#lizarzaburu

[sweetdreamsjeff]

Tied for First: 'If You Knew' by Jeff Buckley

By: Stefan Lizarzaburu

Pub: UWIRE

February 20, 2020

It's been raining recently. Lots of grey, lots of splash. In the past few weeks, I've done what any other rational twenty-something would do in these conditions -- listen to sad music without feeling remorseful about my actions. It's because it's raining, okay? But in this drizzle-laden stupor, I quickly re-discovered a hidden gem -- one of the uncut variety. It's "If You Knew," live, by Jeff Buckley, off of his "Live at Sin-é - Legacy Edition" album recorded in 1993. And it's the best song of all time.

For context -- this "Live at Sin-é" album is pretty tight, tubular, terrific. Sin-é was a small coffee shop in New York City, East Village. It was this teensy tiny venue where young, aspiring New York musicians could come and showcase their talents. The last rendition of the original Sin-é shop closed in 2007, but its legacy lives on here with Jeff Buckley. At the time of recording, Buckley was a relatively unknown artist, mostly recognized as the son of folk-legend Tim Buckley. Jeff, however, wanted to pave the way for his own legacy -- a legacy removed from the father he barely knew. He would begin this legacy at Sin-é.

The set-up at this coffee shop was, well, a coffee shop. The stage wasn't even a stage -- it was just a space against the wall where the waitstaff cleared tables out of the way. So when I first listened to the album, I was astonished -- it sounds like Jeff Buckley's performance took place in Luray Caverns. Or like, I don't know, inside a sinkhole. It sounds immense, important, gripping and immediate. It's a voluntary moment of solitary confinement for your ears for about 4 minutes or so. It encases the listener in feeling. But mostly, it stirs. This song literally made me buy a Fender Telecaster -- Buckley's electric guitar of choice. You think I'm kidding? I wish I was. This song, this album -- they're just that good.

Buckley, at this point in his musical canon, had amassed a small following, mostly from fans of his performances at Sin-é. They knew what to expect when he performed -- some haunting falsettos, some shredding on a Telecaster, some original material and some covers. On this special summer's night in 1993, the crowd was special enough to bare witness to a cover of legendary proportions -- Nina Simone's "If You Knew."

Hats off to Simone for an absolutely impeccable original rendition. Goodness, this song is something. Reading the lyrics off a piece of paper might leave you partially shaken, but overall OK. But by golly goodness, the vocal performance can have you from zero-to-fetal in 2.5 seconds. Missing someone and longing for their presence can't always be said eloquently, even if you might want to say it eloquently. In longing and absence, sometimes there's complexity in simplicity. Simone's delivery is wrought with a passionate fire -- a short and flickering flame that burns hot at its center. She gets it.

So thank you, Nina Simone. The original version is spectacular and without a doubt deserves its own article. But here we are, going with the lanky Cali boy over the high priestess of soul. It'll make sense when you listen to the song because the feeling lingers with you. Buckley gets it too.

It's actually shocking to imagine that there are people just sitting in a coffee shop. Just casually sipping on their spiced lattes -- or whatever people in New York drank in the '90s -- listening to this angelic serenade. If I were there, I would no doubt have to take a breather outside after that out-of-body experience and pinch my skin to see if I'm still there. The lyrics, the performance, Buckley's tear-drop croon, the gently twanging guitar -- they all metamorphosize into a really somber, grayscale butterfly. It hurts. He hurts. He might as well be weeping like a little baby into the microphone -- but weeping in a poignant, emotionally-mature manner.

What is so incredibly compelling about this live performance is you hear absolute radio silence in the background -- no clinking, no clanking, no footsteps, no tea cups clattering, no silverware. They're in a coffee shop, with so many available stimuli, and yet all you can hear in the background is the reverb of the Telecaster's amplifier. The first thing you hear from the crowd after the performance is over, after some time where the air sits still, is a man. A man who so eloquently, with simplistic poise, says -- "Yeah." Imagine being so dumbfounded by a performance that all you can muster up in response is a quick, airy, "yeah." It seems like this mystery yes man gets it too.

