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Over 90 recipes to help you build and run automated tests for your web applications with Selenium WebDriver
About This Book
Who This Book Is For
This book is intended for software quality assurance/testing professionals, software project managers, or software developers with prior experience in using Selenium and Java to test web-based applications. This books also provides examples for C#, Python and Ruby users.
What You Will Learn
In Detail
This book is an incremental guide that will help you learn and use the advanced features of the Selenium toolset including the WebDriver API in various situations to build a reliable test automation. You start off by setting up the test development environment and gain tips on the advanced locater strategy and the effective use of the Selenium WebDriver API.
After that, the use of design patterns such as data - driven tests and PageFactory are demonstrated. You will then be familiarised with extending Selenium WebDriver API by implementing custom tasks and setting up your own distributed environment to run tests in parallel for cross-browser testing.
Finally, we give you some tips on integrating Selenium WebDriver with other popular tools and testing mobile applications. By the end of this book, you will have learned enough to solve complex testing issues on your own.
Style and approach
This recipe-based guide covers real-life scenarios of testing your web apps with Selenium. Each recipe begins with a short introduction and key concepts along with illustrated examples of use cases, and ends with detailed but informative descriptions of the inner workings of the example.
Downloading the example code for this book. You can download the example code files for all Packt books you have purchased from your account at http://www.PacktPub.com. If you purchased this book elsewhere, you can visit http://www.PacktPub.com/support and register to have the code file.


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April Week One Blog
The Power of Your Presence
~ Style * Communication * Etiquette ~
What's the Big Deal About Creating A Lasting Impression?
There are numerous reasons to consider the difference it can make to you and others when you dress with the intention of creating a lasting impression.
You just got a job or have started a new business that's going to put you in the public eye. Where you used to walk around incognito, now it's more important to ditch the Gap jeans and navy t-shirts that were perfect for your previous life and step it up a notch even when you're not at work.
Your reputation benefits from looking sharp.
You're going through a transition. It could be that you're recently divorced or retired, or you've downsized or moved to a home in a new community. Maybe you've launched a new business. You knew how to dress in your old life, but things have changed.
In this new chapter of your life, what would you want people to know about you before you even open your mouth to speak? Do you want them to know you're creative, innovative, fun to be with, excited about life, and want to engage in your new life? Dressing in gray sweats won't tell that story.
Looking for ways to put an outfit together that conveys your new message and being consistent about it will set the tone for this new phase of your life.
You've gone for years taking care of the important things: finances, estate planning, getting your kids through college, managing a household. You haven't had much thought about the impression you're putting out there in the world. It's not unusual for a woman to have gone for years neglecting her needs. You'll want to turn that around. It's a sign of self-respect to take care of you. It's great for your inner life, and your family and friends will be pleased, as well. It's another opportunity to be a role model.

subset: commoncrawl


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In week 3.5, students will see if they can survive the sugar rush of two challenges!
Day 1, Students will learn the art of working with cake, fondant and buttercream to create a 2D Popsicle Party cake.
Day 2, Students will work with their partner and use their skills on a Nailed It! Challenge to replicate a 2D Chef's Choice inspired cake.
Day 3, Students will learn how to work with cupcakes, frostings and fillings to create a 3D cupcake sandcastle.
Day 4, Students will work with their partner using their skills on a Cupcake Wars! challenge to create a thematic based set of cupcakes, frostings and fillings that will be announced the day of camp.
Brooke O'Dell and Sugar Drop Pastry Chef, Madison Drexler with work together to lead and instruct this week.
Camp will run Monday- Thursday, June 24-27, 2:30-5p
Recommended for ages 8 and older
Cost $275


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The site automatically translated 41,600 messages of hope from over 40 different countries around the world. And to make sure we reached the Japanese public, messages in banners were posted on their most popular websites.
We allowed the world to do something it had never been able to do before - use Google Translate, not as a utility, but rather to express the better part of our humanity, and help rebuild Japan's spirit at the same time.


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Heart rate variability (HRV) has become an increasingly popular index of cardiac autonomic control in the biobehavioral sciences due to its relationship with mental illness and cognitive traits. However, the intraindividual stability of HRV in response to sleep and diurnal distur- bances, which are commonly reported in mental illness, and its relationship with executive function are not well understood. Here, in 40 healthy adult males we calculated high fre- quency HRV—an index of parasympathetic nervous system (PNS) activity—using pulse oximetry during brain imaging, and assessed attentional and executive function perfor- mance in a subsequent behavioral test session at three time points: morning, evening, and the following morning. Twenty participants were randomly selected for total sleep depriva- tion whereas the other 20 participants slept as normal. Sleep deprivation and morning-to- night variation did not influence high frequency HRV at either a group or individual level; however, sleep deprivation abolished the relationship between orienting attention perfor- mance and HRV. We conclude that a day of wake and a night of laboratory-induced sleep deprivation do not alter supine high frequency HRV in young healthy male adults.
Quintana, D.S., Elvsåshagen, T., Zak, N., Norbom L.B., Pedersen, P.Ø., Quraishi, S.H., Bjørnerud, A., Malt, U.F., Groote, I.R., Kaufmann, T., Andreassen, O.A., Westlye, L.T. (2017). Diurnal Variation and Twenty-four Hour Sleep Deprivation do not Alter Supine Heart Rate Variability in Healthy Male Young Adults. PLOS ONE. 12(2): e0170921, DOI:10.1371/journal.pone.017092


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Since shortly after a sex-with-minors sting at Red Roof Inn yielded charges against more than a dozen johns, a local coalition of county attorney's offices, public safety agencies, and social service organizations have been publicly successful in clamping down on the demand for prostitution.
This month, Woodbury Public Safety began to cut off the supply-providing a sting operation necessary for the Washington County Attorney's Office to charge its first alleged pimp in Woodbury.
Freddie Lockett Jr., 41, of St. Paul is due in Washington County District Court on Wednesday to face felony charges with promoting prostitution. He originally appeared in court Jan. 4, and is being held on bail of $60,000 with conditions, $120,000 without conditions.
According to the complaint:
An undercover officer responded to a Backpage.com ad offering sex for money in the area.
"It's still party time in Woodberey ..." the Jan. 3 ad said. "Here to bring a little hot spicy fun to your new year. ... Your satisfaction is my #1 priority."
The officer sent a text message to a phone number in the ad, and learned that prostitutes were doing "in" or "out" calls, including car dates and visits to a hotel room at Key Inn in Woodbury.
In making arrangements to meet, sex acts were offered at a rate of $80 for 15 minutes, $110 for 30 minutes, and sex without a condom for an additional $30.
As is common practice in the sex trafficking industry, the customer was not told the prostitute's room number.
But authorities went to Key Inn, found Lockett had a warrant out for his arrest and knocked on his door.
Officers immediately recognized the woman who answered the door as the one pictured in the online ad. She slammed the door in the officers' faces.
The police announced themselves and eventually she opened the door. Inside the room, officers found Lockett lying on the floor on his stomach and he was arrested.
Officers found three cellphones, one of which displayed the arrangements with the undercover officer for a 3:30 p.m. meet-up.
Lockett was the victim's bodyguard, he did all of the communicating for her, and he would decide with whom she would have "dates," the victim said.
She exchanged sex for money, in order to pay for food and shelter, the victim told police.
The victim paid Lockett a portion of her proceeds, including for hotel room rental.


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A collaborative initiative to support projects that confront the plight of the oceans and take direct steps towards ending their destruction.
"When it comes to safeguarding our oceans and the high seas, we are in unchartered territory. Often literally. Protecting this planet's life support system takes courage and a commitment to reinvention. Both require new ways of thinking, acting and living, and the strongest projects and ideas in these categories rarely fit within a traditional business model or approach to fundraising. Through the Parley Ocean Defense Fund, we will connect a network of collaborators to ensure the strongest knowledge, visions and solutions are supported and shared."
- Cyrill Gutsch, Parley for the Oceans
Vast swaths of the oceans lie vulnerable to the threats of illegal fishing, pollution, exploitation, sea slavery and related crimes against both marine life and humanity. Projects to protect remote ecosystems require courage and bold action. And they should be supported accordingly.
In line with our mission to raise awareness for the beauty and fragility of the oceans and connect a diverse network of creators, thinkers and leaders in their protection, we announce our latest program: the Ocean Defense Fund — an initiative to provide unconditional support for people and projects going where no one else has to end the destruction of our oceans.
Specializing in sensitive initiatives and projects that don't naturally lend themselves to traditional partnership models, the Ocean Defense Fund seeks to provide an uncompromising and unconflicted support mechanism for original ideas and new approaches to solutions.
Initially presented during Parley Talks held at the Explorers Club in New York on November 30, 2017, the Ocean Defense Fund launches with an auction featuring a limited-edition artwork by legendary artist Ed Ruscha, the first adidas x Parley running shoe and an exclusive experience to join a Parley SnotBot® expedition in the Sea of Cortez, Mexico.
Snotbot® is a registered trademark of Ocean Alliance
Auction proceeds help Parley for the Oceans address major threats towards the oceans, our planet's most important ecosystem.
Past projects funded through the Parley mission include Chris Jordan's award winning film, Albatross, highlighting the impact of plastic waste on one of the world's most majestic birds at Midway Atoll, as well as Academy-Award winning filmmaker Louie Psihoyos's film and projections "Racing Extinction", which were showcased on the facade of St. Peter's Basilica in the Vatican and The Empire State Building.


