "That's great, but what about this other important issue that I care more about?" One thing at a time, people. The world does not work on one problem at a time. Your issue's time will come (unless you're a men's rights activist. That time is not coming).

6. At this point I am firmly convinced that when my fiancée says she does not look good in a dress, 90% of the time she is full of crap. The other 10% is an objective issue with the dress itself.

7. I never fully understood the value of detangler combs and hair brushes until I grew my beard out. It was only like 3 or 4 inches, but running a comb through that and smoothing out the tangles was so satisfying. And made for a much softer beard.

8. If stores are going to dress up mannequins, they should have a card catalog or a "find-this-dress-in-store" feature that you can scan. That way you're not randomly wandering trying to find where all the Ralph Lauren dresses are.

9. I am sometimes torn between wanting to listen to a podcast and wanting to roll my windows down. I mean, I know I shouldn't care, but I feel dumb opening my window and blasting out a discussion of some random topic, rather than a song.

10. I am super excited to see my extended family this weekend. Med school and all of its scheduling conflicts, as well as sheer distance, prevent me from hanging out with them as often as I'd like. So the biggest perk of having an engagement party this weekend is that I get to see all of them. And I can't wait. That's not much of an opinion, I just wanted to give them a shout-out.

I have finished this list. And we haven't left Macy's yet. Still have at least one or two stores to check out. I need food.

Dos and Don'ts for a Drummer at Someone Else's Gig

So we've officially graduated! I can change the subtitle of this blog to "A Physician/Musician's Thoughts on Blah Blah Blah" - finally! It was a beautiful day, sunny and warm the way spring was meant to be (I love Buffalo but this extended winter stuff is for the birds). The ceremony was a huge thrill, and the speakers were excellent (shout out to my great friend and bandmate Mike Wach for making everyone cry). And to top it all off, I got to play a gig in front of a large portion of my classmates and friends (which, for all intents and purposes, will be the last time...but we'll see). The Lodge was packed, and everyone was dancing and singing along, which is my favorite part of playing in a live setting. It was a perfect day and night.

Okay, maybe not perfect (as you can guess from the title of this post), but I can gloss over any minor things that happened that day. But one thing - really just one person - stuck in my craw that night, and embodied the inspiration for a blog post that I have thought about writing before, but never actually did. So here it goes. The following list was inspired by that guy. Don't be that guy.

DO (can be applied more broadly):

1. Sing/dance/cheer. I love the energy I get from audience members, it definitely makes the whole experience better. Every performer has been at empty-house gigs where you still had to try and put on a show and it just felt like work.

2. Approach me between sets. I love talking to people at shows (I realize this is not the case with every musician, so be wary of that). Whether it's talking shop about drums, requests for songs, stories about how you saw some great band live and how amazing (or awful) they were, I'm usually pretty happy to hear it. The exceptions to this are if the musician really needs to pee, or (broader generalization here) if they are single (not me) and have their eye on a specific person in the crowd - that's no offense to anyone else approaching them, it's just the call of biology.

3. Buy me drinks. I mean, not too many, because I can't play drunk, but if you want to do a shot or get my next gin & tonic for me because you like the way I play, that's awesome. Again, musician-dependent.

4. Admire from far away. Hey, thanks! I mean, you can tell me between sets or from the crowd if you'd like (see #1 and #2).

5. Critique from far away. Hey, I can't stop you. Although maybe tell me to my face less often, and in a friendly manner so we can converse about it.

DON'T (a little more specific to that guy/drummers):

1. Approach me between songs. Little snippets of conversation are fine, or if you're buying me a drink or requesting a song, but please don't try to engage me on the merits of my cymbal placement or tell me about your drumming abilities while I'm waiting to hear what the next song is.

2. Walk around to stand behind me and stare critically. It makes the hairs on the back of my neck stand up, and it's distracting because I know you're there but I can't see you. I looked back to acknowledge and got nothing. It's just weird.

