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Yet for decades, they’ve been given a free pass, granted one pardon after another thanks to their towering status in American culture. The hot dog’s gustatory glow took a significant hit in 2009 when the American Institute for Cancer Research (AICR) issued its landmark report1 about hot dogs and cancer risk, based on more than 7,000 scientific studies. AICR determined that every 50 gram serving of processed meat you consume daily—for example, just ONE hot dog—raises your risk for colorectal cancer by 21 percent. In 2013, Americans spent $2.5 billion on hot dogs in US supermarkets, which amounts to more than one billion packages of wieners. On the Fourth of July alone, Americans consume 150 million hot dogs—enough to stretch from Washington D.C.
Many blame the hot dog’s carcinogenic effects on nitrates and nitrites, but I would argue that this is an overly simplistic view. Most of the meat and meat by-products come from confined animal feeding operations (CAFOs) where animals are tortured in crowded, unhealthy, unsanitary, and cruel conditions, as the primary goal is cheap food, not quality food. The video up top of the article about how hot dogs are made provides a somewhat glorified view of the process, but it does succeed in portraying just how far from natural this food really is.
Once desirable meat cuts are removed from beef, pork, and poultry (steaks, chops, ribs, thighs, breasts, briskets, etc.), what remains is a carcass consisting mostly of gristle, fat, and offal. The butchering process imparts a considerable amount of bacteria to these carcasses, but because hot dogs are pre-cooked, manufacturers can get away with using these pieces and parts even if they are teeming with bacteria. Cooking helps kill them, as well as separating the remaining muscle, fat, and connective tissues from the head and feet bones. Now that you know the basics of the process, let’s take a closer look at the ingredients. Sodium nitrite is a synthetic preservative added to meats like hot dogs to help them maintain that nice pink color.
According to the University of Minnesota Extension, around 90 percent of the nitrite in your body comes from vegetables, while just 10 percent comes from processed meats.16 When meat or fish is cooked at high temperatures, other potent carcinogens are also created, such as heterocyclic amines (HCAs) and advanced glycation end products (AGEs). Natural or organic hot dogs may not be much lower in nitrite—and some may even be higher than conventional hot dogs.
A 2011 study published in The Journal of Food Protection found that natural hot dogs had anywhere from one-half to 10 times the amount of nitrite of conventional hot dogs.17 A similar scenario exists for bacon. Unacceptable rates of childhood obesity and disease are evidence of the damage being done to our children by hot dogs, sodas, and other unhealthy foods. If you want to see evidence of how powerful this brainwashing can be, take a look at the eye-opening video of Jamie Oliver’s experiment, where he attempts to educate a group of elementary schoolers about what really goes into chicken nuggets.
An even more powerful marketing strategy has emerged for brainwashing your child, which takes advantage of smartphones and other mobile devices. If you are going to eat hot dogs or other processed meats once in awhile, there are a few considerations that may help you reduce your risk of adverse health affects. In contrast to eating products that are little more than a heat-processed slurry of reassembled slaughterhouse remains, real meat is a different story altogether. Organic, grass-fed standards do not permit non-medical use of antibiotics, and with antibiotic-resistant infections being a major public health hazard today, this is an important consideration. A Sheep No More is no longer plugged into the Matrix like the many sheep who are still programmed to believe that they have correct information provided by a varied and “independent media.” In fact the media is owned by 5 or 6 mega-media companies run by corporate advertising executives and Washington.
About A Sheep No MoreA Sheep No More is no longer plugged into the Matrix like the many sheep who are still programmed to believe that they have correct information provided by a varied and “independent media.” In fact the media is owned by 5 or 6 mega-media companies run by corporate advertising executives and Washington.
The present survey is provisional and intended to serve as only the merest introduction to a vast and extraordinarily complex field, one that commands broad, ongoing attention. Frost simply could not understand why anyone would bother writing free verse, but still they did, and so a question presented itself with some urgency: after the widespread defection of poets from fixed or inherited forms, how would they go about organizing poems?
In Missing Measures, Timothy Steele points out that a strong-minded band of free verse pioneers in English—Ford Madox Ford, Ezra Pound, T.S.
Much as poets may like to pose as vatic singers, most still feel obliged to create a persuasive beginning, middle, and ending to a poem as well as engineer a texture or tone that will set it apart from others. As Paul Fussell memorably put it during the Cold War, “we will want to be aware that free has approximately the status it has in the expression Free World.
