# data[].attributes.headline
Hey friends, I'm Ms. Gonzalez. Sometimes kids call me Ms. G. She/her.

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Hey friends, I'm Ms. Gonzalez. Sometimes kids call me Ms. G. She/her.

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BIG TALKER!! I love to talk and I learn best socially, so COVID has been difficult. But I have one kid who is an introvert, so I have learned to respect my quiet friends.  

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BIG TALKER!! I love to talk and I learn best socially, so COVID has been difficult. But I have one kid who is an introvert, so I have learned to respect my quiet friends.  

# data[].attributes.headline
I love this song. It's so simple and personal. It's got a groove and makes me want to sing, which I do, loudly and often. 

# data[].attributes.subject
I love this song. It's so simple and personal. It's got a groove and makes me want to sing, which I do, loudly and often. 

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Bill Withers - Grandma's Hands (Official Audio)

# data[].attributes.headline
ASK SOMEONE. TBH, I panic a little first because I HATE being stuck. But then I reach out for help. I will kind of scroll through my list of people and determine who could help me most with that problem. 

# data[].attributes.subject
ASK SOMEONE. TBH, I panic a little first because I HATE being stuck. But then I reach out for help. I will kind of scroll through my list of people and determine who could help me most with that problem. 

# data[].attributes.headline
Ok, so I don't love change, but the thing that I hate more than change is feeling stuck. So change is the best way to get out of the Waiting Place. Bonus: Oh the places you'll go is quality stuff. 

# data[].attributes.subject
Ok, so I don't love change, but the thing that I hate more than change is feeling stuck. So change is the best way to get out of the Waiting Place. Bonus: Oh the places you'll go is quality stuff. 

# data[].attributes.attachment_link.title
Oh, the Places You’ll Go! by Dr. Seuss | Subtitled

# data[].attributes.headline
Y'all. I'm so excited to teach history this year. We will start off by focusing on Africa and I have some cool ideas, but I'd like to know what you want to know. 

# data[].attributes.subject
Y'all. I'm so excited to teach history this year. We will start off by focusing on Africa and I have some cool ideas, but I'd like to know what you want to know. 

# data[].attributes.headline
This Summer I've spent a lot of time reading about Rwanda and Central Africa around the time of the Rwandan Genocide, and I really want to learn more about post-colonial politics in the region and the rest of Africa

# data[].attributes.subject
This Summer I've spent a lot of time reading about Rwanda and Central Africa around the time of the Rwandan Genocide, and I really want to learn more about post-colonial politics in the region and the rest of Africa

# data[].attributes.headline
Make a cup of tea and find an article to read about whatever it is

# data[].attributes.subject
Make a cup of tea and find an article to read about whatever it is

# data[].attributes.headline
I like to have a routine and keep to it, but I'm okay with change when I can adapt it to be a new part of my routine

# data[].attributes.subject
I like to have a routine and keep to it, but I'm okay with change when I can adapt it to be a new part of my routine

# data[].attributes.headline
Honestly, I really like change. It keeps things interesting even if it's negative change.

# data[].attributes.subject
Honestly, I really like change. It keeps things interesting even if it's negative change.

# data[].attributes.headline
African history before the colonial era.

# data[].attributes.subject
African history before the colonial era.

# data[].attributes.headline
Hi! I'm Connor Coltrane (I go by C.A.)! He/Him

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Hi! I'm Connor Coltrane (I go by C.A.)! He/Him

# data[].attributes.headline
I'm relatively indifferent to change as a whole. I prefer to judge change on a case-by-case basis.

# data[].attributes.subject
I'm relatively indifferent to change as a whole. I prefer to judge change on a case-by-case basis.

# data[].attributes.body
- C.A. Coltane

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I've seriously considered taking a vow of silence so that I can learn to shut up.

