Best advice I've ever received about teaching... there was a full-time position I wanted, but I had a few years to prepare. I was encouraged to get involved and volunteer my help in any capacity. I learned that every task is manageable, and I can do anything I'm committed to doing, especially so my leaders know I'm reliable.
We need your help in finding these people but, the people on this page are wanted for serious and often violent crimes. If you believe that you know the location of one of these fugitives DO NOT ATTEMPT TO TAKE ANY ACTION ON YOUR OWN!
To make matters worse, logistical problems in getting supplies and food to the men on San Juan Hill, as well as abysmal medical services, prompted Shafter to consider withdrawing on July 2 to reorganize. But the Fifth Corps remained and debated with the navy for the next several days over the course to follow for an attack on Santiago. Shafter wanted the navy to force its way through Santiago Harbor and bombard the city, while Adm. William T. Sampson wanted the army first to seize the forts at the entrance of the harbor. In the meantime, negotiations commenced between Shafter and the new commander of the Spanish forces at Santiago, Gen. Jose Toral. Shafter threatened Toral with a combined sea and land attack if the Spanish did not surrender. The final blow for the Spanish force was the fiery destruction of their squadron as it tried to flee Santiago Harbor on July 3. This, coupled with an increase in sickness and lack of food for Toral's men, induced the Spanish commander to surrender, and formal ceremonies took place on July 17.(29)
On November 20, 1987, Teresa Enriquez was at the Our Place Bar at 115 General Krueger with friends. She went to the parking lot to sit in a 1988 Suzuki Samurai because she was tired, and wanted to get out of the smoke. Customers driving into the parking lot saw the suspect in the Suzuki with Teresa. They saw the suspect beating her and went into the bar to find help. When everyone came outside, they saw the suspect fleeing but lost sight of him as he ran north up Blanco Road. They found Teresa in the vehicle, and placed her on the ground to give her first aid. They then realized that she had been stabbed. EMS arrived and transported her to the hospital, where she later died.
I've heard that your father was a great athlete. Were any other family members besides you musical?
My father was a good baseball player and a very good basketball player. He was a semi-professional athlete. But no one in my family was musical or played an instrument. I started playing the guitar when I was about 10 years old. When I was older, I told my mother that becoming a musician was the only thing I wanted to do.
She thought I should go to the university to become a lawyer or a businessman. She told me that it would be hard to make a good living as a musician in the Dominican Republic. She felt I'd need a good job, and then I could play music too. At Universidad Autónoma de Santo Domingo, I began to study accounting, but that only lasted two days. I also studied philosophy and literature. Later, I studied guitar at El Conservatorio Nacional de Musica de Santo Domingo. I learned the basics of music theory there, but my teacher told me to go to Berklee if I wanted to learn more.
What did you want to focus on when you came to Berklee?
When I went there, I was a Pat Metheny wannabe. I loved his music-and still do. I also loved Wes Montgomery and wanted to learn to play jazz guitar. There was a turning point for me when I was at a party with some friends. We were jamming together, and after I played a solo on guitar, I noticed that my solo hadn't gotten anyone's attention. There was a güira [a Dominican percussion instrument] on the wall of the apartment, it was there as a decoration. I took it down and started playing some of the rhythms of traditional Dominican music on it. It got the attention of everyone in the room. People started listening and asking about what I was doing. One Berklee student there even asked me if I would write out the rhythm of the patterns I was playing for him. That struck me as odd because these are rhythms Dominicans just play they aren't written out. That moment made an impact on me and I knew that I would do best singing and playing music using the folkloric rhythms of my country.
After doing that for a while, I wanted to make a recording. The first album we did was called Soplando, and it was pretty musically adventurous. We mixed jazz tunes with original songs that had sophisticated chord progressions. I was using the things I had learned at Berklee. The record didn't sell a lot of copies, but it wasn't intended to be a commercial hit. It was just for people who liked that kind of music. We paid for all of the production costs ourselves.
Does Para Ti reflect a new spiritual awakening to Christianity for you?
