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Tag: Theo Travis
Music Plans for 2010
2009 was a fairly easy-going year, music-wise for Lobelia and I. We played a load of US shows in January, and a handful of other shows across the year, but it was mainly pretty low-key stuff.
Gigs:
2010 is already shaping up to be a much more musically-focussed year. I'm in the process of booking some solo house-concerts for the end of March/Beginning of April – the open dates are
March 29th (near Birmingham),
31st (near Exeter) and
April 1st (near Swindon) –
the 30th already has a gig booked in Southampton (more details ASAP).
If you want to host a house-gig on any of those dates, and are near (or between) those places, please drop me a line.
Then Lo and I are doing some duo shows at the beginning of May – on the 6th we're in Leeds and the 8th in Surrey (more deets soon) – if you're anywhere between those two, we'd be happy to come and play on the 7th, or either side of those dates. Do drop us a line.
And at the end of May we go out to the US, mainly to take Flapjack to meet the family, but we'll be doing some house concerts and 'house consulting' as well – if you're interested in hosting something (or putting us in touch with a music school/university) please drop us a line.
Recording:
It's now nearly 4 years since I released Behind Every Word, and while it's currently selling REALLY well thanks to Bandcamp's wonderful download sales platform, it really is time for a new album. So I'll be working on that very soon – just need to get the tech side worked out. Hopefully will have that available for the US shows.
In a couple of weeks time, I'm going into a studio for a day with Mike Outram – guitar-monkey extraordinaire. No idea what we'll come up with, but if its releasable, that'll be out sometime soonish as well.
And then there's the archive – I've got a whole load of fascinating music languishing on hard-drives. There's a duo album with Italian guitarist Luca Formentini, a strange-yet-beautiful experimental duo album with free improv trumpeter Jeff Kaiser, a quartet live recording with Jeff, saxophonist Andrew Pask and bassist Steuart Liebig. (that last one is really interesting cos I thought the gig had gone pretty badly, then listened to the recording and really liked it 🙂 )
And there's also a double album's worth of live stuff with Theo Travis, recorded on the tour we did after For The Love Of Open Spaces came out. That really needs to be heard. So maybe I should work on that first.
Suffice to say, there'll be lots of cool music from me this year, if something else doesn't get in the way.
For now, here's the album with Theo Travis – have a listen, and then pay whatever you like for it if you want to download it.
A Decade In Music – The Solo Bass Years.
My first ever solo gig was at the Troubadour in Earls Court, London, on Dec 15th, 1999 – 10 years ago last week.
The eve of the new millennium, and a gig that started with a lie (the lovely chap who booked the gig asked me if I had a whole set of material after seeing me do one solo tune in a band-gig. I lied and said 'yes' 🙂 ). It wasn't the first time I'd played solo bass in public – that was a product demo at the National Music Show for Bassist Magazine in Nov 97. I also played weird improv noise stuff for a contemporary dance company in Nov 98.
Continue reading "A Decade In Music – The Solo Bass Years."
More Music Video – New Public Beta experiments + Duo with Theo Travis
Here are the latest couple of videos I've put up. The first is another of the experimental ideas I'm working on for the new album – this time I wanted to try something a little more solidly rhythmic, just to see how the replace functions interact with a percussive track. (the part is played by muting all the strings, and then using a 'double thumb' technique, more readily associated with slap bass, to get the percussive pattern).
Continue reading "More Music Video – New Public Beta experiments + Duo with Theo Travis"
Pillow Mountain Records
Pillow Mountain Records is a label that only exists to release music involving me. It's not that I don't like other people's music, it's just that they'd do a better job of selling it than I would.
It only really exists in name, as a brand that sort of lets you in on what to expect, both in terms of the music and the ethos behind it. It's a back-bedroom-of-a-cottage industry. Fortunately, there's no size-of-room to greatness-of-music coefficient. Small enterprises are responsible for most of my favourite music 🙂
It is the mechanism by which I put out my solo CDs, as well as the duo CDs I've made with Theo Travis, Jez Carr, Lobelia and Calamateur, all of which I'm immensely proud of.
Anyway, all that's to say is that Pillow Mountain is me, I am it, so please don't email me requesting to be signed by the label. No-one's 'signed' to it. Not even me.
I've even removed the Pillow Mountain Records website (pictured), as all it did was duplicate info that can be had here.
You can expect more great music on PMR soon – for now, check out all of the releases so far in the SteveLawson.net Shop
Interview – from BassRocket.com (Jan 2005)
Steve Lawson has been one of the most inspiring and creative solo bassists to come out of the UK in recent years. His solo albums and collaborative projects have been the talk of the world-wide bass community and have drawn enthusiastic reviews in the press. His latest album 'Grace And Gratitude' finds him searching a theme in his own enigmatic way. I spoke to Steve recently and began by asking him about this album.
– 'Grace And Gratitude' seems to have been given a good reception in the
press. What kind of response have you had from the fans?
"The response has been fantastic, I've been really pleased with how well it's gone down, especially given that it contains some of the most challenging music that I've recorded, and is pretty diverse! I was expecting to get a few e-mails of complaint about the second track (Journey Of A Thousand Miles), as it gets very dissonant, and is quite a big leap on from anything I did on 'Not Dancing For Chicken', but my audience have surprised me once again with their broadmindedness!"
– What led you to explore a thematic concept for this latest album, and
how do you set about creating a themed album of instrumental music?
"That's a really good question, and a tough one to answer! The prompting to explore the theme was that it was a continuation of the way I always write – trying to soundtrack whatever is going on in my head at that time – but discovering that my thoughts at that time were a little more focussed and coherent than when I'm usually making a record. The catalyst for that was the European elections here in the UK. I was insensed by the selfishness and ingratitude of so many on the political right-wing who were blaming people fleeing persecution and destitution in their own countries for coming to England to find something better, and attempting to use them as a scapegoat for all of society's ills and to gain political ground against those who saw the issues in a more complex and grown up way. But instead of doing an angry record, I decided to channel that thought process into looking at the things that I'm most grateful for, and recognising that I haven't earned any of them – they are all a gift, which is where the 'grace' part comes in.
"So 'Despite my Worst Intentions' stems for a feeling of gratitude that none of the really stupid things that I did in my teens managed to ruin my life. 'The Kindness Of Strangers' is a fairly obvious one – it's something that all musicians rely on heavily! 'The Journey Of A Thousand Miles' is more about recognising the smallness of everything we do, seeing life as a journey comprised of small steps, and we need to tread carefully. And so on…
"It's pretty much impossible to pin down the connection between the theme and the music beyond some people just getting it! It's a feeling, an emotion, it's ephemeral, and I guess it's something that is going to connect with people on myriad levels. It's also highly likely that people are going to hear completely different things in there, and that's fine too."
– What's your favourite piece on 'G&G' and why?
"Oh boy, it changes from day to day – I think at the moment, it's 'What Did I Do To Deserve This?' – I just really like the melodic line, and the change in texture as the piece goes on. But I'm also particularly proud of 'You Can't Throw It Away (There's No Such Thing As Away)' – the way the track develops took me by surprise! That's the joy of improvising music in the studio – you can hear new things in it as you listen back the same way that the audience does. It's not all planned out, so there are things that you miss the first time round that grow on you as time goes on."
– Those of us who bought the album shortly after it's release were
treated to a superb bonus disc. Please tell our readers how they can
now get hold of that CD for themselves?
"That CD was called 'Lessons Learned From An Aged Feline Pt II' – each time I do a CD, I release a second bonus CD for people who order the record in advance of the official release date. This works for two reasons – firstly as an insentive to people to order the CD early on, and thus helping me to recoup my costs quicker. But it's also a way of me getting some of the enormous amount of music out there for people to hear. I tend to record hours and hours of music for each CD before I decide on which tracks to release. Some of it is pretty bad, so that gets scrapped, but for each CD, I end up with at least two albums worth of release-quality material, so this enables to get that out.
"Now that I've got a web-shop that can handle download sales, I've been able to put 'Lessons Learned Pt II' up as a download sale, so people who've only discovered what I'm up to since the new album has been released can go back and start to fill in some of the blanks in their CD collections. It's also meant that I can keep my debut solo album, 'And Nothing But The Bass' available, even though it's sold out. Instead of repressing, I've just made it available as a low-cost download."
– In the past few years you have alternately released solo albums
followed by albums of collaborative duets. Does this mean we are due
another duets album and if so what's in the pipeline?
"At the moment I'm not certain what I'm going to do next. I do have a lot of duo material recorded with pedal steel guitarist, BJ Cole. BJ and I have been playing together for over a year now, and been experimenting with various approaches to combining out sounds. It's not been an easy one, given that both of us are capable of making so much noise! But we're beginning to find the right combination, so that might happen.
"I'm also planning to try some gigs with Theo Travis, but with a drummer added to the mix. We've a couple of people in mind, and will be experimenting over the new couple of months. The tracks that we recorded on 'For The Love Of Open Spaces' have been evolving on the live gigs that we've done, and it'd be great to try taking them to another place with a drummer.
"And work has also begun on Jez Carr's debut all-solo album – so while I won't be playing on that, I'll be helping to produce that with him. Jez is an amazing musician, and looking forward to being able to follow up Conversations within the next couple of years too.
– Have you any plans for making a duets album with another bassist and if
so who?
"I've been gigging a lot over the last couple of years with Michael Manring, who is quite simply one of the most amazing musicians I've ever heard, let alone shared a stage with, and also one of my favourite people. We've made various attempts to record our duo gigs, but so far haven't had much that's been release quality, just in terms of the sounds. But we're both keen to get something happening, so I'd guess that will happen at some point. We've even had offers from record labels wanting to fund it, but it's something that we're going to take our time with. For starters, Michael's got a new solo album coming out in the next month or so, so will be promoting that over the next few months.
"But I do love working with other bassists – we think slightly differently from other musicians, and I find that bassists often (not always) make great listeners. I've done a few gigs – including the European Bass Day – with John Lester. He's a singer/songwriter solo bassist from California, now living in Amsterdam, and is a dream to play with – another great musician who's also a really lovely person."
– OK, so if you could make a duets album with any musician from history
who would that be?
"To be honest, I feel really fortunate to be working with the people I'm working with. I think the main ones on my 'wish list' would be singers like Joni Mitchell, Bruce Cockburn and Jonatha Brooke, but of the three the only one I've met is Bruce. I have two main criteria for working on a project like that, there needs to be a musical hook-up, obviously, but it also has to be with someone that I could travel round in a car with for three weeks at a time – life's too short to work with people you don't get on with. So once I've formed a list of people I'd love to work with, I then have to meet them, and see if I get on with them, as well as there being some mutual musical appreciation!"
– Aside from listening to other musicians, what do you find in life that
inspires the creative process?
"Desperation! I think that when you do music for a living, there's a fine balance between seeing it as a job and getting tired of it, and feeling liberated by the absence of other things getting in the way. I cross that line fairly regularly. The main thing that keeps me focussed on how lucky I am is practising. I love playing, I love getting together with other musicians to try things out and I love doing gigs. Music is in and of itself inspiring, and not just in a notes and melodies sense. There's something about being around creative people that makes you pursue creativity.