# data[].attributes.subject
I've seriously considered taking a vow of silence so that I can learn to shut up.

# data[].attributes.body
- C.A. Coltrane

# data[].attributes.headline
Dark City, one of the most criminally underrated movies of all time! Don't get the theatrical release, it spoils a lot in the first scene. https://www.amazon.com/Dark-City-Directors-Rufus-Sewell/dp/B0018O4YT0

# data[].attributes.subject
Dark City, one of the most criminally underrated movies of all time! Don't get the theatrical release, it spoils a lot in the first scene. https://www.amazon.com/Dark-City-Directors-Rufus-Sewell/dp/B0018O4YT0

# data[].attributes.body
C.A. Coltane

# data[].attributes.body
-C.A. Coltrane

# data[].attributes.headline
Hello, I am Maddock. (He/Him or Spivak Pronouns)

# data[].attributes.subject
Hello, I am Maddock. (He/Him or Spivak Pronouns)

# data[].attributes.headline
I'm generally happy with change, I get bored otherwise. Harmful change can be disconcerting, but also serve as the impetus for more positive change which is hopeful. I also like, on a more personal level, seeing efficiency improve and things getting done better than they have. 

# data[].attributes.subject
I'm generally happy with change, I get bored otherwise. Harmful change can be disconcerting, but also serve as the impetus for more positive change which is hopeful. I also like, on a more personal level, seeing efficiency improve and things getting done better than they have. 

# data[].attributes.headline
I definitely think I'm on the talkative side, though I'll often wait and analyze others' statements before I rant for a hot minute.

# data[].attributes.subject
I definitely think I'm on the talkative side, though I'll often wait and analyze others' statements before I rant for a hot minute.

# data[].attributes.headline
I really like suprematism, and this era of experimentation in Russia in general, it's quite a cool artistic movement. 

# data[].attributes.subject
I really like suprematism, and this era of experimentation in Russia in general, it's quite a cool artistic movement. 

# data[].attributes.body
Absurdist posters and plays like "The Nose" are also quite cool.

# data[].attributes.attachment_link.readable_text
Suprematism ( Russian: супремати́зм) is an early twentieth-century art movement focused on the fundamentals of geometry (circles, squares, rectangles), painted in a limited range of colors. The term suprematism refers to an abstract art based upon "the supremacy of pure artistic feeling" rather than on visual depiction of objects.

Founded by Russian artist Kazimir Malevich in 1913, Supremus ( Russian: Супремус) conceived of the artist as liberated from everything that pre-determined the ideal structure of life and art. Projecting that vision onto Cubism, which Malevich admired for its ability to deconstruct art, and in the process change its reference points of art, he led a group of Russian avant-garde artists-including Aleksandra Ekster, Liubov Popova, Olga Rozanova, Ivan Kliun, Ivan Puni, Nadezhda Udaltsova, Nina Genke-Meller, Ksenia Boguslavskaya and others-in what's been described as the first attempt to independently found a Russian avant-garde movement, seceding from the trajectory of prior Russian art history.

To support the movement, Malevich established the journal Supremus (initially titled Nul or Nothing), which received contributions from artists and philosophers. The publication, however, never took off and its first issue was never distributed due to the Russian Revolution. The movement itself, however, was announced in Malevich's 1915 Last Futurist Exhibition of Paintings 0,10, in St. Petersburg, where he, and several others in his group, exhibited 36 works in a similar style.

Kazimir Malevich developed the concept of Suprematism when he was already an established painter, having exhibited in the Donkey's Tail and the Der Blaue Reiter (The Blue Rider) exhibitions of 1912 with cubo-futurist works. The proliferation of new artistic forms in painting, poetry and theatre as well as a revival of interest in the traditional folk art of Russia provided a rich environment in which a Modernist culture was born.

In "Suprematism" (Part II of his book The Non-Objective World, which was published 1927 in Munich as Bauhaus Book No. 11), Malevich clearly stated the core concept of Suprematism:

Under Suprematism I understand the primacy of pure feeling in creative art. To the Suprematist, the visual phenomena of the objective world are, in themselves, meaningless; the significant thing is feeling, as such, quite apart from the environment in which it is called forth.

