The Soap Opera

The Soap Opera was created by Dallas Wheatley. If you liked what you heard, please rate and review the show in Apple Podcasts, or tell your friends and family about it! Spreading the word makes all the difference.

Many thanks to Kevin MacLeod at incompetech.com for the music. Licensed under Creative Commons: By Attribution 4.0 License. http://creativecommons.org/licenses/by/4.0/. The tracks used in this episode are "Ripples", "Folk Round", and "Finding Movement".

Performers

The Street Musicians

Hello! This is Shade Oyemakinwa and I’m so excited to be sharing “The Street Musicians” with you. You might know this story by another name, “The Musicians of Bremen” or “Town Musicians of Bremen”. I adore this story. One of my most beloved tellings of it, is “The Muppet Musicians of Bremen”. It was a tv special hosted by Kermit the Frog and it is delightful. As is the original tale. It’s a simple story with main characters who just want to live their lives, maybe start a band, and they outsmart some robbers with a bit of cunning and hilarious luck.

And now, “The Street Musicians”.

A man once possessed a donkey which had served him faithfully for many years, but at last the poor beast grew old and feeble, and every day his work became more of a burden. As he was no longer of any use, his master made up his mind to shoot him; but when the donkey learnt the fate that was in store for him, he determined not to die, but to run away to the nearest town and there to become a street musician.

When he had trotted along for some distance he came upon a greyhound lying on the road, and panting for dear life. ‘Well, brother,’ said the donkey, ‘what’s the matter with you? You look rather tired.’

‘So I am,’ replied the dog, ‘but because I am getting old and am growing weaker every day, and cannot go out hunting any longer, my master wanted to poison me; and, as life is still sweet, I have taken leave of him. But how I am to earn my own livelihood I haven’t a notion.’

‘Well,’ said the donkey, ‘I am on my way to the nearest big town, where I mean to become a street musician. Why don’t you take up music as a profession and come along with me? I’ll play the flute and you can play the kettle-drum.’

The greyhound was quite pleased at the idea, and the two set off together. When they had gone a short distance they met a cat with a face as long as three rainy days. ‘Now, what has happened to upset your happiness, friend puss?’ inquired the donkey.

‘It’s impossible to look cheerful when one feels depressed,’ answered the cat. ‘I am well up in years now, and have lost most of my teeth; consequently I prefer sitting in front of the fire to catching mice, and so my old mistress wanted to drown me. I have no wish to die yet, so I ran away from her; but good advice is expensive, and I don’t know where I am to go to, or what I am to do.’

‘Come to the nearest big town with us,’ said the donkey, ‘and try your fortune as a street musician. I know what sweet music you make at night, so you are sure to be a success.’

The cat was delighted with the donkey’s proposal, and they all continued their journey together. In a short time they came to the courtyard of an inn, where they found a rooster crowing lustily. ‘What in the world is the matter with you?’ asked the donkey. ‘The noise you are making is enough to break the drums of our ears.’

‘I am only prophesying good weather,’ said the rooster; ‘for to-morrow is a feast day, and just because it is a holiday and a number of people are expected at the inn, the landlady has given orders for my neck to be wrung to-night, so that I may be made into soup for to-morrow’s dinner.’

‘I’ll tell you what, redcap,’ said the donkey; ‘you had much better come with us to the nearest town. You have got a good voice, and you could join a street band we are getting up.’ The rooster was much pleased with the idea, and the party proceeded on their way.

But the nearest big town was a long way off, and it took them more than a day to reach it. In the evening they came to a wood, and they made up their minds to go no further, but to spend the night there. The donkey and the greyhound lay down under a big tree, and the cat and the rooster got up into the branches, the rooster flying right up to the topmost twig, where he thought he would be safe from all danger. Before he went to sleep he looked round the four points of the compass, and saw a little spark burning in the distance. He called out to his companions that he was sure there must be a house not far off, for he could see a light shining.

When he heard this, the donkey said at, once: ‘Then we must get up, and go and look for the house, for this is very poor shelter.’ And the greyhound added: ‘Yes; I feel I’d be all the better for a few bones and a scrap or two of meat.’