Listen to this song when it rains. Listen when you miss someone. Listen when you kick up puddles on a spring morning. Listen to pay attention and to reflect. But whatever you do, for your own well-being, do not listen when you're actually already sad. It's just the rain, I promise. I get it too.

[realidadpe]

Dólar cae rápidamente y ya se sitúa en su nivel más bajo en año y medio

Por Sonia Dominguez El precio del dólar sigue a la baja y hoy abrió en 3.575 soles, lo que se constituye en una de las cotizaciones más bajas de los últimos 18 meses. ¿La pregunta que cae de madura es si seguirá bajando y por qué? El profesor de la carrera de Administración y Finanzas de la Universidad ESAN, Edmundo Lizarzaburu, indicó que existe un fenómeno internacional que está generando un…

[aptitudpe]

Dólar cae rápidamente y ya se sitúa en su nivel más bajo en año y medio

Por Sonia Dominguez El precio del dólar sigue a la baja y hoy abrió en 3.575 soles, lo que se constituye en una de las cotizaciones más bajas de los últimos 18 meses. ¿La pregunta que cae de madura es si seguirá bajando y por qué? El profesor de la carrera de Administración y Finanzas de la Universidad ESAN, Edmundo Lizarzaburu, indicó que existe un fenómeno internacional que está generando un…

[wregionalpe]

Dólar cae rápidamente y ya se sitúa en su nivel más bajo en año y medio

Por Sonia Dominguez El precio del dólar sigue a la baja y hoy abrió en 3.575 soles, lo que se constituye en una de las cotizaciones más bajas de los últimos 18 meses. ¿La pregunta que cae de madura es si seguirá bajando y por qué? El profesor de la carrera de Administración y Finanzas de la Universidad ESAN, Edmundo Lizarzaburu, indicó que existe un fenómeno internacional que está generando un…

[cacloco]

Ver "EN VIVO - Beto a Saber Emisión jueves 02 de febrero del 2023- BRONCAZA SINGRID CON LIZARZABURU" en YouTube

EN VIVO - Beto a Saber Emisión jueves 02 de febrero del 2023

- BRONCAZA SINGRID BAZAN CON LIZARZABURU

- CUERRA EN EL CONGRESO

- MADRE DE DIOS NECESITA AYUDA DE LAS FF.AA

[proyectovisual]

#electronicsession #lizarzaburu @jando_diazlizarzaburu #salvador Sábado 14 18:00 h. #thebritbar #wehatethebadmusic #caxascity Wendsday to Sunday since 16:00 h https://www.instagram.com/p/B9s9KxCA3Kh/?igshid=10nb6ct6zl9d1

[veredes]

Ciudades que inspiran (II) Lima milenaria | Aldo G. Facho Dede

Presentamos el segundo episodio del podcast “Ciudades que inspiran” en donde conversamos con Javier Lizarzaburu Montani sobre los orígenes milenarios de la ciudad capital del Perú, nuestra querida, y a veces odiada, Lima; y cómo sus testimonios han condicionado la estructura y desarrollo de la ciudad.

[...]

[bluerayhealing]

Literally every time I search my family tree it always ends in Basque Country, from both parents no matter what ancestor.. they always lead to Basque. 

Today I learned the name of an ancestor from 1512.. and even saw a photo of the house he lived in.

“ the first one holding the name “was Capitan don Sancho Martinez, Lord of the House of Lizarza (Lizartza buru) and in exchange for his service in 1512, in the Battle of Belate, the Catholic Kings gave him permission to take the name of the house as his surname.  His son Francisco de Lizarzaburu e Idakez; born in Lizartza was the first to carry the name of the house of which he was also Lord, as his own surname.  Since then all other descendants have carried that name.”

“Even though the original family members were linked to the monarchy, it was evident that many have worked in favor of the Basque people” 

The original family farmhouse visited by other descendants of his. 