3. Ask to play my drumset apropos of nothing. Every drummer is guilty of this desire at some point or another. We'll be at some show and the drummer will have a set that looks beautiful. Or it could be ugly but we still suddenly get the urge to play. But most drummers are also aware that if the tables were turned, we would not want someone else playing our drums. Every drummer is protective of their stuff, though we don't want to be pricks. But if we have never talked, never established any rapport, you're just some stranger from the crowd...and if you come up (between songs - see #2), clearly tipsy and starting to slur your words? I don't really want you playing my drumset (especially when I am still playing the gig)! Even if you do offer me $10.

4. Touch my drums unannounced while I'm playing. UNDER NO CIRCUMSTANCES is this okay. I've been trying to be objective in this post, but this was seriously unacceptable. If I am playing a song and we have not previously agreed that you are going to come up and join me, then I question what is prompting you to pick up the stick that I broke earlier and add your own percussion accompaniment. When I am hitting the chorus of "I Believe In A Thing Called Love" and providing an optimal level of ride cymbal wash underneath the guitar riff, I don't need you adding your drunkenly off-beat hi-hat splashes.

--

It should be known that after the show was over, the guy begged me enough that I took pity and let him play my drums (again, didn't want to be a prick). The way he talked, I was expecting to have my mind blown. As it turned out, he was drunk, clumsy, not nearly as groovy as he wanted to be (though the drunk girls dancing were okay with it), and he couldn't hold a stick to save his life. I gotta be more assertive with this kind of situation. Not to mention he spilled water all over my equipment bag. The nerve of some people. Haha. #thankgoditwasnotalcohol

Why My Patients Are Like Herbie Hancock Albums

So I've been reading a lot of autobiographies lately. Well, reading and listening to them - audiobooks are one of my new favorite things. I especially love listening to autobiographies because they're usually read by the author him-/herself. Hearing them tell their own stories in their own words can be such a cool experience. The latest stories I've been told are those of the great jazz piano player and electronics explorer Herbie Hancock. Now entering his 7th decade of making music, Hancock's book could be used as a primer on music history, and he discusses his own unique experience with each new wave of musical change.
Herbie Hancock was a proliferative musician with over 40 albums of predominantly instrumental jazz. With his last three albums he decided to explore vocal jazz. I had originally glossed over these albums, not being big on vocal jazz when they came out. But hearing Herbie Hancock talking about the thoughts behind these albums, the stories behind their recording, and the incredible musicians and ideas that made them possible...I went back and listened to them. And I couldn't believe I had not skipped out on them before. There's so much great stuff on these records!

As I listened to Herbie reflect on his career, I couldn't help but be led to reflect on my own education and fledgling career. And how patients' stories, in their own words, are what will help me see their problems in new light.

My medical school class is officially post-Match Day (actually, it's taken me so long to write this post that we are closer to graduation day - 7 days!). We have found out what we are doing for the next several years of our lives. Whether we are going on to medical residency, or research positions, or other great ways to apply our medical knowledge, it's been a wild ride. Four or more years of slogging our way through lectures (both exciting and boring), histology slides, research labs and statistics, 8-hour-long exams, hospital wards, and surgical operating rooms. My first real post (after the introductory one) on this blog was inspired by that first week of medical school. Looking back on those posts, it's funny to note the evolution in my thinking - or at least, the inner conflict that happens now.

Medicine is constantly changing. I am only just beginning my career, but even in the last four years of my training, my class and I have seen the rise of widespread electronic medical records (EMR) and the sweeping changes of the Affordable Care Act (which, whether you like it or not, has made some significant and at times impressive changes). We've seen doctors finally get to the point where it has become necessary to push back against frivolous malpractice suits. And we've also finally seen those same doctors reach the point where they have to realize that they are human, and they make mistakes, an important realization in order to try and prevent the legitimate malpractice lawsuits.
And, arguably most poignantly, we've seen a new plateau in the evolution of the doctor-patient relationship. I see old doctors every day who came into medicine as the most respected men around, when what they said was the final word. They made the decisions for patients, and no one questioned them.

