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The Problem of Alan Lomax, or The Necessity of Talking Politics During the Lomax Year
This week, Sounding Out! kicks off an exciting four-part series exploring the work of Alan Lomax, a key figure in sound culture studies, and one whose legacy is in the midst of being reconsidered and refreshed by many scholars, musicians and folklorists alike.
As Guest Editor, we are happy to welcome Tanya Clement, Assistant Professor in the School of Information at the University of Texas at Austin. Clement has expertise in a wide variety of fields, from scholarly information architecture and digital literacies to modernist literature and sound studies, and she is currently helping to lead the High Performance Sound Technologies in Access and Scholarship (HiPSTAS), a project you should know about that's using new technologies to analyze and increase access to a range of spoken word recordings.
I'll turn it over to Clement to introduce the series, an expertly-curated set of reflections on what Lomax and his recordings have meant in the past and could mean in the future.
— Special Editor Neil Verma
Alan Lomax (January 31, 1915 – July 19, 2002) was an archivist, ethnomusicologist, film-maker, folklorist, oral historian, political activist, scholar, and writer and many would say he has had the single most influential impact on the preservation of global music traditions. 2015 marks his centenary and this series of posts will both celebrate and interrogate his tireless and controversial crusade to bring attention to, understand, and preserve sound culture.
Below, Mark Davidson's piece will introduce our collection with an exploration into the Alan Lomax "branding" as either saint or sinner with a call for transparency, context, and accuracy with regard to current scholarship and repatriation efforts surrounding the recordings Lomax made over six decades of work. In his approach to Alan Lomax's Southern-based collecting work in our second article, Parker Fishel will consider the complex practice of documenting and preserving transforming dynamic community-based traditions into static texts that Lomax and others touted as authentic. Next, Toneisha Taylor will interrogate how the Federal Writers Project Folklore and Folkways collection projects, first formed by Lomax's father, has framed how we encounter significant recordings about Black life in the Deep South during and after slavery. Finally, Tanya Clement will explore how Lomax's ideas about Cantometrics and the Global Jukebox resound in recent work using computers to categorize and analyze sound in the 21st Century.
By revisiting Lomax's collecting practices and the songs Lomax collected from alternate perspectives in the context of the diverse communities affected by his work, these posts are an attempt to use Lomax's Centenary to celebrate the enduring resonance of folk songs in our sound culture and to bring awareness to the importance and complexities of its continued preservation.
— Guest Editor Tanya Clement
In 1987, two years after the three hundredth anniversary of Johann Sebastian Bach's birth, musicologist Susan McClary published a now-classic article titled "The Blasphemy of Talking Politics during the Bach Year," in which she reflected on her experiences at a number of Bach events in 1985. Using Theodor Adorno's 1950 essay "Bach Defended against His Devotees" (written on the two-hundredth anniversary of the composer's death) as a jumping-off point, McClary defied Bach scholars who viewed the German Baroque master's music as sacrosanct and unimpeachable, and performed a brazen deconstruction of Bach's most revered works: the Brandenburg Concerto No. 5 and Cantata No. 140 ("Wachet Auf"). For McClary, the turn was critical: "we must confront Bach and the canon and resituate him in such a way as to acknowledge his prominence in musical and non-musical culture while not falling victim to it (p. 60)."
What, one might ask, does a canonical "classical" music composer, a contemporary musicologist, and a twentieth-century German theorist have to do with folk music collector Alan Lomax? Aside from a heavy degree of fetishizing by pale male scholars (myself included), it turns out quite a bit.
The "Lomax Year" began on January 31, 2015, the 100th anniversary of Lomax's birth, with events throughout the United States and Europe including concerts, marathon film screenings, and radio broadcasts devoted to his life and work. Centennial events are ongoing throughout the year, including a panel at SXSW on March 21st in Alan Lomax's hometown of Austin, Texas.
But the current Alan Lomax revival began long before January 31. Over the course of the past five years there have been numerous books, including Lomax's first full-length biography, websites devoted to his recordings (e.g., Louisiana, Kentucky), and recording reissues, all of which have garnered considerable attention in the popular media. There has been an ongoing film and recording series, The 78 Project, in which the project's founders lug across the nation a vintage 1930s Presto recording machine similar to the kind Lomax would have used in search of contemporary musicians playing modern renditions of folk songs. Alan Lomax was even featured on The Colbert Report in March 2012, around the time that the massive Alan Lomax Archive of Alan Lomax's Association for Cultural Equity (ACE) launched. The TV spot included a discussion of Lomax's legacy and a performance by Emmylou Harris, Elvis Costello, and ACE executive director and musician Don Fleming, with Colbert helping out the proceedings.
Alan Lomax has become a brand, a larger-than-life figure looming over the entirety of folk music collecting in the United States. His name is the first on people's lips when one mentions the subject (as I have found again and again in my own research on 1930s folk music collectors not named Alan Lomax). And he went to great pains throughout his life to promote this brand. It was, after all, the way that he was able to continue his life's work. This branding effort continues to the present day, largely due to the efforts of the Association for Cultural Equity, which Lomax founded in 1983, and the American Folklife Center at the Library of Congress, where the Archive of American Folk Song (now the Archive of Folk Culture) is housed. Alan Lomax became the first salaried employee of the Archive in 1937, working there until 1942 when he left for the Office of War Information. But Lomax kept in close contact with the Archive for the rest of his life, lording "Ayatollah-like" (I've been told) over the collections he did so much to foster.
The Lomax Year has also been the impetus for a healthy reappraisal of Lomax's life and career, as evidenced by a recent Studio 360 radio segment, produced by Richard Paul and featuring Dom Flemons, Karl Hagstrom Miller, Dwandalyn Reece, and Patricia Turner. In the 13-minute-long spot, Lomax is at once heralded as the potential grandfather of rock 'n' roll while also criticized for the time that he and his father spent recording black prison inmates in the South, and the overall "folk construction" in which they engaged. The intervention is not unlike McClary's call to "confront [Lomax] and the [traditional music] canon and resituate him in such a way as to acknowledge his prominence in musical and non-musical culture while not falling victim to it."
But the "re-situation" suggested by this exposé borders on the same sort of constructed truth of which Lomax himself is accused. By listening to the segment one might come to the conclusion that Lomax had no time for any types of African American music outside of prison inmates: "It would take 14 years before Lomax ever recorded in a black church and he never recorded at a black college." Or one might think that the Lomaxes' quest to find "pure" or "unadulterated" versions of songs was unique. Both statements are simply not true. Alan Lomax, in his official capacity with the AAFS, worked with numerous collectors who recorded all types of music. Just one example of many is his collaboration with John Wesley Work III of Fisk University to record African American folk songs and spirituals for use by Fisk and the Library of Congress. As far as fetishizing the untouched or "pure products," it is a practice that persists in ethnographic research to this day.
