time: 02:00, feeling: good
Feeling surprisingly fit and well, even in the super-hot hall.
hot
c25k: wk4, run2
distance: 3.57 km, time: 00:30, pace: 08:24, calories: 389, feeling: good, effort:4/5
Had trouble breathing because of allergies so I had to walk a bit at one point. :( No cockatoos to see for motivation. :(
Feel ok now, but disappointed I couldn’t quite make it 100%
hot, sunny
running and walking and huffing and puffing
So I’m still on the couch to 5k plan (which I talked about here.)
Even now, I’m still surprised by the reality of exercise. Simply put, it’s good for you. I know, in my brains, that it’s good, but it’s quite another thing to feel the goodness in your body. I’m fairly fit. Pretty healthy by your average person’s standards, sort of okishly fit (but really needing to get in shape) by a lindy hopper’s standards. This means that I can walk up and down stairs without puffing, I walk to and from the station or to the shop without any effort, and generally find a walk of a kilometre or two easypeasy. It also means that I can ride my bike around doing errands and small bits of commuting without any real effort, I can dance most tempos without fear, and that I have very good balance and coordination on bike or on legs. It also means that I feel that lovely endorphine rush-and-jump about ten minutes into exercise… or two songs (six minutes) into dancing.
I think of this as a basic level of fitness. Enough to stop me blowing up. But it’s not really being fit – not properly ‘in shape’ for lindy hop. It’s enough to be at that minimum level of exercise doctors recommend, but it’s not enough for badassery. And I like a bit of badassery. I’m hoping that the c25k will get my fitness up high enough that I can lindy hop like a mofo, that I generally feel pretty good, and that I keep bung foot pain-free by having decent body awareness, flexibility, muscle strength and efficiency and lower weight (though this isn’t really going to happen because I put on muscle like a mofo and that makes me heavier than just plain jellyblubber). A physically smaller body is nice as it gives me a greater range of movement, but a fitter body is nice not because it’s smaller, but because it’s muscled, and muscles mean moving without straining things or hurting myself. Also: wicked ripped.
I didn’t think I’d like running. It’s dull and repetitive, it’s kind of harsh on the body, you go out and display your sweaty, puffing self to strangers, etc etc etc. But, surprisingly, I do like it. I like swimming laps, and that’s repetitive. But c25k is structured and progressive – you have clear goals to achieve, and something to work towards. It’s not as hard on my body as I’d thought. I do get a bit achey in a used-muscle way after a run (quads! argh!), but since I’ve started running my post-orthotic-acquisition toe-ache and foot-pain has disappeared (finally!) I’ve also managed to keep my bung foot under control (knock on wood), so that injury isn’t troubling me (beyond a bit of normal used-muscle ache). I am noticing a bit of ache and reactive irritation because my right ankle doesn’t have the range of movement I need (I can’t bend it far enough because I broke it yonks ago), but this is mostly transferring to my hip and knee. This is something I do need to sort out, especially as it’s also affecting my right arm and shoulder. But, generally, running has reduced my aches and pains rather than increasing them. Now I just need a good solid yoga program for restorative work and I’m rocking. I actually don’t give a crap that people see me puffing and panting and kind of stumbling along the footpath. At 8am there are plenty of other puffing stumblers, thai chi oldies and, of course, cockatoos. And they’re busy with their own business.
There has been a whole range of other good changes since I started running. I have:
– had insane amounts of energy. Even on – especially on – the days I run;
– felt cheery and positive rather than mildly worried and self-doubting;
– been better company (less with the worry and slump, more with the perky and confident);
– achieved more during the day (because of increased energy, less worry, greater efficiency and ability to focus, more confidence, less pain, etc);
– had less foot pain in my bung foot (huzzah!), which has led to improved mood as well;
– had more control of my muscles and better muscle tone. This means better posture, less neck/shoulder acheypain, easier breathing (less slumping!), and orsm dancing. Better muscle tone means I’m dancing with more control and energy, and also with greater ‘accuracy’, which is both pleasing and ego-boosting. It’s also meant I don’t waste as much energy when I dance, and so have greater stamina;
– been less interested in high-fat, high-sugar snacks and had a more balanced appetite generally;
– left insomnia behind. Far, far behind. I don’t get to bed quite early enough, particularly on the nights before I get up earlier to run, and this is kind of wearing me down a bit. But the energy I get from running is making up for that.
These are all things I relate directly related just to taking up an interval training program which runs for 30 minutes and is done three times a week. This is in addition to my other exercise stuff (dancing, cycling, walking, etc). Just three 30 minute sessions a week. I’m not even running very far (not even 5k yet – and probably never) or very fast. Imagine what I’ll be like in five weeks!
