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    <title>Red Hot Chili Peppers' Flea | JCCSF - YouTube</title>
    <dc:date>2026-03-29T17:27:10+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Acid for the Children 
With Joel Selvin

Los Angeles street rat turned world-famous rock star Flea, the iconic bassist and co-founder of the Red Hot Chili Peppers, tells his fascinating origin story, complete with dizzying highs and gutter lows. In his new book, Acid for the Children, Flea offers a deeply personal and revealing tour of his formative years, spanning Australia, the New York City suburbs and, finally, Los Angeles. Hear about the experiences that forged him as an artist, a musician and a young man, and explore the gritty, glorious life of LA in the 1970s and ’80s, bursting with potential for fun, danger, mayhem and inspiration around every corner. It is here that young Flea, hoping to escape a turbulent home, found family in a community of musicians, artists and junkies who also lived on the fringe. He spent most of his time partying and committing petty crimes. But it was in music where he found a place to channel his frustration, loneliness and love. This left him open to the life-changing moment when he and his soul brother and partner-in-mischief came up with the idea to start their own band."]]></description>
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    <title>Flea | Where Everybody Knows Your Name - YouTube</title>
    <dc:date>2026-03-29T16:03:38+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Flea of Red Hot Chili Peppers drops in on his good friend Woody Harrelson and new friend Ted Danson! They’re going deep: creativity and spirituality, overcoming substance abuse, the words from Flea’s daughter that changed his life, his relationship with Los Angeles, and much more. Bonus: Flea hints at some compromising footage of Woody."

[happens to be wearing his F.P.Journe Octa Lune]]]></description>
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    <title>Fauxstalgia: When the Internet Misses a Past That Never Existed</title>
    <dc:date>2025-12-31T07:06:41+00:00</dc:date>
    <link>https://www.lifeblogs.org/entertainment/fauxstalgia-when-the-internet-misses-a-past-that-never-existed.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the age of infinite scroll, nostalgia has become a marketing tool, a mood, and a meme. But the nostalgia flooding our feeds today isn’t about the past — it’s about the idea of it. This phenomenon, often called fauxstalgia, describes a longing for a time we never truly experienced. It’s the yearning for ‘simpler’ eras conjured through TikTok filters, vaporwave aesthetics, and AI-generated memories of 1980s summers we never had.

Fauxstalgia thrives in an internet culture obsessed with reboots, retro filters, and analog vibes. It’s comfort content — emotional escapism packaged as vintage fantasy. But beneath the sepia tones lies a fascinating question: why do we long for the unreal? And what does it mean when the internet manufactures collective memories?

This post explores how fauxstalgia works, who profits from it, and how we can engage with nostalgia consciously — not as a digital dream, but as a mirror for the anxieties of the present.

***

The Rise of Fauxstalgia in Digital Culture

The Internet’s Love Affair with the Past

From 8-bit graphics to lo-fi beats, digital spaces are saturated with simulated nostalgia. Social platforms, particularly TikTok, YouTube, and Instagram, recycle retro aesthetics — VHS filters, film grain, vintage fonts — to evoke emotions of innocence and comfort. These aesthetics aren’t authentic representations of the past; they’re aestheticized versions of it, stripped of complexity and hardship. The “good old days” are reconstructed for emotional impact, not historical accuracy.

Nostalgia Without Memory

Unlike traditional nostalgia, which comes from personal experience, fauxstalgia is borrowed emotion. A Gen Z user might romanticize the 1990s — floppy disks, MTV, mall culture — despite never having lived through it. This secondhand nostalgia is shaped by digital fragments: curated playlists, pixel art, and AI-enhanced footage that makes the past look better than it ever was. It’s a simulation of memory, a synthetic longing that feels real precisely because it’s shared collectively online.

Why We Crave the Simulated Past

Fauxstalgia offers emotional safety in uncertain times. As technology accelerates and the future feels unstable, the past becomes a psychological refuge. Online, nostalgia functions as an escape hatch — a pause button in an overwhelming digital world. But when that nostalgia is artificial, it reveals not our love for history, but our discomfort with the present.

