The End of “with Jon Stewart”

I have only fuzzy memories of the late nineties, but I can clearly remember finding out way back in 1999 that Jon Stewart was taking over for Craig Kilborn, and actually thinking…this guy’ll never be able to replace Craig. And he didn’t. Instead, he reinvented The Daily Show as many of us have known it for the last sixteen years: a pop-culture platform for reframing in humor what many of us experienced as the––insert your own hyperbolic adjective here––of coming to adulthood against the backdrop of the Bush years, 9/11, the wars in Iraq and Afghanistan, and the economic meltdown of 2008. For me, The Daily Show, and later The Colbert Report, operated as cathartic performance art that challenged traditional notions of the real/fake binary.

Family Watching TVWhen I was growing up, traditional news programs were a staple in my family. I have clear synesthetic memories of the smell of breakfast cooking as my Dad got ready for work, my brother and I in pajamas, the family conversation overlaying the familiar babble of the local news station as it played in background. As a child, I remember trusting those talking heads because they seemed so official, so possessed of “capital T” Truth.

After the clusterf*ck that was the 2000 election (the first I was old enough to vote in), I found myself increasingly kerfuffled every time I tuned in to traditional news outlets. The Daily Show represented a way to stay connected to current political information without disintegrating into a puddle of panic. As time marched on, and the aggravation of the 2000 election was overshadowed by the horror of 9/11 and the ensuing madness of the wars in Afghanistan and Iraq, Stewart’s, and later Colbert’s, humor transmuted the shock and sorrow of those difficult years. I found myself trusting The Daily Show in a way that I could no longer trust other sources of news, and I was not alone. Many of my friends had turned away from traditional news outlets, preferring to get their information from the Internet, each other, and Comedy Central.

The trust that my generation has placed in Stewart and Colbert has evoked nervousness and ire from both sides of the political spectrum. And while it’s easy to accuse The Daily Show and The Colbert Report of diffusing activist outrage and fizzling real feelings of political discontent, I have to (sheepishly) admit that the majority of my “outrage” tends to manifest as paralyzing terror. So, while perhaps some people’s political momentum was arrested, The Daily Show and Colbert Report kept me in the world, kept me in the pipeline of information, and forced me to laugh at the insanity instead of hide from it. Is this the most effective strategy for political change? Probably not. Has it kept me involved in a certain way, yeah.

In their Salon article “The day Jon Stewart quit: Why ‘The Daily Show‘ isn’t the satire America needs,” Jamie Kilstein and Allison Kilkenny come down hard on Stewart and Colbert’s 2010 “Rally to Restore Sanity and/or Fear” which brought together folks who “don’t like shouting” for a spectacle of “reasonableness.”  I saw the rally as a type of performance art designed to draw attention to the all-too-invisible subjectivity at work in the red/blue binary. Kilstein and Kilkenny completely miss this point, instead adhering adamantly to the binary, stating that the “division’ [Stewart] dismisses is literally the only fight that matters.” If the division between red and blue is all that matters, then each of us becomes subject to the binary-driven political narrative, created in its image. Rather than simply satire, or a rejection of activism, the rally strove to disrupt the seeming solidness of a system that gives two pre-defined options and calls it a “choice.”

It’s too easy to pick apart these shows, to blast them for what they did or didn’t do politically. Or to compare them to more politically subversive comedians from the past. But The Daily Show and Colbert Report have done more than just amuse and distract, they’ve drawn attention to the absurdity of the political and media simulacra that’s been right in front of our faces all along. Like Magritte’s “Treachery of Images” forces the issue of representation vs. reality, just raising the “is it a ‘fake’ or is it a ‘real” news program question makes visible that all politics and media are a construction (and, if you want to go down a rabbit hole, that all reality is itself a construction).

The Treachery of Images by Magritte

Ceci n'est pas une News Program.
Ceci n’est pas une News Program.

If anything, complicating the real/fake binary provides a productive space for challenging established structures. By replicating and adapting the genre conventions of the “trusted” News program, and remixing it with absurdism, humor, and cartharsis, The Daily Show and The Colbert Report are neither real nor fake, neither humor nor news, but something that calls attention to the power of both.