"Beyond that, I find that most things will feed into my music – politics, relationships, faith, films, art, history, fantasy… Loads of things.
"That said, one of my biggest influences is cats – we've recently got two new ones, as the Aged Feline, after whom the two 'Lessons Learned' CDs were named, passed away in the summer. The new ones can't replace him, but they are rescue cats, and needed a home. They're both lovely, and are now the 'Fairly Aged Felines', who will no doubt have their own line of CDs coming out soon!"
– What nifty little toys have you currently got in your arsenal of
effects?
"The current live set up for gigs in the UK is pretty involved – I now have two Lexicon MPX-G2 processors, two Gibson Echoplex Digital Pro + looping devices, a Mackie 1402 desk, and a Korg KP-II Kaoss Pad. It gives me so many great options and allows me to loop and process the musicians I'm working with as well! The move to a stereo set-up, and the switch to AccuGroove speaker cabinets has made my whole sound much clearer and less coloured. I've used the PA for voice, sax, piano and classical guitar as well, and it sounds better than any equivalent sized PA that I've ever used!
"Throw in three Modulus basses and an E-Bow and you've got my live rig."
– What are the plans for any live dates in the near future?
"At the moment, I'm sorting out some dates for California in late January. For the UK, I'm working on some dates in March with Matthew Garrison, and will hopefully have some dates later on in the year with acoustic guitarist, Eric Roche, as well as a smattering of other solo dates here and there."
You can check out all of Steve's albums (and buy them!) at this website www.stevelawson.net, there are some free download tracks there and plenty of interviews and reviews to read.
Andy Long
Review – For The Love Of Open Spaces (No Man list)
"There is a new Theo Travis and Steve Lawson album "For The Love Of Open Spaces". If you haven't heard about Theo Travis yet, just check credits of the PT and no-man (and even Bass Communion!) albums you have and on some of them you'll find this name. (My fave no-man contribution of TT i his flute lines on "Chelsea Cap" (All That You Are EP). )
He appears also on (I guess two) Jansen/Barbieri/Karn albums (+ Indigo Falls by Suzanne & Richard Barbieri), Anja Garbarek "Smiling And Waving", last two or three Gong albums (what he does there is amazing), and many, many others.
I cannot say anything about Steve Lawson as I haven't heard about him until now, all I know comes from the Internet.
For me the most important Theo Travis works are those with Dave Sturt as the incredible duo Cipher, also recently his solo album "Slow Life" and now "For the Love of Open Spaces" – just released (unexpectedly for me).
If you've heard "Slow Life", just imagine those beautiful flute layers and textures with additional bass by Steve Lawson and here you are. They both recorded the album live in studio, mostly improvising, looping together their instruments: Theo – alto flute or soprano sax, Steve – bass guitar (sometimes sounding like an electric guitar, or even synthesiser). Once it's even looped back and it still sounds great – remember it's all made and mixed live without any overdubs. So, that's a kind of painting – one layer on the previous ones, you don't know when the line you've been concentrating on disappeared and when 5 new appeared. It's a kind of "dynamic" ambient – it changes all the time, but so fluently and softly that it makes up something like the surface of the an ocean – floating all the time but still uniform, smooth. Start swimming.
A beautiful, reflective and deeply pathetic album, a little bit more melodious than "Slow Life" and therefore more accessible.
quote from the cover: "….hence the sound of 8 bassists and 15 saxophonists playing at once…"
yeah, or flautists…
If nothing changes, it seems that in my very "Top" of this year there may be two Theo Travis albums.
exodus .:."
[editors note – I'm not sure what he means by 'pathetic', but the reviewer is Polish, so I'm guessing it lost something in the translation!!!!]
Getting the ingredients right: thoughts on Improvisation
Sunday's gig with Patrick Wood and Roy Dodds went very well – thanks to those of you who came along. The venue, The Brickhouse on Brick Lane in East London, was suitably strange – on three levels (ground floor and two balconies, the top one had beds on it!) and amazing food, and we had to get them to move the stage away so we'd have room to set up all our toys.
For those of you just catching up, the Dodds/Lawson/Wood trio is a project spawned by my Recycle Collective venture – when it's running, it's a monthly music night, featuring amazing improvising musicians spontaneously composing in different combinations. Quite a few of the combinations I assembled for it are planned to become 'bands' of one sort or another, but many of the musicians involved are so busy that it'll be years before it happens.
However, the trio with Roy and Patrick is one that was so good we've all made it our priority. I've been playing with Patrick for years (he played at the first ever 'proto-recycle' improv gig at Greenbelt in 2005), and have been listening to Roy play with other people for just as long, particularly in Theo Travis' band.
We did a Recycle gig at Darbucka in October last year, and then went into the studio in early December to record in the same way – just set up and start playing. Since then we've been mixing and editing the improvs (which has been interesting for me, as I usually don't edit) and have come up with a record that we're all really proud of (more news on that ASAP).
So Sunday was only the third time we've all played together, but the musical chemistry is amazing.
And that, for me, is what improv is all about – the 'composition' part is just choosing the right players. At its best it's about getting musicians together who respect each other so much that they never feel like going with someone else's idea is a bad thing. Musician who listen more than they shred, whose default position is deferential. It means that the music tends to evolve slowly as each new ingredient is added and the the others react to it.
So I may start with a groove, or some spacey ambience, or patrick may lay out some kind of harmonic territory on guitar or keys, and then the others react to it and the initial idea is modified, developed, morphed into a whole that is far greater than the sum of its parts.
Every time I sit down at the start of an all improv gig I wonder if we'll have run out of ideas, if we'll get 20 mins into the gig and just start playing a 12-bar blues or something.
One of the things on Sunday that triggered these thoughts was when the DJ who was hosting the day said he'd play a few more record and then we could 'get up and jam' – I was really taken aback, as I've never thought of this as 'jamming' at all.. it's a whole other headspace to the 'lowest common denominator' approach that defines most 'jamming'. It's spontaneous composition, acknowledging that each of us as an acutely refined sense of what's 'good' even when nothing is laid down to define what's 'right'. It's not about finding some simple changes we can stumble through to make ourselves feel better, it's about exploring our shared music worlds to find music that otherwise wouldn't exisit, about listening, reacting and trying to add to what the others are bringing. This is 300% music – it's 100% Patrick, 100% Roy and 100% me. I don't think I've ever felt, playing with these guys, that my own musical vision is in anyway compromised or stunted, but I frequently feel my own playing elevated by the genius, sensitivity and creativity of the other two. We never have to ask the others to do something specific, as we each recognise that we are the masters or our own musical discipline – I know what 'steve lawson music' should sound like better than anyone else on the planet, and likewise Roy and Patrick. If I start telling Patrick what to play, it assumes that I know more about what he does that he knows. That's insane.
There is, however, a deeply psychological streak running through all this, in that it takes a while to develop that kind of deep trust, to develop the 'abandonment to the moment' and to foster to confidence required to take the music where YOU feel it should go. With Patrick, this is part of a 6 or 7 year improvising relationship – when we first got together to play, he was rather puzzled by the idea that I didn't want to play written songs, that I didn't want to discuss keys and stuff, but just wanted to play. But the fruits of it is where we are now, exploring this unique shared musical space that the three of us occupy.
I'm really excited about the future of this trio, and the record release. With this, my solo stuff, the duo with Lobelia and Open Sky, I feel like I've got such a rich portfolio of music to work on, and feel really blessed to have the opportunity to explore the respective styles and approaches of the projects.
playing for other people
As much as I love playing solo, collaborating with other people is a huge part of my musical life. If you're interested in hiring me for a project, or have a collaboration to suggest, please do get in touch!
-_o_-
people I've played with/for – Aaron Gibson, Airstar, Alex Douglas, Alex Legg, Al Swainger, Alvin Stardust, Amy Kohn, Andre LaFosse, Andrea Hazell, Andrew Buckton, Andrew Gouche, Andrew Pask, Andy Edwards, Andy Gangadeen, Andy Hamill, Andy Thornton, Andy Williamson, Artemis, Beardyman, Ben Castle, Ben Okafor, Black Feathers, Boo Hewerdine, Briana Corrigan, Bryan Beller, Bryan Corbett, Calamateur, Carrie Melbourne, Charlie Moreno, Chris Bowater, Claudio Zanghieri, Cleveland Watkiss, Cole Moreton, Commonwealth, Corey Mwamba, Daniel Berkman, Dave Bainbridge, Davey Spillane, David and Carrie Grant, David Lyon, Deborah Jordan, Divinity, Dudley Philips, Duncan Senyatso, Elvin Jones, Emily Baker, Emre Ramazanoglu, Estelle Kokot, Filomena Campus, Fiona Clifton-Welker, Franck Vigroux, Gary Lucas, Geert Doldersum, Guy Jackson, Guy Pratt, Gwyn Jay Allen, Harry Napier, Hossam Ramsay, Howard Jones, Huw Warren, Iain Archer, Ian MacGowan, Ivan Hussey, Jason Carter, Jason Cooper, Jason Rubenstein, Jean Toussaint, Jeff Kaiser, Jem Godfrey, Jerome Cury, Jez Carr, John Lester, John Perry, Johnny Markin, Jonas Hellborg, Jon Thorne, Josh Seurkamp, Jude Simpson, Julie Lee, Julie McKee, Julie Slick, Juliet Turner, Kaffe Matthews, Kerry Getz, Kira Small, Leo Abrahams, Lobelia, Lorenzo Feliciati, Luca Formentini, Luca Sirianni, Mano Ventura, Mark Kelly, Mark Lockheart, Matthew Garrison, Matthias Grob, Michael Manring, Mike Flynn, Mike Haughton, Mike Outram, Mike Sturgis, Miriam Jones, Muriel Anderson, Murphy McCaleb, Neil Alexander, Orphy Robinson, Oteil Burbridge, Otto Fischer, Patrick Wood, Pete Fraser, Peter Chilvers, Peter Katz, Phi Yaan-Zek, Pierce Pettis, Quill, Ray Russell, Reeves Gabrels, Ric Hordinski, Richard Lewis, Rich Brown, Rick Walker, Rise Kagona, Roger Eno, Robert Logan, Robert Mitchell, Rob Turner, Rowland Sutherland, Roy Dodds, Ruth Goller, Sammy Horner, Sanju Sahai, Sarah Masen, Seb Rochford, Shlomo, She Makes War, Sonya Kaye, Stephen Bingham, Stephenson & Samuel, Steuart Liebig, Steve Apirana, Steve Beresford, Steve Gregory, Steve Jolliffe, Steve Lockwood, Steve Noble, Steve Thompson, Steve Uccello, Stuart Ryan, Susan Enan, Tanya Donelly, Terl Bryant, Theo Travis, Thomas Leeb, Tiger Darrow, Tim Bowness, Tony Buck, Torycore, Trip Wamsley, Todd Reynolds, Tunde Jegede, Vicki Genfan, Yolanda Charles, Yvonne Lyon and more…
2019 – Steve Lawson – Stepping Stones
Steve Lawson – The Field Of Strategic Possibilities
Steve Lawson – Gift Of Patience
Steve Lawson – Time Is A Broken Lens
Aaron Gibson – Horror Films And Sunday School
Artemis/Steve Lawson/Daniel Berkman – Transfigure
Steve Lawson/Daniel Berkman/Artemis – Seeing Sound
2018 – Steve Lawson/Pete Fraser – Restless
Steve Lawson/Robert Logan – The Circle
Steve Lawson – Beauty And Desolation
Steve Lawson – The Dudley Bug
Steve Lawson/Michael Manring – Live At Round Midnight
Steve Lawson – Grace And Gratitude Revisited EP
Steve Lawson/Rich Brown – Texture Like Sun
Steve Lawson/Poppy Porter – Illuminated Loops II
Lawson/Edwards/Yaan-Zek – LEYlines III
Steve Lawson – The Long Game
Steve Lawson/Robert Logan – Pulse
2017 – Steve Lawson/Bryan Corbett – Beautifully Disturbed
Steve Lawson/Corey Mwamba – Surprise
Yvonne Lyon – Metanoia
Steve Lawson – Small Is Beautiful
Steve Lawson – PS, You Are Brilliant
Steve Lawson/Poppy Porter – Illuminated Loops
John Lester – Fathers And Sons
Steve Lawson/Andy Edwards – Over Time
Steve Lawson – If They Had Won
Steve Lawson/Pete Fraser – Oven Spring
Steve Lawson/Pete Fraser – Intersect
Lobelia – Love Or Something Like It
Steve Lawson – Towards A Better Question
2016 – Lawson/Edwards/Yaan-Zek – Ley Lines II
Steve Lawson – Hark/Winter
Tanya Donelly – Swan Song Series
Steve Lawson – The Surrender Of Time
Steve Lawson – Colony Collapse Disorder
Steve Lawson – Hands Music
Steve Lawson – Referendum
Steve Lawson – Well Say Hello Then…
Alberto Rigoni – Bassorama
Kiama – Sign Of Four (Bonus CD)
Steve Lawson/Phi Yaan-Zek – The Quiet After The Drums
Steve Lawson and Michael Manring – Language Is A Music
2015 – Steve Lawson – You Guys! Let's Just Talk About Nail Varnish!