Apparently a common pattern is to be full of confidence and positivity in weeks four and five, and then just giving up. Week four has been a harder week. The running sections suddenly increased in week three, but week four has longer running sections and fewer repeats of the walk/run patterns. So I’ve really felt it pushing me harder in this week. I guess that’s the point – the training should get steadily more challenging.
I hope I don’t give up. But I do think the next couple of weeks will be challenging: I’m off to Blues Before Sunrise, a blues exchange, in Melbourne on the 5th March, and will be dancing quite a lot there until I get home on Monday. This will have me starting the week 6 runs on a Friday in Melbourne, the morning after I dance. That’ll be challenging – new location, morning after strenuous exercise, first day of a new week (which is a bit hard). I’ve managed to make the program a bit easier for myself by accident: I start the new week on Friday and run Monday, Wednesdays and Friday. So I feel as though I’m mid-way through the week of runs when I start on Monday. Which seems easier, less intimidating than coming out of the weekend into a new block of new runs on Monday.
But I’m also worried that I’ll get an exchange flu at BBS. In fact, I almost certainly will (as I usually do), and that’ll mean at least 3 days sitting down. And my return to running will be delayed. Boooo. I’ll also be coming back to a pretty hard core semester, the first week of hardcore lectures/readings in that week that I arrive home. Which may be complicated by an exchange flu. Double boo.
Well, I guess I’ll just have to wait and see. I wish I could say that being fitter keeps me from getting colds, but it’s not the case. My allergy issues mean that I tend to get respiratory infections and snotty nose/coughy chest colds more than other people. Which is arse. But I’m pretty healthy otherwise, so it’s not a big deal.
Fingers are crossed, though. Til then I’m just going to enjoy running healthy…
…today was, though, a challenging run. The dryer weather after a wet patch means that there’re lots of flowers blooming at the moment, and I’ve had to get onto the antihistamines. Today’s run was challenging because I was so short of breath. But I’m just going to pretend it was because I was tired or a bit fatigued from fun stuff on the weekend. Wednesday’s run will be easier. Even after a Tuesday night of dance classes!
One of the things I’m trying to keep in mind, is not to overdo it. It’s a bit too easy to burn really hot and bright in the first few weeks of a regime when it’s all new and you’re feeling all enthusiastic. But it’s also a bit too easy to injure something, overdo it and become a bit tired and dejected. So even though it’s tempting to add in runs (I did quite want to go yesterday morning), I’m trying to keep it to three runs a week. I’m also doing dance classes on Tuesday nights, which is a new thing, and actually physically a bit challenging – for bung foot at least. And then of course there’s also at least one night of social dancing per week. So that puts me at 5 sessions per week, when I used to only do about 2. All that in addition to what I think of as ‘incidental’ exercise – walking and cycling about the place on errands or for commuting.
I really really don’t want to overdo it. I don’t want to hurt my bung foot and set me back again (which is depressing and horrid). I don’t want to push myself too far and get shitty with it all. I don’t want to end up too tired too soon. I figure I can stick to the c25k schedule, the social dancing and the classes. We added in a 2 hour Big Apple session this week, which my body really felt, and which I should probably position more carefully in my week – leave a rest day before and after. In the case of solo jazz stuff, I’m especially wary of my foot, as jazz involves a lot of jumping and twisting and turning, and is generally much harder on my feet and body than running. I do NOT want to hurt bung foot, as recovery will involve a long rest period and no dancing for ages. And pain. And miserableness.
I’d really really like to add in a weekly yoga class, as yoga is a perfect complement to aerobic exercise. It works as resistance training, but it’s also very good for improving your technique and body awareness. It makes you use your muscles properly which is important for preventing injuries. But I can’t find a good class, I don’t quite have the money for it, and I worry that it will push me over my fitness limits. If I wait a week or two the c25k will only get more intense. And I’m beginning to really feel as though I need the good, solid stretching and strengthening of yoga. It’s also an excellent antidote to the adrenaline charged go-go-go of running and dancing.
…I think I’ve just convinced myself to try the Iyengar classes at the Leichardt Yoga Room. Egads. But I miss yoga. A whole lot.
Right, that’s enough talk about exercise. Except perhaps to reiterate the point that exercise is good. Really.
Btw: if you’re interested, you can search for me – dogpossum – on www.dailymile.com to see what I’m actually doing, exercise wise.
fitness: dance work
time: 02:00
Hot! Sore quad/hip/knee combo on bungfoot side required serious stretching afterwards. Should have taken rest day between run1 of wk4 and a dance work session.
hot, sunny
upcoming DJing
My DJing schedule for the next little while:
Sunday 28th February: DJing @ Blues Night in Sydney (8:30-9:30)
Thursday 4th March: DJing lindy hop @ Czech Club in North Melbourne (9:30-10:30)
Friday 5th March: DJing in blues battle @ Forever Dance (BBS in Melbourne about 1/3 way through the night)
Saturday 6th March: DJing band breaks 9-12 @ Y-Dance (BBS)
Sunday 7th March: DJing 12-1:30 @ The Copacabanna (BBS late night).
