text:
Play & Learn with Fisher-Price!
Play is the way children learn best.
From seeing a baby's delight when grasping a toy for the first time, to helping a toddler reach new milestones, to watching the wonder of a preschooler's imagination, it's easy to see how significant play is for a child's development. Understanding that importance and how hands-on play builds a child's skills was the spark that gave us our start more than 80 years ago, and it continues to be our guiding light as we work to enrich the lives of young families around the world.
With your child's development in mind.
How do we know how children learn best? We study how they develop, how they grow. And we listen to the experts: mums and dads. We design all of this learning into our babygear and toys. So the little moments of play you enjoy every day lead up to the big milestones you'll celebrate along the way as we help you give your child the best possible start, and help you succeed at what we believe is the most important job in the world: nurturing your child's development.
Explore Our Products
Rainforest Friends Newborn-to-Toddler Portable Rocker
Product FeaturesThis infant to toddler rocker rocks! Multiple uses, including playing, soothing , feeding and just hangin' around
It starts out as an infant seat or rocker with bat-at entertainment overhead. Then, as your child grows, you can easily remove the toy bar and convert it to a toddler rocker, for children up to 40 lbs.
• Use from infant to toddler (up to 40 lbs./18 kg)
• Convenient feeding, playing or resting space for baby
• Switch on calming vibrations to help soothe & comfort
• Stationary seat position with kick stand
• Removable toy bar with two bat-at toys
• Two position seat recline helps keep little ones comfy in both stages
• Removable, machine washable seat pad
• Sleek & modern design
Developmental Guidelines: Use only with a child unable to sit unassisted or grasp side of seat and pull upward. Use the product from birth until child weighs 40 lb (18 kg).


text:
CARSON, Calif. (Friday, December 14, 2012) – After trading up to the No. 2 pick from the No. 19 pick earlier in the day, the LA Galaxy made two selections in Stage 2 of the MLS Re-Entry Process this afternoon, claiming midfielder Colin Clark from the Houston Dynamo and goalkeeper William Hesmer from the Columbus Crew. The club now owns the MLS rights to both players and has seven days to extend genuine contract offers to them. If the Galaxy cannot reach an agreement with either of the players, the club will hold the right of first refusal for that player within MLS.
READ: Flurry of activity for the Galaxy on Re-Entry Draft day
WATCH: Clark PK gives Houston 1-0 win vs. RSL
In the first round of the Re-Entry Process, the Galaxy selected Clark, a veteran midfielder who had spent the last two-and-a-half seasons with the Houston Dynamo. A native of Fort Collins, Colo., Clark made his MLS debut with the Colorado Rapids in 2006 after signing with the club prior to the start of that season. A left-footed winger, Clark spent the first four-and-a-half years of his career with the Rapids, setting a career-high with five goals in 2008 and a career-best of five assists the following year. He was traded to Houston late in the 2010 season and helped the Dynamo win back-to-back Eastern Conference Championships in 2011 and 2012, losing to the Galaxy in MLS Cup each time. The 28-year-old, who has made one appearance for the U.S. National Team, appeared in 14 games for the Dynamo in 2012, making six starts. In the first seven years of his MLS career, Clark has played in 127 games, making 93 starts while scoring 15 goals and adding 13 assists.
WATCH: Hesmer stops Mwanga blast (2011)
In the second round of the Re-Entry Process, the Galaxy selected Hesmer, a 31-year-old goalkeeper who missed all of last season after undergoing hip surgery in April. The Crew's all-time leader in games played and games started in goal (130), wins (59), shutouts (41) and saves (412), Hesmer, helped lead the Crew to the Supporters' Shield in 2008 and 2009, as well as the club's first-ever MLS Cup championship in 2008. After playing his college soccer at Wake Forest, Hesmer was selected by Kansas City in the second round of the 2004 MLS SuperDraft. He made his MLS regular season debut with Kansas City in 2006 before being acquired by Toronto FC in the 2006 MLS Expansion Draft. The North Carolina native was then traded to Columbus, where he established himself as the Crew's top goalkeeper. A finalist for the MLS Goalkeeper of the Year award in 2008, Hesmer had a career-high 17 wins that season while appearing in all but one of the Crew's games.

subset: commoncrawl


text:
- This event has passed.
Co-Op Trivia
January 25 @ 7:00 pm - 9:00 pm
|Recurring Event (See all)
An event every week that begins at 7:00pm on Thursday, repeating indefinitely
Event Navigation
Join us for live trivia every Thursday night from 7-9pm. Our rotating host will deliver 5 fun-filled trivia rounds (including a picture identification round) with charisma and wit. There's a $2 buy in, teams of up to 7 people, and the winning team takes all the loot!


text:
PB Brickwork59 Feedback reviews, 100% positive
Hi I'm Paul, I'm a NVQ 3 Bricklayer from Altrincham. I've worked on many projects in my time from building million pound houses to small extensions and conservatories, I also do small repairs and maintenance work , excellence and quality is standard
Latest Bricklaying feedback review:
By frankogrady56701 on 29th Aug, 2018
JOB BUILDERS AND ROOFERS144 Feedback reviews, 99% positive
we are experienced in all building work Roofing,shopfitting and listed buildings We are fully qualified and insured with city and guilds advanced craft certificate and o.n.c. in construction, and hold current c.s.c.s. cards. Cavity wall tie specialists and survey with...
Latest Bricklaying feedback review:
By dayhearts on 4th Jun, 2018
Apex Roofing and Building Contractors144 Feedback reviews, 100% positive
At Apex Roofing and building Contractors we have more than 30 years experience in all aspects of roofing both flat and pitched from a single tile change to full re-roofs both in tile and slate. All aspects of flat roofing covered inc GRP, EPDM, built up systems and...
Latest Bricklaying feedback review:
By elizabeth_706 on 29th Jun, 2018
john rooms48 Feedback reviews, 100% positive
We have been in business for 45 years and we do an excellent job we always look after the customer and treat there home as if it was our own keeping it as clean as possible,we are time served tradesmen.we are honest reliable and competetive we will also do insurance...
Latest Bricklaying feedback review:
By sam62 on 10th Oct, 2018
Ideal Construction & groundwork's LTD22 Feedback reviews, 100% positive
Ideal Construction & groundwork offer a wide variety of high quality construction services for residential properties.We"ll work side-by-side with you every step of the way Until you are a 100% satisfied. we are Honest,reliable have a high standard of work, reasonable rates...
Latest Bricklaying feedback review:
By simonwardcooper on 17th May, 2018
B S Brickwork20 Feedback reviews, 95% positive
15 yrs bricklaying experience mixed with 15 yrs of general building experience including ground work, garden walls, fencing, porches, extensions, building alterations, joinery, floor and wall tiling, fitting windows and doors, pretty much all aspects of building work...
Latest Bricklaying feedback review:
By petercentralrd on 18th Jul, 2018
brickworker39 Feedback reviews, 100% positive
always willing to travel for work always prompt the priority doing a good job for the client in the cleanest possible way. keeping to a time limit and the best possible budget for the client
Latest Bricklaying feedback review:
By chrissie_554 on 26th Apr, 2018
DLR Brickwork & Groundworks26 Feedback reviews, 100% positive
I am a small building firm based in Lymm specialising in all aspects of building work (brickwork, groundworks,extensions, lintel replacement, alterations, property maintanance, driveways, drainage, jetwashing etc). I have a vast array of completed projects. All work is...
Latest Bricklaying feedback review:
By jwors on 21st Oct, 2018
McCann Brickwork and Building30 Feedback reviews, 100% positive
20 years experience as a bricklayer building new homes, extensions, conservatories ,garden walls, pointing jobs, alterations and paving. As well as my own I also build conservatories for Tyldesley windows, Bella vista garden rooms, signature windows and ultra...
Latest Bricklaying feedback review:
By kinobestew123 on 25th Apr, 2016
D & C Damp Proofing and Pointing Services119 Feedback reviews, 100% positive
D & C Damp proofing and Repointing services are a family run business specialising in damp proofing and repointing, brick cleaning, wall ties, brickwork and most forms of general building work. We alway supply a very high standard of workmanship and use the most modern and...
Latest Bricklaying feedback review:
By jane20387 on 21st Oct, 2018
DEANWAY pointing contractors20 Feedback reviews, 100% positive
DEANWAY pointing has been trading since 2002. We under take private and commercial work, offering partial repointing to full repoint of properties, at affordable prices. DEANWAY has plenty of good feedback to support our credibility. We carry out quality work, always...
Latest Bricklaying feedback review:
By mr_holcroft on 27th Sep, 2018
sp crutchley & sons87 Feedback reviews, 98% positive
SP Crutchley & sons are a family run business with over 30 years experience. Re pointing Brick cleaning damproofing wall ties graffiti and paint removal
Latest Bricklaying feedback review:
By clamed on 8th Mar, 2018
SimonJames Developments20 Feedback reviews, 100% positive
Simon James Developments offer sustainable , efficient construction. Working within realistic time schedules , which help us create and work accordingly to distinguish the design specifications needed for any given development process.
Latest Bricklaying feedback review:
By mecochrane49 on 24th May, 2018
James Chase15 Feedback reviews, 100% positive
Hi my names james I'm a Bricklayer bye trade I have been in the building trade since I was 16 and been working for myself since I was 24 I'm clean I'm super efficient at what I do and I'm very professional take great pride in my work and have done many a big job...
Latest Bricklaying feedback review:
By dr59098 on 3rd Sep, 2018
O'Neill Brickwork & Stove Installations17 Feedback reviews, 100% positive
O'Neill Brickwork ltd & Stove Installations is a small well-established wood burning stove and HETAS registered stove & fireplace fitting company based in Heaton Mersey, Stockport, Cheshire. Time served advanced craft qualifications, Hetas registered - 18661, Liability...
Latest Bricklaying feedback review:
By paulj33 on 22nd Apr, 2013
Need a tradesman?
Post a job on MyBuilder to find a quality, local tradesperson.
How MyBuilder works
1. Post a job
First, create a job listing for your bricklaying project. It's quick, easy and free - the first step to finding recommended bricklayers in Sale.
2. Hire a tradesman
Having met our recommended bricklayers in Sale and read customer reviews, you're ready to decide which bricklayers to hire.
3. Leave feedback
After your project is successfully completed, you can leave a review for your bricklayers. This review helps you and future MyBuilder users.
What our customers say
- "I have used one of the tradesman from the website. I found the site very useful and easy to use. Excellent site."
- Kevin Pearson
Tradesmen in Sale
- Architectural Designers
- Bathroom Fitters
- Bricklayers
- Carpenters & Joiners
- Carpet Fitters
- Chimney & Fireplace Specialists
- Conservatory Installers
- Conversion Specialists
- Damp Proofing Specialists
- Demolition Contractors
- Driveway Pavers
- Electricians
- Extension Builders
- Fascias, Soffits and Guttering Specialists
- Fencers
- Flooring Fitters
- Gas Engineers
- Groundworkers
- Handymen
- Heating Engineers
- Insulation Installers
- Kitchen Fitters
- Landscape Gardeners
- Locksmiths
- Loft Conversion Specialists
- New Home Builders
- Painters & Decorators
- Plasterers
- Plumbers
- Restoration & Refurb Specialists
- Roofers
- Security System Installers
- Stonemasons
- Tilers
- Tree Surgeons
- Window Fitters
- All Tradesmen