As a rhetorical appeal, humor can be seen as a form of pathos, an emotional appeal. Make someone laugh, and they’re more likely to like you, and therefore more likely to be persuaded by you. But that’s too simplistic a notion for the role that Jon Stewart and Stephen Colbert have played in many of our lives. Rather, it seems that their humor was enacting an alchemical process of transmutation; as we sat with our sorrow, frustration, and anger, horrified by the unfolding of events that we felt little power to halt or effect, humor cathartically transmuted those feelings, providing instead a way to feel interconnected, and, through the process of posing the question: is it real or fake? granted us agency through awareness of the simulacra.

Though it may have couched itself as a “fake” news show, The Daily Show has provided a very real space for transmuting a generation’s frustration, anger, and disappointment. Where we have felt disenfranchised in many areas of our lives, the sheer force of Stewart and Colbert’s ability to get folks to act en masse has been vicariously thrilling during times when a lot of people have felt unheard. Stewart and Colbert have shown us that smart and geeky can be powerful, that wit can win, that the pen is mightier than the sword. Or at least, reminded us of these things for an hour a day, four days a week.

 

Let’s Get Awkward: Vloggers “A Rousing Intercourse” Take on Aporia

aporia-take-2 from Paul Muhlhauser on Vimeo.
Dear Viewers,
A Rousing Intercourse is BACK. This second episode is about aporia – using uncertainty and confusion effectively as a rhetorical strategy.

You’ll chuckle, you’ll chortle, and you’ll awkward as we examine the benefits of going off-script. Pour yourself a martini if you need to take the awkward edge off, and enjoy.

Forcebook, the Jedi, and May the #kairos be with you



If you don’t not think too deeply about being unshallow, it’ opaquely clear. And as long as you follow Jedi recommendations to “Feel. Don’t think,” you won’t force this idea beyond transparency: Star Wars’ Force is a form of social media.

Here are a few reasons to imagine the Force as Forcebook.forcebook

  1. The Force is made up of midichlorians, which are basically Wi-Fi connections. The more midichlorians you have, the more bars or the better access you have to feel the Force.
  2. The Force has a search engine. You just have to tap into the midichlorians and “search your feelings.”
  3. The Force is a network of information.
  4. The Force can allow you to predict the future. It’s sort of tells you if clickbait or triggers are working through midichlorian analytics.

And I like imagining the Force as social media. Using the Force as a trope helps me appreciate the cool of digital social media. It helps me see some of the ways the Force really sucks.

  1. Yoda the Hutt
    To use the Force, ya gotta be part of an elite club.  You either have midiclorians or you don’t. Unlike with digital social media, you can’t really join the Jedi club through research and practice unless you’ve got midichlorians. There is NO such thing as Screen Shot 2014-06-30 at 10.50.14 AM
    midichlorian toothpaste for helping strengthen your Force.  Access to digital media is certainly an issue for a lot of people but tapping into the Interweb is much more accessible than being one or talking to one of the, like, thirty Jedi able to use the force and protect the galaxy.
  1. Force Bubble
    The Jedi only use one search engine – the Force.  Jedi Pariser makes a good point about digital media filter bubbles and how search engines are algorhetorical (algorithmic rhetoric) engines mediating the information we see and how users become shielded from alternative perspectives on issues: search engines game the information you see by providing results that reinforce your ideology or way of thinking rather than complicating and questioning it.  Or you may just get results for some businesses and not others – Dark Side/Sith businesses rather than Jedi run establishments. The Force, though, is even worse. It is THE only search engine in the Galaxy. There is no Duck Duck Go or Bing or even Alta Vista, which is Yahoo!. It is as if there is just Google.  There is only one bubble. And Jedi can’t even agree that they are feeling or seeing the same thing. Yoda might see something Obi-Wan doesn’t. And while it could be argued that such differences in Force use offer different or alternative perspectives, the perspectives are based on access to information. In other words, both Yoda and Obi-Wan can’t “read” the same tanner-binks“article” of the Force and compare notes or discuss the situation more completely.  At least, I could say, “Yo,Yoda, Obi-Wan. Check out this article from Harlot about how Jar Jar Binks and Stephanie Tanner are similar. It argues that this might be a reason Jar Jar was so hated by fans.  You know, because we were tired of Full House. Thoughts?”
  1. #kairos
    The Force doesn’t even let users participate very easily in a #kairos economy: that change or the difference between that regular old kairos that the Jedi utilize and what we use in social media. #kairos happens when you are always connected to your midichlorians or are always on the web when you carry your smartphone. It is the omnipresent and omnispace – it’s the always on possibility of being able to have that agency for a propitious moment in a propitious digital space.But propitiousness can’t happen as easily with one network to tap into. The Jedi just don’t have a very good network for #kairos. Jedi Rheingold Screen Shot 2014-06-30 at 10.50.52 AMhelps explains #kairos’ importance: “”In previous eras, it may have been true that ‘it’s not what you know but who you know.’ Today, how you know who you know matters as much as who you know, and one of the most valuable traits a person could have in a twenty-first-century organization is a knack for knowing ‘who knows who knows what’” (From @hrheingold‘s Netsmart 24). And to amend and add to his explanation, there is also a knack for knowing when to know when to know what and where to know where to know what. I hope here and now and know is a where to know what to know when to know what.I just Dr. Seussed or Yoda, did I? At any rate, the flows of information along numerous networks are opportunities for users to create value (informational, social, and emotional) in just right spaces and just right times.  The Force limited these opportunities because of its limitations. Jedi had Forcebook.  They didn’t have Twitter, Reddit, Pinterest, YouTube, or Yahoo! Pipes.