Just enough to keep me busy, but actually a terribly demanding load – just little blobs of sets here and there.
c25k: wk4, run1
distance: 3.77 km, time: 00:30, pace: 07:57, calories: 389
Wk4 is harder than wk3 and I felt it. But I did the whole thing properly. Beginning to suspect I walk faster than I run. Cool temperature though.
humid, overcast
c25k: wk3, run 3
distance: 3.36 km, time: 00:30, pace: 08:55 calories: 389
Feeling a bit rough after a late night dancing. Lorikeet got in my face and scared the pants off both of us. Cockatoos still rock, though. Morning running = best.
Weather was nice and cool.
clear
digital resources… mostly
This post is really just to track a range of online sources I’ve used today. I’m really interested in the relationship between different tools, and between online and face to face tools. I want to frame this post/discussion by pointing out that swing DJs are interested in music primarily as dancers and as DJs for dancers. So their interest in music and dance and history is almost always tied to the physical experience of dancing. And dancing is ALL about the body, no matter how intertubed you are. Dancers also tend to have quite extensive online networks, networks of friends and acquaintances which crisscross their country and the world. I just know that if Peter wasn’t actually playing music as I type, he’d be chiming in with useful tweeted comments and links.
The body pwns the intertubes any day.
I read this thread on SwingDJs this morning, which directed us to: this story about hot jazz in a full-text issue of Life on Google books.
I replied in the thread on swingdjs, but also in a post on my own blog, here.
Reading the list and thinking about hot jazz as I wrote that post, I was reminded of things I’d read in books (!), one of which is also available in full text on google books here.
I have also found full text versions online, but I can’t remember where. If you start with The Jazz Study Group @ Columbia and Jazz Studies Online you’ll probably eventually find them all.
But while I was reading these things in books, I came across references to a series of photographs and films which are very popular with dances – by Gjon Mili. Mili is best known amongst dancers for his short film Jammin’ the Blues which is available on youtube along with other films he made featuring jazz musicians (I link them here.)
There’re some iconic photos of dancers in Life magazine in their ‘Life goes to…’ series. These are available in Google/Life’s online collection. Gjon Mili also did some very interesting photos as part of a photo shoot for Esquire in a Jam Session series.
I’ve already written about magazines and jazz ad nauseum.
Meanwhile, that original Life article listed ’30 good hot records’. Which made me think about canons. And discographies as canons. There are various online versions of discographies, but the good ones aren’t freely available online. Boo. Hiss.
Canons and discographies made me think about following particular musicians, and all this talk about ‘essential’ lists of jazz musicians and songs made me think about the Great Day In Jazz photo, which has a documentary film attached, and which Rayned used to structure his Yehoodi Radio show, which you could stream online.
After I’d written that post earlier today, I was still thinking about these issues. And I remembered seeing a note attached to an Australian photo from the 20s in an online collection. I eventually found the photo on flickr.com in their flickr commons (with which I am obsessed) by typing ‘bands jazz sydney’ into the search box, getting this list. This is the photo. I was particularly interested in the comment that black American bands were banned in Australia from the date of this photo (1928) until 1955 (when Louis Armstrong visited Australia). I wondered if it was true.
So I asked twitter. This led to a discussion between (mostly) The SwingDJ, DJRussellTurner, a discussion witnessed by all the people who followed one or all of us on Twitter.
TheSwingDJ was sceptical.
DJRussellTurner tweeted clarified the Rex Stewart thing.
DJRussellTurner suggested a distinction between ‘band’ and ‘musicians’, and then linked to an an article by Alec Morgan in the journal Scan which used the original photo and added
But, not all musical imports were welcomed by Sydney’s moral guardians. Sonny Clay’s renowned Jazz band, The Colored Idea, arrived here from the USA in 1928 to play the burgeoning nightclubs. After a couple of white women were found in a hotel room with the Afro-American musicians, the band was escorted back to the ship and told never to grace our shores again. While the occasional black musician was allowed in after careful scrutiny for a limited period, Afro-American bands were not permitted back until the mid 1950’s when Louis Armstrong and his band pushed the colour-bar down.