Defending Alan Lomax in this way is not a position with which I am comfortable. But relegating him to a decade of his life, and conflating him with "the sins of the father" is no better a stance. There are plenty of places where Lomax can, and should, be justly criticized. There is his practice of taking composer credits for other musicians' performances (which he somewhat awkwardly defended in a 1990 Fresh Air interview with Terry Gross). Then there's the instructions he gave other AAFS fieldworkers to actively deceive their informants: "The recording interview can be as significant as the song itself and is valuable as a fresh field document, especially, if the informant does not know that the interview is being recorded, and if he never learns it." And there's a statement he made to Federal Writers' Project historian Jerre Mangione in which he boasted that his father was "a fucking genius at getting blacks to sing" while describing, excitedly, the dangers of recording in the Jim Crow South. Not to mention Zora Neale Hurston putting Alan Lomax in blackface as they traveled the South. And these instances all fall within this same five-year period of Lomax's life.
What falls away in these discussions is perhaps the most critical piece to this puzzle: the individuals behind the recording. Who were they, and what were their lives like outside of the three minutes that are etched into a lacquered aluminum "acetate" disc? Aside from a few notable exceptions (e.g., Muddy Waters, Jelly Roll Morton), most of these performers remain unknown to the general public. Through this particular sin of omission, we fall victim to the fallacy that perhaps Alan Lomax really was the progenitor for the "never-ending folk music revival," or that he really was the grandfather of rock 'n' roll. Few scholars have even approached the problem of dealing with the performers in any substantive way, with the exception of perhaps Stephen Wade through his recent book The Beautiful Music All Around Us. The problem of the individual extends to the various recent "repatriation projects" that have been underway for some years. Given what we know about Lomax's fieldwork co-creator-credit practices, how transparent have these repatriation efforts been able to be? What do these plans include for the forthcoming "definitive Centennial box set"?
Talking politics during the Lomax Year is not blasphemy. It is necessary. But the overall reliance on knocking down Alan Lomax™ misses an important point. It is nearly impossible to make the overly simplistic and poorly nuanced argument that Lomax was simply a product of his time, when that time spanned the better part of the twentieth century and into the twenty-first. The problem of Alan Lomax, then, is acknowledging his importance while resituating him within the larger narrative of traditional music research in the twentieth century, not as a brand, but as an individual in a larger network collectors, institutions, and musicians who fought against what the rapid disappearance—what Lomax called "cultural grey-out"—of music and culture throughout the world. Doing so won't solve the problem, but it's at least a start.
Mark Davidson is a Ph.D. candidate in cultural musicology at the University of California, Santa Cruz. He is currently finishing up a dissertation on WPA folk music collections, including Sidney Robertson Cowell's California Folk Music Project; Herbert Halpert's Southern States Recording Expedition; and the Florida Federal Writers' Project's statewide folk music recording survey (which included Zora Neale Hurston and Stetson Kennedy). Mark has also been working with Tanya Clement and the Briscoe Center for American History at the University of Texas to launch a website of the Lomax family's recordings in Texas. He received an MSIS from the UT School of Information in August 2014, and has worked for the Journal of the Society for American Music since 2008.
Featured image: Alan Lomax (left) youngster on board boat, during Bahamas recording expedition. All images via the Library of Congress Lomax Collection.
REWIND! . . .If you liked this post, you may also dig:
Como Now? Marketing "Authentic" Black Music — Jennifer Stoever
Prison Music: Containment, Escape, and the Sound of America — Jeb Middlebrook
Tuning Into the "Happy Am I" Preacher: Researching the Radio Career of Elder Lightfoot Solomon Michaux
— Suzanne E. Smith
Lazarus.FM: Can the Endangered Sounds of Detroit Be Saved?
EDITOR'S NOTE: This post, a personal essay concerning an endangered archive of radio recordings in Detroit by University of Michigan Professor Derek Vaillant, has been temporarily embargoed due to a security concern regarding a specific location discussed in the post. It will be restored as soon as possible, with additional details from the author. — Special Editor Neil Verma
Tuning Into the "Happy Am I" Preacher: Researching the Radio Career of Elder Lightfoot Solomon Michaux
Welcome to the second installment of our Thursday series spotlighting endangered radio archives across the United States, promoting the work of the Radio Preservation Task Force (RPTF), which is part of the National Recording Reservation Plan of the Library of Congress. Our series kicked off two weeks ago with this post by Josh Garrett-Davis exploring both the history of Native American radio and new ways of thinking about it, and the series will conclude with a piece next week by the University of Michigan's Derek Vaillant about radio recordings in immediate need of preservation in Detroit.
Between possible archives and endangered ones, we have an article about an archive that has begun to speak after long years of silence. Below, Professor Suzanne Smith of George Mason University gives us a preview of her research into a radio evangelist who was among the most prominent African Americans of his day, yet has been largely forgotten. Smith's fascinating work not only revisits Elder Michaux as a historical figure, but also gives us a clear sense of how a project in radio reservation relies not only on institutional resources, but also on personal outreach. As many of us who are part of the preservation project are learning, media history lives on in storage units, basements and lockers, preserved by collectors, churches and communities that only individual connections can truly reach.
— Special Editor Neil Verma
In October 1934, the Washington Post published a feature about Elder Lightfoot Solomon Michaux in which it boldly declared that the "radio evangelist extraordinary, is the best known colored man in the United States today." At the time, Elder Michaux, known as the "Happy Am I" Preacher, had a national radio show on the CBS network that broadcast his ministry of happiness and holiness to over twenty-five million listeners each week.
Like many popular evangelists of his era, Elder Michaux promoted his image as one of God's prophets, presciently envisioning that radio could revolutionize the purview of modern evangelicalism. Michaux first used portable radio equipment to broadcast his holiness revivals in the mid to late 1920s in his hometown of Newport News and these religious programs were among the first of their kind in the United States. By 1929, Michaux moved to Washington, D.C. in the hopes of expanding his mission.
As an African American, Michaux initially had difficulty convincing local D.C. radio outlets to put him on the air. Eventually, he persuaded James S. Vance, local owner of WJSV, to broadcast his weekly revivals. When the CBS network bought WJSV in 1932, the budding evangelist achieved a national audience in the millions.