Many strategies have emerged to cope with the open field of free verse, several of them before Frost was even born. Metered poems tend to be fashioned in simple symmetrical patterns, due to the spatial demands of poetic feet. Although wing-shaped poems appeared in several languages in the Renaissance (modeled on early Greek examples), George Herbert’s “Easter Wings” is the shaped devotional poem perhaps most familiar to English-language readers. Three and a half centuries later, Dylan Thomas would continue the mystical tradition in this style with his “Vision and Prayer” poems, which alternate between hourglass and diamond formations. Leaping forward several centuries, we discover an explosion of shaped poetry in tandem with Cubism and artistic modernism at large. An earlier example along these lines is Lewis Carroll’s “Long and Sad Tale of the Mouse” from Alice’s Adventure’s in Wonderland (1865). Far more ambitious than Carroll or Apollinaire, Italian Futurists strove to unleash the pure euphoric energy of language, much as Futurist painters had done with color, line, and shape in their highly kinetic, kaleidoscopic canvases.
The written word laid siege to the art world, and we see prototypes for later painted poems such as those by New York School members Larry Rivers and Kenneth Koch (“In Bed,” 1982), as well as major text-based contemporary artists like Jenny Holzer (“For the Guggenheim,” 2008), Glenn Ligon (“I Feel Most Colored When I Am Thrown Against a Sharp White Background,” 1990–91), Ed Ruscha (“A Particular Kind of Heaven,” 1983), and Barbara Kruger (“Don’t be a Jerk,” 1996). To leave the artist’s studio and return once more the print shop, one may contemplate John Hollander’s 1969 collection Types of Shape, in which poems are patterned much like Greek Bucolic figure poems to resemble their subjects, though shorn, in this instance, of regular meter. This icon-making tactic continues to enjoy some popularity today, as in the work of Paul Siegell, who takes the extra step of distributing small printed versions of his shaped poems during readings, to allow audiences to follow along as he performs the spoken component of the poems. Aside from such literal representations, the intoxicating influence of Cubism launched a brand of poetry designed to sport with the visual field while delivering an assortment of ocular signals. Such early modernist experiments seem carefree when set beside their offspring in the effervescent sphere of concrete poetry, a conspicuously avant-garde international movement that germinated simultaneously in South America and Europe before spreading to the United States. Early German pioneer Eugen Gomringer’s 1954 “Silencio” exhibits concrete poetry’s refusal of narrative. Scottish poet Ian Hamilton Finlay went so far as to introduce systems of sculpture, gardening, and landscaping into concrete poetry, attempting to merge the written word with nature itself. In the middle of the eighteenth century, while committed to a madhouse, Christopher Smart composed a long devotional poem titled Jubilate Agno, “rejoice in the lamb,” not published until 1939. Each morally instructive line proceeds from the anchoring preposition “for” to describe the admirable traits of the author’s familiar. Allen Ginsberg, a poet deeply indebted to this technique, cited both Smart and Whitman as models for his famous 1956 dithyrambic poem Howl. Ginsberg refers to the “fixed base ‘Who’” in a 1956 letter to Richard Eberhart (he also remarked that the poem is “really built like a brick shithouse”).
William Carlos Williams patterned his late, long poem “Asphodel, That Greeny Flower” into tumbling indented tercets, a shape that makes the unmetered, unrhymed poem more approachable, though Williams claims he wrote in that fashion only because it helped him to see the poem more clearly despite failing eyesight. Beyond mere parallelism, line length itself may be used to reinforce larger rhetorical aims, as Paul Fussell observes in the gradual opening up of Whitman’s “Crossing Brooklyn Ferry.” The speaker’s senses fill with the panoramic view of New York harbor, and the lines enlarge to accommodate the vision, swelling from the opening line of 11 syllables through lines of 18, 23, and eventually 28 syllables. He accomplishes a similar feat in the slow winding down at the end of Leaves of Grass, after more than 1,300 lines.
Combining modern typographic techniques with the mystical ingredient of medieval cubic poems, T.S. Eliot also borrows from the liturgy of the newly-embraced Anglican Book of Common Prayer to create a call-and-response pattern.
One can almost hear a congregation responding to the poet-priest’s solitary appeal in the preceding line. Readers are compelled to slow their reading pace and grasp the poem in a mostly arrhythmic manner, as if looking at a painting. Another method relies on the introduction of specific, arbitrary limits. Bob Perelman is known for sometimes using a fixed number of words per line, as in his poem “A Body” from his 1993 book Virtual Reality, which installs six words, of any syllabic length and sound, per line. The trouble with parameters such as this is that they only control for one aspect of a line’s creation, ignoring the number of syllables (as in syllabics) or regular rhythm (as in metered poetry).
The physical limits placed by the edges of the tape result in extreme enjambment reminiscent of William Carlos Williams.
