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From the well-known to the semi-forgotten, the literary isms of the early- to mid-20th century — from Dadaism to Surrealism to Imagism to Vorticism to Futurism to Objectivism — set a subsidiary classification template for all subsequent generations of writers. As each ism elucidated, the importance of delineating one's work from the work of one's contemporaries was paramount in terms of attention and accolade. Further, grouping with and against other writers was arguably as integral as the creation of the work itself. Simply, isms provided an immediate context of sorts for the 20th-century reader. In the end it little mattered, then, if said context was sanctioned by the writer herself; Ezra Pound and Amy Lowell famously had very different ideas about what Imagism was or could be, and yet both writers are probably read more today because of their enrollment in the school. Let's be honest — whether one agrees with their inclusion or not, being a recognizable member of a literary school provides its participant with an attention and focus that the isolated outsider is rarely able to easily obtain. As Too $hort put it, get in where you fit in — and hopefully you do fit in somewhere.
Building off the ism heyday, late-20th and early-21st-century writers group themselves in similar ways — but there is a significant difference from their Modernist counterparts. For contemporary writers at least, the concept of "The New" seems to be one that needs parading. The New Sincerity. The New Brutalism. The New Narrative. Predating those examples a bit yet of a similar designation-based ilk, Ron Silliman's concept of The New Sentence. There are poetry reading series' entitled The New Privacy — what's private is public too now, right? — and post-9/11 poems entitled "The New Intelligence" — after that atrocity, who we are and how we exist has fundamentally changed, evolved. (If one were so inclined, echoes of Virginia Woolf's famous "On or about December 1910 human character changed" Modernist declaration might be proffered.) Further, regardless of the specific aesthetics of each group, the underlying onus seems to be that day in, day out, the world and its components are new and essentializing that fact is worth doing. The proverbial shock of the new seems to never grow old.
Perhaps it's inconsequential, then, that the group of writers most commonly known for their sincerity actually characterized and defined themselves by a different name and set of artistic standards, or that, unto a specific group with specific notions about literature, the New Brutalist contingent of writers (of which there are different British and American factions) seem to be inordinately varied. Circa 2016, that single syllable, those three letters — the first proudly capitalized — is all that need be touted and with so many (wildly different) writers writing so much (wildly different) work, being part of a group nowadays is just as important as the beliefs that group espouses and/or repudiates. (In this sense it is no different than the ism-obsessed 20th century.) Get in where you fit in indeed.
In such a spirit of exclusionary inclusion, then, I'd propose conglomerating a group of writers I'd call the Nu-Audacists, ones whose central tenets, as I see them, are as brazen and arguably repugnant as they are nuanced or refined. For the poets of the Nu-Audacity do not believe in Poetry or at least not in the way that many of their contemporaries seem to believe in it. Their work displays an innate awareness to the shrill absurdity of modern life — but they are nevertheless not inured to such absurdity or hardened by it. The Nu-Audacists are largely uninterested in academia or assistant professor, tenure-track academic life. They are post-Internet, meaning that although they often utilize the World Wide Web's myriad lurings they rarely feel the need to comment on that reality; e-poetry is poetry is Twitter. Broadly and luridly, they believe sex exists. Further, their work is not funny or whimsical; they do not affect poetic "poses" like "sincere" or "confessional" beyond those that they are seemingly unconscious of or uncaring about. For mothers the Nu-Audacity school has Eileen Myles, Alice Notley, and Anne Waldman; for fathers Bill Knott, C.A. Conrad, and John Wieners. Their great-uncles are Frank O'Hara and Kenneth Koch on Saturday night, talking excitedly after the movie before O'Hara goes to the bar and Koch goes home to his wife; their great-grandparents Antonin Artaud and Mina Loy. Finally and most importantly, many of the writers in the Nu-Audacity school would no doubt protest their inclusion in the group. To varying degrees, most are willful outsiders. They neither want nor need my or anyone else's collectivist-inspired help. And that's the point — by refusing to conform in a way that so much of contemporary poetry insists on, they stake their own defiant place in the game. And for the Nu-Audacists poetry is very much a game. Any consideration of getting down on one's knees and praying to the Muse would be laughed at, scorned. After all, they're just words, always, little and big, short and long. Besides those poets discussed below, I include among this group figures as disparate as Morgan Parker and Brandon Downing, Ben Fama and Saeed Jones, Sarah Jean Alexander and Danez Smith, Timothy Liu and Sara Sutterlin.
(Why "Nu"? It's a valid question. Mostly because, as seen above, there never actually was a closely-cohered school of quote unquote Sincere or Narrative writers; such rigid designations are imaginary. Calling something New when its antecedent never actually existed in the first place is forever ironic and the school of Nu-Audacity exists within a similar deception — every worthwhile writer is audacious in some fundamental way and the term thus embraces its redundant nature while simultaneously refuting it. Additionally, most things that begin with the prefix Nu, like Nu-Metal — think Korn, Limp Bizkit, and Linkin Park — roundly suck and such a premise would, I think, hold audacious hilarity for certain Nu-Audacity members.)
Roundly emblematic of the various Nu-Audacity attributes are Joshua Ware's second and third collections Vargtimmen / Unwanted Invention (2015). Per the publisher's press release, as an artifact Vargtimmen / Unwanted Invention is a tệte-bệche, which sounds fancy and (is) French. All that really means, however, is that the book is two books; turn the 69-page Unwanted Invention upside down and you're faced with the 67-paged Vargtimmen. That, certainly, is a lot of poetry to foist on any reader; in this respect it's much like Eileen Myles's 2012 tệte-bệche Snowflake/ different streets. (In Vargtimmen Ware references this fact via the poem "Snowflakes Et Al.") The major difference, of course, is where Myles, aged 67 and the recipient of a Guggenheim Fellowship, among other accolades, is to many poetry readers a living legend of a sort, one who possesses the necessary readership to publish two collections in a single artifact, Ware is at the beginning of his career. It thus takes a certain panache to assume the interest in Ware's work is there to warrant publishing so much of it in one solidified volume. (Warranted or not, this confidence isn't unique to Ware. Other recent multiple-collections-in-one books by younger poets include Dan Hoy's The Deathbed Editions and Sampson Starkweather's The First 4 Books of Sampson Starkweather. It's worth mentioning, perhaps, that other than Myles I personally am unaware of, young or old, any women who have recently published such weighty non-collected or selected volumes.)
Nevertheless, the work in Vargtimmen / Unwanted Invention does hold its place, and, in droves, many of the aforementioned Nu-Audacity traits are prominently displayed. "Out of the Dimly Remembered Whole," the first poem in Unwanted Invention, begins:
fragments of a mustache spruce your upper lip
shirt unbuttoned mid-torso, suggesting amateur gay porn
or an all-day fuckfest at a seedy bathhouse in NYC
its lone entrance tucked back in an alleyway behind a green recycling dumpster
Most days no one cobbles together Wyatt and Surrey
To write contemporary poems; instead, we pick-and-choose from whatever
our search engines offer us. I want to redeem an obsolete style
in an effort to create a new history that begins and ends
with the memory of something that never existed
It's what we'll call an aesthetic of unwanted invention
For another poet a mustache might merely be hair on an upper lip, a "shirt unbuttoned mid-torso" simply designating the hotness of the weather, but for Ware both circumstances are steamily lascivious; they are rabbit holes that surface on "amateur gay porn/ or an all-day fuckfest at a seedy bathhouse…" From that opening "Out of the Dimly Remembered Whole's" speaker makes clear their poetic composition method and its hopeful intent. These days reading and studying the work of Henry Howard, Earl of Surrey and Sir Thomas Wyatt—both 16th-century English poets, the latter of whom is credited with introducing the sonnet form into English –is beyond passé, near useless. Why do that when it's far easier to "pick-and-choose from whatever/ our search engines offer us?" Because in the end, anyway, what will be eventually created will matter only in the way that nostalgia matters, as something that involves "the memory of something that never existed/ It's what we'll call an aesthetic of unwanted invention." Poetry is thusly an "unwanted invention" of the sort that, unbidden, invades the speaker's life. But that doesn't necessarily mean poetry or the poetic matters, at least not in the way it once did. It's also worth noting that both the Wyatt and Surrey references are contained in the volume's epigraph, one by John Ashbery. It reads:
And one is left sitting in the yard
To try to write poetry
Using what Wyatt and Surrey left around,
Took up and put down again
Like so much gorgeous raw material,
As though it would always happen in some way
But where the speaker of Ashbery's work seems optimistic with regards to poetry's province and shelf-life elasticity — "…so much gorgeous raw material…it would always happen in some way" — "Out of the Dimly Remembered Whole's" speaker is anything but. Ware's poem ends with the following lines:
…We wait and wait and wait and wait
and, while waiting, cry for that which we left behind
until we cry simply for the sake of crying
and the comfort habitual behavior affords us
In all reality, nothing changes
as drastically as we would like to believe
On the horizon, a dense mist hangs above the churlish sea
an infinite occurrence spelling wonder every time
"In all reality, nothing changes/ as drastically as we would like to believe" and this includes the reality of poetry. For a poet of the Nu-Audacity like Ware, no savior will be found via the imaginative word, no substitute for God or Satan, mother or father, gold or glitter. In "Kenneth Koch Is Dead," a later poem in Unwanted Invention, the assertion is made that "The poetry bubble burst/ shortly after Pindar; since then no one's really given a fuck" and this playful yet ceaseless fatalism is a central Nu-Audacist tenet. Further reference here can be seen via the entirety of "Prefaces" from Chelsey Minnis's collection Bad Bad (2007) which, among (many) others, includes gold stars such as "Poetry is for crap since there's no money or fast cars in it" and "A poet is not to be praised for anything/ If I write something then let me be killed." Still more "unwanted invention" cynicism resides in the stanzas "I mean I love meaning but I hate words I like sounds/ I used to like words but now I hate them because I love them without reciprocity which means with every day I love them more and more because of hate," taken from Laura Solomon's "French Sentences" (contained in her 2011 collection The Hermit) and, found in her 2013 volume Dear Jenny, We Are All Find, the entirety of Jenny Zhang's "Ya Done Cunt," wherein, riffing in both the first and second persons, the poem's speaker's denigrates the way others write poetry, the way she herself possibly writes poetry and the vapid pseudo-profundity otherwise known as Poetry:
she doesn't like the way you write
it's pretentious
I know it is
that was her talking as you
Yah, she's annoying
that was me talking as me
about her
For the Nu-Audacists, being a poet is nothing to celebrate, at least not in any conventional sense. It's neither an exalted vocation nor a divine calling. For those in academia it's simply the means of (hopefully) getting tenure and outside those moldy ivory towers it's merely a game, one that isn't — or shouldn't — be taken all that seriously. The fact that "[p]oetry is for crap," that its "bubble burst" shortly after the heraldic utterances of the 5th-century Grecian lyric poet Pindar and since then "no one's really given a fuck" isn't cause for lamentation or grieving, though. Instead, it's something to celebrate. The Nu-Audacity school reserves as sacred that which the academy — or at least those in the "professional" poetry world — disdain or revile. In Minnis's Bad Bad an "Anti Vitae" is even included; entries include:
Poems rejected by Paris Review, Poetry Magazine, The New Yorker, New American Writing, Fine Madness, Black Warrior Review, etc.
Sit outside local bar and flash cigarette lighter at firefly.
Intensely disliked by older female fiction writer.
Told that poetry is "loose" by future poet laureate
Commitment to waitressing questioned.
Don't receive NEA grant.
Fail to send any new work to literary magazines. Not published in any magazines.
This is an "Anti Vitae" in name only, however; upon subsequent inspection it reads more like a humblebrag. And Minnis's contention is clear — poets shouldn't be overly concerned with where they publish or how much; what grants they do or do not receive; even the social and artistic perception of their persons by more established literary figures. Beyond all matters of status or livelihood, they should be preoccupied with writing poems, i.e. playing with words, canoodling with nouns, verbs and syllables. Because ultimately the more one professes to hate what they do the more it's made clear how invested they are in the doing. (Hatred, of course, implies passion, concern, care. But never indifference.)
Featured in Vargtimmen, in the fifth section of his poem "Satanic Intervals" Ware too, like Minnis, articulates the social and market-based forces that seem to shape so much of contemporary poetry, writing:
A poem about money is merely an act of finding
what will suffice in the mouths of a creation that
has escaped its maker. By which I mean
"Satanic Intervals'" speaker later pointedly asks, "Where is the money in all of this?/ & why am I so poor?//The poem is merely a substitute for emotions not becoming of everyday speech. Nothing will suffice./ Everything outside of me is insatiable." On the transparent face of things most "emotions not becoming of everyday speech" rarely involve money or prestige. Instead, they're relegated to the fringe side of the street, where creative freedom exists but filthy lucre does not. To trot out an overused saw for the billionth time, "[p]oetry makes nothing happen" and for the school of Nu-Audacity that's the point — it shouldn't have to. It's only when writing poems begets economic opportunities and social climbing and clout that poeming goes wrong. Or as Jenny Zhang writes in "Being jealous for the first time today since I woke up one milliseconds ago," "this is a poet's poem/written by a degenerate/ illiterate/literal/piece of crap." Every poet, however, should aspire to such illiteracy and crappiness; it's the only way to know for certain that the reasoning behind what you're doing is true, pure. And in our personal brand and self-promotion-obsessed culture that purity is truly audacious.
