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"Joseph Vogel has brilliantly cracked the DNA, the code of the work, the artistry of Michael Joseph Jackson. This is the book I have been long awaiting -- a pointed, intelligent dissection of an epic body of work."  -Spike Lee
Over his four decades in the public spotlight, Michael Jackson dazzled audiences, broke down barriers, and transformed popular music. Yet his brilliance as an artist has often been overshadowed by the tabloid frenzy that surrounded his unusual life. Now author Joseph Vogel returns to to the albums, songs and videos that made the King of Pop a cultural force in the first place. From Off the Wall and Thriller, to Bad, Dangerous, HIStory and beyond, Vogel takes us deep inside Jackson's vast musical catalog. Each song is carefully considered, from well-known classics like "Billie Jean" and "Beat It" to lesser-known standouts like "Stranger in Moscow" and "Who Is It."

Meticulously researched and documented, Man in the Music draws on hundreds of sources, including news archives, reviews, Jackson's own words, and interviews with key collaborators. With each chapter, Vogel takes the reader back in time, placing the music in its social and historical context, discussing its relation to Jackson's personal life, and revealing never-before-heard stories from the studio. Featuring a foreword by Rolling Stone contributing editor Anthony DeCurtis and a wealth of color photos, this unique book provides the first comprehensive assessment of the "man in the music."

  • Sales Rank: #141459 in Books
  • Brand: Brand: Sterling
  • Published on: 2011-11-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.50" h x 8.00" w x 1.25" l, 2.45 pounds
  • Binding: Hardcover
  • 320 pages
Features
  • Used Book in Good Condition

Review
"A thoroughly enjoyable analysis of the music and life of the most popular musician of an era." -Library Journal

"Immerses readers in a chronological exploration of Michael Jackson's remarkable solo career. Chapter by chapter and literally song by song, [Vogel] discusses Jackson's albums, videos, dances, cinematic influences, musical heroes, idiosyncrasies, and artistic transformations...Readers will enjoy." -Publishers Weekly

"Man in the Music is a sensitive, perceptive, comprehensive and compelling exploration of the creative genius of Michael Jackson.  The author provides a special insight into the imagination and magic of perhaps the greatest musical artist of our time.  All who love Michael Jackson will appreciate this original work." —Thomas A. Mesereau, Jr.

"The most thorough and accurate portrayal of Michael's musical life I've ever seen." -Brad Buxer, Music Director for Dangerous and HIStory World Tours

"Man in the Music is thankfully all about just that — the music. Vogel takes the reader album-by-album, song-by-song and examines in exhaustive detail how Jackson produced a lifetime’s worth of music that became a soundtrack to the lives of millions…. Each song Jackson recorded during his solo career is examined with a critical eye. It’s a fascinating read and really a must-have for any Jackson fan." -Mike Householder, Associated Press

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This exciting first play by the author of August: Osage County premiered at Chicago's Steppenwolf before going on to acclaimed productions in London and New York. Hired by the dissolute Smith family to murder the matriarch for insurance money, Killer Joe takes the daughter to bed as a retainer against his final payoff which sets in motion a bloody aftermath as the "hit man" meets his match.

  • Sales Rank: #1443461 in Books
  • Published on: 2015-04-14
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.99" h x .17" w x 5.00" l, .20 pounds
  • Binding: Paperback
  • 84 pages

Review

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About the Author
Tracy Letts is the author of Killer Joe, Bug and Man From Nebraska, which was a finalist for the 2004 Pulitzer Prize for Drama. He is a member of the Steppenwolf Theatre Company, where "August: Osage County" premiered.