So they set out for the spot where the light was to be seen shining faintly in the distance, but the nearer they approached it the brighter it grew, till at last they came to a brilliantly lighted house. The donkey being the biggest of the party, went to the window and looked in.

‘Well, greyhead, what do you see?’ asked the rooster.

‘I see a well-covered table,’ replied the donkey, ‘with excellent food and drink, and several robbers are sitting round it, enjoying themselves highly.’

‘I wish we were doing the same,’ said the rooster.

‘So do I,’ answered the donkey. ‘Can’t we think of some plan for turning out the robbers, and taking possession of the house ourselves?’

So they consulted together what they were to do, and at last they arranged that the donkey should stand at the window with his fore-feet on the sill, that the greyhound should get on his back, the cat on the dog’s shoulder, and the rooster on the cat’s head. When they had grouped themselves in this way, at a given signal, they all began their different forms of music. The donkey brayed, the greyhound barked, the cat miawed, and the rooster crowed. Then they all scrambled through the window into the room, breaking the glass into a thousand pieces as they did so.

The robbers were all startled by the dreadful noise, and thinking that some evil spirits at the least were entering the house, they rushed out into the wood, their hair standing on end with terror. The four companions, delighted with the success of their trick, sat down at the table, and ate and drank all the food and wine that the robbers had left behind them.

When they had finished their meal they put out the lights, and each animal chose a suitable sleeping-place. The donkey lay down in the courtyard outside the house, the dog behind the door, the cat in front of the fire, and the rooster flew up on to a high shelf, and, as they were all tired after their long day, they soon went to sleep.

Shortly after midnight, when the robbers saw that no light was burning in the house and that all seemed quiet, the captain of the band said: ‘We were fools to let ourselves be so easily frightened away;’ and, turning to one of his men, he ordered him to go and see if all was safe.

The man found everything in silence and darkness, and going into the kitchen he thought he had better strike a light. He took a match, and mistaking the fiery eyes of the cat for two glowing coals, he tried to light his match with them. But the cat didn’t see the joke, and sprang at his face, spitting and scratching him in the most vigorous manner. The man was terrified out of his life, and tried to run out by the back door; but he stumbled over the greyhound, which bit him in the leg. Yelling with pain he ran across the courtyard only to receive a kick from the donkey’s hind leg as he passed him. In the meantime the rooster had been roused from his slumbers, and feeling very cheerful he called out, from the shelf where he was perched, ‘Kikeriki!’

Then the robber hastened back to his captain and said: ‘Sir, there is a dreadful witch in the house, who spat at me and scratched my face with her long fingers; and before the door there stands a man with a long knife, who cut my leg severely. In the courtyard outside lies a monster, who fell upon me with a huge wooden club; and that is not all, for, sitting on the roof, is a judge, who called out: “Bring the rascal to me.” So I fled for dear life.’

After this the robbers dared not venture into the house again, and they abandoned it for ever. But the four street musicians were so delighted with their lodgings that they determined to take up their abode in the robbers’ house, and, for all I know to the contrary, they may be living there to this day.

This podcast is powered by Pinecast.

The Soap Opera was created by Dallas Wheatley. If you liked what you heard, please rate and review the show in Apple Podcasts, or tell your friends and family about it! Spreading the word makes all the difference.

Many thanks to Kevin MacLeod at incompetech.com for the music. Licensed under Creative Commons: By Attribution 4.0 License. http://creativecommons.org/licenses/by/4.0/. The tracks used in this episode are "Ripples", "Snowdrop", "Silver Flame", and "Finding Movement".

Performers

Dica

With flowers fair adorn thy lustrous hair,

Prophesy

Methinks hereafter in some later spring

Dead Shalt Thou Lie

When thou fallest in death, dead shalt thou lie, nor shall thy memory

Invocation

Come, Venus, come

Hymn to Aphrodite

Daughter of Zeus and Immortal,

As in the past, hither to me

Swiftly thy flock bore thee hither,

"Sappho, what Beauty disdains thee,

"Flies from thee, soon she shall follow,

Come, once again to release me,

A Haunted House

Whatever hour you woke there was a door shutting. From room to room they went, hand in hand, lifting here, opening there, making sure--a ghostly couple.