Steve Lawson, Andy Edwards, Bryan Corbett – Winter Song
Steve Lawson, Andy Edwards, Jem Godfrey – Live At Tower Of Song
Steve Lawson – A Crack Where The Light Gets In/The Way Home/Closing In
Airstar – Retrospect
Steve Lawson, Andy Edwards, Phi Yaan-Zek – Ley Lines
Steve Lawson (with Ruth Goller) – Explore
2014 – Steve Lawson and Julie Slick – Marinate
Steve Lawson with Jon Thorne – Diversion
Steve Lawson – What The Mind Thinks, The Heart Transmits
2013 – Artemis – Triptych II (Nine For A Kiss) (bass and mastering)
Artemis – Triptych I (Eight For A Wish) (bass and mastering)
Artemis, Steve Lawson & Daniel Berkman – For Now
Black Feathers – Strangers We Meet
Steve Lawson and Daniel Berkman – FingerPainting Complete (10 albums + 2 album best of)
Steve Lawson and Daniel Berkman – Accidentally (On Purpose)
2012 – Steve Lawson and Andy Williamson – Nothing Can Prepare
Steve Lawson and Mike Outram – Invenzioni
Lawson/Alexander – Hidden Windows
Artemis – Sephyra
Steve Uccello – Fire Times
Steve Lawson – Believe In Peace
2011 -Lobelia – Beautifully Undone (Songs I Wish I'd Written)
Steve Lawson – 11 Reasons Why 3 Is Greater Than Everything
2010 – Steve Lawson – Ten Years On – Live In London
Trip Wamsley and Steve Lawson – Infrablab
Steve Lawson and Trip Wamsley – Slow Food
Steve Lawson and Lobelia – Live So Far (featuring Todd Reynolds and Neil Alexander)
2008 -Lawson/Dodds/Wood – Numbers on Better Late records.
– Miriam Jones – Inside Free, EP
– Steve Lawson and Lobelia – Live in Nebraska EP
2007 – Luca Formentini; Tacet (bass and loopage on one tune), on Extreme Records.
– Calamateur vs Steve Lawson; Calamateur vs Steve Lawson, on Autoclave Records.
2006 – Steve Lawson; Behind Every Word.
– Steve Lawson; Lessons Learned From The Fairly Aged Felines.
2005 – Various Artists; European Bass Day 2004 – compilation CD, featuring tracks by John Lester, Lorenzo Feliciati, Jan-Olof Strandberg and others.
– Various Artists; As One (charity CD featuring one of Steve's tracks alongside tracks by Jimmy Haslip, the Poogie Bell Band, Steve Jenkins, Mo Foster, Peter Muller, Janek Gwizdala, Stevie Williams, Lorenzo Feliciati, David Dyson, Laurence Cottle & Dean Brown, in aid of SOS Children's work in the aftermath of the Tsunami)
2004 – Steve Lawson; Grace And Gratitude.
– Steve Lawson; Lessons Learned From An Aged Feline Pt II.
2003 – Steve Lawson; Jaco's 'Portrait Of Tracy', for Total Guitar Magazine, Bass Special.
– Steve Lawson/Theo Travis; For The Love Of Open Spaces.
– Steve Lawson/Theo Travis; It's Not Gonna Happen.
– Andrew Buckton; Rocket Ship on Blue Carpet Records.
– Chris Bowater; Still on db studios.
2002 – Steve Lawson; Not Dancing For Chicken.
– Steve Lawson; Lessons Learned From An Aged Feline Pt 1 on Pillow Mountain
– Susan Enan; Moonlight (EP)
– Commonwealth; That's the Way It Goes (OD Hunte single remix)
– Steve Lawson/Jez Carr; Conversations.
2001 – Jason Carter with Ragatal, and Hossam Ramsay; Elements (Fragments Of Grace re-released with some percussion overdubs from Hossam) on ARC
– Andrew Buckton; Now… But Not Yet on Bluecarpet Records.
– Pauline Wright; Come Closer (Private Release)
2000 – Steve Lawson; And Nothing But The Bass, Live @ The Troubadour
– Andy Thornton; The Things You Never Say (CD single) on EIS
– Steve Lawson; Guitarist mag cover CD Aug 2000 (1 track – 'The New Country')
1999 – Andy Thornton; The Things You Never Say on EIS
– Chris Bowater; Heritage And Hope on Word
1998 – Various Artists; New Songs for 98 on Word
– Jason Carter With Ragatal; Fragments Of Grace on ARC
– Chris Bowater; All About You on Word
1997 – Trish Morgan; Spring Harvest Live Vol 1 & 2 on ICC
– Various Artists; Together For Christmas (live) on dB Studios
1996 – Various Artists; Power Of Your Love (Grapevine Live) on ICC
– Johnny Markin; See With Your Eyes on ICC
– Geert Doldersum; With All Of My Heart on Spark
– David Lyon; Precious Little Things(private recording)
1995 – Johnny Markin; Between Two Worlds on ICC
1994 – Chris Bowater; A New Day on ICC
Timeline and Trivia
Musical Equipment Used
– Elrick Gold Series SLC 6 String fretted and fretless basses, Modulus Basses (6 string fretted and fretless and 4 string fretted), a Rick Turner 5 String Renaissance 'Amplicoustic' fretless bass, two Aguilar SL112 cabinets and 2 Aguilar Tonehammer 350 amp heads, A Jule Monique Preamp, the Looperlative LP1 for looping, Keith McMillen SoftStep controller and Quneo controller, MODDevices MOD Duo for processing, MXR, Darkglass, and Markbass overdrive pedals, a TC Electronics HOF mini Reverb and Flashback delay, Aguilar Overdrive, Fuzz, Compressor, Octave, Chorus, Filter and Preamp pedals, MXR Reverb, Sub Octave Bass Fuzz, Bass Distortion, Bass Chorus Deluxe, Bass Envelope Filter, Bass Preamp & Bass Fuzz Deluxe, Subdecay Vitruvian Mod ring modulator, Pedal Train pedal board an E-Bow+, Latch Lake and Dunlop slides, Dunlop Super Bright strings, East-UK preamps, Evidence Audio cables, GoGo tuners, 2 Korg Mini Kaoss Pad s and a MOTU Ultralite Mk III Hybrid. And I carry my basses around in SlickBag gig-bags.
1986 – got a bass and joined first band
1988 – broke arm, kicked out of first band, formed second band (EARS) – played first gigs
1989 – GCSE Music, Grade C
1991 – AS Level Music, failed – fine at composition, not so hot on history… :o) Somehow got into music college in Perth, Scotland. Teaching as head of bass at West Lothian Rock School.
1993 – left college, moved to Lincoln, tour with Canadian singer/songwriter Johnny Markin. Gigs all over Europe, played on three albums.
1994-96 – working as a pro in Lincoln, teaching, studio and live session work.
1996 – moved to London, more session work, including TV, Radio and theatre work, more teaching.
1997-99 – teaching at Drumtech and Basstech, West London.
1997-2000 – freelance reviewer/interviewer/columnist/gadget guru for Bassist magazine in the UK.
1999 – Toured Europe with Howard Jones. First completely solo gigs in London.
2000 – Released And Nothing But The Bass on Pillow Mountain Records. More solo gigs around England.
2001 – 2 Solo tours of California, including headlining the world's first solo bass looping festival, and tour with Michael Manring and Rick Walker. Clinics for Ashdown Amps and Modulus Basses. Solo gigs in France.
2002 – Another tour in California, Released Conversations, duo CD with Jez Carr, on Pillow Mountain Records, 2 Major tours of UK Theatres and concert halls supporting first the 21st Century Schizoid Band then Level 42. Two shows at the London Guitar Festival. National TV and local radio appearances in the UK. Featured in the Sunday Times Culture Section. Released second completely solo CD, Not Dancing For Chicken. NDFC picked as one of the best CDs of the year by Aural Innovations
2003 – four week solo tour of California, gigs with Michael Manring and David Friesen, including the Anaheim Bass Bash, featured interview in Euphoria magazine, and review of NDFC in Bass Player (Feb issue). New recordings with Theo Travis, BJ Cole and Patrick Wood for future release. Duo gigs with Theo Travis. Gig at the barbican with orphy robinson. Recording in France with Vigroux/Cury/Rives for upcoming release. first italian solo gig and recording session in august. Duo CD with Theo Travis – The Arts Show, alongside Jenny Eclair and Barry Cryer. Acclaimed appearances at The Detroit Bass Fest and European Bass Day. Gigs in US and UK with Muriel Anderson. A second tour in England with Michael Manring in November.
2005 – another year another NAMM show, followed by a few promo gigs with Michael Manring in California. Dates with pedal steel guitarist, BJ Cole, and recording and gigs with singer Cleveland Watkiss, as well as more UK dates, the Edinburgh Festival and a trip to Italy. Started monthly music night, Recycle Collective.