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From Publishers Weekly

Easily one of the most influential musicians in the history of jazz, Miles Davis is the archetypal jazz artist: a brilliant, elusive and enigmatic virtuoso. Since he arrived in New York in the late 1940s to work with Charlie Parker and Dizzy Gillespie, Davis has transformed the jazz idiom, initiating a series of new jazz movements beginning with the cool jazz period in the early 1950s and continuing with the release of the groundbreaking album Kind of Blue at the end of the decade. But the accolades from jazz critics and fans usually end with his late 1960s work; around that time, Miles abandoned conventional jazz practices to experiment with avant-garde improvisation, rock music and electric instruments, using elaborate, electronic postproduction techniques to hone his studio recordings. Those explorations became what is now known as "fusion." Music journalist Tingen meticulously dissects Miles's bands, sidemen and musical techniques, offering a wealth of candid firsthand commentary on Miles and his music from former sidemen like pianist Herbie Hancock, guitarist John McLaughlin, saxophonist Wayne Shorter and other musicians, as well as Miles's friends, lovers and ex-wives. Most importantly, Tingen examines Miles's always turbulent but wildly creative relationship with Teo Macero, his producer at Columbia Records. Tingen can sometimes be at once presumptuous and contradictory, summarily declaring, for instance, that a recording should have been radically trimmed even after repeatedly praising Miles's knack for minimalist masterpieces. Nevertheless, Tingen has written a lucid, detailed and illuminating study of a generally misunderstood, often critically dismissed period in the creative life of one of this country's greatest musical innovators. The book also contains an extensive musician list, discography, bibliography and sessionology. 10 b&w photos, not seen by PW. Copyright 2001 Cahners Business Information, Inc.

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From Library Journal

Several fine Davis biographies have appeared over the past few years, mostly ignoring or downplaying much of the music discussed here by Tingen, a music journalist based in Scotland and California. Arguing that Davis succumbed to rock influences to the detriment of his jazz stylings, many critics and listeners have denigrated the trumpeter's electric recordings. Tingen traces these experiments using examples from 1967 onward, culminating in Davis's 1969 masterpiece, Bitches Brew. That recording opened floodgates of criticism, but it also attracted a number of new listeners who welcomed the later music of 1969-75, as well as the work following his 1981 return from retirement until his death in 1991. Tingen recognizes that Davis recorded some duds, but he convincingly shows that his subject was entirely serious about developing this style. Featuring firsthand accounts from more than 50 musicians, producers, and colleagues, including Chick Corea, Herbie Hancock, and Wayne Shorter, this proves an invaluable work on an oft-neglected aspect of Davis's career. Recommended for all libraries with music holdings, public and academic. William Kenz, Minnesota State Univ., Moorhead Copyright 2001 Reed Business Information, Inc.

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Product details

Hardcover: 352 pages

Publisher: Billboard Books; 1st edition (May 1, 2001)

Language: English

ISBN-10: 0823083462

ISBN-13: 978-0823083466

Product Dimensions:

4.8 x 1.2 x 9.5 inches

Shipping Weight: 1.7 pounds

Average Customer Review:

4.0 out of 5 stars

17 customer reviews

Amazon Best Sellers Rank:

#1,111,075 in Books (See Top 100 in Books)

This is my favorite Miles Davis book ever and I have almost every one. I've been a huge fan for years of Miles and that hasn't changed. Paul Tingen has written a useful, interesting, and entertaining guide to my favorite period of Miles' music. Part scholarship, part fan interest, part thoughtful consideration, I can't say enough good things about this book. I go back to it year after year. Thanks Paul for teaching me so much about a topic I already knew a good bit about, and in such a well-written and welcoming way.