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New Years Eve!/
I have always loved New Years. It's just a super fun day to remember the past 365 days, and plan ahead for the next. I like the horrible concerts on the TV special, and counting down at midnight... It's just a lot of organized chaos, and that's just my style : )
We had the regular crew over, and as you can see, the night was rockin.
I made my favorite dip trio: Salsa, Guacamole and Cilantro Dip. It was delicious!
My guacamole is super easy: 4 avocados, 1 tsp garlic powder, 1 tsp onion powder, and 1/2 tsp salt. It's so easy and so delicious!
We also grilled wings: Honey Hot and Lemon Pepper. They were, of course, to die for. That big pot is full of B's homemade BBQ sauce! It was for the New Year's Day meal my mom was cooking up...
I love our friends so much! We have so much fun together. PS: The girls dominated the Catch Phrase competition.
Taylor made this awesome cinnamon roll pie and it was delicious! The crust was made of cinnamon rolls, with apple pie filling and topped with streusel... OMG, I wish I had a piece right now!
That sparkling grape juice, doe.
Our party was super rocking. As you can tell, from this photo of Taylor, cowering in the corner, reading with a booklight. She really knows how to ring in the New Year! #partyanimal


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Sure. Yeah. Of course. The Cleveland Cavaliers, despite the best efforts of LeBron James in Game 2, are now down two games to the Boston Celtics in the Eastern Conference Finals. A nation awaits with bated breath, not yearning for a world without The King, but the people seem ready to give up on his quest to reach the NBA Finals.
Resist that temptation. Don't allow for that cruel, wicked and sometimes heartless eater-of-worlds to alter a reality that remains a fixture as Boston heads to Cleveland — LeBron James is the best player in this series.
Oh, yeah. You know, also all that jazz about being told — since the invention of seven-game playoff series — a series doesn't really begin until a home team drops a game.
"It always seems impossible until it's done." – Nelson Mandela.
Thing is, we have seen teams come back from 0-2 in the NBA Playoffs. It isn't unheard of for the lower-seeded team to drop two games on the road, recapture some magic when returning home, only to wind up triumphant in the end. This idea that the Cavaliers are done after two — admittedly, iffy — games is an operation best left for Numbskulls Incorporated to undertake.
However, you could look at the first two games to find reason to believe things won't change. All this (handsome?) Internet Scribbler asks is that you remove baseline numbers like a team losing a couple of road games from the equation.
Look at how awful Cleveland's defense has been. The complete inability to defend pick-and-rolls as well as a general lack of trying point to how, thanks to a good Boston defense, the Cavaliers are stuck with James playing the role of superhero as his teammates miss a barrage of shots beyond the arc.
This is, after all, who we believed Cleveland to be. A team ranking in the middle-of-the-pack defensively all season isn't all of a sudden going to become the Dream Team of Stops. A squad comprised of aging, streaky players won't randomly become heralded gunslingers.
Cleveland is flawed. From the team being forced to play the aged Kyle Korver tons of minutes to J.R. Smith no longer laying the pipe with as much ease as he once did, there's no real reason to think who the Cavaliers are now will change moving forward.
Then again, we are talking about greatness resting within the comfy confines of a 6-foot-9 legend's tummy. Part mythological beast, part all-time great with a sprinkle of potential GOAT, LeBron James is the great cure-all for a roster with more flaws than your 12th choice on Tinder.
This could be pure ignorance, especially with James coming off an injury scare in Game 2, but how does one bet on a legendary talent to fail if he isn't already pot-committed in seeing such failure happen?
Doubts would circulate around Michael Jordan and his Chicago Bulls in the 1990s. Each and every year, teams in the Eastern Conference would magically trick fans into thinking they — the Knicks, Pacers, whoever else have you — had an actual shot in taking His Airness down.
They were wrong… often. Jordan, alongside his numerous Hall of Fame teammates, would regularly wash away the sins of fans by way of reaching in their collective chest, pulling out that fandom heart, and stomping on it one Reggie Miller shortcoming at a time.
Let's be blunt about the elephant on the room: The Boston Celtics are a measurably better team than the Cleveland Cavaliers. Save for James, the consistency in which Boston's players do well on the hardwood is a far better commodity to have than hurling inconsistent, yet cagey veterans like Korver and Smith on the floor.
And yet, the only rebuttal Cleveland has is the most important of the lot. The Cavaliers have LeBron James. The Celtics do not. Yeah. Yeah. Stevens has some stars in the making at his disposal, as well as the criminally (and forever) underrated Al Horford, but not a soul in a green and white uniform will ever be chasing ghosts like James has been for the last several years.
Hell, Scary Terry Rozier said it — albeit it indirectly — himself. Boston is playing with house money. Dating back to the Gordon Hayward injury, followed by Kyrie Irving going down, few expected the Celtics to be in position to reach the NBA Finals.
That's a stark difference between these two teams. Boston is happy to be here, though it obviously wants to reach a higher level, while Cleveland has the highest stakes in this series between two vastly different rosters.
It's not only the Cavaliers trying to reach yet another NBA Finals, but it could be the last anyone sees of James as a member of the franchise. While that is a conversation largely saved for when the season is over, it amplifies the importance of reaching the sport's mountain top for the billionth year in a row.
Not to claim complacency will hit Boston, but we sure as heck know it shouldn't with Cleveland. The latter of the two franchises is not as storied, has a championship window that appears to be on borrowed time, and there's a natural sense of urgency resting somewhere in LeBron's belly that can't be conjured by Boston no matter what tricks Stevens has up his sleeve.
We can look at the data. How often a team down 0-2 comes back to win a series, especially this late in the playoffs. We can point to the absurdity that is the Celtics using guys who would otherwise be riding the bench to lead them to a tremendous human interest story.
We could do all of that. But we'd also be ignoring the context. That, because of James, the numbers are skewed and/or have little impact on the rest of this series since the ones that came before it failed to have a player like James featured so prominently.
Nature will tell us to write Cleveland off. To begin pondering what is next for the Cavs and where James will come home next season. It's a trap. It's like looking for a lady of the night only to be picked up by an undercover cop (not that I know how that would play out).
Point being, in the most roundabout way as humanly possible, if you're willing to bury the Cleveland Cavaliers after two, admittedly, woeful games, you can — just don't be surprised when greatness comes crashing down on you in the form of The King.
He's really good. Like, all-time great good. Schemes, styles and overall roster construction doesn't change that. In fact, I'm not willing to bet against all-time great good. Not yet at least. Are you?
We can, ugh, revisit this conversation if Cleveland loses Game 3, though.


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Sunday, August 6, 2017
We have some great tickets this year for the Faith Game at the Rockies. The game starts at 1:10pm vs the Phillies featuring a concert by the Newsboy following the game. Tickets cost $18 each. You must purchase your ticket from Karen Bransgrove ASAP. Contact Karen for more information at: firstname.lastname@example.com.
Back to All Events
Sunday, August 6, 2017
Sunday, August 6, 2017
Earlier Event: August 6Mission Trip: Saltillo Mexico
Later Event: August 9An Opportunity to Help the Boys School


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Program Areas
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This course introduces students to advanced skills and concepts related to operating a salon and spa business. Students further develop professionalism, customer service skills, product knowledge, and financial skills, as they continue in the role as a receptionist in the VCC Salon and Spa. Inventory selection and control, merchandising and display, and planning and implementation of promotional events are introduced in this course.
* Note: The CRNs listed below could be restricted to specific program areas.
To register for this course, check the information for your program:


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Microsoft has just put its money where its mouth is when it comes to proving the reliability and capability of the upcoming Windows Server 2008. Although still in beta, Microsoft feels Longhorn Server is up to the challenge of maintaining the site and has switched Microsoft.com over to running both Server 2008 Beta 3 and IIS 7, with a single server left running Windows Server 2003 in order to compare the differences between the two.
Technical details of the switch and the advantages of doing so are available at Microsoft Technical Product Manager Eric Woersching's blog, with a 38 minute video of the transition (and interviews with MS Operations Managers) available as well.
According to stats-tracking firm Netcraft, there are already about 2,600 web sites running on Server 2008, with most installations located outside Microsoft. Developers and hosts have apparently taken advantage of Microsoft's Go Live license, which allows the Server 2008 beta to either be used for testing or in a live environment without licensing fees.
It's still not clear when Server 2008 will actually ship, as Microsoft has stated only that it expects to ship during the second half of 2007. But the company's decision to migrate all of its Microsoft.com servers to the new OS before it's even out of beta testing would seem to indicate that things are going well.


