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The Fated for Love Series
A duke's daughter in hiding. An ex-spy blinded by desire. Is it treason or true love?
Lady Lillian must abandon her decadent life to hide from her stepfather who wants to use her as the scapegoat for the ultimate sin against England.
Her years of playing in the kitchen as a child has paid off and she's found work as a cook's assistant in the house of the Earl of Redwick, a man she's never met in society. But her refuge is not as safe as it seems. When she finally meets the master of the house, she discovers the new Earl of Redwick could be a danger to her masquerade... and her heart.
As a second son, Dominic never expected to inherit, but now he must adapt to life as a gentleman of leisure, and he hates it. His days of spying for the crown are over, except for one last secret mission right here in London. Find the missing daughter of a duke and her traitor stepfather.
But Lady Lillian isn't missing; she's hiding right under his nose as his lovely new cook's assistant. To bring her stepfather to justice, Dominic needs Lilly's help. Can he resist temptation and keep his focus on the mission or will his growing attraction to Lilly put both their lives at risk?
Mine, All Mine is book 1 of the Fated for Love Regency Romance Series. If you like intrigue, suspense, adventure, and sizzling romance, then you'll love Dayna Quince's debut novel.
Pick up Mine, All Mine to discover this page-turning series today!
Can a single kiss thaw a heart determined to remain cold?
After witnessing her father's philandering and her mother's turmoil, Lady Lydia Covington knows rakes make terrible husbands and vows to marry a man who can never break her heart. Lord Caverly, a man many years older, is the man Lydia and her mother choose for Lydia to marry. But one kiss from the handsome and disreputable Lord Wilhelm sets all her cold-hearted plans ablaze.
Devon, Viscount Wilhelm, only kissed Lady Lydia to prove that he could rattle her icy facade, but instead, the famed Ice Queen of London sets him on fire. As his little sister's closet friend, she is off limits, but when Lydia comes to him, asking him to teach her about passion, Devon can't refuse. He sets out to show her why rakes make the best husbands.
As Lydia and Devon fall deeper in love, fear of a disastrous marriage like her parents had prevents Lydia from believing Devon's intentions are true. Confronted with her impending engagement to Lord Caverly, Lydia must choose between risking her heart on a rake or a safe passionless marriage with Lord Caverly. But when Lydia realizes her mistake in choosing Lord Caverly over Devon, it's too late and Devon has disappeared from England.
After word of his return reaches Lydia three months later, the tables have turned and this time it is Devon who refuses to believe in Lydia's love. It is up to Lydia to convince him that her intentions are true, and reformed ice queens make the best wives.
If you like a second chance romance full of raw emotion, humor, heartbreak, redemption, and sizzling love scenes, then you'll love Sweet Torture, the second book of the Fated For Love Regency Romance Series.
Buy Sweet Torture to read Dayna's page-turning novel today!
Heart-strong: When one blindly follows the urgings of their heart, without using logic and reason from their head.
Olivia suffers greatly from this malady...
Lady Olivia is ruined. She has been banished to the country in the wake of a scandal and to make matters worse, her brother has disappeared from England. Her family turns to his boyhood friend, Captain Colton, to search for him. Olivia is desperate to help and devises a plan to tag along with the man she has loved since she was a young girl. But her plan fails miserably.
Captain Colton is furious to find Lady Olivia on his ship, stowed away in a trunk of all places. Colton has secretly wanted Olivia for some time but knows the difference of their stations makes him unworthy of her hand. Colton tries to resist all temptation and keep her at arm's length.
Colton and Olivia must work together to rescue Devon, forcing them to confront their feelings. When they return to England, Olivia will have to marry to salvage her reputation, and Colton is convinced her family will not see her wed to a lowly ship Captain. Can Olivia convince Colton that their differences can be overcome by love?
Storm On The Horizon is the 3rdbook in the Fated for Love Regency Romance Series.
If you love exciting adventure and sexy Regency romance with a dash of humor, then you'll love Dayne Quince's page-turning novel.
Buy Storm On The Horizon to read Dayna's sizzling romantic adventure today!
A father's last wish…
As the only son and heir to the Duke of Maltravers, Lord Willowton's family legacy rests in his hands. His father surprises him with one last dying wish—a wish for him to marry Miss Obedience Wickenham. Chance loves his father, but only agrees to consider it. One kiss should reveal if he could ever feel anything more than annoyance for the girl who dogged his every step when they were children. That one kiss is his undoing, and he quickly realizes that he must have her forever and convince her to marry him.
Obedience has always been infatuated with Chance. However, could she marry him as the duke's last wish? She wants more than a marriage of convenience, but even if Chance can convince her with kisses of the passion between them, there is far more that stands in their way.
Her mother and sister have their own plan for the soon to be Duke of Maltravers. Obedience is torn between loyalty to her family and the love she has for the old duke and his son, whom she has only dared to love in her dreams. Can Chance help Obedience choose between love and loyalty before his father's death, or will he fail to grant him his dying wish and lose Obedience, too?
If you like sweet and sexy romance with a dash of fun, To Love, Honor and Obey is the final book and the cherry on top of the truly romantic and sensual Fated for Love Series.
Buy To Love, Honor and Obey to read Dayna's page-turning novel today!
Buy the bundle and Save!
Four gently bred women defy the rules of Regency London society to save lives and find love. How do they do it? With the help of four gentlemen who will protect them at all cost.
Book 1) Mine, All Mine
Book 2) Sweet Torture
Book 3) Storm On The Horizon
Book 4) To Love, Honor and Obey.
If you like sizzling love scenes, second chance romance, action, adventure, and a dash of humor, then you'll love Dayna Quince's sexy Regency Romance Series. Buy this box set to read Dayna's complete series today!


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Stretchable Printed Cat Legging
This multi-color printed cat legging is high-waisted stretchable and durable. Easy to wash and dry. Attractive and very beautiful. Enjoy the comfort of wearing this legging.
Customer Pictures
We offer FREE SHIPPING worldwide.
Delivery times will depend on the item availability and your country of residence. Average delivery times range from 15 to 20 days after purchase.After making your purchase you'll receive a confirmation email including the details of your order. We process orders every day from 7am to 7pm, and if your order is placed after 7pm, your order will be processed the next day.
Once your order is shipped you'll receive an email with your tracking information.If you need help with tracking your order please email us at firstname.lastname@example.com
Returns Policy
We have a 30-day return policy, which means you have 30 days after receiving your item to request a return.
To start a return, you can contact us at email@example.com. If your return is accepted, we'll send you a return shipping label, as well as instructions on how and where to send your package. Items sent back to us without first requesting a return will not be accepted.

subset: commoncrawl


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Your user privacy is important to us, and this notice informs you of the information that Studio G Salon and Day Spa may collect from you, and how it is used. By using our website, StudioGSalonandDaySpa.com, you are accepting the practices described in this privacy policy.
Information Collection
We may collect non-personal information, such as a domain name and IP Address. The domain name and IP address reveals nothing personal about you other than the IP address from which you have accessed our site. We may also collect information about the type of Internet browser you are using, operating system, what brought you to our Website, as well as which of our Web pages you have accessed.
Additionally, if you communicate with us regarding our Website or our services, we will collect any information that you provide to us in any such communication. We may contact you via email in the future to tell you about specials, new products or services, or changes to this privacy policy.
Information Use
We use the collected information primarily for our own internal purposes, such as providing, maintaining, evaluating, and improving our services and Website, fulfilling requests for information, and providing customer support.
We follow generally accepted industry standards to protect the information submitted to us, both during transmission and once we receive it. If we collect sensitive information (such as credit card data), that information is encrypted and transmitted to us in a secure way. You can verify this by looking for a closed lock icon at the bottom of your web browser, or looking for "https" at the beginning of the address of the web page.
While we use encryption to protect sensitive information transmitted online, we also protect your information offline. Only employees who need the information to perform a specific job (for example, billing or customer service) are granted access to personally identifiable information. The computers/servers in which we store personally identifiable information are kept in a secure environment.
We use "cookies" on this site. A cookie is a piece of data stored on a site visitor's hard drive to help us improve your access to our site and identify repeat visitors to our site. For instance, when we use a cookie to identify you, you would not have to log in a password more than once, thereby saving time while on our site. Cookies can also enable us to track and target the interests of our users to enhance the experience on our site. Usage of a cookie is in no way linked to any personally identifiable information on our site.
Data Sharing
We will not sell or otherwise provide the information we collect to outside third parties for any purpose whatsoever, other than law enforcement. We will disclose personal information and/or an IP address, when required only by law enforcement subpoena:
- Cooperate with the investigations of purported unlawful activities and conform to the edicts of the law or comply with legal process served on our company
- Protect and defend the rights or property of our Website and related properties
- Identify persons who may be violating the law, the rights of third parties, or otherwise misusing our Website or its related properties
Please keep in mind that whenever you voluntarily disclose personal information online – for example through e-mail, discussion boards, or elsewhere that information can be collected and used by others. In short, if you post personal information online that is accessible to the public, you may receive unsolicited messages from other parties in return. Ultimately, you are solely responsible for maintaining the secrecy of your personal information. Please be careful and responsible whenever you are online.
Website Links
This Website may contain links to other sites. Please be aware that we are not responsible for the content or privacy practices of such other sites. We encourage our users to be aware when they leave our site and to read the privacy statements of any other site that collects personally identifiable information.
Your Consent
By using this Website, you consent to the collection and use of information as specified above. If we make changes to this Privacy Policy, we will post those changes on this page. Please review this page frequently to remain up-to-date with the information we collect, how we use it, and under what circumstances we disclose it. You must review the new Privacy Policy carefully to make sure you understand our practices and procedures.
Privacy Policy Created: October 1, 2017


