It's official....I cannot stand Avacado....yuck!!!!
So I'm sticking to this diet, so far it's easier than what I thought, but much more costly than I envisioned. So today I ate....
Breakfast:
2 x slices dry toasted gluten free bread (still tastes like tusks)
1 x cup of tea with almond milk
1 x 500ml bottle of water
Lunch:
4 x rice crackers
1 x bowl of strawberries, red raspberries
1 x 500ml bottle of water
Dinner:
1 x tin of tuna fish
1 x salad consisting of parsley, kale, Beetroot, lettuce, carrots, green peas, cabbage, cucumber, walnuts, honey peanue
1 x fruit salad consisting of black raspberries, red grapes, mango, melon, oranges, strawberries, kiwi, Avacado
2 x 500ml bottles of water
Snack:
1 x bowl of dried nuts & raisins, pumpkin seeds
Much more energy for exercise.
Wednesday, 23 July 2014
Monday 21st July - diet consumption
Well I'm going for it to the letter, even though I badly crave McDonalds, I am never left hungry. So this what I ate today...all these foods feed your brain cells.
Breakfast:
2 x slices of dry toasted gluten free bread (tastes like a rusk)
1 x cup of tea with almond milk
1 x 500ml bottle of water
Lunch:
1 x tin tuna fish in oil
1 x salad consisting of carrots, red peppers, purple cabbage, kale
1 x fruit salad consisting of strawberries, red raspberries, mango
1 x 500ml bottle of water
Dinner:
1 x grass fed steak
1 x salad consisting of kale, celery, asparagus, tomatoe, garlic, peppers, spring onion
1 x fruit salad consisting of kiwis, strawberries, oranges, red raspberries, mango
2 x 500ml bottles of water
Daily routine of exercises, mainly concentrating on upper strength.
Breakfast:
2 x slices of dry toasted gluten free bread (tastes like a rusk)
1 x cup of tea with almond milk
1 x 500ml bottle of water
Lunch:
1 x tin tuna fish in oil
1 x salad consisting of carrots, red peppers, purple cabbage, kale
1 x fruit salad consisting of strawberries, red raspberries, mango
1 x 500ml bottle of water
Dinner:
1 x grass fed steak
1 x salad consisting of kale, celery, asparagus, tomatoe, garlic, peppers, spring onion
1 x fruit salad consisting of kiwis, strawberries, oranges, red raspberries, mango
2 x 500ml bottles of water
Daily routine of exercises, mainly concentrating on upper strength.
Monday, 21 July 2014
So they say diets are good for you.
So I was munching on a stick of celery on Saturday when it caused me to crack a tooth...it could only happen to me!!!
My diet.
So I'm wishing I started and stuck with Dr Wahls diet a long time ago. I'm noticing big improvements, it's amazing. I won't lie and say I'm loving it, but needs must right.
So my latest shopping list included:
Kale, Lettuce, Peppers, Beetroot, Cauliflower, Spring Onion, Asparagus, Brussels, Collard, Chard, Green Beans, Tomatoes, Radishes, Onions, Garlic, Parsley, Spinach, Cabbage, Cucumber, Sweet Potatoes.
Green & Red Grapes, Oranges, Peaches, Lemons, Raspberries Red & Black, Kiwi, Strawberries, Blueberries, Blackberries, Rhubarb.
Tuna, Salmon, Liver, Steak.
Gluten Free Bread, Almond Milk, Soy Milk, Pumpkin Seeds, Sunflower Seeds, Raisins, Honey
Peanuts.
So I eat 9 large stuffed cups of vegetables a day and 3 cups of fruit everyday, also wild fish and grass fed or organ meat. I have also dropped all gluten as well as dairy. If your going to do it, you gotta do it right.
But I would love a kebab lol
So my latest shopping list included:
Kale, Lettuce, Peppers, Beetroot, Cauliflower, Spring Onion, Asparagus, Brussels, Collard, Chard, Green Beans, Tomatoes, Radishes, Onions, Garlic, Parsley, Spinach, Cabbage, Cucumber, Sweet Potatoes.
Green & Red Grapes, Oranges, Peaches, Lemons, Raspberries Red & Black, Kiwi, Strawberries, Blueberries, Blackberries, Rhubarb.