On the far end of the gamut, small, deliberate visual patterns can imply meanings without distracting too much from a verse itself. In this largely unrhymed passage, the terza-rima-like shape puts the reader in mind of Dante’s Commedia (specifically the Brunetto Latini passage in Canto XV of Dante’s Inferno),[4] allowing Eliot to be led through the bombed streets of the London Blitz by Dante much as the Florentine poet was led by his Imperial Roman predecessor Virgil. Other graphic techniques include use of acrostic patterns as well as anagrammatic and inverted end-words.
Vertically, the initial letters spell out the poem’s subject, Elizabeth, though one is hard pressed to argue that the trick does much to help an otherwise unremarkable poem.
Consonance strengthens and amplifies words that, even rearranged, can sometimes remain half-rhymes. A contemporary poet who makes use of this technique, one no less sardonic, is Frederick Seidel. Kasischke stretches rhyme very nearly beyond its capacity to hold a poem together, but this performance highlights the disintegrating personality of the poem’s central figure, who eventually falls apart altogether and perhaps commits suicide. Kay Ryan’s use of free verse rhyme is more muscular and taut, suited to her shorter, epigrammatic style. Some organizational techniques applied to free verse could be as easily applied to formal verse, yet their presence is typically more meaningful in a field devoid of set form.
Formlessness may also, at times, assume the guise of a gesture toward aesthetic liberty or be employed as a tool of exploration. While one may be tempted to see a typical poem by John Ashbery, for instance, as gaseous or essentially shapeless, it is this very deflecting technique that lures a final shape from chaos.
A simpler, more common approach to shaping a free verse poem is what I will call the instinctive. Detail from 13th-century illuminated Icelandic Saga manuscript, the Arni Magnusson Manuscript Institute in Reykjavik, Iceland. Technology itself, advancing with dizzying swiftness, continues to alter the way poets compose.
The internet and home computers have given rise to hypertext and digital poetry, and inaugurated a restless age of sometimes dazzling, sometimes tedious interactive poems that change according to reader input. I will end what has become a rather dispassionate survey with something of a personal statement.
It has been discussed millions of times but as much as it has been made to look like common knowledge, it really isn’t.
Going into the dating pool, the beauty has to battle against insecure men, unspoken stigmas (will explain in the next paragraph) and female haters (who arena€™t as hot). For the guy who lands a beauty and is happy with his relationship or marriage, other guys will hate on him as hardcore as women will hate on her. It amazes me how easily beautiful single women slide their panties off for someone elsea€™s husband. I did post the picture that got me cursed out by 20+ different females after a semi-celebrity commented me on my photo on Twitter.
I just want other women, who struggle with their body image, to know that its really not worth it. Me too =) I was in a relationship through most of my last job and I got along great with everyone.
Thanks for sharing Lisa, I swear I want to give you a long hug because obviously there’s a ton of frustration there.
If you keep it up you will and may have already run off a good guy who was either shy, or lacking a good enough approach to breech your defenses. I’ve devoted my life to study and science, yet I find people laughing behind my back calling me vapid, or a stupid blonde, or an idiot. Men will stay friends patiently for years, and after they win the chase when youre vulnerable it’s a disaster.
Boyfriends have incredible insecurity and will hate themselves for not measuring up, or feel like people are staring and wondering why that girl is with them. Women often fail to understand that they have the power to determine the next time they will be having sex. There was a time when parents protected their daughters until they were married off and I am sure if the daughter was beautiful, they protected her more and made sure her future husband was a good man and would be good to her.
2) Study after study after study has shown that attractive people get better jobs, better treatment, and enjoy life more than ugly or even average people.
This entry was posted in best love quotes, boyfriend, Cute Quotes, Good, Happiness quotes, happy quotes, in love, Life Quotes, love, love quotes, perfect quote, positive, positive quotes, quotes, random quotes, relationship, relationship quotes, Smile, true love quotes, You and tagged appreciate, care, company, different, everything, fake, feel, good, happy, hurt, insecure, laugh, loved, pretend, real, sad, safe, smile, you. But when you look at what they are giving you in return, you will want to seriously reconsider their status. During peak hot dog season—which is from Memorial Day to Labor Day—Americans belt down seven billion dogs. When you look at what goes into hot dogs and how they are made, there is plenty of blame to go around. It takes only 30 seconds to build a chain of hot dogs that would span a soccer field twice.
Nitrates are present in many vegetables, such as beets, celery, lettuce, spinach, and most other leafy green vegetables.