"Here we left it," she said. And he added, "Oh, but here tool" "It's upstairs," she murmured. "And in the garden," he whispered. "Quietly," they said, "or we shall wake them."

But it wasn't that you woke us. Oh, no. "They're looking for it; they're drawing the curtain," one might say, and so read on a page or two. "Now they've found it,' one would be certain, stopping the pencil on the margin. And then, tired of reading, one might rise and see for oneself, the house all empty, the doors standing open, only the wood pigeons bubbling with content and the hum of the threshing machine sounding from the farm. "What did I come in here for? What did I want to find?" My hands were empty. "Perhaps its upstairs then?" The apples were in the loft. And so down again, the garden still as ever, only the book had slipped into the grass.

But they had found it in the drawing room. Not that one could ever see them. The windowpanes reflected apples, reflected roses; all the leaves were green in the glass. If they moved in the drawing room, the apple only turned its yellow side. Yet, the moment after, if the door was opened, spread about the floor, hung upon the walls, pendant from the ceiling--what? My hands were empty. The shadow of a thrush crossed the carpet; from the deepest wells of silence the wood pigeon drew its bubble of sound. "Safe, safe, safe" the pulse of the house beat softly. "The treasure buried; the room . . ." the pulse stopped short. Oh, was that the buried treasure?

A moment later the light had faded. Out in the garden then? But the trees spun darkness for a wandering beam of sun. So fine, so rare, coolly sunk beneath the surface the beam I sought always burned behind the glass. Death was the glass; death was between us, coming to the woman first, hundreds of years ago, leaving the house, sealing all the windows; the rooms were darkened. He left it, left her, went North, went East, saw the stars turned in the Southern sky; sought the house, found it dropped beneath the Downs. "Safe, safe, safe," the pulse of the house beat gladly. 'The Treasure yours."

The wind roars up the avenue. Trees stoop and bend this way and that. Moonbeams splash and spill wildly in the rain. But the beam of the lamp falls straight from the window. The candle burns stiff and still. Wandering through the house, opening the windows, whispering not to wake us, the ghostly couple seek their joy.

"Here we slept," she says. And he adds, "Kisses without number." "Waking in the morning--" "Silver between the trees--" "Upstairs--" 'In the garden--" "When summer came--" 'In winter snowtime--" "The doors go shutting far in the distance, gently knocking like the pulse of a heart.

Nearer they come, cease at the doorway. The wind falls, the rain slides silver down the glass. Our eyes darken, we hear no steps beside us; we see no lady spread her ghostly cloak. His hands shield the lantern. "Look," he breathes. "Sound asleep. Love upon their lips."

Stooping, holding their silver lamp above us, long they look and deeply. Long they pause. The wind drives straightly; the flame stoops slightly. Wild beams of moonlight cross both floor and wall, and, meeting, stain the faces bent; the faces pondering; the faces that search the sleepers and seek their hidden joy.

"Safe, safe, safe," the heart of the house beats proudly. "Long years--" he sighs. "Again you found me." "Here," she murmurs, "sleeping; in the garden reading; laughing, rolling apples in the loft. Here we left our treasure--" Stooping, their light lifts the lids upon my eyes. "Safe! safe! safe!" the pulse of the house beats wildly. Waking, I cry "Oh, is this your buried treasure? The light in the heart."

This podcast is powered by Pinecast.

The Soap Opera was created by Dallas Wheatley. If you liked what you heard, please rate and review the show in Apple Podcasts, or tell your friends and family about it! Spreading the word makes all the difference.

Many thanks to Kevin MacLeod at incompetech.com for the music. Licensed under Creative Commons: By Attribution 4.0 License. http://creativecommons.org/licenses/by/4.0/. The tracks used in this episode are "Ripples", "Kalimba Relaxation Music", "Brandenburg No4-1 BWV1049", and "Finding Movement".