The key to Michaux's success was his ability to combine his preaching with snappy, upbeat gospel songs that reminded listeners that a holy life leads to a happy life, a message that resonated with Americans navigating the economic trials of the Great Depression. By the late 1930s, the BBC invited Michaux to broadcast his program on its network and listeners around the globe soon began to tune into his WJSV broadcasts in via shortwave hookup. These opportunities allowed the charismatic preacher to reach a vast international radio audience that extended from Europe to Africa, South America, and the Caribbean. That Michaux's broadcasts, like his story, have disappeared from radio history has impoverished our sense of the role of race in the soundscape of the era.
My current book project examines Michaux's extraordinary life and career as a radio evangelist. For this post, I want to explain both Michaux's significance to the history of religious radio as well as African American history; and how my research has led me to join the Radio Preservation Task Force in an effort to preserve the surviving recordings this important figure, but understudied, figure.
In spite of his many accomplishments, Elder Michaux has been largely overlooked in the histories of religious radio and African American religion. Scholarship on religious radio from the 1920s and 1930s tends to focus on figures such as Father Charles Coughlin and Aimee Semple McPherson with only passing mention of African American preachers such as Michaux. In the history of African American religion in the 1930s, Michaux tends to be overshadowed by scholarship on other major figures such as Father Divine and his Peace Mission Movement and Sweet Daddy Grace and his United House of Prayer. Although Michaux's ministry was often categorized as a religious cult in the popular press of the time, his Gospel Spreading Radio Church of God was firmly a part of the black Holiness movement and continues to have ten active congregations today.
Throughout his career, which began in the late 1920s and extended until his death in 1968, Elder Michaux defied the odds and challenged boundaries of race, theology and politics to become one of the most successful religious leaders and media celebrities of his time. As early as 1926, Michaux, whose Holiness ministry openly welcomed all races, was arrested for baptizing whites and blacks together. Once established in Washington, D.C., Michaux led annual mass baptisms in the Potomac River and later at Griffith Stadium that drew tens of thousands of followers. At the height of his fame, from the 1930s through the 1950s, Michaux was regularly invited to the White House to consult with Presidents Roosevelt, Truman, and Eisenhower about the racial issues of the day. By the early 1960s, Michaux engaged in public debates with both Martin Luther King Jr. and Elijah Muhammad, leader of the Nation of Islam, about the direction of the civil rights struggle.
My book argues that Elder Lightfoot Solomon Michaux is critical to our understanding of how religious leaders used the mass medium of radio to literally "sell" evangelical faith movements in modern America. Elder Michaux was the first to fully develop the concept of a "Radio Church," which offered official membership to followers and created one of the first, if not the first, virtual religious communities in modern America. A true evangelist, Michaux sought to reach believers and potential converts wherever they were and knew that the radio could facilitate his mission in revolutionary ways. In an interview in 1938, Michaux explained, "I wanted to give people religion over the air so they might have it at home. Then they couldn't have an excuse for not going to church. They couldn't say that they were tired or didn't have the right clothes. They could get God and his teachings right in their own parlor." Most significantly, Michaux's entrepreneurial skill at marketing his Gospel Spreading Church of God through the radio was simultaneously in service to his race and racially transgressive in ways that complicate our understanding of how modern religious movements navigated Jim Crow segregation.
So how can we actually give an account of Michaux's contributions? Researching radio programming from the 1920s and 1930s presents a number of challenges for any historian because recordings of broadcasts from this period are rare. Fortunately, Elder Michaux began his career on WJSV, one of the most powerful stations in Washington in the 1930s (which became WTOP, the most popular local news radio station in Washington, D.C. today). The first director of WJSV under CBS ownership was Harry Butcher, who had the foresight in September 1939 to record an entire day of programming, which is remarkable considering this was accomplished without the use of magnetic recording tape. Although this collection does not include Elder Michaux's program, it is a valuable audio snapshot of the radio era in which he thrived.
My quest to locate recordings of Elder Michaux's broadcast has led me to destinations as far away as the BBC archives in London, which houses two recordings of Michaux's first British broadcasts; and as close as the main branch of the current Gospel Spreading Church of God here in Washington.
In the past two years, I have also developed meaningful relationships with congregants of the church, who have begun to be willing to share their private archive of recordings. During one oral history interview, one church member, who is 92-years old, gave me a reel-to-reel tape from Elder Michaux's funeral service, which was broadcast in October 1968. Another elder member from Newport News sent me recordings of Michaux preaching at Lorton Prison in Lorton, Virginia in the 1950s. Most significantly, I recently met the current sound engineer at the church, who has been a member since the 1940s and has a large archive of reel-to-reel tapes of Michaux's radio broadcasts from the 1950s and 1960s. At the height of his fame in the early 1930s, Elder Michaux broadcast his religious services daily and never missed a week of broadcasting until his death in 1968. The church has only kept a fraction of these broadcasts. Nevertheless, a significant number of them exist and are housed in the church's private storage. I am currently trying to assess the scope of the church's collection, which has involved reaching out to church members in Philadelphia, New York City, and Newport News, Virginia. I am also trying to investigate grants that might support my efforts to digitize the tapes as soon as possible since they are at risk of deterioration in the church storage facilities.
My research on Elder Lightfoot Solomon Michaux's career has convinced me that more work needs to be done to pursue the preservation of African American religious radio broadcasts in general. The work of the Radio Preservation Task Force can support this mission, but it will also involve grassroots outreach to established African American churches. Many of these churches regularly broadcast their services and may have their own private archives of recordings that can offer us an invaluable glimpse at the aural history of African American religious practices in the twentieth century.
Moreover, through my ongoing relationships with the congregants of Elder Michaux's Gospel Spreading Church of God, I have developed a deeper appreciation for the importance of personal outreach to African American religious communities in the service of preserving the history of religious radio. The efforts of the Radio Preservation Task Force are critically important in terms of identifying existing institutional archives, but only through individual connections with these vital, but often overlooked minority communities, will we be able to discover and preserve these treasures of our radio past.
Suzanne E. Smith is Professor of History in the Department of History and Art History at George Mason University. She is the author of Dancing in the Street: Motown and the Cultural Politics of Detroit (Harvard University Press, 1999) and To Serve the Living: Funeral Directors and the African American Way of Death (Belknap Press, 2010). She is currently working on her third book, tentatively titled The 'Happy Am I' Preacher: The Extraordinary Life and Times of Elder Lightfoot Solomon Michaux.
All images courtesy of the author.