***

Aesthetic Time Travel: The Digital Reconstruction of Memory

The Role of Aesthetics in Manufactured Memory

Every filter, soundtrack, and visual edit contributes to a sensory illusion of the past. Apps like Instagram and VSCO transform reality into a retro dreamscape, making even a 2025 selfie look like a Polaroid from 1979. These images aren’t about authenticity — they’re about emotional tone. The past becomes a brand aesthetic, a texture applied to modern life to make it feel meaningful.

The Rise of “Core” Culture

Online trends like “Y2K core,” “cottagecore,” and “90s core” illustrate how nostalgia has evolved into a taxonomy of moods. Each aesthetic reconstructs a version of the past designed for comfort: a stylized fantasy free of historical messiness. The 90s are remembered not for their inequality or turmoil, but for chunky sneakers and bright windbreakers. These selective memories flatten complexity into aesthetic pleasure, where emotion matters more than truth.

The Algorithmic Memory Machine

Algorithms play a crucial role in sustaining fauxstalgia. They learn which content evokes engagement — a pixelated filter, an old TV ad remix — and amplify it endlessly. The more users respond emotionally, the more nostalgia content gets pushed. In effect, platforms automate the past, creating an endless loop where yesterday is always trending.

***

The Commerce of Comfort: How Brands Sell Fauxstalgia



Marketing Through Memory

Brands have long understood the power of nostalgia, but the digital era has refined it into an art form. From Netflix’s retro series like Stranger Things to Pepsi’s 90s-style logos, companies resurrect cultural touchstones to trigger emotional loyalty. Fauxstalgia allows brands to connect emotionally even with audiences too young to remember the original eras they reference. It’s not about memory — it’s about mood.

The Resale of the Past

Products once considered obsolete — vinyl records, film cameras, typewriters — are being rebranded as lifestyle artifacts. The past is no longer gone; it’s re-merchandised. Online thrift platforms and retro subscription boxes sell experiences of authenticity in a world dominated by digital copies. This commodification of the past gives nostalgia a price tag, turning emotional connection into consumption.

The Ethics of Manufactured Memory

While fauxstalgia can feel harmless, it raises questions about authenticity and manipulation. When brands engineer longing for a past that never existed, they also shape how we interpret history. A glossy, corporate version of the 80s or 90s hides economic and social realities. By selling us curated comfort, companies risk erasing the complexity of real memory — and our ability to learn from it.

***

The Psychology of Fauxstalgia: Longing for an Unlived Life

Emotional Displacement and Digital Escapism

Fauxstalgia reflects a deeper psychological tension: the desire to escape modern disconnection. The internet offers boundless connection but limited intimacy. The idealized past, whether it’s a synthwave sunset or an imagined 2000s summer, becomes a symbol of simplicity. It’s not the past we miss — it’s the feeling of belonging and presence that modern digital life often lacks.

Collective Yearning in the Age of Uncertainty

Sociologists suggest that nostalgia spikes during cultural instability. Economic precarity, environmental anxiety, and information overload drive people toward emotional retreat. The collective longing for the “before times” — even invented ones — offers a sense of shared mourning. Fauxstalgia becomes both a symptom and a salve for collective unease, a digital campfire where users gather to remember what never was.

Memory, Authenticity, and Emotional Simulation

Fauxstalgia tricks the brain. Research shows that emotionally charged imagery can create false memories — we believe we’ve experienced things we’ve only seen or imagined. Online, constant exposure to curated “vintage” content reinforces these sensations, blurring the line between history and fantasy. The internet doesn’t just preserve memories; it fabricates them.

***

When Nostalgia Becomes a Loop: The Future That Keeps Looking Back

The Death of Newness

Fauxstalgia has created a culture of recycling rather than innovation. Music samples old tracks, fashion rehashes old silhouettes, and films reboot existing franchises. The obsession with the past has made cultural originality rare. We’re stuck in a feedback loop of remix culture — consuming the familiar endlessly while craving novelty we no longer trust.

The Emotional Cost of Endless Remakes

Living in constant nostalgia can dull our ability to experience the present. When every image and sound references something older, we risk emotional stagnation. Fauxstalgia offers comfort, but also a kind of cultural paralysis — a refusal to imagine new futures. The past becomes not a lesson, but a lullaby that keeps us from waking up.