He created a suprematist "grammar" based on fundamental geometric forms; in particular, the square and the circle. In the 0.10 Exhibition in 1915, Malevich exhibited his early experiments in suprematist painting. The centerpiece of his show was the Black Square, placed in what is called the red/beautiful corner in Russian Orthodox tradition; the place of the main icon in a house. "Black Square" was painted in 1915 and was presented as a breakthrough in his career and in art in general. Malevich also painted White on White which was also heralded as a milestone. White on White marked a shift from polychrome to monochrome Suprematism.

Malevich's Suprematism is fundamentally opposed to the postrevolutionary positions of Constructivism and materialism. Constructivism, with its cult of the object, is concerned with utilitarian strategies of adapting art to the principles of functional organization. Under Constructivism, the traditional easel painter is transformed into the artist-as-engineer in charge of organizing life in all of its aspects.

Suprematism, in sharp contrast to Constructivism, embodies a profoundly anti-materialist, anti-utilitarian philosophy. In "Suprematism" (Part II of The Non-Objective World), Malevich writes:

Art no longer cares to serve the state and religion, it no longer wishes to illustrate the history of manners, it wants to have nothing further to do with the object, as such, and believes that it can exist, in and for itself, without "things" (that is, the "time-tested well-spring of life").

Jean-Claude Marcadé has observed that "Despite superficial similarities between Constructivism and Suprematism, the two movements are nevertheless antagonists and it is very important to distinguish between them." According to Marcadé, confusion has arisen because several artists-either directly associated with Suprematism such as El Lissitzky or working under the suprematist influence as did Rodchenko and Lyubov Popova -later abandoned Suprematism for the culture of materials.

Suprematism does not embrace a humanist philosophy which places man at the center of the universe. Rather, Suprematism envisions man-the artist-as both originator and transmitter of what for Malevich is the world's only true reality-that of absolute non-objectivity.

...a blissful sense of liberating non-objectivity drew me forth into a "desert", where nothing is real except feeling...

- "Suprematism", Part II of The Non-Objective World

For Malevich, it is upon the foundations of absolute non-objectivity that the future of the universe will be built - a future in which appearances, objects, comfort, and convenience no longer dominate.

Malevich also credited the birth of Suprematism to Victory Over the Sun, Kruchenykh's Futurist opera production for which he designed the sets and costumes in 1913. The aim of the artists involved was to break with the usual theater of the past and to use a "clear, pure, logical Russian language". Malevich put this to practice by creating costumes from simple materials and thereby took advantage of geometric shapes. Flashing headlights illuminated the figures in such a way that alternating hands, legs or heads disappeared into the darkness. The stage curtain was a black square. One of the drawings for the backcloth shows a black square divided diagonally into a black and a white triangle. Because of the simplicity of these basic forms they were able to signify a new beginning.

Another important influence on Malevich were the ideas of the Russian mystic, philosopher, and disciple of Georges Gurdjieff, P. D. Ouspensky, who wrote of "a fourth dimension or a Fourth Way beyond the three to which our ordinary senses have access".

Some of the titles to paintings in 1915 express the concept of a non-Euclidean geometry which imagined forms in movement, or through time; titles such as: Two dimensional painted masses in the state of movement. These give some indications towards an understanding of the Suprematic compositions produced between 1915 and 1918.

The Supremus group, which in addition to Malevich included Aleksandra Ekster, Olga Rozanova, Nadezhda Udaltsova, Ivan Kliun, Lyubov Popova, Lazar Khidekel, Nikolai Suetin, Ilya Chashnik, Nina Genke-Meller, Ivan Puni and Ksenia Boguslavskaya, met from 1915 onwards to discuss the philosophy of Suprematism and its development into other areas of intellectual life. The products of these discussions were to be documented in a monthly publication called Supremus, titled to reflect the art movement it championed, that would include painting, music, decorative art, and literature. Malevich conceived of the journal as the contextual foundation in which he could base his art, and originally planned to call the journal Nul. In a letter to a colleague, he explained:

We are planning to put out a journal and have begun to discuss the how and what of it. Since in it we intend to reduce everything to zero, we have decided to call it Nul. Afterward we ourselves will go beyond zero.

