![]() ![]() Right before COVID-19 hit, my girlfriend and I were actually in a pretty good position to buy a home. People from all over the country moved to Las Vegas because we had such an amazing housing market, but that completely changed. I figured that after I got sober, if I just worked hard enough, I could buy a home as well. I got sober when I was 27 years old, and by this time, many of my peers either bought homes or were in a position to buy homes, and I've been playing catch up.īefore the housing market crashed, many of my friends were getting incredible deals on homes, and their mortgage was often lower than my rent. I was the first person in my family to graduate high school and go straight to college, and I was hoping I'd be the first one successful enough to buy a home as well.Īfter dropping out of college after a semester, my drug and alcohol addiction became much worse, so I missed the housing market boom in the 2000s along with other opportunities in my 20s. My parents never made much money, and they both have terrible credit, so I grew up living in apartments. I grew up lower-middle class, and I was always envious of my friends who lived in nice houses. ![]()
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![]() ![]() It is often forgotten that the society of the spectacle is less a critical theory of appearances than it is a theory of the organization of appearances. ![]() ![]() Yet if the tropes surrounding Debord’s diagnosis have faded into the background with recent scholarship, we might inquire whether a critical theory of capitalist society that lays emphasis on a unique form of social domination by images, representations and appearances, might offer some coherence within such incoherent times. It is in these moments that it would seem odd to return to and assess the legacy of Guy Debord’s 1967 The Society of the Spectacle. When each new day brings with it a new disaster, the horror lies in the rhythm with which we are acclimated, without time or reflection, to a new ordinary of social amnesia. At a time of so much change, a critical theory of society is confronted by the challenge of a moving target. ![]() ![]() ![]() Realizing the awful truth about himself and fearful that he may someday harm his beloved Cristina, León begs Carido for help. ![]() As the years pass it becomes apparent that the lad has werewolf tendencies, and by the time he reaches manhood he is responsible for several brutal murders. Carido christens the child León and adopts him as his own son. She is saved by a kindly professor, Alfredo Carido, who takes care of her until she dies giving birth to the beggar's son. The ravished girl escapes, kills the marqués, and then tries to drown herself in a river. Maddened by his long confinement, the beggar savagely molests the girl and then perishes, a victim of his own metamorphosis into an animal. ![]() Ten years later the poor creature is joined by a deafmute servant girl who is being punished for rejecting the marqués' advances. In 18th-century Spain, the sadistic Marqués Siniestro imprisons a beggar in a dungeon and treats him as a dog, naming him Fido. ![]() ![]() And when he made his gesture, it was just a great thing for an old guy.” I had no concept that LeBron even knew I was at the game. ![]() ![]() I had one of the greatest seats on earth. “It was one of my greatest sports moments,” Brown said back in 2015. Given that the clip showed arguably one of three greatest basketball players ever paying homage to one of football’s greatest running backs, the moment became one of the lasting images from that year’s NBA season. Prior to tip-off of the Cleveland’s victory over the Warriors in Game 3 of the 2015 NBA Finals, James put his hands together and bowed in the direction of Jim Brown, who was sitting courtside. A memorable moment of respect from Lakers star LeBron James from back in 2015 went viral after the death of NFL legend Jim Brown on Friday. ![]() ![]() Long ago, the ungifted pledged fealty and service to her family in exchange for safe haven, and a kingdom was carved out from the wildlands and sustained by magic capable of repelling the world’s deadliest foes. “In a land ruled and shaped by violent magical storms, power lies with those who control them.Īurora Pavan comes from one of the oldest Stormling families in existence. All I can say is that I wanted to like it and yet, I can’t say I actually did. ![]() I don’t think I have the appropriate words to put into sentences that could actually create coherent meaning for what I felt while reading Roar, the first instalment of the Stormheart series, by Cora Carmack. I wanted this post to be different, believe me, I really did! But when you read a book that seems like it has so much potential in the beginning, with a kickass princess, two kickass princes, hundreds of secrets that have the power to crumble empires and a fantastic realm where magical storms have the power to destroy cities and people’s lives, and all of a sudden this sort-of-world-building stops so abruptly, only to start building a different sort of story, with many more characters, a too annoying male lead, a squad that doesn’t actually seem like a lockstep team, and a villain we don’t actually get the chance to meet throughout the whole novel… Well, all you can feel is… MEH! Hello awesome creatures and welcome to the first book review, to the first bibliorambling of 2018! ![]() |