text:
By Curtis Skinner
NEW YORK (Reuters) – The subway delivering New York City Mayor Michael Bloomberg to the latest stop on his legacy tour was running late.
Bloomberg, who is set to leave office on December 31, was touting the extension of a major Manhattan subway line, which he said will help complete the transformation of the western edge of Midtown Manhattan from a "no-man's land" to a hot new neighborhood.
As the clock of his tenure runs out, Bloomberg is taking a victory lap to cap his three terms in office. Stops include the city's outer reaches to show off areas that were once desolate but now are thriving.
The changes have come as the result of a surge in development outside the city's traditional business centers as well as an historic drop in violent crime, administration officials have said.
"The momentum in this city is the legacy we're really leaving," said Bloomberg, addressing reporters more than 100 feet beneath 34th Street.
Bloomberg, who hails from Boston but came to New York in the 1960s to start a career in finance, recalled the crime-ridden, graffiti-covered subway cars of years past. These days, violent crime on subways is rare and cars are kept clean.
The extension of the 7 line, which runs across Midtown Manhattan and into Queens, is the "perfect symbol" of New York as a city where "big projects can be done," said Bloomberg. It has also been a pet project for the mayor, who said the two drilling machines used to bore into the underground rock were named for his daughters, Emma and Georgina.
The larger redevelopment of the area, which is home to the Jacob Javits Convention Center, since 2005 has taken in $11 billion in private investment for offices, hotels and residential buildings.
Opinions from people on the street were mixed.
At a nearby bus stop, Charlie Jones, 35, a health insurance claims examiner, said he wasn't convinced that average New Yorkers have benefited from the city's changed landscape as Bloomberg has argued.
"He turned New York City into a corporation," Jones said. "He did good with the businesses, but for the little people? Not much."
Dharmenera Patel, 44, who has owned a news kiosk in the neighborhood since 1994, expressed a concern that was more specific to his own business. He said he worried the subway line would limit foot traffic and hurt his business.
"A lot of people will just take the subway," he said.
But a block away, Fazela Hosein, 47, an assistant manager at a local deli, pointed to the city's historic drop in crime and said she thought Bloomberg's legacy will be positive.
"He's done good here," she said, adding that she is looking forward to the increased business a subway line could bring.
Work began on the station in 2007 and the project, the first city funded subway extension in over 60 years, was also "basically on budget and on time," Bloomberg said.
(Editing by Edith Honan and Gunna Dickson)
Mayor Michael Bloomberg on his legacy tour running late.
By Curtis Skinner


text:
Multicultural Attractions
The American
The American Negro Playwright Theatre (ANPT) is a local theatre company housed at Tennessee State University's Thomas Edward Poag Auditorium. Students perform various roles, including acting in major productions, and also have an opportunity to work with professionals in the area of theatre. ANPT aims to bridge theatre arts and the community, inviting anyone to witness the black experience, regardless of their own race or family background. These plays are drawn from the experiences of black Americans and are intended to dissipate stereotypes and promote cultural diversity.
Belle Meade Plantation
This historic venue showcases the 1853 Greek revival mansion and seven outbuildings including the colossal Carriage House and stables housing an antique carriage collection. Experience the stories of enslaved African Americans who helped build and maintain the world-famous thoroughbred plantation in the 19th century. One hundred years of history come to life as costumed guides tell stories of life at Belle Meade.
Civil Rights Room
The Civil Rights Room is located in the Downtown Public Library. With a $1 million donation earmarked for establishing a collection of materials documenting Nashville's contributions to the Civil Rights Movement, the room features a replica lunch counter with timelines of local and national events in the Civil Rights Movement.
The nationally historic Nashville sit-ins of the 1960s were the inspiration for the special collection. Large format photographs of those sit-ins form the backdrop of the room. In the center of the room resides a circular lunch counter surrounded by stools designed to replicate the settings of many nonviolent demonstrations led by students from local universities that began in Nashville on February 13, 1960.
Additionally, the Nashville Public Library continues to grow its Civil Rights Oral History collection. Seeking to collect the oral histories of participants and witnesses of the student sit-ins in Nashville, the library has collected 40 interviews to date, which will be available to researchers once the interviews are transcribed and cataloged.
Fisk University
Founded by the American Missionary Association and the Western Freedman's Aid Commission, Fisk University began in 1866 as the Fisk School, a free school for blacks in Nashville. Jubilee Hall, completed in 1875, was the first permanent building erected for the higher education of African Americans in the United States, and is now a National Historical Landmark. Money for its construction was raised by the Jubilee Singers whose worldwide singing tours brought them international acclaim. Additionally, the Little Theatre, built in 1860, is the oldest structure on the campus of Fisk University. Erected as part of the Union Army Hospital barracks during the Civil War, it was readapted for use as the campus theatre in 1935.
Also on Fisk's campus is the Carl Van Vechten Art Gallery, named for the New York music critic, art collector and photographer who inspired the 1949 donation of the Stieglitz Collection to the university by Alfred Stieglitz's widow Georgia O'Keeffe. The collection includes original works by Cézanne, Picasso, Renoir, O'Keeffe, and others. Furthermore, in the gallery's collection are paintings by Harlem Renaissance artist Aaron Douglas who headed the Fisk Art Department for many years.
Fort Negley
Fort Negley was the largest and most important fortification built by Union troops occupying Nashville during the Civil War. Built in 1862 on St. Cloud Hill, the complex fort was designed with European features. Using a partial star-shape design, the unique layout of the fort allowed crossfire against the Confederate army.
Intent on keeping control of Nashville because of its important transportation means with river and rail, the Union army constructed the 180,000-square-foot fort covering four acres. Two thousand African- American workers, some slaves and some free blacks, built the fort for the Union army in preparations for the Battle of Nashville. Approximately 800 people died while building the fort, and many more African-American soldiers died during the Battle of Nashville. Because the Union army would not supply weapons to the black soldiers or slaves, they were forced to protect themselves with shovels and picks.
The fort fell into disrepair after the war but was restored in the 1930s by the Works Progress Administration only to deteriorate again. Because of its rich Civil War history, the fort was again renovated and reopened to the public in 2004 and the Fort Negley Visitor Center opened in 2007. Fort Negley is listed on the National Register of Historic Places.
Greenwood Park
In 1906, Preston Taylor established Greenwood Park adjacent to Greenwood Cemetery. The privately-owned park opened at a time when African-American citizens were not permitted in public parks. Encompassing almost 40 acres of open land, Greenwood Park included a clubhouse, theater, skating rink, roller coaster, shooting gallery, merry-go-round, and baseball park (home of the Greenwood Giants). Today you can visit the former site of the park at the northwest corner of Elm Hill Pike and Spence Lane adjacent to Greenwood Cemetery.
Hadley Park
Established in 1912, Hadley Park is thought to be the first public park for African-American citizens in the United States. The 34-acre park stands on part of the antebellum plantation of John L. Hadley, a white slaveowner committed to helping post Civil War freed men and women adjust to their new status. At Hadley's invitation, Frederick Douglass spoke to former slaves in 1873 from the porch of the Hadley house, which stood in the park until 1948. Tennessee State University stands on another portion of the Hadley land. Today, Hadley Park also offers baseball fields, tennis courts, picnic shelters, a playground, and summer concerts. The park is located at the intersection of 28th Avenue North and Centennial Boulevard.
Andrew Jackson's Hermitage: Home of the People's President
Born a slave on The Hermitage plantation, and known simply as Alfred, this now-legendary man assisted with the horses and maintained the wagons and the farm equipment. After emancipation, he chose to remain on the plantation as a tenant farmer and lived at The Hermitage longer than anyone else, white or black. Additionally, when The Hermitage was opened to the public as a presidential home, Alfred was the first tour guide telling visitors authentic stories about President Andrew Jackson. When Alfred died in 1901, his funeral was held in the center hall of the mansion, and he was buried in the family garden next to the President himself. Alfred was the only non-family member buried in Rachel's garden.
Home of the Stars
As the home of the Stellar Awards, Nashville is also home to entertainers such as:
- BeBe Winans
- CeCe Winans
- Take Six
- Anointed
- Kirk Whalum
- Ben Tankard
- Tommy Sims
Hubbard House
George W. Hubbard, a professor in local African-American schools after the Civil War, built a house in 1920 when he retired as president of Meharry Medical College. The house, designed by Moses McKissack III, is a four-square Colonial Revival style structure and is the last vestige of the original Meharry campus. Now on the property of the Seay-Hubbard United Methodist Church, the house is listed on the National Register of Historic Homes.
Jefferson Street
From the 1930s through the early 1960s, Jefferson Street was one of America's best-known districts of jazz, blues, and rhythm and blues. Famous African-American musicians played regularly in the many clubs — Club Baron, Del Morocco and the New Era Club. Little Richard, Jimi Hendrix, Ray Charles, Fats Domino, B.B. King, Ike and Tina Turner, and Memphis Slim performed here regularly. Etta James recorded a live album, Etta James Rocks the House, at The New Era Club. Nashville artists, many with hit records, made the district their home.
Show business headliners stopped in Nashville to try their acts. The Silver Streak, the great off-Jefferson Street ballroom, booked such big names as Duke Ellington, Cab Calloway, Count Basie, and Ella Fitzgerald.
Members of the old Negro Baseball League and recording artists such as Ruth Brown, Nat King Cole, Duke Ellington, and Ella Fitzgerald stayed at Brown's Hotel and played the famous Blue Room at Del Morocco, owned by "Uncle" Teddy Acklen.
In 1994, a group of concerned citizens — homeowners, business owners, longtime residents and developers with new construction in mind — met to create a framework for advancing Jefferson Street. The result of their vision of progress was the Jefferson Street United Merchants Partnership (JUMP), a non-profit organization whose mission is "To develop, foster and promote cooperative economic development through revitalization, acquisition, education and public safety programs in North Nashville."
Today more than 111 individuals and organizations make up JUMP's active membership with one thing in common: keeping Jefferson Street alive and thriving. www.jumptojefferson.com
A great way to explore Jefferson Street is through the Jefferson St. Sunset Walking Tour, offered by United Street Tours. Visit www.unitedstreettours.com to learn more.
Mount Ararat Cemetery
Founded in 1869, Mount Ararat Cemetery was Nashville's first African-American cemetery. The cemetery, acquired in 1982 by Greenwood Cemetery, has been restored and renamed Greenwood Cemetery West. One of the many leaders buried there is Dr. Robert Fulton Boyd. Boyd was an African-American physician and graduate of Meharry Medical College who helped found the National Baptist Association, a national association for black physicians.
National Museum of African American Music
On October 25, 2004, Governor Phil Bredesen set aside 3.86 acres of prime real estate in the northwest corner of the Bicentennial Capitol Mall for the development of a national museum for African-American music, history, and culture in Nashville. The 30-year lease included a "no charge" agreement to develop the state-owned property and also included the option to purchase the property for $1 at the expiration of the lease.
The National Museum of African American Music, opening date TBD, will stand as an international iconic cultural museum dedicated to the vast contributions African Americans have made in music. As the only museum in the nation with a dedicated focus on all dimensions of the contributions African Americans have made to American music, NMAAM will encompass musical distinctions that reinforce the impact of African Americans across the country and around the world.