Tuna, Salmon, Liver, Steak.
Gluten Free Bread, Almond Milk, Soy Milk, Pumpkin Seeds, Sunflower Seeds, Raisins, Honey
Peanuts.
So I eat 9 large stuffed cups of vegetables a day and 3 cups of fruit everyday, also wild fish and grass fed or organ meat. I have also dropped all gluten as well as dairy. If your going to do it, you gotta do it right.
But I would love a kebab lol
Tuesday, 15 July 2014
Amazed at my 7yo sons music knowledge
So I was updating Connors iPod whilst he asked for songs by name or by singing a bit lol, even asked for the entire greatest hits by The Eagles. He has in excess of 1400 songs on their but is very capable not to duplicate by memory. He also introduced me to a few songs that I hadn't heard before, one such example is a song by Ella Henderson - Ghost.
Monday, 14 July 2014
Bronson - Movie review
Michael Peterson tells us he was born into a normal middle-class family. He does not blame his childhood or anything else for the way he turned out, and neither does this film. It regards him as a natural history exhibit. No more would we blame him on his childhood than we would blame a venomous snake for its behavior. It is their nature to behave as they do.
At an early age, after seeing 'Death Wish' young Michael took the name of Charles Bronson. And as Bronson, he has become the U.K.'s most famous prisoner and without any doubt, its most violent. With a shaved head and a comic moustache , he likes to strip naked and grease himself before going into action.
His favourite pastime is taking a hostage and then engaging in a bloody battle with the guards who charge to the rescue, swinging clubs and beating him into submission. He has triggered this scenario many times, perhaps because he enjoys it so much. Originally sentenced to seven years ("You'll be out in three," his mother calls to him in the courtroom), he has now served 34 uninterrupted years, 30 of them in solitary confinement.
Why? We don't know. The movie doesn't know. If Bronson knows, he's not telling. The movie takes on a fearsome purity, refusing to find reasons, indifferent to motives, not even finding causes and effects. It is 92 minutes of rage, acted by Tom Hardy. This is a versatile actor. Hardy brings a raw physicality to the role, leaping naked about his cell, jumping from tables, hurtling himself into half a dozen guards, heedless of pain or harm. It must hurt him, because it makes us wince to watch. The word is animalistic.
They say one definition of insanity is when you repeat the same action expecting a different result. Bronson must therefore not be insane. He repeats the same actions expecting the same results. He goes out of his way to avoid different outcomes. During one stretch of comparative passivity, he's allowed to go to the prison art room and work with an instructor. He enjoys this, I think. He isn't a bad artist. When it appears he may be showing progress, what does he do? He takes the instructor hostage and is beaten senseless by guards.
"I showed magic in there!" he shouts after one brawl, bleeding in triumph. How's that? Magic, like in opening night? Does he expect a standing ovation? I believe most of us, no matter how self-destructive, expect some sort of reward for our behavior. It may not be some people's idea of a reward, but it's ours. Is Bronson then an extreme masochist, who only wants to be hurt? They say there are masochists like that, but surely there's a limit. What kind of passionate dementia does it require to want to be beaten bloody for 34 straight years?
I suppose, after all, Nicolas Winding Refn, the director and co-writer of "Bronson," was wise to leave out any sort of an explanation. Can you imagine how you'd cringe if the film ended in a flashback of little Mickey undergoing childhood trauma? There is some human behavior beyond our ability to comprehend. I was reading a theory the other day that a few people just happen to be pure evil. I'm afraid I believe it. They lack any conscience, any sense of pity or empathy for their victims. But Bronson is his own victim.
At an early age, after seeing 'Death Wish' young Michael took the name of Charles Bronson. And as Bronson, he has become the U.K.'s most famous prisoner and without any doubt, its most violent. With a shaved head and a comic moustache , he likes to strip naked and grease himself before going into action.
His favourite pastime is taking a hostage and then engaging in a bloody battle with the guards who charge to the rescue, swinging clubs and beating him into submission. He has triggered this scenario many times, perhaps because he enjoys it so much. Originally sentenced to seven years ("You'll be out in three," his mother calls to him in the courtroom), he has now served 34 uninterrupted years, 30 of them in solitary confinement.
