The Sidewalk Blogger's Questioning Equations

The other day, I was noticing a blurb written by Ward Churchill, for a book called The Language of Empire by Lila Rajiva--a provocative book that argues Abu Ghraib is not exceptional, but rather the natural outcome of imperial policies.

“There can be no mistaking the putrid stench clinging to the events, processes and mentality described with the eloquence of excruciating precision in this fine study by Lila Rajiva. It is that of Nazism, by any other name. Hence, like the good Germans before us, today’s good Americans bear an unequivocal obligation—morally, legally, and in every other sense—to do whatever is necessary to expose the myriad Eichmanns, large and small, residing within our ranks. As The Language of Empire makes abundantly clear, to shirk such responsibility is to forfeit claim to any humanity we might still possess.” —WARD CHURCHILL

What struck me about the blurb was its use of static verbs--which seemed to me indicative of a certain definitive mindset that I am struck by, and often distrust (regardless of political affiliation, or how much I may agree with the sentiment). Actually, I think that Rajiva's book deserves a better, more nuanced blurb than Churchill has given it, since the book demonstrates more nuance and questioning than Churchill's Manicheanism allows.

The Sidewalk Bloggers new sign series interrogates the equal signs, as she takes quotes actually used by politician/demagogues (such as "Waterboarding=Swimming", by Senator, Kit Bond) and some purely Orwellian ones as well. As if Bond's weren't Orwellian enough.

Poetry and Human Rights/A Web Resource

Check out this site, that attempts to dovetail the study of human rights with the cultural work of poetry. In one section, called "Crimes Against Humanity," you'll find an examination of poems by W.H. Auden, Louis Johnson, Evangeline Patterson, and Douglass Dunn, with ample notes and commentary. Though the focus of poetry is Anglocentric (basically English poets are represented), you will find a good place to begin working through the ways in which poets have contributed to a discussion of human rights.

Daniel Heyman's Abu Ghraib

Thank you, Daniel Heyman, for being our ears, to hear the stories no one wishes to believe, and for etching those voices of people who were tortured in our name, etching them into us. May the tortured somehow find relief; may we never rest until the torturers--and those who condoned and encouraged such acts--receive justice.

Botero Abu Ghraib/"Cut Loose the Body": An Anthology of Poems on Torture

I've been reading all I can about poetic and artistic responses to Abu Ghraib as I revise an essay due in a couple of weeks, and yesterday I received Cut Loose the Body: An Anthology of Poems on Torture and "Botero Abu Ghraib," the catalogue of Botero's exhibit of paintings. Today, I discovered this piece on the anthology:

Rose Marie Berger and Joseph Ross co-edited the collection, Cut Loose the Body: An Anthology of Poems on Torture and Fernando Botero’s Abu Ghraib Paintings in conjunction with an exhibition of the Botero paintings at the American University Museum in Washington, DC. Here, they talk with FPIF’s E. Ethelbert Miller about what inspired them to work on this project.

E. Ethelbert Miller: What were your first impressions when you viewed the paintings of Fernando Botero?

Joseph Ross: They were awful and frightening. I found myself drawn back and forth from the place of the wounds—the chains, the bleeding—to the face and back again. I was angry that this was “done in my name,” to protect me.

I found myself amazed at the different response I had to the paintings with the bars in the foreground, versus the paintings without bars, where I was “in” the cell. These drew different feelings from me, all powerful.

Rose Marie Berger: I first saw the paintings online and they stuck in my mind, like a splinter. So, I sat down and wrote a poem, in response to first seeing them online. I used the online images for meditations during Lent—as a reflection on the passion of Christ. When I saw the actual paintings in the gallery, I was blown away. They were so big, the colors were so intense. The color I remember the most was the complexity of colors in the bruises.

When I viewed all 79 of the paintings and drawings, there are two pencil sketches of women in positions of agony. The shock I experienced was that I did not find women in agony to be unusual.

E. Ethelbert Miller: In your introduction to Cut Loose the Body you make the following statement: "We thought the word was gone. We thought we healed it out of our national vocabulary. We thought “torture” belonged to a foreign language, spoken only by dictators, who rule Anywhere but here. We were wrong." Might this comment overlook the many cases of police brutality that never seem to go away within the African American community? Just a few years ago we had a police officer “torturing” a man in Brooklyn…

Rose Marie Berger: That is just the kind of critical question that this exhibit and poetry project raises. Do we only view torture as an extreme act in a military context? In the same way that most Americans don’t want to believe that the events at Abu Ghraib were more than a few bad apples, most Americans don’t want to believe that our unrepented racism results in horrible brutality.