text:
Release Year: 2014
Cast: Callie Calypso
Genres: Straight, amateur porn, brunette, shaved, skinny, white, 1on1, 18 plus teen porn, asslick, blow jobs, masturbation, squirting
Video language: English
If you don't know who Callie Calypso is, you will after you've watch this wild and highly entertaining video of her. She was full of passion, fantasy and imagination. Her personality was all about getting fucked and and worshiping the cock. If there was a hardcore sex dream, it would consist of her big smile, sexy eyes, and tight body.
Not only did Callie have the look, she had the mind to make any man very happy. She seemed determined to fuck every man that walked the face of the earth, even though her mind my have changed after Chris pounded her ridiculously.
Callie gave a sloppy wet blow job, loved the fingers in her ass, and squirted. If that wasn't enough, she talked real dirty and slurped up every drop of cum. Callie still looked very hungry even after the amount of cock she took from Chris, which is amazing.
Format: mp4
Duration: 39:59
Video: 1920×1080, AVC (H.264), 9759kbps
Audio: 187kbps


text:
LONDON (AP) — Pharmaceutical giant Pfizer said Friday that it hasn't given up on a deal after British drugmaker AstraZeneca flatly rejected its latest takeover bid, worth $106 billion.
Pfizer Inc., the world's second-biggest drugmaker by revenue, made a third unsuccessful attempt for its London-based rival Friday with an offer of 50 pounds ($84) per share in cash and stock —a 7.3 increase from its last bid. AstraZeneca Plc, the No. 8 drugmaker, called that inadequate and said the potentially lucrative "pipeline" of new drugs it is developing would be disrupted by a takeover.
Pfizer said in a statement to The Associated Press that it is disappointed and that a "friendly, negotiated transaction" would be best for shareholders of both companies. Pfizer said it is considering its options.
Proposed deals to swap assets or acquire other companies are roiling the pharmaceutical industry. Many companies are narrowing their product and research focus to their areas of expertise to save money. They are cutting costs as cheaper generic competition slashes sales of off-patent medicines that had been top earners. Pfizer's revenue has dropped sharply amid generic competition to multiple drugs, particularly its cholesterol blockbuster, Lipitor, which once brought in $13 billion a year.
Pfizer's bid for AstraZeneca would give it access to promising assets, particularly in immuno-oncology, new types of cancer drugs that work by boosting the immune system. Analysts say the deal also gives Pfizer tax advantages. They estimate Pfizer has earned and held $30 billion to $70 billion in cash overseas, on which it would have to pay taxes at relatively high U.S. rates should it be brought back.
"Once the cash is offshore, the potential tax cost of repatriating it to the U.S. makes it much more attractive to find other homes for it — such as making foreign acquisitions," said tax specialist Heather Self of the law firm Pinsent Masons.
The deal would be the biggest-ever foreign takeover of a British business, and quickly became political in Britain. Critics fear the takeover could mean big job cuts and potential loss of stature in the country's science sector.
Pfizer sent a letter to Prime Minister David Cameron, promising to keep the company's corporate and tax residence in England. It said that the "golden triangle of Oxford, Cambridge and London" — where a significant portion of British scientific research is based — would represent a vital component of the deal.
Cameron responded that while the government regards the potential takeover bid as a matter for the respective boards, the government was "determined to secure great British science, research and manufacturing jobs in the life sciences sector."
AP Business Writer Linda A. Johnson contributed to this report.


text:
Price to start for Team Canada vs. Finland
Goalie Carey Price will be in net and P.K. Subban and Martin St. Louis will be scratched when Canada plays Finland Sunday, coach Mike Babcock says.
The wheel of chemistry is also getting another spin from Babcock going into his team's final preliminary-round game.
Babcock pulled a bunch of new combinations out of his hat at the morning skate, elevating wingers Jamie Benn and Patrick Bergeron to play with captain Sidney Crosby.
Chris Kunitz, Crosby's Pittsburgh Penguins teammate who had been on the superstar's left wing for the first two games, was dropped to the fourth line and was rotating with Patrick Sharp as the 13th and 14th forwards with centre John Tavares and Rick Nash.
The only line to remain intact from Friday's 6-0 win over Austria is Matt Duchene with Ryan Getzlaf and Corey Perry. Patrick Marleau skated with Jonathan Toews and Jeff Carter.
Babcock said he liked what he saw from Benn and Bergeron playing with Tavares and won't hesitate to shake things up as Canada attempts to go 3-0 and have a shot at the top seed going into the elimination games.
"Benn, Bergeron and Tavares have been a great line. But the great thing about it is that I can put it back at any time. I've got those lines set up where the wingers and go back and forth seamlessly. Kunitz and Nash can go tonight with Crosby in a heartbeat. So we'll see what happens," he said.
Babcock said the decision to start Price was pre-determined. He played against Norway in Canada's opener and Luongo shut out the Austrians.
"We had a plan coming in and we haven't changed our plan. I've said this many times, at the Olympic Games you're allowed one change (in goaltending)," said Babcock.
Depending on how Sweden does and goal differential, Canada is in a position to get top spot in the standings with a win.
"It's big. A tournament like this any time you can finish higher and get a little advantage on the opposition, we're going to take it," said Getzlaf. "It's a big test for us tonight and we have to be prepared right off the hop.
"They've proven to be a fast-starting team in both games they've played so far and in the past. We know we have to be ready at puck drop."


text:
The doom and gloom that descended on the Emirates in the wake of those results is slightly unfortunate, as The Gunners were starting to put together a tidy run of results in the Premier League.
Four games without defeat, including solid 1-0 wins against tough Stoke and Sunderland sides, have kept Arsene Wenger's men in the mix for a top four spot, and his team are clear 4/11 (1.36) favourites with Coral to return to winning ways on Saturday.
Aston Villa boss Paul Lambert is no stranger to pressure himself this season, but after encouraging performances in the draw at Everton and a win over West Ham, he may be slightly more confident of causing the hosts yet more misery by springing a surprise win, at long odds of 8/1 (9.00).
The visitors played out a respectable 0-0 stalemate against this opposition at Villa Park back in November, and would be delighted if they could secure their fourth consecutive Premier League draw in this game, at odds of 7/2 (4.50).
Wenger will be hoping for a reaction from his players in this match, while a convincing victory would go some way to appeasing the home fans, who have already seen their team rack up 6-1, 5-2, 7-3 and 5-1 wins in the league this season.
A similar score-line is certainly not out of the question against The Villans, who have conceded a record 31 goals away from home in 13 league games this campaign.
A bet on over 3.5 goals would have paid out in the visitors' last five consecutive Premier League away games, as well as three of the hosts' last five, so 6/5 (2.20) looks like a great price for that market coming in this weekend.
Considering Christian Benteke has scored six goals in his last five appearances for Villa, it is slightly surprising to see him on offer for generous 11/4 (3.75) odds to hit the back of the net in this match, and this price is definitely too good to pass up for those in search of a bigger price.
|Over 3.5 goals at 6/5 (2.20) with Coral
|Christian Benteke to score anytime at 11/4 (3.75) with Coral
Sign up with Coral for a free bet worth up to £50
Al Hain-Cole is an experienced tipster and avid follower of European football. He specialises in accumulators and if you would like to read more from Al you can follow him on Twitter here.