Performers

April

The roofs are shining from the rain,

Yet the back-yards are bare and brown

I Have Loved Hours At Sea

I have loved hours at sea, gray cities,

First stars above a snowy hill,

I have loved much and been loved deeply,

Hello! This is Shade Oyemakinwa with a couple of poems from Christina Rossetti. To start is “No, Thank You, John”. “No, Thank You, John” is a poem about a person who is unequivocally and unambiguously uninterested. They are uninterested in John romantically, this is a known fact, and they are quite comfortable saying so.

It is so funny and the voice is so modern and familiar, that learning that Rosetti influenced some very influential writers is not really a surprise to me.

No, Thank You, John

I never said I loved you, John:

You know I never loved you, John;

I dare say Meg or Moll would take

I have no heart?—Perhaps I have not;

Let bygones be bygones:

Let's mar our pleasant days no more,

Let us strike hands as hearty friends;

In open treaty. Rise above

Now, “The Queen of Hearts” is about someone who is exasperated with their card mate’s ability to always gain the queen of hearts when they play. In the name of academic transparency, I’ll tell you that there are those who suppose that the the queen of hearts is an allegory for winning a person’s love and the poem itself is a metaphor for a person who is frustrated with their inability to find love compared to their friend’s ability to fall into it. Well I’m here to tell you that those people are boring. And that those people are cowards. We’re playing cards and either Flora’s cheating or the cards are magical!

All right. Let’s step down from this little soap box and read some more poetry by Christina Rossetti!

The Queen of Hearts

How comes it, Flora, that, whenever we

I've scanned you with a scrutinizing gaze,

I cut and shuffle; shuffle, cut, again;

I dropped her once, prepense; but, ere the deal

I cheated once: I made a private notch

The Queen of Clubs assumed by arts unknown

It baffles me to puzzle out the clew,

This podcast is powered by Pinecast.

The Soap Opera was created by Dallas Wheatley. If you liked what you heard, please rate and review the show in Apple Podcasts, or tell your friends and family about it! Spreading the word makes all the difference.

Many thanks to Kevin MacLeod at incompetech.com for the music (Licensed under Creative Commons 4.0). The tracks used in this episode are "Ripples", "Overheat", "River Flute", and "Finding Movement".

Performers

Thought and Space

By Ray Bradbury

Performed by DJ Sylvis

Space—thy boundaries are

Time and time alone.

No earth-born rocket,

seedling skyward sown,

Will ever reach your cold,

infinite end,

This power is not Man's to

build or send.

Great deities laugh down,

venting their mirth,

At struggling bipeds on

a cloud-wrapped Earth,

Chained solid on a war-swept,

waning globe,

For FATE, who witnesses,

to pry and probe.

BUT LIST! One weapon have

I stronger yet!

Prepare Infinity! And

Gods regret!

Thought, quick as light,

shall pierce the veil,

To reach the lost beginnings

Holy Grail.

Across the sullen void on

soundless trail,

Where new spawned suns and

chilling planets wail,

One thought shall travel

midst the gods' playthings,

Past cindered globes where

choking flame still sings.

No wall of force yet have ye

firmly wrought,

That chains the supreme

strength of purest thought.

Unleashed, without a body's

slacking hold,

Thought leaves the ancient

Earth behind to mold.

And when the galaxies have

heeded DEATH,

And welcomed lastly SPACE'S

poisoned breath,

Still shall thought travel

as an arrow flown.

SPACE—thy boundaries are

TIME——AND TIME ALONE!

Stopping By Woods On A Snowy Evening

By Robert Frost

Performed by Tal Minear

Whose woods these are I think I know.

His house is in the village though;

He will not see me stopping here

To watch his woods fill up with snow.

My little horse must think it queer

To stop without a farmhouse near

Between the woods and frozen lake

The darkest evening of the year.

He gives his harness bells a shake

To ask if there is some mistake.

The only other sound’s the sweep

Of easy wind and downy flake.

The woods are lovely, dark and deep.

But I have promises to keep,

And miles to go before I sleep.

And miles to go before I sleep.