Re-read comments. Ok, yeah the book is good enough to re-read but I find myself rolling my eyes at some of the goofy things Tingle writes. Here's a goody: page 72 - "... but also expanded the sonic palette of jazz and rock by adding BASS CLARINET and extensive percussion. Bother were novel sounds in jazz and rock music around 1969."Tingle shows his ignorance of jazz music with comments like this. Had the guy a modicum of research on this point he'd have discovered the magnificent Eric Dolphy, a virtuoso player who lead his own bands, played with Coltrane's band - notably the Village Vanguard recordings, and was even briefly considered for Miles' band. And the comment about extensive percussion. Hasn't this guy ever heard of Tito Pueto, Mongo Santamaria, and Dizzy's Afro Cuban jazz?This book is full of good information but it's also full of ignorant, uninformed comments such as the one I cited above.======================================================================Paul Tingen's account of Miles Davis' electric years provides the best information I've read about this period. I was especially pleased to find a lot of quotes from Pete Cosey, Reggie Lucas, Mtume, Al Foster, Michael Henderson, Dave Liebman, Dominique Gaumont and Sonny Fortune, maybe my favorite lineup from the 69 - 74 years. By the way, if you are interested in this era there is lots of video footage availble on the Web, especially at that ultra popular video site that starts with a "You" and ends with a "Tube" which I'm avoiding in type because for some weird reason, Amazon keeps deleting this review.Ok, so I've told you this is the best information available on the electric period (as far as I know). I've read several biographies, including the mammoth Chambers tome and almost all of these seem to dismiss this period of Miles' work. Tingen at least has some very positive things to say...However, this book is loaded with goofy assertions, especially over-use of the words and expressions "ambient", "beginner's mind", "Zen", "transcend and include". Tingen also goes at length to explain Wilber's theory of holons. I couldn't care less about holons... just give me the #@$% details Tingen. Another thing I found annoying was Tingen's outright proclaimation that the November 69 sessions (that brought you Big Fun) were a failure. Nonsense. "Great Expectations" is a high-water mark in this period in my opinion. In fact, the band I play in "Cannibal Kitchen" covers this piece of music (admittedly we eventually move into a surreal 2 chord vamp). The repetition is no different than say... "Nefertiti". "Great Expectations" is hardly "boring" as Tingen writes. Tingen brings up these sessions several times and every single time he qualifies it with "the failed". If the sessions are so bad, why does Amazon keep selling out of Big Fun? Why did Sony Music release an expensive SACD version of "Big Fun". I don't think they would be making an investment like that for "failed" sessions. Admitedly, "Go Ahead John" can get on my wick depending on my mood (sometimes I like it) but the tracks used to create Go Ahead John weren't from the, ah em, "failed" November 69 sessions. I just found his opinionated fluff really irritating in places.And that brings up another problem with all of these books I've read, including this one. All of these authors seem determined to pontificate and make pronouncements about what is good and what is not so good. Clearly, almost everything Miles did was interesting at the very least and most of it exceptionally good considering what was occurring in music at the time much of this music was made manifest.At one point Tingen becomes bold enough to assert that "Yesternow" from the "Jack Johnson" release would be better if 5 minutes were hacked off of the end... what the hey?! Ok now he's just trying to create controversy. What an incredible arrogant thing to write. Who does this guy think he is anyway? Teo Macero?There is a great session history and discography at the back of the book that Miles collectors will find very useful.Subtract 1 star for over-use of the word ambient (to the point of irritation) in a book about Miles Davis. If Tingen loves the word "ambient" so much he should write something about Brian Eno. Next up for Tingen, a book about the ambient drumming styles of Tony Williams and Jack DeJohnette. Sheesh,ambient this, ambient that. Lame.Subtract 1 star for all the philosophical mumbo-jumbo.Still a good book but the guy ruined what could have been a great book with all the cosmik debris and over analysis of Miles' work (and life for that matter). Buy it because as far as I can tell, it's the only really decent book about this electric era but be prepared to be irritated with the overabundance of psychedelic, candy-floss profundities.

As with most reviews of this book, I must take issue with Paul Tingen's "airy-fairy" descriptors and wholly pretentious attempts at New Agey philosophizing the electric ouevre of Miles Davis. In short, I tried reading this book from beginning to end, but instead found myself diving into bits here and there, as the reading of this book became extremely tedious and frustrating. The best aspect of this book is the extremely thorough documentation of the recordings and live performances from 1968 to 1991, Miles electric period. The worst aspect is the BS thrown in the midst of mostly okay writing that detracts from the documentative aspects of the book and ruins any sense of historical "vibe" which Is immediately summoned whenever I listen to any of Miles' music from this period.

Maybe the best Miles book I've read. It has changed the way I listen to music. I cannot reccomend it highly enough. Get it now. Read it now. Thank, you Paul Tingen, Thank you.

Big fan of Mile’s Electric period, so I’ve been waiting quite a while to read “Miles Beyond” (The price of the book does fluctuate quite dramatically, so I waited till it was under a tenner).Easy to understand & follow apart from a chapter when Tingen discusses the reasons Miles changed to electric, which was a bit of a slog to read (at one point in the chapter he compares Miles to atoms!).Tingen has level headed options of the music Miles was creating during this period, not to gushing, in fact he considers all of Miles albums from the seventies uneven with as many low as highs.There is so much information contained in “Miles Beyond” (the amount of research Tingen must have undertaken is staggering) that the book is absolutely essential is you enjoy Miles post sixties works.