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What headline-grabbing scandals have attended the return of Paddington Bear! First, there was his conscious uncoupling from Colin Firth (too old, apparently); next came Nicole Kidman's announcement that his new movie was too scary for her kids; then outrage as the censors slapped a PG-rating on scenes of innuendo, dangerous behaviour, and extreme marmalade. Now, perhaps most shockingly, comes the revelation that a 21st-century computer-generated big-screen bear can be every bit as endearingly entertaining as his 70s TV stop-motion counterpart. Paddington's creator, Michael Bond, says he "slept soundly" after seeing the new movie, and those in search of a family-friendly festive film treat will doubtless do the same.
Abandoning darkest Peru after an earthquake, our diminutive hero arrives in London where he proceeds to wreak healing havoc in the home of the Browns; uptight dad Henry (Hugh Bonneville), vivacious mum, Mary (Sally Hawkins), and troubled kids in need of some bear-based bonding. Nicole Kidman's trigger-happy taxidermist Millicent has other plans, however, seducing creepy neighbour Mr Curry (a splendidly sniffy Peter Capaldi) into helping her steal and stuff the new arrival. It's terrifically good-hearted fare, painting a colourful portrait of London as a multicultural melting pot with a just a hint of old school Poppins charm.
The jokes are good too, ranging from laugh-out-loud observations about the transformative effects of parenthood (and knowing mentions of "exotic wrestlers") to slapstick bathroom episodes. Ben Whishaw turns out to be the perfect voice of Paddington (sorry, Colin), his lilting diction at once childlike and wise, his delivery naive yet oddly noble. "Please look after this bear", says the tag around Paddington's neck. Rest assured, they have.


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Most businesses require a broad range of protection whether it be for their assets such as buildings, contents, stock and machinery or to defend them in the event that a third party claims for loss or injury as a result of something they or their employees have done or even have failed to do.
A commercial combined insurance policy provides a cost effective way of buying these different sections of cover under one policy based around a single set of terms and conditions and a common renewal date, make it easy to manage.
Cover for following items is typically available under our Commercial Combined policies:
Whatever your needs, M&P can help establish a policy that will protect you and your business when it really matters.
Check out our Commercial Combined Insurance FAQ's.
A fleet insurance policy would usually start with a minimum of three vehicles. We have no maximum fleet size and currently arrange insurance for fleets that have several thousand vehicles.
It depends which Insurer has provided the fleet policy but in the event that Legal Expenses is not included as standard, we can obtain a quotation to add this to your cover.
Breakdown insurance is generally not provided under a Credit Hire insurance policy however M&P Insurance Solutions can obtain a quotation for this extra cover on your behalf.


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Match.com / 2011-2012
I left Blockdot in 2011 because I got an intriguing offer to ply my trade at Match.com. There I worked with a few of my close college friends and a diverse team of extraordinary professionals.
It was an interesting experience for sure. I took the position because I rather liked the idea of instant brand recognition that would flash across people's faces when I told them what I did. What I didn't expect was the sheer volume of stories I would hear from people I'd never met about how Match.com changed their lives for the better.
Feels good :)
Technically, Match.com is a behemoth. It's an old DotCom bubble enterprise that's had a TON of features piled on an aging architecture and still managed to hold it's weight. The team I worked with implemented yet more features such as a private member to member phone book for people to exchange numbers in a safe and secure way, and several re-implementations in .NET for existing ASP site features like navigation, profile views, etc.
If it doesn't sound glamorous that's because it wasn't. Most of the time I worked on fixing ancient bugs, emailing back and forth with QA and pairing up with a systems dev to implement the occasional new feature. That's not to say it was boring; far from it. It was at Match.com that I started to really zero in on the discipline of Front-End Engineering as a specialization; which I've furthered to this day.


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ISO 9001:2015 Quality Management Systems (QMS): Awareness and Facilitation Certificate
It is widely acknowledged that proper quality management improves business and often has a positive effect on investment, market share, sales growth, sales margins, competitive advantage, and avoidance of litigation. Benefits range from registration required to remain part of a supply base, to better documentation, cost benefits and improved involvement and communication with management.
The purpose of this course is to provide awareness, understanding and facilitation of a quality management system based on the requirements of the ISO 9001 international standard released in 2015.
Studying this course may be a good option if:
- You wish to understand the latest international best practices for quality management systems.
- You want to prepare for or support your organisation with the implementation of an quality management system.
- You have responsibilities related to the quality management systems and processes within your organisation.
This course is offered by Oxbridge Academy in conjunction with DQS and is aligned with the relevant international standards. (DQS Academy is an accredited training provider that offers training to suit a variety of needs in a range of ISO and other international standards.)
24 hours (3 days)
- No Matric
- 16 years and older
- Quality Management Systems Awareness and Facilitation Training
- Students are required to complete an online assessment per element of the standard before being able to continue to the next element.
Upon completion of this course, students will be awarded an ISO 9001:2015 Quality Management Systems (QMS): Awareness and Facilitation Certificate from Oxbridge Academy in conjunction with DQS.
ISO 9001 has been written to a core structure and common text defined by ISO for use by all management system standards and is broadly aligned to the revisions of ISO 14001 and ISO 45001 – thus helping those who are implementing multiple management systems at their organisations. Click here to read more about ISO.
To complete this course, students require access to the internet.
Registration Fee:
Course Price (Excl. Reg Fee):
Monthly Instalments:
R 1000.00 X 3.2 months
An online – or e-learning – course is a course that you can complete online, using either a laptop, desktop computer, smartphone, or tablet. When you study an online course with Oxbridge Academy, you do not need to attend any classes – real or virtual! You simply work through the course material in your own time from home (or from any other location where you have access to the internet).
When you register for an online course, you will gain access to an online learning portal, where you will be able to access your study material, complete your assignments, and write your final exams.
Your study material may be presented in various formats, including:
- Videos
- E-books/PDFs
- Slideshows
If you have any problems with your coursework, you will be able to contact a tutor for support.
Oxbridge Academy is the best. My study materials were delivered in time and also my certificate. I'm planning on studying another course.