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Hope to see all of you bears and admirers come down to Spa Excess on Sunday, August 19th for the next Bears in Excess.
As always, we have some great prizes to give away:
- Traveler Pack from Sussex Beard, which includes a 10ml oil pocket pal (Ginger or Original), vintage style comb, vintage style beard brush. All in a drawstring bag and valued at $50. Check out their fantastic products at https://sussexbeard.com/ ;
- A $50 gift certificate for BearThug.com;
- A $25 VISA gift card donated by Rexall;
We will be serving complimentary sandwiches donated by Spa Excess at 3:30 pm.
Please visit our Facebook page or group. At times, we have time sensitive prizes that we will be giving away, so like our page, join our group, and interact with us. We are also on Instagram (@bearsinexcess) with several hot bears, chubs, and admirers. Check it out! Join us!
Our next Bears in Excess will be on Sunday, September 16th and our Chubs at the Tubs will be held on Sunday, September 30th.
See you there!


text: +me N u Posted June 11, 2011 Share Posted June 11, 2011 We are proud to introduce the new Saudi Geocachers logo to you all. http://www.saudigeocachers.com/images/saudigeocacherslogofinal.jpg The logo was designed by Dale Hubert, the creator of the Flat Stanley Project. Flat Stanley is the international literacy and community building activity for students of all ages, teachers and families. Flat Stanley is a frequent member of geocaching trips in Saudi Arabia - turning Saudi geocaching tripsinto an educational adventure for 3rd and 4th graders in a school in Pennsylvania, USA. Explanation of the logo: the 4 points of the compass are represented by the coloured triangles - the colours taken from the original www.geocaching.com 4-square logo. Compass the Camel is our mascot - he is poking his head through the points of the compass expanding his adventures to new horizons. Thank you Dale for your creative design! It is really appreciated! The logo is now available for download on the website. Quote Link to comment


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Click a verse to see commentary
Select a resource above
(Psalms 1–41)
Psalm 1
The Two Ways
Happy are those
who do not follow the advice of the wicked,
or take the path that sinners tread,
or sit in the seat of scoffers;
but their delight is in the law of the L ord,
and on his law they meditate day and night.
They are like trees
planted by streams of water,
which yield their fruit in its season,
and their leaves do not wither.
In all that they do, they prosper.
The wicked are not so,
but are like chaff that the wind drives away.
Therefore the wicked will not stand in the judgment,
nor sinners in the congregation of the righteous;
for the L ord watches over the way of the righteous,
but the way of the wicked will perish.
New Revised Standard Version Bible, copyright 1989, Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.
1. Blessed is the man. 1919 In the Septuangint, the reading is μακαριος ἀνηρ, blessed is the man. Both Calvin and our English translators have adopted this rendering. But the Hebrew word אשרי, rendered blessed, is in the plural number, and האיש, ha-ish, the man, in the singular. Accordingly, the words have been considered as an exclamation, and may be literally rendered, O, the blessedness of the man! A beautiful and emphatic form of expression. The meaning of the Psalmist, as I have stated above, is, that it shall be always well with God's devout servants, whose constant endeavor it is to make progress in the study of his law. The greater part of mankind being accustomed to deride the conduct of the saints as mere simplicity, and to regard their labor as entirely thrown away, it was of importance that the righteous should be confirmed in the way of holiness, by the consideration of the miserable condition of all men without the blessing of God, and the conviction that God is favorable to none but those who zealously devote themselves to the study of divine truth. Moreover, as corruption has always prevailed in the world, to such a degree, that the general character of men's lives is nothing else but a continual departure from the law of God, the Psalmist, before asserting the blessedness of the students of the divine law, admonishes them to beware of being carried away by the ungodliness of the multitude around them. Commencing with a declaration of his abhorrence of the wicked, he teaches us how impossible it is for any one to apply his mind to meditation upon God's laws who has not first withdrawn and separated himself from the society of the ungodly. A needful admonition surely; for we see how thoughtlessly men will throw themselves into the snares of Satan; at least, how few comparatively there are who guard against the enticements of sin. That we may be fully apprised of our danger, it is necessary to remember that the world is fraught with deadly corruption, and that the first step to living well is to renounce the company of the ungodly, otherwise it is sure to infect us with its own pollution.
As the prophet, in the first place, enjoins the godly to beware of temptations to evil, we shall follow the same order. His affirmation, that they are blessed who have no fellowship with the ungodly, is what the common feeling and opinion of mankind will scarcely admit; for while all men naturally desire and seek after happiness, we see how securely they can indulge themselves in their sins, yea, that those of them who have departed farthest from righteousness, in the gratification of their lusts, are accounted happy, because they obtain the desires of their heart. The prophet, on the contrary, here teaches that no man can be duly animated to the fear and service of God, and to the study of his law, until he is firmly persuaded that all the ungodly are miserable, and that they who do not withdraw from their company shall he involved in the same destruction with them. But as it is no easy matter to shun the ungodly with whom we are mingled in the world, so as to be wholly estranged from them, the Psalmist, in order to give the greater emphasis to his exhortation, employs a multiplicity of expressions.
In the first place, he forbids us to walk in their counsel; in the second place, to stand in their way; and, lastly, to sit in their seat.
The sum of the whole is, that the servants of God must endeavor utterly to abhor the life of ungodly men. But as it is the policy of Satan to insinuate his deceits, in a very crafty way, the prophet, in order that none may be insensibly deceived, shows how by little and little men are ordinarily induced to turn aside from the right path. They do not, at the first step, advance so far as a proud contempt of God but having once begun to give ear to evil counsel, Satan leads them, step by step, farther astray, till they rush headlong into open transgression. The prophet, therefore, begins with counsel, by which term I understand the wickedness which does not as yet show itself openly. Then he speaks of the way, which is to be understood of the customary mode or manner of living. And he places at the top of the climax the seat, by which metaphorical expression he designates the obduracy produced by the habit of a sinful life. In the same way, also, ought the three phrases, to walk, to stand, and to sit, to be understood. When a person willingly walks after the gratification of his corrupt lusts, the practice of sinning so infatuates him, that, forgetful of himself, he grows hardened in wickedness; and this the prophet terms standing in the way of sinners. Then at length follows a desperate obstinacy, which he expresses by the figure of sitting. Whether there is the same gradation in the Hebrew words רשעים, reshaim, חטאים, chataim, and לצים, letsim, that is to say, a gradual increase of evil, I leave to the judgment of others. 2020 C'est a dire, un accroissement de mal comme par degrez. — Fr. To me it does not appear that there is, unless perhaps in the last word. For those are called scorners who, having thrown off all fear of God, commit sin without restraint, in the hope of escaping unpunished, and without compunction or fear sport at the judgment of God, as if they would never be called to render up an account to him. The Hebrew word חטאים, chataim, as it signifies the openly wicked, is very properly joined with the term way, which signifies a professed and habitual manner of living. 2121 Il est bien conjoint avec le verbe signifiant une profession de vivre et un train tout accoustume. — Fr. And if, in the time of the Psalmist, it was necessary for the devout worshippers of God to withdraw themselves from the company of the ungodly, in order to frame their life aright, how much more in the present day, when the world has become so much more corrupt, ought we carefully to avoid all dangerous society that we may be kept unstained by its impurities. The prophet, however, not only commands the faithful to keep at a distance from the ungodly, from the dread of being infected by them, but his admonition farther implies, that every one should be careful not to corrupt himself, nor abandon himself to impiety. 2222 Et s'adonner de soy-mesme a impiete. — Fr. A man may not have contracted defilement from evil examples, and yet come to resemble the wicked by spontaneously imitating their corrupt manners.
In the second verse, the Psalmist does not simply pronounce those happy who fear God, as in other places, but designates godliness by the study of the law, teaching us that God is only rightly served when his law is obeyed. It is not left to every man to frame a system of religion according to his own judgment, but the standard of godliness is to be taken from the Word of God. When David here speaks of the law, it ought not to be understood as if the other parts of Scripture should be excluded, but rather, since the whole of Scripture is nothing else than an exposition of the law, under it as the head is comprehended the whole body. The prophet, therefore, in commending the law, includes all the rest of the inspired writings. He must, therefore, be understood as meaning to exhort the faithful to the reading of the Psalms also. From his characterising the godly as delighting in the law of the Lord, we may learn that forced or servile obedience is not at all acceptable to God, and that those only are worthy students of the law who come to it with a cheerful mind, and are so delighted with its instructions, as to account nothing more desirable or delicious than to make progress therein. From this love of the law proceeds constant meditation upon it, which the prophet mentions on the last clause of the verse; for all who are truly actuated by love to the law must feel pleasure in the diligent study of it.