[marco-roman]

Carlos Paredes: «La cuarta operación del GEIN se llamó "Seso" porque golpeó al llamado Grupo Intelectual Popular, liderado por la ingeniera Magda Mateo Bruno, camarada "Ariana". Entre otras cosas, este grupo tenía un Departamento de Traducciones que fue desmantelado. Se logró detener al grupo de personas que traducía al inglés, francés, alemán e italiano los escritos de Guzmán y los panfletos de Sendero Luminoso. [...] La sorpresa de esta operación fue descubrir que un prestigioso psiquiatra, hermano de un exministro de educación del gobierno de Belaunde, era uno de los líderes del Departamento de Traducciones. Era Gerardo Lizarzaburu Robles, a quien conocían como el camarada "Martín". Antes de su muerte, producida cuando la Policía no sabía de su filiación senderista, llegó a ser amigo personal y hasta médico de cabecera de Abimael Guzmán. Según pesquisas del GEIN, habría sido captado por Elena Iparraguire quien fue su paciente. Tanta confianza le tuvo a ella que, poco antes de morir de cáncer a la próstata, dejó en herencia a varios senderistas una casa en Chosica, un departamento en Miraflores y dos propiedades comerciales en la avenida Alfonso Ugarte de Lima, donde finalmente funcionó un local de la academia César Vallejo» (2017: 138 y 139). https://www.instagram.com/p/CkoMc77uMOr/?igshid=NGJjMDIxMWI=

[sweetdreamsjeff]

Tied for First: ‘If You Knew’ by Jeff Buckley The perfect soundtrack to a cold, rainy winter’s day

Photo by Emma Hitchcock

Jeff Buckley's 1993 recording of "If You Knew," live at Sin-é in New York, is the best song of all time. 

By

Stefan Lizarzaburu

                                                                                                     February 20, 2020                                                                                    

It’s been raining recently. Lots of grey, lots of splash. In the past few weeks, I’ve done what any other rational twenty-something would do in these conditions — listen to sad music without feeling remorseful about my actions. It’s because it’s raining, okay? But in this drizzle-laden stupor, I quickly re-discovered a hidden gem — one of the uncut variety. It’s “If You Knew,” live, by Jeff Buckley, off of his “Live at Sin-é - Legacy Edition” album recorded in 1993. And it’s the best song of all time.

For context — this “Live at Sin-é” album is pretty tight, tubular, terrific. Sin-é was a small coffee shop in New York City, East Village. It was this teensy tiny venue where young, aspiring New York musicians could come and showcase their talents. The last rendition of the original Sin-é shop closed in 2007, but its legacy lives on here with Jeff Buckley. At the time of recording, Buckley was a relatively unknown artist, mostly recognized as the son of folk-legend Tim Buckley. Jeff, however, wanted to pave the way for his own legacy — a legacy removed from the father he barely knew. He would begin this legacy at Sin-é.

The set-up at this coffee shop was, well, a coffee shop. The stage wasn’t even a stage — it was just a space against the wall where the waitstaff cleared tables out of the way. So when I first listened to the album, I was astonished — it sounds like Jeff Buckley’s performance took place in Luray Caverns. Or like, I don’t know, inside a sinkhole. It sounds immense, important, gripping and immediate. It’s a voluntary moment of solitary confinement for your ears for about 4 minutes or so. It encases the listener in feeling. But mostly, it stirs. This song literally made me buy a Fender Telecaster — Buckley’s electric guitar of choice. You think I’m kidding? I wish I was. This song, this album — they’re just that good.

Buckley, at this point in his musical canon, had amassed a small following, mostly from fans of his performances at Sin-é. They knew what to expect when he performed — some haunting falsettos, some shredding on a Telecaster, some original material and some covers. On this special summer’s night in 1993, the crowd was special enough to bare witness to a cover of legendary proportions — Nina Simone’s “If You Knew.”

Hats off to Simone for an absolutely impeccable original rendition. Goodness, this song is something. Reading the lyrics off a piece of paper might leave you partially shaken, but overall OK. But by golly goodness, the vocal performance can have you from zero-to-fetal in 2.5 seconds. Missing someone and longing for their presence can’t always be said eloquently, even if you might want to say it eloquently. In longing and absence, sometimes there’s complexity in simplicity. Simone’s delivery is wrought with a passionate fire — a short and flickering flame that burns hot at its center. She gets it.