REWIND! . . .If you liked this post, you may also dig:
Pentecostal Song, Sound, and Authentic Voices — Ashon Crawley
"I Love to Praise His Name": Shouting as Feminine Disruption, Public Ecstasy, and Audio-Visual Pleasure — Shakira Holt
Sounding Out! Podcast Episode #5: Sound and Spirit on the Highway — David B. Greenberg
SO! Reads: Shana Redmond's Anthem: Social Movements and the Sound of Solidarity in the African Diaspora
To follow a song, to trace its roots and genealogy, to consider the context of its emergence as well as its lineage. To consider how sound and song propels political movement. To trace histories and concepts through the enunciative force of sound, of song. This is the work of Shana L. Redmond's Anthem: Social Movements and the Sound of Solidarity in the African Diaspora (NYU Press, 2014). Redmond is Associate Professor of American Studies and Ethnicity at University of Southern California and the 2014-2015 Ella Baker Visiting Associate Professo of Black Studies at UC Santa Barbara, with research interests in music and popular culture, history and social movements, labor and working-class studies and critical ethnic studies. And this is to say nothing of her interests inAfrican Diaspora and Black political and social life. All these interests are made explicit within Anthem, a book that compels readers and listeners not only to ask questions about bygone eras, but to consider the soundscapes and beat drops of their own milieus. Redmond's work, in other words, causes readers to consider the efficacy of sound and song making as the vibratory force that inheres in any social mood and movement. Anthem's power lies in the attention Redmond gives the circulation of sound and song: how each emerges from specific contexts as well as how songs end up being contested sonic sites wherein an intellectual practice of justice organizing can be articulated and Black sociality and personhood asserted and contended.
In particular, Redmond utilizes the concept of the Black anthem as a theoretical tool in order to consider the efficacy of organizing and fighting against practices of racism, sexism and imperialism. Redmond documents Black anthems as "sonic productions" that "were not ancillary, background noise" but "were absolutely central to the unfolding politics because they held within them the doctrines and beliefs of the people who participated in their performance" (8). That sounds, that songs, have so much potential to enunciate otherwise modes of living; that sounds, that songs, have within them the capacity to announce otherwise worlds, is something well known to those violently excluded from modernity and its epistemologies of the human, the citizen, the subject. We know this otherwise mode of living, this otherwise modality of world, affectively. And this affectivity is born out in aesthetic practice. Thus, to attend to the organizing of sound – as song – and how such musics made their way from, for example, Harlem to Cuba in the case of the Universal Negro Improvement Association's "Ethiopia" or from women's singing in Charleston to international stages, is all within the analysis and the archives offered by Redmond. What pleases is how her historical archival work is inflected by sonic analyses of songs; Redmond discusses the musicality of songs, how chord changes, harmonies, and melodies offer fresh insight into ways to think sonically about the movement of sound and song.
Anthem appeals to those interested in Black social movements of the twentieth-century, to be sure. But the book also makes musicological argumentation central to its thesis. So, for example, readers not only learn about lyrical content and history of brothers James Weldon and John Rosamond Johnsons' "Lift Ev'ry Voice and Sing," but they are also compelled to think about the song in its sonic registers, with its musicological features. For example,
The first measure of the vocal line is a half measure and offers a running start to the A-flat major key signature, with the text 'lift ev'-ry' notated by three eight notes in the 6/8 time signature. While the song was written in 6/8, its performance follows a 12/8 phrasing, placing it alongside the Black gospel tradition, which…was growing in dynamic ways at this very moment. The quick introduction leads the vocalist to a strong tonic chord on the downbeat of measure 2. The melodic emphasis lands on the word 'voice' with 'and sing' (measures 10 and 11) following as long notes (72-3).
This so say that Redmond takes seriously the ways songs are constructed as part of the argument she wants to put forward about the efficacy of the Black anthem. Her work models how to attend to the musicological as a fundamental feature of sound and song-making in Black sociality.
In considering the context of emergence for sounds and songs, Redmond produces a text that fits squarely within Black performance theory, since she is less concerned with the rightness or wrongness and much more with the efficacy of performance. The concern and the question of efficacy displaces the necessity for results-driven analyses in Black performance theory, placing emphases on how the production of sound and song proliferates, how it finds life, how it creates – while also being created by – worlds. Impressively, Redmond's thorough sonic-historical approach to her archive gives her method resonance beyond even its richness. Anthem can be radicalized through generalizing its treatment of to songs as objects that are both part of and propel movements, enabling us to consider the context of emergence for any song and performance. Generalizing Anthem means that readers would take seriously the attempt to move from the specific sonic moment to the general, from various, plural moments of emergence to considering how sounds and songs move, how they create otherwise temporalities and spatial zones. Anthem produces a new theory of thinking relation between specific performances and their history and social movements, both in local and in global diasporic contexts.
In addition, Redmond analyzes how songs–and sounds within such songs–can at times be utilized to further racialist, sexist, imperialist impulses and practices. For example, Redmond analyzes "Ol' Man River" in multiple forms and contexts, including the performance changes produced by Paul Robeson. Here Redmond begins the tension in the dialect as written by Oscar Hammerstein II and Robeson's deployment of the song in performance.
The dialect demonstrates a particular version of blackness out of sync with the 'fine intelligence' of Robeson, a Phi Beta Kappa scholar at Rutgers University and Columbia Law School graduate. Hammerstein's dialect not only distinguishes Black from white in the musical but also serves to contain the Black characters in their natural state as uneducated and simple laborers and confidants (105).
Thus, sound and song can also be deployed otherwise, can be used in order to critique, to produce an intervention into such normative conceptions of blackness. And from Redmond's text, readers learn something of Robeson's radicalizing, of his deep engagement with thinking global blackness, through the way he changed the lyrical content, and thus the dialect and mood, of "Ol' Man River."
Ultimately, Anthem produced for me the occasion to wonder if we can think the very concept of diaspora otherwise, as a following of vibrational moods and movements, as antiphonal participation in an ongoing call. And as an ongoing call that is resistive in its enunciation, that is ongoing and open-ended. If we did so, perhaps we would also come to understand Black sociality otherwise. In other words, perhaps we can think of it as making a claim on us, a ceaseless and performative ceaseless pulse that beckons and convokes. We are then forced to consider what our response will be to this ongoing call, what reply and resolve we give. In such a response, reply and resolve will have been irreducible, will have had no grounds, will have been constant. Sound and song are resistant to any desire for capture because of the internal disruptive capacities of vibration. Whatever the sound, whatever the song, it has within it vibration, vibration as the materiality that makes anything audible, that gives anything over to its possibly being heard. And if vibration is the grounds from which sound and song emerge, if thoughts of diaspora and blackness and sociality were inflected through such vibration, what we are called to consider is the ongoing sound, the ongoing echo, the ongoing verve and materiality of otherwise modes of living into the world.