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This story was originally published on November 24, 2017.
Next week marks America's favorite colonialist capitalist festival of gluttony a.k.a. Thanksgiving, so we thought we'd give you a break from the prejudiced family members and endless carbs and death by trampling at the mall with this mix about gratitude in many forms. Spoiler alert, there's a Raffi song on here. YOU'RE WELCOME.
Track List:
1. Kehlani - "Thank You"
2. Natalie Merchant - "Kind and Generous"
3. Dido - "Thank You"
4. Natalie Cole - "Be Thankful"
5. Bette Midler - "Wind Beneath My Wings"
6. Rita Ora - "Grateful"
7. Feki - "Thankful"
8. Sly & The Family Stone - "Thank You (Falettinme Be Mice Elf Agin)"
9. Little Simz - "Gratitude"
10. Kelly Clarkson - "Thankful"
11. Raffi - "Thanks A Lot"
12. India.Arie - "Gratitude"


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Hermès Tri-Color Birkin Bag - Special Order
Size: 35cm
Color: Blue Electric, Ultra Violet, Iris
Material: Clemence Leather
Measures: 35x28x18cm (14"x11"x7")
Condition : Excellent
Includes: Lock, Keys, Clochette, Sleeper
Special Order Hermès Birkin 35cm bag featured in three different colors: Blue Electric, Ultra Violet and Iris. Extremely special Hermès bag was custom made for a VIP client in Paris. Made from Clemence leather and is accentuated by brushed gold hardware. This bag also features the signature horseshoe symbol in the embossing, which is added to all special order Hermès bags. Please contact us for availability and additional details.
Condition Details: Overall excellent condition
*All tassels, twillies and charms are NOT included in the sale of this bag.


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Because we pastors sometimes get anonymous notes…
Of the Mind that You best Me?
(Humility, Absolution, and the Confidence of Psalm 27)
Of the mind that you best me?
'Tis only a scratch.
Takes more than a jot
To even our match.
Where's your name? What's your face?
No record, I see.
No courage, no honor
To 'scribe unto thee.
Cowardly, dastardly,
This thing you have done.
Sent right to my home,
Received by my son.
And you spared not a drop,
From your mad chalice
Foul language and spite,
Cruelty, malice.
And yet there is a Word
That snatches the day
It reckons to light,
Dispels the dismay.
It calls somewhat gently,
"Of whom shall I fear?
My stronghold, the Lord,
This battering year."
I pray that you'll hear this.
I pray that you'll see,
He lifts the humble;
The proud–to the knee.
"Though armies besiege me,
My heart will not fear.
Though war rise 'gainst me,
My rampart is clear."
There is One who knows you,
And He fights for me.
He fought for you, too
'Gainst splintery tree.
You believe that you've wronged me?
Soft heart, do I sense?
Whate'er can divide?
Whate'er can dispense?
Be not afraid that I'll
Haughtily chide you.
Please, be not fearing.
May peace abide you.
For I am not golden,
With sinless abstain.
I am not a man
Who never gives pain.
But a man, nonetheless
Baptized fear dwells within.
Called to be faithful,
Not called to "win."
So let us be gathered.
Bring this to an end.
Come with me in search
Of others, my friend.


text:
If you don't know, it's time to find the answer because they are influencing individuals, teams, leaders and other stakeholders to make big differences in innovation, growth, talent management and the future.
We are counting down the days to the 2016 Employee Resource Group (ERG) Leadership Summit that is being held at the Bill and Melinda Gates Foundation March 8 - 9, 2016.
To get ready for the program, I have had several conversations with the experts who are presenting at the event. I also have spent quite a bit of time talking to a lot of people who have never heard of ERGs and wonder why they should care. In fact, there are a lot of individuals who have no idea what ERGs are -even in companies that have ERGs. This is a fascinating fact because ERGs have been in existence in various forms since the 1960s. Starting out as part of a national effort to quell racial tensions, the early caucuses transformed into affinity groups and later to employee resource groups (ERGs). Today we see them continuing to evolve, with some businesses calling them business resource groups because they are indeed focused on providing resources to members and the business.
ERGs are marching forward and supporting business agendas for growth. They are innovating, creating, teaching and building trust. There's a lot to learn from ERGs, but unfortunately you will not find that knowledge in a book. There is simply not much written about these organizations and how they work. So we're learning from each other - in person and live - the old fashion way.
McKesson is going to talk about their experiences in transforming the structure of their ERGs to drive more results in their global business. Steven Rice, the CHRO of the Bill and Melinda Gates Foundation, has a unique take on ERGs having worked with them in several organizations over his career. He and I had a very interesting conversation about where ERGs are going and how they can help companies of any size.
Do you know Gordy Graham? Gordy's message about inclusion is a unique one, and his journey from prisoner to escape artist and then to change management guru will shed light on how the work of ERGs can be thought about in very different lights. How can all of us use our lives to help influence and make change to individuals and groups who are not getting the assistance they need?
We're learning about how people, working together, can influence the business in a positive way.Senior executives from Lenovo and Motorola are going to talk about how they are working with their ERGs to help build a new business together. Speakers from Paramount Pictures and Blue Shield are contributing their experiences to the base of knowledge.
Remember show and tell? Our participants learn a lot by doing the same activity; they bring examples of their work and share it with their peers. They walk around, ask questions, and learn.
Our sponsors, the Bill and Melinda Gates Foundation, AT&T, Sony Pictures Entertainment, Blue of California and Novo Nordisk are helping make the event useful to every single participant. I invite you to join the learning and help us take ERGs to the next level.