text:
The system being considered by Flagler County schools is one great idea: Monitoring their schools online, with a uniform color-coded system.
Fighting about gun control, and whether to have armed guards, doesn't make our children safe. Criminals can steal guns or make them.
These tragedies are happening more frequently — they are not isolated incidents. All schools should have an armed, trained officer of some nature (or a retired armed volunteer veteran) to patrol the entrance/exit of school campuses. Nothing else can stop a shooter. The places where people are carrying guns, such as police departments and federal buildings, are more secure than our schools.
The system being considered by Flagler County schools is one great idea: Monitoring their schools online, with a uniform color-coded system. Green is OK, yellow means threat beyond the school, and red means no one allowed on campus and deputies have been dispatched. They are also considering having everybody enter and exit through just one area to limit access.
My ideas are: Panic buttons for faculty and staff to wear, which could simultaneously call 911 and broadcast a prerecorded emergency message, such as "dangerous person on campus, take shelter."
The shelter could be a bulletproof supply closet in every classroom, large enough to hold the entire class. The students could have routine shelter safety drills. Also, razor-wire fences (like they use in the military, that overhang so they can't be jumped over with a ladder) could surround schools and keep people out, except at the entrance/exit of the school. These would have to be carefully considered to prevent fire hazards.
For the faculty and staff, emergency shooter-defense safety drills could entail some self-defense techniques, in the event they find themselves trying to seize a weapon and detain an attacker until police arrive.
What simple luxuries would parents, grandparents, aunts and uncles be willing to give up to help fund the necessary security measures to keep our precious children safe?
Port Orange
I am 92 years old and I spent 20 years in the military during World War II and the Korean and Vietnam wars. I have been around guns all of my life, starting with a Daisy BB gun at age 10. I know something about guns; they don't belong around mentally sick people, children, or crooks.
We can do something about all of the above. Lock guns away from children, put crooks in jail for a good stretch, and detect the mentally ill and treat them.
If you take guns away from the people, crooks will still have guns. The rest will resort to bombs, machetes, and other weapons — if they are going to do something, they will find a way. Until we solve the real problem, National Rifle Association President Wayne LaPierre is right.
From the best information I could find, there are over 1 million assault-type rifles in the U.S., but only three were used in the past mass murder cases — other types of weapons were used. Does this tell you where the problem really lies? Senators Dianne Feinstein and Chuck Schumer would do well to try and get at the real problem — sick people — and work with the leaders in their continuance to constantly keep pressure on the real problem — not just pass another law and go on feeling that they had done something. Don't down the man who knows more about gun culture than anyone in the U.S., ask for his help and sound advice and the problem may be abated.
No person of intelligence is going to try to disarm a deranged person firing a gun unless he has a gun. The best salvation is good guys with guns at the scene before it happens; their presence alone is a deterrent.
Palm Coast
Editor's note: Estimates of the number of mass-shooting incidents in which "assault weapons" or "assault-type weapons" were used vary among different groups.
The News-Journal's Sunday editorial was a predictable response to the Newtown tragedy. Stating that a ban on assault rifles and high-capacity ammo clips wouldn't prevent a determined killer is just more of the delusional National Rifle Association rhetoric, cemented with your only suggestion to "look more deeply into the darkness of human nature." Really, is that all you've got to offer?
And how could new gun-control legislation be considered a "rush to do something?" It's not like we haven't had these same conversations after all the previous massacres; apparently you wish to employ the same successful tactic of the NRA to delay and obstruct any meaningful action until some new issue distracts America's attention.
Palm Coast
It's not gun control, it's government controlling citizens.
After the latest tragedy by a deranged individual, there will be a call for gun control laws by the left (Democrats). They falsely state that denying 90 million law-abiding legal gun owners their Second Amendment right to own guns would solve the problem of mass killings. So, because of a handful of deranged individuals who have committed mass murders, we must punish 90 million law-abiding responsible gun owners?
I believe the true reason for gun control is to make slaves of the people so government officials can rule without any fear of reprisals for the daily crimes they commit against the people. You lose your guns, you lose your freedom. The Second Amendment was given to us to protect us from a tyrannical government like we now have.
How about focusing on the individuals who commit these crimes? What mindset can shoot small children multiple times, or blow the heads off of their classmates and laugh about it? We have been a gun-carrying nation since day one. There was never a problem until the video games came out, glorifying killing as many people as possible.
This is a training ground for mass killers, not entertainment. The movies also glorify killing. We should outlaw violent video games and movies. They serve no good purpose. The goal is to kill as many people as possible; they covet a high body count. We must take an inward look at ourselves. Where have our moral values gone, and why are we so intent on kicking God out of our lives and country? The biggest problem this country has is there is no fear of the Lord.
South Daytona