If the Nu-Audacists aren't interested in climbing the corporate-academic poetry ladder or proselytizing about the glorious aims and scopes of their art, what are they interested in? The internet and sex, mostly. The former topic, then, they take as something that is as integral to writing poetry in the 21st century as paper was to every previous century. Its ramifications and merits need not be discussed — they simply are. And the latter reads simultaneously boisterous and clinical; lusty yet distant. In the words of the speaker of Mira Gonzalez's poem "the main purpose of the heart is to make heart sounds," as featured in her 2013 book i will never be beautiful enough to make us beautiful together:
the next time you are driving your car
you will think about that day we had sex in my dad's bed
when the bright sun was shining on us through the white curtains
and we felt comforted by the inevitably of death
Our digitally-enhanced Information Age is one that obfuscates artistic distinction and the two youngest poets of the Nu-Audacist School, Steve Roggenbuck (b.1987; 18.1K Twitter followers) and Mira Gonzalez (b. 1992; 23K Twitter followers), are paradigms for such expansiveness. For Roggenbuck and Gonzalez, poems can be tweets or YouTube videos; they need not exist on the physical page and if they do they certainly need not be published via any traditional means. Circa 2016 none of this might seem particularly audacious — and yet even today a substantial portion of literary publishing houses and magazines use their online presence as merely a way of touting what they have created in-print. They often tweet and post excerpts from their latest print issues; they host a (sporadically updated) blog featuring a medley of literary-craft based essays and occasionally new literally work. Yet for these outlets there is a wide divide between what they physically and virtually create; different submission processes for print and online publications and different standards for print and online publications. The prevailing cultural sentiment is still that a YouTube video cannot be a form of poetry, nor can a tweet; e-books are less substantive than actual physical artifacts. In essence much of our current literary climate believes, even now, that print is king, and that publishing a dead-tree based book is what every self-respecting writer should aspire to achieve.
Recent surveys have shown, however, that certain (younger) members of (1st world) society would rather have a smartphone or computer with a steady internet connection than a car. Meaning for so called millennials, aka the Internet Generation, physical transportation is less important than virtual. And although survey participants were not asked about their predilection for reading or viewing literature on the internet as compared to procuring it from a brick-and-mortal library or bookstore, one can't help but think that favor would land in the Internet-sourced technological realm rather than its IRL binary.
Being destroyers of artistic distinction, however, Roggenbuck and Gonzalez would find the above Internet vs. print meanderings meaningless, moot, as for both writers there's no such thing as "Internet poetry" or "e-poetry;" there's only poetry. Or, thinking about it another way, Internet poetry exists in the same way as, say, pastoral poetry exists or poetry of witness; each holds a separate but equal stake unto a broader umbrella. Firmly ensconced in the digital present, Roggenbuck and Gonzalez's work has little time for the wrinkled arguments of the past. "make something beautiful before you are dead" is the title of Roggenbuck's most viewed YouTube poem and one much talked about. It largely consists of him yelling at a self-held camera (more likely his iPhone) while orchestral-by-way-of-electronica music ebbs, arcs and crescendos in the background. "make something beautiful…" features lines as varied as:
Two words, jackass: Dog the Bounty Hunter
Back in my grandfather's day they didn't have YOLO. We have YOLO! We have to harness this gift.
I love hugging. I love hugging people. I love stars.
Rain is beautiful! Grass is beautiful! Cows are beautiful! Maybe you should stand in the rain. Maybe you should stand in the rain. You're alive right now! You're alive right now! I love the world.
In the middle of "make something beautiful…" there's also, fittingly, a collaged video excerpt from the yet-still relevant film Dead Poets Society. In it Robin Williams (as the prep school teacher John Keating) illuminates his students to the fact that "…You are here. That life exists. And identity. That the power for play goes on and you may contribute a verse." Older viewers might find Keating's earnestness here maudlin or overwrought but for Roggenbuck it is something to savor and expound into. Because 27 years after the movie's release life and identity do still exist; the power for play still does rollick on and so many of us still do hope to contribute a verse to it.
Other Roggenbuck YouTube videos are in a similar vein as "make something beautiful…;" they are over the top and irreverent; high-energy and enigmatic. Combining stream-of-consciousness riffing, overt sentiment and juxtaposed video footage of both Roggenbuck and others reading their work, some videos are more successful than others. But the best of them are mysteriously gripping and grippingly mysterious in the same way that, for instance, Weldon Kee's "For My Daughter" is, or Hilda Morley's "Sea-Map."
In addition to his video and social media work, Roggenbuck writes "regular" print-based poetry collections and he's also a relentless reader and tourer of his work. (Which isn't to say he much believes in traditional poetry publication ordinances and processes; a Roggenbuck Tweet from July 5, 2016 states, "i support my individual friends who r poets but i generally do not feel that the small press poetry world is worthy of their attention/labor. for example i think ppl who put much of their writing directly on Twitt (@postcrunk @yunawinter) r making a more exciting impact… even books could still be great..but theres just so many stagnant tropes in poet land. we gota be free.") But it's Roggenbuck's electronic presences that have gained him the most attention, both positive and negative. And just like the other Nu-Audacists the author of "make something beautiful…" simply doesn't believe in Poetry — or at least not the kind that doesn't take into account the fact that the century we live in today is vastly different than every previous one. For Roggenbuck being a poet in 2016 means availing himself of all possible technological stimuli; it's the only way he's able to fully inhabit his poetic sense of self. Twitter and YouTube aren't, poetically or otherwise, things to scoff at. Instead, they're fertile sources of creative abundance.
Mira Gonzalez's latest volume is a shared collection with the poet and novelist Tao Lin. It's entitled Selected Tweets and, unsurprisingly, the book wholly consists of selected tweets by Gonzalez and Lin. For a lot of contemporary writers this could be an aesthetic defiance of some fashion, but in her post-internet era Gonzalez rightly views Twitter as an artistic norm rather than an outlier. As she stated in a 2015 interview conducted with the magazine The Fader, "…this book shows how Twitter, and by extension the internet as a whole, is an undeniably valid platform for creative expression. No matter how trivial Twitter might become, the internet is now, and I'm confident it will continue to be, a place for people to display their writing in whatever form that may be. Anyone in your MFA program who is denying that now will probably feel really stupid in 10 years." Gonzalez later goes on to assert in the interview "…I absolutely view Twitter as an equally valid platform as poetry or prose or fiction. With this book, I hope to show people that there really isn't any difference in value between poetry and Twitter, the same way you wouldn't say poetry is more or less valuable than a short story."
We live in the world of now, a now where on average each American citizen checks her phone 46 times a day. (Or even more often, depending on one's age group.) And what is regularly being checked are websites likes Twitter. Across the cultural spectrum it provides entertainment, art and information in concise, bite-size increments. Readers are found on Twitter and, by virtue of the existence and acclaim of Lin and Gonzalez's book, eager readers at that. On the face of it, then, her 23,000 followers might not call Gonzalez's Twitter feed poetry exactly — but she herself does and that's enough.
Gonzalez's Twitter account is where most people access her writing, but it's her first book of poetry, i will never be beautiful enough to make us beautiful together, that initially gained her literary-based prominence. Like the other members of the Nu-Audacity school, the speakers of many of Gonzalez's poems are alienated by others and vaguely nauseated by themselves; victim of so many "unwanted inventions" that each must now attempt to make whole, wanted. A typical poem in i will never be beautiful enough to make us beautiful together deals with matters of isolation and profound anxiety. "ryan gosling," the second poem in the book, reads:
I am becoming hostile and unsympathetic
social interaction makes me feel tired and irritated
I have alienated myself
I don't have meaningful relationships
I don't have romantic relationships
I read a lot of depressing books
I like being alone
I am a bland person
I am an afterthought
I am a bag of unsalted pretzels
I don't know
I am constantly reaching towards some nebulous goal
I am not a mean person
I am not a bad person
I am only okay
Like the speakers of Minnis' "Prefaces" and "Anti-Vitae" and Zhang's "Being jealous for the first time today since I woke up one milliseconds ago," the self-loathing here is near suffocatingly thick. And is it of a confessional bent? An absurdist one? Suicidal? The "voice" of many of Gonzalez's poem is so deadpan as to be crippling, and yet it also stings uniformly true. The vast majority of the world's 7+ billion citizens are "only okay;" many of those citizens are also "constantly reaching towards some nebulous goal" that is largely devoid of substantive how's and why's. This, of course, makes us want it to achieve said goal — whatever or whomever it is — all the more. Gonzalez' poetry has been accused of being "a paragon of flat writing," containing an "ambivalence toward emotion." More specifically, "Gonzalez's desire to not have a feeling is leaky and uncontained. She attempts to write about the leakiness in an affectless way, trying to use tone and form of the poem to contain the shame of having a feeling. But the poem is itself a leaky vessel, inadequate to the containment or flattening of those messy feelings."
Certainly the work in i will never be beautiful enough to make us beautiful together refuses to console its reader in any accommodative way. When, in "mcsweeney's caused global warming," Gonzalez ends the poem with the line "I am concentrating on becoming 40mg of adderall right now," she plays into a certain disaffected, apathetic, ostensibly "neutral" millennial stereotype, one very much focused on the singular syllable "I" and no one and nothing else. At the same time, however, Gonzalez's poetry is deeply attuned to the fact that it is only during moments of extreme emotionality that we're rendered "speechless." The best poems in i will never be beautiful enough to make us beautiful together exist within an interstice of exasperation and exhalation. They are grandly luminous in their naiveté, repeatedly. In "symbolic interactionism" Gonzalez writes:
and we will understand that the phrase 'alone together' is not an
oxymoron anymore
and I will resolve to never be happy enough to forgive you
and I promise that from now on I will only have emotions that can be
perceived as neutral
I wonder how it is possible that there are billions of people in the world
yet I am the only person on the planet
Here, the speaker of the poem is not an inhibited bystander but an astronaut of unfathomable capacity. During certain moments of great joy or despair all of us (consciously or unconsciously) contemplate "how it is possible that there are billions of people in the world" and yet our own indefatigable I is "the only person on the planet." Certain excesses of self necessitate survival mechanisms that solely deal in neutrality and sterile isolation. Without acknowledging and commenting on one's flatness of character — "I will only have emotions that can be/ perceived as neutral" — one will never be able to move constructively forward as a living, breathing human creature. ("I am neutral of love and neutral of death" writes Chelsey Minnis in her poem "F-Lute.") Multi-dynamic and impossibly nuanced, our self is always, of course, our selves and Gonzalez's best poems strive to negotiate the terms and conditions with which one must accept the malleability of being from mood to mood, minute to minute. Her poetry is a "leaky vessel" only in the sense that humanity itself is a leaky vessel—and that reality is something we'll have to make a frail peace with until we grow up and die.
The speakers of many of Gonzalez's poems in i will never be beautiful enough to make us beautiful together don't know how or if to feel, what they truly want — but they do know what they're interested in. And, baldly, that is sex. So when, in "heartbroken people with extreme personality flaws," Gonzalez writes, "I want to feel orgasms in the tip of my nose and the back of my ear/ in the cartilage between the vertebrae that make up my spinal column" the feeling is not exclusive to "heartbroken's…" speaker. Being largely concerned with the present era the school of Nu-Audacity is the school of sex tapes and "comefarts"; transparent sexual practices and liking to watch themselves liking to watch. They are unabashedly sex-positive in a way that is poetically refreshing. In this lack of sexual subterfuge they harken back to their poetic mothers and fathers. Eileen Myles's "I always put my lover's cunt/ on the crest/ of a wave/ like a flag/ that I can/ pledge my/ allegiance/ to. This is my/ country" ("I always put my pussy") and John Wieners's "I spit him out on the floor/ Immensely relieved/ After ejaculating/ Imagining myself up my lover's ass/ he coming by himself" ("The Loneliness"). Frank O'Hara's "You are Gorgeous and I'm Coming" and, excerpted from her Feminist Manifesto, Mina Loy's "The fictitious value of a woman as identified with her physical purity — is too easy to stand by…therefore the first self-enforced law for the female sex…would be the unconditional surgical destruction of virginity through-out the female population at puberty." Like those writers, the school of Nu-Audacity refuses to feel sexually ashamed and they further feel an obligation to impart the virtues of sexual freedom and curiosity to their readers.
One of the central themes of Ware's Unwanted Invention is sex's illusory nature and how the act is both ethereal and all too real. In his poem "Imaginary Portraits" he writes, "Bent over the end of a wood-paneled partition/ and wearing nothing/ but a pair of red cowboy boots…you cannot help but look at ourselves in the mirror/ when singular becomes plural/ and everything is/ double of what is double/ already: naked bodies entwining/ imaginary into real." And in "Portrait" nine short pages later the red cowboy boots appear once again—but this time they are less a sexual document than a poetic one:
In a portrait
you wear the red cowboy boots
with intricate white-threaded designs
stitched into their sides
that I fucked you in
during a poem written weeks ago
in Nebraska. In a portrait
you wait for me, as I wait for you
while I write this poem
so we can fuck at noon
in a friend's apartment.