Reimagining the Future Through Real Memory

Breaking free from fauxstalgia doesn’t mean rejecting nostalgia altogether. Authentic nostalgia — grounded in personal memory and reflection — can inspire creativity and healing. The key is awareness: recognizing when nostalgia is being sold back to us and choosing to engage with it critically. To move forward, we must reclaim memory as a tool for meaning, not marketing."]]></description>
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    <title>The Politics of Cultural Despair - The Chris Hedges Report</title>
    <dc:date>2024-11-06T18:47:37+00:00</dc:date>
    <link>https://chrishedges.substack.com/p/the-politics-of-cultural-despair</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the end, the election was about despair. Despair over futures that evaporated with deindustrialization. Despair over the loss of 30 million jobs in mass layoffs. Despair over austerity programs and the funneling of wealth upwards into the hands of rapacious oligarchs. Despair over a liberal class that refuses to acknowledge the suffering it orchestrated under neoliberalism or embrace New Deal type programs that will ameliorate this suffering. Despair over the futile, endless wars, as well as the genocide in Gaza, where generals and politicians are never held accountable. Despair over a democratic system that has been seized by corporate and oligarchic power. 

This despair has been played out on the bodies of the disenfranchised through opioid and alcoholism addictions, gambling, mass shootings, suicides — especially among middle-aged white males — morbid obesity and the investment of our emotional and intellectual life in tawdry spectacles and the allure of magical thinking, from the absurd promises of the Christian right to the Oprah-like belief that reality is never an impediment to our desires. These are the pathologies of a deeply diseased culture, what Friedrich Nietzsche calls an aggressive despiritualized nihilism.

Donald Trump is a symptom of our diseased society. He is not its cause. He is what is vomited up out of decay. He expresses a childish yearning to be an omnipotent god. This yearning resonates with Americans who feel they have been treated like human refuse. But the impossibility of being a god, as Ernest Becker writes, leads to its dark alternative -- destroying like a god. This self-immolation is what comes next. 

Kamala Harris and the Democratic Party, along with the establishment wing of the Republican Party, which allied itself with Harris, live in their own non-reality-based belief system. Harris, who was anointed by party elites and never received a single primary vote, proudly trumpeted her endorsement by Dick Cheney, a politician who left office with a 13 percent approval rating. The smug, self-righteous “moral” crusade against Trump stokes the national reality television show that has replaced journalism and politics. It reduces a social, economic and political crisis to the personality of Trump. It refuses to confront and name the corporate forces responsible for our failed democracy. It allows Democratic politicians to blithely ignore their base -  77 percent of Democrats and 62 percent of independents support an arms embargo against Israel. The open collusion with corporate oppression and refusal to heed the desires and needs of the electorate neuters the press and Trump  critics. These corporate puppets stand for nothing, other than their own advancement. The lies they tell to working men and women, especially with programs such as the North American Free Trade Agreement (NAFTA), do far more damage than any of the lies uttered by Trump.

Oswald Spengler in “The Decline of the West” predicted that, as Western democracies calcified and died, a class of “monied thugs,” people such as Trump, would replace the traditional political elites. Democracy would become a sham. Hatred would be fostered and fed to the masses to encourage them to tear themselves apart.

The American dream has become an American nightmare.

The social bonds, including jobs that gave working Americans a sense of purpose and stability, that gave them meaning and hope, have been sundered. The stagnation of tens of millions of lives, the realization that it will not be better for their children, the predatory nature of our institutions, including education, health care and prisons, have engendered, along with despair, feelings of powerlessness and humiliation. It has bred loneliness, frustration, anger and a sense of worthlessness.

“When life is not worth living, everything becomes a pretext for ridding ourselves of it … ,” Émile Durkheim wrote. “There is a collective mood, as there is an individual mood, that inclines nations to sadness. … For individuals are too closely involved in the life of society for it to be sick without their being affected. Its suffering inevitably becomes theirs.”

Decayed societies, where a population is stripped of political, social and economic power, instinctively reach out for cult leaders. I watched this during the breakup of the former Yugoslavia. The cult leader promises a return to a mythical golden age and vows, as Trump does, to crush the forces embodied in demonized groups and individuals that are blamed for their misery. The more outrageous cult leaders become, the more cult leaders flout law and social conventions, the more they gain in popularity. Cult leaders are immune to the norms of established society. This is their appeal. Cult leaders seek total power. Those who follow them grant them this power in the desperate hope that the cult leaders will save them.