Malevich conceived of the journal as a space for experimentation that would test his theory of nonobjective art. The group of artists wrote several articles for the initial publication, including the essays "The Mouth of the Earth and the Artist" (Malevich), "On the Old and the New in Music" (Matiushin), "Cubism, Futurism, Suprematism" (Rozanova), "Architecture as a Slap in the Face to Ferroconcrete" (Malevich), and "The Declaration of the Word as Such" (Kruchenykh). However, despite a year spent planning and writing articles for the journal, the first issue of Supremus was never published.

The most important artist who took the art form and ideas developed by Malevich and popularized them abroad was the painter El Lissitzky. Lissitzky worked intensively with Suprematism particularly in the years 1919 to 1923. He was deeply impressed by Malevich's Suprematist works as he saw it as the theoretical and visual equivalent of the social upheavals taking place in Russia at the time. Suprematism, with its radicalism, was to him the creative equivalent of an entirely new form of society. Lissitzky transferred Malevich's approach to his constructions, which he himself described as "the station where one changes from painting to architecture". The Proun designs, however, were also an artistic break from Suprematism; the Black Square by Malevich was the end point of a rigorous thought process that required new structural design work to follow. Lissitzky saw this new beginning in his Proun constructions, where the term "Proun" (Pro Unovis) symbolized its Suprematist origins.

Lissitzky exhibited in Berlin in 1923 at the Hanover and Dresden showrooms of Non-Objective Art. During this trip to the West, El Lissitzky was in close contact with Theo van Doesburg, forming a bridge between Suprematism and De Stijl and the Bauhaus.

Lazar Khidekel (1904-1986), Suprematist artist and visionary architect, was the only Suprematist architect who emerged from the Malevich circle. Khidekel started his study in architecture in Vitebsk art school under El Lissitzky in 1919-20. He was instrumental in the transition from planar Suprematism to volumetric Suprematism, creating axonometric projections (The Aero-club: Horizontal architecton, 1922-23), making three-dimensional models, such as the architectons, designing objects (model of an "Ashtray", 1922-23), and producing the first Suprematist architectural project (The Workers' Club, 1926). In the mid-1920s, he began his journey into the realm of visionary architecture. Directly inspired by Suprematism and its notion of an organic form-creation continuum, he explored new philosophical, scientific and technological futuristic approaches, and proposed innovative solutions for the creation of new urban environments, where people would live in harmony with nature and would be protected from man-made and natural disasters (his still topical proposal for flood protection - the City on the Water, 1925).

Nikolai Suetin used Suprematist motifs on works at the Imperial Porcelain Factory, Saint Petersburg where Malevich and Chashnik were also employed, and Malevich designed a Suprematist teapot. The Suprematists also made architectural models in the 1920s, which offered a different conception of socialist buildings to those developed in Constructivist architecture.

Malevich's architectural projects were known after 1922 Arkhitektoniki. Designs emphasized the right angle, with similarities to De Stijl and Le Corbusier, and were justified with an ideological connection to communist governance and equality for all. Another part of the formalism was low regard for triangles which were "dismissed as ancient, pagan, or Christian".

The first Suprematist architectural project was created by Lazar Khidekel in 1926. In the mid-1920s to 1932 Lazar Khidekel also created a series of futuristic projects such as Aero-City, Garden-City, and City Over Water.

In the 21st century, architect Zaha Hadid had 'a particular interest [in] the Russian avant-garde, and the movement known as Constructivism,' and 'as part of their work on the Russian avant-garde, Hadid's unit studied Suprematism, the abstract movement founded by the painter Kazimir Malevich.'.