In more, other, and our words, Jedi, it’s time to “Think. Don’t feel.” Forget the Force. May the #kairos be with you.

This is an excerpt from an article I’m writing with @CateBlouke.

Blackfish and environmental rhetoric… and some bleakness

Blackfish movie posterI finally watched Blackfish last night. I’d been wanting to for a while, but also avoiding it a bit because I tend to have what some would call extreme emotional responses to animals at risk, in pain, or otherwise affected by environmental degradation. My husband, Chris, recently suggested I find a therapist who specializes in environmental-related angst. (Of course, to me, these responses seem perfectly reasonable; I genuinely do not understand how/why others don’t have the same reaction. But that’s another issue entirely.) Case in point: When I watched the beautiful, devastating trailer for Midway, a documentary about the island where albatrosses breed and suffer the consequences of plastic litter, I cried so hard that Chris thought one of my friends or family members had died. Again, this seems like a perfectly reasonable response; see for yourself:

MIDWAY a Message from the Gyre : a short film by Chris Jordan from Midway on Vimeo.

The Cover movie posterI have a particular weakness for marine mammals and particular issues about animals kept in captivity, so when Blackfish came out, I was pleased but wary. I couldn’t help but think of The Cove, a powerful documentary about dolphin slaughter in Japan–that I can’t watch. I just can’t. More on that later. Thankfully, my husband watched Blackfish without me first and reassured me (and himself, I’m sure) that I could handle it. Since I’m increasingly fascinated with environmental rhetoric, I decided to brave it. I’m glad I did, though my eyes are a bit puffy today.

orca mother and calf

Only two scenes resulted in sobbing; both involved baby orcas being taken from their families — once in a brutal hunt/capture in the Puget Sound in 1970, and once within the SeaWorld organization. In each case, the grief of the orcas was palpable, as was the pain and regret expressed by the people who’d been somehow involved in the experience. Though the pathos of these scenes was intense, the majority of the film focused on more dispassionate first-hand accounts by scientists, experts, and, most often, former SeaWorld trainers. The prioritization of their voices was a smart strategy.

Although the film contains apparent messages about the cruelty of keeping orcas in captivity, it was carefully matter-of-fact in its treatment of the consequences for the whales and the people who worked with them. By prioritizing the perspectives of the trainers, the filmmakers kept the focus on specific, eyewitness accounts of the central plot: the history of orca attacks on trainers and the cover-ups engineered by SeaWorld.

One would think that such an emphasis could contribute to a negative view of “killer whales,” but the affection and sympathy displayed by the trainers worked against that. They clearly understood what marine biologists echoed, which was that the unnatural and inhumane treatment suffered by these creatures over decades can only lead to trauma for everyone involved. And that by hiding and denying the stories of the deaths and injuries of numerous trainers, SeaWorld was knowingly putting its workers in danger.

For me, of course, that’s a secondary concern. But for many audiences, I imagine it worked to spark a different kind of outrage about unethical business practices. Whether or not audiences were persuaded that capture and captivity is, in itself, insupportable, they surely recognized that SeaWorld is shady. But will that lead to the kinds of boycotts that would persuade SeaWorld to change its practices? There was a good amount of controversy when the film was released, so at least it was successful in drawing attention to the issue. At least it sparked conversation, which I imagine was the filmmakers’ realistic agenda.

