Ego of the Week: Sebastián González
Name: Sebastián González
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Name: Sebastián González
Name: Justin Iannacone
“It feels as though you are carving completely new ground,” I remark to Professor Maggie Blackhawk, a Federal Indian Law scholar at the University of Pennsylvania Law School and a member of the Fond du la Band of Lake Superior Ojibwe. She responds with a quick burst of friendly laughter before responding, “I have been told that by others before.”
I’m lucky that Daniel Gordon (C ’21) found a time in his Google Calendar to add me in—but he always has time for his fellow Penn students. College Chair of the 2021 Class Board, Power of Penn Student Campaign Committee member, Social Planning & Events Committee Connaissance Secretary, and Penn Peer Advisor for the classes of 2022 and 2023. These are only a sample of the activities on Daniel’s schedule dedicated to the Penn community. The thing that keeps him going? His love for wellness and school spirit.
Name: DJ Dorch
The Kelly Writers House bubbles with excited chatter from both students and Philadelphia community members alike. Knitted sweaters lay on display, their interwoven colors bright and beaming against the table top's neutral wood grain. A crowd bustles around, eyes trained on the beautiful fabric.
In chaos theory, the ‘butterfly effect’ is the phenomena which supposes that the slightest shift in initial conditions can surmount to substantial changes in final circumstances. If you are anything like me, then the simple sight of y = mx + b induces an uncomfortable back–of–the–throat queasiness. I know for a fact (read: Wikipedia skim) that Jennifer Egan majored in English Literature (C'85), yet, her novel A Visit from the Goon Squad parallels a physicist's investigation, as it tracks initiality, or the unpredictability and impulsivity of human nature, to finality, which she calls “A→B.”
On April 3, the Kelly Writers House fourth—annual "Stand–Ups Sit Down" event saw stand–up comedians Laurie Kilmartin and Judy Gold drawing boisterous laughter and heaving gasps of appreciation from the audiences throughout their conversation with host Lew Schneider. Applause resounded within the room as Kilmartin, with a cascading rush of blonde hair, and Gold, with red voluminous curls as bright as her electric character, grinned at the crowds when the event came to an end.
“This theme gave us freedom to choose inspiration. Art gives the show a more cohesive feel. We are all from different dance backgrounds, we bring different styles, and being inspired by art ties the show all together,” shares Erisa Nakamura (C’19).
“Are we poets because of what we’ve went through or because we want to write.”
Women's Week has come and gone—yet its impact at Penn remains persistent. Beyond the flurry of events on campus which have heralded its passing, there has also been emphasis on the inclusion of intersectional identities. "The most important thing as a board was to make sure that in celebrating women and marginalized gender identities, not just focusing on stereotypical girl power message that comes through in feminism and in women dominated spaces," shares Jenna Liu (C’20), the Director of Women’s Week. She continues, "we wanted to make sure that we were diving deeper into these issues and amplifying the voices of marginalized women, trans women, women of color, women who do not always get the space and resources to share their stories and their experiences, that is what is important.”
Sam Orlin (C’ 19) appears around the corner of the Annenberg Center entrance. He’s in an olive green t–shirt and a black–and–white flannel. During quick introductions, another beaming face turns around the corner, sitting down with a bright pink shirt and flannel, Jimmy Paolini (E’ 19). And then the third, Ryan Young (C’ 19). They’re all in costume—Sam prepared to play Bison Ben, Jimmy as Bill Williams, and Ryan as Flint Westwood—ready for their opening night of The Good, The Bad, and the Uglee.
Four overhanging lights cast a semi-lit glow within the Taller Puertorriqueño conference room. Housed in the back left corner of the Pennsylvania Academy of Fine Arts, the room's worn and stained carpet gives away its age. In the front of the room sits Kukuli Velarde, about to present on her latest exhibition, The Complicit Eye. The Peruvian artist wears a colorful skirt, to match her quick sense of clever humor. Velarde is unapologetically human, she is a clever composite of all the things I am looking for when entering a museum: honest, firm, and brilliant.
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