As vibrational, Anthem forces readers to think of possibilities for sociality not grounded in categorical distinction as pure or as possibly maintained. "Through anthems," Redmond argues, "the delineation between art and politics as well as listener and actor is blurred" (2). This blurring can be radicalized as a generalized feature of Black performance as theory and critical intervention into the normative world that depends upon invented–and distinct–categories in order to produce ongoing violence. In their accounting, the sounds, songs, and sonicity of blackness, Black sociality and Black antiphonal force demand a radical rethinking of categorical distinctions of racial classifications, gender binaries, and nation-states. And their vibrations resonate outward. On and on and on and on.
Featured Image: American Civil Rights Movement leaders singing on the 1965 March from Selma to Montgomery, Alabama, Photo Credit: Bettman/Corbis
Ashon Crawley is Assistant Professor of African American Studies in the Ethnic Studies Department of University of California, Riverside. He earned his doctoral degree from Duke University in the English Department with a certificate in African and African American Studies. Before Duke, he attended the Candler School of Theology at Emory University, earning a Master of Theological Studies degree with a concentration in feminist thought and queer theology. His research and teaching experiences are in the areas of Black Studies, Performance Theory and Sound Studies, Philosophy and Theology, Black Feminist and Queer theories. He has published work in Current Musicology; Souls: A Critical Journal of Black Politics, Culture and Society; The Journal of Theology and Sexuality; Black Theology: An International Journal and in Pneuma: The Journal of the Society for Pentecostal Studies. He is completing my first manuscript, titled Blackpentecostal Breath: The Aesthetics of Possibility, which investigates the relationship of aesthetic productions to modes of collective intellectual practice. this work contributes to interdisciplinary scholarship by engaging queer theory, sound studies, literary theory, theological studies, continental philosophy and visual studies.
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SO! Reads: Deborah R. Vargas's Dissonant Divas in Chicana Music: The Limits of La Onda– Wanda Alarcon
Pentecostal Song, Sound, and Authentic Voices– Ashon Crawley
Quebec's #casseroles: on participation, percussion and protest– Jonathan Sterne

subset: commoncrawl


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I have a couple of projects hosted on Codeplex. Since I didn't really have a clue about anything but TFS when I created them, I used that. But, now I have gotten more comfortable with TortoiseSVN and VisualSVN so I would like to use that instead.
Of course, to get my project using subversion is no problem. The thing is that the projects have TFS bindings in them. How can I remove these? Would be nice with a step by step guide.
And so you don't have to wonder what tools I have: I can connect to the projects with both the TFS Explorer thing in Visual Studio and with TortoiseSVN. I also have TFS power tools installed, so I can use those too if needed.


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Children of a Lesser God Reviews
Interesting movie all around, a strong performance from Marlee Matlin (Oscar-winning? Amongst her weak competition, sure, but probably not in most years), and a generally compelling and compassionate narrative, but nothing life changing. It may open your eyes a bit if you don't know anything about deaf people. There's some sensible scene work - I was really involved with the scene where Marlee Matlin and John Hurt went to a party where everyone except Hurt was deaf and he felt so awkward and uncomfortable that he asked to go home. Without saying much else, it's an interesting way of looking at how Matlin's character deals with every day of her life. One thing that I found particularly annoying about it was Hurt's need to verbally repeat all of Matlin's sign language. It feels forced; why not subtitles? I have a really hard time imagining anyone watching a movie about deaf people having a problem with subtitles.
**I know I keep changing this rating. It's probably just proximity afterglow from Marlee Matlin being so rock-awesome on Dancing With the Stars.
into the hearing ,& visa-versa. Marlee Matlin is a most gorgeous woman.
William Hurt does a good portrayal as a teacher ,too. Although, would
have liked to see more classroom scenes, with the rest of the
charecters . The film was too short for the story . Although, you
need to allow the lapse of time, also a little poorly indicated.
Yet, the base of the story, I believe, is you can overcome anything,
when it comes to love . Love does not need sound, sight, or even
touch. It is just there , & you know when you feel it, inside .
Not a touch feeling, but a heart feeling, as well as thought ,
almost, as if you and only you, are in a different time & space .
Only wishing , to bring the other person , in with you.
As I said, I believe the film, is too short for the story . This would have been exellent as a book . To expand a little more on the story .
Did you notice, that at the beginning, William is takeing the boat to
& from the island ? As if to say, He is entering her world of scilence, every day ? Yet, He tries to bring her , into his ?
Then , towards the end, they are together . As one .
I was pleasantly surprised by the first scene in the school that James Leeds (William Hurt) has taken a job at. We first see him arriving and talking to the principal (or whatever position of authority it is that Dr. Curtis Franklin (Philip Bosco) holds), but things begin to move once we hit the classroom. Leeds begins by asking who reads lips, saying his signing is rusty. The students stare at him blankly and he says "All right, class dismissed," and neglects to sign this time. They fall for it and he catches them heading for the door. This gives us an overall flavour for the movie's approach--one I was pleased with. It's not trying painfully hard to make the deaf world perfectly clear to the hearing world, nor is it assuming the viewer knows everything about it either. Leeds teaches with energy, trying to use relatable concepts to encourage the nervous, self-conscious students to speak, often making a bit of a fool of himself in the process, but never in that overly cringe-inducing false way.
But, we only see snippets of his classroom, because the real focus of the movie is on his relationship with Sarah Norman (Marlee Matlin), a deaf woman (as in completely deaf) who works as a janitor at the school and attracts his attention with her firey anger and stubborn refusal to connect to anyone. He takes it upon himself to teach her to speak, something he understands backfired in her early years when she first started at the school as a student. The rest of the film is all about their interactions, about the ways they connect and the ways they fail to connect, the things they understand of each other and don't understand of each other, the different worlds and viewpoints they both come from.
Matlin won an Oscar for her role, which I do think was well-deserved. The anger and frustration of Sarah at the way everyone around her sees her (as "broken" and in need of "fixing") is absolutely believable; the way she turns from James constantly, ready to break away at a moment's notice from his presence because she doesn't feel she needs it, because she feels he is like the rest and because she sees him trying to change her, well-intentioned though he is. We can see the hurt she won't even acknowledge herself though, hiding in these angry moments and occasionally coming out in moments of extreme vulnerability, when she sees how happy his singing students make him.