text:
When jazz pianist Gonzalo Rubalcaba walks up to the entrance of the Van Dyke Cafe on Lincoln Road, no one wields a Cuban flag like a weapon, throws a bottle, or spits, the way protesters in front of the Gusman Center did the night he performed in Miami last year.
On this Tuesday evening, there are no men wearing camouflage fatigues or middle-age Medusas with flying hair and rancorous faces. People in the cocktail-hour crowd in front of the busy restaurant don't stop their schmoozing to call the two-time Grammy nominee a communist and a nigger. Here he is just another attractive patron, dressed in jeans and a white Calvin Klein T-shirt that hugs his boxer's build.
But Rubalcaba does not escape recognition for long. As soon as he sits down at a table and orders an iced tea, a busboy approaches the 34-year-old musician. "Excuse me, you're Gonzalito, aren't you?" he asks excitedly in Spanish. "I've only been able to see you on-stage before, but, hey, here you are!" He explains that he is a balsero who arrived in Miami after doing time in a Guantanamo refugee camp. But now he's not sure the long journey was worth it. "It's hard here, isn't it?" he asks in a conspiratorial tone. "It's different from what I expected. I thought it would be more democratic."
If Rubalcaba were not a musician, he would make a fine diplomat. He listens politely, leaning forward with his elegant hands folded on the table, a patient smile below his trim mustache. The spray of freckles that covers his handsome face gives him a boyish look. But as the busboy rambles on, it becomes clear that the pianist is not about to commiserate about the politics of exile. Quietly sipping his drink, he waits for a break. Then he extends his hand and warmly wishes the younger Cuban luck, sending him whistling back to work.
Just as tactfully as he dispatches his admirer, Rubalcaba shrugs off any ugly memories he might have of his 1996 Miami performance debut. That concert turned into a cause celebre for both hard-line exiles and supporters of freedom of expression. Elsewhere around the world, Rubalcaba's reputation as a jazz heavyweight is growing, but here his name is forever tied to the ugly side of ideological differences displayed that night outside the Gusman.
"I don't have a bad taste in my mouth about Miami," reflects Rubalcaba, who has often and adamantly declared himself apolitical. "Despite what might have happened, I've always thought that Miami is made up of a lot of very different people who face things with very different attitudes. I'm ready to face all of those facets that exist here. But apparently not all of those facets are ready for me."
Not surprisingly, Rubalcaba has no immediate plans to perform in Miami again, although he says he would be willing to do so when he feels the time is right. Nevertheless, for almost a year Rubalcaba has lived with his family in South Florida, in northwest Broward. The suburban community of Coral Springs stands removed from the cacophony of Cuban Miami, but it's close enough so that his wife Maria can spend time with relatives and friends who live here while her husband is on tour. Rubalcaba first considered moving to New York, where he could have been at the center of the jazz scene. But South Florida seemed a better place for the couple's three children -- a seven-year-old boy born in Cuba, the four-year-old son they had while living in the Dominican Republic, and a seventeen-month-old daughter, the one, notes Rubalcaba, "with a blue passport."
Rubalcaba is now a permanent resident in the United States. Like other Cuban musicians, he came to this country to further his career. But in contrast to the very public arrivals of other well-known Cuban jazz players -- multi-instrumentalist Paquito D'Rivera, trumpeter Arturo Sandoval, or more recently saxophonist Carlos Averhoff -- who have denounced the Cuban regime in the press, Rubalcaba's move to these shores has gone virtually unnoticed by the exile media. After all, Rubalcaba has no anti-Cuba declarations to make, since he is not a defector. In fact, a couple of months ago he took a short trip to Havana to visit his mother, who has been ill.
"[Going to Cuba] is not an issue I think about a lot," Rubalcaba says calmly. "Why should I? There are no dark reasons behind my going there."
The U.S. government permits Cuban nationals residing here to visit family members in Cuba. But high-profile artists who have made the painful decision to leave their homeland don't usually go back -- or they go very quietly. For many, the decision to boycott the island while Fidel Castro reigns is a matter of principle. It's also about public image -- at least in Miami, where anyone thought to support the Cuban government, in even the most indirect way, can become the target of exile outrage that usually leads to the cancellation of all South Florida appearances. But Rubalcaba is an exception -- not only did he go on with the Miami show amid protests, he has been able to maintain a comfortable bridge between his roots on the island and the American jazz scene.
For Paquito D'Rivera, who sought political asylum in 1980 and lives in New York, it is unthinkable for Rubalcaba to be living so near the capital of Cuban exile without taking a tough stance against the revolutionary government. "It's like being a Nazi and then moving to Israel," says D'Rivera. "I have nothing personal against Gonzalo Rubalcaba. But he has to make up his mind [to defect] or move to another place."
Rubalcaba sees no reason why he should. He plays jazz and therefore finds it only logical to perform with American jazz musicians, to share their recording projects -- and their freedoms. Bookings for concerts and recording sessions all over the United States -- except Miami -- now crowd his calendar. These would all involve complicated international negotiations if he didn't live here and if the red tape of travel visas were still an issue. And, he says, if he lived in Cuba, he would have to be more selective about his U.S. engagements, since he would not be paid for them. (The U.S. State Department has the discretion to allow Cuban nationals to perform here, but they cannot be paid for their appearances.)
For Rubalcaba the path is clear, and politics has nothing to do with it. "Anyone who's interested in jazz has to come to the United States," he asserts. "This is where you find the real thing."
A photographer and his assistant snap publicity shots as Rubalcaba sits at a black Steinway grand in one of the soundproof rooms of a large recording studio in midtown Manhattan. Stylish in black jeans, black T-shirt, and square-toe suede shoes, his hair cropped short, the pianist pulls his dark gray cardigan tight against the air-conditioned chill and launches into what one reviewer once dubbed his "typewriter mode." His fingers sprint from one end of the keyboard to the other in a series of scales, a dizzying preview of his athletic technique.
Such high-speed playing is a Rubalcaba trademark, and it tends to provoke passionate, if not always positive, responses. (Critics have referred to his rapid-fire drilling as both "dazzling pyrotechnics" and "macho bullshit.") But Rubalcaba's skill at the keyboard and his highly interpretative style have frequently prompted comparisons with the likes of Herbie Hancock, Keith Jarrett, Oscar Peterson, and McCoy Tyner, as well as Afro-Cuban jazzman Chucho Valdes, who has called the younger musician the best Cuban piano player today.
"He has complete command technically of the piano," says American bass great Charlie Haden, who met the pianist a decade ago in Cuba and has since recorded with him on several albums. "He has such a great ear and a feeling for music. He combines natural talent with technical ability -- and there you have a great musician."
Rubalcaba finishes his warmup and rests his hands in his lap, staring down in silent conversation with the piano keys. Time is short. He is in New York for two days to record with bassist Brian Bromberg and drummer Dennis Chambers for one of his three CDs scheduled for U.S. release in the next few months by Blue Note Records. Already finished is an album with saxophonist Joe Lovano, as well as a four-year project called Antiguo, recorded with Cuban musicians and combining jazz fusion with Afro-Cuban religious chants.
Today Rubalcaba and the two American musicians will record some of the tunes they performed during a recent two-week club tour in Japan: jazz evergreens made popular by Duke Ellington, Dizzy Gillespie, Charlie Parker, and other legends. Chambers, a hot young drummer known for his work with former Miles Davis guitarist John Scofield, and Bromberg, a Los Angeles-based session man, are in separate rooms adjoining the pianist's. The trio can see each other through the Plexiglas walls.
In the control booth, recording engineer James Anderson looks over a list of tracks that includes the jazz standard "On Green Dolphin Street." He flicks a switch on the control board, opening a mike in the studio. "Hey, Gonzalo, Green Dolphin Street -- isn't that the street where you have an apartment in Havana?"
Rubalcaba looks up quizzically as Bromberg and Chambers grin behind their instruments. Anderson repeats the question, and Rubalcaba chuckles, getting the joke a beat behind his American colleagues. Recording studios have become a kind of language lab for Rubalcaba, who spoke only a few words of English on his first trip to New York four years ago. Now he can get a point across fluidly, with a light accent, but much of the studio banter still escapes him.
"Although I'm living here among the American musicians now, there are always going to be cultural barriers," he says in Spanish. "The most important thing here is to find some point of communication, and that can be obtained through the music. We relate by instinct -- a look, an interpretation, a transmission of energy takes on more importance than language."
During breaks in the studio, Rubalcaba makes up for a lack of conversation by throwing friendly punches at Bromberg or locking the lanky bassist in a hug. The two first played together in a San Francisco club earlier this year, and they've performed frequently since then.
"What makes Gonzalo unique is that he can play traditional jazz as a traditional jazz piano player, but when he delves into the rhythms of his Cuban background, it's really strong," says Bromberg. "But he separates it -- if he doesn't play in that style, you'd have no idea he's even Cuban."
Other musicians have been impressed, even a little surprised by Rubalcaba's grasp of American jazz idioms. "He's interested in playing as wide a library of sounds as he can get his hands on," says bassist Ron Carter, who has performed and recorded with the Cuban pianist. "He's as knowledgeable as anyone who's kind of been shut off from the world can be."
Rubalcaba's first exposure to jazz came from a stack of worn records that belonged to his father. "They were really old records by old jazz players like Jimmy Dorsey, Art Tatum, Erroll Garner. There was one by Dizzy Gillespie," recalls Rubalcaba. "Scratched LPs with horrible sound. But the most important thing was the music."
The Rubalcaba household in Havana was always filled with music -- and musicians. Gonzalo's grandfather, Jacobo Gonzalez Rubalcaba, was a well-known composer and trombone player who penned danzones that became Cuban standards, notably "El Cadete Constitucional" and "Linda Mercedes." He was 65 when he died in a car accident on the way home from a performance. Gonzalo's father, Guillermo Rubalcaba, a pianist, has carried on the tradition. He played with the band led by Enrique Jorrin, originator of the cha-cha-cha, and went on to lead his own popular dance orchestra. He often held rehearsals, or more informal jams, at home; the great blind piano player Frank Emilio Flyn, bandleader Antonio Arcano, percussionist Tata GYines, bolero singer Pacho Alonso, and Jorrin were among those who dropped in. From the time he was a toddler, little Gonzalito found instruments put in his hands.
Because his older brother Jesus was already playing piano, Gonzalo started on drums. But by age eight he was playing piano as well. As a boy he began to perform with his father in a group made up of Rubalcaba relatives. While he learned the basics of Cuban popular music at home, he studied classical music at Havana's Amadeo Roldan Conservatory. In his teens he entered the National Art School. Like all Cuban music students, he was given an exhaustive education in music theory and performance based in classical music. In the early years of the revolution, teachers at Cuban conservatories prohibited their students from playing jazz, but by Rubalcaba's time, in the late Seventies, they had begun allowing students to experiment with the American art form.
"It's a gift to have this kind of education with all of the intellectual, technical, theoretical, and experimental tools that you have access to," Rubalcaba says. "I think they're tools that allow you to work with traditions, to reorganize traditions, and to extend those traditions further into the universal language of music."
Rubalcaba made his recording debut when he was only eighteen, on a 1981 album by bolero singer Marta Valdes. On one track, "Y Con Tus Palabras," he breaks into Valdes's sultry ballad singing with a stomping piano solo.
"When you find the thing that you have a greater vocation for, you know it," says Rubalcaba. "I think that jazz was always inside me."
The year before, he'd traveled outside Cuba for the first time, not to play jazz but to join Beatriz Marquez, a Cuban singer of popular Latin songs, at a music festival in Colombia. Rubalcaba's reputation as an innovative pianist and composer grew quickly. He did stints with the leading Cuban dance band Los Van Van and the seminal Cuban jazz ensemble Orquesta de Musica Moderna. He performed during cabaret shows at Havana's Hotel Riviera, accompanying popular singers such as Omara Portuando and Elena Burke. In 1983 Rubalcaba went on tour with Orquesta Aragon, traveling in France and Africa. The next year he formed his own band, Proyecto, with musicians he'd met in school. They started to experiment with electronic jazz fusion that incorporated basic Cuban rhythms.
Rubalcaba was just 22 years old when Dizzy Gillespie wandered into the bar of the Hotel Nacional during Havana's 1985 Jazz Plaza Festival. Rubalcaba was playing in a jam session that was part of the weeklong event. "He was such a nice, spontaneous kind of guy," remembers Rubalcaba. "He came up to me and pulled some sheet music out of his pocket and said, 'Do you think we could play this together tomorrow?'" The young performer, then a skinny kid sporting a short Afro, joined Gillespie's orchestra two nights running at the Teatro Karlos Marx. The trumpeter and the pianist played a duet on Gillespie's "Con Alma," moving Gillespie to proclaim that Rubalcaba was the best piano player he'd heard in ten years.
Rubalcaba jammed with Gillespie at the Havana jazz festival again the following year, when Proyecto went on-stage right after Charlie Haden's Liberation Music Orchestra.
"The whole group was great," recalls Haden during a phone interview from his home in Malibu, California, "but when the pianist started taking his solo on an electric keyboard, my wife Ruth and I were astounded.
"We went backstage. Through an interpreter, Gonzalo told me he was a fan of a record I'd done with Keith Jarrett." Haden and Rubalcaba spent the next day at a Havana recording studio. The two hit it off, and the Hadens visited Rubalcaba's home. "Gonzalo is just a beautiful person -- so humble, so gracious, so bright" Haden says. "Those are qualities that go along with his playing, too."
It was a lasting impression.
"When I got back, I was trying to figure out a way to bring Gonzalo to the States," says Haden. "The more I inquired, the more I saw it was impossible." (The federal Berman Amendment, which exempts music and other informational materials from the U.S. embargo, was not enacted until 1988.)
In 1989 the Montreal Jazz Festival paid a weeklong tribute to Haden, during which the bass player performed with Don Cherry, Jack DeJohnette, Paul Bley, and other well-known musicians. When Haden discovered that Canada maintains diplomatic relations with Cuba, he had the festival organizers fly the young pianist to Montreal to join him in concert. Haden later took a tape of the performance with him on a trip to New York, where he had a meeting with Blue Note Records president Bruce Lundvall.
"I was speaking to Bruce about an upcoming record of mine, and I told him I had a tape of a pianist I wanted him to hear," Haden recalls. "I said, 'This guy is unbelievable, he's fantastic. You're not going to hear anybody like this.' He put it on his cassette player and just about fell on the floor. Maybe a week after that, I called him from California. His secretary told me he'd gone to Havana."
Lundvall was no stranger to Cuba's musicians. In the mid-Seventies, while working at Columbia Records, he recorded two albums by Chucho Valdes's Afro-Cuban jazz group Irakere. And in 1979 he'd masterminded a meeting of American and Cuban musicians in Cuba that resulted in two historically significant Havana Jam albums.
By the time Lundvall saw him, Rubalcaba was already well enough known in Europe to have snagged a deal with the German jazz label Messidor. The Blue Note president wanted to offer him a contract, but he found that under the terms of the U.S. economic embargo, he couldn't sign Rubalcaba directly to Blue Note. (The embargo prohibits U.S. companies from putting Cuban musicians under contract.) He could, however, sign him to Blue Note's Japanese affiliate Toshiba/EMI, then record albums on that jazz imprint Somethin' Else, and distribute the albums through Blue Note in the United States.
In early 1990 an American lawyer for Blue Note, a Japanese lawyer from Toshiba, and a lawyer from Cuba representing Rubalcaba hammered out the deal in Toronto. (Lundvall reached a similar agreement this year with Chucho Valdes.) The next year Somethin' Else issued Discovery: Live at Montreux. "A lot of people discovered Gonzalo when that album came out," says Somethin' Else executive Hitoshi Namekata. "It's important for the market in the United States that the artists perform -- [Americans] need to see the artist to buy him. But people just listened to this album and they bought it."
The pianist came to the United States for the first time in 1993, but not to perform. He was among a group of jazz musicians who served as pallbearers at Gillespie's funeral. The trumpet player's widow Lorraine and Wynton Marsalis were among those who pressed the State Department for his visa. Afterward Blue Note lobbied on his behalf for permission to perform, and on a second trip the same year, he appeared at Lincoln Center. The pianist's prodigious talent had already created a buzz in jazz circles, and aficionados were eager to hear him play. The show sold out. Rubalcaba was barraged with requests for interviews by journalists intrigued by his revolutionary upbringing.
"Everyone was trying to get him to talk about Fidel," says Lundvall. "The State Department was watching his every move. But he said, 'I'm not political. I'm not here to talk about politics. I'm here to play my music and build a cultural bridge to my country.' I think it was because of the way he handled himself that we were able to get him another visa very quickly."