Birches

By Robert Frost

Performed by Tal Minear

When I see birches bend left to right

Across the line of straighter darker trees,

I like to think some boy’s been swinging them.

But swinging doesn’t bend them down to stay.

Ice-storms do that. Often you must have seen them

Loaded with ice a sunny winter morning

After a rain. They click upon themselves

As the breeze rises, and turn many-colored

As the stir cracks and crazes their enamel.

Soon the sun’s warmth makes them shed crystal shells

Shattering and avalanching on the snow-crust –

Such heaps of broken glass to sweep away

You’d think the inner dome of heaven had fallen.

They are dragged to the withered bracken by the load,

And they seem not to break; though once they are bowed

So low for so long, they never right themselves:

You may see their trunks arching in the woods

Years afterwards, trailing their leaves on the ground

Like girls on hands and knees that throw their hair

Before them over their heads to dry in the sun.

But I was going to say when Truth broke in

With all her matter-of-fact about the ice-storm

I should prefer to have some boy bend them

As he went out and in to fetch the cows –

Some boy too far from town to learn baseball,

Whose only play was what he found himself,

Summer or winter, and could play alone.

One by one he subdued his father’s trees

By riding them down over and over again

Until he took the stiffness out of them,

And not one but hung limp, not one was left

For him to conquer. He learned all there was

To learn about not launching out too soon

And so not carrying the tree away

Clear to the ground. He always kept his poise

To the top branches, climbing carefully

With the same pains you use to fill a cup

Up to the brim, and even above the brim.

Then he flung outward, feet first, with a swish,

Kicking his way down through the air to the ground.

So was I once myself a swinger of birches.

And so I dream of going back to be.

It’s when I’m weary of considerations,

And life is too much like a pathless wood

Where your face burns and tickles with the cobwebs

Broken across it, and one eye is weeping

From a twig’s having lashed across it open.

I’d like to get away from earth awhile

And then come back to it and begin over.

May no fate willfully misunderstand me

And half grant what I wish and snatch me away

Not to return. Earth’s the right place for love:

I don’t know where’ it’s likely to go better.

I’d like to go by climbing a birch tree,

And climb black branches up a snow-white trunk

Toward heaven, till the tree could bear no more,

But dipped its top and set me down again.

That would be good both going and coming back.

One could do worse than be a swinger of birches.

This podcast is powered by Pinecast.

The Soap Opera was created by Dallas Wheatley. If you liked what you heard, please rate and review the show in Apple Podcasts, or tell your friends and family about it! Spreading the word makes all the difference.

If you have any questions about soap, tools, or ingredients, you can contact me on Patreon, on Twitter @ShireSuds, on Instagram @ShireSuds, or you can email me at [email protected]!

Many thanks to Kevin MacLeod at incompetech.com for the music (Licensed under Creative Commons 4.0). The tracks used in this episode are "Ripples", “White Lotus”, and "Finding Movement".

If you want to challenge your soapmaking skills some more, I recommend checking out Humblebee and Me, a wonderful website with tons of science-based soap, skincare, and makeup recipes!

If you want to purchase any of the soap I made for this show, you can find it at shiresuds.com. I hope you enjoyed this episode of the Soap Opera! Happy Sudsing!

This podcast is powered by Pinecast.

The Soap Opera was created by Dallas Wheatley. If you liked what you heard, please rate and review the show in Apple Podcasts, or tell your friends and family about it! Spreading the word makes all the difference.

If you have any questions about soap, tools, or ingredients, you can contact me on Patreon, on Twitter @ShireSuds, on Instagram @ShireSuds, or you can email me at [email protected]!

Many thanks to Kevin MacLeod at incompetech.com for the music (Licensed under Creative Commons 4.0). The tracks used in this episode are "Ripples", “White Lotus”, and "Finding Movement".

If you want to challenge your soapmaking skills some more, I recommend checking out Humblebee and Me, a wonderful website with tons of science-based soap, skincare, and makeup recipes!

If you want to purchase any of the soap I made for this show, you can find it at shiresuds.com. I hope you enjoyed this episode of the Soap Opera! Happy Sudsing!