In this case the poetic reality for the speaker of "Portrait" is also a sexual one; "I fucked you in…a poem written weeks ago" and "imaginary into real" both encounters are given the same weight. The difference between "making love" and just plain "fucking" also comes into play in "Portrait" — its ending lines read "In a portrait/ I document our love. In another portrait/ you document our love. In these portraits/ our twenty-first century digital urns/ we will live forever"– but the emphasis is on the physical act as much as it is on the romantic implications that are so often tied to it. Fucking can be making love and fucking can be fucking and the school of Nu-Audacity bears witness to both realities. "I show you my virtue when I come farting" is the opening line of Jenny Zhang's "Comefarts;" midway through the poem the speaker imparts "I was wet because I was wet…I was wet and you didn't notice it on your leg…I was wet and in my dreams I was wet/ I was wet and asked a stranger to jerk off onto my face." Virtue is being honest with one's lover about sexual habits, predilections and desires, coupled with a staunch refusal to mask the sexness of sex, its inherent fucking.
For Minnis and Roggenbuck, then, this circumstance is one of professional and personal bemusement. "…poetry//is a suck & fuck//there is a smell of horseshit//and it is so vulture//like you should jack it all off//like adjunct//and lick it up//for nothing like a stipend $" asserts the speaker of Minnis' "Don't Do It Some More." Sardonic and satiric, "Don't Do It Some More" again offers the valuelessness of academia-tainted poetry, but here a sexual element also pervades. Sure, the "suck and fuck" of poetry legitimately wretches, but it nevertheless is still worth engaging in and writing towards. As Minnis writes in Bad Bad's "Preface 65," "I can fail to be loved but I can't fail to write this." And even if a desire to fail exists — to scream to hell with it, "jack it all off// like adjunct//and lick it up// for nothing…" — that desire will be subverted by some innate poetic steadfast, steadlong.
Unto Steve Roggenbuck's scope sexual activity is, like his poetry, playful, mischievous. Although his work is not transparently sexual in the same manner as the other Nu-Audacists, sex still plays a role, albeit one that is less erotic than exhibitionist. From his video "why i own a backhoe": "sometimes I put things up my asshole. I'm like, that hurts in there. But then I just let it sit there for a little longer and…it starts to not hurt." In order for pain to be felt, though, one must possess a willingness to put "it" up there in the first place—and having done so gratification, either poetical or sexual, might soon follow.
Finally, as touched on earlier many of the speakers of Mira Gonzalez's poems in i will never be beautiful enough to make us beautiful together are fervently sex-positive; in this respect her work refreshes in the same manner as does that of Ware and Zhang does. Throughout i will never be beautiful… sex is mentioned in a variety of different ways — sorrowful and orgasmic, sometimes in the same poem — but noteworthy is the fact that Gonzalez's speakers always couch the sexual as liberating. To be alive is to want to have sex and that want is powerful and seductive. Coitus in Gonzalez's poems can be masochistic; in "induced-compliance paradigm" her speaker states, "I enjoy being bitten during sex/ because of the causal connection/ between the act of biting and/ the feeling of being bitten" and the flat assertion "starving to death during sex is something I would like to do this week" is the final line of "this friday I woke up at 2 pm." Yet elsewhere in i will never be beautiful enough to make us beautiful together sex is investigative, poetically so. See the sly euphoria of the previously noted "I want to feel orgasms in the tip of my nose and the back of my ear/ in the cartilage between the vertebrae that make up my spinal column" and, taken from "mcsweeney's caused global warming," the lines:
I am going to consume your entire body
by lying down on top of you and breathing very hard
and we will feel alienated by way of osmosis
would you please push your head against my head
until we can mutually confirm our place in the universe
did you know that I can only have an orgasm
when I am lying down on my back
also I have never seen snow
The sex isn't always good in Gonzalez's poetry, certainly. (In fact it's often quite bad.) But even that failing is candidly, assertively discussed, sans moral judgments or antiquated male or female stereotypes. Sex is in your face in Gonzalez's work because the same holds true in contemporary culture and to hide that fact or be ashamed by it designates a refusal of self, artistically, culturally, personally. And as Joshua Ware's "Imaginary Portrait" puts it, "All that is new/ transforms into the marks of misguided lovers/ shaping themselves/ into another season's aesthetic rituals/ to prolong the poem/ within sex sweat of bodies/ and the breath of wine-socked mouths." Under perfect circumstances sex is new every single we time we do it and the same holds true for the writing of poems — the best poets write their first poems every time they sit down. In their most successful works the school of Nu-Audacity elucidates that phenomenon.
Recently appearing on the popular podcast Another Round with Heben & Tracy, Jenny Zhang read her poem "I Would Have No Pubes If I Were Truly In Love," one that features lines such as:
I think fucking is P in V but later
my mom tells me there's more
Is p pussy and v vagina, I say
You must try everything, she says
I say it too always striving
to be someone's mirror
everyone tells me I am my mother's mother
both of us were born with curly pubes
Discussing her work later in the show, one of the hosts asks about "intimacy" in Zhang's writing, specifically if vis-à-vis her family's reading of her work she ever feels bashful or "vulgar." Zhang's response is telling. In part, she states that, "Being shameless is kind of important [to me] because…as a woman of color in this world I'm constantly being told that I should be ashamed, like I should have some shame, I should…accept how other people see me as like someone who's not much, who's not worth much." Not everyone in the school of Nu-Audacity is a person of color. But all of the school's members do represent sex — in all its lurid, vigorous and ultimately positive, affirming and healthy actualities — in a way that suitably represents our current cultural climate; no matter's one's personal tastes or proclivities, sexual openness, honesty and transparency are paramount. The Nu-Audacists know that vague metaphors and similes are sometimes just lazy, especially when it comes to sex, when it comes to fucking. Better to name and, having named, empowered. If only every poet, then, could be similarly audacious.
Reviewing Susan Wheeler's book Smokes in Boston Review all the way back in the netherera of 1998, Stephen Burt introduced the world to a school of poetry he dubbed Ellipticism; gaining prominent advocates and naysayers, it proved to be greatly influential. (The name comes from the grammatical ellipsis, the omission of an unnecessary connection or connections within a sentence.) To Burt's way of thinking the Elliptical poets sought to "manifest a person-who speaks the poem and reflects the poet-while using all the verbal gizmos developed over the last few decades to undermine the coherence of speaking selves. They are post-avant-gardist, or post-"postmodern": they have read (most of them) Stein's heirs, and the "language writers," and have chosen to do otherwise. Elliptical poems shift drastically between low (or slangy) and high (or naively "poetic") diction. Some are lists of phrases beginning "I am an X, I am a Y." Ellipticism's favorite established poets are Emily Dickinson, John Berryman, Ashbery, and/or W.H. Auden…The poets tell almost-stories, or almost-obscured ones. They are sardonic, angered, defensively difficult, or desperate; they want to entertain as thoroughly as, but not to resemble, television."
Subsequently expanded on by Burt in his essay "The Elliptical Poets" in an Elliptical-focused issue of the journal American Letters & Commentary in 1999, Ellipticism got a great swathe of attention in the late 90's and early 00's poetry world. In Burt's own words, taken from his 2004 essay "Close Calls With Nonsense:"
Some of the feedback I got was jazzily positive, even thankful. Some of the feedback was negative but attentive: readers pointed out (as my essay acknowledged) that some of the poets I grouped together were hardly friends, and that the books which founded the putative school had come out years apart. Outweighing both the supporters and the disputants, however, were the curious: students who planned term papers on the Ellipticals, academics who wanted to hear more about it, poets who wondered if they belonged in the school…I'm not sorry that I wrote "The Elliptical Poets": if it created new readers for Mark Levine, or [Lucie] Brock-Broido, or [C.D.] Wright, it did what I meant it to do.
(In 2009 Burt introduced his vision for a post-Elliptical world, discussing the terse, epigrammatic lyricism he saw as poetically in-vogue in his essay "The New Thing.")
I hash all this up now for several reasons, the first being the similarities and differences I see between the Elliptical and Nu-Audacity schools. Like the Elliptical writers — a group which also included Karen Volkman, Claudia Rankine, Mary Jo Bang, and Liam Rector — the Nu-Audacists regularly fluctuate between high and low poetic diction. Steve Roggenbuck's work is hallmarked by his purposeful misspelling of easy-to-spell words — see his recent print collection Live My Lief: Selected & New Poems, 2008-15 — whereas, High-Modernist inspired, Laura Solomon's poems occasionally shift from English into French or Italian. Her poem "Nicola, Hello!" begins with the stanzas "á quelle heure veux-tu/ me recontrer?// you don't know me but we speak anyway" and ends with the line "that is the meaning." (Unlike many of the Modernists, however, Solomon does provide the reader of The Hermit with an English translation at the end of the volume; "á quelle heure veux-tu/ me recontrer?" translates to "when do you want to meet me?")
Another shared trait between the two schools is the telling of "almost-stories, or almost-obscured ones." Although all of the Nu-Audacists dabble in narrative, none of them could be called narrative poets; the half-stories told in their poems are devoid of firm beginnings, middles or ends and, like a Twitter feed, are perpetually rendered in media res. At the same time, however, the typical Nu-Audacity poem is never muddled down by obscure language. Even if one isn't at all sure where or how she's going, there is an identifiable poetic entrance and exit, a readerly way in and out.
The differences between the two schools are indicative of the changed cultural and poetical mores. The largest difference, of course, involves Burt's contention that "[the Ellipticals] want to entertain as thoroughly as, but not to resemble, television." Pre widespread usage of the Internet, in 1998 this Elliptical desire would have made perfect sense; entombed on the printed page, their work could not be television but ideally it could entertain its readers as thoroughly as that visual medium was once able to. For the Nu-Audacity school, however, their work has the potential to be or in fact already is the Internet; positively or negatively, no resemblance notions need be discussed. And this World Wide Web based reality is taken for granted by the school's members in the same way that Wi-Fi access at your favorite coffee shop is taken for granted. There's simply no use arguing for or against what already is.
The difference in utilization of a poetic sense of self is also markedly different between the Elliptical and Nu-Audacity schools. If for Ellipticism a major goal entailed the manifestation of "a person-who speaks the poem and reflects the poet-while using all the verbal gizmos developed over the last few decades to undermine the coherence of speaking selves," than for the Nu-Audacists the opposite is the case; their work predominantly strives to be mask-less and gizmo-less. Writing in the midst of revelations by Edward Snowden and WikiLeaks, during an era where the private is public and every smartphone holds a thousand different selves, the Nu-Audacity poets offer their transparency as a badge of poetic honor. Their work insists that someone real, someone authentic, wrote the poems and that realness is not a pose or an affectation; it is an actuality. Unlike the Ellipticals they don't wish "to undermine the coherence of [their] speaking selves" because to do so would be a poetic sabotage of a sort, one that puts more emphasis on artifice than art. In this regard they salute Frank O'Hara's "Personism: A Manifesto," specifically his belief that "the poem [should be] squarely between the poet and the person…between two persons instead of two pages." Even at the risk of writing work that might be considered bad or maudlin, the school of Nu-Audacity desires their individual voices (and collective voice) to burn through.
Further, the inadequacy of their chosen art form simultaneously reinforces its essentiality. Because once upon a time poetry wasn't wholly filled with "stagnant tropes" that all its practitioners consciously or unconsciously adhered to; it was "free" in the same way that Twitter is or YouTube or sex. The writing and publishing of it didn't have much to do with "professional" success and that lack invigorated the non-rules of the word-game otherwise known as Poetry. Such a freedom is what the school of Nu-Audacity writes toward and believes in. "Poetry is, (and should be,) for the poet, a source of pleasure and satisfaction, not a source of honors… [it] is the gaiety (joy) of language" is how Wallace Stevens put it in his "Adagia" way back in the 20th century, and whether the Nu-Audacists look to Stevens as a sinner or saint his declarations are ones that they themselves hold.
Canonical poet Marianne Moore hated it almost 100 years ago and contemporary poet and MacArthur Genius Ben Lerner still hates it. In his aforementioned essay "Close Calls With Nonsense" Stephen Burt already noted that, circa 2004, so many poems also functioned as games, writing that such works are successful when "we can imagine a personality behind them. The poem carries, as people do, a social or regional or ethnic context; it leaps, as a person's thoughts do, from topic to topic, and it lacks — as real people usually lack — a single all-explaining storyline or motive. Being like a person, such a poem can also ask what exactly makes us persons, how we know a person when we see one, or how we tell one another apart." Poems and poeming existed on the Internet far before Steve Roggenbuck and Mira Gonzalez and graphic sex in a poem isn't at all new either, to this millennium or any of the previous ones. Not everyone who writes poetry nowadays is in academia, not by a long shot. And in terms of audacity, 20th-century Surrealists like Benjamin Péret used to, spittingly, insult Christian priests to their face due to virulent hatred of the religion; the Futurists espoused destroying, among other things, "museums, libraries, academies of every kind."
So what, in the end, makes the school of Nu-Audacity actually new, actually audacious? Simply this: these poets are writing in ways that embodies and encapsulates the frustrating, abhorrent and ultimately inspiring contemporary world, writing in new ways that no one has written before. And in this way they are Nu and in this way they are Audacious. As lines from Joshua Ware's poem "I Believe In Everything" articulate:
For life to enter a poem makes a poem worth reading
but for a poem to enter life means
pronouns transform from pro-form to flesh
in ways we can never imagine…
A poem is not…disappearance
but a second life saturated with the ether of the real
always present as an invisible aura
As Jay-Z said, what more can I say? The poetry of the Nu-Audacists is filled with life "saturated with the ether of the real." Happy birthday, beautiful ones. Never grow old, never grow up.
Image credit: Flickr user lookcatalog