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The album was completed and released on 6 January 2018. You can listen to and download the tracks, view the preview video and view the album artwork on the Surrender page.
Weekly Update 13
Fri 22 Dec 2017: I don't have much time for music today so I decide to work on Cradle Me. It's the song where the demo feels almost perfect as it is. I even decide to retain the demo vocal. I just re-edit it to tidy things up and clean some noise. By the end of the day I have a good mix that just needs a couple more tweaks.
Sat 23 Dec 2017: As the album nears completion I'm thinking more about title and artwork. I've been sitting with one particular title for most of the time but now I'm questioning whether it's right. I play with some more ideas in the morning. Of course, "SIX" was never going to be the real title either. It's just a label I've given the project of making the album. I make some edits to Cradle Me. Listening to it yesterday I noticed some minor pops and noise in the vocal, mainly due to having them so present in the mix. I go through the vocal finely to trim them out. I also listened again to Call Off the Search and I'm not happy with the beats or the overall mix. I'm going to need to make some improvements so I have a go in the evening. I try stripping the existing beats back a bit but it doesn't work so I try building them new from scratch. The new version is much slower, more ballad and traditional. I get it sounding OK in the chorus but the verse is awful. Way too slow and the timing just sounds off. I think I may have headed in the wrong direction. I give up for the night. Maybe it's my ears. I'll listen in the morning, but I may have to start from scratch again and head in a different direction - less conventional.
Sun 24 Dec 2017: I listen to my work on Call Off the Search from last night. It's still as bad as it sounded then. So I listen to the previous version after I'd made some tweaks. It's better than I remember. I think I should stick with improving that version. Lucky I keep every version and nearly edit I make! I spend a few hours working on the hats which get the rhythm working better.
Mon 25 Dec 2017: I manage to find an hour to focus on finding a better snare/tom combination for Call Off the Search.
Tue 26 Dec 2017: I spend most of the day rebuilding the beats for Call Off the Search. It's a long and tedious process. It I get there in the end. The results have transformed the songs and fixed the problems I had felt were there.
Wed 27 Dec 2017: First up I record the final vocals for the final two tracks: Victim Statement and Wavelength. There might be one or two additional things I need to record, but that's most of the vocals done now. I spend the rest of the day editing the vocals for Victim Statement and finishing the track. I have a final version by the evening. That's track number 8 - only one to go!
Thu 28 Dec 2017: I didn't sleep that well so I'm up earlier than I should and get working on the final track Wavelength. I spend the morning grading, editing and correcting the vocals. In the afternoon I work on the music and beats. It's hard work and takes many iterations but by the end of the afternoon I have a mix and the 9th track is done.
Fri 29 Dec 2017: I listen to Wavelength again and do some edits. The arpeggiator bass is getting out of sync so I use Melodyne to get the rhythm and replace it with a sequence. All 9 tracks are recorded now. I have a list of small edits for all tracks to complete before the final mixing/mastering stage. In the late afternoon I add some lead lines to the ends of Wavelength and Victim Statement. Tomorrow I plan to make the final edits to all tracks to produce the first draft of the final album. I have a bottle of champagne in the fridge to celebrate.
Sat 30 Dec 2017: I spend most of the day working through all the tracks applying the remaining edits. I listen to the complete album all the way through and identify a few more minor edits.
Sun 31 Dec 2017: I make the few more edits. The main ones are for Killing Light which is very dull compared to the other mixes. I need to pull things apart to improve the mix. I start work on the album art. I briefly play with a new concept before returning to my most recent idea. I produce a draft of the front and back cover. In the evening I listen to the album from start to finish again - and identify yet a few more fixes! It's OK though, I know from past experience that finishing the mixes is a drawn out process.
Weekly Update 12
Sat 16 Dec 2017: It's been another long week and I haven't really had the energy to work on music. Today the weather is mild but it's going to heat up, so I decide to record more vocals today while I can sit comfortably without the aircon on (to avoid the noise). I record the vocals for Mirrors and Talking to Myself. I'm reasonably happy with the takes but will have to wait until I get to the editing stage to know for sure. That's enough for today.
Sun 17 Dec 2017: I get stuck in early editing the vocals for Mirrors recorded yesterday. Surprisingly, it takes most of the day to grade, trim and correct them. After that I start arranging the instruments properly and the beats. I end up working until 10:00 but I'm on a roll and I'm on holidays, so no work in the morning.
Mon 18 Dec 2017: I listen to my work from yesterday. There's still a lot of fixing to do, but it's sounding good. I make some changes including redoing the toms in the final chorus. They were too simple and on beat but needed to be more syncopated. After finishing Mirrors I work on editing the vocals for Talking to Myself. That takes me most of the rest of the day. In the evening I'm feeling a bit inspired and make some more edits to Mirrors. The results are a great improvement.
Wed 20 Dec 2017: I work on Talking to Myself. It doesn't take long to get the music from the demo working on the final version. Then I rearrange the vocals. There are quite a few parts so I go through a number of iterations. I play with a vocoder part on the chorus hook. It's OK but doesn't have the impact I imagined. After lunch I work on the beats, adding fills and variations. These beats need to be kept fairly simple and I come up with enough to make them more interesting without overcrowding them. At the end of the day I do the final mixes. I'm still not 100% convinced with the lead vocal processing. On one hand I want it to sound processed, but I'm getting some artefacts that I don't like. And the backing vocals lack presence. I might have to revisit when I do the final mixing at the end of the album. Apart from that though, track number 5 is finished.
Thu 21 Dec 2017: Make a few more tweaks to Talking to Myself first thing in the morning. Mainly taking small things out to add variation and avoid over crowding. Then I work on Whisper. I decide to record the vocals first then work on the music. The beats are quite simple so I make sure I don't overwork them. I'm happy with the results but I do wonder what else I could do. As I'm compiling the vocals I realise a couple of harmony lines at the end would work so I quickly record and edit them. By the end of the day I finish the song and I'm delighted with the mix of melancholy and drama in the music. Track number 6, and the album opening track is finished.
Weekly Update 11
Tue 4 Dec 2017: I have just a couple more tweaks to make on Call Off the Search. When I get home I make them and maybe this will be the final version. Then I turn my attention to the next track. Liar is going to be a challenge. It's the one track I've considered dropping but I feel there is something there. I just have to get past the obvious and push myself. I sit at the piano and play with different melodies. I find some possibilities but I really need to work with Reaper to make sure it will translate OK. Trouble is, Windows has decided to do an update. I think it's the major update I've been postponing. Now I don't have a choice and it takes ages. That scuttles my plans for the evening. Oh well, maybe an evening off is not such a bad thing. After the update is finished I pop into the studio to check. I'm still keen to record what I played with so I sit down and record the piano part from scratch live. I'm not good at keeping time, so it's a bit of a struggle but it gives me a glimpse of what the song might be like if I strip it back and play it more or less without programming. I think that might be what this song needs, and it would certainly be pushing my boundaries. I'm excited about playing with it further tomorrow.
Wed 6 Dec 2017: I get the idea to connect my Yamaha piano to my Roland keyboard via MIDI so I can record from it. It turns out being much more responsive than my old MIDI interface. I do it because I want to record more expressive piano for Liar. I do a few takes. There's a lot more emotion in it but there's still something wrong with the melody. As I get ready for bed I have a mental vision of a slight change to some chords. I go up to try them out and it may be what I'm looking for. I record a quick take. At the end of the day I reflect on what I've done so far. I feel very proud of my personal growth in the music for these songs. I feel equally ashamed of the compromises and safe choices I've already made on the two completed tracks. They're good for me, but still fall short of what I hoped I could do. Maybe it really is beyond me?
Fri 8 Dec 2017: I spend a little bit of time recording the piano for Liar again. I need to keep the chords fairly simple. I think I've settled on a melody too. Will try it out on the weekend.
Sat 9 Dec 2017: I record vocals for Liar in the morning. I think recording goes well, but in the editing stage I notice some issues. Luckily they don't show too much when I import them back into Reaper. At the end of the day the vocals are mostly done with just some fixes in the third verse to make tomorrow. The song is still quite stripped back and it's sounding good. It has so much more emotion than the demo version.
Sun 10 Dec 2017: I get stuck into finishing of Liar. I fix the couple of vocal problems from yesterday then add some more instruments. I've decided to go very conventional in this song. It's not like me but I think it's the only way the song would work. Last I embellish the beats and do the fills. They are easier than expected and I'm really proud of the results. Normally I cut quite of bit of the low end from my voice, but on this track it sounds better so I leave it in. One fortunate accident is with the backing vocals in the second chorus; I record the first line of the second round separately but forget to re-pitch some takes for harmonies. The line comes out in unison which is actually a nice touch. By lunch time the song is finished - track number 3. I start transferring the sounds and sequences for the next track, Mirrors. At the end of the day I listen to Liar - lots of times. I'm so excited by the results. Such an improvement on the demo. I know I feel this after completing most tracks and I know the feeling will fade, but it's so wonderful right now.
Weekly Update 10
Tue 28 Nov 2017: I come up with a few more tweaks for Killing Light during the day and can't resist making them when I get home from work. Then I turn my attention to the beats for Call Off the Search. I had programmed the beats from the demo version last night but now it's time to develop them. I'm stuck for a while with no idea where to go, but then things fall into place and I get a better rhythm in the chorus. Finally, just before bed I listen to the latest mix of Killing Light and notice a couple more minor issues. A quick run upstairs to fix them and produce yet another mix before bed!
Wed 29 Nov 2017: I check the mix of Killing Light in the morning and I think this is it! Very pleased.
Thu 30 Nov 2017: On Tuesday I had managed to create a much looser beat for the chorus of Call Off the Search. Trouble is, the original beats in the verse feel stilted now. I think I may need to go back to the drawing board and rebuild the beats more around what I now have for the chorus. I think it will be better.
Fri 1 Dec 2017: I spend a few more hours reconstructing the beats for Call Off the Search.
Sat 2 Dec 2017: I work on the music, finishing off the beats in the morning and then record the proper vocals. Must be a bad day for my voice because some of the phrases are really tough. I persist and end up with enough takes to find something worthwhile.
Sun 3 Dec 2017: I spend the morning editing the vocals from yesterday. I find good takes and fix any minor issues. Happy with the results. In the afternoon I finish the track, add some extra details and create a mix.
Mon 4 Dec 2017: I build up quite a list of tweaks for Call Off the Search during the day and sit down to edit in the evening. Some are straight forward. Others have me going around in circles. The lead vocal is particularly troublesome. It needs to cut through the mix. I'm also trying to get a sustained reverb effect on a couple of key phrases but I don't quite get the sound I have in my head. It will do for now; maybe inspiration will strike later.
Weekly Update 9
Mon 20 Nov 2017: I start work on the album version of Killing Light. I start by copying the MIDI sequences and patches from the demo and tidying them up. It's easier than I expect and I have the demo music to use as a starting point in no time. I turn to the beats. The intention was to use Maschine for designing them but then program them in Battery 4. After a little playing around I realize that's going to be a lot of work so I consider using Maschine throughout. Makes sense and will probably be better. I must do some experimenting tomorrow night to see how best to integrate it into Reaper.
Tue 21 Nov 2017: After a bit of playing and research I work out how to integrate Machine into Reaper. I will use that tool for all my beats.
Wed 22 Nov 2017: I start breaking the beats for Killing Light into sections so I can start expanding and diversifying them.
Thu 23 Nov 2017: I work some more on the beats. Not for long though. It's been a long day.
Fri 24 Nov 2017: A number of the demos have used the arpeggiator on the Komplete Kontrol plug-in. It's great but the sequences sometimes get out of sync and they don't always align properly with the keys of the songs. In the morning I get the idea of rendering the sequences and analysing them using Melodyne. This allows me to work out the notes and rhythm being generated by the arpeggiator. Melodyne also allows me to export the sequences as MIDI that I can load them back into Reaper and do away with the arpeggiator. It allows me to fine tune the sequences and improve them. It's a big improvement.
Sat 25 Nov 2017: I work on the music for Killing Light. I get the beats and the music done. I'm sure there will be tweaking for a while and a few extra additions but this is good for now. The hats bother me a bit though. They're kryptonite to me. Maybe less is more?
Sun 26 Nov 2017: I start by refining the beats a bit more. I was struggling with fills but get inspiration in the morning and they turn out better than expected. Next I try recording the final vocals. I add extra sound panels to the room to improve the acoustics so I can keep the mic near the PC. It makes it easier to record short sequences. Some of the parts are difficult but it only takes about an hour to record the song. I'm having trouble with the audio card though. For some reason, it keeps stopping and I have to keep restarting it. It's a pain but it doesn't stop me. I spend most of the afternoon editing my vocals. I'm getting better at using Melodyne and manage to fix most of the problems, though I must say the vocals were quite clean to start with. I'm even using Melodyne to fix some minor timing. By the evening I have a final mix of the song. That means it's only taken a week to produce the song from start to finish. I'm sure there will be minor tweaking for some time, but that's good and hopefully it means the entire album isn't going to take as long as I had originally thought. It's been a long weekend but I'm really surprised and pleased with the results. 1 track done and I feel optimistic.
Mon 27 Nov 2017: I listen to my work on Killing Light first thing in the morning. I identify a few minor tweaks but still so pleased. If I can develop the other demos as much as this track I'll be really happy. I listen to the track a few more times during the day and build up a list of minor tweaks that I make when I get home from work. I should leave it there until mastering.
Weekly Update 8
Mon 13 Nov 2017: I make new mixes of the demos of the songs that will fade out to give me a better sense of how the songs will all fit together. I've been listening to them to try and arrange them. At the moment I think it's likely that I will publish all 9 songs but only release 5-6 in a mini-album because 3-4 just don't quite fit at their current form. I'm happy with that and it takes some of the pressure off. I start work on finalising the scores and building the skeletons for the proper versions. It's actually really nice to strip the demos back to the bones and rebuild them again from scratch. It's almost like starting fresh but with the some of the hardest work already done.
Tue 14 Nov 2017: I listen to all 9 songs in order today with the fade out versions I rendered last night. They change the feel and actually make the songs a bit more cohesive. They sound more like an album.
Thu 16 Nov 2017: I had thought that the 9 songs I have written so far had covered the range of emotions that tell the story of my life at the moment; that I had nothing more to write about right now. But emotions and feelings of alienation this week have seen some new inspiration bubble to the surface that I've started writing down ideas for.
Sun 19 Nov 2017: The focus this week has been on getting the scores for the songs finished. I work most evenings, all day Saturday and Sunday morning. It's good to get the scores finished and I'm ready to start work on the recordings. But today it's time to have a rest. It's been another tough week and I'm exhausted.
Weekly Update 7
Mon 6 Nov 2017: Listening to (S) again before work and I'm really pleased with it. It's my favourite track so far. What I'm finding with the later tracks I've written for the album is that the writing process has changed the results. By writing the music and lyrics at the same time and recording a demo vocal sometimes before finalising the music, there's an extra space in the tracks that I don't usually have. Usually I build the beats and music before I record any vocals. As a result I tend to fill up the track before the vocals. Lately, the songs have a lot more space and the vocals are more integral. I must make sure I don't over fill the songs when I work on the final versions. In the evening I work some more on (W). I'm not really happy with what I came up with yesterday. Maybe I'll use that for something else. Instead I go back to basics. I decide to try something different. Instead of starting with beats on Maschine, I set up some loops using arpeggiators and different plug-ins. It heads me in yet another direction, but this time I think it might work for the song I have in mind. I start forming the first lines of lyrics.
Tue 7 Nov 2017: I'm inspired in the morning to write some lyrics for (W). I'm getting into the feel of this song. Inspiration continues through yoga and I have a few verses drafted before work. In the evening I piece the parts together and do a really rough vocal line. I'm tired, so I don't work for too long but just enough to patch together what the final song much sound like and what the structure will probably be. There's a long way to go. But I think it has potential.
Wed 8 Nov 2017: A quick check of last night's work first thing in the morning and I'm feeling good about (W). I finish the last lyrics before work. In the evening I record and edit better vocals. They sound OK but I'm not sure about the end result. I play with some other things but it feels like something's missing. But it will do for a demo. I can afford to experiment more on the final. I'll let the song float with me for a while.