Now, these same doctors find themselves and their suggestions (no longer orders) to patients questioned, and sometimes ignored. They work with a constant underlying fear of being sued if the smallest thing goes wrong. And they are at the mercy of insurance companies and reimbursements. In order to make the money that used to come much easier to them, they have to see way more patients in a day. Where previously they never worried about billing and getting paid, now it's a constant subtext to every medical action and order. They have to document everything, and they have to do it in just the right way or risk losing money on the encounter. They have to deal with drug-seeking patients who will berate them while putting them at risk for malpractice suits. They have to try to reason with (for example) chronic diabetics who refuse to do anything to control their blood sugar and then cannot believe they have to get their foot amputated. And they have to try and help and educate patients who, through no fault of their own, have been suckered by sensationalists like Vani Hari (the Food Babe) and Dr. Oz who convince them to disregard science and medicine for unproven and, more often than not, false remedies.

All of this is part of the ongoing grudge match between the family doctors of old, who essentially became part of the family as confidante and friend, and the modern doctor (whether generalist or specialist) who has to perfect the art of the 15-minute visit in order to see as many patients as possible in order to get paid something that justifies the long hours he/she is putting in, while spending even more time inputting progress notes and orders and wrestling with EMR. It's a tough battle, and no one is happy about it. The patients don't feel that we spend enough time with them (which we probably don't), and the doctors start to see patients as their computerized charts, as their most acute problem rather than the real, whole person. 

In light of all of that, I am never surprised when a doctor gets jaded and starts to hate his/her job. I am saddened, but never surprised.

And that is where patient's stories come in. Dr. Arnold P. Gold (co-founder of the Gold Humanism Honor Society) and Dr. Rachel Naomi Remen (author of Kitchen Table Wisdom) are two of the world's biggest leaders in a renewed surge in restoring the humanistic element to medicine. As one of my favorite Buffalo doctors (and teachers) puts it, it's about "separating the iPatient from the real patient." It's the next round in the aforementioned grudge match. Just the other day I heard from an attending who had come from talking to a particularly nervous patient, and said, "It's not enough to hear what the patient's saying. You have to make the patient feel like - or realize that - they're being listened to." It's about forming partnerships with our patients. Not just dictating their care, but helping them take charge of their care, while guiding them in its management. We have always been taught to get the history from the patient about what their medical problems are, but there is a deeper meaning to be found in hearing what makes them tick, and what drives them, and what their goals are. And that deeper meaning helps us to form better partnerships with our patients.

Of course there are patients who are just non-compliant. There are patients who just don't care about their health. There are patients who just want the high of hospital-grade narcotics. And there are patients who take WebMD to heart and make their health worse just by worrying about it too much.

But I will always remember a patient suffering from new-onset congestive heart failure who was starting to get on the team's nerves because she was threatening to leave against medical advice before her symptoms were resolved and kept complaining that we were keeping her there (even as she could barely sleep without being in a seated position and felt short of breath with minor exertion). We were all getting annoyed that she could not see her own continuing symptoms, until our attending came to us one afternoon and explained that he had just come from talking to her. She was trying to leave because she was in a struggle with her medical insurance and wasn't sure if she could afford the hospital stay. She misunderstood her condition, thinking she could just go home to recover in a few days and it would be done. She did not understand why we were still diuresing her and waiting on an echocardiogram to assess her heart function. As he sat down and discussed the merits of the treatment, and the dangers of exacerbations that could bring her back to the hospital, and the social worker began to work with her insurance problem, she suddenly became that much more patient with us. And, more importantly, we suddenly became more patient with her. Now that we understood what she needed from us, and why she felt the way she did, we suddenly could not believe we had been so quick to write her off before. It was a learning experience for us, especially for me as a student. And it's one that I remember every time a patient disagrees with a treatment plan or wants to go home before we feel he/she is ready - it's not always that they are trying to be difficult. They often have their reasons, and I need to understand and appreciate that. I watch my residents now and I realize that many of them have learned this lesson already, and I again understand that this is part of modern medicine.

