FRANCISCO LOPEZ
Amarok
Glacial Movements

On Amarok sound sculptor Francisco López softens a savage terrain of whirring buzz like a brewing storm, then cuts suddenly, short and flat, to cool drone breezes. This lengthy hour plus work captures the sense of territorial distances, something akin to open torch flames and the echo of the outdoors. Like few of his recent releases López has treated his sources to a lush full course of thin layered varying depths of field. One can lavish in the work almost as if it were photographic, depicting a cryptic background of nerve-ending like fleeting activity while a curvy, hushness dances at close range. The charge of a sifting blur bleeds through a majority of the dark center here before a brisk release comes in the final dozen minutes. In its dramatic finality, Amarok poses a detached embrace of sorts, much like López’s live concert work. The journey ends as the cycle began in bare, slow silence.

1. Amarok (64:07) 

         Над материалом для итальянского лейбла «Glacial Movements Records» Франциско Лопез работал без малого два года, собирая и обрабатывая разнообразные звуки на своей мобильной студии, с которой он путешествует по миру. Показательно, что, несмотря на «северную» концепцию альбома, испанец предпочел творить в довольно жарких городах мира, таких, как Тель-Авив и Мадрид, с периодическими заездами в Ригу, Амстердам, Белград и другие европейские столицы. «Амарок» несет в себе все характерные (нравится вам это или нет) приемы, которыми Лопез давно прославился, и которым особенно не спешит изменять, успешно манипулируя статичным гулом, смешивая многократно переработанные звуки и заполняя ими пространство между продолжительными паузами тишины. Из этой тишины альбом рождается, в нее все звуки в конце концов и уходят – а между ними испанец медленно расстилает по бескрайней территории снежных полей однотонные гудения и пульсации, которые улавливаешь не столько при помощи слуха, сколько ощущаешь всем телом  легкое давление. Первую часть диска можно описать заезженным словом «вечерело» – а когда тьма сгустится до непроницаемой завесы, на снегу появиться отпечатки лап огромного волка Амарока, пришедшего прямо из легенд эскимосов, и рыскающего в поисках тех охотников, которые осмелится выйти на свой промысел ночью. Эта часть альбома, пожалуй, самая эффектная – гул, хриплое дыхание, утробный рев, хруст льда и прочие спецэффекты для легкой паники и мурашек. Лопез намеренно старается напугать, и у него это превосходно получается, но, рано или поздно день сменит ночь, волк уйдет в свою ледяную пещеру голодным, а пронизывающий ветер закрутит метель из острых и звенящих кристалликов льда, по крайней мере, именно так можно интерпретировать те звуки, которые сопроводят слушателя к финалу композиции. Довольно необычный для лейбла релиз, который вполне способен доставить приятные минуты поклонникам испанского экспериментатора и любителям «ледяного» и нестандартного эмбиента, а также сопутствующих жанров. 

http://www.glacialmovements.com
http://www.franciscolopez.net

http://www.markfell.com/media/sonicmaterial/mfell_inst_12feb2010.mp4

The second part of the evening brought the main event: Francisco Lopez. He is described as one of the main internationally recognized figures on the stage of sound art and experimental music. We waited in front of the glass doors to be let into the Winter Garden, watching Lopez and a team of technicians sound check a series of speaker cabinets throughout the area. The piece was titled ‘Mutated Forest’ and the Winter Garden provided the perfect setting for the piece to resonate beneath the high glass ceiling. Lopez was stationed in the middle of the area, controlling and manipulating the multi-channeled piece that comprised of field recordings taken from forest locations all over the world. As we walked around, the sounds of birds, rain and wind were emitted from separate speakers dotted around and amongst the plants. It was just as if the green house garden in the city center had become a rain forest in South America. For an evening of entertainment with no admission fee, thoroughly enjoyable and thought provoking.

