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I sat down with DJ White Shadow aka Paul Blair to sip the TEA on his new album, his collection of works on A Star Is Born, exactly how handsome Bradley Cooper really is—and discuss his most memorable moments working with Gaga over the past decade.
If you ever get to meet him, don't be shy to come up and say hello. Though he's tatted like a tiger and sports an intimidating 24k gold grill, Paul has an easy, welcoming warmth about him and a truly genuine care for other peoples' wellbeing. I witnessed his kindness firsthand—he is equally friendly with everyone from hotel workers to stars, and quick with a hug or an encouraging pat on the back.
Paul has just wrapped a DJ gig at the W Hotel in Hollywood, and has taken me down to a pioneering invention he built in that hotel: the Sound Suite for traveling musicians. A soundproof, fully-equipped studio, the space is ready for any musician staying at the hotel to mix music on the fly. Paul has cut tracks in it and jams there whenever he's in town. Intriguingly, a copy of Terry Richardson's GAGA sits on his coffee table, as do vinyl records and colorful VICE magazines. As we chat, Paul laughs a lot, smiles even more, and periodically feasts on yellow gummy fish candies from his backpack.
Yes, I do. First of all, it wasn't just me that did any of those. That was a pretty collaborative effort. Amongst a lot of people. Me, and Nick [Monson], and Mark [Nilan Jr.], and Gaga worked together on everything. So I can't take credit for all of it.
I like "Look What I Found." It's my favorite. It's probably my favorite out of all of them. I don't think it's a better song than any of them, but I have this very sentimental thing in my brain when we wrote it. I actually recorded it when we were writing it. I listened back to it recently and it made me happy. It's a cool song. And it was in Ally's notebook in the trailer, which is way cool. It's like, "We wrote that." It's pretty cool to be a prop in a movie. When you write songs, you never think they are gonna be a prop in a movie. I'm pretty lucky to have a song—well, a bunch of songs, that are props in a movie. You write stuff, and all of a sudden it's part of a dialogue, and you're like, "What the fuck am I doing in life?" This is rad. I should be, like, digging ditches. Or cleaning up poop somewhere. [laughing]
All of a sudden, Bradley Cooper's talking shit about the shit I wrote! Which is fine. Because he's wildly handsome. Nice solid bones. [laughing]
I did.
No. The way that played out was we were writing stuff without intent for some things. There's like a period where you go through, it's like a… for lack of a better description… like an exploratory phase? Where you are just trying everything, and seeing what sticks to the wall. So that song, like, things were running concurrently. We didn't have an exact agenda at the beginning. If we were working on songs for the movie, or... Because stuff wasn't exactly all written out either. Do you know what I mean?
Because the movie develops like a snowball, going down a hill, right? You got the idea, all these things, and you know the first iterations of the movie, and here's the characters, and the songs you'll be writing—but that doesn't always stick exactly as it progresses. So, we were writing songs for things we knew about, writing songs for fun, writing songs about certain concepts, and then that kind of melody came out of whatever—and then it just sat as an idea. Specifically for nothing. Then we started honing in on the work for A Star Is Born. Things started becoming more realistic and more definitive—more defined for the film. There were not leftovers, there was just stuff we were working on for no specific reason. So it was never like, "Oh, let's put this in the movie, oh, we don't need it for the movie, let's put it out." It was more, "Boy, this is a really good fucking song!" She was going to do Coachella, and I was doing the stuff for, what do you call it… Interludes with BeazyTymes, aka my favorite producer on the whole planet! He is literally the best producer I've ever seen in my time.
No, he's the greatest producer of all time. I want everybody to understand that. Anyway, we had been working on the interludes for that, kind of going back through stuff that we'd created, and I was like, "This song is fucking awesome. We gotta finish it." We put it out, we finished it, and turned that motherfucker in.
Thank you.
We were all writing a song for somebody else. So, you know, obviously, it's like, her, but it's a character. So you're writing for somebody from a different background. We might as well have been writing for another artist. I mean, she's singing the songs, and she wrote the songs, and there's some connective tissue between the character and her. There's a lot of things that you could say run parallel. You're sitting there thinking like, "What would be the song that you would write for this person, if they were writing a song in this situation?" and this was what it was.
So there's a little bit of a different way to approach that. Which was fun. It was kinda cool to be writing songs. Her and I had never written a song for anybody else but her, you know. So to write songs for somebody else that actually IS her… whatever. [laughing] It's kind of like a...
[laughing] I feel like I'm talking about myself in the third person. It was fun! But that's what I'd say the difference was.
All the stuff I do that I put out for myself or have put out for myself over the past… whatever… time, has always been like an art project. More or less. I make stuff that I know nobody's gonna like but me, so I can fucking figure out what sounds sound crazy. It's not supposed to be commercially palatable for a mass audience. But some of the sounds that I discover while I'm being an asshole by myself I end up translating into stuff that is innovative for pop stuff. There was a period of time where I would just like, wake up every morning, and like, drink coffee and fucking try to be as weird as humanly possible. When I finally got to the point where there was like a stack, sitting in the corner, of shit, I was like, "Ah, I should put this out!" That's kinda what it was.
It's not. It's like these fucking bullshit tracks.
So: It is, and it isn't. It's kind of the last art project that I'm gonna put out for a while, it was kind of the remnants of stuff, and the things that I worked on with other people. This last one, it's just War—the website's warsexdrugs.com, because I just wanted everybody to listen to it while I was figuring out what to with it, but I'm putting it out on iTunes and Spotify next month. Just for the fuck of it. It's all just like stuff that's in my brain that exists somewhere, and I just don't know where it's supposed to go. So I just put it out there, and if people like it, they like it, and if they don't… they don't. The world is like your external hard drive. You're putting stuff out there! Yeah, yeah, yeah! It's just for fun. You could make up whatever you want as the meaning, but it's basically just me being a fucking really strange human being that has weird shit laying around. If I let it sit in my room too long I get weirded out about it so I just put it out.
That's my go-to. My go-to is weird gutter sounds. That's my original shit. That techno shit I used to make? It sounds like a bunch of fucking donkeys running through a fucking duck farm. It's fucking crazy shit. That's just the way that I think. It's like, I gotta tone this shit down to get stuff on the radio, but that's my first instinct. It's like, emotional. So if you sit in a session with me, I'm always, like, "Everybody fucking get angry!" Everything should sound like anger.
All good music is fight or fuck music. You should either want to fight a motherfucker to it or fuck a motherfucker to it. That's all good music. Not to be to a dick, but I'm not listening to like, fucking Don Ho or, you know, Jason Mraz, no offense to Jason Mraz, but it's just not my genre.
If I don't feel like I want to punch somebody or fuck somebody, then that's not really my scope. All of it is like that. Like, the new shit—I intend on putting out stuff that is strictly Paul Blair, like White Shadow shit, and it's all gonna be gutter weird. I'm actually kinda, like—it's been such a long time of [me] listening to people say, "That's a hit. That's not a hit. That's a hit! That's not a hit!" that I'm frankly, like, I don't give a fuck anymore.