Joseph Ross: In some ways, the words of the Introduction do overlook the torture of police brutality. Perhaps a difference is that at Abu Ghraib, the soldiers may have felt vindicated by the “war on terror,” that their actions were necessary in order to combat terrorism.

E. Ethelbert Miller: In many of Botero’s paintings the torturer is never seen. What might a poet leave out of a poem. Why?

Joseph Ross: A poet might leave out something obvious, that he wants the reader to wonder about. Perhaps Botero wanted us to focus on the victims’ suffering and nobility, rather than distract us by giving us a torturer in uniform to look at, wonder about. The poet uses whatever he can to evoke a response -- even an absence.

Rose Marie Berger: The tools of the painter and the tools of the poet are different. But they make similar choices, based on how they want the viewer or reader to interact with the art. Philip Larkin’s “The Whitsun Weddings” is a great example of a poet using absence to generate a certain energy within the reader. The last line is: “We slowed again, and as the tightened brakes took hold, there swelled a sense of falling, like an arrow-shower sent out of sight, somewhere becoming rain.” This “arrow-shower” is war imagery of archers. However, Larkin reveals neither the archer nor the victim. When Botero focuses his paintings on the tortured and leaves out the torturer, he puts the viewer in the ambiguous position of being observer or, possibly, the torturer.

E. Ethelbert Miller: What type of criteria did you use to select poems for the anthology? Were there poems you already knew you wanted to include in the book? How did you determine the order of the poems?

Rose Marie Berger: We invited poets we knew were already engaged around the issue of Iraq or the issue of torture, whom we thought might already be familiar with Botero’s paintings or who might already have poems addressing torture. Nearly everyone we invited responded immediately and generously.

Part way through the submission process, we began hearing about Marc Falkoff’s collection of poems from prisoners at Guantanamo. After contacting Falkoff, he agreed to let us include some of those poems in our collection. This was an important contribution to have the voice of the poet-victim, as well as the poet-observer.

Joseph Ross: I knew I hoped we would include Rose’s poem “For Botero, Who Looked At What I Could Not.” Her poem, the only one in the collection that explicitly references the paintings, offers a beautiful and human response.

Rose Marie Berger: Some poets may have a rational or scientific approach to ordering a collection. In this case, I chose an intuitive approach that matched symbols and images, carried from poem to poem. I looked for ways one poem would raise a question which another might answer.

E. Ethelbert Miller: How do you wish people to respond to Cut Loose the Body.

Rose Marie Berger: Umberto Eco wrote: “Under torture you say not only what the inquisitor wants, but also what you imagine might please him, because a bond (this, truly, diabolical) is established between you and him.” We are hoping that the poems in this collection establish a different kind of bond between the reader and those who are held without trial and subjected to inhuman interrogation techniques.

Joseph Ross: I hope people are moved to feel compassion for the victim and anger at the torturer. And that both that compassion and anger can move us to live differently in the world.


***
Rose Marie Berger is an associate editor of Sojourners magazine and Joseph Ross is a Washington, DC-based poet. E. Ethelbert Miller is an award-winning poet, the director of the African American Resource Center at Howard University, and the board chairperson of the Institute for Policy Studies. His interviews are a regular feature of FPIF's Fiesta!

DC Guerrilla Poetry Insurgency/Some Video Clips of Poetry in the Street

What happens when you take poetry to the streets? How does the street get into the poetry?

Chicago Poetry Marathon: A Review

(pic from Robert Archambeau's "Samizdat Blog")

This year's version of the unofficial MLA offsite poetry reading, entitled "The Chicago Poetry Marathon," brought together over fifty poets and somewhere between 200 and 300 poetry lovers, to the ballroom at the School of the Art Institute of Chicago. Organized by Robert Archambeau, Patrick Durgin, and Jennifer Karmin, the event was 2.5 hours of poetry, in two minute slices, as is the custom of these massive wordslingings.