1. Untitled #228 – Side I (21:55)
2. Untitled #228 – Side II (21:58)

       Удивительно, но в обширнейшей дискографии Франциско Лопеса не так много виниловых изданий, а уж LP можно сосчитать по пальцам одной руки – собственно, в прошлый раз испанец позволял зафиксировать свое творчество в подобном формате почти что десять лет назад. Для его экспериментальных пьес винил может быть и подспорьем, и наказанием – характерный треск и микрошумы этого носителя способны как добавить новые нюансы в некоторые вещи музыканта, так и разрушить неповторимую атмосферу большинства из них. Тем не менее, стараниями лейбла «Ini.Itu» свет увидел этот «long play» – и, кажется, его звуковое наполнение совершенно. 
        Владелец этого лейбла испытывает особую страсть к Индонезии с ее богатой традицией музыки «гамелан». В распоряжение Франциско были переданы записи, сделанные участником проекта «Blindhæð» в этой стране – записи, зафиксировавшие ее музыкальную культуру, круговерть и хаос больших городов, и размеренное существование нетронутой природы. Это звуковой набор для тех, кто любит совершать путешествия, закрыв глаза и занимаясь визуализацией. В данном случае Франциско почти не трансформирует исходные записи (лишь немного обрабатывает их для придания особенного, объемного звучания), и, следуя за этими звуками, можно попасть в огромный пустой вокзал, где слышны только многочисленные шорохи, тиканье часов, голоса по громкой связи. Постепенно вокзал наполняется людьми, спешащими по своим делам, и вместе с ними мы можем проследовать на улицы города, пропитанные жарким зноем, голосами прохожих, песнями уличных музыкантов. Повышенная концентрация всех этих элементов создает расширенную звуковую панораму, которая полностью вовлекает в себя слушателя. Но ненадолго – неожиданно все замирает, автор оставляет всех наедине с тишиной, а потом наполняет все вокруг шумом океанских волн и ритуальной перкуссией. Волны бурлят несколько минут, после чего отбрасывают слушателей опять на тот же самый вокзал, заполненный монотонным перестуком колес проходящих мимо поездов. Это было путешествие в «цивилизацию» – а противоположная сторона пластинки предлагает отправиться в путешествие внутрь себя. Предельно замедленные постукивания металлических палочек превращены в тончайший гул, проплывающий на некотором расстоянии от слушателя. Это бесконечный дрейф из ниоткуда в никуда, медленное скольжение по металлической поверхности, порождающее еле уловимые вибрации и физически осязаемую дрожь. Предельная переработка исходных материалов, после который остается только звук ради звука, не помнящий своего происхождения. Идеальная для медитаций вещь. А в целом «Untitled #228» показывает, что у Лопеса есть неисчерпаемые запасы пороха в пороховницах. Еще недавно казалось, что его последние работы ушли в бесконечные самоповторы – и вот, пожалуйста, абсолютно оригинальная, практически безупречная работа. Для всех, кто «в теме» – строгие рекомендации. 

http://www.iniitu.net
http://www.franciscolopez.net

Another in our occasional series of  Sonic Culture Salons, Modulate presents ” Lago de Mamori : An Aural Environment by Annie Mahtani”.

Annie was a participant of our Birmingham Sound Matter project with
Francisco Lopez last year, after which she successfully applied for a
sound artist residency at Mamori Arts lab in the Brazilian Rainforest,
a yearly residency directed by Francisco. Annie will present field recordings from the Brazilian Amazon in the form of a 16-channel sound installation. She will also speak about her experience in residence at Mamori Art Lab and engage the audience in an open discussion around the recordings and possibilities for future development of this work-in-progress.

Cost: Free

Feel free to drop in and out at any time, although to experience the
full hour of field recordings / and for the talk, arrive on the hour.
Refreshments will be provided

Supported by  Arts Council England / Modulate / Mamori Arts Lab / BEAST

Hmmm, we’ll just see about that.  From the very first time I put pen to paper writing all of these squiggly characters I’ve often asked, how the hell am I gonna transliterate this name?  There’s gotta be a way I can get a closer and literal translation.  How do I do this? Should I use a Spanish modification or not?  If you have tried to write in Baybayin, you’ve asked the same questions.  Yes you have quit lying!

Most people have either seen or heard of a Baybayin manual titled “BAYBAYIN: The Ancient Script of the Philippines A Concise Manual” authored by Bayani Mendoza De Leon.  This title happens to be 1 of 2 reference materials I have related to Baybayin.  I’m certain that most if not all Baybayin fans, artists, practitioners own a copy.  Go get one if you don’t!  While this manual does refer to the fundamentals of Baybayin briefly, the author proposes to modernize the Baybayin and introduces new characters to keep pace with our evolving world.  Great idea? Sure, why not?