If your processed meat is smoked, you can add polycyclic aromatic hydrocarbons (PAHs) to the list. Companies that label their products natural or organic must use natural sources of the preservatives, which usually come in the form of celery powder or celery juice, as celery is naturally high in nitrate. So, buying organic hot dogs is not necessarily going to reduce your nitrate exposure—although it will likely result in a higher quality food product in many other respects. With such grave health dangers, the earlier that fast food habits can be nipped in the bud, the better. Of course, he COULD have used hot dogs for the example and the outcome would have probably been the same. Make sure the meat you consume is grass-fed, organically and humanely raised, preferably from a local farmer you know and trust. To counteract some of the harmful effects of cooking, add homemade spice rubs, herb-enhanced marinades, or even fresh blueberries to your meat prior to cooking.
Useful examples and additions are welcome and may be entered in the comments section below the article.[1] An earlier version of this essay was given as a talk in the poetry symposium of “Writing the Rockies,” a conference sponsored by Western State College of Colorado in July 2011. Although Frost displayed modernist tendencies of some kinds, he never accepted free verse, one of the hallmarks of modernist poetry.
Eliot foremost among them—never envisioned free verse as a means by which to abandon form, jettison technique, or turn entirely away from the past. The absolute freedom of the creator, axiomatic for over a century, has produced masterpieces that demonstrate the value of the ever-new. Not only is the poem’s form a natural and concomitant growth with the poem’s substance, but both are projections of the poet. That is, free, sort of.” Although it may make use of elements of formal prosody—meter that comes and goes like the ladies in “Prufrock,” for instance—most free verse since the 1950s strenuously avoids even the poorest vestiges of Victorian prosody. When moving away from oppositional definitions—free verse is non-metrical, non-strophic—one is confronted with such a vast array of possibilities and examples that it is necessary to summarize and, at times, simplify them for the sake of argument.
Although this is not, strictly speaking, a modern practice, it is one that twentieth-century poets readily adopted and made new. Thus we find wings and axes (they look the same, like hourglasses), diamonds, and plain old big squares. The earliest true figure poems date to the Hellenistic era, in the second and third centuries B.C.
To accommodate its unusual shape, “Easter Wings” was printed vertically across two facing pages of Herbert’s 1633 volume The Temple: Sacred poems and private ejaculations. Unlike Simias or Herbert, however, Thomas adds and subtracts lone syllables to sculpt his poems. Notable examples include the Calligrammes of Guillaume Apollinaire, an immediately posthumous 1918 volume that contained a variety of mischievously-shaped poems. The mouse’s brief story rhymes as it diminishes in both line length and, eventually, type size, to resemble a mouse’s tail, thus setting up a pun on the world “tale.” It is whimsical and, basically, done for fun. Perhaps the most widely-anthologized of these is the mirrored “Swan and Shadow,” which mimics the image of a swan and its shadow in the water. This year, Geoffrey Hill’s book Clavics—a word defined in the OED as the “science or alchemy of keys”—features on each page two rhyming, largely iambic nonce stanzas in the shapes of a key and what may be a keyhole (though the latter resembles nothing so much as Herbert’s “Easter Wings”). It reached its giddy peak in the 1960s, described by Italian theorist Clodina Gubbiotti as a golden age of visual poetry, when poets and artists attempted to bend and break the written word in every possible direction.
It squats there on the page, striving to become as mute and monumental as a minimalist sculpture.
Although shaped, optical poetry existed long before the printing press, graphic poetry is a product of the age of print. It has gained considerable popularity, largely due to its affectionate and inventive series of addresses to his cat, Jeoffrey.
This quality permits the poem to lunge forward and also lends a pleasing lilt to the otherwise unmatched lines. Williams is known for composing in passages that, visually, at least, resemble prose paragraphs.
The repetition of “I remember” sets up a parallel that is amplified and turned with the conjunction “but, more vividly.” It is hard to imagine lines growing any longer without simply becoming small prose-poems.
Traditional stanza forms sometimes included dimeter or trimeter lines, known as “bobs,” to bring variety to the regular tetrameter or pentameter lines that surround them.[2] In a similar vein, the quatrain, perhaps the most recognizable stanza form in English, continues its popularity even in free verse, where it often appears more as a “ghost” stanza, in which the visual qualities of the quatrain survive while a standard aural shape—informed by meter and rhyme—has been dropped. The lines diminish in length over each of the two famous final verse paragraphs, lending a structural component to the gentle end of what has been called America’s second declaration of independence. Ammons typed the book-length poem Tape for the Turn of the Year on adding-machine tape, which severely limits line length over very long stretches (and, as Stephen Burt notes, is also a way for a poet to “try to seem endless”).
English-born Canadian poet Peter Stevens wrote in the Ontario Review that Ammons’ tape technique was “an almost perfect method to allow his . Thomas Hardy’s 1915 poem “The Convergence of the Twain,”[3] on the sinking of the Titanic, is composed of rhymed tercets, the first two lines of which are inset iambic trimeter built over a longer Alexandrine line, creating the silhouette of both a ship’s superstructure and the visible portion of an iceberg.