All cults are personality cults. Cult leaders are narcissists. They demand obsequious fawning and total obedience. They prize loyalty above competence. They wield absolute control. They do not tolerate criticism. They are deeply insecure, a trait they attempt to cover up with bombastic grandiosity. They are amoral and emotionally and physically abusive. They see those around them as objects to be manipulated for their own empowerment, enjoyment and often sadistic entertainment. All those outside the cult are branded as forces of evil, prompting an epic battle whose natural expression is violence.

We will not convince those who have surrendered their agency to a cult leader and embraced magical thinking through rational argument. We will not coerce them into submission. We will not find salvation for them or ourselves by supporting the Democratic Party. Whole segments of American society are now bent on self-immolation. They despise this world and what it has done to them. Their personal and political behavior is willfully suicidal. They seek to destroy, even if destruction leads to violence and death. They are no longer sustained by the comforting illusion of human progress, losing the only antidote to nihilism.

Pope John Paul II in 1981 issued an encyclical titled “Laborem exercens,” or “Through Work.” [https://www.vatican.va/content/john-paul-ii/en/encyclicals/documents/hf_jp-ii_enc_14091981_laborem-exercens.html ] He attacked the idea, fundamental to capitalism, that work was merely an exchange of money for labor. Work, he wrote, should not be reduced to the commodification of human beings through wages. Workers were not impersonal instruments to be manipulated like inanimate objects to increase profit. Work was essential to human dignity and self-fulfillment. It gave us a sense of empowerment and identity. It allowed us to build a relationship with society in which we could feel we contributed to social harmony and social cohesion, a relationship in which we had purpose.

The pope castigated unemployment, underemployment, inadequate wages, automation and a lack of job security as violations of human dignity. These conditions, he wrote, were forces that negated self-esteem, personal satisfaction, responsibility and creativity. The exaltation of the machine, he warned, reduced human beings to the status of slaves. He called for full employment, a minimum wage large enough to support a family, the right of a parent to stay home with children, and jobs and a living wage for the disabled. He advocated, in order to sustain strong families, universal health insurance, pensions, accident insurance and work schedules that permitted free time and vacations. He wrote that all workers should have the right to form unions with the ability to strike.

We must invest our energy into organizing mass movements to overthrow the corporate state through sustained acts of mass civil disobedience. This includes the most powerful weapon we possess – the strike. By turning our ire on the corporate state, we name the true sources of power and abuse. We expose the absurdity of blaming our demise on demonized groups such as undocumented workers, Muslims or Blacks. We give people an alternative to a corporate-indentured Democratic Party that cannot be rehabilitated. We make possible the restoration of an open society, one that serves the common good rather than corporate profit. We must demand nothing less than full employment, guaranteed minimum incomes, universal health insurance, free education at all levels, robust protection of the natural world and an end to militarism and imperialism. We must create the possibility for a life of dignity, purpose and self-esteem. If we do not, it will ensure a Christianized fascism and ultimately, with the accelerating ecocide, our obliteration."]]></description>
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    <title>Have We Missed The Message? with Ta-Nehisi Coates | What Now? with Trevor Noah Podcast - YouTube</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Bestselling author Ta-Nehisi Coates joins myself and Christiana to discuss his new book about how the stories we tell, and the ones we don’t, shape our realities. We also unpack the jaw-dropping CBS interview that followed the book’s release, and our elusive search as a people to see the humanity in others."]]></description>
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<item rdf:about="https://compstudiesjournal.com/2023/07/31/refusing-the-university/">
    <title>Refusing the University | Composition Studies</title>
    <dc:date>2023-08-03T19:09:58+00:00</dc:date>
    <link>https://compstudiesjournal.com/2023/07/31/refusing-the-university/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Your words impelled me into becoming the activist teacher/scholar I have come to be, committed to pushing back against power and the powerful, to working toward transformative structural change inside and outside the university.

From you, I learned to refuse the university, even as I was in the university, working toward a degree in the university. I understood the university is and would always be a violent (if also generative) space for many of us, until and unless it is structurally reassembled, no longer imbricated with empire and empire-building, with capitalist patriarchy. The university, as constituted presently, its current DEI follies and obsessions notwithstanding, will not save us, although it can be a site of revolutionary possibility.