text:
Malwarebytes Anti-Malware Premium 126.96.36.199 Crack + License Key [Lifetime]
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Malwarebytes' Anti-Malware Premium License Cracker has developed an ultra lightning fast feature that automatically scans all active threats. If there is no need to study, it will perform a background scan mode that performs its activities while playing or swimming in your favorite games. Automatically scan for the next few moments. Also, it includes practical tools essential to protect PCs, Macs, and laptops from various viruses, spyware, and malicious activity. It also recognizes malware that is ready to destroy the shield but protects your computer around the clock. Therefore, Malwarebytes Anti-Malware is useful because your computer is booted. As a result, it recognizes all spyware from downloaded files, shared files, and email data.
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text:
AppKey (Beta)« Shopping « Downloads
|January 1, 1970
|128 times
|appkey, unlock
Welcome to AppKey! AppKey unlocks the premium (paid) version of participating apps and shows you nearby money-saving deals right on your home screen.
Once you install AppKey and place the widget on your home screen, the widget will display money-saving deals from local merchants on your home screen. Once AppKey is correctly installed, all AppKey-network apps will automatically run in unlocked (paid) mode. You can enjoy more levels and puzzles on your favorite games, and more features on your productivity apps.
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by Carla Ruschival
Get in the driver's seat and take the on-ramp to an outstanding weekend of leadership training. Plan now to attend the second annual Crossroads Leadership Conference, March 21-23, 2014, in Louisville, Ky.
The first Crossroads received rave reviews from all who attended. The second Crossroads will be even more exciting and educational than the first.
Crossroads is a skills-based weekend designed with beginners and more advanced leaders in mind. Open to anyone who wishes to attend, Crossroads includes five interstates (general sessions), 16 side roads (classes) targeting specific skills, and two unique leadership activities. Create your own road map; choose the sessions that best fit your needs. Fill your fuel tank with fundraising ideas, free and inexpensive public relations and membership recruitment techniques, and new ways to energize your membership. Learn to run more effective meetings, make a great first impression, and be a better public speaker. Grab techniques to increase traffic to your web site, use social media to reach younger members, and recruit, screen and keep volunteers.
Pre-registration for Crossroads is only $45 per person. Your pre-registration fee covers Friday and Saturday lunch, all general sessions and classes, Friday and Saturday evening feasts (you even get seconds), and Friday and Saturday evening snacks.
Crossroads will be at the Best Western Plus Airport East/Expo Center, 1921 Bishop Lane, in Louisville. Room rates are $79 a night plus tax; a hot breakfast is included with your room each day. Free wi-fi is available throughout the hotel, and the hotel shuttle will pick up guests at the airport, the MegaBus stop, and the Greyhound station at no charge.
Crossroads is open to all state and special-interest affiliates, local chapters, and individuals who wish to attend. Students and younger members are welcome. Affiliates may select people to attend, and individuals wishing to participate are also welcome. Crossroads is open to all.
To make reservations at the hotel, call (502) 456-4411; be sure to let them know that you are attending the Crossroads Conference.
Pre-registration will open in late January. Request your pre-registration packet and get more information by calling the Kentucky Council of the Blind at (502) 895-4598, by e-mailing [email protected], or by visiting the Kentucky Council of the Blind web site at www.kentucky-acb.org.
Crossroads is hosted by the Kentucky Council of the Blind. Members of the planning team are from Ohio, Tennessee, West Virginia, Georgia, Indiana, and Kentucky. Several state and special-interest affiliates and local chapters are represented, and anyone wishing to join our team is welcome. For more information on becoming part of our team, call (502) 895-4598.
Now start planning. Be sure to take the right turn and meet us at the Crossroads.