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  • Sales Rank: #15667016 in Books
  • Published on: 2005-03-15
  • Original language: English
  • Binding: Paperback

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Instrumentation, Second EditionBy Franklyn W. Kirk, Nicholas R. Rimboi

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xUnit Test Patterns: Refactoring Test CodeBy Gerard Meszaros

Automated testing is a cornerstone of agile development. An effective testing strategy will deliver new functionality more aggressively, accelerate user feedback, and improve quality. However, for many developers, creating effective automated tests is a unique and unfamiliar challenge.

xUnit Test Patterns is the definitive guide to writing automated tests using xUnit, the most popular unit testing framework in use today. Agile coach and test automation expert Gerard Meszaros describes 68 proven patterns for making tests easier to write, understand, and maintain. He then shows you how to make them more robust and repeatable--and far more cost-effective.

Loaded with information, this book feels like three books in one. The first part is a detailed tutorial on test automation that covers everything from test strategy to in-depth test coding. The second part, a catalog of 18 frequently encountered "test smells," provides trouble-shooting guidelines to help you determine the root cause of problems and the most applicable patterns. The third part contains detailed descriptions of each pattern, including refactoring instructions illustrated by extensive code samples in multiple programming languages.

Topics covered include

  • Writing better tests--and writing them faster
  • The four phases of automated tests: fixture setup, exercising the system under test, result verification, and fixture teardown
  • Improving test coverage by isolating software from its environment using Test Stubs and Mock Objects
  • Designing software for greater testability
  • Using test "smells" (including code smells, behavior smells, and project smells) to spot problems and know when and how to eliminate them
  • Refactoring tests for greater simplicity, robustness, and execution speed

This book will benefit developers, managers, and testers working with any agile or conventional development process, whether doing test-driven development or writing the tests last. While the patterns and smells are especially applicable to all members of the xUnit family, they also apply to next-generation behavior-driven development frameworks such as RSpec and JBehave and to other kinds of test automation tools, including recorded test tools and data-driven test tools such as Fit and FitNesse.

Visual Summary of the Pattern Language  Foreword Preface Acknowledgments Introduction Refactoring a Test PART I: The Narratives Chapter 1 A Brief Tour Chapter 2 Test Smells Chapter 3 Goals of Test Automation Chapter 4 Philosophy of Test Automation Chapter 5 Principles of Test Automation Chapter 6 Test Automation Strategy Chapter 7 xUnit Basics Chapter 8 Transient Fixture Management Chapter 9 Persistent Fixture Management Chapter 10 Result Verification Chapter 11 Using Test Doubles Chapter 12 Organizing Our Tests Chapter 13 Testing with Databases Chapter 14 A Roadmap to Effective Test Automation PART II: The Test Smells  Chapter 15 Code Smells Chapter 16 Behavior Smells Chapter 17 Project Smells PART III: The Patterns  Chapter 18 Test Strategy Patterns Chapter 19 xUnit Basics Patterns Chapter 20 Fixture Setup Patterns Chapter 21 Result Verification Patterns Chapter 22 Fixture Teardown Patterns Chapter 23 Test Double Patterns Chapter 24 Test Organization Patterns Chapter 25 Database Patterns Chapter 26 Design-for-Testability Patterns Chapter 27 Value Patterns PART IV: Appendixes Appendix A Test Refactorings   Appendix B xUnit Terminology  Appendix C xUnit Family Members Appendix D Tools Appendix E Goals and Principles Appendix F Smells, Aliases, and Causes Appendix G Patterns, Aliases, and Variations Glossary References  Index 

  • Amazon Sales Rank: #183468 in Books
  • Published on: 2007-05-31
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.30" h x 2.30" w x 7.00" l, 3.65 pounds
  • Binding: Hardcover
  • 833 pages

