Lonka alvarez biography of williams

As mobs attacked the Capitol last week, the scene brought a sickening feeling of familiarity for some immigrants. It surfaced painful memories of insurrection in their own countries, a kind of unrest they never expected to experience. Not again, and especially not here.

What does insurrection look like? William Alvarez watched it begin slowly in Venezuela, with a dictator stifling the press.

While Claudia Lach, as a teenager growing up in Argentina would hide the covers of books that could get her detained for having what some in power considered “subversive material.” Ultimately both agree: what insurrection looks like is storming the Capital to stop an election from being certified when your candidate doesn’t win.

Lach could barely focus last Wednesday. She remembers back to her youth, when people, who were seen as a threat to the regime, disappeared. She lost a very good friend in those days, most of whose family was killed. She called her two sons the night of the attacks on D.C., feeling incredulous.

“This is not what I was hoping for you to experience even as adults in the United States," Lach said she told them. "And I cannot run to you right now and embrace you, but, it is that feeling, ‘Oh my God. This happened here?’ ”

Alvarez has been obsessed with the news for the past week. Watching. Waiting. He too has a family to protect. Like Lach, he thought they wouldn’t have to worry about this type of turmoil, in a country they thought they knew.

“Since last week, I have not been able to stop, I'm cooking for my kids and I'm looking at the phone, and I feel like something can happen at any time," Alvarez said. "Something that I don't expect, something tragic, something terrible is going to happen.”

Tragedy arrived at his front door years ago in Venezuela when

Imagine two people—son-in-law and father-in-law—sitting in a microvan. Both are surprised and chagrined to be living in Texas. And now we are going on an all-day medical field trip together.

At age 82, my suegro, Solomon Cordova, Jr., relied on a walker. His family helped him move around Austin in a world he struggled to see.

In the spring of 2015, his doctor at the Veteran’s Administration recommended cataract surgery, but the budget-limited VA made this straightforward procedure only available in Temple, Texas. It’s a town just east of Fort Hood, the largest active-duty fort in the country.

We faced eight round trips to the Temple VA, including the preoperative visits, the surgeries, and the post-op. That was 80 miles north of our home in Austin, Texas. The only way this disabled octogenarian veteran could attain his medical benefits added up to 1,300 miles of driving and multiple adjustments to our family work schedules.

My partner, Cary Cordova (Sol’s only daughter) and I committed to the task. None of us wanted an extended road trip.

During this one trip, thought, I decided to learn more about his military service during Korea. In particular, I wanted to know about a journey he took circumnavigating the globe. Maybe I would learn something about what many historians call “the forgotten war.” The Korean War after all is an ongoing stalemate overshadowed in public memory by the victory of World War II and the tragedy of Vietnam.

We spent our car rides remembering Sol’s travels around the globe and the ways this forgotten war never left his memory. His 1951 travels to Algeria, Vietnam, Korea, and Puerto Rico on the General William Mitchell marked the ways the Korean War never stayed in Korea, and the ways its activities forever changed so many lives.

This is a crónica of Sol’s journey through shifting and moving empires, decolonization movements, and the broad international military mobilizations that emerged after Wo

A BRIEF REFLECTION before commenting on what, from my perspective - very mine, very personal, very subjective- was the staging that Ópera de Puerto Rico offered us last Thursday and Saturday of the famous "Tosca" - one of the emblematic works of the Italian Giacomo Puccini, which was originally scheduled for October of last year and which, due to the passage of Hurricane Maria, had to be postponed until now.

Texts like this one - which attempt to articulate a critical judgment on a specific artistic production - are in reality nothing more than the fruits of highly personal opinions of those in charge of this responsibility in the media world - from those that overflow with praise, to those that do not skimp on the description of mistakes, with all possible chiaroscuros between them.

The happiness of the luminous reviews is exactly the reason for the thorniness of the grim criticisms: their permanence in time through the written word and the effect they usually have - for better or worse - in those who participate in projects that, in the reality of our artistic world, are usually gestations of epic proportions that demand considerations that transcend objectivities.

But I reiterate: those of us who write texts like this, only express our opinion and not a universal truth and much less an objective one.

Making opera in Puerto Rico - like the ones that for decades has produced Puerto Rican Opera, for example - is undoubtedly a feat whose difficulties have been escalating in proportions for several years, with a marked difference between those somewhat distant times when there were two productions every year with fully sold out performances and imported luminaries with fees in accordance, in contrast to the circumstances that have become normal, with only one annual project, great difficulties to recover the investment at the box office and cast of stars - many of them boricuas - who, although with international careers, have more modest caches.

I recog

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