Previous attempts have been made to modify/modernize Baybayin.  Most notably in the “Doctrina Christiana” published in 1620, by Fr. Francisco Lopez.  Ah, yes, the infamous Spanish modification of a native writing system to help convert “indios”. Great idea? Nice try but…

From Hector Santos’ “A Philippine Leaf” http://www.bibingka.com/dahon/tagalog/tagalog.htm

An excerpt from Pedro Andrés de Castro, in his 1776 manuscript Ortografía y reglas de la Lengua tagalog, explains what happened:

“The experts of the time were consulted, we read in the Tagalog orthography, about this new invention with the request that they adopt and use it in writing for the convenience of everybody. But after highly praising it and expressing their thanks, they decided that it cannot be introduced into their writing system because it was against the intrinsic nature and character given the Tagalog language by God and it would be equivalent to destroying in one stroke the whole syntax, prosody and orthography of their language. They expressed, however, that it was not their intention to slight the Spanish gentleman and that they would do what they were told especially when writing Spanish words in their Tagalog characters.”

Moving forward, there is another book  I would love to get my hands on but has eluded me for a long time.  The book is titled “Aklat sanayan ng abakadang Rizaleo” authored by Marius V Diaz .  This book also challenges the fundamentals of traditional Baybayin by yet another attempt at modernization.  Great idea?  Honestly, in my opinion, this attempt is a good candidate.

I can’t quote anything from this book because I don’t have a copy, yet.  However, I was given a Xerox copy of several pages from this particular book in 1997.  I know there’s a copy of this book in Stockton, Ca.  It was given to me by some real cool folks that stopped by my table.  I’ve managed to scan these pages and converted them to pdf and jpeg.  I now share them with you.

As you can see, the author also proposes additional Baybayin characters, but unlike Bayani’s characters, these look really good and flows very well alongside the traditional characters.  What’s most important to look at are the “kudlits/dipthongs”, the marks that change the sound of a particular character.  The author introduces kudlit’s that reflect soft syllables, and they aren’t obtrusive to the character sets.  This version of a modern Baybayin is worthy of consideration in my opinion.

We are all aware, hopefully, that the Filipino language is comprised of hard syllables with guttural stops, ie: maganda=magan dah, malakas=mala kahs etc.  A writing system reflects the spoken language and this is what is called the “orthography” of a language…look it up on Wiki.  Literal transliterations using traditional Baybayin, to reflect sounds that are not native to the Filipino language is a daunting task.  Easy enough if it’s a Filipino word but first names and last names are a PITA.  Can you guess what most folks want transliterated into Baybayin?

There are ways to get around some of these requests and almost always will result in a loose transliteration.  But hey, it’s the connection that matters right?  Not for some folks, they want it closer.  Hell, I’ve even been asked to write their “hawaiian’ name in Baybayin o_0, and have overheard that Baybayin was janky because their names couldn’t be transliterated properly.  Baybayin and janky in the same sentence is pretty fucked up.

Modifying, modernizing the Baybayin is a debated issue between some writers.  Some don’t see a problem with using the Spanish modification by placing a + sign under a character to cancel out a vowel, but some do.  It is both right and wrong at the same time, depending on who you are…yeah, it’s vague. I am a traditional practitioner that has evolved, I use a “killing stroke/cancelation” variation by placing a kudlit above and below the character.  I didn’t make it up, I saw it someplace and had an “error 404” episode.

Does that mean I condone the use of cancellation kudlits?  Yes, to some extent, but I will not bastardize the writing system just because of an individuals ignorance.  If anything, I hate seeing transliterations that are blatantly wrong because either the writer or the person wearing the script just didn’t take the time to research and ask questions.  There is no “system restore” for this mishap.

I would love to hold an open forum to discuss and debate the current use of the Baybayin. There can be an exchange of ideas or even define a common ground on a set of rules to abide by.  Some of you academics or pseudo intellectuals that happen to read this, I’m sure will want to chime in on this.  Rather than challenge myself or other artists, why not work with me and others like me. Why does the Baybayin have to stay non functional?  It’s functional for me as an artist and for those who want to keep the tradition moving.  I think it’s time for a change in how the Baybayin is both viewed and used.