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Yngwie Malmsteen – Guitar Instructional
Jan 16 2020
Yngwie Malmsteen Guitar Instructional DVD download. Often described as a fusion of neo-classical, metal, rock and blues, Yngwie Malmsteen's incredible style has influenced guitarists the world over. Yngwie has recorded numerous albums, been featured in every major music magazine, and performed several international concert tours.
Now, for this first time, get a close up look at Yngwie's amazing technique as he shows you arpeggio and scale sequences combined with many of his favorite licks and classical phrases. Yngwie also teaches excerpts from his compositions and performs several awe inspiring demonstrations.This long-awaited DVD by a truly world-class guitarist also comes with a PDF printout showing all examples in standard notation and tab. If you're a Yngwie fan, this is definately the DVD for you!
The DVD is rather fast paced and is basically a collection of fast riffs, Yngwie style. If you already have chops, and you like Yngwie's Neo-Classical shredding style, then you should be able to learn and assimilate the licks. As a sidenote, there is a section in which Yngwie shows some "bluesy" licks.
For those that like theory, Yngwie identifies the context in which he plays the licks, for instance identifying the chords he would play the lick over and the keys in which he would play each lick. There are licks using several different scales, such as Harmonic Minor and Diminished. And, as you can guess from listening to Yngwie, he loves scalar solos although he does use arpeggios liberally as well.
A beginner or less experienced guitarist will have to think long term and will need to start very slowly using a metronome or some other timekeeping device, but once the licks brought up to speed, that person will have strong shredding skills.
In this video Yngwie instructs us that he can play really fast. Even when he does a slow version of one of his classic, ball shredding arpeggio sequences, Yngwie is still playing really fast!
But by far, the highlight is the "Blues" section. To hear Yngwie play the blues is literally breathtaking. Surely the likes of Robert Johnson, Stevie Ray Vaughn, and Richie Valens would be rolling over in their graves to hear such a bombasticly splendid addition to the blues lexicon.
Language: English
Year: 2004
Country: USA
Running time: 1 hour
Quality: DVD5
Video: MPEG2 NTSC 4:3 (720×480) VBR
Audio: English (Dolby AC3, 2 ch)
Booklet: Yes (PDF)
Size: 3.5 Gb