Thu 9 Nov 2017: Once again some lyrics form in yoga class this morning; this time for the next song (I). It would be nice to accredit these lyrics to the mindfulness of yoga but in reality they were already underway before I entered and just gelled as I was waiting for the class to begin. I have to try to hold on to them for the next hour until I can write them down! Maybe I should start taking paper and pencil to class. In the evening I make a few more minor edits to (W) and I'm happier now. Then I start playing with melodies for (I). I record the first phrases. It's a bit soppy in its raw format but hopefully I can develop it into something atmospheric.
Fri 10 Nov 2017: In the morning another verse for (I) comes to me. I start a third on the way to work but it doesn't quite make it. I refine it a bit in the evening but it still needs a little more work. I briefly turn my attention to a possible chorus melody and record a rough vocal. I don't do much else. Time for a night off.
Sat 11 Nov 2017: In the morning I finalise the lyrics for (I). After lunch I sit down to put chords and melody together. The song just falls into place. The lyrics are quite freeform with no particular meter. But the melody and chords seem to work without too much effort. I record a vocal and because the range is just right for me, they're not too bad at all. After some editing I look at the instrumentation. I had some ideas of using micro beats but, in the end, a very sparse and soft sound works beautifully. I'm really pleased with the results and the song is finished on the afternoon. If I can say so, I think the song and performance are both possibly the most beautiful I have ever achieved. Demo number 8 is finished.
Sun 12 Nov 2017: When I was first playing with (W) I created a small riff that didn't work there so I put it to one side. Now, in the morning I start work on the final song (VS). I think that riff might fit perfectly. It does, and the lyrics, melody and chords come quite easily. By lunch time I have a demo with recorded vocals but it's lacking personality. I'm a little worried it may end up a lame duck. Then, an accident has the potential to transform the chorus. I tweak a few other parts to make way for new drums and that's it! After a short break I listen again on my phone and realise that the second half of the chorus is weaker than the first. I decide to continue the chords and melody from the first half into the second. I have to re-record some vocals and move things around but the result is a big improvement and keeps the energy going. I'm very happy with it and that's the last of the demos I currently have in mind. 9 songs in just under 9 weeks. That's good going for me, especially considering that's including all the lyrics and demo vocals.
Cradle Me
Weekly Update 6
Mon 30 Oct 2017: The success of the last three demos has me looking back at the first two differently. The vocals and melodies feel a bit clunkier than the later songs. Is this just the recording or are they just poorer songs. I feel my songwriting and singing has loosened up as writing has progressed. That makes sense. I guess I have to wait and see how the next song turns out to see if that's really a trend.
Tue 31 Oct 2017: Following on from yesterday's thoughts I've been wondering how I can improve the vocals for (NIW). I play with the phrasing and melody to try and add some more emotion to the verse. I re-record verse 1 with the new ideas. The results are OK and an incremental improvement but something still feels wrong. It might be the lyrics themselves. I probably need to try approaching the verse again with a clean slate (no lyrics) to see what I'd come up with.
Fri 3 Nov 2017: It's been another tiring week so not much energy for music. But I have been writing down plenty of fragments and lines for the song I think I'll tackle next (S). I also get some inspiration for what might be the final track on the album (VIS). Not sure yet.
Sat 4 Nov 2017: After a lazy morning I head to the studio to work on the beats and music for (S). Immediately I find a groove. It's 3/4 but it feels right. I turn my attention to the lyrics. Word by word it squeezes out. Like an unexpected monster turd, I find myself creating something ugly and satisfying at the same time. I want to see where I can take this. By the end of the afternoon I have all the lyrics and melody and most of the structure. I think this is going to work.
Sun 5 Nov 2017: I spend the morning recording better vocals for the demo of (S). They go well; the key is right for me. After fixing the pitches, I play around with the arrangement moving away from the plain piano that the song began in. I make a few accidental discoveries which give the song a new personality. The chorus is the part that I struggle with. I'm not sure what I really want to achieve there and go through a couple of different incarnations. Where I finish is heading in the right direction but I'll make it a bit crazier in the actual recording. Soon after lunch I have this sixth demo finished. The title is "Whisper". I'm really pleased with the results and it's another song quite quickly finished. I spend the last part of the day playing with some ideas for (W). Some accidents send me heading in an unexpected direction. Not sure if I'll continue that way, but I'll play with it for a while.
Dark is the New Light
Weekly Update 5
Mon 23 Oct 2017: I record the second part of the second verse for (TTM) that I wrote before bed. That demo is 100% complete now. I've also been thinking about the next song which I've already recorded a small piece of music for (M). I have lots of lyric ideas so I start trying to apply them to the music. They fit and in the evening I record some very basic melodies to get things flowing.
Tue 24 Oct 2017: I fix up some of the melody in the middle of (TTM) then work more on the structure and melody of (M).
Sat 28 Oct 2017: It's been a shitty week at work with way too much emotional fallout, so I haven't done much music other than tinkering with a couple of lyrics. In the morning I return my attention to (M) and progress some of the verse lyrics while I sit on the couch watching Saturday morning Rage. By the middle of the day the first cut of the lyrics are completed and I record demo vocals. It goes really well. Maybe the vocal practise is improving my voice, or maybe I'm just settling back into what works for me. I finish the demo for (M). That's the fourth demo done. I immediately start work on verse lyrics for (COTS). For the first time I work on the lyrics in the studio at the keyboard. I record a really rough version of the melody before even mapping it out on the piano. I think the results are a bit more fluid than usual. That's good. Having a mic permanently set up at the computer is working really well and allowing me to be much more spontaneous and organic in my writing.
Sun 29 Oct 2017: Yesterday I recorded rough vocals for (COTS). I knew they were bad but they were only intended for capturing the melody. Today I fine tune the melody and re-record them. To my surprise, they go well. I manage one of ranges more easily than I'd expected. I finish of the structure and then that's it: the fifth demo song completed!
Call off the Search
Talking to Myself
Weekly Update 4
Tue 17 Oct 2017: If nothing else, the disappointment of the last few days has reminded me that I have to write to the limitations of my voice. Humbling. Luckily it's better to remember that now. Time to adjust before I go too far. Yesterday, the feelings caused me to look closer at the verse lyrics for (D), so during the day I come up with a simpler melody and some stronger lyrics. By stronger I mean focussed more on the feelings. I'm happier and in the evening I finish verse 1. With the lessons learnt from the weekend, I record the vocal for the completed verse straight away. It allows me to sanity check the words and melody and make sure they will work for me. I think they will. It's a small relief and I'm feeling a bit more positive.
Thu 19 Oct 2017: I've been finishing off the new verse lyrics and melody for (D). The final piece of lyric fell into place during yoga class this morning! In the evening I work on writing up the music and finishing off the verse melody. On the weekend I will try recording some new vocals and record harmonies straight away to test them instead of leaving them until the end. I think recording little test bits of vocals as I go is the way I should work going forward. On a side note, looking at my web statistics I realise that no-one is reading this blog. No-one. Or at least, no-one has been reading for a number of weeks. It breaks my heart a little, it eats away at my self-esteem a bit, but it doesn't dampen my commitment to write it. In fact it helps to harden me more. To further connect the shell that is growing around me. Apt, considering the themes of this album.
Fri 20 Oct 2017: I spend a little of the evening finishing off the scoring for (D) and (NIW). I don't usually put this much effort into recording melody and chords so I can generate a score. Consequently I often waste time re-learning melodies and chord progressions when I come back to a song for recording. I think having the score up to date will help and it will also make writing harmonies easier.
Sat 21 Oct 2017: After last weekend's recording disaster I start to re-record the demo vocals taking on board the lessons I've re-learnt. Feeling much better so far. The aim is to get a vocal demo I can at least bear to listen to. I'm feeling super tired today, so I won't be doing too much though. I approach the process by recording phrases at a time. It's safer. After some pitch correction and editing I build new mixes and they're a huge improvement on last week's efforts. I have something to listen to now. I like both of the songs but I'll need to wait and see what else I write before deciding whether they will make it onto the album.
Sun 22 Oct 2017: Working on vocals yesterday exposed a line on verse 3 of (NIW) that really doesn't work. Today I revise the words and re-record the vocals plus a couple of mix tweaks; not too much because these are only rough demos, but I can't help myself. I have to say I'm pleased with the results. Finally! After lunch I decide to start on a new song. Experiences from the past few weeks bring one of the topics on my list to the front of my mind so I start there. Being a completely clean slate I start by messing about and the music gods must be with me today. Things just fall into place nicely for (TTM). And not in a safe predictable way (for me at least), but in an interesting and slightly quirky way (for me at least). By the end of the afternoon I have 80% of the lyrics, all the song structure and a demo including vocals (minus 1/2 of verse 2) all done! By bedtime the final verse comes and the lyrics are finished.
Weekly Update 3
Fri 13 Oct 2017: An unexpectedly painful evening. I've been refining the melody for (D) all week and now I have the chance to record the ideas. I change the melody line and render but for some reason it's not working. Multiple attempts make no difference. Major frustration! This kills me - all I want to do is save my ideas but technology can be a spiteful bitch. Eventually some troubleshooting solves the problem; it looks like a VSTi plugin might be corrupted so I replace it. I render the results and call it a night.
Sat 14 Oct 2017: Today is a photo day with Em so I don't get into the studio until mid afternoon. I have ideas for the middle of (D) and work on melody and chords. It's OK and I think it will be better when I add some atmosphere to the recording. I rearrange the demo to construct the final song structure. The song is a little too high for me to sing comfortably so I transpose it down 3 semitones. That's the first song demo finished.
Sun 15 Oct 2017: I awake with some new ideas to improve the middle of (D) I worked on yesterday. Instead of just being a break I think I should turn it into the climax of the song. I also have the proper title I've been searching for. I play with some ideas and they work really well. I'm happier with it now. Still not 100% sure of the ending. Might reprise the middle but that's a decision I can leave until later. Next I work on the chorus for (NIW). I already have some lines so I need to work out chords and melody that naturally progress from the chorus. It's a bit challenging because the verse slightly modulates around the place. But I persist to a point where I'm 80% happy then a chance note - changing the base note from C to F - gets it across the line. I arrange the verses and choruses and that's the second song structure finished. This one's already in a good key for me, so no transposition is required. After some lyric fine tuning I record a demo vocal for both songs. The vocals are dreadful but I expect that for a first try and I've certainly done worse. So now I have my first two complete songs and simple demos. I also have the final song titles: (D) has become "Killing Light" and (NIW) has become "Liar". For the remainder of the day I write up the music and lyrics for both songs, ready for pitch correction and harmonies later on. Then, just before bed, I have another listen to the two demos. The vocals are truly awful, but I know from past experience that they should improve. And I am really pleased with the chords and melodies. Still, I can't help but feel a little deflated. It's such a long process and so much work yet to do.
Mon 16 Oct 2017: The disaster of yesterday's vocal efforts has been weighing heavily on my mind. Although I'm still very pleased with the music, these early vocal attempts have scared me that I just don't have it in me to get this album across the line. When I started, I wasn't certain I would be able to finish and that prospect is looming large right now. I know I could try to work with proper singers instead of compromising with my own voice but I'm not really a collaborator and these songs are too personal to hand to someone else. So I'm going to try some basic post editing of the vocals to get a sense of how much I can clean them up. The original plan was to write and create demos for all the songs before starting production, but now I'm considering producing these two songs first to prove to myself that I can get them where I want them. And if not, think about abandoning the project. I'll see how I feel later in the week. During the day in the office I'm in a grey mood. I realise I'm soon feeling exactly the way that (D) is meant to be about. The upside is that I tap into those feelings and question whether the verse lyrics really capture them. I don't think they do. Maybe I should have another go. After work I edit the vocals for (NIW) and feel a little better about them. The vocals for (D), however, sound even worse tonight, if that's possible.
Weekly Update 2
Thu 5 Oct 2017: I write the first lyrics for (NIW) on the way to work and again on the way home. I have to make a conscious effort to avoid obvious lines. It's not easy but I'm really pleased with the results and the tone so far.
Sat 7 Oct 2017: It's Saturday morning. I'm tired from the week and I want to relax. Already the pressure and guilt that I'm not creating enough. Luckily the early morning yoga class energises me a bit. Let's get busy! I spend some time writing more lyrics for (NIW). Must be in the right headspace and words flow relatively easily. I have 80% of the lyrics now. Next I want to get the demo music right so I work on the beats, fix the tempo and record the melody. It's only a few hours' work but I'm satisfied with the results.
Sun 8 Oct 2017: 9am and I head up to the studio. In many ways, Sunday is an easier day for music. I'm more relaxed and rested and there are fewer distractions to get started straight away. I listen to the music I recorded for (NIW) and I like the feel. The main focus of today is to improve the demo for (D). I start by using the new beats I drafted on the iPad and then experiment with some instruments. It's sounding more like the version in my head. In the afternoon I work on the verse lyrics. I already have a large set of lines; I just need to stitch them together. But it ends up being harder than I expect. I need to adjust the melody quite a bit to make things work. By the end of the day I've got two verses that I'm 50% happy with. They work but just don't feel right. Maybe I've been labouring on them too long. I think I need to sleep on them to get a fresh perspective.
Mon 9 Oct 2017: I'm reviewing the work from the weekend. Really happy with the music but the lyrics for (D) are still bothering me. This is one of the times I struggle with the choice to rhyme or not to rhyme. I write lots of lyrics that don't rhyme but sometimes the melody just doesn't flow any other way. This is one of those times. But the lyrics already feel a little like I'm holding back. Having to rhyme could dilute them further. And on this album I really want every word to count. I'll take another look at the melody to see if that's the problem. This reminds me just how frustrating lyric writing can sometimes be. When I'm in the middle of it, the feeling can be all consuming. I need to learn how to put the words aside and let them breathe for a while. Then later, after a day at my day job, I have another go at the melody and this time it works much better; some simple adjustments in timing make all the difference.
Weekly Update 1
Now that I've started work in earnest, this will be the first of hopefully many (roughly) weekly progress updates.
Prior to last weekend I had spent almost 12 months slowly gathering and organising themes and thoughts. I had a list of about 10 working titles plus a possible album title. I also had a couple of rough melody ideas. I don't want to reveal the working titles or album title yet so, for the time being, I'll refer to songs by the (initials) of the working titles.
Thu 28 Sep 2017: I've rearranged my studio to make everything more accessible. It feels a lot more purposeful and open.
Sun 1 Oct 2017: It's my first time sitting in the studio seriously. I'm feeling apprehensive; procrastinating. I start to play with Maschine, the new toy I bought late last year. I want this to help me break out of some of my patterns of writing but I'm not quite sure how to fit it into my workflow. Discovering and playing. I create my first beats based on a rhythm I already have in mind for (D). Before long I have a basic melody for the verse and chorus and chords recorded. Next I turn my attention to (COTS). I have the chorus lyrics and before long another melody and chords. I record a rough take and the results make me a bit emotional. I think this track is going to be important. By the end of the day I'm feeling cautiously optimistic.
Mon 2 Oct 2017: I listen to the work of the previous day. I'm really happy with the results and their potential. But I'm still nervous about working; scared that I'm going to hit a brick wall. I play around a bit and create a new rhythm for a new track. Not sure which theme I'll use it for but I'm really happy with it. At the end of the long weekend I have musical roots for 3 songs. (D) was a little different in that I already had a melody and rhythm and created the beats to match my idea. But the other two were based on creating new beats with Maschine. Definitely more play and experimentation than usual, and that's a good thing.
Tue 3 Oct 2017: I'm feeling a bit weird after the weekend. On one hand happy that I created so much. On the other hand dissatisfied that I didn't spend every waking moment in the studio. But I know that's not realistic. I'm also worried that the inspiration will dry up or that I will compromise my ideas and weaken my efforts. Why think that? In the evening I do some more work on the beats for (D) but I'm not really happy with them.
Wed 4 Oct 2017: I wake with a better rhythm for (D) in my head. I quickly draft something in iMaschine on the iPad before I forget. All day I have the melodies from the weekend in my head. That's nice.