Why? We don't know. The movie doesn't know. If Bronson knows, he's not telling. The movie takes on a fearsome purity, refusing to find reasons, indifferent to motives, not even finding causes and effects. It is 92 minutes of rage, acted by Tom Hardy. This is a versatile actor. Hardy brings a raw physicality to the role, leaping naked about his cell, jumping from tables, hurtling himself into half a dozen guards, heedless of pain or harm. It must hurt him, because it makes us wince to watch. The word is animalistic.
They say one definition of insanity is when you repeat the same action expecting a different result. Bronson must therefore not be insane. He repeats the same actions expecting the same results. He goes out of his way to avoid different outcomes. During one stretch of comparative passivity, he's allowed to go to the prison art room and work with an instructor. He enjoys this, I think. He isn't a bad artist. When it appears he may be showing progress, what does he do? He takes the instructor hostage and is beaten senseless by guards.
"I showed magic in there!" he shouts after one brawl, bleeding in triumph. How's that? Magic, like in opening night? Does he expect a standing ovation? I believe most of us, no matter how self-destructive, expect some sort of reward for our behavior. It may not be some people's idea of a reward, but it's ours. Is Bronson then an extreme masochist, who only wants to be hurt? They say there are masochists like that, but surely there's a limit. What kind of passionate dementia does it require to want to be beaten bloody for 34 straight years?
I suppose, after all, Nicolas Winding Refn, the director and co-writer of "Bronson," was wise to leave out any sort of an explanation. Can you imagine how you'd cringe if the film ended in a flashback of little Mickey undergoing childhood trauma? There is some human behavior beyond our ability to comprehend. I was reading a theory the other day that a few people just happen to be pure evil. I'm afraid I believe it. They lack any conscience, any sense of pity or empathy for their victims. But Bronson is his own victim.
Friday, 11 July 2014
Twitter questions with Dr Terry Wahls
I am following and being followed on Twitter by Dr Terry Wahls.
She was very helpful in answering my questions and gave me a number of hints & tips. Very nice and pleasant woman.
She was very helpful in answering my questions and gave me a number of hints & tips. Very nice and pleasant woman.
Oldboy - Movie Review
This American version of Park Chan-Wook's Korean thriller is Lee's most exciting movie since "Inside Man"—not a masterpiece by any stretch, but a lively commercial genre picture with a hypnotic, obsessive quality, and an utter indifference to being liked, much less approved of. The studio that released 'Oldboy' doesn't seem to like the movie any more than critics: it stifled pre-release and forced Lee to shorten an apparently much longer director's cut. So barring a miracle, this film is doomed.
Like Park's version, 'Oldboy' tells of a drunken, abusive lout named Joe Doucette (Josh Brolin) who's imprisoned for a long time (20 years!!) by a mysterious jailer. He gets clean in prison, then escapes to learn the identity of his tormentor and punish him. Like Park's version, its all violence and sex and fear and revenge and crying and screaming. The lighting is dark but the colors are supersaturated, especially in scenes with a lot of blood, neon, or wet pavement. The camera goes much lower or much higher than you expect it to, and peers at the characters from disorienting angles.
As Joe, the alcoholic ad executive, Brolin is a raw nerve at first, a bloated and haggard man whose smile and laugh are false. From certain angles he looks and sounds like the young Nick Nolte: a brutish alpha male gone to seed, but not without a certain tenderness. Drink is ruining his life and estranging him from his wife and newborn daughter. We sense that his alcoholism is a symptom of long-held guilt that will be explained as the tale unfolds, and we're more right than we could imagine. Joe finds himself trapped in a jail cell made up to look like a hotel suite, getting mysterious updates on the room's TV about the life of the daughter that he never got to know. He stays there for twenty years (five more than in Park's version). After seeming eons of self-pity capped by a suicide attempt, he starts a Travis Bickle-like regimen of Spartan self-improvement, down into a lean, mean killer, and finally to seek vengeance against his tormentor.
Where the film's first half is a fable of guilt and punishment, the second is a riff on the criminal revenge flick, with Joe working his way through the underbelly of a New York City that's been reimagined as a landscape of the mind. He joins up with a drug clinic worker played by Elizabeth Olsen and slowly begins piecing together the identity of his jailer: a rich and rather effective sadist who knew Joe a long time ago, and who now lives like a drug dealer from an '80s cop thriller.