They were careful. As Chris said, they did a good job avoiding polemic. Although their stance was clearly critical, they dialed back the pathos in favor of factual data, expert testimony, and the voices of those traumatized witnesses. And they were all scarred by the many betrayals: how they were deceived, how their colleagues were blamed for “accidents,” and how they contributed to the pain of the orcas they clearly loved. With the best of intentions, they’d signed up to participate in SeaWorld’s exploitation of incredibly sensitive, intelligent mammals for the purposes of entertainment and profit.

crowds at SeaWorld

Little attention was paid to the usual arguments in favor of organizations like SeaWorld — that without these showcases, people would not feel a connection to animals, that they wouldn’t work for their protection. This is the excuse of most parents who don’t want to deprive their children of such opportunities. I wondered about that omission, but I think the focus on the trainers worked toward that message: Their good intentions and their ignorance led to collusion in cruelty — just like the crowds that line up for SeaWorld every day.

orcas in the wild

In that light, the conclusion of the film makes more sense than I originally thought. The final scenes show several of the trainers going on a whale-watching trip, experiencing orcas in their natural habitat. The joy and wonder on their faces spoke to the healing power of that trip, a marked contrast to the sadness and regret they displayed throughout most of the film. The filmmakers’ hope, I suspect, is that audiences might be persuaded that this approach is the “right” one, that appreciation cannot be separated from respect — and that those who buy in to the SeaWorld product would (or should), like these trainers, suffer with the knowledge of their complicity.

That’s my reading, anyway. Of course, whether that message gets out at all depends on whether people actually see the movie. More to the point, it depends on whether audiences who don’t already agree with its messages see the movie. I didn’t need this to learn that SeaWorld is problematic (or downright evil) — but would those who’d really like to watch that orca show actually watch this movie? Perhaps, if that controversy made them curious enough. I’d like to think so, but I’m not sure.

dolphin hunters

Which brings me back to The Cove. After we finished Blackfish, Chris and I were talking about its potential effectiveness. I brought up The Cove as a cautionary tale: If those trailers turned others off as much as it did me, and I feel passionate about dolphin protection, how could it reach and therefore influence enough audiences to make a difference? Chris suggested that it had already achieved its aims; we both thought the outcry following its release had led to change in the Japanese government’s policy. It turns out not so much. So far, the pressure hasn’t resulted in actual change.

For a lot of reasons, SeaWorld is not Japan; it may well feel more compelled to respond in some way to widespread criticism. But is it really likely to do anything more than damage control? Release some statement (not animals), make minor improvements (not substantive changes), etc? Are enough people likely to decide against that vacation destination that they go out of business? Doubtful.

I really want to end this on a positive note. I’d like to hope that a careful, strategic, and “successful” film like Blackfish can make a difference. I know: Changing just one mind makes a difference. But does it really? Maybe in the long term. Maybe?

albatross corpse with plastic inside
albatross corpse with plastic inside

It might, in the case of Midway.

If everyone who sees that movie (or just the trailer) reconsiders their plastic consumption, picks up some plastic caps at the beach, even votes in favor of some kind of legal protection or prevention, that could maybe save a few birds. Maybe? You tell me:

MIDWAY a Message from the Gyre : a short film by Chris Jordan from Midway on Vimeo.

Coco Lynne Presents Us with “Warpaint”

If you have a minute, I highly recommend checking out this article on The Huffington Post about “Warpaint,” “a nuanced art project addressing the subtleties of gender expression.” It explains how photographer Coco Layne decided to play with her own physical representation in order to explore the subtleties of gender expression. What I find particularly interesting is her point about gender identity:

“It’s important to open up this conversation about gender presentation because its often confused and read as gender identity,” she added. “Gender presentation is not about sexual orientation at all! Playing around with gender expression is strictly an avenue to explore my identity as a queer person not my sexual identity.”

Since gender presentation is so often correlated with gender identity, it is interesting to note the nuance and distinction that she speaks of. It’s definitely worth a read.