subset: commoncrawl


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text: Product Shiny new Dropbox for Teams admin console! By Anand Subramani Published on February 11, 2013 Love using Dropbox at work? Awesome, we've got a blog for that! Every week, we post about new features, tips and tricks, and customer stories. And today we've got big news for Dropbox for Teams — a sweet new admin console! Say hello to a new activity stream, member info, and sharing settings. Head over to the Dropbox at work blog and check it out!


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If you have ever had to deal with a difficult person you know it is not something you ever look forward to. Actually you find yourself dreading being face to face with them because in your mind you can already see a bad outcome to the situation. You probably even see them getting the best of you and causing you to start having negative feelings and thoughts which is something you don't want to do.
The Law of Attraction teaches us that our negative emotions and thoughts flow outward on energy within the universe and then at some time in the future flows back to us. Negative out gives us negative back in. As you are practicing the Laws of Attraction and feeling that you are getting really good at manifesting good things for yourself it seems that negative things will sometimes try to slip into the mix. A negative co-worker, family member, or cashier at the grocery store. Some think of these negativities that try to sneak in as resistance. Think of the Law of Attraction like a Mario Bros. game. You have levels that you are trying to conquer in order to reach the next level. The final level may be the goal you are working towards. That ultimate manifestation may be wealth or your dream husband. Before completing every level a monster forms out of the blue that you must get around to reach the end of the path to move up to the next level. Notice that I didn't say you had to fight the monster. No, you must peacefully get around the monster leaving the monster in tact to go about his business. You are of course not going to pop your co-worker in the eye and then jump up and down thinking you are moving to the next level unless your aim is unemployment. No, you have to move around your co-workers so that you can continue successfully manifesting your desires without any hindrance.
When it comes to dealing with a difficult person do not fall into the trap of thinking negatively about them. Think of things to appreciate them for. If it is a family member you can appreciate them because they love you, they always invite you to family functions, they have taught you many important things in the past, and they treat your children well are some examples. If it is a co-worker you can appreciate them because they are always on time for work, they don't talk a lot at work and cause a disturbance, they are good at their job, and you don't have to share an office with them.
The next step is visualizing them dealing with you in the manner you would like. The family member greets you warmly and is very interested in you and your life. She or he always has positive things to say to you. She or he makes you feel very good and loved. The co-worker greets you in the morning in passing but says no more than that. She or he only communicates with you if they have something positive to say. She or he positively compliments you and asks like your best friend when dealing with you.movie A Family Man 2017
Now, start smiling and thinking of something that makes you feel a strong emotion such as love or gratitude. I usually think of the birth of my son. Feel yourself feeling more and more ecstatically happy. As you are doing this and visualizing, really feeling the situation above, state you intents and wants. Continue until you really feel and believe what you are saying. Remember that even after you have finished this throughout the day you do need to keep some focus on the intentions.
With more and more practice you will find this easier and quicker to do with better results each time.
Dealing with a difficult situation isn't that much different from dealing with a difficult person. The process is mainly the same except that you are not dealing with a person. You may be dealing with getting in and out of an always crowded grocery store quickly and easily. Or you may be dealing with the issue of heavy traffic. This method works very well on traffic situations if you make sure to practice the Law of Attraction every day and make it a part of your life from now on. I use a statement for myself that is "I always get to work (or whether you are traveling to) quickly, easily and safely." When I first started using that statement while driving I would say it pretty much the whole time I was driving, but now I can just think it periodically and it works just as well.
Practice and make sure you come back and leave a comment letting me and everyone else know about your experiences.


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I believe that the Otherkin body ticks a little differently on the whole, even when there is no genetic trace. I think that harbouring a non-human soul will have some effect on the body in the same way that ones' state of mind affects the body too. For instance, the reason why stress makes people sick, and why energy healing such as reiki works, is because of the effect of non-physical occurrences on the physical body.
I used to think that everyone was really Otherkin underneath, it was just that most people hadn't seen it. I still think that to some extent. I am constantly boggled by the number of times I meet otherkin IRL. I am fairly open about my 'kin-ness among my friends, and the most common reaction I get is not "You're crazy". It's "Oh. I'm one of those too!" If this is a typical sample, then there are a heck of a lot of otherkin on Earth. It makes sense. If the population is growing, and we are reincarnating, there is an increasig need for more and more souls. They have to come from somewhere; it makes sense that they come from people who are not human, maybe even not from Earth. I still think though, that there are people who are human through and through.
I also believe that humans in general are overlooking their potential, and that Otherkin represents just one way out of many to reach that potential.
So am I human? Physically, I assume so. My parents are human, as are their parents. There may be some trace of "fae" ancestry from long ago, from back in the days when fae walked the earth and mingled with humans. It would explain some of the odd physical things about me. But on the whole I fall within human "norms".
Even otherkin who are kin-by-reincarnation seem to show odd traits; there are two schools of thought here. Either as already suggested, the presence of a non-human soul in the body will cause alteration of the body. Or else that the non-human soul chooses to reincarnate in a body that is "compatible", and that maybe the most compatible bodies are ones that already carry a little of the old Fae (or whatever) blood.
Yet I do not consider myself to be human. I cannot relate to them. I am still an elf. I am not was. My body is not me. It is not us. It is merely the shell we wear at this time. It is the house that we live in. There are a few others sharing the body who claim to be human in soul, others who claim elven or angelic or sidhe.
I'm not one of those human-hating otherkin, and I don't go in for human-bashing (except perhaps occasionally in jest). I don't hate humans, but I do feel sad for them sometimes. So many of them are missing so much that is wonderful.