I've picked a lot of really good songs. We've done a lot of really good songs. And they've all done pretty well for themselves. Part of this whole thing is like, trusting your instinct. When I went into this whole new phase, I wanted to put out a record that represents Paul. Myself, White Shadow, what that is—before I get too old or get hit by a bus. Or a plane engine drops on my head or from the sky. I want to do something that represents me. And I struggled with it for the last year almost. Should I make a pop record? Should I make a fucking instrumental record? Should I make some electronic shit? And then, just like the last two months, I think—I scrapped everything that everybody was telling me. "You should do this, you should do that." Like fucking with my head. I'm like, "I'm just gonna go in, and fucking make shit that I like. And if nobody else likes, it, then they can go fuck themselves."
And it's gonna be really good! And everybody's gonna like it. Because I'm fucking good at what I do. [laughing]
Wait, redact that last comment! I sound like a dick! [laughing]
I'm just kidding. I hope people won't think I'm THAT big of an asshole.
I mean, I think that like now, it's exciting, because, like I said, back to raw emotion. With songs, you attach, you imprint emotions on to songs. You know, the first time you make out with somebody. The first time you get a new car. The first time you and your family went on a vacation. Those things—you imprint them on things. And in turn, you start to like other things that sound like those because you have an emotional attachment to those things. And that's how you formulate your catalogue of music that you enjoy in your brain. Sometimes that's a big catalogue, sometimes it's a very specific catalogue. You know what I mean?
For me, I grew up listening to Public Enemy and N.W.A., like really "fuck everybody" types of stuff. That was the first thing I fell in love with. Really hard techno, really antiestablishmentarianism-type music. So, over the years, that's kind of bled through into other areas. And being able to create stuff that was a little bit left of center, like fuck-the-system type stuff, but like, I don't want to say that I'm pulling punches because I put everything I had into those kinds of projects, but… My friends say I'm good with metaphors from time to time, and I'll put it to you like this: You can drive a Ferrari all day, and everybody knows it's a badass car, and you fucking pull it up and everybody says, "Oh my god, it's a great car!" and everybody wants to have a Ferrari. But this is a fucking Mack semi truck that gets like two miles a gallon that could fucking kill everybody, right? So I will run that fucking Ferrari over and drive it right into your living room and then fuck everybody up in your house. That's the way that I think to begin with. So it's not the prettiest truck. But it's the most bad motherfucking truck that is on the road. It'll fuck a Ferrari up! [laughing]
I'm gonna put out the War stuff out. I'm trying to figure out how to package it. Originally when I did it I wanted it to be a 30-minute long song. That was my first thing. Just like visuals of weird shit. And now it's like I just want everybody to have it. I don't give a fuck about making money. I'm gonna sell it for the lowest amount humanly possible. Just so it's there. So people can stream it. Or have it. Or whatever. I just want it to exist in the universe. Part of this stuff is, you're writing down your own story. I want there to be extra facets to this story. This is something that I made. This is something that I like. I want it to exist in the lexicon of what I got done. So'll put that out soon. The soundtrack for A Star Is Born comes out on October 5. I'll probably have a single before the end of the year, with like a feature, that I'm going to pay strict attention to, that I'm very stoked about. I'll play it for you once we turn this off.
It's funny! I go through waves when I don't listen to music at all. And then I go through waves when I don't do anything but listen to music. When that happens, everything's very situational. If I'm in the car, I'll listen to hip-hop. Or like, old funk stuff. But if I'm cooking, I listen to classical music! I have a very wide range of stuff I listen to. But most of the time, the stuff that I like is like super soulful, or super emotionally charged. I'll listen to Tool, or to Radiohead, or The Misfits, the same way I would listen to Triple X or A Ferg. I just like really nasty shit! I'm not very particular about genre. There's times when, I listen to fucking country music. Doesn't happen all the time, but I went to a country music festival. I was listening to fucking country music! I'll listen to anything. It's kinda mood based. Right now, I'm in the not-listening-to-anything phase.
I feel like you should just make sure that you love whatever you do, because there's like, really bad times that happen. And there are really good times that happen. The good times take a really long time to get to. And the bad times are super-frequent at the beginning. And they continue. Forever. [laughing] Like fucking bad times—continue forever. So it's like, no matter how far you go along, you have to be able to take a fucking shot. To the face. Like, oh, a ton. Accepting rejection is a permanent happening. You have to. My advice now will be different than my advice five years ago and it will be different five years from now. The whole thing is: you just have to love it. If you love cooking, or fucking playing chess, or weaving baskets—I don't know—whatever it is, you should just do exactly that. If you're getting into music to try and get laid or make money, fucking quit right now. None of those happen. Ever. [laughing] They'd take forever. It's a terrible idea! Don't get into something for the wrong reasons is what I'm saying.
I think all of it's good. I think that what's crazy now is like, pop music has got really good again. Like we got out of that fucking phase where everything was like [making noises that sound like a fire alarm] Whatever the fuck THAT was! [laughing] Now it's like, fucking Bazi is dope, Charlie Puth is dope, Shawn Mendes is dope. And Dua Lipa, and Cabello, and Post. I hear pop music, over the last year, and I'm like, "This is killer. This is killer!" I feel like it's really a good time for pop music. And pop music—is just popular music, right? So whatever's popular is popular. For me now to see a Drake, a hip-hop song getting played behind a Latin song, getting played behind an acoustic song, getting played behind a whatever song -- the diversity of what's on the radio-- I'm about that.
The diversity is good. People's willingness to not have to hear the same thing. Because back, five years ago, like when we were doing ARTPOP I guess, right? You'd walk in with a song, and it would be like a fucking killer song, and they'd be like, "But… There's no drop." I was like, "Fuck your drop, man… This shit is gonna fucking suck in five years. And, I don't want to make a song right now that I gotta fucking go pick melons at the store when I'm 60 and it's going like… [singing a repetitive whiny ambulance noise] and I'm like, "Oh, what the fuck did I make that for? Because it sucked!" [laughing]
What is that quote… "Art is never finished, it's only abandoned." That is like, everything. If I could go back, I'd change eight hundred things. Do you know what I mean? But you can't go back. You just fucking... turn it in. It's like saying, if I could stick myself back in my mom's vagina, would I want to come out with straight hair? [laughing] Of course! Like, I would love to have to have a fucking cool haircut, but I don't, because it's impossible. But of course there are things. I listen to it and I'm like, "Man, I remember this part, I remember that part."
But also, fuck those critics! You know what I mean? I remember reading something, when the anniversary of "Applause" came out. It was like... "Lady Gaga's lackluster 'Applause' song aims to be a mediocre"... whatever and I was like, "Fuck you, man! We sold 4 million copies of that record!"
You know, I actually don't know. That's all like, business stuff. You know what I mean? Obviously, I would love to play that stuff. I would love everybody to have what they wanted. It is not my ambition to keep things to myself.
Yeah! We worked on that shit. I probably have pieces to 400 songs. And some of them are, really good! They just weren't the right time. I don't know, man... It's not up to me. If it were up to me, everybody could come to my house right now, and we could have a big barbecue, and I'd play you all the songs and everybody would be... whatever! But it's a business. I'm just like, I'm not the owner of the team. I'm just like the fucking water boy. [laughing] I'm the guy everybody throws the jockstraps in his face and he slings them in the fucking laundry bin. [laughing] In the locker room. In mid-game!