2006 – back to California, NAMM again and some more dates and another day-long masterclass, Recycle Collective continues to be one of the best live music nights out in London, and features musicians such as BJ Cole, Cleveland Watkiss, Orphy Robinson, Seb Rochford, Todd Reynolds, Jason Yarde, Andy Hamill, Patrick Wood, Leo Abrahams, Julie McKee, Andrea Hazell. UK tours with Theo Travis, Muriel Anderson and Ned Evett. 4th solo album, Behind Every Word, released on Pillow Mountain Records. Recording in Italy with guitarist Luca Formentini. New duo formed with singer Julie McKee, for the Edinburgh Fringe. European tour in October, including EuroBass Day and European Bass Day, as well as an electronica festival in Italy. Behind Every Word makes a number of end of year 'best of 2006' lists.
2007 – guess where it started? Yay, NAMM!! Bass-Bash, two days of masterclasses, Modulus clinics and gigs both solo and with Muriel Anderson and Vicki Genfan. Much fun. First New York show too. European tour with Lobelia, including first time visit to Frankfurt Musik Messe and gigs in Italy, Spain, Germany and Denmark, 7 week tour of the US, 24 states, 7000 miles. Gigs at Greenbelt festival with Lobelia, Sarah Masen and Ric Hordinski. Recycle Collective relaunched in September. Playing on one track on Luca Formentini's album, Tacet. First Amsterdam and Geneva gigs in November. Released live EP with Lobelia in December. Recorded improv album with Patrick Wood and Roy Dodds.
2008 – NAMM again, with Lobelia this time, playing the bass-bash and for Looperlative and Modulus. More California shows. Back to England, playing lots of 'acoustic' shows with Lobelia, London Solo Bass Night in March with Todd Johnson and Yolanda Charles, . Year ended with Lawson/Wood/Dodds album 'Numbers' released, and some LDW gig dates round London, followed by a whole string of house concert shows in England and the US with Lobelia. 2008 was also the year of social media – 10 years of running my music career online turning into a 2nd career teaching and consulting on how it all works, including Nokia flying me to Helsinki for their Open Lab, and working on the launch of Ucreative.tv at UCA in Rochester. Finished the year with a series of house concerts in the UK and the US with Lobelia..
2009 – …which continued into the new year on a trip that included a trip to NAMM, a masterclass at Duquesne University in Pittsburgh and a series of masterclasses in bass, looping and 'social media for musicians' in various people's houses. But I did miss the bass-bash for the first time ever. Back to the UK for more bass masterclasses and other University-based projects around the future of the internet… look out for a new solo album at some point this year!
2010 – the first half was spent looking after our new born baby, but at the age of 6 months, we took him to the US for a 7 week, 6500 mile tour of house concerts, that took us from Brooklyn to Milwaukee, Massachusetts to Lake Charles Louisiana, via Texas, Tennessee and Ohio. Lo and I recorded a live album on the tour, featuring Todd Reynolds and Neil Alexander, and while in Louisiana I recorded TWO duo albums with Trip Wamsley, released in September. The end of the year featured a sold out London gig with Michael Manring, and speaking engagements in the UK and Berlin at grass roots music industry conferences. I also released another live album, celebrating the 10th anniversary of my debut album coming out.
2011 – first half of the year was focussed on getting my first new studio album in 5 years finished. 11 Reasons Why 3 Is Greater Than Everything was released and followed by a 2 month, 8000 mile US tour, which included shows with Julie Slick, Trip Wamsley, Tiger Darrow, Steven Guerrero, Darren Michaels, Neil Alexander, Trevor Exter and Catherine Marie Charlton. The trip also included me guest-performing at Victor Wooten's Music-Nature Camp, teaching a bass masterclass in Virginia, and Lobelia and I being the only overseas musicians to be booked to play at the first Wild Goose festival. Oh, and I also co-produced, mixed and mastered Lobelia's new record, Beautifully Undone. We started selling our music on USB Stick, which has proved v. popular. A move to Birmingham in the late summer promises all kinds of new opportunities.
2012 – the year started with the release of Believe In Peace, an all-improv solo record, recorded in Minneapolis. January continued with a return visit to NAMM, 12 shows in 12 days including duo shows with Julie Slick, Michael Manring and Daniel Berkman, a recording session with Steve Uccello and a playing-and-speaking gig at Stanford uni, as well as a masterclass at LA Music Academy. The shows with Julie, Michael and Daniel were all recorded, so mixing and mastering work on those took up a lot of the following months, as well as recording for Californian singer/songwriter Artemis. May saw the relaunch of Beyond Bass Camp, and the remastering of 11 Reasons… 2012 also saw the formation of #ToryCore – a project that coupled the evil words of the Tory govt with twisted avant garde metal. One of my favourite ever musical projects.
2013 – started with NAMM and another 8 shows with Daniel Berkman, and this time Artemis joined us on vocals at every gig. It was one of the most amazing musical experiences of my life to play with them both. Which is why a large chunk of the year was taken up mixing, mastering and releasing EVERY show we'd done up to that point. All 10 of 'em. Went out to Frankfurt to the Musikmesse, more ToryCore shows & a few more gigs with Alvin Stardust depping for his regular bassist. Started teaching at Kidderminster College, and ended the year with a lovely joint tour with one of my favourite bassists – Yolanda Charles, and with a duo show with Andy Edwards on drums.
2014 – Another NAMM trip, 11 wonderful shows with Daniel and Artemis (part of a run of 14 shows in 13 days for me!). Just before NAMM I was invited to speak at the Microsoft Social Research Symposium in NYC, which was one of the most brilliant few days of my life. The duo project with Andy Edwards expanded to become 'Andy, Steve + 1' and we played a couple of gigs with Julie Slick, made an album with Murphy McCaleb and gigged with Jem Godfrey and Bryan Corbett – we have further projects planned. Played a super-lovely duo show with Briana Corrigan, ex-of The Beautiful South, whose solo work I've been a fan of for 20 years. I released a new solo album – What The Mind Thinks, The Heart Transmits. Playing at the London Bass Guitar Show and inviting Jon Thorne to join me on my set led to the release of that as a new album – Diversion. Towards the end of the year, I launched a new subscription service via Bandcamp, with the aim of finding a useful home for the epic amounts of music that I record and want to release…
2015 – NAMM in January, of course, plus a handful of lovely house concert shows with guitar genius Thomas Leeb. Released LEY Lines with Andy Edwards and Phi Yaan-Zek, the first new thing that my subscribers got, which Phi released for everyone else. Did the London Bass Guitar Show again, and had another of my bass heroes Ruth Goller agree to play with me. That was fun. Formed a duo with Divinity Roxx – hip hop, improv, songs, stories, all rolled in. We had a week of playing and did a first gig in Kidderminster. The duo with Jon Thorne was expanded to a trio with Rob Turner, of GoGo Penguin, that band sounds amazing! In September, I release two new solo albums – my first proper solo album releases since 11 Reasons in 2011. A Crack Where The Light Gets In and The Way Home were really well recieved, and got played on Late Junction. In October, I was the cover star on Bass Guitar Magazine, almost certainly the only self-managed, self-releasing, self-everything solo bassist to ever get there without an association with any other artist. Still can't quite believe it. The mag cover coincided with a mini-tour with Jonas Hellborg – we had a wonderful time playing in Birmingham, London and Leeds, and hope to do a bigger tour ASAP. By the end of the year, I'd released 7 albums for Subscribers, all of which I'm immensely proud of! The year ended with the recording of a second album with Phi and Andy, to be released early in 2016. The year also featured a few more Torycore gigs – a thing that gets better every time we do it, and more vital, sadly.
Current Musical Projects
Solo gigs and recording -::- Duo with Divinity -::- trio with Jon Thorne and Rob Turner -::- trio with Andy Edwards and Phi Yaan-Zek -::- performance duo with painter Poppy Porter -::- Torycore.
favourite artists. – these days, it's lots of singer/songwriters, and death metal bands. So, alternately, Bruce Cockburn, Cannibal Corpse, Jonatha Brooke, Cattle Decapitation, Joni Mitchell, Job For A Cowboy, Paul Simon, Entombed, Emily Baker, White Empress, The Blue Nile, Soulfly, Nik Kershaw, Ihsahn…
Along side that, a bunch of other things – Hope & Social, Bill Frisell, D'Angelo, David Torn, Let Spin, Michael Manring, DJ Krush, Throwing Muses, Coltrane, Kristin Hersh, 70s Miles, Beauty Pill, Janet Feder, Jon Gomm, Kenny Wheeler, Trish Clowes, Divinity Roxx, Sweet Billy Pilgrim, J Dilla, De La Soul, Terje Rypdal, KT Tunstall, The Pixies, The Cure…
top 10 (or so) favourite(ish) albums –
Joni Mitchell – Hejira
Prefab Sprout – Steve McQueen
Sweet Billy Pilgrim – Crown And Treaty/Motorcaid Amnesiacs
Jonatha Brooke & The Story – Plumb
Emily Baker – All At Sea
Kenny Wheeler – Angel Song
Bruce Cockburn – Nothing But A Burning Light
Bill Frisell – Gone, Just Like A Train
Talk Talk – Spirit Of Eden
The Pixies – Doolittle
The Blue Nile – High (or anything else they've done)
bass influences – Current favourites are Tony Levin, Ruth Goller, Michael Manring, Julie Slick and Matthew Garrison but there are literally hundreds. I suppose, in roughly chronological order, those players that have influenced me the most would be – John Taylor (Duran), Nick Beggs (Kajagoogoo/Iona), Chris Squire (Yes), Simon Gallup (The Cure), Pino Pallidino (everyone, but especially the D'Angelo stuff), Doug Pinnick (King's X), Ewan Vernal (Deacon Blue), Steve Swallow, Abraham Laboriel, Jaco Pastorius, Scott LaFaro, Freddie Washington, Bernard Edwards (Chic), Ray Brown, Jonas Hellborg, Family Man Barratt (The Wailers), Verdine White (EW & F), Tommy Simms, Niels-Henning Orsted Pedersen, Jimmy Haslip, Danny Thompson, Eberhard Weber, Mike Rivard, Marc Johnson, Kermitt Driscoll, Mo Foster, Todd Johnson, Doug Wimbish, Yolanda Charles, Trip Wamsley, Divinity, and loads more.
I've had loads of great press for my solo albums and gigs – have a read of some of it below!
[quick quotes page]
Behind Every Word CD Reviews –
Jyoti Mishra (#23 in his 2006 albums of the year round-up).
Seth Horan (in his round up of the best of 2006)
From no Warning (in italian)
From PureMusic.com
From Sid Smith
From Aural Innovations magazine
From Bass Guitar Magazine
Grace And Gratitude CD Reviews –
From Jazzwise Magazine
From Aural Innovations
From No Warning E-Zine (in Italian)
For The Love Of Open Spaces CD Reviews –
From The Penguin Guide To Jazz on CD, 7th edition
From EJazzNews
From Aural-Innovations.com
From JazzViews.co.uk
From Tollbooth.org
From Activebass.com
From the NoMan discussion list
Not Dancing For Chicken CD Reviews –
From Bass Player Magazine
From Aural Innovations e-zine
Conversations CD Reviews –
From Bass Guitar Magazine (UK)
From Jazz Dimensions (translated into English)
From Jazz Dimensions (in German)
From Italian e-zine, No Warning! (in English)
From Italian e-zine, No Warning! (in Italian)
From Loopers Delight
From www.talkbass.com
From www.greenbelt.co.uk
And Nothing But The Bass reviews –
From Misfit City e-zine
No Warning Review in English
From www.aural-innovations.com
Jazz Dimensions CD review in English…
From Jazz Dimensions magazine (In German!)