Lee restages some famous (or infamous) moments from the original, including the hammer fight, as a more elaborately choreographed scene that unfolds over two levels of a warehouse populated by criminals and ruled by a glowering boss played by Samuel L. Jackson (seemingly channeling his character from 'Unbreakable'). In other cases, the film changes small details (including specific violent acts and lines of dialogue) or else jokingly acknowledges places where even it won't go (the scene in the original in which the hero devours a live octopus is thrown away by having Joe glance at one in a restaurant fishtank). It all leads to a climactic revelation identical to the one in Park's movie, though key details of the back story have been changed, and the denouement is more harsh and sad. If you haven't seen the original 'Oldboy' which provided the template for most of this one, I won't spoil it here. Suffice to say that Lee and his screenwriter Mark Protosevich do a good job of keeping their cards close to their chest, and when they finally play them, the result has a sick, powerful charge.
It's worth pointing out here that Park's film is not an original story, but an adaptation of a Japanese comic book of the same name. Both versions find ways to visually suggest that you're reading a big-screen graphic novel with pages that come to life. The compositions in Lee's movie have such a painterly or illustrated quality that they might as well have thick black lines marking off the edges of the frame. At no point does the film try to be realistic, except when it comes to the strong, simple emotions that its characters feel. Lee's 'Oldboy' like Park's, obeys its own illogical logic (a hotel room hallucination starring Lee's brother Cinque has the goofy randomness of a joke in a David Lynch movie). The whole thing flows as dreams flow, linking situations to other situations and images to other images.
Lee's direction reminded me of Brian DePalma or John Carpenter in nightmare mode, or Alfred Hitchcock when he seemed possessed by whatever horrible muses drove him. It's purely intuitive, at times musical, direction. The lack of a political dimension seems to have freed Lee to be looser and more (cruelly) playful than usual. There's news footage on Joe's hotel room TV, but when we see, for instance, scenes from 9/11 or the Iraq war, it's not meant to drive home anything but the passage of time and its effect on Joe's psyche. The performances are all over the map. Some actors give fairly naturalistic performances (Brolin and Olsen) while others (Jackson and Copley) chew the scenery into fine shreds and then pluck them from their shiny teeth. Lee presides over the madness with a droll serenity that says, "This is the movie; deal with it."
The big problem with Lee's 'Oldboy' is that for all its dark confidence, it doesn't reimagine the original boldly enough. This isn't like Martin Scorsese's 'Cape Fear'.
That's not a bad thing, though, when you consider the current climate for mainstream American films. For people who haven't seen the original 'Oldboy' or anything like it, this will be a rare studio release that feels shocking and abrasive and perverse and in some way new. I'd love to sit through Lee's movie again in a theater with newbies who came to see a straightforward revenge picture starring a guy who's been locked up for a long time and have no idea what they're actually in for. Few American auteurs are making mainstream studio movies in the vein of Spike Lee's 'Oldboy', hardcore genre pictures that aren't afraid to treat sex and violence as colours on a palette, and get nasty and raw, in that seventies-movie way. Park's 'Oldboy' was no skip through the daisy field, but this one is even harder to watch, sometimes indulging in savagery that blurs the line between Old Testament morality play and straight-up exploitation.The filmmakers seem obsessed with making everything as extreme as possible, replacing, for example, a bruising bit of hammer torture with a prolonged sequence in which the hero uses a knife to slice a dotted-line-shaped pattern into a former jailer's throat.
Park's film came out ten years ago, and things have only gotten more restrictive since then. Plenty of international filmmakers are working in this mode, but not too many English-language directors, aside from Quentin Tarantino and sometimes Oliver Stone, Martin Scorsese and David Cronenberg used to make this sort of picture all the time, but haven't in a while, perhaps because it's just too much for some people, and "just too much" movies tend not to get made at a major studio level because the financial stakes are too grave. I don't like or approve of everything in 'Oldboy' but I'm glad it exists. The cinemasare filled with 15 cert movies that should have been 18 cert movies, released by studios that don't make adults-only genre films anymore. This is one such film, starring a real actor, directed by a real director. It deserves to be seen and argued about.