Eliot uses similar visual cues to summon a Dantean precedent in the ghostly terza rima of the “Little Gidding” portion of The Four Quartets. Acrostic poems relate loosely to cubic poems, which consisted of full mesostic[5] word squares that could be read in several directions, though acrostics employ only the initial letters of each line to spell out a word. The beauty of this technique is that it can produce wonderful sound effects, as consonance is easily reared from the same group of letters in any order.
Correspondingly, I make use of inverted end-words in my poem “Photographs above the Desk,”[6] though the results are less musical. The use of mirrored words is intended, in this case, to evoke the mirror quality of poets facing each other across generations in a photograph as well as today’s poet contemplating the image of his or her predecessors as if gazing into a mirror.
Laura Kasischke uses irregular and sparse rhyme to display the gradual unraveling of a speaker in “Miss Congeniality.” Some rhymes fall close together and relate musically, while stray rhymes reside as outliers, visible only to the eye and almost imperceptible, over such cold distances, to the ear. In a Paris Review interview (Art of Poetry XCVIII), she described what she terms “recombinant rhyme.”[7] Internal rhymes harmonize with end rhymes while working against other unrhymed, enjambed line endings to create palpable tension. We find the technique used to perfection in a poem like “Shark’s Teeth” from Ryan’s 2005 collection The Niagara River, as the aural contours of the poem grate against its visual ones, causing a sense of jaggedness and unease. Lawrence uses repetitive sarcasm as a principle in his short poem “The English are So Nice.” His repetitions would become monotonous if not for their obvious intent.
He wants to make sure the reader knows exactly how he feels about his countrymen, who were not, after all, very nice to him much of the time. Ashbery has declared that his “poems have their own form, which is the one that I want, even though other people might not agree that it is there. A poem’s shape, its length, its sound, are determined not by strict observance of a pre-ordained structure of any kind but instead by the needs of a rhetorical gesture. Internal rhymes, “grate” and “gate,” for instance, and half end-rhymes, “best and “first,” lightly draw lines together while allowing them to flow. As Marshall McLuhan observed, “we drive into the future using only our rear view mirror.” Poetry has adjusted to accommodate every major technological transformation related to the word. Earlier this year The New York Times heralded the arrival of Twitter poetry, claiming much “evidence that the literary flowering of Twitter may actually be taking place.
If you are a drop-dead gorgeous woman who hasna€™t gone into modeling, acting or porn, your dating pool by default will be a shallow one.
A beautiful woman is so deadly that her photograph will bring instant venom from any casually cute woman who sees it. I will say this though, not all guys are intimidated and the ones who arena€™t are probably the ones you will find attractive anyway. Oft times this guy isna€™t even a winner, doesna€™t have the physique of a god and isna€™t even a gentleman, just some married dick with a promise. Line after line I was reminded that I wasn’t shit, in various forms or annunciations.
If they only knew I am all into my guy because he makes me feel beautiful (among many other of his great qualities).
Just as some girls struggle with anorexia or bulemia, I have struggled with other girls seeming to always hate me for no reason.
But after consoling me through the break up, the girls( but select awesome few) started hating me.
And each time that i read it, it is testament that there is no shame in being a beautiful woman!
It sounds to me like you’re caught in that loop of negative which comes about when a person is forced to become defensive t survive the world. Women and men both see you from a distance and associate your look with being stuck-up, full of yourself or high and mighty. I am no psychiatrist but finding a way to move past the negativity into a positive, happy state will change your reality in more ways than you think. The gf’s would get jealous so the bfs would have to treat me like shit to compensate. There is some massive disconnect with how you view yourself and how everyone else views you. When a commercial operation is THIS massive, you can get some rather revolting contaminants.
Despite his success in disgusting them with what really goes into a chicken nugget, they STILL want the nuggets! The game IS the advertisement, engaging children to such as extent that they form strong relationships with the product or brand, so they consume more of it—and research proves it works.
Grass-fed beef tends to be leaner and have higher levels of vitamins, minerals, and cancer-fighting CLA.
This will not only augment its nutritional value, but also reduce the harmful substances like heterocyclic amines that are formed during the cooking process. It is to be expected that a poet like Frost, whose work embodies the persistence of the accentual-syllabic tradition in English, would be displeased, even disoriented, by the widespread acceptance of free verse in his lifetime. Rather, those involved held that free verse allows the rare genius, one who has internalized centuries of poetic technique, to realize infinite new forms, what some critics have called “discovered forms,” as if they had been there all along, in the Platonic manner, waiting to be revealed.