Durgin provided the opening salvo, introducing the event as one that "coincides with the MLA, but is not in or of it,"--which took the Jesuitical slogan "in the world, but not of it," one step closer to the margins. Durgin, one of the dandiest poets around (in all senses of that term, though his poetry, to my ear, hews closer to straight edge), ceded to the readers, beginning alphabetically with Joe Amato.

What follows is a somewhat documentary, mostly impressionistic take on the proceedings, as I scribbled down what I could of what I was hearing and seeing. Some of the lines quoted are no doubt mishearings, but isn't that part of the fun of consuming poetry?

Joe Amato: "this next one/is all I can say....all I can say is this next one." A perfect opening salvo, a metapoem of the stutterings of poetry reading introductions. This is the "A Salty Salute" (vague GBV reference) of the reading-- i.e. "the club is open."

Robert Archambeau, from his "Sheena is a Punk Rocker": "a big screen six foot pinup queen." A poem about how a song got written. Anyone who writes about the Ramones is okay in my book. Plus, he somehow got the speed and pop sheen of the Ramones into the poem.

Ray Bianchi, Chicago poet, editor of the new Chicago poetry anthology, and general propangandist and mafioso for the scene: "the composition delayed the season." Yes. Snow stopped just in time for the reading.

Tisa Bryant: "witnessing a type of entrapment." Wow. "Suddenly overwrought with sensations of going to the dentist." About a mythic figure whose name rhymes with Omeros...

Dodie Bellamy: appearing out of the silence of her earlier absence, reading "Snow Globe": "John, why didn't you get cigarettes before we dropped acid." And "we can't see out the windshield,"--homage, perhaps, to "no one to drive the car" and "look out where yr going"?

Charles Cantaloupo had us call-and-responding "light the lights," first instance of audience participation (willing, I might add, which is nice given the tough crowd that we poets can be about such things).

Stephen Cope: "Thirteen Ways of Killing the President": "the wrong finger fired." "I might as well kill the President." (After the reading, a distraught woman wandered the ballroom, asking if she might find this poet who offered to kill the President. He was never found.)

Josh Corey: "Lecture on Modernism": "they are, how do you say, apropos to zero." Very Jamesian indeed. And: "look I found a decorum" and "memory is rarely progressive" and "a banner is completed by a wind."

Joel Craig's "Ry Cooder": "he has recovered from what he has achieved." Amen. So few of us actually do.

Elizabeth Cross: "The Most Desirable Romance in the World": funny, bawdy dialogue between God and Eve, in which Eve tires of God's hangups about Adam, despite his sexual power. "I have chosen and made a chamber in thee." One of a number of women poets reading powerfully about sex. The men, however, somewhat absent on the theme (except for Kevin Killian and Bob Perelman's detachable penis). Are men poets afraid to look skeezy?

Garin Cycholl: "nothing in writing is easier to raise than the dead." And a funny, looped, "what's more American/than screwing/the ladylady/of the rent." Added and subtracted. Well done.

Michael Davidson, from "Bad Modernism": told from the point of view of an indigenous person displayed at the World's Fair, if I'm not completely mistaken: "the eyes go there while the will stands still."

Patrick Durgin, from "relay": "what's nearest is inhaled." And "luminaries suck and also-rans wheeze." If Pavement ever needs another lyricist, you're hired! P.S. Let's form a band.

Joel Felix: "with horror, I opened the toolbox." A real laugh-line.

Kass Fleischer: in a poem voicing a poet's disdain of what language poetry hath wrought (and the all form/no content dogma that it unfortunately has spawned): "hours and hours and not a drop of urgency." There was a palpable audience response--Archambeau heard both cheers and jeers--from my perch, it seemed like mostly positive. Courageous rant, given the crowd.

G.S. Giscombe: "a sexual image about the prairie might be a good idea." "Can't forget, Effingham." Also, referenced "content" as something that poetry does, rhyming with Fleischer.

Renee Gladman: "the solitary confinement of this part of our century." Yes, the century's already old. Let's blow this 21st century.

Chris Glomski: "Infinity", a recurring line: "to become a vague forest blooming where there is room." Line I wish I wrote. Vague keeps it real.

Steven Halle: "don't fight to stay ahead of weather." Very Emersonian.

Duriel Harris: what a word slinger, what a performer. She changed voices so fast I was afraid for her! "Jacket habit...slingshot pragmatic...."