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Fifty years ago, an extraordinary pornographic novel appeared in Paris. Published simultaneously in French and English, Story of O portrayed explicit scenes of bondage and violent penetration in spare, elegant prose, the purity of the writing making the novel seem reticent even as it dealt with demonic desire, with whips, masks and chains.
Pauline Reage, the author, was a pseudonym, and many people thought that the book could only have been written by a man. The writer's true identity was not revealed until 10 years ago, when, in an interview with John de St Jorre, a British journalist and some-time foreign correspondent of The Observer, an impeccably dressed 86-year-old intellectual called Dominique Aury acknowledged that the fantasies of castles, masks and debauchery were hers.
Aury was an eminent figure in literary France, and had been when she wrote the book at the age of 47. A translator, editor and judge of literary prizes, for a quarter of a decade, Aury was the only woman to sit on the reading committee of publishers Gallimard (a body that also included Albert Camus) and was a holder of the Légion d'Honneur. She could scarcely have been more highbrow, nor, according to de St Jorre, more quietly and soberly dressed, more 'nun-like'.
The French state has not always had an easy relationship with Story of O, but, this year, the government has announced it is to be included on a list of national triumphs to be celebrated in 2004. Dominique Aury died, aged 90, in 1998, but many people who knew her well are still alive and a number feature in a fascinating and, as yet, unseen documentary about the book and the secrecy that for so long surrounded it, made by an American film-maker, Pola Rapaport.
It turns out that Story of O has had considerable influence. In the 1950s, such a book could arguably only have been written in France. It would certainly never have been published in England or the United States, both of which were in the grip of censorship laws. Now, of course, women are expected to write about their fantasies and what they get up to, and they do it with enthusiasm: this month sees the publication of One Hundred Strokes of the Brush Before Bedtime, by 'Melissa P', who, we are told, is a 15-year-old Sicilian girl with a taste for blindfold sex with several men at once.
We've had swinger-sex from Catherine Millett and pensioner sex from Jane Juska, who advertised in the New York Review of Books for men who would also throw in some conversation about Trollope. The burnings of Story of O by American campus feminists in the 1980s have, it seems, had a less enduring and subversive effect than the book itself.
But first things first. Story of O is not a book to read on the bus – or not the first 60 pages, anyway, which are written with an almost hallucinatory, erotic intensity that you would have to be rather peculiar not to be left hot and bothered by.
A young woman, O, is ordered into a waiting car by her lover, René, commanded to remove her underwear, and driven to a chateau in the Paris suburb of Roissy. Here, she is initiated into a secret society with complicated rules: she is not to look any man in the eye nor speak to any of the other women. She must wear a corseted dress that exposes her breasts, a leather collar and cuffs. Any man may dispose of her as he wishes. O welcomes all this, understanding that the harsher the treat ments she endures, the more she proves her love.
These are the pages that, in a third-person account written nearly 20 years later, the author described herself writing at night, 'lying on her side with her feet tucked up under her, a soft black pencil in her right hand… the girl was writing the way you speak in the dark when you've held back the words of love too long and they flow out at last. For the first time in her life, she was writing without hesitation, without stopping, rewriting or discarding; she was writing the way one breathes, or dreams… she was still writing when the street cleaners came by at the first touch of dawn.'
Dominique Aury, lying on her side in bed with her pencil and her school exercise books, did not intend the work to be published. She wrote it as a dare, a challenge and an enterprise de seduction for her lover, Jean Paulhan. They'd met during the German occupation, when she distributed a subversive magazine, Lettres Françaises, which he edited. Probably, they were first introduced by her father, in the hope that she might solicit Paulhan's aid in publishing the volume of 17th-century devotional poetry she had collected. (She did, and it was.) Subsequently, they worked together at the literary magazine Nouvelle Revue Française and at Gallimard.
Paulhan was a towering literary figure, handsome in an imperious way, with features that most readily expressed amusement and disdain. In film footage from 1986, when she was 81, and which she stipulated was not to be shown until after her death, Aury remembers him as 'tall, broad-shouldered, somewhat heavy-set, with a Roman-like face, and something both smiling and sarcastic in his expression'.
Nearly two decades after his death, her eyes had a faraway look when she talked about him. 'Existence filled him with wonder,' she continued. 'Both the admirable and the horrible aspects of experience, equally so. The atrocious fascinated him. The enchanting enchanted him.'
Literature was a shared passion. Dominique Aury once boasted that she had read all of Proust every year for five consecutive years. Novelist and cultural critic Regine Desforges, who became Aury's friend (and who interviewed 'Pauline Reage' in 1976, publishing the conversation as 'O m'a Dit, Confessions of O') remembers: 'Dominique Aury was fascinated by intelligence. The intelligence of Paulhan was obvious. And for her it became a kind of obsession.' Theirs was a relationship of minds as well as bodies, so it was fitting that, when she started to worry about losing him, she should try to win him back with sex in the head.
Jean Paulhan, a generation older than Dominique Aury, and in his early sixties when she wrote Story of O, was married twice. The first alliance produced a son; the second, to Germaine Dauptain, was overshadowed by her long illness with Parkinson's disease (she was already an invalid when he met Dominique Aury, although she would outlive him by four years). Jacqueline Paulhan, who married his son, told me that in addition to his long relationship with Dominique, there were also other women: 'My father-in-law was quite the ladies' man.'
By the early 1950s, Aury was worried that his attention might be shifting. Well aware of his liking for erotic literature (he had written a preface to de Sade's 120 Days of Sodom), she said she thought she could do something similar. Paulhan was dismissive: erotica wasn't a thing women were capable of. In the footage, licensed by Rapaport to show in her documentary, she explained: 'I wrote it alone, for him, to interest him, to please him, to occupy him. I wasn't young, nor particularly pretty. I needed something which might interest a man like him.' (Pressed as to why she wrote in pencil, she replied mischievously: 'So as not to stain the sheets.')
Aury gave the notebooks to Paulhan, who thought the writing was too good not to be published and urged her to turn it into something longer, a proper novel. Aury admitted that after the initial explosive burst of energy, the writing slowed, and you can tell. The erotic charge seems less intense. O has a job and answers the telephone and moves around Paris, which is all a bit awkward and pointless when you are supposed to be in thrall to an identity-crushing sexual cult. There are high points: the sex with women is obviously strongly felt (Aury was actively bisexual at times in her life) and she introduces the dark character of Sir Stephen, an Englishman to whom O is handed over. Sir Stephen, she told Regine Desforges, 'links to a desire for one's father. He is a father figure'.
This is clearly an interesting development, from a Freudian point of view, but the switch of allegiances suggests she might have run out of steam with her first thought. And, generally speaking, the energy seems to fade. Regine Desforges, an impressive redhead who remains a household name in France, confirmed to me that Aury had never initially intended what she was writing to be made public. Another friend, Elizabeth Porquerol, now 90, says, however, that, like all writers, Aury wanted to be published and was flattered by Paulhan's conviction that what she was doing was good.
Aury wrote the further chapters and read them aloud to Paulhan as they were parked in the Bois de Boulogne or outside one of the cheap railway hotels where their assignations took place. (He did not drive, and she used to ferry him around Paris.) She apparently found this reading business quite difficult: 'It was a written text,' she explained, 'not meant to be spoken.' It is impossible not to wonder whether there is a faint echo, in Dominique Aury's consenting to finish and publish the book, of O's progressive self-annihilation. As O's tortures worsen and her torturers multiply, O attains a kind of calm, a purity of being, what Susan Sontag has called 'an ascent through degradation'. Clearly, submission to higher authority held an enormous attraction for Aury.
Aury succeeds in giving her book a novelistic shape. But as Colette complained when asked to comment on Radclyffe Hall's The Well of Loneliness : 'Obscenity is such a narrow domain. One immediately begins to suffocate there, to feel bored.' If events become ever more extreme (which they must), at some point you are going to lose all but the most committedly sadomasochist readers. It's tough to maintain the tempo of pornography, and Dominique Aury's final, rather pedestrian chapter was left out of the published novel. In its place were two alternative, perfunctory endings. In one, the action dribbles out with no resolution; in the other, Aury merely says: 'Seeing herself about to be left by Sir Stephen, she preferred to die. To which he gave his consent.'
Dominique Aury told John de St Jorre: 'One day I found that I couldn't go on and that was all. Paulhan said it was all right. "You can stop now," he said.' Despite taking this level of direction, Aury insists that Paulhan had nothing to do with the writing beyond recommending that she remove one word, 'sacrificial'. (You have to wonder if this is some kind of in-joke, since the book is about nothing but sacrifice).
There seems no doubt that the style is all hers. Paulhan contributed a preface whose sentences have none of Pauline Reage's limpid clarity, and which is, in fact, extremely difficult to understand. Aury herself told de St Jorre even she couldn't make head or tail of it.
Paulhan took the book to their joint employer first. 'Gaston Gallimard said, "We can't publish books like this,"' Dominique Aury grumbled in the one television interview she gave after the news broke, when she was 87, 'though he had published Jean Genet, which was much nastier.' Jean-Jacques Pauvert, a young publisher who had already made a name for himself with 120 Days of Sodom and for whom resisting censorship was close to an ideology, remembers being given the book one December afternoon, reading it overnight and calling Paulhan excitedly the following morning. 'I woke him and said, "It's marvellous, it'll spark a revolution. So when do we sign the contract?"'
Pauvert, a round-faced man who looks scarcely any different now from the way he did in photographs when he was in his twenties, says he had known Dominique Aury 12 years before he was handed the book. 'I recognised her style immediately when I saw the manuscript. She is a great writer and absolutely uncopyable.' Paulhan, he adds, could not write like that; his style was drier and more academic.
While many people speculated that O had been written by a man, or was the work of two or more authors, Regine Desforges always saw it as a quintessentially female work (she also had good reason to know who the author was, because she had a serious relationship with Pauvert). 'I always knew it was written by a woman. It is absolutely a feminist work, empowering to women. For the first time, a woman is revealing her sex life, and it is the woman who dominates the situation, her feelings, her responses, her trajectory.'
It was agreed that the book would be published simultaneously in English by the Paris-based Olympia Press, a strange outfit which published a good deal of pornography, mainly for sale to sailors, but which was also the original publisher of Lolita, The Ginger Man, Naked Lunch and some works of Samuel Beckett.
Story of O came out quietly in June 1954 and didn't attract much attention until it won the Prix Deux Magots, nearly a year later, which also brought it to the notice of the Brigade Mondaine, the French vice squad. Pauvert, who had already faced 17 prosecutions in the preceding three years, noted: 'They were really very nice. We knew each other well.'
Paulhan, with his rather different reputation, was also hauled up to testify and dealt with them magisterially. After discoursing on the book's literary qual ity, he added that: 'Madame Reage, who is from an academic family which she feared to scandalise, has refused until now to reveal her name. If she should change her mind, I will ask her to get in touch with you.'
Dominique Aury's adored father had his own collection of erotic literature, which she had read as an adolescent (Les Liaisons Dangereuses was her favourite). Her mother was very different. 'She didn't like men,' Aury said. 'She didn't like women, either. She hated flesh.'
It may well have been to protect her that Dominique kept secret her authorship for so long. (She also, of course, had her position at Gallimard, and the publishing house's reputation, to think of.) Pola Rapaport thinks Aury's parents must have known; despite the secrecy, the Brigade Mondaine came to the apartment Dominique shared with them. On another occasion, a friend from the provinces reported that in her district it was rumoured that Dominique was the author.
Aury's son, Philippe d'Argila, the child of her very brief marriage in her twenties to a Catalan journalist, was himself in his twenties when O appeared. 'I didn't know she was the author,' he told me, speaking at the farmhouse outside Paris which he inherited from his mother. 'She never told me, really. I only found out in 1974, when there was talk of making a film and people came round to discuss it.' (A film, generally reckoned to be a rather pallid version of the book, was made, by Emmanuelle director Just Jaeckin). D'Argila says he was not shocked: 'I already knew her as a writer, and it is a very good book.'
Jacqueline Paulhan didn't find out Dominique was the author until the day of her father-in-law's burial. 'There was a very big bouquet of flowers with no name attached,' she told me. 'I was standing next to Dominique Aury, whom of course I knew well, and I remarked, "I suppose they must be from Pauline Reage." Dominique turned to me and said, "Mais Jacqueline, Pauline Reage, c'est moi."'
By the 1960s, according to Regine Desforges, some 12 or 15 people knew the true identity of Pauline Reage. In the 1970s and 1980s the numbers crept up. Philippe d'Argila recalls accompanying his mother to an event at which she was greeted by President de Gaulle with the words: 'Ah, the writer of Story of O !' (He thinks de Gaulle said it to shock his wife.) But the secret remained confined to an elite group of insiders until de St Jorre asked for and was granted an interview.
Even then, d'Argila believes, she didn't really intend to confess. 'He's a good journalist. I'm not sure she followed too precisely what he said. I don't think she meant to tell at that time.' It may well be that his personality had something to do with it. De St Jorre is an engaging, serious man, who was respectful of Aury's literary achievement and clearly would have had no interest in writing about her in a sensationalist way. Desforges thinks she did intend to reveal it: 'She didn't like lying, and she was relieved.' In the subsequent television interview, Aury herself said she had waited until her parents were dead, and then for a little more time to pass: 'When you learn that it was written by a very old lady it loses some of its scandal.'
The news broke on 1 August, when the French were on holiday; it was not until people returned to Paris on the 15th that it became a scandal. Then there were articles in the tabloids, photographs and requests for interviews. This was a book that had never been out of print, had been bought by millions, and during the 1960s was the most widely read contemporary French novel outside France. (Not much has changed: the day I spoke to Philippe d'Argila, he'd just signed a new contract for Greek publication).
Dominique Aury's life had, however, already changed in the only way she really cared about, in 1968 when Jean Paulhan died. 'I lived with him for 11 or 14 years, I can't remember,' she told Pola Rapaport when they met to film the last footage of her, shortly before her death. 'The last part of my being alive, of my life being alive. After that, I didn't. I stopped. Everything.'
Waiting in his hospital room, night after night, fresh from work on the other side of Paris, she wrote A Girl in Love, the third-person account of the writing of Story of O, as he lay dying. It was published soon after, with the original last, rejected, chapter, as Return to the Chateau . Why she consented to publish this abandoned part after so long is a mystery, not least because she prefaced it with a disclaimer: 'The pages that follow are a sequel to Story of O. They deliberately suggest the degradation of that work, and cannot under any circumstances be integrated into it.'
Perhaps it was that she wanted A Girl in Love published and felt she needed to bulk it out. Perhaps she needed money, as Pauvert may have done.
'I think she published the sequel to please Pauvert, to thank him for all he had done,' says d'Argila.
She may have been past caring. After Paulhan died, according to Jacqueline, Dominique put together a book of recollections of him. 'After that, she kind of gave up her interest in the world. She pulled back from the world and lost her short-term memory.'
Dominique Aury was able to conceal her identity for so long because she looked so unlike an author of a raunchy book. 'She was very self-effacing,' remembers Jacqueline. 'She used to wear very pretty costumes, but not at all showy: very soft, muted colours which really matched her personality.'
Elizabeth Porquerol, who, despite her age, remains very acute, recalls 'a very well-bred and polite person, always smiling and affable. But everyone is double, or triple, or quadruple. Every character has its hidden sides. One doesn't reveal one's secrets to all and sundry.'
When she was a young woman, Regine Desforges says, Dominique Aury liked to walk in Les Halles dressed like a prostitute.
Fifty years on, Story of O remains a powerful text, no longer as shocking as it once was, and no longer causing incredulity that it was written by a woman, but still able to touch people viscerally. Pola Rapaport, who read it at 13 and then again as an adult, told me when we met in Paris: 'It catches people's imaginations. I'm not into S&M. I find the book fascinating and erotic and repellent all at the same time: it's unfiltered and unique.'
Peter Fryer, who wrote a book on the British Museum's collection of erotica, described it as a 'daydream transfigured by literary skill, notably by obsessive detail, Henry James's "solidity of specification"'. (Aury researched 18th-century costume and the book is studded with descriptions of interiors, dress, the appearance of things.)
But beyond its merits as a literary work, its merits or limits as pornography, there lies the paradox that this incendiary book was written by a woman who wore little make-up and no jewellery, who dressed with quiet elegance, who lived out a polite, bluestocking existence in a small flat with her parents and son. Beneath this unlikely exterior raged terrible passions. In the end, the most instructive aspect of the book is that it demonstrates the demoniac nature of sexuality in any or all of us. This quiet, learned woman understood the power of sex. She knew that desire can ignite compulsions to commit sudden, arbitrary violence and induce a yearning for voluptuous, annihilating death.