Oldboy - Trailer
Like Park's version, 'Oldboy' tells of a drunken, abusive lout named Joe Doucette (Josh Brolin) who's imprisoned for a long time (20 years!!) by a mysterious jailer. He gets clean in prison, then escapes to learn the identity of his tormentor and punish him. Like Park's version, its all violence and sex and fear and revenge and crying and screaming. The lighting is dark but the colors are supersaturated, especially in scenes with a lot of blood, neon, or wet pavement. The camera goes much lower or much higher than you expect it to, and peers at the characters from disorienting angles.
As Joe, the alcoholic ad executive, Brolin is a raw nerve at first, a bloated and haggard man whose smile and laugh are false. From certain angles he looks and sounds like the young Nick Nolte: a brutish alpha male gone to seed, but not without a certain tenderness. Drink is ruining his life and estranging him from his wife and newborn daughter. We sense that his alcoholism is a symptom of long-held guilt that will be explained as the tale unfolds, and we're more right than we could imagine. Joe finds himself trapped in a jail cell made up to look like a hotel suite, getting mysterious updates on the room's TV about the life of the daughter that he never got to know. He stays there for twenty years (five more than in Park's version). After seeming eons of self-pity capped by a suicide attempt, he starts a Travis Bickle-like regimen of Spartan self-improvement, down into a lean, mean killer, and finally to seek vengeance against his tormentor.
Where the film's first half is a fable of guilt and punishment, the second is a riff on the criminal revenge flick, with Joe working his way through the underbelly of a New York City that's been reimagined as a landscape of the mind. He joins up with a drug clinic worker played by Elizabeth Olsen and slowly begins piecing together the identity of his jailer: a rich and rather effective sadist who knew Joe a long time ago, and who now lives like a drug dealer from an '80s cop thriller.
Lee restages some famous (or infamous) moments from the original, including the hammer fight, as a more elaborately choreographed scene that unfolds over two levels of a warehouse populated by criminals and ruled by a glowering boss played by Samuel L. Jackson (seemingly channeling his character from 'Unbreakable'). In other cases, the film changes small details (including specific violent acts and lines of dialogue) or else jokingly acknowledges places where even it won't go (the scene in the original in which the hero devours a live octopus is thrown away by having Joe glance at one in a restaurant fishtank). It all leads to a climactic revelation identical to the one in Park's movie, though key details of the back story have been changed, and the denouement is more harsh and sad. If you haven't seen the original 'Oldboy' which provided the template for most of this one, I won't spoil it here. Suffice to say that Lee and his screenwriter Mark Protosevich do a good job of keeping their cards close to their chest, and when they finally play them, the result has a sick, powerful charge.
It's worth pointing out here that Park's film is not an original story, but an adaptation of a Japanese comic book of the same name. Both versions find ways to visually suggest that you're reading a big-screen graphic novel with pages that come to life. The compositions in Lee's movie have such a painterly or illustrated quality that they might as well have thick black lines marking off the edges of the frame. At no point does the film try to be realistic, except when it comes to the strong, simple emotions that its characters feel. Lee's 'Oldboy' like Park's, obeys its own illogical logic (a hotel room hallucination starring Lee's brother Cinque has the goofy randomness of a joke in a David Lynch movie). The whole thing flows as dreams flow, linking situations to other situations and images to other images.
Lee's direction reminded me of Brian DePalma or John Carpenter in nightmare mode, or Alfred Hitchcock when he seemed possessed by whatever horrible muses drove him. It's purely intuitive, at times musical, direction. The lack of a political dimension seems to have freed Lee to be looser and more (cruelly) playful than usual. There's news footage on Joe's hotel room TV, but when we see, for instance, scenes from 9/11 or the Iraq war, it's not meant to drive home anything but the passage of time and its effect on Joe's psyche. The performances are all over the map. Some actors give fairly naturalistic performances (Brolin and Olsen) while others (Jackson and Copley) chew the scenery into fine shreds and then pluck them from their shiny teeth. Lee presides over the madness with a droll serenity that says, "This is the movie; deal with it."
The big problem with Lee's 'Oldboy' is that for all its dark confidence, it doesn't reimagine the original boldly enough. This isn't like Martin Scorsese's 'Cape Fear'.