Another example that I have mentioned on this blog before - you'll notice that when I talked about the Food Babe and Dr. Oz, I didn't include Jenny McCarthy. As much as I hate the message that Jenny McCarthy puts out in the world regarding vaccines, I know her main drive for that is her children. She is, at the heart of it, a mom trying to find something to hold onto in the face of her child's struggle, and from what I have seen, there is very little that is more difficult than watching your child struggle. It does not make the message right (though there are those that disagree with me there), but it makes me less spiteful towards her and towards anyone who is anti-vaccination. Just like hearing Herbie Hancock's stories helped me go back and understand and appreciate his vocal jazz albums more, so it goes with "difficult" patients and their stories.

To go back to the book, while I could music-nerd out over Hancock's name-dropping and pioneering, what struck me most about the book is how well the title describes his personality: Possibilities. Hancock's attitude is about embracing new things, integrating new technology and musical ideas while trying to preserve history and learn from his successes as well as his failures, and those of others in the industry. That attitude is exactly what new doctors take into their medical careers. And now, as I stand with my classmates on the cusp of graduation, I can't wait to see the possibilities that unfold.

The Island's Got You Covered...(Or Insert Other Bad Cover Pun)

I don't remember if I came up with this on my own or if I heard it somewhere, but I firmly believe that "a good cover is one that makes you appreciate the original in a different way." My good friend Harsha and I have talked at length about the value of a good cover. They come in many forms - some stay true to the original, and some alter it almost to the point where it's a different song entirely. Of course the best way to judge a cover is "does it sound good?" But even that is difficult. We've all seen those YouTube comments that describe a cover as "better than the original!" Or on the flip side, "utter garbage." Because everyone wants something different when they hear a cover, depending on who is doing it and in what context.

This is probably going to end up a multi-part list, so I'll just start with five. I won't be talking about covers that many people know better than the original - so I won't mention "All Along The Watchtower" or "Higher Ground", and I'm gonna try to avoid the ones that are often mentioned in "Best Covers" lists (including one of my favorites, Johnny Cash's emotional man-at-the-end-of-his-life rendition of NIN's "Hurt"). I'm gonna try to talk about the ones that I find interesting, whether positively or negatively. I am also only going to talk about covers that are recorded on albums or as singles/B-sides, rather than some that bands exclusively perform live. Otherwise I could be here all day.

So here goes:

1. Katy Perry: "Use Your Love." We'll start with one that Harsha showed me. He and I have a love for The Outfield's "Your Love" that borders on ridiculous. The mighty one-hit wonder is an oft-quoted source of joy in our lives, and the 2013 SNL sketch revolving around it is amazing. Now, Katy Perry is an admitted guilty pleasure of mine, and I like a lot of her songs. Still, this cover took me a few listens before it grew on me. She alters the lyrics to be from a girl's perspective, matching The Outfield's moral ambiguity with her own (regarding cheating), and ups the tempo into a dance pop number (which, when Perry first heard the original in a club, was the vibe she got from the song, inspiring her to cover it). The result may not be quite as satisfying as the original, but it's still a lot of fun, and despite the hate that Katy Perry gets from most classic rock fans, is definitely worth a listen. Use Your Love Video

2. Toto, "Burn Down The Mission." Toto's 2005 covers album, Through The Looking Glass, was seen as somewhat of a letdown by critics who were hoping to see more of a reworking of the songs, rather than straightfoward renditions. But Toto's goal in making the album was just to have fun playing their favorites, and adding a little Toto flavor while they did it. Bobby Kimball, (now-former) lead singer, chose to pay tribute to Sir Elton John with this cover, and it's a great choice. All the power of Kimball's over-the-top vocals comes into play as he channels the desperate-turned-triumphant emotions of the song's protagonist, and this, combined with the rest of Toto's musical prowess, creates a whirlwind of a song that will definitely make you take anything the critics say with a grain of salt. Burn Down The Mission Video

3. Santana ft. Nas, "Back in Black." Believe me, I already know what you're thinking. "I'm sorry, what? Nas singing AC/DC?" 2010 saw Santana taking his trademark formula of teaming up with assorted lead singers on each album and applying it to classic rock covers, resulting in Guitar Heaven: The Greatest Guitar Classics of All Time. He brings in several modern names in rock and other genres to perform Santana-fied renditions of some of the best rock songs of decades past, and in teaming up with Nas...I'm not ashamed to say that I finally understand the words to this song after hearing Nas rap them. But more than that, the song is totally fitting for a rapper. It's all about how awesome the vocalist is, how he packs a punch and can't wait to show you how legendary he is. Whether it's Brian Johnson singing at the top of his lungs, or Nas bringing his cool swagger to it, the song becomes a serious headbanger in either version. Back in Black Video