But since original genius is not given to every artist, much spiritless contriving masquerades as innovation. Examples are known broadly as carmina figurata—a term derived from the Renaissance practice of highlighting sacred shapes in red letter type within the standard black letters of a block of printed prose—literally figure poems, or, more recently, concrete poems. Non-metered poems can take on more supple and intricate patterns because slugs of type may be arrayed as tesserae in a mosaic to fashion just about any silhouette. The best known examples are Simias’ “Axe,” “Wings,” and “Egg,” alongside Theocritus’s “Pipe” and Dosiadas’ two “Altar” poems.
He perceives a mystical dimension to the cascading lineation of “Axe,” and in fact mathematical and mystical varieties of shaped poetry appear across the centuries.
Like Simias, Herbert shaves a foot from each line as it advances and then swells the figure out again by adding new feet from the midpoint.
Although principally a poet, Apollinaire was deeply immersed in the artistic world of his day, and its influences are plain. Swiss critic Max Nanny decodes the “poempicture” as if it were a puzzle and leaves us with an amusing diagram. The mathematical precision of Renaissance permutational poems was combined with post-Cubist art theory to create a new strain of poem that thrived somewhere between art and literature, soaked in a rich Petri of radical politics.
Typographical arrangements of letters, lines, and words can send signals, create larger literary structures, divert attention, or even help to announce allusions. Their simplicity and seeming sincerity, coupled with their fragile transport through a large field of empty white, leave an impression entirely unlike poems of an earlier era.
This is so, not least, because while the presence of vertical spelling might appear clever, or, perhaps merely cute, it makes no impression on the ear and contributes nothing to the poem’s music. These cases belong to the world of “constrained writing,” in which arbitrary structures and limits, or deletions, are imposed on the language during the act of creation. The metaphorical ‘music’ of verse structure was once indeed music.” He is not implying that the poem as heard takes precedence over or precedes, for that matter, the written poem. Note the rhyme of floor (repeated), bore, war (internal), shore—as well as the slant-rhyme “despair”—spread out over fully 13 lines. A formal predecessor to her technique can be found in “Sunlight on the Garden” by Louis MacNeice. He beats the reader half to death by repeating the words nice, nicer, or nicest no fewer than 17 times in a mere 22 lines. I feel that there is always a resolution to my poems.” His poems are not the result of chance operations, as are (at times or in part) the poems of John Cage, Jackson Mac Low, Fluxus poets, and their internet-age progeny, Flarf poets. Once a point is made, an image completed, an emotion displayed, a story told, the poem ends. It ends much as one might expect a short story to end, just at the moment when enough, but not too much, has been said. Before the age of the printing press, when writing surfaces were costly and hard to come by, verse was often written in continuous lines.
It is impossible to know what bizarre breeds of poem will be unleashed by future technologies, but, barring a wholesale return to traditional verse forms, as well as to the types of publishing technology that reigned from Gutenberg to the age of the smart phone, poems will continue to scatter, reform, and shift shape as long as poets practice their venerable, endlessly variable craft.

This fact is usually dispelled by women who dona€™t fit the mold of this with statements such as a€?you can have ANY guy you wanta€? or a€?youa€™re one to complaina€?. Hea€™s just some fat nerd cat, he has to be loadeda€?, or a€?how is she that fine and dude looks like some average frat boy?a€? Guys spew this rhetoric without thinking twice because of how we see things. It is one of the reasons they hate each other so much, ESPECIALLY if a woman has it going on. Manly guys with enough confidence and swagger to pull you without fear will be the ones approaching you.A  Now dona€™t mix these guys up with the married losers who will try to pull you for Gooma status. Still I wona€™t be the one to hate the player, the game will keep on going regardless of me telling you about the traps or not. I recently spoke to an ex of mine who is beautiful and her current guy is making a stink of her going to the gym, doing martial arts and dancing because other guys are looking at her… yes this idiot is asking her to quit life so that he can package her away from the world. Its certainly something that I have often been upset about for most of my life– always wondering what was wrong with my personality. Because to me, if I could just find one guy who considered me a nice person because of my personality, it would mean the world to me! I OVERLY am nice and will make sure I contradict any preconceived notions because of how I look. I’d get a lot of inquiries about my sex life, but became excluded from all other conversations and they quit asking me out on girls nights, parties, etc. I see it all the time with beautiful women, the wolves come out and try and get with you so you build up an immediate defense mechanism to deal with them. While in retrospect this makes no sense whatsoever being that people hardly carry on like that for those reasons, people still get violently angry when they see a beautiful woman sneering.