Malevich, Self-Portrait, 1933

This development in artistic expression came about when Russia was in a revolutionary state, ideas were in ferment, and the old order was being swept away. As the new order became established, and Stalinism took hold from 1924 on, the state began limiting the freedom of artists. From the late 1920s the Russian avant-garde experienced direct and harsh criticism from the authorities and in 1934 the doctrine of Socialist Realism became official policy, and prohibited abstraction and divergence of artistic expression. Malevich nevertheless retained his main conception. In his self-portrait of 1933 he represented himself in a traditional way-the only way permitted by Stalinist cultural policy-but signed the picture with a tiny black-over-white square.

Historic exhibitions

Exhibition of Modern Decorative Art at Lemercier Gallery, Moscow, 1915

The Last Futurist Exhibition of Paintings 0.10 at Galerie Dobychina, Petrograd, 1915

First Russian Art Exhibition at Galerie Van Diemen, Berlin, 1922

First State Exhibition of Local and Moscow Artists, Vitebsk, 1919

Exhibition of Paintings by Petrograd Artists of All Trends, 1918-1923, Petrograd, 1923

Retrospective exhibitions

The Great Utopia: The Russian and Soviet Avant-Garde, 1915-1932 at the Solomon R. Guggenheim Museum, New York, 1992

Malevich's Circle. Confederates. Students. Followers in Russia 1920s-1950s at The State Russian Museum, St. Petersburg, 2000

Kazimir Malevich: Suprematism at the Solomon R. Guggenheim Museum, New York, 2003

Zaha Hadid and Suprematism at Galerie Gmurzynska, Zürich, 2010

Lazar Khidekel: Surviving Suprematism at Judah L. Magnes Museum, Berkeley CA, 2004-2005

Lazar Markovich Khidekel - the Rediscovered Suprematist at House Konstruktiv, Zurich, 2010-2011

Kazimir Malevich and the Russian Avant-Garde at the Stedelijk Museum, Amsterdam, 2013

Malevich: Revolutionary of Russian Art at the Tate Modern, London, 2014

Floating Worlds and Future Cities. Genius of Lazar Khidekel, Suprematism and Russian Avant-garde. NYC, 2013

References

Kasimir Malevich, The Non-Objective World. English translation by Howard Dearstyne from the German translation of 1927 by A. von Riesen from Malevich's original Russian manuscript, Paul Theobald and Company, Chicago, 1959.

Camilla Gray, The Russian Experiment in Art, Thames and Hudson, 1976.

Mel Gooding, Abstract Art, Tate Publishing, 2001.

Jean-Claude Marcadé, "What is Suprematism?", from the exhibition catalogue, Kasimir Malewitsch zum 100. Geburtstag, Galerie Gmurzynska, Cologne, 1978.

Jean-Claude Marcadé, "Malevich, Painting and Writing: On the Development of a Suprematist Philosophy", Kazimir Malevich: Suprematism, Guggenheim Museum, April 17, 2012 [Kindle Edition]

Jean-Claude Marcadé, "Some Remarks on Suprematism"; and Emmanuel Martineau, "A Philosophy of the 'Suprema' ", from the exhibition catalogue Suprematisme, Galerie Jean Chauvelin, Paris, 1977

Miroslav Lamac and Juri Padrta, "The Idea of Suprematism", from the exhibition catalogue, Kasimir Malewitsch zum 100. Geburtstag, Galerie Gmurzynska, Cologne, 1978

Lazar Khidekel and Suprematism. Regina Khidekel, Charlotte Douglas, Magdolena Dabrowsky, Alla Rosenfeld, Tatiand Goriatcheva, Constantin Boym. Prestel Publishing, 2014.

S. O. Khan-Magomedov. Lazar Khidekel (Creators of Russian Classical Avant-garde series), M., 2008

Alla Efimova. Surviving Suprematism: Lazar Khidekel. Judah L. Magnes Museum, Berkeley CA, 2004.

S.O. Khan-Magomedov. Pioneers of the Soviet Design. Galart, Moscow, 1995.

Selim Khan-Magomedov, Regina Khidekel. Lazar Markovich Khidekel. Suprematism and Architecture. Leonard Hutton Galleries, New York, 1995.