Hurt impressed me more, but only because I knew him as bland, vanilla and less than impressive next to the unrelated-but-similarly-named John Hurt. He always seemed like a really banal choice, sort of like Jeff Bridges--believeable as their characters, even sympathetic, but generally ho-hum and uninteresting. Both have changed my mind (and certainly A History of Violence was a surprise for me as Hurt goes), but this really changed my mind about Hurt. The way he acted in two scenes, making valiant but both failing attempts at understanding Sarah's world was perfect in its complex mix of good intention, awkward confusion and legitimate effort, at least in one of them. At one point, he is stopping to listen to some Bach and no longer finds the same feeling in it with Sarah's inability to hear and appreciate it. She asks him to show her the music, and the sort of uncomfortable effort that follows is just right. You can see him as James, trying to show the emotion the music instills in him, see the self-consciousness of it as he knows how odd he looks, and see that he keeps trying it even as he knows how foolish he looks. The second is a party a friend of Sarah's invites her to, populated near-exclusively by other deaf people. The background, alienated position James takes, the sighing and shrugging is just right for that kind of feeling of exclusion.
There are two things this film is criticized for, and the first I think is lunacy. The score I was actually quite keen on from the outset, mostly synthetic strings, ebbing and flowing as if water, generally holding in an overall area of tone and pitch, wafting back and forth between. I didn't feel any dating to it, and despite my love for the decade, I am well aware of that feeling (some of the other music, of course, was definitely dated, but that's appropriate in the context of a party in a school set at that time). The other criticism is levelled at the decision to have Leeds repeat aloud (almost) everything that Sarah signs to him. Some feel (like my old conceptual nemesis Ebert) that it would have been better subtitled. Honestly, I did expect that, but felt it would push the film into the snobbery I referened as the alternative to overblown afternoon special. It feels natural (more impressiveness from Hurt for me) and real, and is mentioned in passing as having legitimate reason. I don't think subtitles would have worked correctly. I liked how it turned out and enjoyed it quite thoroughly. I prefer stage dramas that are really turned into movies, and you have to remove dialogue from scenes and place it somewhere else in your head to see how it would have worked on stage. Simply putting it into real places instead of sets (or into more realistic sets, at least) is often obvious if the blocking ends up similar and doesn't feel as right as it does on a stage. I also like my romances to be lacking in beat-you-over-the-head conflicts, which certainly this could have been (again, see "overblown afternoon special") but it comes out intelligent and perceptive, showing us Sarah's world at least through James' eyes, even if we can't truly experience it through hers.


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I love this place....have been going to it for years...food is always excellent...never had to complain about anything.
I love this place....have been going to it for years...food is always excellent...never had to complain about anything.
I love this place....have been going to it for years...food is always excellent...never had to complain about anything.
Visiting with my daughter who was in town decided to go for Portuguese. On a recommendation we went to Seabra's only to realize we had been there many years ago with friends and always thought about this place but did know where it was in the Ironbound district. Great then great now. To start it makes you feel like you... More
Good arroz de marisco! Bread and olives are a good complement to the meal! My daughter loved the salmon with a nice side of potato's and cabbage with green beans. The octopus salad was also good!
It's peculiar and hard to believe that no Portuguese restaurant in NYC comes CLOSE to the quality (and quantity) of food served at Seabras, just a quick 15-minute train ride out of Penn Station. The service, vibe and cuisine are all VERY true to Portuguese culture and to the authenticity of the Ironbound district of Newark, and it's no wonder... More
i had a business meeting/lunch at Seabra's Marisqueira yesterday and can hardly wait to return. I asked the waiter his opinion of the best fish that day and he recommended the grilled porgy (whole fish) with broccoli rabe. Not only was it grilled to perfection, the presentation was absolutely gorgeous. I regret not photographing it! My colleague ordered the grilled... More
We dine here every time we go to Newark. Lionel and staff are amazing. The food is perfect and they are great at recommending what is best and what wine to pair with the food.
Sit down at the horse bar get a pitcher of sangria or a bottle of wine and FEAST!! You'll see! Parking is across the street,free,but remember to get your ticket stamped and throw the guy a buck or two.I have been here many times.If you like you can sit at a table.Family atmosphere and FISH galore,great cuts of meat.You will... More
This place is good sangria is also good. Parking is right across street. The only think I did not like was the seating arrangement it was like cafeteria seating. I hope they Chang it because that is the only downside of this restaurant.
The food here is so delicious. It is a bit on the pricey side but for a dinner for two at $60 it is worth every penny!
The seafood is good to very good with some nice presentations of traditional dishes with the portion sizes you'd expect at a Portuguese (some Brazilian dishes, too) restaurant. Potato Chips are a signature side dish. There are fresh fish and raw bar selections. The average review is because the stuffed scallop special was stuffed with Surimi crab even though it... More
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Hunt Ball and Cristal Bonus feature among 23 horses to stand their ground at the confirmation stage for the Paul Stewart IronSpine Charity Challenge Gold Cup at Cheltenham on Saturday.
The Keiran Burke-trained Hunt Ball was one of the most improved chasers in training last season but was pulled up on his reappearance in the Paddy Power Gold Cup.
Former smart novice chaser Cristal Bonus, trained by Paul Nicholls, landed a Grade Two at Down Royal by nine lengths last month.
Anthony Knott, owner of Hunt Ball, explained the intention was for the horse to run at the weekend before the King George at Christmas, although ground conditions could be against his horse once more.
He said: "The ground went against us last time and if we get better ground you will see a proper horse.
"He's probably going to run this weekend, as I know Andy Stewart (sponsor) well, but they have predicted rain coming in and it looks as if the ground will go against us.
"He could do with a blow-out ahead of the King George and if he ran into the frame (at the weekend) I'd be well pleased."
Nicholls has also left in Ghizao and Unioniste, with trainers' title rival Nicky Henderson double-handed through Quantitativeeasing and Nadiya De La Vega, who was third to Al Ferof in the Paddy Power.
Wishfull Thinking heads the weights from his Philip Hobbs-trained stablemate Menorah, who beat Cristal Bonus in a Grade One at Aintree's Grand National meeting.
The Stanjames.com International Hurdle and Unicoin Homes Relkeel Hurdle on the same card have both been re-opened for entries until Tuesday morning.