From www.ambientvisions.com
From US Publication, Bass Player
From Bass Frontiers Magazine, US
Gig Reviews –
Review of Vortex gig with Theo Travis, at AllAboutJazz.com
Review of gig with Theo Travis, in 'No Warning' (in Italian)
Solo gig at Traders, Petersfield, Feb 2004, from the Petersfield Post.
Another longer review of the gig in Croydon, translated to english (No Warning e-zine)
Another longer review of the gig in Croydon, only in Italian (No Warning e-zine)
21st Century Schizoid Band, with Steve supporting, live in Croydon
Vigroux/Cury/Lawson gig review, in Midi Libre, Marvejols, France
Manring/Walker/Lawson review in the Santa Cruz Guide
Article about the Solo Bass Looping tour, San Jose Metro
Solo Bass Looping Festival review in Good Times (Santa Cruz entertainment magazine)
Review of November 2000
London gig, from the Misfit City E-Zine
Another Review of the same gig, this time in The Phantom Tollbooth –
www.tollbooth.org
Review of June 1st 2000 show at Christopher's in Lincoln, written by Michael Cowton
Review of July 2000 duet show with Cellist Harry Napier at Ronnie Scott's in Birmingham, written by Andy Long
Interview at InstituteOfBass.com October 2006
Interview from FretlessBass.com September 2006
Interview at BassPlaying.com July 2006
Interview at BassPlayers.co.za March 2006
Interview with BassRocket.com, from 2005
Talkbass Interview from August 2004
Interview from PlanetBass.co.uk
Interview from Euphoria Magazine (archived on writer, Andy Long's site)
Michael Manring and Steve in conversation, from Bass Guitar Magazine
www.forevernow.com – Interview with Steve on the largest Level 42 fan site on the net!
Manring/Walker/Lawson Roundtable interview in Global Bass magazine
Interview at www.globalbass.com
Interview at www.talkbass.com from December 2000


Everything you may want to know, right here!
Regular Shaping and Tinting takes 30min and and a Shape and Henna Spa tint takes 45min.
Most clients come in for Regular Shaping every 2-4 weeks, depending on their individual hair growth rate. Regular tint will last up to 10 days and the Henna Spa Tint can last up to 30 days.
We only shape using tweezers. We use a very fast technique that is not painful at all.
None of these treatments have any damaging effects on your brows.
Can I still use my eyebrow growth serum on my brows after the treatment?
Yes you can. Just keep in mind that any growth serums will accelarate the rate of hair growth, therefore your results might not last as long.
Permanent makeup is made possible through a procedure called Micropigmentation, in which an organic pigment is embedded beneath the skin in the dermis to add permanent colour. It involves the use of a handheld device that punctures the skin hundreds of times per minute with a very thin needle and pushes the pigment into the desired location.
Results can last 7-10 years, depending on different factors affecting the procedure. A touch-up once a year is recommended to retain the shape and saturation of pigment.
There is some discomfort associated with the procedure. A topical anesthetic is used to numb the area. People say the sensation is more irritating than painful.
There is no prep required. Please arrive with clean eyes and no mascara or any other eye-makeup. If you wear contacts, please remove them and bring your glasses along. Please allow at least 90min for your appointment, as this isn't something we rush. Fortunately, there is no downtime associated with the treatment — only slight redness and swelling immediately after. Your line will also initially appear thicker and darker. Aftercare instructions will also be given to you, but you mainly need to ensure your eyes are dry and clean. The following day, your eyes may be slightly swollen as if you had been crying the night before. Healing time varies from person to person, but it takes 7-10 days for the epithelial crust to form and slough off. Your skin will be considered healed after that happens. Then, the pigment takes some time to settle into the skin. A good 3-4 weeks should pass before we consider the process complete.
PMU is a 2-step treatment, consisting of an initial procedure and then a touch-up 6 weeks after. During healing, it is normal to experience some pigment loss — hence the touch-up. The process is considered to be incomplete until the touch-up has been done. Some people might require more than one touch-up, based on how well their skin accepts the pigment.
You are advised to keep the area clean and dry. That means no swimming, sweating or otherwise getting the area wet. No tanning or prolonged sun exposure and no picking or peeling the tattoo. We advise that you wash your hair the morning of your procedure, so you won't need to shower and wet your eyes for a few days. Once they are healed, you can treat them as your own. We can guarantee that your face is important to us and that we will act in accordance with our experience and expertise to give you my absolute best. But there are no guarantees in this industry. Please think long and hard before you decide to go for it. This is a very big deal and should be treated as such.
The treatment takes 45min including the lash tint.
The Lash Lift & Tint will last 6-8 weeks. The tint will start to fade after 2-3 weeks, however the lashes will remain lifted until they fall out naturally and new lashes grow out.
The Lash Lash Lift procedure is completely painless. In fact, most find it relaxing and many fall asleep during the procedure.
A Lash Lift works with your natural lash and does not disrupt the natural lash growth cycle. Your natural lashes will not be harmed during this procedure.
There is no maintenance. Treat your lashes as your own!
Can I use lash growth serums and/or mascara?
Yes, you can absolutely use mascara and serums on your lashes after having a Lash Lift treatment.
The treatment takes about 1 hour to apply to both your top and bottom lashes.
The results usually last up to 3 weeks, depending on how you care for your lashes. This treatment is ideal for clients going on holiday as it gives a very natural result, the equivelant to one coat of mascara.
The treatment will not damage your lashes. It is important to follow the proper aftercare and to not pick your lashes.
The SPM should last about 3 weeks if proper care is taken when washing etc. You may let it come off on its own, or you can come in to get the last bits removed.
Microblading is a manual method used to deposit small amounts of ink into the superficial layer of the skin. It is considered to be a semi-permanent tattoo.
Your tattoo will last as long as it's maintained. Untouched, the ink should last 1-3 years, however this varies from person to person based on a number of factors.
Touch-ups are recommended every 6-12 months to keep the colour fresh and the strokes crisp.
There is some discomfort associated with the procedure. A topical anesthetic is used to numb the area. People say the sensation is similar to getting threaded.
There's no prep required. Leaving your eyebrows alone for at least 2 weeks (no tweezing, waxing or otherwise removing the hair) is preferred.
Other than making sure your skin is dry and clean, not much. Aftercare instructions will be given to you once the treatment is complete.
The procedure takes about 90min, sometimes less. But please allow at least 90min for your appointment, as this isn't something we rush.
No. There's no downtime associated with the treatment. There may be slight redness that will dissipate within an hour after. Your brows will appear darker initially, but not so dark that you will be prevented from your activities of daily living.
Healing time varies from person to person. Usually, it takes 7-10 days for the epithelial crust to form and slough off. Your skin will be considered healed after this. Then, the pigment takes some time to settle into the skin. A good 3-4 weeks should pass before we consider the process complete.
Microblading is a 2-step treatment, consisting of an initial procedure and a touch-up 4-6 weeks thereafter. You will receive a topical anaesthetic on your brows. We take a "before photo", then shape, measure and draw the outline. Once you are happy, we mix the colour and get started.
During healing, it is normal to experience some pigment loss — hence the touch-up. The process is considered to be incomplete until the touch-up has been done. Some people might require more than one touch-up, based on how well their skin accepts the pigment.
You are advised to keep the skin clean and dry. That means no swimming, sweating or otherwise getting the area wet. No tanning or prolonged sun exposure and no picking or peeling the tattoo. We advise that you wash your hair the morning of your procedure, as it is recommended that you either get your hair washed at the salon on hang over the bath to avoid your brows getting wet during the scabbing process. Once they have healed, you can treat them as your own.
There are several things we can do. Your eyebrows can be modified to a point. A good technician will work with you until you are satisfied with your results.
No. We can guarantee that your face is important to us and that we will act in accordance with our experience and expertise to give you our absolute best. We can guarantee that we will strive to make you gratified and content every time. But there are no guarantees in this industry. Please think long and hard before you decide to go for it. This is a very big deal and should be treated as such.
The treatment takes 10min and is done directly after the Lash Lift & Tint, which takes 45min.
The results last 4-6 weeks.
On the contrary, Lash Botox will strengthen your lashes by filling them with Hydrolised Keratin. This increases the volume of the hair immediately by up to 40%. The treatment will also promote growth.
There is no maintenance. It is recommended that you have 3 treatments, 4-6 weeks apart to achieve the best results.
Yes, you can use lash growth serums after having Lash Botox.


text:
Android Q — Google Adds New Mobile Security and Privacy Features
March 19, 2019Swati Khandelwal
Google has recently released the first beta version of Android Q, the next upcoming version of Google's popular mobile operating system, with a lot of new privacy improvements and other security enhancements.
Android Q, where Q has not yet been named, offers more control over installed apps, their access, and permissions, and location settings; more support for passive authentication like face ID, and warnings when you install a new app targeting Android Marshmallow or older.
Instead of directly going through dozens of different pages Google published about Android Q, here I have summarized all new privacy and security features of the new version of Android you can quickly learn from:
1) Stop Android Apps From Tracking Your Location in the Background
Android Q gives you more control over how an app can use your device location information. Currently, you have a single option to either allow or deny an app access to your device location, doesn't matter if it is in-use or running in the background.
However, starting from Android Q, you can choose between three options, just like iOS: allowing an app to access location "all the time," "while in use," i.e., when the app is in the foreground, or "Deny."
"The new location control allows users to decide when device location data is provided to an app and prevents an app from getting location data that it may not need," Google says.
If you are an Android developer and your application requires location data when running in the background, you must declare the new permission in your app's manifest file.
"Your app's use case relies on periodic checks of a user's location all the time, such as geofencing or location sharing. In that case, your app should explain to the user that they need to allow your app to access their location all the time in order to operate correctly, then request access to background location," Google warns Android developers.
2) New Restrictions On Apps' Access to Device Identifiers
A) Contacts Affinity — Starting from Android Q, the operating system will no longer keep the track of contacts affinity information, meaning that apps searching for user's contacts will not be able to do so.
B) Making MAC Address Randomization a Default Feature — Introduced in Android 6.0 Marshmallow, the feature will now come enabled by default with Android Q, preventing app developers, location analytics firms, stores, and others from using MAC addresses to build a history of your device activity.
For those unaware, MAC address randomization works by replacing the number that uniquely identifies your device's wireless hardware with randomly generated values, preventing your device from being tracked when connected to different Wi-Fi networks.
C) Non-Resettable Device Identifiers — From Android Q, only some apps with the READ_PRIVILEGED_PHONE_STATE privileged permission will be able to access your device's non-resettable identifiers, such as your phone's IMEI and serial number.