 

YOUR NEXT BIKE

Speaking of rhetoric in everyday life, I love a smart and savvy Craigslist ad:

http://columbus.craigslist.org/bik/3983222753.html

baller bikeGrab a paper bag, breathe into it and calm your ass down. You’re hyperventilating because you ain’t never seen a deal like this before. Now collect yourself, then keep reading this incredible description that barely serves to do justice to my 2003, 19″, KONA Muni Mula, 7005 Double-butted Aluminum, multi-gear mountain bike. Also known as the greatest bike the suburbs have ever had the privilege of existing around.
What makes this bike so much better than every other bike that has ever been pedaled? Glad you asked. It starts with the paint scheme. It looks like 24 Karat gold if they made bikes out of 24 karat gold. That’s bold, son. Curb appeal.
What else? Ryan, the paint’s a little dinged up. Yeah, well, that’s called real life. It comes at you fast, bro. Besides, you really want this glimmering, shimmering sex machine catching the eye of some small time thief? You really don’t want to be living your own version of PeeWee’s big adventure. Consider the lived-in feel a natural crime deterrent. If this bike were denim jeans, it’d be called “de-stressed” and you’d be paying extra for the privilege. I’m not gonna charge you extra for it, though. Cause I’m not trying to take advantage of you. But you should take advantage of this once-in-a-lifetime opportunity.
What else? Let’s talk about that Marzoochi Bomber front fork for a second. It’s as gnarly as it is exotic. Like the tropical, saw-toothed platypus. Which is a species that does’t even exist. Fortunately this crazy front fork does. It offers bomb-a$$ shock absorption, as the name implies.
What else? Did you see those Shimano Deore Rapid-Fire Shifters? These shifters make you wanna take this thing off road in a big way. They also offers a terrific chance to introduce that dome of yours to a tree. So don’t trip. Ride safe. Get a helmet and if you’ve never ridden a bada$$ mountain bike, maybe it’s time to move along, young sir because this thing is made for big hills and mud trails. What this bike does offer is a one-way ticket to legits-ville. Find a bowling ball. Then find another one. Your nuts must be at least that big to even consider making this whip the dreamiest object to ever take up space in your garage. But you’ll be filled with joy once you throw a leg over this flawless piece of cycling excellence.
But, Ryan, aren’t you sad about selling the greatest bike on earth? No. When you ride this bike once it permanently eliminates your ability to feel sad about anything ever again. Even for little puppies who are afraid to walk down the stairs, because the stairs…they’re so big, and they’re so little. Puppies who are young, but have already discovered the world to be a cold, unforgiving place. But you won’t give a shit about it because you’ll be on your awesome new bike living the dream.
And you’ve just learned something else about me. That’s right, my name is Ryan. And your name is lucky motherfather if you make the best choice of your life and pay me cold, hard cash for this ridiculous ride.
2003, 19″, KONA Muni Mula, 7005 Double-butted Aluminum, multi-gear, hard-tail mountain bike with Marzoochi Bombers, Deore Shimano Rapid Fire Shifters. Barely Ridden, like new.
In no rush to sell, big ballers only, no low-ballers. $650 OBO
Contact Chris near Alum Creek Trails
In terms of rhetorical strategies, I love how this is simultaneously a spoof on typical advertisements and a genuinely persuasive advertisement at the same time. It has that sense of humor which builds rapport between the seller and the audience as well as talks up the bike in that “and that’s not all” infomercial genre. Very clever.
 

Laugh, cry, & identify with readymade rhetoric in episode 1: valediction

Dear Viewers, A Rousing Intercourse is a vlog that comments on everyday rhetorical practices. This first episode is about readymade rhetoric and valediction. You’ll laugh, you’ll cry, and you’ll identify with that frustrating aspect of our digital lives: email valediction. Enjoy our humorous take on email valediction as well as our suggestions for changing valediction to better fit with our current cultural moment. Warmest Regards, A Rousing Intercourse

Play #DefineRhetoric & win pounds of prestige

Rhetors, Technorhetors, Rhetotechnos, and Compositionists,

It’s that time again.  Our Define Rhetoric competition has begun. Help us add to the almost three million different definitions of rhetoric we’ve found. Help us flavor the world with new perspectives on what rhetoric is, isn’t, and does, doesn’t. Come up with THE best definition of rhetoric for 2013 and you’ll win a sweet trophy, a gift certificate to Amazon.com, and, well, between 10-20 pounds of prestige.