I want to explain it to the kids: Everybody, I am a fan. I understand what you are saying. I get it. I totally want to. And, I mean, I tried. I played part of it, at the beginning of like the sets, or whatever, just so people can say, "Oh this is dope."
It had like a baroque vibe to it. The song was cool. And it's actually a good song.
Indeed it was, my friend. There's a lot of songs. And I don't even know how, I like I forget, how people even know about that.
Like, it's probably because she said something about it, and it was supposed to be something, and somebody from somewhere said no, this is different, and we gotta do this for that, and then it ends up sitting in a vault somewhere. And yes, somebody could revisit that song. And reproduce it. Or reimagine it in ten years and it would fit perfectly.
It's kind of like an assembly line for cars. You're creating cars, right? Once you make the 2018 version of a Buick, you don't go back to the 2000 version of the Buick, and put it back out.
Until it's like a retro thing. Like in 2040, it's like, "Aw man, that was a cool design, we should let everybody see it at least. Just because it's so rad." To release an idea that they had and go, "Oh, look how this is!" But as far as like a commercial release, it's probably not gonna happen, as far as I know, anyway.
No. Everybody thinks I'm super sensitive. I'm like the least sensitive motherfucker on the planet. I'm definitely weird! But you could like literally say to me: "Fuck your mom! Suck my dick! Everybody fucking… da da da da da." Whatever. I don't care. You're on Twitter. If you show up at my house then we can talk about it. But on Twitter, do whatever the fuck you want. I don't care what you say.
That whole thing was like, I just wanted a refresher. Like a lot of stuff that I had, in my head in 2011, wasn't in my head in 2018. So I was like, "Let me reset this whole thing. Let me say this is what I'm gonna do. Let me be more concise with my messaging and what I want put into the universe. Nobody needs to research it. I was wearing the same shirt as I was in 2011, and I just got tired of it.
But yeah. I encourage everybody to tell me to fuck off. Like it's totally dope. I'm under no illusion that I'm Max Martin. So if you want to say, "Paul, you suck, and Max Martin rules" I get it. I agree, I concur.
I would prefer you treated each other better. I can hack it. I'm a grown-up. If you feel like you need to be mean to somebody else online, be mean to me. I can take it. Stop insulting your peers. Insult me.
I feel really lucky. She's a nice person to be partners with on stuff. I think, and I don't even know if this is true or not, but I think we've probably done more records together than she's done with anybody else. I probably have the most writing credits on any of her songs.
It's nice. To be able to do cool shit with your friends.
I think it's like a collection of moments. It's really hard to just pick one of them out. I think the first time I saw her crawl over a fucking fence to get to fans, to be able to sign stuff when they wouldn't let her do it. We almost got kicked out of South Africa because she wouldn't take no for an answer, to walk through the right part of the airport. Because all the fans were over here, and the guys were trying to get us to go over there, and she was like "Fuck you." And I was like, "You can't really be like 'fuck you' to a bunch of dudes with rifles in an airport." But she's got her own thing going on. It's cool to watch. A lot of things that I've learned about being a good person in this particular rodeo, I've learned from her. How to treat people. How to survive. Like the chicken and the wolf did. I have like 800 fucking bazillion million stories. That are all funny. And stupid.
This is a funny one! She went through a phase, during Born This Way, where she just fucking wore metal over everything. She had like a fucking Hermes bag that had like spikes driven through it. She had gloves with spikes all over them. Spiky leather shoes. A hat with a metal chain… [laughing] So we go through the fucking commercial airport in Toronto... and she pulls up in this fucking gladiator outfit. And I'm like, "What are you doing? You have to go through security." And she's like, "They're gonna let me through security." And of course, they did not let us through security. So we are like standing there, for a fucking hour, and there was no way to get rid of everything, unless you took her clothes off. So I was like, "C'mon man…" I don't remember if we were late for our plane or not. But like, she looked like something from Mad Max, walking through the fucking airport. And we made it through, but… Yeah. It took a minute.
Yeah! Right! But she was literally full of metal. Like if you would have rolled her across somebody she would have punctured them to death, she had so much shit sticking out of her. [laughing]
Yeah! I love you guys. Fire off questions whenever you want! I'll be here.
Be nice to each other. Be kind.
Go to warsexdrugs.com to get a taste of DJ White Shadow's new project WAR, out later this year.


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RED SYPHONY pg3
G.Will we ever reach the final conclusions ?
R.In a moment. If the class struggle, in the economic sphere, turns out to be reformist in the light of its first results, and for that reason contradicts the theoretical presuppositions, which determine the establishment of Communism, then it is, in its real and true meaning, purely revolutionary. But I repeat again : it is subject to the rules of conspiracy, that means to masking and the hiding of its true aims. . . The limitation of the surplus value and thus also of accumulations as the consequence of the class struggle that is only a matter of appearances, an illusion, in order to stimulate the basic revolutionary movement in the masses. A strike is already an attempt at revolutionary mobilization. Independently of whether it wins or not, its economic effect is anarchical. As a result this method for the improvement of the economic position of one class brings about the impoverishment of the economy in general; whatever may be the scale and results of the strike, it will always bring about a reduction of production. The general result : more poverty, which the working class cannot shake off. That is already something. But that is not the only result and not the most important one. As we know, the only aim of any struggle in the economic sphere is to earn more and work less. Such is the economic absurdity, but according to our terminology, such is the contradiction, which has not been noticed by the masses, which are blinded at any given moment by a rise in wages, which is at once annulled by a rise in prices. And if prices are limited by governmental action, then the same thing happens, i.e. a contradiction between the wish to spend more, produce less, is qualified here by monetary inflation. And so one gets a vicious circle: a strike, hunger, inflation, hunger.
G.With the exception when the strike takes place at the expense of the surplus value of Capitalism.
R.Theory, pure theory. Speaking between ourselves, take any annual handbook concerning the economics of any country and divide rents and the total income by all those receiving wages or salaries, and you will see what an extraordinary result emerges. This result is the most counter-revolutionary fact, and we must keep it a complete secret. This is because if you deduct from the theoretical dividend the salaries and expenses of the directors, which would be the consequence on the abolition of ownership, then almost always there remains a dividend which is a debit for the proletariat. In reality always a debit, if we also consider the reduction in the volume and quality of production. As you will now see, a call to strike, as a means for achieving a quick improvement of the well-being of the proletariat is only an excuse; an excuse required in order to force it to commit sabotage of Capitalistic production. Thus to the contradictions in the bourgeois system are added contradictions within the proletariat; this is the double weapon of the revolution, and it which is obvious does not arise of itself : there exists an organization, chiefs, discipline, and above that there exists stupidity. Don't you suspect that the much-mentioned contradictions of Capitalism, and in particular the financial ones, are also organized by someone? . . . By way of basis for these deductions I shall remind you that in its economic struggle the proletarian International coincides with the financial International, since both produce inflation, and wherever there is coincidence there, one should assume, is also agreement. Those are his own words.