D) Restricting Access to Clipboard Data — With Android Q, Google also restricted apps from accessing the operating system's clipboard data. Only apps that are running in the foreground (on screen) or apps that are the default input method editor, or IME (e.g., default keyboard apps) can access the clipboard data.
E) Removing Access to Device's Network State — Android Q also removes access to the information about a device's network state. Apps that require access to this information, like Virtual Private Network (VPN) apps, can refer to the NetworkStatsManager and ConnectivityManager classes.
F) Access to USB serial — Apps running Android Q will only be able to read the serial number of a USB device after users themselves grant permissions to access the USB device or accessory.
3) Background Apps Can't Start A New Activity Without User Interaction
Android Q also comes with new restrictions, preventing apps from launching activities while in the background without user interaction, keeping users more in control of what's shown on their screen.
"As long as your app starts activities as a direct result of user interaction, however, your app most likely isn't affected by this change. In fact, the majority of apps are unaffected by this change," Google says.
In nearly all cases, Google has now made it mandatory for apps that are in the background to create notifications in order to provide information to users instead of directly starting an activity.
App developers who want user's attention urgently can create high-priority notifications and provide a full-screen intent.
4) Apps Can't Change Location and Network Settings
Android Q makes it mandatory for apps to have the ACCESS_FINE_LOCATION permission to use several methods within the Wi-Fi, Wi-Fi Aware, or Bluetooth APIs.
This means now third-party apps will not be able to make changes to your device Wi-Fi (enable or disable); instead apps have to prompt users to enable or disable Wi-Fi in the device settings manually.
To protect user privacy, performing manual configuration of the list of Wi-Fi networks will now be only restricted to system apps.
5) Scoped Storage to Protect Data Stored by One App from Others
Android Q will give each app an isolated storage sandbox into an external storage device so that no other app can directly access data saved by other apps on your device.
That means, apps don't require any special permissions to save and access their own sandboxed files on external storage. However, if an app needs to access or modify files that other apps have created, it must first request the appropriate permission.
"Because files are private to your app, you no longer need any permissions to access and save your own files within external storage," Google notes. "This change makes it easier to maintain the privacy of users' files and helps reduce the number of permissions that your app needs."
Instead of just making Android Q Beta 1 available for developers, Google has allowed anyone to sign up and install the beta operating system as far as they own Google's Pixel phones, including the original Pixel, Pixel XL, Pixel 2, Pixel 2 XL, Pixel 3 and Pixel 3 XL.
Android Q is scheduled to be made available to end users sometime in the third quarter of this year, according to the company's timeline — likely at the end of August.
Android, android app development, Android Operating system, Android privacy, Android Q, Android security, Google Android, mobile privacy, mobile security, privacy settings, privacy software

redpajama_set_name: RedPajamaCommonCrawl


text:
Cite Black Women.
OUR PRAXIS
OUR SHIRT
Citation Practices in Historical Archaeology: A Black Feminist Perspective by Ayana Omilade Flewellen Ph.D
In the field of archaeology less than 1 percent of professionals are people of African descent (Odewale et.al. 2018). I felt this immensely during my first conference experience at the Society for Historical Archaeology in January of 2010. As a Black queer woman in the field, I did not see myself reflected in the faces of my predominately White male colleagues. While the number of Black archaeologists has not risen over one percent, the interest in historical research pertaining to African Diaspora sites has been on the rise since Charles Fairbanks first broke ground at Kingsley Plantation in the late 1960s (Flewellen 2017). However, this interest has not come with a renewed desire by archaeologists in the intellectual production of African Diaspora folks, particularly how we theorize our past, present, and future.
In walks, Maria Franklin who in 2001 asked for an Black Feminist Inspired archaeology, a decade after Crenshaw's call for intersectional scholarship (Franklin 2001). After being introduced to her work in early 2009, I later devouring Whitney Battle-Baptist work Black Feminist Archaeology in 2011 (Battle-Baptist 2011). I come from this legacy of Black women archeologists, who have fought to theoretically advance the field of archaeology. Within this rich legacy I've found that my epistemological scope centers material culture while demanding that it be placed in conversation with the words and experiences of Black women from the past (See Wheatley 1773; Truth 1850; Jacobs 1861; Copper 1892, 1925; Wells 1895, 1892a, 1892b; Terrell 1940; Guy-Sheftall 1995) and those who theorize our lives in the present (Crenshaw 1991, 1989; Hill-Collins, 1990, 1991, 2002, 2004; Gross 2006; McKittrick 2000, 2006; Hine 1989, 1994, 1998; Terborg-Penn 1998; Giddings 1984, 2008; Bettye Collier-Thomas 1998; and Deborah Gray White 1999). My epistemology stretches to include Black women narrative forms both fiction and non-fiction, into reimaginings of the archival record, oral history, and historical photographs; all of which provide a variety of ways to unearth and interpret the past lived experiences of African Diasporic peoples.
The largest challenge I've faced in my citation practice is validating my need for sources, particularly the use of Black women both within and outside of the ivory tower. I'm constantly having to answer at conferences, in reviewers' comments, at lectures, how my work is in fact archaeological. A prime example of this was while I was at a job talk I was asked by a faculty member "if I dug." Beyond the fact that my talk outlined how I co-direct an award winning archaeology field school in the Caribbean, the question is literally akin to asking a historian if they ever have been in the archives. Another example of this, are the very real concerns I have regarding whether my first book project is "archaeological enough" for archaeology audiences and how that might affect my tenure. All of these concerns are real and reflect the ways our citation practices can have real impacts on our jobs security. Yet it is work that needs to be done as a practice is validating not only my expertise but the expertise of my intellectual foremothers.
Battle-Baptiste, Whitney.
2011 Black Feminist Archaeology. Left Coast Press
Crenshaw, K.
1991 Mapping the margins: Intersectionality, identity politics, and violence against women of color. Stanford law review, 1241-1299.
1989 Demarginalizing the intersection of race and sex: A black feminist critique of antidiscrimination doctrine, feminist theory and antiracist politics. U. Chi. Legal F., 139.
Collier-Thomas, B.
1998 Bettye. Daughters of Thunder: Black Women Preachers and Their Sermons 1850-1979.
Cooper, A. J.
1892 The higher education of women. MH Washington (Ed.), A voice from the south. Chicago
1998 Equality of Races and the Democratic Movement." 1925. Lemert and Bhan, 291-98.
Flewellen, A. O.
2017 Locating Marginalized Historical Narratives at Kingsley Plantation. Historical Archaeology, 51(1), 71-87.
Franklin, M.
2001 A Black feminist-inspired archaeology?. Journal of Social Archaeology, 1(1), 108-125
Giddings, P.
1984 When and where I enter: The impact of black women on race and sex in America. New York: William Morrow and Company.
2008 Ida: A sword among lions: Ida B. Wells and the campaign against lynching. Harper Collins.
Gross, K. N.
2006 Colored Amazons: Crime, Violence, and Black Women in the City of Brotherly Love, 1880–1910. duke university press.
Guy-Sheftall, B.
1995 Words of fire: An anthology of African-American feminist thought. The New Press.
Hill-Collins, P.
1990 Toward an Afrocentric feminist epistemology. Turning Points in Qualitative Research, 47.
1991 The politics of Black feminist thought. Cleveland State University, Graduation and Assembly Committee.
2002 Black feminist thought: Knowledge, consciousness, and the politics of empowerment. Routledge.
2004 Black sexual politics: African Americans, gender, and the new racism. Routledge.
Hine, D. C..
1989 Black women in white: Racial conflict and cooperation in the nursing profession, 1890-1950.
1994 Hine sight: Black women and the re-construction of American history. Indiana University Press.
1998 A shining thread of hope: The history of Black women in America. Broadway.
Jacobs, H.
1861 Linda Brent. Incidents in the Life of a Slave Girl, Written by Herself.
Jacobs-Huey 2006
McKittrick, K.
2006 Demonic grounds: Black women and the cartographies of struggle. U of Minnesota Press.
2000 'Who do you talk to, when a body's in trouble?: M. Nourbese Philip's (un) silencing of black bodies in the diaspora. Social & Cultural Geography, 1(2), 223-236.
Odewale, Alicia, Justin Dunnavant, Ayana Flewellen, and Alexandra Jones.
2018 "Archaeology for the Next Generation." Anthropology News 59, no. 1: e210-e215.
Terborg-Penn, R.
1998 African American women in the struggle for the vote, 1850-1920. Indiana University Press.
Terrell, M. C.
1940 The history of the club women's movement. Aframerican Woman's Journal, 1, 2-3.
Wells, I. B.,
1892a On lynchings. Courier Corporation.
1892b Southern horrors: Lynch law in all its phases. The Floating Press.
1895 Tabulated Statistics and Alleged Causes of Lynchings in the United States. Chicago: 1892-1893-1894.
Wheatley, P.
1773 On being brought from Africa to America. The Open Anthology of Earlier American Literature, 435.
White, D. G.
1999 Too heavy a load: Black women in defense of themselves, 1894-1994. WW Norton & Company.
Dr. Ayana Omilade Flewellen is a UC President's Postdoctoral Fellow at the University of California Berkeley and a 2019 Robert H. Smith International Center for Jefferson Studies Fellow working with the Digital Archaeological Archive of Comparative Slavery. Her research and teaching interests are shaped by and speak to Black Feminist Theory, historical archaeology, public and community-engaged archaeology, processes of identity formations, and representations of slavery.The bulk of her research interests span geographically across the archaeology of the African Diaspora. She has conducted archaeological excavations and oral historical research related to slavery and freedom in the U.S. South as well as the Caribbean. Her current book project, tentatively titled A Black Feminist Archaeology of Adornment, builds off her dissertation research that examined sartorial practices of self-making among African American tenant, sharecropping and landowning farmers in post-emancipated Texas.
Dr. Flewellen is also the co-founder of Society of Black Archaeologists, a non-profit organization launched in 2011 to create a strong network of archaeologists that advocate for proper treatment of African and African diaspora material culture, promote more people of African descent to enter the field of archaeology, ensure community collaborative research, and highlight the past and present achievements and contributions people of African descent have made to the field of archaeology.Flewellen is currently the Co-PI of the Estate Little Princess Archaeology Project, an award-winning collaborative community engaged archaeological project on St. Croix, USVI. The Estate Little Princess Archaeology Project is in collaboration with The Slave Wrecks Project (SWP) - a global change program comprised of an international network of institutions and individual associates that investigate the global history and enduring legacies of the African Slave Trade, administered by George Washington University and the Smithsonian Museum of African American History and Culture – as well as the University of the Virgin Islands (UVI), and Diving with a Purpose (DWP), an underwater archaeology advocacy group. The Estate Little Princess Archaeology Project is also part of a larger University of California Historically Black College and University Grant – providing archaeological field school training to students attending HBCUs around the country.
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in: Articles incorporating text from Wikipedia, Infantry regiments of the British Army, Highland regiments,
Military units and formations disestablished in 1881
Scottish regiments
92nd (Gordon Highlanders) Regiment of Foot
92nd Regiment of Foot
92nd Gordon Highlanders at Edinburgh Castle, 1846.