From the Back Cover Automated testing is a cornerstone of agile development. An effective testing strategy will deliver new functionality more aggressively, accelerate user feedback, and improve quality. However, for many developers, creating effective automated tests is a unique and unfamiliar challenge."xUnit Test Patterns" is the definitive guide to writing automated tests using xUnit, the most popular unit testing framework in use today. Agile coach and test automation expert Gerard Meszaros describes 68 proven patterns for making tests easier to write, understand, and maintain. He then shows you how to make them more robust and repeatable--and far more cost-effective.Loaded with information, this book feels like three books in one. The first part is a detailed tutorial on test automation that covers everything from test strategy to in-depth test coding. The second part, a catalog of 18 frequently encountered "test smells," provides trouble-shooting guidelines to help you determine the root cause of problems and the most applicable patterns. The third part contains detailed descriptions of each pattern, including refactoring instructions illustrated by extensive code samples in multiple programming languages.Topics covered include Writing better tests--and writing them faster The four phases of automated tests: fixture setup, exercising the system under test, result verification, and fixture teardown Improving test coverage by isolating software from its environment using Test Stubs and Mock Objects Designing software for greater testability Using test "smells" (including code smells, behavior smells, and project smells) to spot problems and know when and how to eliminate them Refactoring tests for greater simplicity, robustness, and execution speedThis book will benefit developers, managers, and testers working with any agile or conventional development process, whether doing test-driven development or writing the tests last. While the patterns and smells are especially applicable to all members of the xUnit family, they also apply to next-generation behavior-driven development frameworks such as RSpec and JBehave and to other kinds of test automation tools, including recorded test tools and data-driven test tools such as Fit and FitNesse. "Visual Summary of the Pattern Language " " Foreword "" Preface "" Acknowledgments "" Introduction "" Refactoring a Test " PART I: The Narratives Chapter 1 A Brief Tour Chapter 2 Test Smells Chapter 3 Goals of Test Automation Chapter 4 Philosophy of Test Automation Chapter 5 Principles of Test Automation Chapter 6 Test Automation Strategy Chapter 7 xUnit Basics Chapter 8 Transient Fixture Management Chapter 9 Persistent Fixture Management Chapter 10 Result Verification Chapter 11 Using Test Doubles Chapter 12 Organizing Our Tests Chapter 13 Testing with Databases Chapter 14 A Roadmap to Effective Test Automation PART II: The Test Smells Chapter 15 Code Smells Chapter 16 Behavior Smells Chapter 17 Project Smells PART III: The Patterns Chapter 18 Test Strategy Patterns Chapter 19 xUnit Basics Patterns Chapter 20 Fixture Setup Patterns Chapter 21 Result Verification Patterns Chapter 22 Fixture Teardown Patterns Chapter 23 Test Double Patterns Chapter 24 Test Organization Patterns Chapter 25 Database Patterns Chapter 26 Design-for-Testability Patterns Chapter 27 Value Patterns PART IV: Appendixes Appendix A Test Refactorings Appendix B xUnit Terminology Appendix C xUnit Family Members Appendix D Tools Appendix E Goals and Principles Appendix F Smells, Aliases, and Causes Appendix G Patterns, Aliases, and Variations "Glossary "" References " " Index "

About the Author Gerard Meszaros is Chief Scientist and Senior Consultant at ClearStream Consulting, a Calgary-based consultancy specializing in agile development. He has more than a decade of experience with automated unit testing frameworks and is a leading expert in test automation patterns, refactoring of software and tests, and design for testability.

Excerpt. © Reprinted by permission. All rights reserved. The Value of Self-Testing Code

In Chapter 4 of Refactoring Ref, Martin Fowler writes:

If you look at how most programmers spend their time, you'll find that writing code is actually a small fraction. Some time is spent figuring out what ought to be going on, some time is spent designing, but most time is spent debugging. I'm sure every reader can remember long hours of debugging, often long into the night. Every programmer can tell a story of a bug that took a whole day (or more) to find. Fixing the bug is usually pretty quick, but finding it is a nightmare. And then when you do fix a bug, there's always a chance that anther one will appear and that you might not even notice it until much later. Then you spend ages finding that bug.

Some software is very difficult to test manually. In these cases, we are often forced into writing test programs.