So thank you, Nina Simone. The original version is spectacular and without a doubt deserves its own article. But here we are, going with the lanky Cali boy over the high priestess of soul. It’ll make sense when you listen to the song because the feeling lingers with you. Buckley gets it too.

It’s actually shocking to imagine that there are people just sitting in a coffee shop. Just casually sipping on their spiced lattes — or whatever people in New York drank in the ‘90s — listening to this angelic serenade. If I were there, I would no doubt have to take a breather outside after that out-of-body experience and pinch my skin to see if I’m still there. The lyrics, the performance, Buckley’s tear-drop croon, the gently twanging guitar — they all metamorphosize into a really somber, grayscale butterfly. It hurts. He hurts. He might as well be weeping like a little baby into the microphone — but weeping in a poignant, emotionally-mature manner.

What is so incredibly compelling about this live performance is you hear absolute radio silence in the background — no clinking, no clanking, no footsteps, no tea cups clattering, no silverware. They’re in a coffee shop, with so many available stimuli, and yet all you can hear in the background is the reverb of the Telecaster’s amplifier. The first thing you hear from the crowd after the performance is over, after some time where the air sits still, is a man. A man who so eloquently, with simplistic poise, says — “Yeah.” Imagine being so dumbfounded by a performance that all you can muster up in response is a quick, airy, “yeah.” It seems like this mystery yes man gets it too.

Listen to this song when it rains. Listen when you miss someone. Listen when you kick up puddles on a spring morning. Listen to pay attention and to reflect. But whatever you do, for your own well-being, do not listen when you’re actually already sad. It’s just the rain, I promise. I get it too.

[guiavirtualhotelesriobamba]

Hotel Rey de los Andes

El Hotel Rey de los Andes está ubicado en la Avenida lizarzaburu y Camilo Egas de la ciudad de Riobamba en la Provincia Chimborazo ubicados en el centro de Ecuador.

Cuenta con alrededor de 20 habitaciones  de las cuales son dobles y sencillas

Servicios

Alojamiento

Baño Privado

Wifi

Cable

Costos

$15 por persona

[hdappliedtheatre]

Applied Theatre: Theatre Of The Oppressed - Boal, A.

Q1: What specifically stood out for you in the Boal reading? 

I was interested to read about Operación Alfabetización Integral otherwise known as the ALFIN project. ALFIN was a movement administered by Alfonso Lizarzaburu to eradicate illiteracy in Peru by implementing artistic measures. In an article by Anthony Burton about Adult Literacy in Peru, Burton mentions Paulo Freire, and his ‘consciousness-raising’ methods. (Burton, A).

‘What really intrigued me about his work, and about the ALFIN experiment especially, was that it was, at last, a fully articulated and large-scale attempt to make his method work.’ (Burton, A).

I was delighted to discover that Freire’s strategies had been utilized in ALFIN, and that he had such a great influence on Boal. Paulo Freire’s publication Pedagogy of the Oppressed inspired Augusto Boal’s Theatre of the Oppressed. 

Towards the end of page 97, Boal declares ‘It is too early to evaluate the results of the ALFIN plan since it is still in its early stages.’ (Boal, 2008). The experiments discussed in this chapter were conducted in 1973, and Theatre of the Oppressed was published in 2008, yet I am still struggling to find any documentation that reviews the outcome of the project. Therefore, the focal questions I would ask are “has the ALFIN project been completed?” and if so, “what are the results of ALFIN?” 

Q2: What can we learn from Boal's experience with the man's picture of home on pg 100?

There is a notable saying ‘a picture is worth one thousand words,’ which emphasises the power that can be held in an image. Boal’s response to this photograph proves the significance of this statement. ‘Only photography, and no other language, could express the pain of that child’s eyes, of those tears mixed with blood.’ (Boal, 2008). This is the importance of art. Art is the only language that can be understood or interpreted by everyone. 