G.I suspect here such an enormous absurdity, or the intention of spinning a new paradox, that I do not want to imagine this. It looks as if you want to hint at the existence of something like a Capitalistic second Communist International, of course an enemy one.
R.Exactly so. When I spoke of the financial International, I thought of it as of a Comintern, but having admitted the existence of the Comintern, I would not say that they are enemies.
G.If you want to make us lose time on inventions and phantasies, I must tell you that you have chosen the wrong moment.
R.By the way, are you assuming that I am like the courtesan from the Arabian Nights, who used her imagination at night to save her ...... No, if you think that I am departing from the theme, then you are wrong. In order to reach that which we have taken as our aim I, if I am not to fail, must first of all enlighten you about the most important matters, while bearing in mind your general lack of acquaintance with that which I would call the Higher Marxism,. I dare not evade these explanations as I know well that such lack of knowledge exists in the Kremlin. . . Permit me to continue.
G.You may continue. But it is true that if all this were to be seen to be only a loss of time to excite the imagination, then this amusement will have a very sad epilogue. I have warned you.
R.I continue as if I have heard nothing. Insofar as you are a scholastic with relation to Capital, and I want to awaken your inductive talents, I shall remind you of some very curious things. Notice with what penetration Marx comes to conclusions given the then existence of early British industry, concerning its consequences, i.e. the contemporary colossal industry: how he analyses it and criticizes; what a repulsive picture he gives of the manufacturer. In your imagination and that of the masses there arises the terrible picture of Capitalism in its human concretization: a fat-bellied manufacturer with a cigar in his mouth, as described by Marx, with self-satisfaction and anger throwing the wife and daughter of the worker onto the street. Is that not so ? At the same time remember the moderation of Marx and his bourgeois orthodoxy when studying the question of money. In the problem of money there do not appear with him his famous contradictions. Finances do not exist for him as a thing of importance in itself; trade and the circulation of moneys are the results of the cursed system of Capitalistic production, which subjects them to itself and fully determines them. In the question of money Marx is a reactionary; to ones immense surprise he was one; bear in mind the five-pointed star like the Soviet one, which shines all over Europe, the star composed of the five Rothschild brothers with their banks, who possess colossal accumulations of wealth. the greatest ever known. . . And so this fact, so colossal that it misled the imagination of the people of that epoch, passes unnoticed with Marx. Something strange... Is that not so ? It is possible that from this strange blindness of Marx there arises a phenomenon which is common to all future social revolutions. It is this : we can all confirm that when the masses take possession of a city or a country, then they always seem struck by a sort of superstitious fear of the banks and bankers. One had killed Kings, generals, bishops, policemen, priests and other representatives of the hated privileged classes; one robbed and burnt palaces, churches and even centres of science, but though the revolutions were economic-social, the lives of the bankers were respected, and as a result the magnificent buildings of the banks remained untouched. . . According to my information, before I had been arrested, this continues even now...
R.In Spain. . . Don't you know it ? As you ask me, so tell me now : Do you not find all this very strange ? Think, the police. . . I do not know, have you paid attention to the strange similarity which exists between the financial International and the proletarian International. I would say that one is the other side of the other, and the back side is the proletarian one as being more modern than the financial.
G.Where do you see similarity in things so opposed ?
R.Objectively they are identical. As I had proved, the Comintern, paralleled, doubled by the reformist movement and the whole of syndicalism, calls forth the anarchy of production, inflation, poverty and hopelessness in the masses. Finances, chiefly the financial international, doubled, consciously or unconsciously by private finances, create the same contradictions, but in still greater numbers... Now we can already guess the reasons why Marx concealed the financial contradictions, which could not have remained hidden from his penetrating gaze, if finances had not had an ally, the influence of which objectively revolutionary was already then extraordinarily important.
G.An unconscious coincidence, but not an alliance which presupposes intelligence, will and agreement...
R.Let us leave this point of view if you like. Now let us better go over to the subjective analysis of finances and even more: let us see what sort of people personally are at work there. The international essence of money is well known. From this fact emerges that the organization which owns them and accumulates them is a cosmopolitan organization. Finances in their apogee as an aim in themselves, the financial International deny and do not recognise anything national, they do not recognize the State; and therefore it is anarchical and would be absolutely anarchical if it the denier of any national State were not itself, by necessity, a State in its own basic essence. The State as such is only power. And money is exclusively power.
This communistic super-state, which we are creating already during a whole century, and the scheme of which is the International of Marx. Analyse it and you will see its essence. The scheme of the International and its prototype of the USSR that is also pure power. The basic similarity between the two creations is absolute. It is something fatalistic, inevitable, since the personalities of the authors of both was identical. The financier is just as international as the Communist. Both, with the help of differing pretexts and differing means, struggle with the national bourgeois State and deny it. Marxism in order to change it into a Communist State; from this comes that the Marxist must be an internationalist: the financier denies the bourgeois national State and his denial ends in itself; in fact he does not manifest himself as an internationalist, but as a cosmopolitan anarchist. . . That is his appearance at the given stage, but let us see what he really is and what he wants to be. As you see, in rejection there is a clear similarity individually between Communist-internationalists and financial-cosmopolitans; as a natural result there is the same similarity between the Communist International and the financial International...
G.This is a chance similarity subjectively and objective in contradictions, but one easily eroded and having little significance and that which is most radical and existing in reality.
R.Allow me not to reply just now, so as not to interrupt the logical sequence. . . . I only want to decipher the basic axiom: money is power. Money is today the centre of global gravity. I hope you agree with me?
G.Continue, Rakovsky, I beg of you.
R.The understanding of how the financial International has gradually, right up to our epoch, become the master of money, this magical talisman, which has become for people that which God and the nation had been formerly, is something which exceeds in scientific interest even the art of revolutionary strategy, since this is also an art and also a revolution. I shall explain it to you. Historiographers and the masses, blinded by the shouts and the pomp of the French revolution, the people, intoxicated by the fact that it had succeeded in taking all power from the King and the privileged classes, did not notice how a small group of mysterious, careful and insignificant people had taken possession of the real Royal power, the magical power, almost divine, which it obtained almost without knowing it. The masses did not notice that the power had been seized by others and that soon they had subjected them to a slavery more cruel than the King, since the latter, in view of his religious and moral prejudices, was incapable of taking advantage of such a power. So it came about that the supreme Royal power was taken over by persons, whose moral, intellectual and cosmopolitan qualities did allow them to use it. It is clear that this were people who had never been Christians, but cosmopolitans.
G.What is that for a mythical power which they had obtained ?
R.They had acquired for themselves the real privilege of coining money. . . Do not smile, otherwise I shall have to believe that you do not know what moneys are... I ask you to put yourself in my place. My position in relation to you is that of the assistant of a doctor, who would have to explain bacteriology to a resurrected medical man of the epoch before Pasteur. But I can explain your lack of knowledge to myself and can forgive it. Our language makes use of words which provoke incorrect thoughts about things and actions, thanks to the power of the inertia of thoughts, and which do not correspond to real and exact conceptions. I say : money. It is clear that in your imagination there immediately appeared pictures of real money of metal and paper. But that is not so. Money is now not that; real circulating coin is a true anachronism. If it still exists and circulates, then it is only thanks to atavism, only because it is convenient to maintain the illusion, a purely imaginary fiction for the present day.