4. Alex Clare, "When Doves Cry." Alex Clare is best known for the song "Too Close", made popular by those MSN commercials from a few years ago. His 2011 album The Lateness of the Hour attempts to fuse EDM soundscapes and pop songwriting. It doesn't always hit its mark, but one of the spots where it does is this cover. He takes Prince's synthpop seduction dance and turns it into an emotionally-charged dubstep-flavored ballad. Clare's story is an interesting one - according to legend, his first record deal fell through when he was unable to book dates on Saturdays because of his Orthodox Jewish practices. He later gained fame through the Microsoft commercials, while his vacant spot at the first record label was filled by a young woman named Adele. Funny how life works out. (The only available video is this one, where someone choreographed a hoop routine to the song: When Doves Cry Video)

5. Vanessa Carlton, "Paint It Black." I first heard this song at a dance concert, where someone choreographed an intense piece that was only enhanced by Carlton's raw vocals. The songstress behind every '90s-kid's favorite piano intro has a rock side, too, and in fact, it's later on that same album that brought us "A Thousand Miles" where she pays homage to the Rolling Stones. When the sitar drone brings you in, followed by the floor tom pedaling up to the first verse, you think, "okay, this could be good." Then the drums drop out and it's just Vanessa and the bass line spitting out the words through gritted teeth...and then that snare hit and Vanessa cuts loose with, "I see the girls walk by..." and once again, you can't help but headbang the whole way through. Paint It Black Video

I could go on and on about my favorite covers. But what are some of yours? Or do you disagree with my thoughts on these? Or are there better cover versions of these songs? Let me hear from you!

Musical Drumming vs. Accompaniment, or Why The Guitar Center Drum-Off Disappointed Me This Year

I've never really been considered "trendy." I eventually catch on to things, and I even embrace them, but I'm always a little late to the game. Which I'm okay with. I recently finally bought a black woolen peacoat, which has been a staple of men's fashion for years now. As you may have read a couple of posts ago, I recently learned what expressions like "put on blast" and "turn up" means (though I haven't started using them).
(Shameless self-plug: If you'd like to read my thoughts on some not-so-trendy but still recent music, click here.)
Trends are found in clothing, language, and virtually every aspect of modern life. Today I want to talk about a trend in music. Specifically, my aspect of music. Drumming. This line of thought was inspired by a recent Facebook post by a good friend and fellow drummer. Steve is a talented guy and I love watching him play. His performances with the UB Jazz Ensemble when we played there in undergrad were always a highlight of every concert, especially his solos. So when he posted about the Guitar Center Drum-Off competition, I took notice.
I am no great soloist. I perform drum solos with my band Mayday (as I did last weekend), but it's with the song Wipeout, usually near the end of the second set or beginning of the third. People are drunk and dancing and they want to keep doing that. So I play a dance-y solo, simplistic in nature, and featuring my favorite gimmick, leaving my drumset and drumming the whole way around whatever room I'm in. I should practice more and work my solo into a better drumming showcase, one that remains dance-y but shows off the intricacies of my playing and the capabilities of the instrument - because that could certainly be done. But I'm unable to make that time. Which I've grown to accept.

From my first years in high school jazz band, I've known that drum solos are often looked down upon by other musicians. I don't blame them. Most of the non-drummer musicians at my high school (including my band director) were used to high school level drummers who just wanted to play as fast and as loud as they could (which I still sometimes fight the urge to do). God knows Mr. L certainly dealt far more often with loud-and-fast drummers than with drummers who tried to be musical, even while showing off. So I never blamed them for thinking that way - I just used their aversion to spur my efforts to be better and convince them otherwise (an quest which has stalled in recent years due to things like medical school).