United Kingdom of Great Britain and Ireland
Highland Infantry Regiment
Sepoy Rebellion
Battle honours
The 92nd Regiment of Foot was a British Army infantry regiment. It was granted Royal Warrant on 10 February 1794, and first paraded on 24 June 1794, originally being numbered the 100th Regiment of Foot. It was amalgamated with the 75th Regiment of Foot to form the Gordon Highlanders during the Childers Reforms in 1881.
2 Battle honours
3 Victoria Cross awards
The first five years of the regiment's service were spent on garrison duties at Gibraltar, Corsica and Elba, and they fought in the Irish Rebellion of 1798. In the summer of 1799, the regiment returned from Ireland to prepare for the Anglo-Russian invasion of Holland, which aimed to overthrow the Batavian Republic, a client republic of the French Directory in the War of the Second Coalition. At around that time, the regiment was renumbered from the 100th to the 92nd Regiment of Foot. Landing on the Dutch coast on 27 August, and on the same day were present at, but did not participate in the Battle of Callantsoog. However, they distinguished themselves on 2 October at the Battle of Alkmaar, known to the British as "Egmont op Zee". In May 1800, they sailed to Minorca, and then on to Egypt where they landed at Abukir. Here they again fought with distinction at the Battle of Mandora on 13 March 1801. It was a preliminary action before the Battle of Alexandria eight days later on 21 March. That morning, the 92nd had been ordered to return to Abukir, having now only 150 effective men, because of illness and casualties sustained on the 13th. However, on hearing the sound of firing, the Highlanders saw the commander-in-chief, Sir Ralph Abercrombie, passing on his horse and called out to be allowed to return to the line of battle, to which he gave his assent.[1]
After returning home, a second battalion was raised, which served as a reinforcement pool for the first. The regiment took part in the Battle of Køge at Copenhagen in 1807, went to Portugal and fought at the Battle of Corunna and then joined the disastrous Walcheren Campaign, after which only 300 of 1,000 men were fit for service. In September 1810, the regiment returned to Portugal where they joined the Duke of Wellington's army for the remainder of the Peninsular War. The 92nd had reached Toulon when peace was declared in 1814 and they sailed for Ireland.
Gordons and Greys to the Front, an 1898 painting by Stanley Berkeley, showing the disputed incident at Waterloo, when the 92nd may have joined the charge of the Scots Greys by hanging on to their stirrups.
On 1 May 1815, the regiment again embarked for the continent, to take part in the Hundred Days campaign. The 92nd had a leading role in the Battle of Quatre Bras on 16 June, where it was one of the regiments defending the disputed crossroads and later halted a French attack with a bayonet charge. Two days later. the regiment were in action again at the Battle of Waterloo, although by now reduced to only about 250 men. At an early stage, Napoleon's troops attacked the left of the Allied line, and the 92nd were ordered to charge the leading French column. Upon the approach of the Highlanders, the head of the French column broke in disorder and could only be caught by the horses of the Scots Greys, who passed through the 92nd to get at them.[2] According to some accounts, some of the Highlanders clung to the stirrups of the passing Greys so that they could reach the French,[3] although this is often dismissed as mere legend. However, the testimony of Corporal Dickson of "F" Troop of the Scots Greys, says; "They were all Gordons, and as we passed through them they shouted 'Go at them the Greys! Scotland for ever!' My blood thrilled at this and I clutched my sabre tighter. Many of them grasped our stirrups and in the fiercest excitement, dashed with us into the fight."[4] The 92nd's casualties at Waterloo were 20 killed and 99 wounded of all ranks. After the battle, the regiment marched to Paris, finally arriving in Edinburgh on 7 September 1816, where they were cheered by a large crowd.[5]
In 1819, the regiment was posted to Jamaica, where 348 officers and men died during two outbreaks of yellow fever, before returning in 1827. There followed postings to Scotland, Ireland, Barbados, the Ionian Islands and Gibraltar, where the regiment remained during most of the Crimean War. The 92nd eventually landed in the Crimea shortly before the end of the Siege of Sevastopol and saw no serious action.
In January 1858, the 92nd embarked for India, because of the Indian Rebellion of 1857 or "Indian Mutiny", where they engaged in several skirmishes with remaining rebel forces. In September 1861, the regiment learned that it was allowed to include the name "Gordon Highlanders" in its official title, although it had unofficially been known by this name since its inception. In January 1863, the Gordons embarked for Britain, and after a spell in Gosport, finally returned to Edinburgh in July for the first time in 17 years. After a spell in Ireland, they returned to India in 1868.[6]
92nd Highlanders at Kandahar by Richard Caton Woodville.
In December 1878, the Gordons were ordered to Afghanistan where they were engaged in various security operations following the outbreak of the Second Anglo-Afghan War. In October 1879, they took part in the Battle of Charasiab, where the Gordons captured three hills, thereby turning the enemy's flank. Major White received the Victoria Cross for his part in the action. A further VC was won by Lieutenant Dick-Cunyngham in the Siege of the Sherpur Cantonment on 13 December. At the end of August 1880, the regiment formed part of the force which marched under General Roberts from Kabul to Kandahar, and in the Battle of Kandahar on 1 September, formed part of the 1st Brigade, which led the advance in sweeping the enemy out of the closely wooded enclosures along the western slopes of the hill on which the village of Gundi Mullah Sahibdad stood, and finally in attacking and carrying the village itself.
An artist's impression of the last stand at Majuba Hill.
Instead of returning to the United Kingdom in 1881, the Gordons were diverted to Natal because the First Boer War had broken out. The regiment participated in the disastrous Battle of Majuba Hill on 27 February 1881; after capturing the hilltop in order to dominate the Boer line, the force of 350 British soldiers of the 58th and 92nd Regiments including a number of Royal Navy gunners, found themselves exposed to heavy and accurate fire early on the following day. This was followed by an assault by 2,000 Boers; despite a desperate last stand, the survivors were swept from the summit. The regiment's losses were 85 killed, 131 wounded, 57 captured and 22 missing. While in camp at Bennet's Drift near Newcastle, Natal, the 92nd were informed that as part of the General Order of 1 May, they would be joined with the 75th (Stirlingshire) Regiment of Foot and become the 2nd Battalion, The Gordon Highlanders. The Regimental Colours of the 92nd were finally laid-up in St Giles' Cathedral, Edinburgh, on 14 November 1883 by the Duke of Cambridge, where they remain to the present day.[7]
Egmont-Op-Zee, Mandora, Egypt, Corunna, Fuentes D'Onor, Almaraz, Vittoria, Pyrenees, Nive, Orthes, Peninsula, Waterloo, Charasiah, Kabul 1879, Kandahar 1880, Afghanistan 1878–80
Victoria Cross awards
Major George Stewart White VC
George Stuart White
William Henry Dick-Cunyngham
Thomas Beach – (attached to the 55th Regiment of Foot)
↑ Charles Greenhill Gardyne (Lieutenant-Colonel), The Life of a Regiment: the History of the Gordon Highlanders, D Douglas, Edinburgh 1901 (p.108)
↑ Electric Scotland – William Melven M A, The 92nd Gordon Highlanders: 1794 – 1816
↑ Albert A. Nofi, The Waterloo Campaign: June 1815, Da Capo Press 1993 (p.209)
↑ Christopher J. Summerville, Who Was Who at Waterloo: A Biography of the Battle, Pearson Education Ltd 2007, ISBN 978-0-582-78405-5 (p.191)
↑ Melven, 1794 – 1816
History of the Gordon Highlanders
Infantry regiments of the British Army
Highland regiments


Most of us tend to have that certain special place we can run to where we can escape or just decompress. For some it may be a cabin deep in the woods surrounded by nature. For others it might be a hike up to Emerald Lake in CO. For me, it's easy and has always been the same since I was just a young boy. I Love the Beach! I go every year to my favorite beach on the Pacific Coast and in fact was there just last week. For me there is nothing more relaxing than playing in the waves during the day or more breath taking as the sunset at night, as I attempted to capture in the image attached to this post. It is my safe place.
While I enjoy corporate worship and my private alone time, I am never more close to God than when I am on the beach. I am in awe of the power of His creation. When I try to comprehend how the powerful surge of the ocean waves become humbled and silenced by the tiny grains of sand that make up the beach, I short circuit. I am reminded of God's response to Job in the same book when He asks "…who commands the waves you can come this far and no further…". When I sit and witness that natural phenomenon I am left speechless. I feel very tiny and insignificant in comparison, but here, it's ok. This is my place and I don't have be concerned with my worth or my worthiness. Here I am not this party or that party, red or blue, upper, lower or middle. Here there are no labels, no hatred or biases, no trending social issues or systematic barriers. Here there is a sense of a much higher power who values us even more than the creation that we marvel at. My safe place.
But when I'm on the beach there is more going on than simply the awesome display of a creative God. I can find a sense of restoration or readjustment here. I am a man of many mistakes, many failures, many bad decisions. I am imperfect by definition and in daily need of reconciliation. Truth be known I should be on the beach every week and not just once annually, just for this reason alone. For me the waves and the ocean have a very significant and symbolic effect on my imperfections. There is a peaceful calm that occurs with watching the tides. It's almost as if each wave that comes to shore removes a bit of my imperfection and takes it back out to sea, far away from me. Indiscretions, out to sea; bad choices, out to sea; feelings of failure, out to sea. The healing can't be described or fully understood. Yet again, however, I am reminded of scripture that deals with this very notion of sin and sea. In Micah 7:19, the Prophet says "He will turn again and have compassion on us; He will subdue our iniquities and will cast all our sins into the depths of the sea".
As I usually do I waded in the shallow water looking for any cool sea shells I could retrieve for my grandkids. The water would only be clear for a few seconds to reveal what was lying on the sandy bottom. And then a wave would come to shore and wash everything back out to sea-where there were many shells just a few seconds ago was now a cleared sandy floor. I get it. Just like that everything was washed out to sea. To think that our sins are likewise cast into the deepest parts of the sea where man can't even reach is comforting and healing. But to actually see it displayed like shells that were so plentiful just a few seconds ago and are now completely removed really drives home with power and magnitude the incredible lesson of forgiveness and redemption. What a refreshing contrast in reading about the sea's role in the removal and disappearance of our imperfections and in seeing played out in nature. If only all Biblical lessons were as easily revealed.
My safe place doesn't magically make everything and every issue go away. I still have to deal with me when I leave, and I am my biggest challenge. But just the few days alone in my place does more good than the best counselor or psychiatrist money could buy. I wasn't born on the beach but I'm convinced I was born to spend time there. It is the only place where I feel somewhat whole and at peace. My Heaven, the Throne of Grace, surrounded by the soft whispers of worship of calm waves washing up on the sandy beach, set against an eternal California sunset. My never ending safe place.