I recall a project I was working on in 1996. My task was to build an event framework that would let client software register for an event and be notified when some other software raised that event (the Observer GOF pattern). I could not think of a way to test this framework without writing some sample client software. I had about 20 different scenarios I needed to test, so I coded up each scenario with the requisite number of observers, events, and event raisers. At first, I logged what was occurring in the console and scanned it manually. This scanning became very tedious very quickly.

Being quite lazy, I naturally looked for an easier way to perform this testing. For each test I populated a Dictionary indexed by the expected event and the expected receiver of it with the name of the receiver as the value. When a particular receiver was notified of the event, it looked in the Dictionary for the entry indexed by itself and the event it had just received. If this entry existed, the receiver removed the entry. If it didn't, the receiver added the entry with an error message saying it was an unexpected event notification.

After running all the tests, the test program merely looked in the Dictionary and printed out its contents if it was not empty. As a result, running all of my tests had a nearly zero cost. The tests either passed quietly or spewed a list of test failures. I had unwittingly discovered the concept of a Mock Object (page 544) and a Test Automation Framework (page 298) out of necessity!

My First XP Project

In late 1999, I attended the OOPSLA conference, where I picked up a copy of Kent Beck's new book, eXtreme Programming Explained XPE. I was used to doing iterative and incremental development and already believed in the value of automated unit testing, although I had not tried to apply it universally. I had a lot of respect for Kent, whom I had known since the first PLoP1 conference in 1994. For all these reasons, I decided that it was worth trying to apply eXtreme Programming on a ClearStream Consulting project. Shortly after OOPSLA, I was fortunate to come across a suitable project for trying out this development approach--namely, an add-on application that interacted with an existing database but had no user interface. The client was open to developing software in a different way.

We started doing eXtreme Programming "by the book" using pretty much all of the practices it recommended, including pair programming, collective ownership, and test-driven development. Of course, we encountered a few challenges in figuring out how to test some aspects of the behavior of the application, but we still managed to write tests for most of the code. Then, as the project progressed, I started to notice a disturbing trend: It was taking longer and longer to implement seemingly similar tasks.

I explained the problem to the developers and asked them to record on each task card how much time had been spent writing new tests, modifying existing tests, and writing the production code. Very quickly, a trend emerged. While the time spent writing new tests and writing the production code seemed to be staying more or less constant, the amount of time spent modifying existing tests was increasing and the developers' estimates were going up as a result. When a developer asked me to pair on a task and we spent 90% of the time modifying existing tests to accommodate a relatively minor change, I knew we had to change something, and soon!

When we analyzed the kinds of compile errors and test failures we were experiencing as we introduced the new functionality, we discovered that many of the tests were affected by changes to methods of the system under test (SUT). This came as no surprise, of course. What was surprising was that most of the impact was felt during the fixture setup part of the test and that the changes were not affecting the core logic of the tests.

This revelation was an important discovery because it showed us that we had the knowledge about how to create the objects of the SUT scattered across most of the tests. In other words, the tests knew too much about nonessential parts of the behavior of the SUT. I say "nonessential" because most of the affected tests did not care about how the objects in the fixture were created; they were interested in ensuring that those objects were in the correct state. Upon further examination, we found that many of the tests were creating identical or nearly identical objects in their test fixtures.

The obvious solution to this problem was to factor out this logic into a small set of Test Utility Methods (page 599). There were several variations:

  • When we had a bunch of tests that needed identical objects, we simply created a method that returned that kind of object ready to use. We now call these Creation Methods (page 415).
  • Some tests needed to specify different values for some attribute of the object. In these cases, we passed that attribute as a parameter to the Parameterized Creation Method (see Creation Method).
  • Some tests wanted to create a malformed object to ensure that the SUT would reject it. Writing a separate Parameterized Creation Method for each attribute cluttered the signature of our Test Helper (page 643), so we created a valid object and then replaced the value of the One Bad Attribute (see Derived Value on page 718).
We had discovered what would become2 our first test automation patterns.

Later, when tests started failing because the database did not like the fact that we were trying to insert another object with the same key that had a unique constraint, we added code to generate the unique key programmatically. We called this variant an Anonymous Creation Method (see Creation Method) to indicate the presence of this added behavior.