SOAP CALCULATOR

IMPERIAL WEIGHT

METRIC WEIGHT

INSTRUCTIONS

1) Assemble all your tools. Make sure you have plenty of space to work!

2) Measure out all your ingredients -- use the glass container for the water and the large bowl or pot for the oil.

3) Add the water to a glass container. Don’t use too much water, or your soap will take much longer to harden!

4) Gently heat the oils in the microwave or on the stove until they have melted. Don’t let it get too hot!

5) While wearing the mask and gloves, slowly add the lye into the water, mixing it up while you do so. It will get very hot, so be careful!

6) When both the oils and the lye have reached room temperature, mix them together.

7) Using the immersion blender on the lowest speed, gently pulse the blender until the soap has reached “trace” stage. As the soap thickens, increase the speed of the blender. Stop before it gets too thick to pour into molds.

8) Pour your coffee grounds into the soap batter and mix with a spatula or your blender.

9) Carefully pour the soap into your mold, using the rubber spatula to scrape the sides of the bowl.

10) Set the molds to cure in a cool, stable location.

HOW TO IDENTIFY TRACE STAGE

This podcast is powered by Pinecast.

The Soap Opera was created by Dallas Wheatley. If you liked what you heard, please rate and review the show in Apple Podcasts, or tell your friends and family about it! Spreading the word makes all the difference.

PAX is a series of gaming conventions held in Seattle, Boston, Melbourne, Philadelphia, and San Antonio. Founded by Jerry Holkins and Mike Krahulik, authors of the popular web comic Penny Arcade, each PAX is a show dedicated to supporting and celebrating video and tabletop gaming. PAX Unplugged is an analog-focused extension of the already existing portfolio of PAX events. More information can be found on their website.

If you have any questions about soap, tools, or ingredients, you can contact me on Patreon, on Twitter @ShireSuds, on Instagram @ShireSuds, or you can email me at [email protected]!

Many thanks to Kevin MacLeod at incompetech.com for the music (Licensed under Creative Commons 4.0). The tracks used in this episode are "Ripples" and "Finding Movement". Special thanks to Aras Sivad, who organized the panel.

If you want to challenge your soapmaking skills some more, I recommend checking out Humblebee and Me, a wonderful website with tons of science-based soap, skincare, and makeup recipes!

If you want to purchase any of the soap I made for this show, you can find it at shiresuds.com. I hope you enjoyed this episode of the Soap Opera! Happy Sudsing!

This podcast is powered by Pinecast.

The Soap Opera was created by Dallas Wheatley. If you liked what you heard, please rate and review the show in Apple Podcasts, or tell your friends and family about it! Spreading the word makes all the difference.

If you have any questions about soap, tools, or ingredients, you can contact me on Patreon, on Twitter @ShireSuds, on Instagram @ShireSuds, or you can email me at [email protected]!

Many thanks to Kevin MacLeod at incompetech.com for the music (Licensed under Creative Commons 4.0). The tracks used in this episode are "Ripples", “White Lotus”, and "Finding Movement".

If you want to challenge your soapmaking skills some more, I recommend checking out Humblebee and Me, a wonderful website with tons of science-based soap, skincare, and makeup recipes!

If you want to purchase any of the soap I made for this show, you can find it at shiresuds.com. I hope you enjoyed this episode of the Soap Opera! Happy Sudsing!

References

**Please note this is by no means an extensive history of soapmaking. There are many soap traditions that were not covered in the episode. If I have made an error in this episode, please feel free to reach out via email and I will be happy to issue a correction in future episodes of the show.

This podcast is powered by Pinecast.

The Soap Opera was created by Dallas Wheatley. If you liked what you heard, please rate and review the show in Apple Podcasts, or tell your friends and family about it! Spreading the word makes all the difference.

If you have any questions about soap, tools, or ingredients, you can contact me on Patreon, on Twitter @ShireSuds, on Instagram @ShireSuds, or you can email me at [email protected]!

Many thanks to Kevin MacLeod at incompetech.com for the music (Licensed under Creative Commons 4.0). The tracks used in this episode are "Ripples" and "Finding Movement".