Lundvall remembers that when he, Rubalcaba, and the pianist's manager Jose Forteza got back to their Los Angeles hotel after a subsequent 1993 benefit concert on the UCLA campus, they learned that the U.S. government had granted Rubalcaba permission to play in the States and be compensated for future appearances. This was possible because Rubalcaba was no longer living in Cuba. Since 1992 he'd been a legal resident of the Dominican Republic; he'd first visited that country in 1988 to play on an album by the popular merengue singer Juan Luis Guerra. Eventually he moved there with his family and Forteza. Cuban officials had agreed to allow Rubalcaba to live outside Cuba and work as an independent agent.
"Gonzalo is one of our great artists, and it was perfectly clear to the government that he should be based somewhere where he could realize his projects," says Ciro Benemelis, an official at the Cuban Music Institute in Havana who helped Rubalcaba work out the arrangement. At the time, Benemelis worked for the state artists' management agency, Artex. "It was an artistic decision," he adds, "not a political decision."
Since the revolution, Cuban artists have given to the government up to 70 percent of their earnings from foreign appearances. In the past five years that percentage was reduced, and last year artists, like other citizens, began instead to pay income tax on their annual earnings. Since he became a permanent resident of the States, Rubalcaba pays taxes to the U.S. government, and he says that since he left Cuba in 1992 he has been exempted from giving any of his earnings to any Cuban agency. Benemelis confirms the arrangement and adds that some other performers living outside Cuba also have no financial obligations to the state, although they have not definitively abandoned the island.
But Rubalcaba's ability to negotiate a deal that allows him to work as an independent agent and maintain friendly relations with Cuban officials while living in the United States is unusual, if not unique. He concedes that a less successful musician could probably not push the limits of diplomacy between the two countries with such success. "I'm not saying everyone can do it," he elaborates. "I'm just saying that I can."
Benemelis adds that Cuban officials were only recognizing Rubalcaba's talent, though he concedes that if the government had not cooperated with his plans, the pianist would likely have left for good, as other successful musicians have. The Cuban government was essentially cutting its losses by cooperating with his plan to live abroad. "Gonzalo has totally lived up to the expectations we had for him," says Benemelis. "We did not make a mistake. Wherever he is, he's still going to say he's Cuban. And he's still going to be an artist who was trained in Cuba."
A large American audience was able to witness Rubalcaba's playing for the first time in 1995, when he performed at the televised Grammy ceremonies in Los Angeles. He was nominated for a Grammy Award for his album Rapsodia, but he didn't win. Soon afterward he applied for U.S. residency.
It's easy to assume, especially in Miami, that all Cuban nationals are political refugees. But INS spokesman Lemar Wooley doesn't find Rubalcaba's arrangement so unusual. "Political asylum and permanent residency aren't necessarily tied together," says Wooley. "People who are Cuban nationals can come into the country from other countries, where they are legal residents."
Nor is it uncommon for Cubans living in the States to travel to Cuba, says Wooley, since the rules of the embargo allow Cuban nationals to visit family members on the island. The only problem, says Wooley, would be if Rubalcaba were earning money while in Cuba. Not likely, since it's an American company that writes his checks -- after Rubalcaba became a permanent U.S. resident, he signed to Blue Note and, as of his next album with Joe Lovano, will no longer work through its Japanese affiliate.
Rubalcaba still plays with his Cuban band Cuarteto Cubano. But since he has been living here, the group has done only a couple of tours a year in Latin America or Europe, and has avoided the hassle of visas and embargo restrictions entirely. Although he notes that his playing has grown in the United States, he relishes the occasions when he plays with his compatriots. "Cubans have a certain way of expressing themselves," he says. "I could never stop being Cuban, independent of the fact that I'm opening myself up more musically."
Jimmy Branly, a 24-year-old Cuban drummer who recently joined Cuarteto Cubano, agrees. "Gonzalo's work is very complex rhythmically," Branly says by phone from Havana. "It has roots in elements like the rumba that American musicians really can't dominate. The truth is, we're Cubans, and we're always going to understand each other better."
In the New York recording studio, the three musicians put on headphones, and James Anderson adjusts some settings on the board. Brian Bromberg plucks his acoustic bass while scatting in a Donald Duck voice. Rubalcaba cracks up, then leans forward and joins in, playing the first notes of the Duke Ellington favorite "Caravan." The song will be the opening track on the album.
While most versions of Ellington trombonist Juan Tizol's composition have a sultry Middle Eastern mood, Rubalcaba and his companions give it a decidedly Latin tinge. They start the song off light and breezy, then tighten up, giving it a more percussive sound. Rubalcaba throws in a tumbao -- the repetitive rhythmic chord pattern characteristic of Cuban music -- opening the way for a solo by Bromberg. He plays low on the stand-up bass, his fingers creating a deeply resonant thumping that recalls hands hitting the sides of a wooden cajon. Dennis Chambers keeps time with a Cuban clave rhythm. As the music slides into jazzier phrasing, Rubalcaba bobs his head and practically bounces off the bench as he plays.
When the song ends the musicians pour into the control room, pouncing on a delivery from Starbucks. Rubalcaba grabs one of his two cappuccinos and sits down in front of the control board. While he waits for Anderson to rewind the tape, he starts drumming his third and fourth fingers on the board. Sitting next to him, Anderson tries to copy the move, but he can't isolate the movements of two fingers. Rubalcaba laughs and drums faster. Bromberg can't resist a jibe: "Hey, Gonzalo, that's pretty good. Wow, you must be a really great piano player."
Rubalcaba keeps looking down, concentrating on his fleeting fingers. His reply is almost inaudible, a whisper meant for his own ears: "Not yet."
As the tape plays back, the pianist sits nodding his head to the beat with his eyes half closed. He cringes where the mike picked up some static. Hitoshi Namekata, the executive producer of the record, leans against a wall, smoking a cigarette and speaking softly in Japanese to an assistant. "We keep this one?" he asks Rubalcaba in English. "It's a good one."
Rubalcaba takes a deep breath and thinks for a moment. He smiles. "Again," he says, getting up. He prods the other musicians into the studio for another take.
"These are songs that are very well-known," he says later during a lunch break. "Everyone has played them. The only reason to record them now is if they can have a different outcome, if you can bring something new to them." Although he appears relaxed, Rubalcaba is worried that the day's session won't have such a revelatory result. His English isn't proficient enough for him to determine if his colleagues share his feeling. "I find there's a slowness among young American musicians today," confides the pianist, picking at a caesar salad. "There's a desire to repeat what's already been done. There's a trend to be retro without adding a lot of creative elements."
Rubalcaba refuses to do that. And although he often covers other people's songs -- from jazz standards to Cuban classics -- he's obsessed with making them his own. Such was the case with John Lennon's "Imagine," which has become something of a signature piece for Rubalcaba. It's easy to read the Cuban's choice of the idealistic ballad as an allusion to the repressive policies of Castro's regime or to Cuba's long rift with the United States. But when the pianist first played the song at a Japanese music festival a few years ago, it was not his idea. The festival promoters suggested it as a song that could reach a broad audience. At first he resisted -- he'd never even been a Beatles fan. But he did respect the lyrics and their sentiment, so he agreed. The audience loved it. "It's one of those things that have such a response you just have to give in to it," he admits. "What's happened is that when I perform, sooner or later, I always have to play 'Imagine.' That's a serious problem." But there was one time when Rubalcaba truly felt moved to play Lennon's peace anthem.
That was in Miami.
On April 10, 1996, more than 30 police officers stood outside the Gusman Center for the Performing Arts. More were on horseback. The letters on the theater marquee above them proclaimed "Gonzalo Rubalcaba: Piano Genius and Cuban Quartet."
As the 8:00 p.m. curtain time approached, audience members began to arrive. More than 200 people were already there -- few of them familiar with Rubalcaba's music or even his name. They had come to the theater to protest. Dade County Commissioner Javier Souto's office had even arranged for private buses to transport them downtown from Westchester, the middle-class, largely Cuban Miami suburb.
Like stars at some sadistic movie premiere, the well-dressed ticketholders walked stiffly down Flagler Street while the crowd screamed at them in Spanish: "Prostitute!" "Communist!" "Traitor!" "Dyke!" "Faggot!" Protesters spat upon the concertgoers -- a group that included doctors, journalists, business people, students, and musicians -- as television camera crews followed them to the theater door. A police officer got hit with a flying bottle. "Whore, are you going to go hear that nigger play?" one demonstrator shouted at a Miami Herald writer. As human rights activist Ramón Cernuda walked toward the entrance, a group of people followed him, beating him on the head with a Cuban flag fastened to a stick and tearing off his glasses. Cernuda told a TV reporter that he'd decided to attend the concert only after he heard that a demonstration was planned: He was there to support Rubalcaba's right to play.
Inside the Gusman, as dogs sniffed the aisles for bombs, Rubalcaba sat alone in the green room, rehearsing on a silent practice keyboard. Emilio Vandenedes, a Miami-based musicologist and DJ who hosts a Cuban music program on WOCN-AM (1450), went backstage to see him. A year before, Vandenedes had driven the pianist around on his first visit to Miami -- a daylong layover on his way back to the Dominican Republic from the Grammy Awards in Los Angeles. "Okay, I'll take the first one -- then we'll make a run for it!" Vandenedes joked, charging into the room. The two men laughed and embraced. After a few minutes of backstage small talk, Vandenedes left and Rubalcaba went quietly back to his exercises.
"I was prepared for whatever the reaction in Miami might be," the pianist says now, relaxing in his chair at the Van Dyke. "After all, it was not the first time something like this had happened."
Rubalcaba had a taste of exile politics when he made his U.S. debut at Lincoln Center in 1993. Bomb threats were phoned in to the theater and a small protest formed outside. "But within the dynamic atmosphere of New York and all of the activity there, nobody felt it," recalls Rubalcaba. "The theater was sold out. Nobody even noticed the protest -- I didn't find out myself until after the concert ended."
He had a feeling that things in Miami would not be so peaceful.
Rubalcaba's stop in Miami came near the end of a five-week U.S. tour with his Cuban group Cuarteto Cubano. The pianist's albums had garnered a big following among jazz buffs in San Francisco, Denver, and Seattle. Boston, Philadelphia, and New York were strong markets as well. Neither Miami nor San Juan, Puerto Rico, was on the concert schedule until Miami promoter Rolando Mendoza called Jose Forteza, Rubalcaba's manager, proposing those dates to him. (Mendoza could not be reached by New Times for this story.) Forteza quickly warmed to the idea.
"The Grammy Awards had acknowledged Gonzalo's existence, so I didn't think it could be offensive to anyone," recalls Forteza, who now lives in Miami. He and Rubalcaba recently ended their nine-year professional relationship, but the two remain friends. "Especially for a guy who has never been a political person, never made a statement for or against anything, only for music. The guy plays 'Imagine,' 'My Funny Valentine,' 'Bouncing with Bud' -- I don't think there is a single political word in any of those songs."
But Rubalcaba was more realistic about possible reactions to his presence in Miami. The previous year Mendoza had canceled a concert by the father-son pianists Bebo and Chucho Valdes (the latter lives in Cuba) after receiving menacing phone calls. Although Mendoza maintained there would be no such threat to Rubalcaba's appearance, the musician says he felt compelled to question the promoter's commitment during a meeting in the Dominican Republic.
"Do you know what it means to bring me to Miami?" Rubalcaba asked him. "If you are totally conscious of what you are doing, if you have the courage and the conscience of what you are doing, okay, then I'll do it."
In February the Miami Herald and El Nuevo Herald announced the local debut of the "Cuban jazz great." But excitement about the concert was short-lived. Later that month Miami Film Festival director Nat Chediak stopped the distribution at a film screening of flyers announcing the event. He said at the time that he feared perceived support of the pianist's concert could result in loss of public funding for the festival. Efrain Veiga, co-owner of Yuca restaurant (then located in Coral Gables), canceled a reception for the musician after he received calls alleging that Rubalcaba was a Castro supporter.
Rubalcaba was too busy performing around the country -- with critical success -- to pay attention to developments in Miami. But when he got to New York with Forteza and the group a few days before the Miami concert, a fax from Rolando Mendoza was waiting for them, with news that the situation had grown "very negative."
A group of long-time exiles had formed the Association of Free Cuban Musicians, solely for the purpose of trying to prevent Rubalcaba's appearance. They wrote to State Rep. Carlos Valdes and local officials, calling the upcoming concert "an offense to our long-suffering community that should not be tolerated." Valdes told the Miami Herald that Rubalcaba's appearance was "very disrespectful" and promised to do what he could. Exile radio commentators urged listeners to join the protest against "the communist," warning that the money from the concert would go into Castro's pockets.
The Friday before the concert, the Miami Police Department told employees at the Gusman that they could expect a demonstration and started preparing for extra security. (Lawyers for the American Civil Liberties Union intervened later, when the police department tried, unsuccessfully, to make Mendoza pay $7500 for the extra officers.)
A handful of anti-Castro activists made calls to the State Department, denouncing the concert and inquiring about its legality. State Department officials confirmed that Rubalcaba could appear in Miami. But they found the concert would violate the conditions of the visas of the members of Cuarteto Cubano, who lived in Cuba, since the concert had not been included in the list of dates provided by New York booking agent Joanne Jimenez.
"I was the sponsor for the tour," says Jimenez, who received a call from the State Department on the day of the Miami show. "They were scheduled to finish up the tour in New York, then pass though Florida on their way back home. The State Department phoned and said, 'What are they doing playing in Florida?'"
Rather than run the risk of violating their visas and being barred from re-entry into the United States, the band members went home. But Rubalcaba had come to this country as a resident of the Dominican Republic, with the special status he had already enjoyed for two years. He stayed.
The day of the concert, a Wednesday, Rubalcaba rested in his room at the Biltmore Hotel. "I listened to [Spanish-language] radio and there was just an incredible manipulation going on," he says. "There was so much disinformation. There were commentaries that had no reason behind them. Everything turned into just a big rumor, just a bunch of gossip."
All day long the phone rang. Representatives from his label in Japan and New York told him to forget about the concert. Jimenez also urged him to cancel. "My suggestion was that he shouldn't do it," says Jimenez. "I was concerned for his safety. I've lived in this country all my life, and I know how violent it is. I know how easily people can go crazy and do crazy things."
Rubalcaba refused to give in. "I said, 'All right, if you want to cancel it, go ahead, but it's your decision,'" he recalls. "'What I'm going to do in Miami is play the piano and make music. Anything else they're saying about me is just a story that whoever's saying it is making up.'
"I've only canceled a few concerts in my life," he continues, "and they've been for technical reasons, not political ones. I knew there was nothing to be afraid of."
If you like this story, consider signing up for our email newsletters.
You have successfully signed up for your selected newsletter(s) - please keep an eye on your mailbox, we're movin' in!
At about quarter past eight Rubalcaba, dressed in a black suit and black shirt, stepped onto the stage to tense applause. About 300 people were sitting in the 1700-seat theater. The audience hushed as he began to play "Imagine." It was impossible not to equate the song with the scene outside, and the theater audience swelled with emotion.
Later, after playing Charlie Haden's "First Song," Rubalcaba spoke to those in attendance. "I want to thank you, above all, for your presence," he said. "I think the most important thing was to play." He went on to perform a mix of Latin classics, jazz standards, and original compositions, ending with "Mima," dedicated to his mother. The concert lasted an hour and a half. The pianist finished what he had come to do and wiped his brow with a silk handkerchief while the audience clapped and whistled wildly. He would later say that despite the tension, the catcalls, and the fact that he had to perform alone, it was worth it.
"There is nothing more gratifying, nothing more fulfilling than to get up on a stage and do what you know how to do," he says today. "To do what you need to do. There's just nothing at all like that."
Sitting at his table at the Van Dyke, the pianist swishes the melting ice around in his glass. A jazz band starts to play in the restaurant's second-floor lounge. The busboy has long since finished his shift and gone off in search of his elusive American dream. And no one looks up as Rubalcaba pays the check and heads for home.