Identifying the problem that we now call a Fragile Test (page 239) was an important event on this project, and the subsequent definition of its solution patterns saved this project from possible failure. Without this discovery we would, at best, have abandoned the automated unit tests that we had already built. At worst, the tests would have reduced our productivity so much that we would have been unable to deliver on our commitments to the client. As it turned out, we were able to deliver what we had promised and with very good quality. Yes, the testers3 still found bugs in our code because we were definitely missing some tests. Introducing the changes needed to fix those bugs, once we had figured out what the missing tests needed to look like, was a relatively straightforward process, however.

We were hooked. Automated unit testing and test-driven development really did work, and we have been using them consistently ever since.

As we applied the practices and patterns on subsequent projects, we have run into new problems and challenges. In each case, we have "peeled the onion" to find the root cause and come up with ways to address it. As these techniques have matured, we have added them to our repertoire of techniques for automated unit testing.

We first described some of these patterns in a paper presented at XP2001. In discussions with other participants at that and subsequent conferences, we discovered that many of our peers were using the same or similar techniques. That elevated our methods from "practice" to "pattern" (a recurring solution to a recurring problem in a context). The first paper on test smells RTC was presented at the same conference, building on the concept of code smells first described in Ref.

My Motivation

I am a great believer in the value of automated unit testing. I practiced software development without it for the better part of two decades, and I know that my professional life is much better with it than without it. I believe that the xUnit framework and the automated tests it enables are among the truly great advances in software development. I find it very frustrating when I see companies trying to adopt automated unit testing but being unsuccessful because of a lack of key information and skills.

As a software development consultant with ClearStream Consulting, I see a lot of projects. Sometimes I am called in early on a project to help clients make sure they "do things right." More often than not, however, I am called in when things are already off the rails. As a result, I see a lot of "worst practices" that result in test smells. If I am lucky and I am called early enough, I can help the client recover from the mistakes. If not, the client will likely muddle through less than satisfied with how TDD and automated unit testing worked--and the word goes out that automated unit testing is a waste of time.

In hindsight, most of these mistakes and best practices are easily avoidable given the right knowledge at the right time. But how do you obtain that knowledge without making the mistakes for yourself? At the risk of sounding self-serving, hiring someone who has the knowledge is the most time-efficient way of learning any new practice or technology. According to Gerry Weinberg's "Law of Raspberry Jam" SoC,4 taking a course or reading a book is a much less effective (though less expensive) alternative. I hope that by writing down a lot of these mistakes and suggesting ways to avoid them, I can save you a lot of grief on your project, whether it is fully agile or just more agile than it has been in the past--the "Law of Raspberry Jam" not withstanding.

Who This Book Is For

I have written this book primarily for software developers (programmers, designers, and architects) who want to write better tests and for the managers and coaches who need to understand what the developers are doing and why the developers need to be cut enough slack so they can learn to do it even better! The focus here is on developer tests and customer tests that are automated using xUnit. In addition, some of the higher-level patterns apply to tests that are automated using technologies other than xUnit. Rick Mugridge and Ward Cunningham have written an excellent book on Fit FitB, and they advocate many of the same practices.

Developers will likely want to read the book from cover to cover, but they should focus on skimming the reference chapters rather than trying to read them word for word. The emphasis should be on getting an overall idea of which patterns exist and how they work. Developers can then return to a particular pattern when the need for it arises. The first few elements (up to and include the "When to Use It" section) of each pattern should provide this overview.

Managers and coaches might prefer to focus on reading Part I, The Narratives, and perhaps Part II, The Test Smells. They might also need to read Chapter 18, Test Strategy Patterns, as these are decisions they need to understand and provide support to the developers as they work their way through these patterns. At a minimum, managers should read Chapter 3, Goals of Test Automation.

1 The Pattern Languages of Programs conference.

2 Technically, they are not truly patterns until they have been discovered by three independent project teams.

3 The testing function is sometimes referred to as "Quality Assurance." This usage is, strictly speaking, incorrect.

4 The Law of Raspberry Jam: "The wider you spread it, the thinner it gets."

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