Bill Howe: I'm still in debt to Bill for his multivocal piece last year (it generated at least a few poems, and led to what I did this year). I love his "concordant disorder," a poem about fauna.

Pierre Joris: regarding the Titanic, and perhaps our own imperial fates: "no, upgrading to first class won't save your ass." THE Pierre Joris.

Jennifer Karmin, she of the "walking tours" projects, did a dialogue poem from Ted Berrigan's words, with Chuck Stebleton: "an ongoing middle/made of words/larger than words." The more I do poetry, the more I'm interested in these sorts of multivocal arrangements.

Kevin Killian, who, by the way, inspires this post from his previously lush recollections and instamemoirs posted to the Buffalo list, about Orono conferences in the past. Just to prove that he is absolute gold--he actually went around at Orono and asked those who published in the Best American Poetry series to sign his book. "Norwegian Wood," a poem about K.O. sex (which involves something like four downers, if memory serves): "when people say they are having sex, what is it that they are having?" I think I got that wrong, but it seems to match the spirit.

David Lloyd: "the act split from the work." "The pleasure of a ghost." Yes, I'm a fan of spiritual visitation.

Nicole Markotic: "Joey avoids dark liquids to make his body see-through." This, I gather, a poem about Mormon scripture. Mitt Romney, cower in fear of Markotic! She will caffeinate you!

Cate Marvin: "Flowers Always." She of the LEGITIMATE DANGERS. "I have never seen an always." A line worthy of Magnetic Fields' Stephin Merritt.

Philip Metres: I did a Lev Rubinstein performance of "Unnamed Events," soundtracked by Pavement's "Zurich is Stained" and with shouting of the Russian--which, apparently, some couldn't hear and others couldn't see. Next time, I was instructed to stand on chair and yell louder. Here's a digital version of the text, for those of you shut out from view by the Bill Howes. http://www.geoffreygatza.com/arkv/2k3fl/phil4.htm. I mean, Bill, how tall are you, 6' 10"?

Laura Moriarty: "nothing is left to bark the dream...everyone was suspicious and resistant." Telling moment.

Simone Muench, whose name, it was revealed, is pronounced like "mensch," a poem about Leatherface: "misunderstanding seduction, you urge your chainsaw forward." Sounds like a dream date.

Aldon Nielson, whose name, it was revealed by Susan Schultz next to me, is actually pronounced al as in alchohol, not al as it "all." "The Virginia Monologues": "knocking the table of contents." "What was new about making it new?" Whose performance was shouted short by Joe Amato, to make way for

Mark Nowak, a poem about mine disasters. Kudos to you, Mark Nowak, for docupoeting us a little bit. Words is good, and yet coal is real.

Kristy Odelius: "a listing agent negotiates closing." "Rising out of history like a scandal." Awesome. Are poets getting more beautiful, or am I just susceptible to people with beautiful words? Or I am just getting uglier?

Bob Perelman's "Current Poetics": reminding me why you're still my favorite language poet (all homage to the Hejinians and Wattens), bringing politics into painful pleasure with language: "porn the only commodity still behaving itself." Not to mention the detachable penis.

Kristen Prevallet read "The Day Lady Died" backward, for "Benazir Bhutto," and I was reminded again of Andrew Ross' controversial reading of that poem by O'Hara, in which he Marxisted O'Hara's consumerism. When Prevallet got to "ugly hamburger" and then the "poets in Ghana" line, I gasped.

Jen Scappetone, reading from something generated from (was it?) the Goat Island Performance Collective: "tunes Casanovas motorize." Williams's poem as machine crossed with the Boss?

Robyn Schiff: "it's March, there is fatness in the air." And, heartening to those of us mayflies who can't seem to write shit right on the first draft (damn you, Josh Corey!): "it's not true they last a day....they were larvae first...that takes many years..."

Susan Schultz showed us some signs that have appeared on fences in her Hawaiian town, part of the Sidewalk Blogger's freeing speech: "would Jesus waterboard?" and "Cheney=Straightshooter." More signs!

Don Share, a poem echoing the Bishopian "House that Jack Built" structure, found his way to "the hurt of older houses" and "the pudge of Prozac." Yeah, my body too.

Ed Skoog: "I count on this poem to investigate wrongdoing...reading this poem is like belonging to a group." Metapoetastic.