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Home / AIFF / Aizawl FC / Chennaiyin FC / Football / India / Indian Football / Latest News / Subrata Dutta / Super Cup / Super Cup: All you need to know about the fixtures of inaugural season
Super Cup: All you need to know about the fixtures of inaugural season
March 12, 2018 AIFF , Aizawl FC , Chennaiyin FC , Football , India , Indian Football , Latest News , Subrata Dutta , Super Cup Edit
[caption id="attachment_64089" align="aligncenter" width="580"] Super Cup pre-quarterfinals to begin from March 31st. Image Source: twitter[/caption]
XtraTime Web Desk: The All India Football Federation (AIFF) today announced the complete fixtures of the season 1 of the Super Cup. Indian Premier League side Chennaiyin FC will face I-League side Aizawl FC in the tournament opener on March 31st. On the otherhand newly crowned I-League champions Minerva Punjab FC will begin their journey against Jamshedpur FC on April 2.
Bengaluru FC, who has become the first team to reach the final of ISL 2017-18 will play their first knock-out game against the second qualifying side on April 1, on the other hand FC Goa will start their campaign against the fourth qualifier on April 3.
Kolkata giant Mohun Bagan will face the first qualifier on April 1, where as East Bengal will begin their journey on April 4. ISL side FC Pune City will face Shillong Lajong on the same day. On April 6, Neroca will take on Kerala Blasters.
The quarter-finals date will be decided after the match between Aizawl FC and Chennaiyin FC on March 31 as Aizawl FC has their AFC Cup commitments as well.
"This tournament shall draw the attention of football lovers across the country," AIFF vice-president, Subrata Dutta, said.
Super Cup: All you need to know about the fixtures of inaugural season Reviewed by Web Master on March 12, 2018 Rating: 5


My work is location independent, which allows me to live in different places anytime I feel up for some change. I create digital marketing strategies and help running several online coupon sites, such as the US site Coupofy. Working online, I take my laptop and my work with me wherever I go and I have never felt more independent than now.
Currently, I live in Bali, on one of so many beautiful islands of Indonesia. Before settling there two years ago, I had traveled to Bali several times. There is something special about this island. Whoever comes here once, keeps on coming back again and again. That's what happened to me as well. But the reason why I settled in Bali for a longer time was that I joined a UK startup team. Its team members work remotely in several countries. Some of us loved living in Bali so we decided to stay and keep on growing the company from there.
My first time in Bali, I spent four days on Lembongan island, a 30-minute boat drive from Sanur harbor. That time I lived in Singapore and visited Bali just for a weekend getaway to start learning surfing. Until this trip, I thought Bali was just a holiday destination. I didn't think it was possible to live and work from there due to an unstable internet connection. But my perspective changed after meeting some location independent people who already lived in Bali and worked online too. I found out about a fast-growing startup scene and people from different countries working from a coworking space, Hubud. So then, I came to Bali to live and work from here.
Besides my usual everyday work, I spend time growing myself professionally. I attend different kinds of events for entrepreneurs. Sharing experiences with them, listening to stories of more experienced entrepreneurs and helping out to those just starting up. In my free time, I travel around the island and enjoy as much as this amazing island as I can. I do what I like doing most – exploring new places, eating new food and having the experience of a lifetime.
During my first trips I went to the usual touristic highlights of the island. Visiting several temples, including sunset at Tanah Lot, dressed in a traditional Balinese sarong. Searching for beaches with white sand and crystal clear water, of which there aren't so many in Bali. Surprise! Check out Dreamland beach on Bukit Peninsula, known also as New Kuta beach, or Virgin beach, just 8 km after Candidasa on the east coast. The beaches Mengiat and Geger in Nusa Dua are beautiful as well, but I find them too touristy. Hopping on a boat and getting to the Gili Islands close to Lombok is also a great way of spending time on beautiful beaches, combined with some nightlife (Gili Trawangan) or undisturbed relaxing (Gili Air and Gili Meno).
Visiting the famous Tegalalang rice terraces just 10 km North of Ubud and trekking on the volcano Mt. Batur at night to see a sunrise from its peak are also popular activities among tourists. I enjoyed them anyway. Especially the volcano trip, which was great. Even though we didn't see the sunrise because of heavy rain and fog, it was an amazing experience climbing up the volcano with torches to light the path, and then eating breakfast close to a volcano crater while giving our legs some rest. My advice would be, check the weather forecast a day before your trip because the climate is a little bit different up in the mountains than next to the sea. Fortunately, we didn't forget to bring swimsuits and after coming down from the volcano, we immersed into one of the hot springs with pools overlooking Batur lake and volcano.
After doing all the touristy stuff, I started exploring more of the unbeaten paths of the island. Like camping on an empty beach close to Uluwatu, driving to Kintamani mountains in the morning just to have breakfast at one of my favorite morning markets, swimming in waterfalls in the jungles or just driving in any direction to any destination during my regular Sunday motorbike "expeditions".
One of my best Bali experiences is how I went from not driving at all to driving a dirt bike in one year. One cannot fully understand the Balinese people until joining the traffic madness. At first, I had the impression that there were no rules on the roads whatsoever. I was wrong. Obviously. The Balinese rules are just different from the ones I know from my home in Europe.
Before I started driving the motorbike in Bali I hadn't driven a motorbike anywhere else in the world, and it had been eight years since I had driven a car. You can imagine that my driving skills were… non-existent! I approached learning with a simple LFL strategy – Learn From Locals. Observing their driving styles and picking up road rules along the way. Two years and 25,000 km later, I cannot thank enough my old self for taking this leap. Without being able to drive a motorbike I would have missed on some of my best and most amazing experiences!
I would have missed dirt bike adventures with my friends exploring off-road paths through black lava fields, rocky roads, and jungles. Without a motorbike, I wouldn't have enjoyed driving around Bali with my brother and his girlfriend, who were having a vacation on this beautiful island. Sunny and hot days, the wind on our skin, long roads, beautiful beaches, rice paddies, local villages, delicious Indonesian food and Bintang beer.
I love driving alone. I usually enjoy company, but if I need to clear my mind, get some perspective on life or just have some "me" time, I drive alone far far away. It's like a meditation on wheels! My favorite solo dirt bike trip is to Amed, a small fisherman village on the east coast. I combine this trip with chilling on a beach, reading a book and snorkeling in one of the best snorkeling spots in Bali. I love this trip especially because of the road, which goes from Amed to Candidasa along the seaside. The views are stunning, the road is a bit dangerous, and the sea breeze is exactly what I need.
Another perfect experience I have had in Bali are scuba diving trips. I'm a certified advanced open water diver and love to dive whenever there is an opportunity. Bali has such amazing and diverse underwater life! I enjoy diving at the USS Liberty shipwreck in Tulamben the most. This huge piece of history covered with colorful coral and hundreds of fish swimming around is breath-taking.
There haven't been many disappointments about the island itself. The only disappointment that really gets me down is sometimes getting cheated when buying food or other things. Some people consider foreigners to be walking wallets, and this is sometimes a bit hard for me to digest, but this isn't the case only in Bali, but more generally in many other Asian countries.
I wish I had known that there are many ATM scams (scanning details of a card and then misusing them). If possible, withdraw money from ATMs that are inside of banks or that have a security guard, because they're less likely to have been "hacked". Also, most ATMs in Bali are old. That means that they give the money first, and only then release the card. The newer ATMs work the other way around. First the card, then the money. Many tourists are used to the newer ATMs, so leave their cards in the ATMs.
Make sure to arrive with enough money. Once I arrived in Bali a day before Nyepi, the Balinese "Day of Silence". I was too lazy to wait in the long queues in front of all the ATMs at the airport. I thought about withdrawing money from some other ATM on the way to Ubud. But it turned out that all ATMs were already closed for security reasons due to Nyepi. It was Thursday afternoon and I ended up without cash until Monday morning when the ATMs opened again. I wish I had known that they close the ATMs the day before Nyepi.
Bambu Indah – a beautiful bamboo restaurant and eco-lifestyle boutique hotel. Delicious food, amazing architecture and design by Ibuku team, led by Elora Hardy.
The Samaya Ubud – a fine dining restaurant and resort alongside the wild River Ayung. Great service, delicious food, and a beautiful experience, especially in the evening when there are many lights on river stones.
Moksa restaurant – Delicious, creative vegan cuisine with a permaculture garden. The best vegan meals I've ever tasted!
Dapurku warung – The real taste of home-cooked Indonesian food, so delicious! This is one of my favorite lunch places for nasi campur.
Seniman Coffee Studio – this is a must-visit place for coffee addicts! Great atmosphere, skilled baristas, amazing coffee. I come here for my regular cup of Sulawesi medium dark roast coffee.
The Green School Bali – an international school made of bamboo with a focus on sustainability education. I booked a tour through their buildings and gardens and ended up pretty amazed.
Intuitive Flow – a yoga studio with large windows and a gorgeous view on Campuhan ridge and mountains. Come for a sunrise or sunset class to get the most out of the experience of practicing the yoga with such a great view.
Hubud – the best coworking space I've ever been to. Full of creatives, entrepreneurs and travelers from different corners of the world. Many interesting events and activities for getting to know new people.
Being considerate with your clothing is a way of showing respect for the local people. It's offensive to take pictures half-naked in front of temples or religious symbols. Also, women should not enter the temples during their period.
Only a few shops sell tampons in Bali. It's getting better, but it's a good idea to bring some with you.


FileThis, a paperless pioneer in the Bay Area named by TIME Magazine as one of the "50 Best Web Services of 2014", and Bench, a fintech company that raised $7 million in a Series A round in January 2015, today announced an integration of FileThis' Documents-as-a-Service Platform into Bench's software to continue to make bookkeeping a painless process for small businesses and entrepreneurs.
By using the FileThis service, Bench will be able to securely fetch monthly statements, invoices, and bills from bank, payroll, insurance, and utility accounts for its clients. This helps clients to save countless hours a day by removing the need to manually log into dozens of online accounts, download, organize and send statements to their bookkeepers. Besides automatically fetching new statements, FileThis can retrieve up to three years' worth of a customer's historical financial documents.
The FileThis Documents-as-a-Service platform securely delivers online documents and financial metadata from almost 500 institutions in the US. The integration with Bench is part of a growing initiative for FileThis to equip fast-growing startups with a seamless back-end for cloud-based document and metadata delivery.
FileThis has delivered over 6 million documents since launch, continuing to serve as a leading provider for emerging document delivery technology and bringing new levels of paper free productivity to any consumer, business or platform that needs access to financial documents.
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Lovelymusthaves is one of the fastest growing fashion web shop in the Netherlands where you can shop the trendiest accessories and gifts in the fashion industry. Lovelymusthaves offers a wide range of affordable jewelry and accessories such as earrings, bracelets, necklaces and watches for women and men. If you're looking for a cool leather bracelet, a beautiful bangle with a quote, or silver jewelry, Lovelymusthaves has it!
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Jill and Chris are getting married!! These two love birds were an absolute joy to work with! We ventured through Washington Park to find the perfect setting for a fall engagement session, and we truly did find it! We found tress in every fall shade and sunset lighting that was absolutely perfect. Jill and Chris are so in love and such a pleasure to work with. I had such a wonderful time spending an evening with this incredible couple! Cheers to the newlyweds!!