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We are honored to have Emily Rose Shaw share one of her phenomenal plant-based recipes with us just in time for the holiday crunch. Emily is a chef, holistic health coach and instructor at PLANTLAB. She demonstrates passion and drive in all her empowering endeavors. We are pleased to be a part of her new project, THE PLANT COLLECTIVE. This project is a plant-based holiday e-cookbook featuring 50+ recipes from 32 leaders in food and wellness.
Emily's mission is to give back, and is contributing 60% of sales to EDIBLE SCHOOLYARD PROJECT, founded by world-renowned chef and activist Alice Waters. EDIBLE SCHOOLYARD PROJECT teaches children about healthy food, growing fruits and vegetables in school gardens, and being hands on with creating recipes with local foods. It's no surprise Emily has been a huge supporter of this project. Emily stands for community and education and really understands the power of healing with earth's resources. We're truly inspired by this radiant beauty.
To learn more about this project and order her book for a great cause visit plantcollective.com.
Here is a sneak peak at one of the recipes in the book.
By PLANTLAB Culinary
- 3 leeks, tough outer pieces of the stalk removed, halved lengthwise (or cut into 1 inch pieces)
- 2 tbsp olive oil
- 2 tbsp shallot, finely chopped
- ½ tsp cracked pink peppercorns
- ½ tsp coriander seeds
- ¼ tsp salt
- 2 tbsp lemon juice
- ¼ cup vegetable stock
- 1 tsp lemon zest
- 1 cup brazil nut cream
- 1 tbsp parsley, minced
- ½ cup brazil nut cream
- 1 cup brazil nuts, soaked 8 hours and rinsed
- 2 cups filtered water
- pinch salt
- 1 tsp sumac powder (optional)
- 1 tbsp grapeseed oil
Preheat oven to 350 °F.
Blend the brazil nuts and water on high until broken down, about one minute. Strain through a nut milk bag or chinois. Return brazil nut cream to the blender and blend in the salt (and sumac powder if used). Gradually stream in the oil on low to emulsify. Reserve for use in lemon braised leek preparation.
In a medium bowl soak and clean the leeks in cold water, for 5 minutes, cleaning away any dirt between the layers. Gently shake dry or let sit in a colander to drain away excess moisture.
In a heavy skillet, heat the oil over medium-high heat. Add leeks, open side face down against the skillet. Move them around periodically to keep them from sticking. Cook until the open side begins to brown, about 5 minutes. Gently remove from the skillet and place to the side, open side facing up.
Add the shallot, peppercorn, and coriander seeds to the skillet and sauté until the shallot becomes translucent, about 3 minutes. (You may also toast the spices ahead of time if you wish).
Next add the salt, lemon juice, vegetable stock and zest then bring to a boil. Add the brazil nut cream, return to a boil while stirring frequently, then reduce heat to a simmer and return the leeks to the skillet, open side facing up. Cover the skillet with a tight fitting lid, and place in the oven to braise the leeks for approximately 5 to 7 minutes, or until very tender when pierced with a fork.
Remove the skillet from the oven and gently remove the leeks. Place them on a cutting board and carefully cut the leek halves into 3 inch sections. Continue to simmer the liquid in the skillet until the brazil nut cream begins to thicken, stirring frequently. Once desired consistency has been achieved, remove from heat, and stir in minced parsley.
Spoon 1 to 2 large spoonfuls of the sauce onto a small plate. Place 3 to 5 sections of leeks over the sauce, lightly season with salt, and drizzle 1 large spoonful of sauce over the leeks before serving.
About The Plant Collective e-cookbook:
The Plant Collective: Holiday 2017 is an e-cookbook featuring more than 50 plant-based recipes from 32 leaders in food + wellness. 60% of all sales are donated to Alice Water's Edible Schoolyard Project; building school gardens, teaching sustainable, healthy food practices. It makes the perfect holiday gift! Join the movement supporting healthy food for all!
WE STAND FOR THE EDIBLE SCHOOLYARD PROJECT, founded by Alice Waters, who "envisions gardens and kitchens as interactive classrooms and a sustainable, delicious, and free lunch for every student." Children are much more likely to enjoy fruits and vegetables if they are involved in the process of growing and preparing them. Today, one in three children are overweight or obese, setting them up for a lifetime of health problems. We truly believe there is a solution in food education. What if all children, regardless of race, economic status and background had a chance to eat healthy food from the beginning? Won't that set the foundation for a better chance of a lifetime of healthy eating?
WE STAND FOR COMMUNITY, uniting leaders in food and wellness who believe food is medicine, creatively demonstrating how delicious, pleasurable and beautiful healthy foods really are.
WE STAND FOR DISCOVERING NEW CREATIVE WAYS TO USE FRUITS AND VEGETABLES, grains, legumes, nuts and seeds, finding healthier versions of holiday recipe favorites that are equally as tasty, and creating new holiday traditions.
Photo Credit: Lama Riachi
Lear more and purchase the book at plantcollective.com and follow Emily on Instagram
Emily Rose Shaw is a plant-based chef, holistic health coach and instructor at PLANTLAB Culinary. Growing up with Transcendental Meditation and Ayurveda, she weaves together ancient practices with modern technique. She is also the founder of The Plant Collective, a digital publication uniting plant-based food, conscious business and art + design to benefit food-related causes worldwide. Her background spans from working as a fashion stylist to cleanse specialist. Emily has designed recipes for Australia-based Oliver's Real Foods, the world's first certified organic 'fast-food' chain and Sherpa Power, an Ayurvedic tea company.