If you want to challenge your soapmaking skills some more, I recommend checking out Humblebee and Me, a wonderful website with tons of science-based soap, skincare, and makeup recipes!

If you want to purchase any of the soap I made for this show, you can find it at shiresuds.com. I hope you enjoyed this episode of the Soap Opera! Happy Sudsing!

SOAP CALCULATOR

IMPERIAL WEIGHT

METRIC WEIGHT

FRAGRANCE OIL

COLORANT

INSTRUCTIONS

1) Assemble all your tools. Make sure you have plenty of space to work!

2) Measure out all your ingredients -- use the glass container for the water and the large bowl or pot for the oil.

3) Add the water to a glass container. Don’t use too much water, or your soap will take much longer to harden!

4) Gently heat the oils in the microwave or on the stove until they have melted. Don’t let it get too hot!

5) While wearing the mask and gloves, slowly add the lye into the water, mixing it up while you do so. It will get very hot, so be careful!

6) When both the oils and the lye have reached room temperature, mix them together.

7) Using the immersion blender on the lowest speed, gently pulse the blender until the soap has reached “trace” stage. As the soap thickens, increase the speed of the blender. Stop before it gets too thick to pour into molds.

8) Add your fragrance or essential oil into your batter, and gently fold it in with a spatula.

9) Slowly start to incorporate the color you want to use by adding a few squirts at a time, and then folding it in with a spatula.

10) Carefully pulse the blender a few times to fully incorporate the essential oils into your soap batter. Be careful not to let the batter thicken too much!

11) Carefully pour the soap into your mold, using the rubber spatula to scrape the sides of the bowl.

12) Set the molds to cure in a cool, stable location.

HOW TO IDENTIFY TRACE STAGE

This podcast is powered by Pinecast.

The Soap Opera was created by Sarah Wheatley. If you liked what you heard, please rate and review the show in iTunes, or tell your friends and family about it! Spreading the word makes all the difference.

If you have any questions about soap, tools, or ingredients, you can contact me on Patreon, on Instagram @shiresuds, or you can email me at [email protected]!

Many thanks to Kevin MacLeod at incompetech.com for the music (Licensed under Creative Commons 4.0). The tracks used in this episode are "Ripples" and "Finding Movement".

If you want to challenge your soapmaking skills some more, I recommend checking out Humblebee and Me, a wonderful website with tons of science-based soap, skincare, and makeup recipes!

If you want to purchase any of the soap I made for this show, you can find it at shiresuds.com. I hope you enjoyed this episode of the Soap Opera! Happy Sudsing!

SOAP CALCULATOR

IMPERIAL WEIGHT

METRIC WEIGHT

ESSENTIAL OIL IDEAS

INSTRUCTIONS

1) Assemble all your tools. Make sure you have plenty of space to work!

2) Measure out all your ingredients -- use the glass container for the water and the large bowl or pot for the oil.

3) Add the water to a glass container. Don’t use too much water, or your soap will take much longer to harden!

4) Gently heat the oils in the microwave or on the stove until they have melted. Don’t let it get too hot!

5) While wearing the mask and gloves, slowly add the lye into the water, mixing it up while you do so. It will get very hot, so be careful!

6) When both the oils and the lye have reached room temperature, mix them together.

7) Using the immersion blender on the lowest speed, gently pulse the blender until the soap has reached “trace” stage. As the soap thickens, increase the speed of the blender. Stop before it gets too thick to pour into molds.

8) Add your essential oil to your batter and gently fold it in until completely mixed. I love using rosemary, lavender, or peppermint oils, but you can use any essential oil you like! Make sure you’re using real essential oil, not a fragrance oil!

9) Carefully pulse the blender a few times to fully incorporate the essential oils into your soap batter. Be careful not to let the batter thicken too much!

10) Carefully pour the soap into your mold, using the rubber spatula to scrape the sides of the bowl.

11) Set the molds to cure in a cool, stable location.

HOW TO IDENTIFY TRACE STAGE

This podcast is powered by Pinecast.