Alexandra Schatskikh. Unovis: Epicenter of a New World. The Great Utopia. The Russian and Soviet Avant-Garde 1915-1932.- Solomon Guggenheim Museum, 1992, State Tretiakov Gallery, State Russian Museum, Schirn Kunsthalle, Frankfurt.

Mark Khidekel. Suprematism and Architectural Projects of Lazar Khidekel. Architectural Design 59, # 7-8, 1989

Mark Khidekel. Suprematism in Architecture. L'Arca, Italy, # 27, 1989

Selim O. Chan-Magomedow. Pioniere der sowjetischen Architectur, VEB Verlag der Kunst, Dresden, 1983.

Larissa A. Zhadova. Malevich: Suprematism and Revolution in Russian Art 1910-1930, Thames and Hudson, London, 1982.

Larissa A. Zhadowa. Suche und Experiment. Russische und sowjetische Kunst 1910 bis 1930, VEB Verlag der Kunst, Dresden, 1978

# data[].attributes.attachment_link.description
Suprematism ( Russian: супремати́зм) is an early twentieth-century art movement focused on the fundamentals of geometry (circles, squares, rectangles), painted in a limited range of colors. The term suprematism refers to an abstract art based upon "the supremacy of pure artistic feeling" rather than on visual depiction of objects.

# data[].attributes.headline
I'll usually go digging in an online database like JSTOR or call up a close friend if I don't find anything.

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I'll usually go digging in an online database like JSTOR or call up a close friend if I don't find anything.

# data[].attributes.body
hello I'm Daniel(he/him)

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I like it because you have more time to prepare for sat

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I like it because you have more time to prepare for sat

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definitely not a big talker.(quiet)

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ask for help to my parents

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Hi! I'm Carly. (she/her)

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heres a link to pirate the best american tv show ever created 

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heres a link to pirate the best american tv show ever created 

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Marzipan City is a place where anything can happen and the unorthodox is commonplace. In the middle of this bizarre city is a quaint little shop known as M..

# data[].attributes.body
he him

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priyanka is my full name butt most people call me priya (pree-uh) :)

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I don't like change but its going to happen so I'm fine with it

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I don't like change but its going to happen so I'm fine with it

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Depends on what changes - Owen

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Sometimes i like it and other times i really don't but change is needed sometimes

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Sometimes i like it and other times i really don't but change is needed sometimes

# data[].attributes.headline
I'm interested in Carthage and their Punic Wars with Rome.

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I'm interested in Carthage and their Punic Wars with Rome.

# data[].attributes.headline
That hack writers like to lump the whole continent under one name because they're too lazy to research the numerous tribes and cultures.

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That hack writers like to lump the whole continent under one name because they're too lazy to research the numerous tribes and cultures.

# data[].attributes.body
-C.A. Coltrane

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umm... don't know what to ask, but if i have to, are you from Africa?

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umm... don't know what to ask, but if i have to, are you from Africa?

# data[].attributes.headline
I like some change so things don't get boring, but sometimes it can be hard to adjust.

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I like some change so things don't get boring, but sometimes it can be hard to adjust.

# data[].attributes.headline
economic history of the different regions

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economic history of the different regions

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in between. i talk a lot with my friends and like medium in groups.

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Walk away and come back to it with a fresh set of eyes

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Walk away and come back to it with a fresh set of eyes

# data[].attributes.headline
somewhat in between- sometimes shy but if I know people I like to talk a bunch.

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somewhat in between- sometimes shy but if I know people I like to talk a bunch.

# data[].attributes.body
Even thought it does get boring, I really like the change especially because I am able to work at my own pace

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about feminism with a cool artist (i think explicit though but hopefully i'm still allowed to share the link)

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Florence Given: Women Don't Owe You Pretty

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Listen to this episode from Outspoken Beauty on Spotify. In this episode I'm joined by artist, illustrator and social activist Florence Given. Florence was voted Cosmopolitan's Influencer of the Year 2019 and is renowned for being outspoken and brilliantly honest about topics ranging from sexual politics, sexuality and the importance of loving yourself.