G.This is a brilliant paradox, risky and even poetical.
R.If you like, this is perhaps brilliant, but it is not a paradox. I know and that is why you smiled that States still coin money on pieces of metal or paper with Royal busts or national crests; well, so what? A great part of the money circulating, money for big affairs, as representative of all national wealth, money, yes money it was being issued by those few people about whom I had hinted. Titles, figures, cheques, promissory notes, endorsements, discount, quotations, figures without end flooded States like a waterfall. What are in comparison with these the metallic and paper moneys? . . . Something devoid of influence, some kind of minimum in the face of the growing flood of the all-flooding financial money. They, being the most subtle psychologists, were able to gain even more without trouble, thanks to a lack of understanding. In addition to the immensely varied different forms of financial moneys, they created credit-money with a view to making its volume close to infinite. And to give it the speed of sound ... it is an abstraction, a being of thought, a figure, number, credit, faith. .
Do you understand already? .. . Fraud; false moneys, given a legal standing . . . , using other terminology, so that you should understand me. Banks, the stock exchanges and the whole world financial system is a gigantic machine for the purpose of bringing about unnatural scandals, according to Aristotle's expression; to force money to produce money that is something that if it is a crime in economics, then in relations to finances it is a crime against the criminal code, since it is usury. I do not know by what arguments all this is justified : by the proposition that they receive legal interest. . . Even accepting that, and even that admission is more than is necessary, we see that usury still exists, since even if the interest received is legal, then it invents and falsifies the non-existent capital. Banks have always by way of deposits or moneys in productive movement a certain quantity of money which is five or perhaps even a hundred times greater than there are physically coined moneys of metal or paper. I shall say nothing of those cases when the credit-moneys, i.e. false, fabricated ones, are greater than the quantity of moneys paid out as capital. Bearing in mind that lawful interest is fixed not on real capital but on non-existing capital, the interest is illegal by so many times as the fictional capital is greater than the real one.
Bear in mind that this system, which I am describing in detail, is one of the most innocent among those used for the fabrication of false money. Imagine to yourself, if you can, a small number of people, having unlimited power through the possession of real wealth, and you will see that they are the absolute dictators of the stock-exchange; and as a result of this also the dictators of production and distribution and also of work and consumption. If you have enough imagination then multiply this, by the global factor and you will see its anarchical, moral and social influence, i.e. a revolutionary one... Do you now understand?
G.No, not yet.
R.Obviously it is very difficult to understand miracles.
R.Yes, miracle. Is it not a miracle that a wooden bench has been transformed into a temple? And yet such a miracle has been seen by people a thousand times, and they did not bat an eyelid, during a whole century. Since this was an extraordinary miracle that the benches on which sat the greasy usurers to trade in their moneys, have now been converted into temples, which stand magnificently at every corner of contemporary big towns with their heathen colonnades, and crowds go there with a faith which they are already not given by heavenly gods, in order to bring assiduously their deposits of all their possessions to the god of money, who, they imagine, lives in the steel safes of the bankers, and who is preordained, thanks to his divine mission to increase the wealth to a metaphysical infinity.
G.This is the new religion of the decayed bourgeoisie?
R.Religion, yes, the religion of power.
G.You appear to be the poet of economics.
R.If you like, then in order to give a picture of finance, as of a work of art which is most obviously a work of genius and the most revolutionary of all times, poetry is required.
G.This is a faulty view. Finances, as defined by Marx, and more especially Engels, are determined by the system of Capitalistic production.
R.Exactly, but just the reverse : the Capitalistic system of production is determined by finance. The fact that Engels states the opposite and even tries to prove this, is the most obvious proof that finances rule bourgeois production. So it is and so it was even before Marx and Engels, that finances were the most powerful instrument of revolution and the Comintern was nothing but a toy in their hands. But neither Marx nor Engels will disclose or explain this. On the contrary, making use of their talent as scientists, they had to camouflage truth for a second time in the interests of the revolution. And that both of them did.
G.This story is not new. All this somewhat reminds me of what Trotzky had written some ten years ago.
R.Tell .....
G.When he says that the Comintern is a conservative organization in comparison with the stock-exchange in New York; he points at the big bankers as being the inventors of the revolution.
R.Yes, he said this in a small book in which he foretold the fall of England. . . Yes, he said this and added : Who pushes England along the path of revolution? . . . and replied : Not Moscow, but New York.
G.But remember also his assertion that if the financiers of New York had forged the revolution, then it was done unconsciously.
R.The explanation which I had already given in order to help to understand why Engels and Marx camouflaged the truth, is equally applicable also to Leo Trotzky.
G.I value in Trotzky only that he in a sort of literary form interpreted an opinion of a fact which as such was too well known, with which one had already reckoned previously. Trotzky himself states quite correctly that these bankers carry out irresistibly and unconsciously their revolutionary mission.
R.And they carry out their mission despite the fact that Trotzky has declared it? What a strange thing! Why do they not improve their actions?
G.The financiers are unconscious revolutionaries since they are such only objectively, as the result of their intellectual incapacity of seeing the final consequences.
R.You believe this sincerely? You think that among these real geniuses there are some who are unconscious? You consider to be idiots people to whom today the whole world is subjected? This would really be a very stupid contradiction!
G.What do you pretend to?
R.I simply assert that they are revolutionaries objectively and subjectively, quite consciously.
G.The bankers! You must be mad?
R.I, no . . . But you? Think a little. These people are just like you and me. The circumstance that they control moneys in unlimited amounts, insofar as they themselves create them, does not give us the opportunity of determining the limits of all their ambitions. . . If there is something which provides a man with full satisfaction then it is the satisfaction of his ambition. And most of all the satisfaction of his will to power. Why should not these people, the bankers, have the impulse towards power, towards full power? Just as it happens to you and to me.
G.But if, according to you and I think the same they already have global political power, then what other power do they want to possess ?
R.I have already told you : Full power. Such power as Stalin has in the USSR, but world-wide.
G.Such power as Stalin's, but with the opposite aim.
R.Power, if in reality it is absolute, can be only one. The idea of the absolute excludes multiplicity. For that reason the power sought by the Comintern and Comintern, which are things of the same order, being absolute, must also in politics be unique and identical : Absolute power has a purpose in itself, otherwise it is not absolute. And until the present day there has not yet been invented another machine of total power except the Communist State. Capitalistic bourgeois power, even on its highest rung of the ladder, the power of Caesar, is limited power since if, in theory, it was the personification of the deity in the Pharaohs and Caesars in ancient times, then nevertheless, thanks to the economic character of life in those primitive States and owing to the technical under-development of the State apparatus, there was always room for individual freedom. Do you understand that those who already partially rule over nations and worldly governments have pretensions to absolute domination? Understand that that is the only thing which they have not yet reached.
G.This is interesting : at least as an example of insanity.