Believe it or not you have a step up on most of them just by being someone they overly admire, want to sleep with or hate for looking better than them. When I was younger, I was an ugly duckling and the more and more attractive I become the more complicated life gets.
I’m an introvert and while I love talking with people, making female friends is impossible. Nitrites and nitrates are not inherently bad for you—in fact, they are the precursor to nitric oxide (NO), which lowers your blood pressure and exerts mild anti-inflammatory effects. This experiment reveals the depth of children’s emotional attachment to fast food—which also shows just how effective fast food marketing is to children. Consume plenty of fresh vegetables along with it, which will further enhance its nutritional value.
You may also listen along to the author’s recordings of the essay by using the embedded audio players. One senses his exasperation as, writing the introduction to a very traditional verse romance—E.A. The age called for new techniques, but no one knew quite what the ideal free verse poem might look like.
The terms are largely interchangeable and may be used to describe poems that rely primarily on shape to provide meaning (as opposed to the more nuanced examples of graphic poems, below).
These consisted of dedications composed specifically to be incised on the objects they described. Notable examples include 16th and 17th-century cubic poems that may be read in several directions—such as cruciform poems designed to be read mirror-wise out from their centers. He coined the term “orphism” to describe a tendency toward pure abstraction, and he also published an important early essay on Cubism. Practitioners assiduously avoided literary allusion or literal shape, stripping letters of meaning, scattering punctuation in non-semantic clusters, erecting colossal letters as landscape art, and even exhibiting carp swimming in a tank with words attached to them as a supreme example of textual instability.
The movement’s name derives from a mysterious Provencal word, whose meaning remains unclear to scholars but which nonetheless appears in Ezra Pound’s Cantos. A common form of organization in free verse is syntactical parallelism (which often produces long lines referred to by David Rothman as “anaphoric versicles”). My breath is long—that’s the measure, one physical-mental inspiration of thought contained in the elastic of a breath.” The extraordinarily long lines trigger a head rush and can be held together only by repeating the descriptive “who” did this and “who” did that of the poem’s reportage. The line breaks are surely not intended as instructions for reading the poem aloud, rather serving as brakes on a car.
Further examples include palindrome-poems (poems that read the same back to front), univocalic poetry (limited to a single vowel), and lipograms (in which a letter or selection of letters is disallowed). Ashbery’s poems may at times incorporate overheard conversations and found texts,[8] but they are designed, in each case, to generate a specific effect. It thus appeared prose-like, upon first glance, though verse qualities readily surfaced when audited. This gives the beauty instant guilt resulting in the not-so-hot girl feeling better about herself and the beauty thinking there may be some truth to this. Your fellow guys will press on and on about who she is and whether you a€?blazed ita€? or not.
The attitude becomes that of a€?oh she thinks shea€™s all thata€? or a€?those are fake anywaya€?.A  The aspect of hate is not foreign to most women when it comes to beauties unless they themselves are the stunner and they know it. Women, ita€™s simple, many of us are literally afraid of a gorgeous woman telling us that we are not good enough, good looking enough and manly enough for you. But being beautiful and fed up with loneliness she’s sticking it out in hopes of him changing. Also a couple I worked with fought over a joke I made about open relationships (nothing flirty whatsoever). I have come across so many guys saying “You deserve better”, And i agree with them! Use it as your weapon, turn the curse around and be happy regardless and I guarantee you that your life will improve. Society sets beautiful women to be unsuccessful, by either making then selfish bitches or spineless victims.
Organic farms tend to provide far more sanitary conditions, so the animals are less likely to harbor dangerous pathogens. What tactics will permit a poet to lend meaningful form to a poem without recourse to established strophic, metrical patterns? Simias’ “Axe” is made up of choriambic lines that contract and then expand by one foot per line in axe shape, in order to fit on a ceremonial axe—in this case, a votive artifact housed in the temple of Athena and thought to be the instrument with which Epeius constructed the Trojan Horse. Apollinaire conveyed these new trends onto the printed page with such poems as “La Cravate et la montre,” truly a typesetter’s nightmare. As Gubbiotti explains, they made “consistent attempts at problematizing the capitalist and imperialist values conveyed by the advertising industry,” as one is meant to understand in Decio Pignatari’s 1957 poem “Beba Coca Cola,” one of the most famous concrete poems.