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Deadtectives (2018) full movie watch online on 123Movies A team of reality TV paranormal investigators go to Mexico's most haunted house in the pursuit of better ratings. However, when the true dark secrets of the mansion begin to reveal themselves, the hapless team quickly discover that this house is no hoax. With zero genuine ghost-hunting experience, they have to figure out how to stop the ghosts and escape the house with their lives.
Genre: AdventureActor: Cecelia Antoinette, Chris Geere, David Newman, Emilio Savinni, José María de Tavira, Martha Higareda, Pablo Guisa Koestinger, Tina Ivlev
Director: Tony West
Country: USA


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Fans of Greek mythology have often been fascinated with 'the Oracle'. And with yours truly and the elder sister being 'almost fans', we were giddy with delight when the brother-in-law pointed out that the famed seat of Pythia the Oracle, said to have been consulted for all important decisions in ancient times, was just a few hours away in Delphi. The tiny town was built around the Temple of Apollo and the Tholos, two ancient sanctuaries built on the slopes of Mount Parnassus. It should be noted that Delphi is recognised by the UNESCO as a World Heritage Site.
For the uninitiated, this Oracle is not the one from the Matrix trilogy. As per everyone's favourite Wikipedia, the Oracle was "a person or agency considered to provide wise and insightful counsel or prophetic predictions or precognition of the future, inspired by the gods". Pythia was the high priestess of the Temple of Apollo at Delphi and also renowned as the Oracle of Delphi.
Historical evidence suggest ancient Delphi was the place of worship for Gaia, the goddess connected with fertility. The town and temple gained popularity in the 7th century BC.
Winding roads to history
A day after trudging up and down the Acropolis of Athens, walking through the Athenian Agora and generally over-eating during an evening meal only to follow up with a traditional Greek dinner, the troika decided to venture out of Athens towards Delphi for a day trip.
Reaching Delphi from Athens is pretty much a breeze. Unless you prefer to drive up and down the mountainous roads, just head to Terminal B of Liossion Street Bus Terminal and hop onto one of the buses. Tickets are available at the terminal booking office. You can pick up a schedule from any tourism office in the city or check with the enquiry at the Acropolis of Athens. These buses take around 3 to 3.5 hours to reach Delphi and the journey is a visual delight. For those battling motion sickness, I recommend popping some pills to avoid a queasy ride.
There are stories galore that make the history of Delphi enchanting but one of the most interesting of stories is how the town came to be the location for the Omphalos or the 'navel of the world'. Legends say Zeus – ruler of the Olympian gods – wanted to find the centre of the earth. So he sent two eagles soaring from the west and the east and kept a lookout for the point where the paths of the two birds converged. This point was Delphi where one found the 'navel' of the world.
The Omphalos – or perhaps a copy of it – is ensconced in the Delphi Archaeological Museum along with several other artefacts unearthed during the excavation of the Temple of Apollo and the Tholos of Delphi. Most of the relics that have survived are believed to have been from the 6th century BC, one of the most dynamic times of the town.
Among the first few things that you see as you begin the journey is a series of pillars that are said to have been part of an old Roman Agora. From here, you will walk up to the Sacred Way that is formed of a number of pillars that were the base for votive statues to honour victories and to honour the Oracle. Behind them are smaller structures built into the wall that were treasuries to contain offerings made at the temple.
Look up and you will see gigantic columns of Doric order looming, standing majestic against the clear blue sky. These are the remains of the Temple of Apollo, the key heritage structure at Delphi where the Oracle was seated and prophesied from. As per historians, the ruins date back to the 4th century BC; the temple survived until the Roman invasion in AD 390 when men destroyed buildings and artworks in an attempt to remove Paganism.
Further up is the Theatre of Delphi that gives spectators a view of the sanctuary and the valley below. Remodelled several times after it was built in 4th century BC, it hosted theatrical performances, musicians, orators and other people of the arts. The Stadium of Delphi sits atop the highest spot of Delphi and is the site where athletes from across ancient Greece gathered to show off their prowess and battle to be declared the top sportsperson.
Interestingly, a few well-informed individuals around said the stadium was the meeting point for competing athletes and these sports tournaments were the precursor to our Olympic Games. This information left me confused at the end of my trip since the guys at the Panathenaic Stadium (read more in Athens, where history lies under the sun #2) said the same. Perhaps the games collectively became the Olympic Games as we know it?
The climb up can be part exhilarating and part irritating – with such wonderful views to look up to and a gorgeous play of nature behind you, it is nothing short of an endeavour for one's senses to absorb all that is seen. But none of us had bargained for my severe reaction to pollen from the wildflowers growing across the Temple of Apollo. Much thanks to the medicines I carry with me and the water bottle I refuse to leave home without for helping stabilise my condition enough that I was able to drag myself up the mountain. Of course, by the end of the climb, I was about ready to drop in the shade of one of the trees. But I have to admit, every gasp for breath was worth the experience of the Temple of Apollo.
I should also warn you about the stairs – pretty slippery so make sure you wear good shoes and walk slowly. Technical glitches set aside, I was wondering how these Greeks and Romans and all those who came after managed to build such beautiful structures on mountain tops!
Tholos of Delphi
The most picturesque site of Delphi is the Tholos in the Sanctuary of Athena Pronaia. Dated between 380 and 370 BC, this temple is an exemplary proof of the skill of the designer and workers who carved the intricate designs. Excavators and historians have reportedly said that the temple was made of 20 Doric columns that supported a decorated frieze – this design was repeated towards the central chamber too. We did note that the number of people at this site was relatively less, despite it being around 800 metres from the Temple of Apollo.
Site seeing done, don't rush off to Athens or your next destination. You must pop into the excavated gymnasium, the entrance to which is tucked away along the stretch from the temple to the Tholos. Head out early in the day to avoid the glare of the scorching Greek sun and to allow yourself some time to unwind over lunch at one of the little restaurants before meandering through the town admiring the architecture, the levelled planning – you have to take stairs to reach connecting lanes – and the perfect settings for a Facebook profile photo.
And if Greece is on your mind as the next travel destination, these posts will give you that extra push needed to book the tickets. Athens, where history lies under the sun #1 | Athens, where history lies under the sun #2 | Athens, where history lies under the sun #3 | Eating done the Greek Way. Join me on my travel adventures on Facebook, Instagram, Pinterest. You could also subscribe to the mailing list for regular post updates.


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The Pacific Inn
There's a reason why almost every pub, restaurant, and dockside seafood stand in Seattle serves fish and chips—extremely fresh, deep-fried cod tastes f*cking delicious. And you'll find the best version at Pacific Inn, a tiny, amazing dive bar in Fremont.
Their rendition is simple—it's a combination of flavorful breadcrumbs, flaky fish, salty french fries, and tangy tartar sauce. The cod itself is super crispy, without being beer-battered, and comes out of the smallest behind-the-bar kitchen we've ever seen. And while you're here to order those incredible fish and chips, you shouldn't ignore the fish sandwiches or Cajun fried shrimp that we could pop like trail mix on a hike. Even the grilled salmon sandwich, covered in pesto and parmesan cheese on a squishy bun, is delicious if you're not feeling something battered in panko.
Pacific Inn is somewhere you can eat seafood all year round. It makes for a cozy winter meal when you eat at a barstool or booth and look at the vintage city photos on the wall. And for reasons we can't explain, the food almost tastes better in the summer when you're able to eat it on their patio alongside a cold beer. While you're nowhere near the Downtown waterfront, a meal here makes it impossible not to appreciate all of the fantastic seafood this city has.
Food Rundown
Fish & Chips
You thought that the most iconic Seattle-based duo is Russell and Ciara, but it's actually Pacific Inn's crispy panko-breaded cod and crunchy french fries.
Fish Sandwich
Same excellence, only on a bun with lettuce and tomato. Ordering this is directly correlated with how much you want to eat some bread.
Smoky Cajun Fried Shrimp
Telling us to choose between the fish and chips and the spicy fried cajun shrimp is like telling a parent to choose between their children. Order the shrimp, but only as a side dish to your fish and chips basket.
Grilled Salmon Pesto Sandwich
Typically, at a dive bar, if you're not ordering something fried, your options are sad. But the grilled salmon sandwich here is delicious. The fish has a nice sear, and it's topped with pesto, parmesan, lettuce, and tomato on a sweet brioche bun.


text:
Inside Out
Modernism and Postmodernism in Chinese Literary Culture
A part of the subject areas Literature and Asian studies
Out of stock
Edited by
Wendy Larson and Anne Wedell-Wedellsborg
With contributions by
Bei Dao, Wolfgang Kubin, Wendy Larson, Torbjörn Lodén, Chen Maiping, Bonnie S. McDougal, Susanne Posborg, Göran Sommardal, Richard Trappl, Li Tuo, Anne Wedell-Wedellsborg, Zhang Zao and Henry Y.H. Zhao
More about the book
About the book
New release
About the Press
This is us
The Press publishes scientific literature and more mainstream publications such as the series Reflections. All books share a strong scholarly base.
The most important task of the Press is to disseminate and make known the results of scientific research at Aarhus University, but the Press also publishes scientific work from other institutions.


text: Tods Stuff You Tube channel -- myArmoury.com About • Links • Search • Contribute Features Reviews Collections Albums Forums Books Info Favorites Register Log in myArmoury.com Discussion Forums Forum index Memberlist Usergroups Spotlight Topics Search Forum Index > Makers and Manufacturers Talk > Tods Stuff You Tube channel This is a standard topic Author Message Leo Todeschini Industry Professional Location: Oxford, UKJoined: 12 Nov 2006 Likes: 1 page Spotlight topics: 1Posts: 1,715 Feedback score: 100%(3 total ▮ 100% positive) Posted: Mon 13 Feb, 2017 1:44 pm Post subject: Tods Stuff You Tube channel Hi All, Sorry for the spam. I have had a not very active You Tube channel for a few years and have an assortment of mainly crossbow related videos and some scabbard ones and have just started to add a few more videos and will try and do so fairly regularly. You will find it here https://www.youtube.com/channel/UCWnlQMQ-ACfhpD68yWRsnJw Just to let you know I have added a video of a load of knives which may interest a few of you here. https://www.youtube.com/watch?v=v344oi6cWxg I hope you enjoy. Tod www.todsworkshop.com www.todcutler.com www.instagram.com/todsworkshop https://www.facebook.com/TodsWorkshop www.youtube.com/user/todsstuff1 Display posts from previous: All Posts1 Day7 Days2 Weeks1 Month3 Months6 Months1 Year Oldest FirstNewest First Forum Index > Makers and Manufacturers Talk > Tods Stuff You Tube channel Page 1 of 1 All times are GMT - 8 HoursView previous topic :: View next topic Jump to: Select a forum Discussion and Research----------------Historical Arms TalkmyArmoury.com Features Talk-- Suggestions, Requests and Support-- Testing ZoneMakers and Manufacturers Talk Miscellaneous Discussion----------------Off-topic Talk Special Interest Area----------------The Marketplace-- Marketplace Feedback You cannot post new topics in this forumYou cannot reply to topics in this forumYou cannot edit your posts in this forumYou cannot delete your posts in this forumYou cannot vote in polls in this forumYou cannot attach files in this forumYou can download files in this forum All contents © Copyright 2003-2023 myArmoury.com All rights reserved Discussion forums powered by phpBB © The phpBB Group Switch to the Basic Low-bandwidth Version of the forum