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To compliment the release of its hit-show Narcos, Netflix partnered with WSJ. Custom Studios to create the interactive site cocainenomics.com . As well as infographics, a game and even responsive lines of cocaine, the site featured two in-depth documentaries. The first film follows the infamous hunt for Pablo Escobar, told directly from DEA agents Javier Pena and Steve Murphy, (on whom the show's lead characters are based). The second film, shot on location in Colombia, hears Medellin's own citizens describe the incredible comeback their city has made since the violence of the 1990's.
1st AD, DOP, Editor | Sony FS7
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Tetra Tech is Leading With Science® in Developing Countries
We live in a changing world where communities around the globe are experiencing social, economic, and political transitions. At Tetra Tech, our work demands that we understand both our clients and the needs of local communities and organizations with which we work. We lead with science in our international development projects by making data-based decisions to provide sustainable solutions for the communities and nations we serve.
Through the use of monitoring and evaluation, we learn and adapt to the local context in which we work. We create evidence-based approaches to provide technical and advisory services for more than 200 projects in more than 100 countries. Working in partnership with business, local and non-governmental organizations, government agencies, and donors, we achieve locally derived development solutions worldwide.


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Washington, D.C. – United States Trade Representative Robert Lighthizer today announced the findings of the 2017 Special 301 Out-of-Cycle Review of Notorious Markets, also known as the Notorious Markets List (List). The List highlights 25 online markets and 18 physical markets around the world that are reported to be engaging in and facilitating substantial copyright piracy and trademark counterfeiting.
This activity harms the American economy by undermining the innovation and intellectual property rights (IPR) of U.S. owners of IPR in foreign markets. Imports in counterfeit and pirated physical products is estimated at nearly half a trillion dollars, or around 2.5% of global imports.
"Marketplaces worldwide that contribute to illicit trade cause severe harm to the American economy, innovation, and workers," said Ambassador Robert Lighthizer. "The Trump Administration is committed to holding intellectual property right violators accountable and intensifying efforts to combat counterfeiting and piracy."
The 2017 Notorious Markets List maintains its special focus on the distribution of pirated content and counterfeit goods online. This year, the report highlights illicit streaming devices as an emerging piracy model of growing concern. The report also calls on several e-commerce platforms to improve takedown procedures, proactive measures, and cooperation with right holders—particularly small and medium-sized businesses—to decrease the volume and prevalence of counterfeit and pirated goods on their platforms.
Over the past year, some market owners and operators have made efforts to address the widespread availability of pirated or counterfeit goods in their markets. Some governments also continue to institute novel strategies to combat piracy and counterfeiting. These strategies include: voluntary initiatives with advertising networks to cut off financial support for websites devoted to copyright infringement; installing intellectual property enforcement centers on-location in high-priority physical markets; and using skills training to reorient former counterfeit sellers towards operating legitimate businesses. At the same time, we vigilantly monitor marketplaces with a record of piracy and counterfeit goods.
To read the full report, click here.
Additional Background Information about the Notorious Markets List
USTR first identified notorious markets in the Special 301 Report in 2006. Since February 2011, USTR has published annually the Notorious Markets List separately from the Special 301 Report, pursuant to an "Out-of-Cycle Review of Notorious Markets," to increase public awareness and help market operators and governments prioritize IPR enforcement efforts that protect American businesses and their workers.
The Out-of-Cycle Review of Notorious Markets identifies particularly notable online and physical markets that facilitate unfair competition with U.S. products. The report does not constitute an exhaustive list of all markets reported to deal in pirated or counterfeit goods around the world, nor does it reflect findings of legal violations or the U.S. Government's analysis of the general IPR protection and enforcement climate in the country concerned. Such analysis is contained in the annual Special 301 Report issued at the end of April each year.
This announcement concludes the 2017 Out-of-Cycle Review of Notorious Markets, which USTR initiated on August 16, 2017, through publication in the Federal Register of a request for public comments. The U.S. government agencies represented on the USTR-chaired Special 301 Subcommittee of the Trade Policy Staff Committee (TPSC) developed the Notorious Markets List based primarily on information received in response to the Federal Register request. The request for comments and the public's responses is online at www.regulations.gov, Docket number USTR-2017-0015. Information about Special 301, the TPSC process, and other trade issues is available at www.ustr.gov.


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The Govs traveled to Nashville to do battle with The Tennessee State Tigers on Thursday, Jan. 18, where they earned their fourth win the Ohio Valley Conference by a score of 75-59.
The Govs were lead in scoring by Brianne Alexander with 16 points. Alexander also finished with seven total rebounds.
Junior Keisha Gregory finished with 15 points and seven rebounds as well. Brianah Ferby finished the night with 12 points.
The Govs shot 41 percent from the field, while holding the Tigers to just 29 percent shooting the entire night.
The Govs were able to out-rebound the Tigers 45-31.
The Govs forced the Tigers into 14 turnovers, but also had 23 themselves.
The Govs controlled the game from the opening tip, outscoring the Tigers 24 to 16 in the first quarter.
The Tigers pushed back in the second quarter, outscoring the Govs 18-10 tying the game at 34 heading into the half.
The Govs held the Tigers to 1 of 10 shooting to open the third quarter, opening their advantage 55-48 entering the fourth quarter.
The Govs held the Tigers to 11 points in the fourth quarter, while pushing the final score to 75-59.
The Govs improved to 4-3 in conference play, earning their first OVC road win on the season.