R.Certainly, insanity in a lesser degree than in the case of Lenin, who dreamt of power over the whole world in his attic in Switzerland or the insanity of Stalin, dreaming of the same thing during his exile in a Siberian hut. I think that dreams of such ambitions are much more natural for the moneyed people, living in the skyscrapers of New York.
G.Let us conclude : Who are they?
R.You are so naive that you think that if I knew who They are, I would be here as a prisoner?
R.For a very simple reason, since he who is acquainted with them would not be put into a position in which he would be obliged to report on them. . . This is an elementary rule of every intelligent conspiracy, which you must well understand.
G.But you said that they are the bankers?
R.Not I; remember that I always spoke of the financial International, and when mentioning persons I said They and nothing more. If you want that I should inform you openly then I shall only give facts, but not names, since I do not know them. I think I shall not be wrong if I tell you that not one of Them is a person who occupies a political position or a position in the World Bank. As I understood after the murder of Rathenau in Rapallo, they give political or financial positions only to intermediaries. Obviously to persons who are trustworthy and loyal, which can be guaranteed a thousand ways : thus one can assert that bankers and politicians - are only men of straw . . . even though they occupy very high places and are made to appear to be the authors of the plans which are carried out.
G.Although all this can be understood and is also logical, but is not your declaration of not knowing only an evasion? As it seems to me, and according to the information I have, you occupied a sufficiently high place in this conspiracy to have known much more. You do not even know a single one of them personally?
R.Yes, but of course you do not believe me. I have come to that moment where I had explained that I am talking about a person and persons with a personality . . . how should one say? . . . a mystical one, like Ghandi or something like that, but without any external display. Mystics of pure power, who have become free from all vulgar trifles. I do not know if you understand me? Well, as to their place of residence and names, I do not know them. . . Imagine Stalin just now, in reality ruling the USSR, but not surrounded by stone walls, not having any personnel around him, and having the same guarantees for his life as any other citizen. By which means could he guard against attempts on his life ? He is first of all a conspirator, however great his power, he is anonymous.
G.What you are saying is logical, but I do not believe you.
R.But still believe me; I know nothing; if I knew then how happy I would be ! I would not be here, defending my life. I well understand your doubts and that, in view of your police education, you feel the need for some knowledge about persons. To honour you and also because this is essential for the aim which we both have set ourselves. I shall do all I can in order to inform you. You know that according to the unwritten history known only to us, the founder of the First Communist International is indicated, of course secretly, as being Weishaupt. You remember his name? He was the head of the masonry which is known by the name of the Illuminati; this name he borrowed from the second anti-Christian conspiracy of that era gnosticism. This important revolutionary, Semite and former Jesuit, foreseeing the triumph of the French revolution decided, or perhaps he was ordered (some mention as his chief the important philosopher Mendelssohn) to found a secret organization which was to provoke and push the French revolution to go further than its political objectives, with the aim of transforming it into a social revolution for the establishment of Communism. In those heroic times it was colossally dangerous to mention Communism as an aim; from this derive the various precautions and secrets, which had to surround the Illuminati. More than a hundred years were required before a man could confess to being a Communist without danger of going to prison or being executed. This is more or less known.
What is not known are the relations between Weishaupt and his followers with the first of the Rothschilds. The secret of the acquisition of wealth of the best known bankers could have been explained by the fact that they were the treasurers of this first Comintern. There is evidence that when the five brothers spread out to the five provinces of the financial empire of Europe, they had some secret help for the accumulation of these enormous sums : it is possible that they were those first Communists from the Bavarian catacombs who were already spread all over Europe. But others say, and I think with better reason, that the Rothschilds were not the treasurers, but the chiefs of that first secret Communism. This opinion is based on that well-known fact that Marx and the highest chiefs of the First Internationalalready the open oneand among them Herzen and Heine, were controlled by Baron Lionel Rothschild, whose revolutionary portrait was done by Disraeli (in ConingsbyTransl.) the English Premier, who was his creature, and has been left to us. He described him in the character of Sidonia, a man, who, according to the story, was a multi-millionaire, knew and controlled spies, carbonari, freemasons, secret Jews, gypsies, revolutionaries etc., etc. All this seems fantastic. But it has been proved that Sidonia is an idealized portrait of the son of Nathan Rothschild, which can also be deduced from that campaign which he raised against Tsar Nicholas in favour of Herzen. He won this campaign.
If all that which we can guess in the light of these facts is true, then, I think, we could even determine who invented this terrible machine of accumulation and anarchy, which is the financial International. At the same time, I think, he would be the same person who also created the revolutionary International. It is an act of genius : to create with the help of Capitalism accumulation of the highest degree, to push the proletariat towards strikes, to sow hopelessness, and at the same time to create an organization which must unite the proletarians with the purpose of driving them into revolution. This is to write the most majestic chapter of history. Even more : remember the phrase of the mother of the five Rothschild brothers : If my sons want it, then there will be no war. This means that they were the arbiters, the masters of peace and war, but not emperors. Are you capable of visualizing the fact of such a cosmic importance ? Is not war already a revolutionary function ? Warthe Commune. Since that time every war was a giant step towards Communism. As if some mysterious force satisfied the passionate wish of Lenin, which he had expressed to Gorky. Remember : 1905-1914. Do admit at least that two of the three levers of power which lead to Communism are not controlled and cannot be controlled by the proletariat.
Wars were not brought about and were not controlled by either the Third International or the USSR, which did not yet exist at that time. Equally they cannot be provoked and still less controlled by those small groups of Bolsheviks who plod along in the emigration, although they want war. This is quite obvious. The International and the USSR have even fewer possibilities for such immense accumulations of capital and the creation of national or international anarchy in Capitalistic production. Such an anarchy which is capable of forcing people to burn huge quantities of foodstuffs, rather than give them to starving people, and is capable of that which Rathenau described in one of his phrases, i.e. : To bring about that half the world will fabricate dung, and the other half will use it. And, after all, can the proletariat believe that it is the cause of this inflation, growing in geometric progression, this devaluation, the constant acquisition of surplus values and the accumulation of financial capital, but not usury capital, and that as the result of the fact that it cannot prevent the constant lowering of its purchasing power, there takes place the proletarization of the middle classes, who are the true opponents of revolution. The proletariat does not control the lever of economics or the lever of war. But it is itself the third lever, the only visible and demonstrable lever, which carries out the final blow at the power of the Capitalistic State and takes it over. Yes, they seize it, if They yield it to them. . .
