@chaotic_philosopher: THIS is the top thing I learned after becoming after the time blindness girl. #timeblindness #timeblindnessgirl #trending #politicalpolarization #uspolitics #political #adhd #lesson

♻️🌎Chaotic Philosopher✝️🇵🇸
♻️🌎Chaotic Philosopher✝️🇵🇸
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Region: US
Saturday 15 July 2023 19:26:03 GMT
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grooovy.noodle
nat :
✨buzz words✨
2023-07-15 22:45:08
25387
xcieg28
Xcieg :
Sorry, I missed this Tik Tok on the account of my time blindness.
2023-07-16 03:13:20
9155
mihrage
Mihrage :
But first, you need to buy an alarm clock and an egg timer.
2023-07-15 19:39:18
3328
orv163
orv163 :
y'all she said in her live it was her mom yelling about time blindness😭
2023-07-16 09:36:07
6977
marsneder
MARS :
omg your reading a thesaurus era 😍😍😍
2023-07-16 10:04:34
5045
pomsandcons
pomsandcons :
can you explain what a time blindness accomodation is??
2023-07-16 01:21:16
3970
jamiewolfenden
Jamie Wolfenden :
Economic injustice? Like... having to show up to work on time?
2023-07-16 06:15:17
4559
pipereola
Piper :
How do we work to change things if we can’t show up on time
2023-07-16 02:45:03
2948
annaagauvin
A :
I have ADHD & have time blindness. But you have to work on it at some point. If you have something at 9, u have to be there at 9. make it work
2023-07-16 09:37:54
1728
bronxc0ckyc0ck
BRONXC0CKY :
This is a lot of additional steps in lieu of being on time
2023-07-15 20:44:10
1676
appleuser25894632
appleuser25894632 :
I took a government class in high school once
2023-07-16 09:58:43
2065
jennirocity
Jennifer 🕷️ :
Okay but how is any of this political polarization? Really now
2023-07-16 10:44:30
1079
mokeys.sanity
Mokey Fraggle :
Once upon a time I set alarms. I set many alarms. I set so many alarms that I was able to be on time for work and function in society despite my adhd!
2023-07-16 01:44:33
748
takron807
Rogue :
well can't change economic and environmental issues if we don't show up to fix those issues on time???
2023-07-16 04:05:52
947
shermsticks
lunched out :
me when my mom gets mad at me for being late to a job interview
2023-07-16 06:22:04
1641
koalstrike
ASimpleMan :
Swear u can jus set a bunch of alarms for different things in your day like I got 30 that creates my schedule
2023-07-15 21:02:29
167
picklejuice1900
picklejuice :
Ma’am, get yourself a clock, physical planner, sticky notes, start adding stuff to your phone calendar and self awareness
2023-07-16 03:53:33
357
parkinglotdabs
olivia :
Do you have friends that you can hang out with? I’m sure you guys could make some really fun plans
2023-07-16 03:17:16
111
beetuff33
🖤 :
What about AI speeches 😅👏
2023-07-16 11:48:38
81
plslikeandsubscribe69
Ok :
Me when I just say randoms terms
2023-07-17 07:55:07
66
ouihailey
H 🤍 :
Once upon a WHAT NOW 🤨👀
2023-07-17 21:24:13
69
isntisaac
isaac :
Ok but hear me out….. alarm clock?