4 May 2015
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Tom on top in Tetrarch
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Forever headlines Lingfield entries
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Sansevero sights to be lowered
Ground blamed for Estid eclipse
Victoria aim for Baz
Top marks for Gosden and Dettori
Bolger smiling in defeat
Guineas double for magical Moore
'Incredible' Aigles does it again
Bragging rights for Stoute
Snow in frame for Chester
Astronereus stars for Perrett
Gleneagles team eye Curragh
No hiding place for Found
3 May 2015
Lockinge date for IntegralRibbons sets sail for York
Ascot beckons for willing Able
Callaghan thrilled with brave Line
Kazeem raring to go in Ganay
Fabre keen on another go at Glen
Schofield breaks new ground
Petite another star for Mullins
No mistakes from Annie
Guineas glory for Gleneagles
Step too far for Telescope
Gold-en result for Cowell
Balty too hot for Newmarket rivals
Nam 'ready to go' in Pretty Polly
2 May 2015
Oscar highlight of McManus showFriend is ready, willing and Able
Elm withdrawn from Guineas
Baffert sights set on Kentucky
Eyes right for Henderson
Classy Canyon strikes again
Faugheen strolls to Champion glory
Blood-less success for Mullins
Moore looking forward to Glen
Rizeena takes distance test
Lucida on target for big run
Muir ace out to make a point
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1 May 2015
McDonogh has focus on victoryAnnie powered up for redemption
Colgan fine following fall
Telescope sights set on Newmarket
Hannon hoping for Guineas double
Gleneagles primed for Classic date
Hannon hoping for Guineas double
Found misses Guineas test
Murphy in surprise Flat move
Diomed option for Ascription
Uncle sparks Mullins five-timer
Sceaux far so good
Jezki swats old rival Fly
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Weld ace to head down Derby route
Canyon seeking fourth Grade One
Elm team to make late call
Faugheen bids for perfect finale
Power misses Palace date
Power stars in Mares Champion field


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12 April 2012 |
Managing Intellectual Property
Digital music services, music publishers and songwriters, and record labels yesterday agreed on proposed royalty rates and standards for ways consumers can listen to music online
The agreement, by the Recording Industry Association...
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2 immediate questions on Google's Patent Purchase Promotion: how much money do they have to spend? Will they try to enforce them?
@PrisonPlanet Would need to ask an IP lawyer to interpret the agreement. Similar Ts & Cs seem to be becoming commonplace.
@Rachael_IP Congratulations Rachael! @IP_STARS
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HomeNews2013MarchThe Westerwood wins hospitality accreditation
The Westerwood Hotel & Golf Resort, one of 21 unique and luxury hotels in the QHotels group, has been honoured with a prestigious VenueVerdict Gold Standard Accreditation. The accreditation, which is based on rigorous research conducted by BDRC Continental, the UK's largest independent market research agency, and feedback from over 27,000 customers across just under 400 venues, looks at how likely guests are to recommend a venue. Richard Mayne, General Manager at The Westerwood Hotel & Golf Resort, said: "This recognition is testament to the hard work of all the hotel staff, who are utterly dedicated to the comfort of our guests. It's a fantastic start to the year and we look forward to a successful 2013 here in Glasgow." The Westerwood Hotel & Golf Resort is proud to have held the award now for two years and they are currently ranked third in the UK out of over 300 venues. The Westerwood Hotel & Golf Resort is an ideal conference and meeting venue and its self-contained conference centre can hold up to 400 delegates for a conference and 300 for dinner dances. With an 18 hole championship golf course, 148 sumptuous bedrooms and a range of tranquil and lavish spa treatments, guests will find it hard not to relax and unwind amongst the peaceful surroundings. Located just 15 minutes from Glasgow city centre it's ideally located to enjoy all Glasgow and Stirling have to offer. Adding to the awards list The Westerwood Hotel & Golf Resort is celebrating double success as the QHotels group has scooped the No.1 Brand Award 2012 in VenueVerdict's Large Groups category. The Westerwood Hotel & Golf Resort is striding ahead of the local competition and is celebrating double success as the QHotels group has scooped the No.1 Brand Award 2012 in VenueVerdict's Large Groups category.
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OSI-Approved Open Source (19)
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Town Square
smoky smell
Original post made by neighbor, University South, on May 23, 2008
Comments (1)
a resident of University South
on May 23, 2008 at 10:14 am
The smell is quite strong in the downtown area - and yes it is from the Summit fires. I just drove to Redwood City and it's not quite as bad there...when coming back into PA - you can visually see the smoke in the air! It's horrible and I can only imagine those poor people living further south and the people directly impacted from this fire. My heart goes out to them all!
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WFUV Member Line Offers: Monday, May 4, 2015
Click through from the offers below to enter.
You must be a WFUV Member in good standing. (Yes, we check - but you can become a member anytime, for any amount, right here.) Limited to one pair of tickets every 30 days.
The Pixies
Thursday, May 28th @ 8pm
Kings Theatre
Michael Arnone's 26th Annual Crawfish Festival
Friday, May 29th to Sunday, May 31st
Sussex County Fairgrounds
Dark Star Orchestra
Friday, May 29th @ 8pm
The Capitol Theatre
Rich Robinson of The Black Crowes
Saturday, May 30th @ 8pm
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WFUV Presents: Suzanne Vega
Sunday, May 31st @ 8pm
Landmark on Main Street


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Three-Story Self-Storage Facility Approved in Manchester, Conn.
Land and approvals for an 81,275-square-foot, three-story self-storage facility in Manchester, Conn., were sold to a regional self-storage partnership. Investment Real Estate provided the seller with its initial feasibility study prior to its purchase of the land, and IREM will provide management consultation services to the buyer during construction and will manage the facility upon site completion. John Gilliland and John Barry handled both sides of the transaction. For more information, visit www.irellc.com.
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The Dale's Cab Toon Hula attraction at park closing
The Dale's Cab Toon Hula line is like a slink into the bad part of Toontown. The attraction cabs are formed like Buddie the Cab, and while you drive you can hula them by hugging the sketches.
Please don't try Zombie Mode
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MoneyGram taps into India's $50B market
- Staff Dallas Business Journal
MoneyGram International is gaining 4,200 money transfer locations in India after partnering with India's Bank of Baroda, Axis Bank and Vijaya Bank to grow its network within the emerging economy.
In a statement, the Dallas-based company said India "is the number one remittance country in the world" because it takes in about $50 billion in that particular segment, according to research from the World Bank.
With the addition of these new banking locations, MoneyGram now has a network of 30,000 locations throughout India and 207,000 locations worldwide.
MoneyGram entered the Indian market 10 years ago.
Using the networks established by Bank of Baroda, Axis Bank and Vijaya Bank, MoneyGram managed to add 5,726 India-based locations in 2010.
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Jul 29, 2012
View SevenOlives's other Treasury lists
Oh lovely - thank you!
such a pretty palette
Wow, love the colors!! :)
Gorgeous, thanks Traci!
Luscious - thank you!
great collection, thanks!
Jul 30, 2012
Wonderful collection! thank you :)


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A selection of images from this year's Anzac Test at Suncorp Stadium in Brisbane.
Canberra Brave take on Adelaide Adrenaline during Game 10 of the Australian Ice Hockey League at Phillip Swimming and Ice Skating Centre.