I learned to refuse to be grateful, to refuse to stay in my place, the place that had been imagined for me and that I was expected dutifully to inhabit. I learned to refuse to expect other folx, especially queer and/or BIPOC folx, to inhabit dutifully the spaces that had been imagined for them.

We gained the knowledge that if we are invested in creating equitable anti-imperialist, anti-white-supremacist feminist queer BIPOC futures, we must insist on dismantling university structures that sustain imperialist global capitalist white supremacist heteropatriarchy and its yearnings.

From your writing, I gained the audacity to try to become the academic writer I wanted to be, I began to insist vociferously that academics can, must, and do write in a number of ways, that there is no monolithic academic writer and academic writing. “I came to theory,” you write, “because I was hurting. I came to theory, desperate, wanting to comprehend—to grasp what was around and within me” (59). Invoking your name and your words, I began to reject my prior training that called on me to leave myself out of my writing. I began to root my work, my writing in personal reflection and lived experience, remembering your dictum: “being an enlightened witness means becoming critically vigilant about the world we live in” and remembering the pain—“the pain of hunger, the pain of overwork, the pain of degradation and dehumanization, the pain of loneliness, the pain of loss, the pain of isolation, the pain of exile—spiritual and physical. Even before the words, we remember the pain” (4). I absorbed the lesson, but over time I forgot where it came from. When I asked my beloved to look at the proofs of the index my publisher had prepared for my book Dreads and Open Mouths: Living/Teaching/Writing Queerly, my beloved took a quick look and exclaimed, “they’ve messed up: there is only a single entry for bell hooks!” Your name astoundingly appears only once indeed, even as your spirit reverberates throughout its pages.

When I became a professor, I mustered the determination to refuse the lure of university schemes and banquets and felicitations and rewards designed to co-opt us, queer BIPOC faculty especially, to control us, to constrain us from working in solidarity with engaged activist queer and/or BIPOC colleagues and students against the university as imperial project, to restrain us from coming together to form communion, forge spaces of care and possibility, hold each other as the university.

When I became a professor, I mustered the determination to refuse the lure of university schemes and banquets and felicitations and rewards designed to co-opt us, queer BIPOC faculty especially, to control us, to constrain us from working in solidarity with engaged activist queer and/or BIPOC colleagues and students against the university as imperial project, to restrain us from coming together to form communion, forge spaces of care and possibility, hold each other as the university.

I refuse discipline, I refuse to be disciplined or to discipline.

From you, we learned to write/teach from an oppositional worldview, to write/teach from a place of resistance, to write/teach (as Sophia notes https://compstudiesjournal.com/2023/07/24/four-years-of-yearning-to-transgress/ ) from a place of yearning. “When we dare to speak in a liberatory voice, we threaten even those who may initially claim to want our words” (18).

I think of you, I think of you, I don’t think it would come to you as surprise when the College Board that dictates curriculum for AP courses unveils a pared-down version of a course in African American studies, excising your work, along with work by Angela Davis, Audre Lorde, Alice Walker (work I teach regularly), and making optional Black Lives Matter, after that odious governor of Florida rails against critical race theory and feminist queer intersectional Black study. Feminist Black study, you noted early on, threatens the established order, rightly, because it forces a break from epistemologies “used in service of maintaining white supremacy and…to reinforce and perpetuate domination” (64). 

I think of you when I see circulating on social media that stunning image of Isaac Julien, kneeling, head bowed, before Charles, the British monarch, in receipt of a Knights Bachelor. It is jarring, this image, unnerving. I wonder, what could the draw be for this then 62-year-old celebrated filmmaker, installation artist, and professor, renowned the world over for groundbreaking experimental poetic transgressive work that grapples with Blackness, queerness, desire and the enduring legacies of institutional slavery and colonialism (work I teach regularly) to stoop to this obsequious position to accept a knighthood from a monarch who is the emblem of colonialism and imperialism, a knighthood bestowed in the name of the British Empire that has been and continues to be responsible for so much global suffering and pain? What is the lure, what is the lure? Is institutional power, is whiteness impossible to resist? I wonder: what would you say?