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Helping students earn a debt-free college degree and find a career they love. Services include career assessment and academic advisement, plus homeschool to college credit study guides, books, and resources for middle and high school students.
|Fast Transcripts
Fast Transcripts enables you to track your high schooler's courses via online record keeping, and then helps you produce an official transcript with an auto-calculation feature for determining yearly and cumulative GPAs.
|John Witherspoon College
John Witherspoon College is the first and only college of its kind in the Black Hills region. Founded in 2004 as Black Hills Biblical Institute, JWC became a 4-year, degree-granting college in 2012. Named for the only college president (and only active pastor) to sign the Declaration of Independence, JWC seeks to honor his legacy by reclaiming the great Christian intellectual tradition and by rigorous, Christ-centered preparation for service in the church and in the world. With an outstanding faculty, low tuition, programs for traditional students and adult learners, and teaching sites in strategic locations, JWC seeks to serve the Body of Christ with affordable, accessible, Christ-centered excellence. John Witherspoon College has achieved Candidate-Level Accreditation status with the Transnational Association of Christian Colleges and Schools (TRACS).
|ND University System Credits Before College
A link providing information regarding CLEP course equivalencies for the North Dakota University System.
|Trinity Bible College
EXPERIENCE CALLING. Trinity Bible College & Graduate School is committed to training people with theological reflection and missional passion. Enjoy small class sizes, world renowned teachers and speakers, an authentic faith community, real relationships, a rigorous education, and a college that feels like home.
|Chris Argenziano Guitar
Chris Argenziano Guitar offers guitar lessons in a fun and engaging environment to students of all levels, ages six and up. Students can choose a variety of styles including classical, jazz, rock, blues, and acoustic. All lessons are customized to fit the individual needs of each student
|Circle C Adventures
Historical adventure books for all ages, from first chapter books through teen readers. The supplemental enrichment guides and lapbooks that accompany the books also make the Circle C Adventures a great year-long literature and language arts curriculum.
|FICTION FOR TEENS GivenHoffman.com
Suspenseful young adult fiction that engages teenagers in fast moving, gripping, romance-free adventures that incorporate relevant teen issues and practical Christianity. Fiction teenage boys will like!
|Generation Joshua (sponsored by HSLDA)
The Vision of Generation Joshua is to assist parents to raise up the next generation of Christian leaders and citizens, equipped to positively influence the political processes of today and tomorrow.
|Glendive Dinosaur Museum
A Bible-based dinosaur and fossil museum that presents history in the context of a recent creation.
|Home School Pioneers
History and biographies of those who shaped the early days of the homeschooling movement in the United States.
|Pencil Grip Inc
The Pencil Grip, Inc. is a family owned and operated company that provides a wide variety of products that can be used in the home, office, or school. We began specializing in ergonomic pencil grips, and since have included mess free and durable arts and crafts supplies. Our products are tried and trusted by many parents, teachers, and occupational therapists, satisfaction guaranteed.
|Perfect Praise Publishers
The Kingdom Series, a 6 book series written by Chuck Black, is a chronological allegory of the entire Bible set in a medieval time period. The Knights of Arrethtrae, also a 6 book series, is a companion series set in the same kingdom, but each book stands alone in this character-building series. Chuck's most recent 3-book series, the Wars of the Realm, depicts modern day spiritual warfare centered around the life of one young man - Drew Carter. Chuck is also the author of "Call to Arms: The Guts and Glory of Courageous Fatherhood," a practical, how-to book for dads. All of Chuck's books are also available as fully dramatized audio books featuring professional voice acting, sound effects, and original soundtracks.
|Priscilla J. Krahn
The goal of Priscilla's books is to provide wholesome books with a message. Books that not only entertain, but can change lives. Each of these high-paced, intense action books, are written by Priscilla J. Krahn who incorporates her life experience into thrilling novels for all ages.
|Project Appleseed
Project Appleseed can help transform you from a man with a rifle into a Rifleman. A Rifleman is more than a man (or woman) with a rifle. A Rifleman understands that owning and mastering a rifle is part of his heritage as an American. And he knows why: This is a nation founded by Riflemen -- men and women skilled in the use of arms. Those skills served the colonists well when they stood up to the British on April 19, 1775, at Lexington and Concord, and routed the British forces that tried to seize the colonists' arms. Throughout history, Riflemen have embodied personal responsibility and been pillars of their communities, characteristics that are becoming ever more rare in our nation. At Project Appleseed, we want to return America to being a nation of Riflemen and we want you to join us.
|Trail Life
Trail Life USA is a Christ centered youth program for boys 6 through 18. This program is designed to enhance the local Church's outreach into their communities with an outdoors experience to teach Christian values, build relationships, serve the Lord and the Community and learn to be a responsible citizen. A excellent enhancement for Home School curriculum. Information and resources will be available to start a TLUSA Troop in your community.
|Trail's End Ranch
Trail's End Ranch is a Bible camp that uses sports and adventure to reach children and families for the Lord. Our philosophy is to move each camper forward in all aspects of their life: mentally, emotionally, physically, socially and most important spiritually. We strive to show Christ's love to those who come to camp for a week in the summer, or attend a retreat during the rest of the year.


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It took him a few weeks of trying before he finally figured out how to get to the bird feeder filled with sunflower seeds. He could not get to it from the top because of the baffle. He finally learned he could jump from the porch rail to the feeder. He grabbed on with one of his back feet then would swing over near the port and grab hold with a front paw. He then quickly grabbed a seed or seeds and jumped back down to the rail to eat. He repeated the routine until he got his fill or was disturbed. He was too fast getting up and back down for me to ever get a picture of him hanging on the feeder.
He seemed to have never tired of trying and he sure never gave up. He learned how to get food from every feeder but one. He was hilarious at times with some of the positions he got in and how he would catch himself after every fall from the feeder. He was one smart little squirrel.


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Please note this webinar is presentation file only.
The Bartender's Guide to eDiscovery: Did you hear the one about the two lawyers who walked into a bar... Is your organization really prepared for eDiscovery? Is your corporate legal department up to date on the new FRCP amendments and recent case law? Is eDiscovery a top concern of the senior-level legal professionals and executives in your company, or are its finer points relegated to IT? Many civil litigation cases are lost every year before the case goes to trial due to poor or non-existent eDiscovery processes within a company. Mr. Tolson has more than 20 years? experience in product marketing and consulting in both the storage and archiving solutions market. He has held senior management positions at Hewlett-Packard, Hitachi Data Systems and StorageTek.
Presented by Bill Tolson, Director of Product Marketing/Archiving Solutions, Iron Mountain Digital
One hour CLE
6/14/2018NALS Resource Center and NALS Foundation Address Change
5/1/2019NALS Board of Directors Appoints New Executive Director
1/16/2019Immediate Attention Required—IRS Form 990N 2019
6/1/2019Online PLS/CLP Exam
6/1/2019Online ALP Exam
6/1/2019Online PP Exam
NALS, Inc.
P.O. Box 470348
Tulsa, Oklahoma 74147
NALS Inc.
Dept. #170
PO Box 701683
Tulsa, Oklahoma 74170
Email Us
Phone: 918.582.5188
Fax: 918.582.5907


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Ms Smith, Lanarkshire
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Beautifully presented two bedroom semi detached villa located in the popular Carrickstone district of Cumbernauld. The property is well placed for access to amenities and will appeal to a range of prospective buyers.
An entrance porch leads to a bright and spacious lounge which has stairs to the upper floor and access into the kitchen. The modern kitchen diner is well equipped and fitted with floor and wall mounted units with worktops and appliances. The kitchen has an outer door leading out to the landscaped rear garden. Upstairs there are two double sized bedrooms and the shower room which is fitted with a three piece suite and shower. The property features double glazing, gas central heating, monoblock driveway parking to the front which is enclosed by an ornate wrought iron fence plus the enclosed garden to the rear which features timber decking with seating area and astro turf grass for ease of maintenance as well as an attractive patio.