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The Story of Michelle (Mikaila) Rosado
As the voice for humanity's evolutionary movement, Michelle (Mikaila) Rosado is the co-founder of Rosado Companies, LLC and has created a dynamic enterprise that is devoted to empowering people from all walks of life.
Over the past six years, Rosado has received the honor of being:
- Featured on TV and radio networks such as CNN, NBC Nightly News, FOX and BBC named the "Woman of Empowerment" by the Washington Times
- A recipient of a Lifetime Achievement Award from New York's Madison's Who's Who
- Named one of "Ten Intriguing Women to Follow on Twitter" by The Huffington Post writer, Sean Gardner
"I had no idea I could be a voice of inspiration..."
Rosado's dreams of entrepreneurship were manifested while working in the marketing department at an investment-banking firm in New York City. After being there for over a year she began to feel that her career was becoming stagnant. She began taking classes at the New York Institute of Photography and even took classes in web design at New York University. Rosado found herself frustrated that her ideas for change in the department fell on deaf ears. Then, on the morning of September 11, 2001, when she was at her desk on the 95th floor of Tower 2 in the World Trade Center, her life was changed forever. "I finally realized…those trivial ideas no longer mattered. I was alive, and there was a reason for my presence here. I worked in a great office, had a great job and wonderful co-workers; in an instant, it was all gone."
A New Journey...
Two weeks after the tragedy Mikaila was asked to go to Fort Lauderdale, Florida to handle disaster recovery for her firm. On October 6, 2001 she wrote the article "Will I Recover?" which described her experience on 9/11. She posted it online and emailed it to her former co-workers and friends in New York, but little did she know where the article would lead. In the weeks following Mikaila began receiving emails from readers all over the world, and she realized that writing was a therapeutic way of healing. She transferred to the Florida office and continued her career in marketing, but knew that there would be a drastic change.
Rosado discovered her gift for public speaking. She was presenting to audiences of 15-20 people one or two times a week, and she also conducted sales trainings to existing members.
Mikaila immersed herself in books on speaking and sales techniques, and began traveling throughout the United States to do presentations and train their sales people. The audiences grew to 500, then 1,000. She found her true passion—inspiring, motivating and empowering people to reach their highest limits. What would occur in the following years would pave the way for Mikaila to inspire the world.
Mikaila and her messages of inspiration have been featured on...
Helping Humanity Thrive More Than Ever Before
Although her career has been full of many outstanding triumphs, Rosado shares what fills her with the most joy is the achievements of her clients and students. "Nothing humbles me and brings such excitement as when I see them share a success story that changed their lives, or have a big breakthrough of awareness in ways they could only have imagined."
And by popular demand, Rosado is regularly invited to speak on stages around the country, delivering powerful messages and practical action steps to groups ranging from entrepreneurs to corporate professionals to nonprofits and women's groups.


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+ Take your modern jazz piano and hip-hop beat making to new heights with Soundfly's new course, Elijah Fox: Impressionist Piano & Production!
When you're composing music, you kind of have to split yourself into a bunch of different personas. There's "you, the artist" who contributes all the emotive content; "you, the craftsperson," who gets anally retentive over just how you're going to translate the emotive content in such a way that another human being can interpret it with their instrument; and "you, who just writes stuff down." That last "you" is not particularly glamorous, but sometimes, especially in the early stages of a piece, that "you" is the "you" who has to drive the bus.
Both the artist and the craftsperson are vital to the composing process and are responsible for making your pieces unique, performable, and satisfying. At the very beginning stages of a piece, however, these unique personas can be a liability.
They'll hover over your shoulder and say things like, "Oh gee, is opening with an F minor chord really the best way to convey the heartbreaking tragedy of the Great Bunny Massacre of 1906?" or, "Hmmm, I'm not so sure that's exactly how you notate quintuplet 64th notes. Perhaps you should spend 30 useless minutes trying to come up with the exact phrase that enables Google's algorithm to locate some obscure article about it. You know, just to be 100% sure."
They're like the eager-to-help-but-vexingly frustrating roommate who keeps telling you how you're making pasta sauce wrong. If you don't get them out of the kitchen while you're cooking, they'll take over and ruin everything, and then everyone is going to be eating peanut butter on toast for dinner.
At the early stages of composing, you need to just let the music happen. You have to be the "you, who just writes stuff down." Some people call this listening to the muse, while other people call it following your gut. I call it getting out of your own damn way.
And it can be tricky to do. So, to help you out, here are four different tactics you can try to keep the fussy "artist you" and the busybody "craftsperson you" occupied for a couple of days while the stolid, dependable "you, who just writes stuff down" works.
A brief aside…
If you're looking to learn how to "finish a musical sentence," well we call that a cadence. And we just published a video about it on our YouTube channel.. It's…pretty rad. Musicians, composers, and curiosity-junkies, check it out and subscribe if you like that sorta thing!
1. Limit Your Parameters
There's no denying that composing is a difficult thing to do. There are a lot of different elements to think about. Sitting down and saying, "I'm going to compose a piece of music" is as useful as saying, "I'm going to write a novel."
That's all very well and good, but unless you have some idea of what the book is about and how you're going to tell the story, then you'll be sitting there for a very long time with not much to show for it.
You have to limit your parameters to take some of the choices away. By doing so, you'll free yourself up to experiment more deeply within the leftover choices and hone in on a whole host of different elements. Just a handful are:
What pitches will you use in your piece? Is the piece major, minor, or something else entirely? Is it a mixture of different kinds of tonalities, or is there a clear harmonic progression? Stuff like that.
This covers a lot of stuff, including things like whether the piece is fast, slow, or changing; if it contains multiple time signatures; or if it's rhythmically erratic or predictable.
What instruments are playing the piece? How can you blend them to create a new sound? Are they playing loudly or softly? Do the instruments perform in a conventional style, or will they be using extended techniques? Are they playing at the extremes of their registers or in the middle?
How are the instruments working together to create the overall aural texture? Are they playing together in unison, or are they all playing their own lines? Are they playing jagged lines that jump around a lot, or smooth lines that move gently?
There are endless questions to ask yourself, but if you start setting some rules, you'll get somewhere quicker than by declaring, "Today, I am composing." And once you get started, stay out of your way.
The goal is to get an idea down that you can then go back and edit as critically as you like. Sometimes you'll nail it in the first round. Other times, it'll take a few rounds to find the confidence to jot something down.
2. Improvise
Alright, maybe theory isn't your strong point. Maybe limiting your parameters sounds about as creative as drawing a connect-the-dots picture. Perhaps you just like to dive in and get into it. Improvisation is probably for you.
Improvisation is a totally legitimate way to get started on a piece (and to continue, finish, and perform a piece for that matter). The advantage of improvisation is that you can quickly develop the broad strokes for how your piece might sound, then go back and concentrate on the finer details later. The disadvantage is that musicians tend to fall back into old patterns of playing their instruments when they improvise, as opposed to setting out with composition in mind.
That's why it's always a good idea to record your improvisation. In the heat of the moment, you might play something perfectly, and then totally forget what you did. When I do it, I play my MIDI keyboard into a DAW, which gives me the added flexibility of actually cutting bits of the recording out, looping them, and making minor adjustments to things to keep the experiment going.
One of my most successful pieces I started through improvisation was for four cellos, an instrument I play about as well as I can fly. I tried noodling around on the piano, but a piano doesn't have the smoothness of the cello, which is the sound I wanted to explore.
So, I tried something else instead. I improvised by singing into my DAW. By singing, I was able to recreate more closely what a cello could do, and therefore, get a better feel for what it might sound like. Here's my short, rough singing experiment:
And now, take a listen to the first minute of the piece I wrote, "Traveler" (played here by Ashley Bathgate on cello and recorded by Yoav Shemesh):
They're pretty similar, right? There's no way I would have come up with something like that if I'd simply limited my parameters or tried improvising on the piano.
+ Learn production, composition, songwriting, theory, arranging, mixing, and more; whenever you want and wherever you are. Subscribe for full access!
3. Leave It Up to Chance
One of the most influential musical experimenters of the 20th century was John Cage. Cage made many useful contributions to advancing contemporary composition, but perhaps the one he's most famous for is aleatoric music, also known as indeterminate or chance music.
Like the word "chance" implies, Cage used randomized processes that aimed to remove himself from the compositional equation. Think about it — even when you improvise, it's still you playing it, with all your habits and influences, so it's not entirely random.
Cage would do things like hold a piece of blank manuscript paper up to the light and fill in musical notes where he saw imperfections on the page. He would use the ancient Chinese fortune-telling technique of I-Ching, which involves throwing a handful of yarrow stalks in the air and interpreting the shapes they create when they land, to inform his compositional decisions.
Anybody can use chance processes as a way to get some ideas down on paper. Before you get started, come up with a system. Here are three I just came up with:
- Roll two dice; each number you roll corresponds to a pitch.
- Write down a bunch of small motifs on paper, then randomly draw them out of a hat to string them together.
- Pin some manuscript paper to a dartboard, and throw darts at it.
While Cage was sometimes purist about his random music (to mixed reactions), I suggest that you be a little more pragmatic and try to smooth down the gibberish you'll likely end up with.
Once you've done the random thing, go back and and summon "artist you" and "craftsperson you" to get the piece into some kind of sensible shape. Now you're starting with music that you've already begun, rather than trying to do it all again from scratch.
4. Use an Objective Process
This isn't much different from Cage's idea of leaving it up to chance (although the more hardcore composers who followed such processes back when they were in vogue would have a conniption if you dared suggest such a thing).
The idea is to set up some kind of mathematical or procedural operation that "decides" certain aspects of the piece for you, systematizing the compositional process. This removes that pesky "artist you" from getting in and messing everything up with all that emotion.
One of the most well-known objective process is serialism, which hit it big between the World Wars. There's also its more extreme offshoot, total serialism, which ruled the art-music world with an iron fist for about 10 to 15 years after World War II.
Serialism (or dodecaphony or 12-tone music) was a process created by an Austrian composer named Arnold Schoenberg in the early 20th century. Basically, the way it works is you make what's called a 12-tone row. Once you use a pitch, such as D, or F, or B♭, you can't use it again until you use all 11 other pitches.
Once you've made your tone row, you do all kinds of weird mathematical things to it, like reversing it, inverting it, transposing it, and eventually, you end up with a whole bunch of different tone rows as the basis for your music.
If you're sharp, you might already see that this system doesn't completely remove the composer from the process of composing. The composer still needs to decide how the tone row will sound and how the tone row will be used in the piece. In fact, really all it does is try to stop the composer from writing a piece that sounds "major" or "minor." Everything else can be as conventional as you please.
This brings me to the total serialists, a group of composers who wrote in the years after World War II. They admired the serialists (well, one in particular, Anton Webern, one of Schoenberg's pupils), but felt they didn't go far enough. So they invented total serialism.
Where serialists just applied processes to the pitches in their pieces, the total serialists applied objective processes to decide how to use virtually every element they could think of in their pieces, from rhythmic units, to dynamics, to register, to articulations.
Today, total serialism has fallen out of fashion, but for a while it was the only way to compose if you wanted to be taken seriously. Which is ironic, because total serialism is sometimes indistinguishable from completely random music.
This attitude kind of blew up in the total serialists' faces though, because the music is sometimes quite… difficult to listen to. Unsurprisingly, it tended to alienate audiences. In fact, I would suggest that the reason the general population is wary of new music concerts is because of some deep, underlying fear that they're going to be stuck in a room with a pianist going "bling blong blam" for two hours.
+ Read more on Flypaper: Was Arnold Schoenberg actually the godfather of techno music?
This is not to say that you can't use some of these ideas. I still encourage my students to try 12-tone music if they're stuck getting started. Here's how:
- Write out a tone row, then see what happens when you make a melody out of it.
- Stack the notes to create chords and harmonies, and write a melody to go over the top.
- Select little sections of it, and play it over and over to create an ostinato (a repeated pattern).
- Or use it as a bass line.
In fact, if you want to see just how effective serialism can be, then check out this absolutely awesome video by Vi Hart. It's so great. I wish I made it!
Next Steps
So now what? What do you do once you've started your musical sentence?
That's when it's time for "artist you" and "craftsperson you" to get to work. Be critical. Just because you've spent an hour working on something doesn't mean it's good to go. Ask yourself: Do I love it? If you don't, then figure out why you don't love it. Then tweak it. Don't throw it away just yet.
Sometimes just changing one or two little details in an original sketch will transform it from cacophonous rubbish to something beautiful and unpredictable. And the great thing about composing is that you don't have to come up with a genius idea every single time. You only have to do that every now and again. Once you have a rock-solid idea that you love and that inspires you, you'll be surprised how quickly other ideas start to flow.
Don't stop here!
Continue learning with hundreds of lessons on songwriting, mixing, recording and production, composing, beat making, and more on Soundfly, with artist-led courses by Kimbra, Com Truise, Jlin, Ryan Lott, and the acclaimed Kiefer: Keys, Chords, & Beats.