It is crucial to recognise the separation between spectator and performer that Boal mentions briefly at the start of this chapter. In this instance, the initial response to this man’s photograph came from a negative perspective. Freire discusses in his publication, Pedagogy of the Oppressed, how ‘education is suffering from narration sickness,’ (Freire, 1968) meaning that, as consumers of education, we are influenced by what we are told. Rather than accusing the man of not understanding the assignment correctly, and claiming that he was wrong, the facilitator should have approached the issue inquisitively, and questioned why he had taken this particular photograph, and how it relates to the stimulus.

Q3: Please explain Boal's first two sections (1. Knowing the body, 2. Making the body expressive) briefly in your own words.

Section 1 of Boal’s strategy, Knowing the Body, details the way in which participants must first become aware of their own body. Participants will recognise the body’s potentiality and its constraints, and observe the exertion imposed on the body due to the work they carry out. They are to identify their ‘muscular alienation.’ (Boal, 2008).

Boal recommends exercises that intend to ‘disjoint’ participants, and allows them to become self-aware. The first exercise is Slow-Motion Race. ‘Moving in slow motion, the body will find its centre of gravity dislocated at each successive moment and so must find again a new muscular structure which will maintain its balance.’ (Boal, 2008).

Having participated in this exercise before, I feel obligated to give a personal account. 

The Slow-Motion Race exercise is an exerting task. The objective to be as slow as possible when required to move is an idea we do not often stumble across. With each small movement you are compelled to find stability and acknowledge the position your body has chosen in order to maintain that stability. 

The second section, Expressing the Body is a development of the previous stage. In this segment, Boal draws attention to the ‘expressive ability of the body.’ (Boal, 2008). As a collective, we have become accustomed to communicating through text and speech that we almost disregard our body’s ‘enormous expressive capabilities.’ (Boal, 2008).

To provoke movement into practice, Boal suggests taking part in certain parlour games whereby ‘communication must be effected entirely through the body.’ (Boal, 2008).

Bibliography

Boal, A. (2008). Theatre of the Oppressed. Pluto Press.

Burton, A. The Submerged and the Seers: Adult Literacy in Peru, 1973-1974. Date Accessed 19th April 2021. Available at: https://anthrosource.onlinelibrary.wiley.com/doi/pdf/10.1525/aeq.1980.11.4.05x1818x

Freire, P. (1968). Pedagogy Of The Oppressed. The Seabury Press. New York. 

[cacloco]

Bancadas que respaldaron la moción de vacancia contra Castillo

*Fuerza Popular*

Rosangella Barbarán Reyes

Eduardo Enrique Castillo Rivas

María Del Pilar Cordero Jon Tay

Luis Gustavo Cordero Jon Tay

Victor Seferino Flores Ruíz

Juan Carlos Martin Lizarzaburu

Jorge Alberto Morante Figari

Martha Moyano

Auristela Ana Obando Morgan

Tania Estefany Ramirez García

César Manuel Revilla Villanueva.

Avanza País

Patricia Rosa Chirinos Venegas

Yessica Rosselli Amuruz Dulanto

Diego Alonso Fernando Bazan Calderón

Juan Bartolome Burgos Oliveros

Alejandro Cavero

Diana Gonzales

Adriana Tudela

José Williams

Norma Yarrow.

*Renovación Popular*

Miguel Angel Ciccia Vásquez

María Jessica Cordova Lobaton

José Cueto

Noelia Rossvith Herrera Medina

María Los Milagros Jackeline Jauregui

Esdras Ricardo Medina Minaya

Jorge Montoya Manrique

Javier Rommel Padilla Romero.

[m2estudio]

[radioamazonica]

NOTICIAS I MUSICA I #CCEnTuCasa El Museo de Arte Moderno de la #CCE nos invita a descubrir el retrato de "Juan Miguel Francisco Borja y Lizarzaburu"😉👍 Dr. Juan Borja, jurisconsulto, político liberal y mártir ecuatoriano, nacido en Guano en junio de 1816. 🔶Conócelo aquí👉https://t.co/wUPCPeqkkl https://t.co/MxYHYte5Ee