Chuck Stebleton: "hemorraging talent" ("so much style and it's wasted") and "You put Ohio in my impromptu." And a hilarious line echoing Shakespeare: "if pubes be wool..."

Mark Tardi, who confessed to be obsessed with nuclear waste disposal post-Chernobyl (aren't we all?): "roadsides favor promiscuity."

Catherine Taylor: "the lyric's past seduction." That works in so many ways.

Tony Trigilio: "They sound bells for us." And, about Rumsfeld's house: "the cameras in the Secretary's birdfeeders can see (?) them."

Nick Twemlow: a Howl-esque tribute to his hometown of Topeka: "the black keys being Topeka...Topeka, the sickness will go unnoticed." Topeka is a song, isn't it?

Quraysh Ali Lansana spun a tale of a slave named Jacob who finally escaped, because he loved the dogs more than the master: "the dogs never moved."

Lina Ramona Vitkauskas, from a poem called "Erection: A Single Entendre." Somehow, the title was poetry enough. Thinking of the Spinanes's "Rummy": "the power of erection/the tallest building in Chicago."

Barrett Watten, sampling Williams: "democracy is impossible and must be preserved." I could see the computer screen echoes in his eyeglasses. Somehow, that's a detail that seems right for the poet of exteriority.

Tyrone Williams, taking a collage of SUN TIMES lines: "can you see me now/caption only." Caption only, as refrain.

Tim Yu, bringing us home with an abecedarian: "the turning world gravitates on its absent stem....yowling unspeakable names to the zero of hearing."

Thanks to all the readers and ears out there. Jennifer Moxley, among other poetry luminaries, was spotted...but not on the readers' list?! I should have ceded my time.

Here's Bob Archambeau's piece from http://samizdatblog.blogspot.com/.

Jenny Holzer's Powerpoint Paintings/New Technologies of War/Art

Jenny Holzer's art has, for quite some time, been making language actions into public spaces--one of the persistent motifs of this blog--and though she has been criticized by art critics and poets alike for her sometimes stentorian approaches, she is an undeniably thought-provoking artist. This is a review of her recent exhibition at the Mass MOCA.

One of her recent projects has been to use classified or recently declassified documents as works of art--particularly regarding the War On Terror. In these art interventions, she participates in the tradition of documentary art and documentary poetry. From the review:

In contrast to the richly metaphorical projections, the paintings are as efficient as hammers. Each of 15 same-size, medium-large canvases, stained purple or brown, bears an all-black, silk-screened reproduction of a PowerPoint diagram used in 2002 to brief President Bush, Donald Rumsfeld and others on the United States Central Command’s plan for invading Iraq. Ms. Holzer found these documents at the Web site of the independent, nongovernmental National Security Archive (nsarchive.org), which obtained them through the Freedom of Information Act.

Each has a map of Iraq and blocks of text describing exactly how the invasion and conquest would proceed. They itemize goals like “Kill, apprehend, marginalize Iraqi leadership”; “Destroy remaining pockets of resistance”; and “Secure known W.M.D. sites.” (In an upstairs gallery two large silk-screened works reproduce an eye-opening e-mail debate over the treatment of detainees.)

The PowerPoint paintings give the impression of a cool, rational, step-by-step logic born of technocratic hubris. Ms. Holzer is practicing a form of political action with these paintings. She’s also producing art: a canny blend of Pop Art, Minimalism and Conceptualism. The paintings call to mind Mark Lombardi’s penciled diagrams of global, power-elite conspiracies. They’re not as elegantly refined visually, but they feel equally necessary.

Boffo Poetry Reading Tonight at School of the Art Institute of Chicago

Tonight:

CHICAGO MARATHON READING
an off-site event coinciding with
the 2007 Modern Language Association convention

FRIDAY, DECEMBER 28th from 7-9:30pm
at the School of the Art Institute of Chicago
112 S. Michigan Avenue, in the Ballroom

FREE and ADA accessible to the public
Co-sponsored by the the Writing Program at the School
of the Art Institute and the Poetry Foundation