text:
Constitution of the UAF Faculty Senate
CONSTITUTION of the UNIVERSITY OF ALASKA FAIRBANKS FACULTY SENATE
Revised November 2015
Downloadable PDF of FS Constitution
Under Board of Regents' Policy, the University of Alaska Fairbanks Faculty Senate is
formed so that the faculty may carry out its professional responsibility as the
legislative body of the University of Alaska Fairbanks in matters of instruction,
research/creative activity, and service.
ARTICLE I - Name
Sect. 1 The name of the organization shall be the University of Alaska Fairbanks Faculty Senate, hereinafter referred to as "Senate".
ARTICLE II - Rights, Responsibilities and Authority
Sect. 1 Faculty rights include the following:
A. To exercise academic freedom.
B. To form a representative body to develop legislation concerning the professional activities of the faculty.
C. To have elected representatives to appropriate governance bodies.
D. To have primary authority through the Senate to initiate, develop, review and approve academic criteria, regulation and policy with regard to the responsibilities outlined in Section 2.
E. Other rights as may be defined under this constitution and bylaws.
Sect. 2 Faculty responsibilities include the formulation of policies and regulations guiding:
A. Faculty appointment, re-appointment, termination, development, evaluation and workload.
B. Tenure
C. Promotion
D. Teaching
E. Research/creative activities
F. Advising
G. Service
H. Sabbatical leave
I. Honorary degree candidates
J. Scholastic standards
1. Degree requirements
2. Curriculum review
3. Admission standards
4. Grading policy
5. Academic probation
6. Academic suspension
7. Academic dismissal
8. Class length and structure of the academic year
K. Other responsibilities as may be defined by the faculty under this constitution and bylaws.
Sect. 3 Further Responsibilities
A. To advise the administration of the University of Alaska Fairbanks on academic and faculty matters.
B. To provide faculty representatives to the appropriate governance bodies.
C. To support student and staff constituencies on matters of mutual concern.
Sect. 4 Authority The Senate shall carry out its responsibilities and functions subject to the authority of the Board of Regents Policy. Senate actions will be binding, subject to review, veto, and override in accordance with ARTICLE XI (Veto Powers) of this constitution.
ARTICLE III - Membership
Sect. 1 The Senate shall be constituted according to the provisions specified in the bylaws.
Sect. 2 Voting members of the Senate must either hold academic rank with full-time continuing appointment at the University of Alaska Fairbanks or hold special academic rank with title preceded by "research" or "term".
Sect. 3 Senate members shall be elected from and by the faculty of their respective units, as set forth in the bylaws, to two-year terms which shall be staggered to ensure continuity.
Sect. 4 The terms of the newly elected and appointed members shall commence at the beginning of "New Business" of the last regularly scheduled Senate meeting of the academic year.
Sect. 5 Any voting member of the Senate may be recalled according to the provisions of the bylaws.
Sect. 6 Non-voting members of the Senate shall have voting privileges on any Senate committee on which they serve.
ARTICLE IV - Officers
Sect. 1 The two officers of the Senate shall be the President and the President-Elect.
Sect. 2 The President-Elect shall be elected by the Faculty Senators of the Senate for a one-year term. Eligible nominees for the office of President-Elect shall include any currently elected members of the Senate including alternates and chairs of standing and permanent committees of the Senate.
Sect. 3 The President-Elect, after serving for one year in this position, subject to Sections 4 and 5, will automatically become President for one year.
Sect. 4 The term of the President may be extended for one additional year by a two-thirds majority vote of the entire voting membership of the Senate. The vote will be by secret ballot and, if passed, the term of the President and the current President-Elect will be extended for no more than one additional year.
Sect. 5 If for any reason the President should relinquish or be recalled from office, the President-Elect will automatically and immediately assume the Presidency. The Senate shall elect a Vice President to fill out the remainder of the year at which time a new election for President-Elect will be held. The previously elevated President-Elect will complete the next academic year as President.
Sect. 6 If for any reason the President-Elect should relinquish or be recalled from office, the Senate shall elect a President-Elect to fill out the remainder of the year at which time a new election for President-Elect will be held.
Sect. 7 The terms of the newly elected President and President-Elect shall commence at the beginning of "New Business" of the last regularly scheduled Senate meeting of the academic year.
ARTICLE V - Committees
Sect. 1 The requirements for membership on standing, permanent, and ad hoc committees of the Faculty Senate will be specified in the bylaws.
ARTICLE VI - Relation to the University of Alaska Fairbanks
Governance Coordinating Committee and the University
of Alaska System Governance.
Sect. 1 The UAF Faculty Senate President and President-Elect shall represent the faculty on the University of Alaska Fairbanks Governance Coordinating Committee.
Sect. 2 The UAF Faculty Senate President, President-Elect, and one other designee appointed by the Senate President shall represent the Senate on the University of Alaska Faculty Alliance and one will serve on the System Governance Council.
ARTICLE VII - Meetings
Sect. 1 There shall be a minimum of seven regular meetings each academic year. Other meetings may be held on special call of the Administrative Committee of the Senate.
ARTICLE VIII - Quorum
Sect. 1 The presence of a majority of the membership shall constitute a quorum. Presence may be established by participation in an audioconference.
ARTICLE IX - Parliamentary Authority
Sect. 1 The parliamentary guidelines shall be the most recent version of Robert's Rules of Order.
ARTICLE X - Amendments
Sect. 1 Amendments to the constitution may be proposed only by members of the Senate and copies shall be sent to all members of the Senate. Amendments must be formally read and incorporated in the minutes of a Senate meeting.
Sect. 2 Approval of amendments to the constitution requires a two-thirds vote and cannot occur sooner than 28 days from the date of the meeting at which the amendments were first read and discussed.
Sect. 3 Approval of amendments to the bylaws requires a majority vote.
ARTICLE XI - Veto Powers
Sect. 1 The Chancellor's Office shall have the right to veto actions taken by the Senate relating to academic, research, service and faculty affairs. A Senate action shall be considered approved unless written reasons for a veto are received in the Senate Office within 30 days of that action being received by the Chancellor's Office. The Administrative Committee upon request by the Chancellor may extend the 30 day requirement.
Sect. 2 Any action approved by the Senate and vetoed by the Chancellor's Office may be submitted to a reconciliation committee upon a two-thirds vote of the Senate. Up to three members appointed by the Senate and up to three members appointed by the Chancellor's Office shall constitute a reconciliation committee whose task it shall be to formulate recommendations to the Senate and the Chancellor's Office. If the Senate and the Chancellor's Office are not able to resolve the impasse, then the Senate, upon a two-thirds vote, may elect to forward its previous action through the University of Alaska governance structure as provided for under Regents' policy.
ARTICLE XII - Faculty Referendum
Sect. 1 A faculty referendum on any Senate action will be called when a petition containing the signatures of ten percent of the full-time, permanent faculty is filed with the Senate Office. The Administrative Committee of the Senate will call for a Senate convocation at which time any business of the Senate may be reconsidered if the majority of the faculty eligible to elect members to the Senate, as described in the bylaws, is present at the convocation.
Sect. 2 The convocation must take place within 21 working days after the petition is filed with the Senate Office.
Sect. 3 The Senate actions may be modified by a simple majority vote of the members at the convocation.
November 2015