Mimicking repetitions common to ancient Hebraic prosody, it establishes a pattern that may continue over the course of a long poem. If the poem were read by Victorian standards, its speaker would sound like a drunken William Shatner. I am not aware of any poems written with such constraints that also achieve lasting artistic effects, though I remain hopeful that an example may emerge. The problem with this myth however is that a typical guy will be intimidated to make first contact and if the beauty pushes up she will be instantly placed into the slut category. See in our society, this site as an example, we worship beautiful people, some of us try to join them in their beauty through all sorts of healthy and unhealthy methods and some try to conquer them. Many times a guy who gets in with a beauty will literally be waiting for bitch mode to reveal itself and if he isna€™t that type then his friends probably are. When we see a guy that has a banger on his arm it turns into her being either a gold digger or a lunatic. If you want to test your girl on this, just ask her what she thinks of Giada De Laurentiis, hell you can go on any Food Network relative blog commentary and read their thoughts on Giada.
I see it all the time, dude gets married to average looking, supportive chick then runs out as many fine women as he can on the side because the fear factor is nil.
Many guys will step to you expecting you to go into bitch mode and when you dona€™t then they will assume that you open your legs a whole lot. Well instead of turning into a basket case, I will learn not to take what other women say about me to heart, and to be more guarded with men– at least I will be able to quickly weed out the losers!
I deserve a man who is proud to be with me and isnt feeling like a juvenile about the fact that i chose him ! Us guys are attracted to happiness and positivity in a woman, it’s a magnet that we can barely resist. There are some guys out there that are as tired of the games and power movements as much as you are. I will, however, call BS about having normal, single guys outright refuse to have sex with you.
A  Thank you to all the racers, participants, sponsors and volunteers that have made this a fun event.
Much like a crossword puzzle, this characteristically permutational poem can be read in a number of different directions.
In Apollinaire, one reads poems about a necktie and a pocket watch formed on the page as those very items. This method may be used to build a theme, amplify a sensation, or mint ironic juxtapositions, but most importantly it creates form in the absence of meter. Consider Ogden Nash, whose epigrammatic style, even in his longer poems, relies on extraordinarily strong, whole rhymes. A magnificently designed acoustic entity, relying not at all on regular rhyme or meter, such a poem is a marvel, and hard to surpass. Readers thrill to the unpredictable qualities of the poems, the semantic back-flips, funhouse wordplay, and rhetorical barrel rolls.
For a seasoned wolf, the beauty will be tried because the wolf knows more often than none a beauty will be single. Since this form of worship makes porcelain dolls and marble statues in our minds of a stunning beauty, whenever we encounter one many of us react strangely. If I had a nickel for every time Ia€™ve heard a guy say that pretty girls are psycho, I would have a couple hundred dollars from that statement alone.
Rarely do we congratulate a fellow male who is happy with his beautiful wife, unless dude is a living specimen. The confident women will prop her cooking and scoff at her low cut dresses but the other 98% will say her head is big, her mouth is too big or refer negatively to her breasts.
We used to all share food and one of the girls made a snide remark about not wanting to eat after me, as if I wasn’t even there. If you are beaming and beautiful even a shy good guy will not be able to help bumbling over to you and telling you how wonderful you look. You will need to wade through sh-t to find gold, but don’t turn us all away on a whim. Ashbery’s poems twist and turn, defying obvious logic and conclusions, varying line length with feverish enjambment, screeching to a halt in unusual places.
This type of poem illustrates the prevailing variety of free-verse poetry over the past few decades; it characterizes a departure from poetry that aspires to the purely aural or visual. Let a Denzel Washington, a Michael Jai White or a Jason Statham that is built like a linebacker roll out with the beauty on his arm and dudes dona€™t have jack to say. I apologize for the cowardly section of the man race and I encourage you to find someone who can appreciate your beauty while treating you like a human being. We wait for big, hammering rhymes as we might anticipate the closing of a musical passage, as in “More About People” (note the double-word rhymes). This strain is not experimental according to any avant-garde logic, nor is it, strictly speaking, what one might consider traditional (although one could argue that it has become the new tradition in many respects). The stigma presents itself in books, movies and tales of woe from friends who have found a crazy beauty.
It is our view that only a manly, man amongst men, alpha dog, stud deserves to have a beautiful woman.
Anything else gets hated on, which is quite funny since more times than none the guy hating would never, ever in 100 years step to that woman to ask her out. People think that im stupid because I chose to ignore things and act like they don’t happen. And if you happen to be above average intelligence with a slightly dark and melancholy side you think yourself into a black hole of loneliness.
It’s very sad, men are measured by money and womens main value, on what seems like a sliding scale, is placed on their looks. Don’t be like everyone else and support societies habit of making them only identify with physical appearance.

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  • WAHARIZADA, 03.09.2015 at 19:15:22

    Create and develop this save relationships.
  • Aftaritetka, 03.09.2015 at 21:56:11

    Offer her commitment, don't try any other.
  • Jale, 03.09.2015 at 20:21:34

    Him how good it was to get to know.