I think of you when the Twittersphere erupts in outrage after that great injustice of Beyoncé failing (yet again) to win the Grammy for Album of the Year. Roxane Gay tweets: “trying to be chill but what more does Beyoncé need to do to win album of the year?” Other queer folx post on Twitter a line from Beyoncé’s song (“You won’t break my soul”) and express their gratitude to Beyoncé for thanking “the queer community” for inventing the genre of her latest release. The Grammys are denounced as racist. Well, yes, the Grammys need to be condemned for longstanding racism, and sexism, but the Grammys need also to be condemned for colluding with the state, for always colluding with the state, although these days there isn’t even pretense. At these Grammys, composition professor Jill Biden showed up and announced glibly “women like freedom” before dutifully giving out a new award for the Best Song for Social Change predictably to an Iranian singer/songwriter, patently signaling and soliciting support under the guise of women’s rights for a regime change operation in a country sanctioned and continually attacked by the US, for ongoing US imperialism, militarism, destruction. At the same time that I remember your counsel not to dismiss the capacity of popular culture to inspire and agitate us into rightful action, I recall your daring us to regard how a billionaire empire-building artist like Beyoncé can seduce us. We may find joy, we may find solace in her art, but Beyoncé, who along with her billionaire empire-building spouse famously broke the picket line at Los Angeles’ famed Chateau Marmont to host a party, will not liberate us. Beyoncé’s brand of feminism will not lead us into the liberation we deserve.

I think when everyone is carrying on about that tedious blockbuster film Crazy Rich Asians and the power of representations of your succinct response, eyes twinkling, to an earlier film, the box-office hit Waiting to Exhale—“this piece of shit.”

I think of you, I think of you, and I talk back, I call out.

I think of you when Yale, the university you taught at and left for City College of New York, is interminably revered as the pinnacle of knowledge/learning, where so many radical scholars I admire end up (Michael Warner, Lisa Lowe, Roderick Ferguson). What is the lure of this what should by now be discredited university built (not unusually) on the horrors of settler-colonial displacements and slavery systems, responsible for ongoing global misery via its production of horrific US supreme court justices and presidents and government officials in high places? Why do so many leading scholars with the incredible privilege of choice allow themselves to end up at this ugly university? What does it say about them? What does it say about the force of prestige and institutional power, of respect for institutional power and prestige?

I talk back, I call out. 

I observe the pervasive smug liberalism in rhetoric and composition, the reluctance to be critical of the hideous current occupant of the white house and his willing accomplice, South Asian like me, and Black, leading us to the brink of extinction in support of the war machinery and I think of rhetoric and composition’s tellingly selective embrace of you, akin to its selective embrace of your inspiration Paulo Freire, Freire’s inconvenient Marxism habitually elided. I think of rhetoric and composition’s chronic failures to teach against empire, its aversion to heeding your critiques of the “Western imperialist attempt to conquer the planet,” your criticisms of celebrating “strong advocates of women’s liberation” who are “pro-imperialist,” your urging us to be anti-imperialist by opposing US militarism, your reminder that “imperialism and not patriarchy is the core foundation of modern militarism (even though it serves the interest of imperialism to link notions of masculinity with the struggle to conquer nations and peoples)” around the world (128). 

I think of you, I think of you, I will be thinking of you and with you till I am thinking no more. Thank you, thank you, bell hooks."]]></description>
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    <title>A Spectre Haunting: China Miéville on the Communist Manifesto - YouTube</title>
    <dc:date>2023-02-01T05:20:25+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=PKwxKR5-QKU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Join award-winning author China Miéville and New Yorker contributing writer E. Tammy Kim, for a discussion of Miéville’s latest book, "A Spectre, Haunting"

Few written works can so confidently claim to have shaped the course of history as Karl Marx and Friedrich Engels's Manifesto of the Communist Party. Since first rattling the gates of the ruling order in 1848, this incendiary pamphlet has never ceased providing fuel for the fire in the hearts of those who dream of a better world. Nor has it stopped haunting the nightmares of those who sit atop the vastly unequal social system it condemns.

In A Spectre, Haunting, award-winning author China Miéville provides readers with a guide to understanding the Manifesto and the many specters it has conjured. Through his unique and unorthodox reading, Miéville offers a critical appraisal and a spirited defense of the modern world’s most influential political document.