Like I said, Para Ti contains the songs that I sing at my church. When I'm not on tour, I play there three times a week. Most of my band plays with me at the church. This album has as its theme my love for Jesus Christ. I accepted Jesus about 10 years ago. I didn't grow up with a faith tradition, and I had found that even though I was successful in my career, I was still somehow feeling very empty inside. I had no center. I had gotten fame and fortune, but I didn't have peace in my heart. I felt anxiety frequently and was taking medication to help with that. A friend told me about Jesus and that the peace I was looking for in other places could not equal his peace. I wanted that, so I opened my heart to him and began to feel very full with the love of Christ. Life is much easier for me this way, and a lot of good things have come from it. All of my performances now are for the glory of God. When I hear beautiful music, I think of him. Jesus is the creator of everything, so he must be a great musician. Think of all the talent he has given to men like Beethoven or Pat Metheny.
Generally, there are very few cover songs on your albums. Tell me how you came to include "Viviré," a beautiful love song from your Fogaraté album that was written by African musician Papa Wemba. What attracted you to this song and inspired you to write new lyrics for it and arrange it as a bachata?
I had heard Papa Wemba playing with Peter Gabriel in New York. I really loved his song "Viví" and wanted to do it on my own recording. But I had no idea what he was singing about in the lyrics because I couldn't understand his language. So I wrote my own lyrics to his music.
Other songs on the Fogaraté album show a strong influence of Afro-pop and soukous music. Did you play all of the cool guitar lines on those songs?
No, my label will help me bring in special musical guests for the sessions. I brought in the African guitarist Diblo Dibala. He is such a great musician. He played guitar on all of the songs but one. I was very interested in soukous music then and wanted to get Diblo because I love his playing.
As an artist who has had so many hits, there must be some songs you have to sing at all of your shows. Is there one song more than others that you look forward to singing each night?
It's become a tradition that we have to sing "La Bilirrubina" and "Estrellitas y Duendes," and several others every night. I remember once going to see Three Dog Night perform. They were great and played most of their best-known songs, but they didn't sing "Eli's Coming." I left a little disappointed because I really wanted to hear that one. It made me think about my own shows and how I don't want people to leave without hearing their favorite song. We keep looking at the set list, thinking that it's too long. But when we try to decide what songs to cut, we never end up cutting any because we want to include the songs everyone knows. So the set list is getting longer and longer. I think my favorite song to perform is still "Ojalà Que Llueva Café." One song that everyone likes that I don't look forward to singing every night is "La Gallera." It's a very fast merengue, and the melody is very high for me. We usually do it as an encore, and by that time both the band and my voice are pretty tired.
The facts support a finding that the parties operated under an understanding that SMIT would provide advisory services via HOSKING, i.e., the parties agreed to more than a literal reading of SMIT's offer would require. CHIANNELLI and WILLIAMS acknowledge the agreement was for HOSKING to serve in an advisory capacity. That understanding is memorialized by both SMIT and METRO/HUSON in subsequent records and correspondence, both before and after the salvage efforts were successfully completed. GEORGES' (of NSTC) log entry clearly states the nature of the services WILLIAMS was instructed to accept. It reads: "Smit has ready salvage services in an advisory capacity or salvage, in which case will be LOF -No cureno pay. Decided to use only their advisory services...." (App.1735) (emphasis ours). As both WILLIAMS and CHIANNELLI had the same understanding of what they agreed, with GEORGES' acknowledgment of what METRO wanted, no ambiguity was introduced into the Response Agreement by this departure from a literal reading of SMIT's offer. It follows that SMIT was contracted to provide only advisory services.
"We had a superstar player with the Wizards, he had an opportunity and wanted to be traded to the Lakers," Leonsis said. "And I was dealing with that as we were announcing Alex. I couldn't help but self-reflect on what a difference it is. Here's a great player in Russell Westbrook, played for OKC, wanted to be traded, went to Houston, wanted to be traded, came to D.C., wanted to be traded and is now in L.A. He's an unbelievably great person and an unbelievably great player. But that's the difference between the NBA and the NHL, I suppose."
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