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Support Systems and Bracing
It is a normal response for humans to
seek out external support systems when the body becomes
fatigued. People unconsciously seek a safe structure on
which to rest for efficiency when they are placed in
demanding or stressful situations. Observing people at
gatherings, you may notice some resting against a wall or
leaning back on a chair. Others may be leaning on counters
or walls without realizing they are doing it. This is
especially true during activities involving prolonged
standing. When such activities result in discomfort, balance
problems or fatigue, the sensory input will cause the
individual to react. In these instances, people without
physical limitations use support systems such as handrails,
armrests and backrests. Support systems are not used
exclusively by physically challenged individuals.
When someone has physical limitations and the ability to stand and walk is compromised, the need for support systems becomes more important. Support systems in the form of custom bracing vary according to the design and choice of materials. The objective of such a support system is to provide for stability and mobility simultaneously. The goal is to support involved body parts without undue restriction and allow for efficient ambulation.
Support systems in all orthotic applications need to be placed where they are needed most. It is necessary to differentiate these systems according to each person's needs. Custom braces should not be the same for everyone. The location of support systems combined with high tech materials is critical in achieving efficient ambulation and maximizing potential. Traditional braces for ankle deficiencies relied upon support behind the calf and were made of metal and leather or plastic. In many cases where the knee was involved a long leg brace was used keeping the knee straight during ambulation. As new materials became available, metal and leather were replaced with plastics; unfortunately, the "old theory" remained and designs did not change.
The old theory regarding
support systems has become the traditional approach when
treating people with physical limitations that affect
ambulation. It is necessary to reconsider the biomechanical
needs of each individual and design the most appropriate
orthosis for that person. New materials alone do not change
the functional characteristics of a support system. It is
the combination of design and materials based upon specific
biomechanical requirements that are essential to restoring
balance, security, and the ultimate goal of functional
efficiency in ambulation.
Support systems are intended to help the individual. They can often impose limitations on balance, security and efficiency! This is important to understand since the old theories have become entrenched in our thinking as professionals and clients. A support system that is applied below the knee has a profound effect on the knee and hip musculature above as well as the entire body! It is impossible to create a support system below the knee and not affect the rest of the body! Since this is a given, we must address the body as a whole in our choice of design and material when creating support systems. An orthosis should enhance efficiency. It should not add to the effort required to ambulate nor should it increase energy expenditure. The term support system is more descriptive than orthosis or brace as it implies a functional process and the use of critical thinking.
In order to achieve an efficient gait that is balanced and secure, the knee and hip joints need to be free to move through swing phase yet allow for stability in stance. As stated earlier, the location of support in a standard AFO (ankle-foot-orthosis or short leg brace) is behind the calf. In order to feel this support, it is necessary for the individual to lean back into the plastic shell or calf band. An efficient gait is fluid and motion is always forward. Many people wearing such conventional devices are leaning and often use muscle power to maintain the leg back in the brace. The need to push back while moving forward is counter-productive. Compensations then need to be made because of the orthosis; consequently, balance and efficiency are adversely affected. Complete extension of the knee or hyperextension (recurvatuum) is not part of a normal gait cycle. The knee maintains varying degrees of flexion throughout. These compensations cause increased energy expenditure, fatigue, balance problems and insecurity. The overall inefficiency is being caused by the brace! The mechanics are all wrong!
The use of free dorsiflexion in a support system would seem to be consistent with the concept of moving forward throughout the gait cycle. This design has gained popularity without addressing security issues or efficiency. Video documentation has shown the shortcomings of this design. The support system behind the knee in combination with free dorsiflexion creates a "drop off" at the knee, which prevents full weight bearing on the affected side during stance; in other words, it is an ineffective approach that increases difficulties with balance, security and efficiency.
The issue of security takes precedence over balance and efficiency. Humans need to be safe and feel secure. Compensations for security reasons are made at the expense of balance and efficiency. Habits develop that become normal to the individual over time. This leads to a further deterioration of function. It is a vicious cycle that needs to be broken. Old movement patterns have to be replaced by new or more natural patterns in order to reach one's potential. An appropriate support system will allow the body to assume more normal patterns required for balance, security and efficient gait; however, retraining is necessary to overcome the compensations established over time.
Human locomotion is not a two dimensional activity. We describe three planes of motion (triplanar) necessary for normal ambulation. In actuality, the body moves in an infinite and constantly changing number of planes. For educational purposes we will discuss three: forward and backward; side-to-side; rotation. Combinations of these planes of motion make up the movement patterns for all of our activities. The relationship and alignment of our body segments continuously change over a period of microseconds for efficient ambulation and other activities. Education is an important part of the treatment plan. Understanding the forces applied by an appropriate force system and how the body interacts will allow for the gradual replacement of old habits with better mechanics and efficiency.
Orthotic design and technology has not kept pace with the benefits realized in prosthetics. (artificial limbs) Carbon graphite foot/ankle systems enable amputees to walk with a normal gait and even to run. These systems incorporate the use of energy storing principles. Loading of the prosthetic foot stores energy due to the materials used and the forces applied during ambulation. This replaces the action of missing muscles. As more pressure is placed on the component, it deflects or yields to the weight of the force applied. In this way movement is allowed while stability is maintained. The precise combination of energy storing and energy dissipation simulates normal gait characteristics.
DynamicBracingSolutions™ offers similar attributes in an orthotic support system. Each support system is planned and designed for each individual's needs and requirements. The energy-storing component assists weak musculature while the yielding motion allows for forward progression necessary for efficient gait. Stability is inherent in the system. The individual needs to discard old habits and compensations and allow the new support system to work for them rather than against them. This is where the proper training becomes crucial. Time and effort need to be applied to retrain the body to accept normal loading of the extremities during ambulation. Once more normal patterns are established, balance, security and efficiency improve.
An analogy to sailboat racing can be made to illustrate this theory. Sailboats today are very sophisticated. Design principles and technology have come a long way since the days Columbus first sailed the seas. In his day, ships had wooden hulls and sails were made of canvass and hung from crossbeams primarily in one plane. This was not efficient. Today sailing vessels have hulls made with graphite composites. Replacing materials alone does not make for efficiency. New designs, materials and movement strategies enable these new sailboats to go faster into the wind than ancient ships could go with the wind! The boats of today have become an integrated system using multi dimensional sails that capture the wind's power in many planes. Just as the wind changes direction constantly, the human body is a complex system that works in many planes.
The majority of people with AFO's have
learned to walk with conventional designs. Some did well
while others realized little benefit. Regardless of past
experience, the potential exists for improvement.
The knowledge and skills for sophisticated lower limb orthotic support systems utilizing new theories, designs, materials and movement strategies has been developed. Outcomes once thought unattainable are now being realized. More secure and efficient ambulation is possible.
The orthotist of the future will need to employ more sophisticated elements to stay abreast of the advancements. People in need of bracing solutions will greatly benefit. Outcomes now thought life changing, will become the standard. The future client will have fewer falls, better balance and more security. A more natural gait appearance is the result with improved velocity, more endurance, and enhanced functional gains. All these elements are the quintessential result of improving efficiency of human locomotion.


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Perth Gamata Paayayi Sandha is the debut compact disc containing 14 songs written by Sunil Govinnage. The CD is produced in Australia where Sunil is residing now. All songs in the album are voiced by Nalin Jayawardena with duets by Sanduni Rashmika, Nilupuli Dilhara, and Ananda Waidyasekera. The music compositions for the albums are by Rohan Jayawardena, Ananda Waidyasekera, Sangeeth Wickramasinghe, and Rukshan Karunanayake. CD mastering is by Studio 2J of Australia and recording are by Jayanga Dedigama and Sangeeth Wickramasinghe. Cover design of the CD is by Janaka Chaminda. The CD contains a tribute song to Sunil Edirisinghe, a veteran classical vocalist of Sri Lanka.
Buy Music and support our inspiring Artists !!!
To inquire about songs featured in this page and also to provide your comments, please write to:
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Perth Gamata Paayayi Sandha by Nalin Jayawardena - Lyrics by Sunil Govinnage


text:
The PCC, one of Brazil's two major prison gangs, earns at least $2.5 million a month from various criminal activities, making it now, arguably, the most powerful criminal syndicate in the country.
Estimations as to the earnings of the First Capital Command (PCC) came from police documents seen by El Pais, which detail revenue from the sale of drugs, robberies and assaults, and even the renting of weapons. In addition to these illicit income sources, there may be more money from members of the PCC not in prison, who are required to make contributions of up to $340 a month to support their incarcerated brethren.
The operations of the PCC, which has over 11,000 members, are no longer restricted to their birthplace of São Paulo. InSight Crime investigations indicate the group has a presence in all but three of Brazil's 27 states. The Brazilian government is aware of the threat posed by the group and has sought to limit its growing power.
InSight Crime Analysis
It is likely that the PCC's monthly earnings are far in excess of $2.5 million a month, as the different elements affiliated to the PCC often engage in their own criminal activity. The different PCC elements are not part of a tightly disciplined and centrally controlled organization. It is for the incarcerated members of the PCC that membership in the group is most important. The group was born in prison in 1993, and it is here that its central mission remains, to protect those members locked up in Brazil's often brutal prison system. Most of the PCC's identified leadership is in prison.
SEE ALSO: First Capital Command Profile
Elements of the PCC are now operating internationally. Both permanently present cells and emissaries of the PCC have been tracked to Bolivia and Paraguay. The first is a source country for cocaine and its derivatives, which are much sought-after for Brazil's booming domestic market, now second only to the United States. Paraguay, meanwhile, is the principal supplier of marijuana in South America. Again PCC elements, keen to secure abundant and constant supplies of this drug, appear to be permanently active in this country.
There have also been indications that the PCC is seeking to expand its powerbase by moving into politics.