For this launch event, Miéville will be joined by E. Tammy Kim for a conversation about contemporary capitalism’s rapidly multiplying crises and the Manifesto’s enduring relevance.

Get A Spectre, Haunting from Haymarket Books: 
https://www.haymarketbooks.org/books/1990-a-spectre-haunting

Speakers:

China Miéville is the multi-award-winning author of many works of fiction and non-fiction. His fiction includes The City and the City, Embassytown and This Census-Taker. He has won the Hugo, World Fantasy, and Arthur C. Clarke awards. His non-fiction includes the photo-illustrated essay London’s Overthrow. He has written for various publications, including the New York Times, Guardian, Conjunctions and Granta, and he is a founding editor of the quarterly Salvage.

E. Tammy Kim is a contributing writer at The New Yorker and the co-host of the Time to Say Goodbye podcast. She's also the writer-in-residence at the A/P/A Institute at NYU, a contributing editor at Lux magazine, and a fellow at the Alicia Patterson Foundation and Type Media Center.

This event is sponsored by Haymarket Books. While all of our events are freely available, we ask that those who are able make a solidarity donation in support of our important publishing and programming work."]]></description>
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<item rdf:about="http://www.theatlantic.com/past/docs/unbound/poetry/atlpoets/howe9404.htm">
    <title>What the Living Do - 94.04</title>
    <dc:date>2015-10-07T05:00:06+00:00</dc:date>
    <link>http://www.theatlantic.com/past/docs/unbound/poetry/atlpoets/howe9404.htm</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["WHAT THE LIVING DO

by Marie Howe

Johnny, the kitchen sink has been clogged for days, some utensil probably fell down there.
And the Drano won't work but smells dangerous, and the crusty dishes have piled up

waiting for the plumber I still haven't called. This is the everyday we spoke of.
It's winter again: the sky's a deep, headstrong blue, and the sunlight pours through

the open living-room windows because the heat's on too high in here and I can't turn it off.
For weeks now, driving, or dropping a bag of groceries in the street, the bag breaking,

I've been thinking: This is what the living do. And yesterday, hurrying along those
wobbly bricks in the Cambridge sidewalk, spilling my coffee down my wrist and sleeve,

I thought it again, and again later, when buying a hairbrush: This is it.
Parking. Slamming the car door shut in the cold. What you called that yearning.

What you finally gave up. We want the spring to come and the winter to pass. We want
whoever to call or not call, a letter, a kiss--we want more and more and then more of it.

But there are moments, walking, when I catch a glimpse of myself in the window glass,
say, the window of the corner video store, and I'm gripped by a cherishing so deep

for my own blowing hair, chapped face, and unbuttoned coat that I'm speechless:
I am living. I remember you."]]></description>
<dc:subject>death poetry mariehow living life everyday yearning poems 1994</dc:subject>
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<item rdf:about="http://sldistin.tumblr.com/post/11011925366/this-is-what-happens">
    <title>(SL) DISTIN 15 (This is what happens.)</title>
    <dc:date>2012-02-01T20:13:17+00:00</dc:date>
    <link>http://sldistin.tumblr.com/post/11011925366/this-is-what-happens</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Looking, really looking, at art (some might say seeing…feeling) is like this: It is like all the other really amazing things in life…You do it too much & you forget how good it can actually be…you become jaded. You don’t get enough & it is all you can think about—the good & the bad. Then, there is one photo…drawing…performance & you want to know all there is to know about it…It is a little bit like falling in love. It’s best, most exciting, when you don’t know why you like something…the thing you are looking at is something you might usually be inclined to dislike…But, with this, you cannot stop looking, cannot stop thinking. And so, in every other thing that you think about, talk about, read about, talk about, read about, you start to see it in all of those other things, whether or not they, directly, have anything to do with that thing you are suddenly, entirely, falling for…all of those other things have changed. And everything that you thought you knew is no longer the same."]]></description>
<dc:subject>rabbitholes looking taste feeling artappreciation interestedness interest interests thinking howwelearn evolution understanding appreciation art love 2011 passion obsession wittgenstein change yearning learning noticing seeing saradistin canon interested</dc:subject>
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