So what do we do?  It’s important that people continue to educate themselves about Baybayin, it’s history and the fundamental basics of traditional writing.  As you have seen for yourself, this writing system is quite dynamic when dealing with non native sounds.  As for me, I will continue to educate and use traditional Baybayin with a few tweaks here and there.  Now…how the hell should I write DEVERA and RIVERA and make them distinct from one another if you have to substitute the “R” with a Da character…??? o_0

1. Untitled #175 (15:39)
2. Pattern Review By Motion (12:06)
3. Wire Fence Upon Opening (8:45)
4. Untitled #204 (15:55)

       Неутомимый исследователь окружающего мира звуков и человеческого восприятия, Франциско Лопез вполне ожидаемо соединил свои усилия с австралийским композитором Лоуренсом Инглишем, прибегнув к «классическому» для экспериментальной сцены способу почтовой пересылки друг другу изначальных записей, которые постепенно переделываются и трансформируются во что-то новое. В этот раз интерес музыкантов обозначился в превращении пения птиц и естественных природных шумов в сложные электроакустические пьесы, несущие явные отпечатки вполне узнаваемых творческих приемов обоих артистов. Так, используя композицию «Untitled #175» от Лопеса, зафиксировавшую мирно чирикающих на рассвете пташек, Инглиш с алхимической изощренностью создает напряженный трек, добавляя к мутировавшему первоисточнику шум воды и неопознанные микроэлементы, резкие смены громкости и перепады настроения. В свою очередь его запись живой природы «Wire Fence Upon Opening» в руках Лопеса обрастает мельтешением шорохов и хрустов, атомами звуков в роли приглушенного пульса и общей подвижностью всех элементов в первой половине композиции. Зато во второй половине «Untitled #204» Франциско беззастенчиво делает то, что можно обнаружить почти на всех его многочисленных альбомах – он использует тишину. Слушателю остается напрягать слуховой аппарат и максимально выкручивать ручку громкости, чтобы расслышать некие колебания эфира, в то время как окружающие нас со всех сторон звуки, будь то шум улицы или стук молотка в соседней квартире, становятся, по замыслу автора, частью композиции. Пожалуй, это самая интересная вещь на альбоме «HB». Жаль только, что, если не вдаваться в детали проделанной работы, последние релизы испанского музыканта выходят какими-то однообразными, и даже более разносторонний в своем творчестве австралийский коллега не сумел разбавить поток одних и тех же задумок и их стандартной реализации.

http://www.baskaru.com
http://www.lawrenceenglish.com
http://www.franciscolopez.net

‘BIrmingham Sound Matter’ CD release and concert at Ikon Eastside

Concert presented by Modulate in collaboration with Ikon

Tickets sold out! CD available now

A concert featuring international sound artist

Francisco Lopez
(Madrid)  plus seven regional sound artists:
Helena Gough
Nicholas Bullen
Cormac Faulkner
Martin Clarke
Bobby Bird
Mark Harris
Annie Mahtani

Date: July 8th 2009

Time: 19.30

Venue: Ikon Eastside 183 Fazeley street, Digbeth, Birmingham, B5 5SE

Cost £6

A Birmingham Sound Matter CD (on Audiobulb Records) , will be released to coincide with the concert.  Available on the night and online from modulate.org.uk from Juy 8th for £10.

Francisco Lopez is internationally recognised as one of the major figures of the sound  experimental music scene who has, over the last thirty years, developed an astonishing sonic universe, based on a profound listening of the world.

He was first invited to Birmingham by Modulate in 2007, to give one of his legendary ‘Total Darkness’  performances, and we were delighted when he subsequently suggested returning to direct Birmingham Sound Matter. After a series of workshops led by Lopez earlier this year, the participants created a shared a pool of location recordings made in the city, which subsequently underwent a series of  transformations through further collective and creative processes. These recordings and transformations  have formed the basis of  the final compositions. which will be heard in concert on the night.

Lopez has previously directed two similar projects, Montreal Sound Matter and Brussels Sonic Matter

Supported by PRS Foundation  and  Arts Council England.

With thanks to Cuttlefish Digital Arts for web server provision,

Fazely Studios for workshops space, and SSE Audio for soundsystem

]]> http://pgzmedia.wordpress.com/2009/05/27/sonar-2009-announce-special-concerts-and-visual-music-at-festival-this-year/ Wed, 27 May 2009 05:57:13 +0000 pgzmedia http://pgzmedia.wordpress.com/2009/05/27/sonar-2009-announce-special-concerts-and-visual-music-at-festival-this-year/
Sónar 2009 has once again programmed a special concert at the Barcelona Auditori, with the BCN216 instrumental band and the Norwegian musician Lars Horntveth.