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I talk a lot

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listen when in a good mood

# data[].attributes.attachment_link.title
Maxim Vengerov - Eugene Ysaye - Sonata No 3 in D minor, Ballade Op. 27

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I don't necessarily seek out change, but you kinda have to accept it once it happens.

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I don't necessarily seek out change, but you kinda have to accept it once it happens.

# data[].attributes.headline
Change is necessary and inevitable. I can cope with change pretty well as long as i see it coming.

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Change is necessary and inevitable. I can cope with change pretty well as long as i see it coming.

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I used to be pretty quiet, but I'm trying to be more outgoing!

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I used to be pretty quiet, but I'm trying to be more outgoing!

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Probably one of my favorite songs even though it's pretty sad. Johnny Van Zant wrote it about his brother Ronnie who was the lead singer for Lynyrd Skynyrd who was killed when the band's plane crashed.

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I don't really like change, but I can for sure adjust when it occurs. 

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I don't really like change, but I can for sure adjust when it occurs. 

# data[].attributes.headline
In class i answer questions and all, but if i dont have any friends in a certain class (which happens in at least 2-3 classes per year) I may not open my mouth for a whole period some days.

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In class i answer questions and all, but if i dont have any friends in a certain class (which happens in at least 2-3 classes per year) I may not open my mouth for a whole period some days.

# data[].attributes.body
in between

# data[].attributes.attachment_link.title
U2 - I Still Haven't Found What I'm Looking For (Official Music Video)

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how european colonization screwed them over

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I'll usually google it or ask my older sister for help

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I'll usually google it or ask my older sister for help

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I don't really plan much, so I can adapt to change pretty well

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I don't really plan much, so I can adapt to change pretty well

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Pronounced like 🦕 but with an a at the end :)

(Oh, and minus the o. I really just wanted to include a dinosaur.)

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I took AP World History last year but my teacher kind of skipped over early African history so I think that would be interesting to learn about!

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I took AP World History last year but my teacher kind of skipped over early African history so I think that would be interesting to learn about!

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I find the "post"-colonial period quite interesting. Especially with places like Zaire and people like Thomas Sankara in Burkina Faso who were doing really cool things. Also more dictator-style leaders like Bokassa and his CAE. I am also curious to learn about earlier periods. Specifically the Ghana Empire and Boko Kingdom, as well as some of the other groups of people who were developing really interesting cultures and socio-economic systems around that time. The Barbary Pirates are also cool and I'd be interested to look at some of the naval history in different parts of the continent to see how that development compares.

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I would probably phone a friend to help me understand a question.

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probably more about Africa before the Europeans came in

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probably more about Africa before the Europeans came in

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Probably quit or just keep doing it till im unstuck honestly

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I always like a break in routine. But balancing the initial excitement of change and my need for structure is important.

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I always like a break in routine. But balancing the initial excitement of change and my need for structure is important.

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ill ask my group chat or look it up

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god i have some big opinions about music.

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god i have some big opinions about music.

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I'd really love to link more than one song but I'll keep it to one.
This song is the best anyone has put out this year, and its also the first song my favorite band has put out since their last album two years ago. I love the way it addresses environmental and political issues and i cant stop listening to it on repeat.

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liam he/him

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SUGARFISH by sushi nozawa - Santa Monica, CA

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1749 reviews of SUGARFISH by sushi nozawa "Last week I received a Yelp message from the peeps over at Sugarfish inviting me and a guest to a complimentary tasting at this new location before it was opened to the public. FUN! I've been Yelping for less than a year and it is already paying off!

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usually like five friends or the same friend multiple times and then everyone gets annoyed that i can't let it go.

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It depends on the subject and group, but I think I lean towards the talkative side

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It depends on the subject and group, but I think I lean towards the talkative side

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I tend to put it off until I have a plan on how to figure it out

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I tend to put it off until I have a plan on how to figure it out

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i like to stay comfy but some change is good