That's not a bad thing, though, when you consider the current climate for mainstream American films. For people who haven't seen the original 'Oldboy' or anything like it, this will be a rare studio release that feels shocking and abrasive and perverse and in some way new. I'd love to sit through Lee's movie again in a theater with newbies who came to see a straightforward revenge picture starring a guy who's been locked up for a long time and have no idea what they're actually in for. Few American auteurs are making mainstream studio movies in the vein of Spike Lee's 'Oldboy', hardcore genre pictures that aren't afraid to treat sex and violence as colours on a palette, and get nasty and raw, in that seventies-movie way. Park's 'Oldboy' was no skip through the daisy field, but this one is even harder to watch, sometimes indulging in savagery that blurs the line between Old Testament morality play and straight-up exploitation.The filmmakers seem obsessed with making everything as extreme as possible, replacing, for example, a bruising bit of hammer torture with a prolonged sequence in which the hero uses a knife to slice a dotted-line-shaped pattern into a former jailer's throat.
Park's film came out ten years ago, and things have only gotten more restrictive since then. Plenty of international filmmakers are working in this mode, but not too many English-language directors, aside from Quentin Tarantino and sometimes Oliver Stone, Martin Scorsese and David Cronenberg used to make this sort of picture all the time, but haven't in a while, perhaps because it's just too much for some people, and "just too much" movies tend not to get made at a major studio level because the financial stakes are too grave. I don't like or approve of everything in 'Oldboy' but I'm glad it exists. The cinemasare filled with 15 cert movies that should have been 18 cert movies, released by studios that don't make adults-only genre films anymore. This is one such film, starring a real actor, directed by a real director. It deserves to be seen and argued about.
Oldboy - Trailer
Thursday, 10 July 2014
Let Me Blow Ya Mind: Eve ft Gwen Stefani - Song Meaning
One of the best things about this track is Gwen. It was Gwen's big 'comeback' after the low sales of no Doubt's 'Return to Saturn', people seen it as a failure due to the fact that it didn't sell as much as the previous record. I think the part Gwen sings is about her not caring what the haters say and doing what she wants. When she says "Now I got my foot through the door and I ain't going no where." She's saying that even though her record with No Doubt might have not done as well, she's not going anywhere. So for all the haters of Gwen out there, let me just say, no matter what you say you won't bring her down. She's been in music since her teens and she's staying in music! Suck on that!
Let Me Blow Ya Mind - Eve ft Gwen Stefani
Let Me Blow Ya Mind - Eve ft Gwen Stefani
Lana Del Ray: Summertime Sadness - Song Meaning
Total obsessional love, the Lana Del Rey all-in masochistic approach to relationships.
Her guy leaves her as the Summer begins. Since she's addicted to him like a drug, her Summer (which should be a good time of year) isn't. She sings "I think I'll miss you forever." She will never get over him. With him, she could die happy. Without him, she just wants to die. That's her summertime sadness.
Lana Del Ray - Summertime Sadness
Her guy leaves her as the Summer begins. Since she's addicted to him like a drug, her Summer (which should be a good time of year) isn't. She sings "I think I'll miss you forever." She will never get over him. With him, she could die happy. Without him, she just wants to die. That's her summertime sadness.
Lana Del Ray - Summertime Sadness
Messages re song meanings & movie reviews.
So I was really happy to find messages from people regarding my blog. It seems my movie reviews and song meanings are missed lol...this is crazy but thank you.
I am going to post a batch of song meanings now, I'm going to chill out with my iPod on shuffle playing loudly. I'm going to do a song meaning for each song that comes on...apologies now for the dodgy ones.
I am going to post a batch of song meanings now, I'm going to chill out with my iPod on shuffle playing loudly. I'm going to do a song meaning for each song that comes on...apologies now for the dodgy ones.
Wednesday, 9 July 2014
Feeling benefits of diet.
So it's been a few weeks now where I have followed Dr Wahls diet to the letter and I must admit to feeling the benefits almost straight away. Exercising has become easier, my mood has improved, everything has improved.
Everyone (not just MS sufferers) should search youtube for Dr Wahls videos, start eating better for your health!!!
Everyone (not just MS sufferers) should search youtube for Dr Wahls videos, start eating better for your health!!!
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