OVER 50 POETS: Quraysh Ali Lansana, Joe Amato, Robert
Archambeau, Dodie Bellamy, Ray Bianchi, Tisa Bryant,
Charles Cantolupo, Stephen Cope, Josh Corey, Joel
Craig, Elizabeth Cross, Garin Cycholl, Michael
Davidson, Patrick Durgin, Joel Felix, Kass Fleisher,
C. S. Giscombe, Renee Gladman, Chris Glomski, Steve
Halle, Duriel Harris, Carla Harryman, William R. Howe,
Pierre Joris, Jennifer Karmin, Kevin Killian, Petra
Kuppers, David Lloyd, Nicole Markotic, Cate Marvin,
Philip Metres, Laura Moriarty, Simone Muench, Aldon
Nielsen, Mark Nowak, Kristy Odelius, Bob Perelman,
Kristen Prevallet, Jen Scappettone, Robyn Schiff,
Susan Schultz, Don Share, Ed Skoog, Kerri Sonnenberg,
Chuck Stebelton, Mark Tardi, Catherine Taylor, Tony
Trigilio, Nick Twemlow, Lina Ramona Vitkauskas,
Barrett Watten, Tyrone Williams, Tim Yu

A DISPLAY OF CHICAGO JOURNALS & PRESSES:
*ACM, http://anotherchicagomagazine.org
*The Canary, http://canariumbooks.blogspot.com
*Columiba Poetry Review, http://english.colum.edu/cpr
*Court Green, http://english.colum.edu/courtgreen
*Cracked Slab Books, http://crackedslabbooks.com
*Dancing Girl Press, http://www.dancinggirlpress.com
*Flood Editions, http://www.floodeditions.com
*Hotel Amerika, http://www.hotelamerika.net
*House Press, http://www.housepress.org
*Journal of Artists' Books, http://jab-online.net
*Kenning Editions, http://www.kenningeditions.com
*Make Magazine, http://www.makemag.com
*March Abrazo Press, http://www.marchabrazo.org
*MoonLit, http://moonlitmag.blogspot.com
*Sara Ranchouse, http://www.sararanchouse.com
*Switchback Books, http://www.switchbackbooks.com
*Third World Press, http://www.thirdworldpressinc.com
*TriQuarterly, http://www.triquarterly.org

AND MUCH MUCH MORE: Refreshments! Select books by
the readers for sale from Small Press Distribution.

The MLA Off-Site Marathon Reading is a satellite
tradition coinciding but unaffiliated with the Modern
Language Association's annual convention. This event
is curated by Robert Archambeau and Patrick Durgin.
The Chicago publications display is curated by
Jennifer Karmin.

Cluster Bombs Are Not Your Friend or Your UN Food Ration

Cluster Bombs: It’s Still Not OK
Seattle PI Editorial

Surprise, surprise: After a year investigating itself, the Israeli military (OK, its prosecutors) concluded that it was justified in using cluster bomblets — millions of them — in its war with Lebanon last year. The reports tell us that, “the matter is now closed.” Well, that depends on whom you ask. Entities such as human rights groups and the United Nations beg to differ with the Israeli military.

The United Nations called the use of the devastating bombs in the final three days of the fight, when the end of the conflict was clearly in sight, “shocking and immoral.” The bombs, which were dropped in populated areas, farms, etc., have a 30 percent failure rate, meaning that they explode later, and many have been doing so over the past year.

Just last week, a 35-year-old man collecting firewood died instantly when one of the Israeli bombs went off. In fact, more than 30 people have died in a similar fashion since the end of Israel’s war with Hezbollah. The Daily Star of Lebanon reports that an additional 200 have been wounded by the bombs, most of which were dropped in the final 72 hours of the war. For these victims, the matter is far from closed.

Earlier this month, U.N. Secretary-General Ban Ki-moon called for a ban on cluster bombs at a conference in Vienna, Austria (which the U.S. declined to attend), where 130 nations gathered to consider a ban.

This isn’t a morally ambiguous issue. The use of these bombs, which in effect linger on as landmines and continue killing long after wars are over, is wrong, and Israel was wrong to use them when the end of the war was imminent. Its military might not be able to see that, but the rest of the world can.

Paul Hoover's Responses to Shakespeare's "Sonnet 56"

Because sometimes the proper response to a poem is another poem--or fifty-six more poems, for that matter. Here, poet Paul Hoover effects the mis-en-abyme of poetic influence. Thanks to the new video poetry webzine, *The Continental Review*, for making it happen. Though the *Continental Review* is still in its early phases, and has yet to work out some of the typical bugs that come with videoizing anything (transmission quality a little sketchy, etc.), I can imagine that this will be a site that is worth returning to.