The Queanbeyan Blues take on the Goulburn Bulldogs for the Canberra Raiders Cup at Seiffert Oval in Queanbeyan.
Queanbeyan Whites take on Easts at Campese Oval in Queanbeyan.
The Canberra Raiders take on the South Sydney Rabbitohs in Round Eight of the NRL Telstra Premiership at Barlow Park, Cairns.
Canberra Brave tale on the Sydney Bears in the first round of the Australian Ice Hockey League championship at the Phillip Ice Skating ...
GWS Giants take on the Gold Coast Suns at Manuka Oval in Canberra.
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Soccer: Gungahlin United vs Woden Weston FC
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The Age Cartoons, May 7, 2015
Best of the world
A determined ACT team gave up a two-goal lead to lose 3-2 to NSW on an emotional day for the losing side.


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Israeli Arabs call general strike Tuesday over house demolitions
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מִצְעַד הָאָבִיב
שִירִים מֵהַבַּיִת
מִי לָקַח אֶת הַגְבִינָה שֶלִי?
אֵיתָן פוֹנְד
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By REUTERS \
04/23/2014 15:27
Turkish Prime Minister Recep Tayyip Erdogan . (photo credit:Reuters)
ANKARA - Turkish Prime Minister Recep Tayyip Erdogan offered what the government said were unprecedented condolences on Wednesday to the grandchildren of Armenians killed in World War One by Ottoman soldiers.In a statement issued on the eve of the 99th anniversary of the deeply contested deaths, Erdogan unexpectedly described the events of 1915 as "inhumane", using more conciliatory language than has often been the case for Turkish leaders.A Turkish government official said it was the first time a Turkish prime minister had offered such explicit condolences, but it was not immediately clear if it would be enough to bring about a thaw in relations between Ankara and its neighbor.The exact nature and scale of what happened during fighting that started in 1915 is highly contentious and continues to sour relations between Turkey and Armenia, a former Soviet republic.Turkey accepts that many Armenians died in clashes, but denies that up to 1.5 million were killed and that this constituted an act of genocide - a term used by many Western historians and foreign parliaments.Earlier in April, for example, a US Senate committee resolution branded the massacre of Armenians as genocide.Erdogan's statement - unusually released in nine different languages including Armenian - repeated previous calls for dialogue between the two countries, and the setting up of a historical commission to probe events surrounding the killings."It is with this hope and belief that we wish that the Armenians who lost their lives in the context of the early 20th century rest in peace, and we convey our condolences to their grandchildren," he said."Having experienced events which had inhumane consequences - such as relocation - during the First World War, should not prevent Turks and Armenians from establishing compassion and mutually humane attitudes among towards one another." ON THE DEFENSIVEAlthough striking a conciliatory tone, Erdogan re-iterated a longheld Turkish position that the deaths of millions of people during the violence of the period should be remembered "without discriminating as to religion or ethnicity".Turkey is a Muslim state, while Armenia is Christian."Using the events of 1915 as an excuse for hostility against Turkey and turning this issue into a matter of political conflict is inadmissible," he added.Armenia has up to now declined the offer for a joint historical commission, as it regards the alleged genocide as an established historical fact and believes Turkey would use such a commission to press its own version of events.Armenia accuses the Ottoman authorities at the time of systematically massacring large numbers of Armenians, then deporting many more, including women, children and the elderly and infirm in terrible conditions on so-called death marches.Last December, Turkish Foreign Minister Ahmet Davutoglu made Turkey's first high-level visit to Armenia in nearly five years, raising the prospect of a revival in peace efforts between the historical rivals which stalled in 2010.Turkey cut ties and shut its border with Armenia in 1993 in support of Turkic-speaking Azerbaijan, which was then fighting a losing battle against Armenian separatists in Karabakh. The frontier remains closed.
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I am taking pristiq daily and still feel anxious. I have trouble relaxing enough to fall asleep and wonder if I should take clonazepam at bedtime. It has been prescribed by one doctor for anxiety and another for restless leg syndrome.
When is the best time to take clonazepam (morning or night)?
- Posted:
- 3 Mar 2011 by abamna
- Topics:
- pristiq, anxiety, generalized anxiety disorder, clonazepam
Answers (1)
3 Mar 2011
Hey abamna,
If the clonazepam is prescribed just once a day and your restless leg keeps you awake along with the insomnia, I would take it in the evening before bed. That being said, what were the doctor's directions? You need to take as prescribed. If you have concerns about that, give the doctor a call. Did the two doctors give you the same directions? Do they know they both prescribed it?
How long have you been on the Pristiq? Hopefully the anxiety will get better the longer you are on this medication. If not, then this will need to be addressed at your next doctor's visit.
Best wishes,
I have had a lot of success the past couple of years taking 2mg at bedtime. It helps me sleep sound and has residule benefit on anxiety the next day. I also take it because it helps my meniere's disease by draining fluid in my inner ears. As for panic attacks during the day, I rely on xanax.
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Sep 22, 2010
Aprilia Factory World Superbike Team Exercises Option To Retain Camier For 2011
© 2015, Roadracing World Publishing, Inc.
(This original, copyrighted material may not be copied, cut and pasted, published or otherwise reproduced in any way in any medium, which means, don't post this on another website or BBS. If you want somebody else to see this, send, share or tweet a link or post a link to this page.)
Leon Camier (2).
Noale, 22 September 2010 Aprilia Racing confirms Leon Camier again for 2011. The Aprilia Alitalia Racing Team has exercised their option for the reigning British Superbike champion who, considering the promising results achieved this season, will be part of the official team and ride the RSV4 in the next World SBK season.
Leon Camier's 2010 experience was without a doubt a positive début in a highly competitive world championship. In spite of the apprenticeship, which was to be expected, the young Brit captured 3 podiums and his fair share of placings, showing consistent improvement and a growing feeling with the four cylinder Aprilia.
"We are very happy to be able to count on Leon again next season confirms Gigi Dall'Igna, Technical and Sport Director for Aprilia Racing He is a young rider but has excellent potential and I believe he has shown it. He achieved encouraging results in spite of the fact that he had never seen the tracks in this championship before. What we have really appreciated about him is the consistent improvement race after race. We hope that this growth trend will continue next season, allowing Leon and the Team to achieve significant results."
Leon's comments also show happiness over this reconfirmation. "I'm truly excited at the thought of being able to continue racing with Aprilia. I hope that I can take advantage of what I've learned this year, setting up a series of tests and trying new set-ups to take a decisive step forward. I have a lot of ideas for the winter and I'll give my all to make them work in anticipation of next season. The operation on my right wrist went well. I'm doing rehabilitation exercises now and I can't wait to get back into shape and astride the bike".
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