text:
Use the
ROLE statement to create a role, which is a set of privileges that can be granted to users or to other roles. You can use roles to administer database privileges. You can add privileges to a role and then grant the role to a user. The user can then enable the role and exercise the privileges granted by the role.
A role contains all privileges granted to the role and all privileges of other roles granted to it. A new role is initially empty. You add privileges to a role with the
GRANT statement.
If you create a role that is
IDENTIFIED or is
EXTERNALLY or
password, then Oracle Database grants you the role with
OPTION. However, if you create a role
GLOBALLY, then the database does not grant you the role. A global role cannot be granted to a user or role directly. Global roles can be granted only through enterprise roles.
See Also:
GRANT for information on granting roles
ALTER USER for information on enabling roles
ALTER ROLE and DROP ROLE for information on modifying or removing a role from the database
SET ROLE for information on enabling and disabling roles for the current session
Oracle Database Security Guide for general information about roles
Oracle Database Enterprise User Security Administrator's Guide for details on enterprise roles
You must have the
ROLE system privilege.
To specify the
CONTAINER clause, you must be connected to a multitenant container database (CDB). To specify
ALL, the current container must be the root. To specify
CURRENT, the current container must be a pluggable database (PDB).
Specify the name of the role to be created. The name must satisfy the requirements listed in "Database Object Naming Rules". Oracle recommends that the role contain at least one single-byte character regardless of whether the database character set also contains multibyte characters. The maximum length of the role name is 128 bytes. The maximum number of user-defined roles that can be enabled for a single user at one time is 148.
In a non-CDB, a role name cannot begin with
C## or
In a CDB, the requirements for a role name are as follows:
The name of a common role must begin with characters that are a case-insensitive match to the prefix specified by the
COMMON_USER_PREFIXinitialization parameter. By default, the prefix is
The name of a local role must not begin with characters that are a case-insensitive match to the prefix specified by the
COMMON_USER_PREFIXinitialization parameter. Regardless of the value of
COMMON_USER_PREFIX, the name of a local role can never begin with
If the value of
COMMON_USER_PREFIX is an empty string, then there are no requirements for common or local role names with one exception: the name of a local role can never begin with
C## or
c##. Oracle recommends against using an empty string value because it might result in conflicts between the names of local and common roles when a PDB is plugged into a different CDB, or when opening a PDB that was closed when a common user was created.
Some roles are defined by SQL scripts provided on your distribution media.
NOT IDENTIFIED Clause
IDENTIFIED to indicate that this role is authorized by the database and that no password is required to enable the role.
IDENTIFIED Clause
Use the
IDENTIFIED clause to indicate that a user must be authorized by the specified method before the role is enabled with the
ROLE statement.
BY password
You can create a local role with a password with the
password clause. This means that you must specify the password to the database at the time you enable the role.
The password can contain any characters from the database character set except the
NULL character
(CHR(0)) and the double-quote. The password is syntactically an identifier, and may need to be enclosed in double-quotes as required by the "Database Object Naming Rules". You must ensure that your database, and the clients that need to enable the role are configured to support all the characters comprising the password.
You can enable password-protected roles in a proxy session. Both secure application role and password-protected roles provide a secure method for enabling a role in a session. Oracle recommends using secure password roles instead of password protected roles in instances where the password has to be maintained and transmitted over insecure channels, or if more than one person needs to know the password. Password-protected roles in a proxy session are suitable for situations where automation is used to set the role.
USING package
package clause lets you create a secure application role, which is a role that can be enabled only by applications using an authorized package. If you do not specify
schema, then the database assumes the package is in your own schema.
See Also:
Oracle Database Security Guide for information on creating a secure application role
EXTERNALLY to create an external role. An external user must be authorized by an external service, such as an operating system or third-party service, before enabling the role.
Depending on the operating system, the user may have to specify a password to the operating system before the role is enabled.
GLOBALLY to create a global role . A global user must be authorized to use the role by the enterprise directory service before the role is enabled at login.
GLOBALLY with
AS to map a directory group to a global role when using centrally managed users. The directory group is identified by its domain name.
Example: Map a Directory User to a Global User
CREATE USER scott_global IDENTIFIED GLOBALLY AS 'cn=scott taylor,ou=sales,dc=abccorp,dc=com';
This effectively maps a directory user named 'scott taylor' in the 'sales' organization unit of the abccorp.com domain to a database global user 'scott_global'.
You can map an Oracle Database global role to an Azure app role in order to give Azure users and applications additional privileges and roles beyond those that they have through their login schemas.
Example: Map an Oracle Database Global Role to an App Role
The example creates a new database global role
widget_sales_role and maps it to an existing Azure AD application role
CREATE ROLE widget_sales_role IDENTIFIED GLOBALLY AS 'AZURE_ROLE=WidgetManagerGroup';
CONTAINER Clause
CONTAINER clause applies when you are connected to a CDB. However, it is not necessary to specify the
CONTAINER clause because its default values are the only allowed values.
To create a common role, you must be connected to the root. You can optionally specify
ALL, which is the default when you are connected to the root.
To create a local role, you must be connected to a PDB. You can optionally specify
CURRENT, which is the default when you are connected to a PDB.
Creating a Role: Example
The following statement creates the role
CREATE ROLE dw_manager;
Users who are subsequently granted the
dw_manager role will inherit all of the privileges that have been granted to this role.
You can add a layer of security to roles by specifying a password, as in the following example:
CREATE ROLE dw_manager IDENTIFIED BY warehouse;
Users who are subsequently granted the
dw_manager role must specify the password
warehouse to enable the role with the
ROLE statement.
The following statement creates global role
CREATE ROLE warehouse_user IDENTIFIED GLOBALLY;
The following statement creates the same role as an external role:
CREATE ROLE warehouse_user IDENTIFIED EXTERNALLY;
The following statement creates local role
role1 in the current PDB. The current container must be a PDB when you issue this statement:
CREATE ROLE role1 CONTAINER = CURRENT;
The following statement creates common role
c##role1. The current container must be the root when you issue this statement:
CREATE ROLE c##role1 CONTAINER = ALL;


text:
Original YT playout date: 5 August 2009
Duration: 15:28
On this occasion I was half in Prague and half in Germany. The highlights of this film include waiting in vain for the astronomical clock to perform with my aunt and uncle, someone who went to sleep in the underground, Frankfurt am Main airport's railway station and Mannheim station.
Continue reading "Prague Vlog #5 – Mainly in Germany"


text:
Report Reveals Most Searched for Rental Neighborhoods in the U.S.
Trulia, a leading online marketplace for homebuyers, sellers, renters and real estate professionals, today unveiled the most searched for neighborhoods for 15 of the top rental markets across the U.S.
As recent data from Trulia shows, despite a slowdown in rising rental prices, year-over-year rent prices have increased 4.7% nationally. And there are still many hot markets, including 8 metros with year-over-year rent increases of at least 8%.
In this latest analysis, Trulia takes a deeper look at 15 top rental markets to provide insight on where renters want to live at the neighborhood level.
"In many metros, we're still in a landlord's market where competition among renters is high," said Pierre Calzadilla, Trulia's Manager of Apartment Industry Relations. "Across metros, we're seeing spikes in searches for specific neighborhoods where competition can be cutthroat. But no matter how popular the area or the neighborhood, finding the best listings first and being prepared to rent when you do will give you a chance to find an apartment in any situation."
"In the recession and in the recovery, more people have become renters — some by choice and some out of necessity," said Jed Kolko, Trulia's Chief Economist. "Renters face rising rents nearly everywhere across the U.S., and in many urban markets the competition for limited rental units is fierce. Now, however, more new rental units are coming onto the market as developers finish projects they started last year, which will slow down rent increases and give people who are looking to rent more options to choose from."
Trulia looked at its data in 15 popular rental markets around the country to determine the three most searched-for neighborhoods in each. Here they are in alphabetical order:
Most Popular Neighborhoods
Austin: Hyde Park, Downtown, Allandale
Boston: Back Bay, South End, Beacon Hill
Brooklyn: Park Slope, Williamsburg, Brooklyn Heights
Charlotte: Dilworth, Myers Park, Elizabeth
Chicago: Lincoln Park, Wicker Park, Bucktown
Dallas: M Streets, Lakewood, Oak Lawn
Houston: Neartown/Montrose, Greater Heights, Midtown
Las Vegas: Summerlin, Las Vegas, Summerlin South
Los Angeles: Hollywood Hills, Silver Lake, Los Feliz
Manhattan: West Village, Upper East Side, West Village
Philadelphia: Rittenhouse Square, Northern Liberties/Fishtown, Center City West
San Antonio: Monte Visa, Downtown, King William
San Diego: Pacific Beach, North Park, Mira Mesa
San Francisco: Soma, Pacific Heights, Nob Hill
Washington D.C.: Dupont Circle, Georgetown, Adams Morgan
With AAOA, landlords have resources at their fingertips. Check out our Landlord Forms page.
American Apartment Owners Association offers discounts on products and services for landlords related to your rental housing investment, including rental forms, tenant debt collection, tenant background checks, insurance and financing. Find out more at www.joinaaoa.org.