To play:

  1. You’ve gotta tweet. If you don’t have a Twitter account, ya gotta make one.
  2. Tweet your brand new definition of rhetoric, your tweaked or remixed definition of rhetoric, one you’ve liked from a theorist, or even a visual or audio definition. You can play or define as many times as ya’d like.
  3. Put the hashtag #DefineRhetoric somewhere in your definition because we find the definitions using that hashtag.
  4. DUE DATE– September 15th 2013.

We encourage you to have fun and play with what rhetoric can mean. Be your own Plato, Aristotle, Aspasia. Be your own Burke, Richards, Perelman. Be your own Villanueva, Glenn, Lanham. And in the spirit of givin’ cred where cred is due, we ask you to try to cite your sources as best ya can when ya tweak or remix or quote a definition.

Here are a few we’ve gotten so far.  Check out how last year’s champ @RhetRock is already defending his title:

  • #definerhetoric Rhetoric is how your persuade yourself that you can get ONE MORE DAY out of that empty tube of toothpaste.
    by @RhetRock

And, if ya getta chance, follow us on Twitter (@HarlotTweets) for competition updates and tweets that will make your wildest dreams come true!

Good luck and good rhetoricking!

Sweet Trophy!
Sweet trophy
#DefineRhetoric Champion 2012
Rhetoric is a bag of Halloween candy, sometimes you get the good stuff and sometimes you get apples with razor blades.
by @TheOriginalRock (now @RhetRock)

Water Snake is related to Water Fish.

I present Common Sense from Chet Tiffany. Common sense-you know, sound judgment, prudence, or wisdom. Try reading it aloud because it’s fun and sort of flows poetically. And then think about “common sense” and how a lotta times it depends on audience and values to be common and/or sense. I like Chet, but his/her sense ain’t really common…to me. What I mean is I imagine Chet Tiffany is like me and suffered a lot with regards to “common sense.” What I mean is “common sense” is a big assumption that’s rarely common and not always the only sense.

My dad often asked me if I had “common sense” or would strongly suggest I use my “common sense.”  It got me worried about what he meant and I felt like I was under common-sense surveillance a lot. Before acting I would think, “is this common sense?” or “would this be common sense?” An audience of Dad meant I’d rarely get it right or be common sensical.

Anyway here are some examples of “common” and “uncommon” sense that are in no way like Chet’s. I don’t know how to imitate his artistry.

  1. Common sense: Turn off the air conditioner in your car to get more power—it’s common sense. Value=speed
    Uncommon sense: Use air conditioner and feel cool and get less power—it’s common sense. Value=comfort
  2. Common sense: If it ain’t broke, don’t fix it—it’s common sense.
    Value=money
    Uncommon sense: It ain’t broke, but it ain’t pretty. So I’m gonna fix it—it’s common sense.  Value=visual aesthetics
  3. Common sense: If there’s snow on the ground wear your shoes to class—it’s common sense. Value=comfort
    Uncommon sense: If there’s snow on the ground don’t wear your shoes to class—it’s common sense. Value=coolness…I mean fashionable in reckless behavior.
  4. Common sense: If a chicken doesn’t fit into a microwave to be defrosted, rig the microwave so it’ll operate with the door open—it’s common sense.
    Value=problem solving to make squares pegs fit round holes.
    Uncommon sense: If a chicken doesn’t fit into a microwave to be defrosted, defrost it in the sink with warm water—it’s common sense.
    Value=problem solving to try a different mode. Thanks for some of the great examples, Mary Bendel-Simso!

Water Snake is related to Water Fish.

It’s common sense people!

Language Intelligence: A Non-Academic’s Take on Rhetoric

Not really a book review (because I haven’t read it, duh!), but more of a heads-up: political blogger Joe Romm (from ThinkProgress) has just released his book Language Intelligence: Lessons on Persuasion From Jesus, Shakespeare, Lincoln, and Lady Gaga. As you can tell from the subtitle, it’s more or less a pop take on rhetoric, partly a “what to look for” and partly a “how to” manual… Romm delves into politics (naturally), but also into areas like scientific discourse and popular culture. I’ve glanced at some blog posts about the book, and from what I can glean, it delves heavily into matters relating to style (lots of references to “the figures of speech”) and oratorical performance. Maybe worth a read?