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December 9th, 2012
Visit the Canadian Gift Guide blog for a chance to win a prize package of parent-friendly gift ideas valued at $350 including a Motorola DEFY phone, a set of four champagne flutes, and Season 1 of Arctic Air on DVD. Good luck!
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A Mexican family with a passion for cheese made several stops on their Euro trip. After their workshop of parmigiano cheese making in Italy they came to the Netherlands. I took them for a workshop fresh Holland cheese making and windmill visit in Leiden area. A tasty experience!
Four kids between 6 and 15 years old rolled out of the car. A long drive, some miscommunication. Everyone was excited. They would:
- explore Holland the typical Dutch way: by bike
- spend an afternoon in the Dutch countryside
- see some hidden gems in Leiden area
- get a guided tour by a cheese farmer
- do a Holland cheese making workshop
- visit a windmill
- taste and buy a lot of local products
Taking the kids to the Leiden dairy farm by bike
The two adults, mum and dad, needed a bit of time to get used to cycling on the parent child tandems. As soon as they got the hang of it and understood they could let their kids do all the hard work, we took up speed and were at the dairy farm near Leiden in no time.
The Holland cheese making workshop in Leiden
All ingredients for the Holland cheese making workshop were on a big table in a small room. The cheese farmer was ready to start. She told us we were going to make a fresh cheese today. A cheese we could take home immediately and eat within 3 days.
Under the guiding eye of the cheese farmer we added the right quantities of sour and solid to the fresh milk. Although what we had to do was very littly, we had to pay attention and handle with care. Too much sour or too much stirring would destroy our efforts of a good cheese.
We added, we stirred. The cheese to be had to rest and the cheese farmer took us for a tour on the farm. We tried to milk a goat, tasted raw goat milk that was so fresh it was warm, walked through the cheese storage and farmers'shop and then went back to the small room. We cut, stirred and drained the water. We put our cheese in a bowl and left it to rest.
While waiting for our cheese to get the right shape and solidness, we tasted different farmers' cheeses: Gouda as well as Leiden cheese, goat cheese as well as cow cheese. What a yummie experience!
Cycling to the windmill
With our tummies full and our cheeses neatly packed we got back on our bicycles. We took an adventurous cycling path and arrived at the windmill. It was a Friday. On any other Friday the flour windmill would be closed, but we were lucky.
The millers were even grinding grain! The kids stared as huge bags of flour were coming down from the first floor of the windmill. The miller laughed: "I'll drink my coffee and give you guys a tour."
Old Dutch candy for the young at heart
The kids'eyes had already wandered to the shop next door. It's the cosiest candy shop in Leiden area. They sell old Dutch candy for a nickle and a dime. The kids got some small change and their eyes grew big: This one, no this one, their fingers pointed, whereas their eyes already swifted to the next candy.
The miller came to see what was keeping us so long. With their mouths full he took the family upstairs and explained how the windmill worked. The kids were thrilled; the parents amazed. And I was happy, because they were happy. With clothes full of dust they came down. The youngest yawned. Tired, with our heads full of impressions, we cycled back to the starting point. The kids got into the car and immediately fell asleep.
This or a similar tour can be created for you on request. Contact Verita's Visit Holland for more information
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3 Creative outings in Leiden conference city
Vera ter Beest
Make your heart b(l)oom and explore Holland by bike with Verita's Visit Holland.
Born on a bicycle and raised in Delft (NL) I love the Dutch countryside. With Verita's Visit Holland I organise bike tours & team events. I take you on and off the beaten track to meet tulip growers, cheese farmers and lords of castles. My specialisation: Keukenhof area, Cheese farm region and Delft countryside. Just send me an e-mail at veritasvisit(@)gmail.com to get more info.