Carrickstone is well located for access to local schools and public transport. There is also Cumbernauld town centre with a wide variety of high street shopping, supermarkets, health and recreational facilities. There are also the links to the M80, M73 and M8 motorway networks.
EER Band D.
Contact branch for relevant Energy Performance Certificate
Live chat opening hours are 9am until 5.30pm Monday to Friday
Mortgage lenders have their own affordability criteria. That's why it's important that you speak to one of our Mortgage and Protection Consultants from Countrywide Mortgage Services. They will be able to give you information, talk you though your mortgage and protection needs and find the best products for you, using a wide range of lenders and its insurance partners.


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690 SW 1st Ct, Apt 2319
Home61's Closings in
Key features
Two story loft with amazing views of the river and miami skyline. This 2br, 2. 5ba with 20 ft ceilings has been nicely updated with new kitchen cabinetry, granite counters and stainless appliances. Excellent layout with both bedrooms upstairs and 2 large balconies. Amenities include a business center, infinity pool & jacuzzi, fitness center with sauna & steam room, racquetball court, game room, clubhouse & dog park. Just steps away from the shops & restaurants at brickell city centre and mary brickell village. Easy access to public transit. Great investment in a hot location!
Data is provided by Miami Association of REALTORS®.
The multiple listing information is provided by Miami Association of REALTORS® from a copyrighted compilation of listings. The compilation of listings and each individual listing are © 2019 Miami Association of REALTORS®. All Rights Reserved.
The information provided is for consumers' personal, non-commercial use and may not be used for any purpose other than to identify prospective properties consumers may be interested in purchasing. All properties are subject to prior sale or withdrawal. All information provided is deemed reliable but is not guaranteed accurate, and should be independently verified.


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It's cover reveal day for J. Lynn Bailey's Magnolia Road. Check it out and be sure to pre-order your copy today!
Title: Magnolia Road
Author: J. Lynn Bailey
Genre: Contemporary Romance
Release Day: January 29th
About Magnolia Road:On the outside, Bryce Hayes is satisfied with the structure of her life, her demanding career, and a series of no-strings-attached relationships, but her brother bounces in and out of rehab, her mother thinks she can beat her son's addiction, and her father is simply doing what he can to keep a semblance of "normal". When Bryce's father, Congressman Hayes, orders her to Granite Harbor, Maine, due to a string of threats to their family coming from an unidentifiable source, she doesn't expect Ethan Casey, the sexy soldier who slept with her, then walked out, without so much as a goodbye, to be her landlord. Ethan's past is riddled with chaos, bullets, and loud noise. After returning to his small town after the war, he's determined to get back to his roots. Peace, quiet, and working as a game warden for the Maine Warden Service sounds right as rain. But with Bryce in Granite Harbor, staying in his house on Magnolia Road, Ethan can't stop thinking about his future—and that includes Bryce. But to make things right with the love of his life, he'll have to open old wounds…and risk losing her forever.
Amazon | Kobo | Nook | iBooks
Add On Goodreads!
About the Author:J. Lynn Bailey has loved to write since she learned to read, around the second grade. When she isn't running after her children, watching COPS, or on the hunt for her next Laffy Taffy joke, you can probably find her holed up in her writing room feverishly working on her next book. She lives in Northern California with her family.
Twitter | Facebook | Instagram | My Website
Enter J. Lynn's Giveaway:a Rafflecopter giveaway https://widget-prime.rafflecopter.com/launch.js
5 STAR Review by Jodi for Ruby Red Romance Review
I loved this story. I loved getting to meet these characters. I loved getting to see the inner workings of Bryce and Ethan. Bryce is dealing the heartache of a one night stand that left her wanting more. But what she doesn't understand is that Ethan has problems. He is dealing with things that he neither wants to take about or deal with. Ethan has PTSD and flashbacks of his time in combat.
This story is deep and relatable. I love these characters. I loved how hard they fought. I love how real this story felt. I wanted to push these two together and make them see how much they needed each other, but in the end, they found their way. I loved this book from start to finish. J. Lynn Bailey is an amazing author and I can't wait to read more from her.


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Alkaram Textiles Mills Ltd Jobs Junior Graphic Designer
Alkaram Textiles Mills Ltd Jobs Junior Graphic Designer :Alkaram Textiles is currently hunting profiles for the position of Junior Graphic Designer with atleast 2-3 years of experience in the relevant field.
The incumbent shall be responsible for:
- Research on international customers/stores.
- Creating innovative ideas for packaging /magazines/branding.
- Should have command over illustrator/adobe Photoshop.
- Design communication strategies in compliance with customer requirements/needs
Interested candidates may forward their resume on [email protected] with the subject line "Junior Graphic Designer" latest by 14th September, 2018.
P.S: CVs without the Subject line shall NOT be entertained.
Only relevant profiles shall be shortlisted.


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TNT Express Courier Customer Care Number
TNT courier service is an Australian based company which is admired to be acknowledged a world renowned courier company, TNT courier company also operate from India. The company came into existence in the year 1946. Gradually, it formed a joint venture with KPN that is admired as a Dutch mail in the year 1996. This company is successfully running with two divisions such as TNT express and PostNL. TNT express is known to be well known for its cargo and courier service in 200 countries with the extreme support of 75,000 employees. The company promises on time delivery with the help of 30,000 vehicles as well as 50 aircraft.
This vehicles supports in transfer of goods as well as documents all across the globe. It has its globe headquarter in Netherlands and is known to make a huge profit margin of euro 7,053 million for each year. Moreover, in India, it has it's headquarter located at Bangalore. Moreover, it is simply succeeding in India with the help of 614 office and 2000 vehicle and 34 hubs. As per the record, its service is available in approximately 13000 location of India. For the conveniences of the customer, the courier service provides several benefits such as price calculation, consignment tracking and many other services.
Toll Free number: 1800-208-9999 / 1800-425 9999
Customer Care Service:
The customer care service of the TNT is assumed to be highly efficient in resolving your issues without wasting your time. You can contact them anytime anywhere for better assistance on the below mentioned contact details:
|Contact number
|TNT Courier in Delhi
|TNT Courier in Mumbai
|022 – 3348-6052
|TNT Courier in Chennai
|096772 30560
|TNT Courier in Pune
Office At: Sampangi Rama Nagar Police Station,
Place: 4th Main Road, Raja Ram Mohanroy Extension, Sampangi Rama Nagar,
City: Bengaluru,
State: Karnataka
Pin Code: 560027


text: I have four Pekin Ducks. They are about 6 months old. I have never had ducks before and I think I have 1 male and 3 females (the only thing I base this on is the drake feather). For the past week Hubby and I have noticed that the girls (?) are biting the neck of the boy (?) and he is loosing feathers there. Every day they chase him, pin him down and bite the back of his neck. Sometimes it is just one on one and sometimes it's two against one. The boy seems a bit smaller. None have laid eggs yet, so I really don't know what I've got. And, I have no idea if this behavior is normal, if the little one is being abused or if it is a prelude to mating. Can someone help me?


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