The festival line-up also includes two unique items: an audiovisual concert at the Cosmocaixa with Evelina Domnitch, Dimitry Gelfand & Francisco López, and the show by RRIICCEE, Vincent Gallo’s group, in SonarHall.

Several concerts and shows at the festival, such as those by Orbital, Moderat, Quayola and Carrier To Noise Ratio, among others, include latest generation visual equipment as a key element in their live performances.
Special concerts.

Two special concerts stand out at Sónar 2009. Both take place in different venues to the Sónar by Day and Sónar by Night areas, and both have their own particular tone and have an admission system that are different to the others.

Sónar’s collaboration with L’Auditori continues in 2009 with the special concert by the instrumental band BCN216 (who are the resident group at the Barcelona Auditori) with the Norwegian musician Lars Horntveth, leader of Jaga Jazzist and one of the key names in contemporary European jazz. It will be a high voltage musical encounter that promises high doses of quality and experimentation.

Another special show at Sónar 2009, due to its location, format and concept, is the one on all three days of the festival by Evelina Domnitch, Dimitry Gelfand and Francisco López in the Cosmocaixa Planetarium in Barcelona. The show, entitled “Ten Thousand Peacock Feathers in Foaming Acid”, combines projections using lasers and soapy membranes in the Planetarium by Domnitch and Gelfand with the sonic landscapes that López constructs live using a 5.0 sound system.

Vincent Gallo presents RRIICCEE

Meanwhile, the show by the New York actor and musician Vincent Gallo in SonarHall with his RRIICCEE project is also very special. The band has no permanent members (only Gallo is always present), and its approach is based on live composition on stage, as they have released no recorded material of any type and have no finished songs, in an unprecedented exercise which verges on improvisation.

Visual music: images in close up

It will be impossible to understand several concerts at Sónar 2009 without their visual aspect, which is as important in the majority of cases as the musical content itself. This is true of the show by Moderat, with enthralling images by Pfadfinderei; or the performances by artists from Raster Noton, who come to Sónar 2009 with a special screen machine for the shows by Atom TM, SND, Byetone and Alva Noto in SonarHall.

Other artists for whom images cannot be separated from their music in their live show are Quayola (a mixture of video, photography and sound installations), Seville’s Carrier To Noise Ratio (who are always backed up by screens brimming with creativity), Filastine (whose powerful projections are synchronised with their global beats) and of course, the concert by Orbital, whose visuals were a milestone in electronic music shows, and who this year have promised a new montage which will have a major impact on the senses.

More info at http://www.2009.sonar.es

Stage One

The workshops with sound artist Francisco Lopez , held at Fazeley Studios in Birmingham, went very well …

Participents:

Francisco Lopez  (Project Director)

Nicholas Bullen

Cormac Faulkner

Martin Clarke

Bobby Bird

Mark Harris

Annie Mahtani

Stage Two:  field recordings and composition, to take place over the next three months

Stage Three:  Live concert in Birmingham:

Wed 8th July at IKON Eastside 

Info / tickets AVAILABLE NOW!

Stage Four  CD release of Birmingham Sound Matter on Audiobulb Records

Project Director Francisco Lopez

Project facilitation Modulate

Project Co Ordinator: Scylla Magda

Photos: Mark Bunegar

Supported by The Arts Council England and PRS Foundation

In the spring of 2006, Spanish sound artist Francisco López led a composition workshop in Montreal. A master of the field recording and its use in acousmatic composition, López asked the participants to share their urban field recordings. From their work came a compact disc, Montreal Sound Matter on Pogus, and an exhibition presented at the Fonderie Darling in Montreal. The Victoriaville Matière Sonore project continues the work started in the metropolis. For this occasion, the original seven participants have agreed to get together again, under López’s direction, and create a new collective work from scratch. First, they came to Victoriaville to make field recordings in various public and private spaces, recordings that have been once again shared with the group. Then, they each produced a new piece using this common soundbank. However, this time around López did add one extra rule: a sequential order has been set, so that composers had to use, as the starting point for their own composition, the piece of the composer coming before them. As a result, we have a long acousmatic work in eight sections, each section picking up where the previous one has left

Resumen

The crowds at Valparaíso welcome The Rally Raiders!