text:
NH House hearings on bills to restrict Northern Pass transmission project
CONCORD, N.H. (AP) � A House committee is holding hearings on a series of bills aimed at slowing down or stopping construction of a 180-mile transmission line originating in northern New Hampshire.
The privately funded Northern Pass project would bring 1,200 megawatts of Canadian hydro-electric power into New England, but it has run into strong opposition. Critics argue the towers along the route � especially in the North Country � would damage New Hampshire's environment, lower property values and make the state less attractive to tourists.
Supporters argue the power would reduce the need for power from sources that produce carbon emissions.
The public can comment Tuesday on bills that would require everything from a moratorium on such projects to burying transmission lines.


text:
Follow the track record of Capcom's franchises and there will be a clear push for a return to form in recent years. With Resident Evil 6 upsetting critics and fans, the franchise had to make every attempt to create something worth the zombie enthusiast's time.
I still say wake me up when they make an RE game that plays like something made in the 21st century, but this story trailer for "Resident Evil 6" is pretty damn cool. If any of you guys end up playing it and it's good, let me know...
Actress Zelda Rubinstein, best known for her role as Tangina in Tobe Hooper's classic "Poltergeist," died of natural causes on Wednesday. She was 76.
Have you longed to feel the rancid breath of a giant ape on your face as he leaps over your head to attack a rampaging Tyrannosaurus Rex? If so, you're in the luck. Filmmaker Peter Jackson has helped Universal Studios relaunch their "King Kong" theme park ride, which will open its doors this summer. Remember to pack your banana hammock.
The first trailer for Capcom's upcoming live-action adaptation of "Dead Rising" has appeared online. It's cheap, it's ugly, and it's extremely violent. In other words, I'm giddy with excitement.
Anchor Bay recently announced they have acquired the rights to Agnieszka Wojtowicz-Vosloo's "After Life," a new horror/thriller starring Christina Ricci, Justin Long, and Liam Neeson. When this thing will see the light of day is still anybody's guess.


text:
I would like to hire a Blogger -- 4
Költségvetés $30-250 USD
I want to a blogger writting for my independent blog sites. It is about tool batteries. The words of the articles about 600 words. Blog content must be original.
6 szabadúszó tett átlagosan $80 árajánlatot erre a munkára
My articles are guaranteed to be original works that satisfy the desired criteria. Regardless of who the audience is, I can deliver the voice and style that you need to complete your project. I have experience writing Több
Hi there, I am a professional writer. Please check my reviews and portfolio (https://www.freelancer.com/u/revival786.html) and ask me for more samples to have an idea about the quality of my service. I am highly in Több
Are you interested in hiring an experienced blog writer who consistently produces quality work and is always on time? Well then, I'm Waiting for your acceptance. Small businesses today need fresh and exciting content t Több
Hey( PM me for samples and details) I am Ghostwriter, Article writer and content creator, I can take care of your project. I work with personal motivation to provide plagiarism free and quality content! I'm glad to of Több