text: November 12, 2014 Andy Ruddick 20141113 | Rest Day November 12, 2014 Andy Ruddick Work on a skill, a weakness, some mobility or catch up on a missed session. Andy Ruddick Rudds is Co-owner of director of training at CrossFit HG3. He is a Level 2 Olympic Weightlifting Coach, Crossfit Trainer and Personal Trainer. He also runs HG3 Kids programme from their Strength and Conditioning facility in Pannal, Harrogate. Strength is a choice…choose to be strong


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DynaMet 4VRotary carrier movement system offers high productivity
- With regards to cycle time, the backbone of the DynaMet 4V vertical coating machine is the rotary carrier movement system. In combination with the high-rate inter-pole target (IPT) magnetron for metal deposition and the plasma-enhanced chemical vapor deposition (PECVD) sources for top-coat deposition, very fast cycle times can be achieved. For instance, a highly reflective aluminum layer plus protective top-coat layer can be deposited onto a car-lamp reflector typically in less than 35 s.
- Finally, the very efficient vacuum pumping system of the DynaMet 4V enhances the overall productivity of the system.
Inline process ensures a maximum in process reliability
Due to the quasi inline process approach of the DynaMet 4V, the individual processing areas are constantly under perfect process conditions. This machine configuration allows a maximum in process reliability and stability, resulting in an excellent and constant layer quality.
Better economy thanks to full automation capability
The DynaMet 4V is well prepared for loading and unloading of the workpieces by using fully automated robot technology. When applied, automatic substrate handling effectively reduces the cost per piece and therefore increases the overall profitability of the system significantly.