But there are people who work hard to make this an art. Steve has great musical playing. All of my favorite drummers take the time to make their drum solos (if they do those) sound musical as well as fun. And this is supposed to come to a head at the annual Guitar Center Drum-Off Competition. The trends of solo drumming present themselves boldly as the focus of the competition. The winner is crowned the best undiscovered drummer in the world. Here's this year's winner (the video's only 5 minutes):

Did you watch the whole thing? No? That's okay. It's a fun solo, but it's not my favorite. If you didn't watch it, it's pretty heavy on the Octapad. For non-drummers, that's the electronic console on the drummer's left, where he's concentrating 90% of his efforts. When I said heavy on the Octapad, I mean the amount of his solo that doesn't rely on electronics and a synthesized melody of some kind is about...30 seconds.

This is NOT a judgment on Shariq Tucker. Actually if you watch his solo from the 2013 competition, it's actually pretty awesome. It displays a lot of chops, even as it threads the fills together with musical drumming; it works in the Octapad purely as icing on the drumming cake. But that year, the winner was the talented D-Mile, who played way more Octapad than his competitors. It was still a decent drum solo, but relied much more heavily on the Octapad to constantly underlie the drumming. So this year, when Tucker came back to the competition, he knew what he had to do to win. Which is why the winning solo in the 2014 Drum-Off is almost completely carried by the Octapad - Tucker faces the Octapad almost more than he does the drumset.

Now, this isn't bad performance. In fact, it's impressive as far as the music and technique. It's a terrific display of balancing drumming and Octapad usage, complete with homage to Bell Biv Devoe's "Poison" as well as classic jazz. It's fun, and he displays a great deal of talent - it still takes major coordination to work in that melody as well as the drum beat. But if you take away the Octapad, the part on the actual drumkit is rather on the shallow side, seeming more like accompaniment than a solo. It's a far cry from the subtle but well-layered electronic additions he made the previous year (and, incidentally, if you watch last year's video...he's smiling a lot more back then).

YouTube comments should be no one's source of inspiration, but I misread one comment yesterday that gave me the notes on which to start this post. I won't tell you what it actually said, because it was just a sarcastic YouTube comment, but my misreading was, "Is drumming so boring that he needed [an Octapad] to keep people entertained?"

To which the answer is no. Or at least, it doesn't have to be. Drumming can absolutely be musical, even melodic. There are so many things a drummer can do to make a solo come alive, to get people dancing, or thinking, or rocking out. There have been Drum-Off competitions where that's been the case, but in my opinion, this solo is not representative of that.

Now I get that this is a big corporate-sponsored competition (subject to the same pressures as American Idol or any other musical competition), and so part of this is corporate politics. Roland (the company who makes Octapads) is a huge sponsor in this event and it's because of that that every Drum-Off set has an Octapad hook-up, and that it's become nearly a requirement to work it in (that's been happening since at least 2011, when JP Bouvet took the crown with a beautiful solo). But trigger pads have been an evolving trend since the 1980s when they first came out. From giant drum-shaped pads to little ones that fit in snugly in the spaces of a drumset, and every shape and form in between, trigger pads are awesome for working in those unconventional or cumbersome instrument (or non-instrument) sounds. But that has evolved naturally through the decades...it doesn't need to be shoehorned in by a corporate sponsor at a competition that is supposed to be about the art of drumming. About how this instrument can be just as musical as any horn or piano or strings.

And yet Roland's sponsorship (and the subsequent requirement of the Octapad in solos) kill that push to challenge the boundaries of the instrument itself, and instead relegate the actual drums almost to the role of accompaniment next to the electronics. There's nothing wrong with making music that way, and I would enjoy hearing some of that in a different performance or album context. But in a drum solo competition, it makes me feel like my instrument is not good enough on its own. Which I know is not true.

Maybe I'm just a dinosaur. But I feel that this competition should fuel a kind of creative excellence, not channel it and forcibly shape it. I know drum solos are capable of a great deal of musicality, without overusing electronics. This musicality can make drum solos accessible and enjoyable to drummers and non-drummers alike. Because in the end, that's what drumming is about - the enjoyment of the music.