    

"Camp Dakar" at Valparaíso, Chile

Tomorrow is a well needed rest day. Stage 8, a very fast, winding route along the coast from Valparaiso to  La Serena take them up the racers up and along the western coast of Chile. They are in territory they will never forget.Valparaiso, which means Paradise Valley, will be a lovely, historical place for the rest.

Former Leader Nasser Al-Attiyah has retired from the Dakar Rally after missing a waypoint during the sixth stage .  I said the flies will be dropping soon and there are now 2 big flies out of the way. Stéphane Peterhansel  had a fire issue which ruined his chances of winning. Fly #2 Down.

RE Al-Attiyah: Sven Quandt, sporting director of BMW TEAM X-Raid, said: “We had a problem with the radiator. In spite of the work of the mechanics, the overheating engine was still too much of a problem at the entry to the (sand) dunes. Nasser had the choice between engaging in sand or going around. He chose the second solution but he missed several waypoints which, in accordance with the rules, means an automatic exclusion.”

Summary of stage 7 from Dakar.com…

Pending validation of the results by the race stewards, Spaniard Carlos Sainz (VW) has won the 7th stage, picking up his 3rd stage victory of this 31st Dakar, 3.41 ahead of his American team-mate Mark Miller (VW) and 4.13 in front of American Robby Gordon and his Hummer. As a result, in the general standings “El Matador” Sainz has taken the lead, 9 short seconds ahead of his South African team-mate Giniel De Villiers and 13.53 in front of the Race Touareg belonging to Miller, putting the 3 Volkswagens in the first 3 places! Worthy of note, the 9 times winner of the event Stéphane Peterhansel again suffered problems today. After a fire in the engine of his Mitsubishi Racing Lancer, the Frenchman has now lost all chance of grabbing a 10th victory on his 20th Dakar. In the Open category, Robby Gordon (Hummer) was again victorious and is the undisputed category leader in the general standings. Finally, in the Production category, Japanese driver Jun Mitsuhashi (Toyota) won the stage, but still only managed to claw back 10.20 on Frenchman Nicolas Gibon (Toyota) who retains a solid lead in the category in the general standings.

In the Bikes, Chilean Francisco Lopez (KTM) has won the 7th stage, picking up his 1st success on the Dakar, 3.57 ahead of the leader of the general standings, Spaniard Marc Coma (KTM) and 5.21 in front of France’s Cyril Despres (KTM). As a result, in the general standings Spaniard Marc Coma (KTM) carries on opening up a gap at the top of the rankings, with a 51.22 lead over American Jonah Street (KTM), still leader in the marathon category, and a 52.31 lead over Frenchman David Frétigné (Yamaha), leader of the 450cc category.

In the Quads, Argentine Marcos Patronelli (Can Am) has won the 7th stage, picking up his 1st success on the Dakar, 14.01 ahead of Uruguayan Luis Henderson (Suzuki) and 20.22 in front of Poland’s Rafal Sonik (Yamaha). As a result, in the general standings Czech rider Josef Machacek (Yamaha) is way out in the lead, 2:27.32 ahead of Patronelli and 2:38.27 in front of Polish rider Sonik.

En los siguientes videos verán muy claramente a qué me refiero. Les recomiendo revisarlos todos. Van a encontrar un repaso rápido pero reflexivo de los temas de debate chilenos, lo que ocurrió en el mundo, los triunfos y derrotas del deporte y las noticias del mundo de la música, la TV y el espectáculo.

También encontrarán el obituario 2008,donde figuran todos aquellos personajes que partieron, desde los más controversiales hasta los más cercanos.

No les va a tomar tiempo, les aseguro que se van a entretener y, además, podrán sacar varias conclusiones y reflexiones sobre los porqué de este año de la rata.

EL CHILE DE ESTE 2008

EL MUNDO ESTE 2008

LOS DEPORTES DE ESTE 2008

Y LOS INFALTABLES TEMAS DE ESPECTACULOS DEL 2008

IN MEMORIAM 2008

En recuerdo de Felipe Lamarca, a quien definitivamente nunca olvidaré.

Feliz 2009

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