I suddenly decided I needed to know more, and I certainly needed to verify this idea that ‘black bands were banned in Australia’ during this period. The important question here is why? Why did I want to be sure? Partly because this would indicate interesting things about:
- race and racism in Australia (White Australia Policy)
- jazz and jazz culture in Australia (jam sessions, playing with and listening to other musicians is central to the exchange and cultural transmission of creative, ideological and discursive forms. A lack of African American musicians in Australia would go some way to supporting my continuing suspicions about the whiteness of Australian jazz. And, consequently, white jazz dance.
- the music and entertainment industry in Australia.
I had a bit of a squizz in various online sources, but eventually decided I needed to look at some more newspapers from the day. These sorts of (albeit somewhat unreliable) primary sources can be helpful.
So I started simple, and followed this link from the flickr page. Not a whole lot of help right now, but it would be worth following up the original photographer.
Then I remembered someone on twitter mentioning an online tool which allowed you to search online Australian primary sources. I couldn’t remember who it was who put me onto it (I still can’t), so I just followed a bunch of links from likely sources.
Until I saw a name I recognised: Trove. And started searching for “Sonny Clay”.
I found this newspaper article on Trove which outlined accusations about the musicians’ union from the ‘banned band”s representatives.
Meanwhile, TheSwingDJ confirmed our suspicions but also noted that Rex Stewart wasn’t black, according to the musicians’ union (I wish I had his reference for this, actually).
He also tweeted other interesting tidbits including one about ‘good reputations’ and ‘paying’ to be allowed to play.
And then there were various comments on twitter from peeps ‘listening in’ to our 3-way chat, including comments about the photos as resources for fashion, Trove’s value for private research projects and so on. I asked for help RE Trove’s browser-compatability as I wanted to edit the scanned text of the article, but couldn’t log in. Various tweeps offered tips and feedback.
Then I revisited DJRussellTurner’s link to the Scan article and the original flickr photo page and discovered that the author of the Scan article had a blog where she discussed this photo and issue. Her thinking about this issue led to her discussion of flappers and gender here and here.
I then checked our her blog’s ‘about’ page and discovered she’s at the Centre for Critical and Cultural Studies at UQ where I did my BA and MA and where I still have friends working.
In one of those blog posts she notes in a caption for (a repro of that original photo from flickr):
(Members of Sonny Clay’s Coloured Idea (including the singer Ivie Anderson) on deck as they pull into Sydney, 1928)
And this made me think: Ivie Anderson! Best known (in my world) as a singer with Duke Ellington’s band. So I did a crappy search of my music (using the wrong date) to see if she recorded with Ellington during this period. I also scanned the photo carefully to see if I recognised her. I was, pretty much, guessing. But I was using photos of Anderson I found online to try and compare them with the women in those two original photos.
TheSwingDJ beat me to it with this link to a source many Swing DJs use quite often. That entry for Anderson includes:
Born in California, young Ivie received vocal training at her local St. Mary’s Convent and later spent two years studying with Sara Ritt in Washington, DC. Returning home she found work with Curtis Mosby, Paul Howard, Sonny Clay, and briefly with Anson Weeks at the Mark Hopkins Hotel in Los Angeles. She also found work in vaudeville, touring the country as a dancer and vocalist in the Fanchon and Marco revue, starring Mamie Smith, and with the Shuffle Along revue. She was featured vocalist at the Culver City Cotton Club before leaving to tour Australia in 1928 with Sonny Clay. Returning after five months down under she organized her own show and toured the U.S. In 1930 she found work with Earl Hines.It was while appearing with Hines that Ellington first heard her sing. He hired her in February 1931, and she quickly became a fixture of the orchestra’s sound.
(I’ve bolded the important bits.)
At this point, we’re still thinking about and looking up sources. Meanwhile, colleagues from the CCC at UQ have chimed in about the author of that blog, discussions about archiving this sort of research are happening, I’m listening to 1930s Ellington featuring Ivie Anderson and I’m just about to look up youtube for some clips of Anderson to see if I can check her out more thoroughly.
But first, I think I’ll go dancing.
(srsly)
dancing: classes
time: 02:00, feeling: good
It was very hot in that hall.
The Coloured Idea Band of Sonny Clay arrives in Sydney, 1928 / Sam Hood

The Coloured Idea Band of Sonny Clay arrives in Sydney, 1928 / Sam Hood
Originally uploaded by State Library of New South Wales collection
The text accompanying this 1928 photo reads:
Note: The band entered Sydney Harbour playing their newly composed “Australian Stomp” on deck, with their dancers performing. After good reviews, the Truth newspaper organised for the band to be raided. They were found with Australian women and deported. African American bands were banned from visiting until 1954. The Library has photographs of the Louis Armstrong tour, the first Afro-American entertainer to visit after the ban was lifted, and of the Harlem Blackbirds in 1955, the first Afro-Amercian group to visit.