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Supporting simple changes towards a longer and happier life
A 23red partnership case study
In collaboration with: OgilvyOne / MEC / M&C Saatchi / Freud Communications / Carat and Kantar
One You is a new, nationwide Public Health England (PHE) initiative. It's aim is to encourage adults to rethink their lifestyle choices and gives them the support they need to make positive changes to their diets, activity levels and overall wellbeing.
Since its launch, we've worked closely with One You. Through huge interactive campaigns, to localised efforts, together we're helping everyone change their behaviour for good. Here are just some of the ways we've brought One You and partners together to look after the nation's health:
To launch One You, we worked with a number of popular partners, offering everyone the encouragement and support they needed to change their habits.
We introduced 4,000 of Slimming World's consultants to the One You initiative, helping them give even more support to their members.
We also wanted to give people a greater understanding of their overall health, so we worked closely with Asda to provide free blood pressure tests and heavily discounted blood pressure monitors in 255 of their pharmacies. We also sent monitors to employers nationwide – including Travis Perkins and Crossrail – along with One You toolkits that encouraged employees to sign up for a 4-week workplace challenge.
Alongside all of this activity, we wanted to make it easy for everyone to shop health-related items, so we worked with Amazon.co.uk to create an 'always on' One You branded health hub: the first of its kind.
One You was featured in 7,500 sites on the high street and across the community whilst Boots distributed 150,000 co-branded health measures throughout their network.
Every year, 130,000 adults die as a result of cardiovascular disease (including stroke). Blood pressure is a key indicator of your likelihood of developing cardiovascular disease later in life. The 'Heart Age' campaign from One You lets you know how old your heart is in comparison to your actual age.
Our challenge was to drive people to the Heart Age Test – a quick and easy online tool which shares your actual heart age after a few simple questions. The test gives you pointers on how to lower your heart age by making changes to your diet, drinking and smoking habits and exercise routine.
We spread the word about the tool digitally, via social and at point of sale, working closely with local authorities, pharmacies and relevant charities, encouraging people to take the test.
The One You Launch won in both the Not For Profit, Charities and Public Sector and Partnership Marketing category at the IPM Awards.


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GSMC to host Annual Media Summit
The Aga Khan University Graduate School of Media and Communications (GSMC) will host the Annual Media Summit 2018, a summit organised by Media Council of Kenya (MCK) on Wednesday 1st August 2018 at the school's campus in Nairobi, Kenya.
The Media Summit is a regional meeting of media practitioners and stakeholders to deliberate on pertinent issues affecting the sector. It is an opportunity, to discuss and decide and also reward and recognize practitioners' achievements in promoting a professional, free and independent media.
The 2018 Summit aims at highlighting the role of the media in sustainable national development with a focus on the Government's Big Four Agenda. It is strategically organised to promote a one-stop shop for professionalism and training, engagements, and finally awarding excellence in the Media Sector.
Annual Media Summit Programme


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This article is coming from a personal place as I have had a recent experience with this. This June I will be having my wedding ceremony celebration and I have decided that I have my heart set out on a natural hairstyle. Word got back to me about a family member's comment and this is what they had to say, "Don't get me wrong I love Ariane with her natural hair but for the wedding she's going to have that hair laid right?" Yes, my hair will be laid alright in a natural style of my choosing.
Archives for May 2014
Real Life: I'm Being Pressured To Straighten My Natural Hair for My Wedding
3 Buns For Any Length Without Added Hair
Hair buns are an elegant style loved by many, but lets be real no one can stand a stingy bun. Nobody wants a little pea sticking upside they head. We love our buns to look full and have that perfect form.
There are ways that you can pull this style off on shorter to medium length hair and with some options there isn't even a need for added hair.
Here are three ways for achieving that juicy plump bun we all love so much:
10 Summer Tips For Natural Hair
Yes!!! Its that time again. Kiss Jack Frost good-bye until next year.
Summer is here and you won't want to go out without first committing these Awesome 10 Summer Natural Hair Tips to memory …
Faux Wash n' Go on 4C Hair Tutorial
Following up from my last post 10 Things Women With 4C Hair Should Know, as promised I am going to give you the details about what I have come to call a Faux Wash n' Go. When you hear the term wash n' go, you think of getting in the shower, cleansing your hair, putting […]
5 DIY Hair Moisturizing Mists for Summer
I absolutely love making my own hair care products at home because it allows the freedom to use exactly what you want to your hair. There are tons of different hair mists, styling refreshers and hair moisturizing sprays on the shelves that contain ingredients that your natural hair may not necessarily like or need. A DIY hair mist can contain all the ingredients you want on your hair and none that you don't and be a custom concoction that's just perfect for your hair.
I'll share 5 of my favorite DIY moisturizing sprays that you can try for yourself.
5 Tips For Get Your Natural Hair To Dry Faster
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10 Things Women with 4C Hair Should Know
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3 Important Things You Should Know About Natural Hair Care
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Rottnest Running Festival
Sunday, 16 June 2019
Heritage Common, Rottnest Island, WA
The Rottnest Running Festival on Sunday, 16 June 2019 has a full 42.2km marathon along with 21.1km half marathon, 5km and 10km fun runs on Rottnest Island in Western Australia.
The start of the Rottnest Marathon is heralded by the wail of bagpipes on the Sunday morning. The bagpipes have become a traditional part of the marathon and can be heard throughout the marathon at Armstrong Hill.
The four lap marathon course circumnavigates the salt lakes in the centre of the Island via the sealed roads. Half marathoners run two laps; 10km runners/walkers one lap; and the 5km is an out and back course.
The event is organised by the West Australian Marathon Club, with proceeds donated to Royal Flying Doctor Service.
WAMC Events
- Next in series (30 June 2019)
- Previous in series (2 June 2019)


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What a beautiful weekend for the market here in Morris, IL. Here are just a few photos of my booth from the past weekend.
Hand poured candles in vintage glass and custom charms.
New prints from my studio on pillowcases, one of our top selling shirts (a lamb with a crown!), loads of wooden letters, and chalkboards.
I love all of the chalkboards and have such a difficult time parting with them!
These are a few of the one-of-a-kind handmade dolls that I have created over the years. Each one is unique and made with new and vintage fabrics, lace, fur, and rhinestone buttons.
The next show will take place on July 14 from 8 AM to 2 PM. We hope to see you there!
Original Post on June 14, 2012


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Depending on availability, all orders will be shipped within 2-5 business days using USPS within the United States. If you are in a rush...just let us know. Shipping costs will be determined by location and weight.


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Sam Sifton emails readers of Cooking five days a week to talk about food and suggest recipes. That email also appears here. To receive it in your inbox, register here.
Good morning. Dorie Greenspan has a new column in The New York Times Magazine this weekend, on the creation of a more perfect cream puff. It's a fascinating read because it so successfully gets at the fundamental beauty of pastry making: its seamless joining of art and craft.
"Every time I make a dough," Dorie wrote, "I think of a pianist practicing scales: The exercise is basic, done daily and known so deeply that the work could be left to the memory in our fingers, but repetition and intimacy reveal nuances."
That sounds good, if a little scary. I hated practicing scales as a child. But she is on to something important, I think. As the pizza chef Anthony Falco told me once, when he was teaching me how to make the best pizza dough ever, repetition is key to success. "You have to keep your hands in the dough," he said. The same might be said of all kinds of cooking. You make better pancakes if you make a lot of pancakes. You make better omelets if you flip a lot of omelets.
And so if your craquelin-topped cream puffs aren't faultless today when you make them (and you ought to, with their crackly little hats), they'll still be delicious, and they'll be prettier the next time you make them, and even more stunning the time after that. Baking, roasting, grilling, steaming — it's all a practice. So practice. Start today.
For dinner tonight, before the cream puffs: How about some cod cakes? I made a batch this week with some Alaskan halibut chunks I scored from a pal at work — a pound of them for four people, bound in egg, mayo, mustard and panko, fragrant with garlic and herbs, zipped through with Old Bay seasoning though I might have used salt, pepper, paprika and hot pepper flakes, or gone old-school with a big dusting of Lawry's. With a green salad, it made for a delightful dinner, fresh as the season, a taste of Homer in June. (You can make them with any fish that flakes. I built the recipe on cod, but that halibut was outstanding, and so salmon would be, or hake.)
Monday night, I'm thinking arugula salad with grilled apricots and pistachios, a light meal after a heavy day.
Tuesday, you could dine with Melissa Clark, making her amazing recipe for black pepper chicken thighs, with mangos, rum and cashews. It's just a fast chicken sauté, but what flavor, and a terrific accompaniment to a mound of perfect white rice or a more complicated and very, very delicious one of Jamaican rice and beans. (And to drink? Why, rum and tonics, of course.)
You could stay in the tropics with Melissa for Wednesday night as well, and make her recipe for Thai-ish shrimp and pineapple skewers with peanut sauce. Some readers are adding a little fish sauce and chile oil to the sauce. This is a good idea.
And if you can't find a great Thursday night meal in our collection of 29 ways to eat eggs for dinner, then maybe you don't eat eggs. How about a roasted pepper tartine instead?
Then round out the dinner with steak Diane for two — or four, or eight if you have the scratch for all those filets mignons. It's an astonishingly flavorful meal.
Many, many thousands of other recipes to cook this week are on Cooking. (If you're keeping the Ramadan fast, I'm sorry to tempt you with all of this food, but you can discover ideas for tonight and early tomorrow morning on our page devoted to the holiday.)
Please save the recipes you like or need to your recipe box, so you can locate them later. Rate the recipes with stars when you've cooked them. Put notes on them, too, if you have experience with the dish to share or have discovered interesting ingredient substitutions. And tell us how it all comes out on social media, where we monitor the hashtag #NYTCooking on Twitter and Facebook, Instagram and Pinterest.
Finally, if anything goes drastically wrong with the cooking or the technology we use to power our site and apps, do not hesitate to ask for help. We'll get back to you: email@example.com. Though send no slings or arrows at those hard-working souls. I am your Sebastian. Shoot me: email@example.com.
Now, go read Jenny Rosenstrach's great roundup review of summer cookbooks in The Times Book Review, which led me to spend rather more money at the bookstore than I'd intended when I started reading. And then get cooking. I'll be back tomorrow.