2023-07-15 21:16:57
1134
boogie_boogie
mahee 🤠 :
how is your accommodation for time blindness related to US politics
2023-07-15 23:17:53
736
scarlettwalker05
ScarlettWalker :
i showed up late to the movies and i just couldnt believe that they didnt pause the movie for me🥺
2023-07-18 14:41:33
99
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LAGOS, Nigeria, January 1977: Nigeria's Head of State, Lieutenant General Olusegun Obasanjo, welcomed a distinguished assembly of African leaders, monarchs and government representatives to Lagos for the opening of the Second World Black and African Festival of Arts and Culture, popularly known as FESTAC '77. Among the dignitaries received at Lagos Airport was President Manuel Pinto da Costa of São Tomé and Príncipe. Other leaders who had already arrived in the Nigerian capital included King Moshoeshoe II of Lesotho, President Félix Houphouët-Boigny of Côte d'Ivoire, President Sir Dawda Jawara of The Gambia, President Omar Bongo of Gabon, President Siaka Stevens of Sierra Leone, General Félix Malloum of Chad, and President Kenneth Kaunda of Zambia. Additional delegations representing Benin, Ghana, Liberia, Swaziland, and Uganda also took part in the historic gathering. The festival, which ran from January 15 to February 12, 1977, was conceived as a celebration of Black and African culture and identity. It brought together thousands of artists, scholars, musicians, writers, and performers from across Africa and the African diaspora in what was then the largest cultural event ever staged on the continent. Through exhibitions, performances, conferences, and artistic showcases, FESTAC sought to promote cultural unity among people of African descent while highlighting Africa's contribution to world civilization. The event also reflected Nigeria's growing influence in African affairs. Buoyed by oil revenues and an increasingly assertive foreign policy, the country had positioned itself as a leading advocate of Pan-African cooperation and anti-colonial struggles throughout the continent. Despite the broad participation, Senegal became the only African nation to boycott the festival. President Léopold Sédar Senghor, one of Africa's most respected intellectuals and statesmen, accused Nigeria of attempting to dominate the cultural and political direction of the Black world through its economic power. His criticism exposed underlying tensions within the Pan-African movement regarding leadership and representation. Festival organizers firmly rejected the allegations. Navy Commander O. P. Fingesi, President of FESTAC '77, stated that Nigeria had no intention of imposing its views on other African nations and emphasized that the festival's purpose was to foster solidarity and cultural exchange among peoples of African heritage. A separate controversy emerged over Nigeria's efforts to secure the temporary return of the famed sixteenth-century Benin ivory mask of Queen Mother Idia. The artifact, taken during the British punitive expedition against the Kingdom of Benin in 1897 and housed in the British Museum, had been selected as the official symbol of FESTAC '77. Nigerian authorities requested that the mask be loaned for exhibition during the festival, but the request was declined. The refusal generated criticism from Nigerian officials and cultural advocates, who viewed it as a reminder of the broader debate surrounding African cultural treasures held in Western museums. The dispute also foreshadowed later international campaigns for the repatriation of African artifacts removed during the colonial era. Although overshadowed at times by political disagreements and cultural disputes, FESTAC '77 ultimately succeeded in placing Lagos at the center of the global Black cultural renaissance. The festival strengthened ties between African nations and the diaspora while leaving a lasting legacy through institutions and infrastructure developed to host the event. It remains one of the most ambitious cultural projects ever undertaken in post-colonial Africa. #History #nigeria #congolaise🇨🇩 #africa #surualifupi
LAGOS, Nigeria, January 1977: Nigeria's Head of State, Lieutenant General Olusegun Obasanjo, welcomed a distinguished assembly of African leaders, monarchs and government representatives to Lagos for the opening of the Second World Black and African Festival of Arts and Culture, popularly known as FESTAC '77. Among the dignitaries received at Lagos Airport was President Manuel Pinto da Costa of São Tomé and Príncipe. Other leaders who had already arrived in the Nigerian capital included King Moshoeshoe II of Lesotho, President Félix Houphouët-Boigny of Côte d'Ivoire, President Sir Dawda Jawara of The Gambia, President Omar Bongo of Gabon, President Siaka Stevens of Sierra Leone, General Félix Malloum of Chad, and President Kenneth Kaunda of Zambia. Additional delegations representing Benin, Ghana, Liberia, Swaziland, and Uganda also took part in the historic gathering. The festival, which ran from January 15 to February 12, 1977, was conceived as a celebration of Black and African culture and identity. It brought together thousands of artists, scholars, musicians, writers, and performers from across Africa and the African diaspora in what was then the largest cultural event ever staged on the continent. Through exhibitions, performances, conferences, and artistic showcases, FESTAC sought to promote cultural unity among people of African descent while highlighting Africa's contribution to world civilization. The event also reflected Nigeria's growing influence in African affairs. Buoyed by oil revenues and an increasingly assertive foreign policy, the country had positioned itself as a leading advocate of Pan-African cooperation and anti-colonial struggles throughout the continent. Despite the broad participation, Senegal became the only African nation to boycott the festival. President Léopold Sédar Senghor, one of Africa's most respected intellectuals and statesmen, accused Nigeria of attempting to dominate the cultural and political direction of the Black world through its economic power. His criticism exposed underlying tensions within the Pan-African movement regarding leadership and representation. Festival organizers firmly rejected the allegations. Navy Commander O. P. Fingesi, President of FESTAC '77, stated that Nigeria had no intention of imposing its views on other African nations and emphasized that the festival's purpose was to foster solidarity and cultural exchange among peoples of African heritage. A separate controversy emerged over Nigeria's efforts to secure the temporary return of the famed sixteenth-century Benin ivory mask of Queen Mother Idia. The artifact, taken during the British punitive expedition against the Kingdom of Benin in 1897 and housed in the British Museum, had been selected as the official symbol of FESTAC '77. Nigerian authorities requested that the mask be loaned for exhibition during the festival, but the request was declined. The refusal generated criticism from Nigerian officials and cultural advocates, who viewed it as a reminder of the broader debate surrounding African cultural treasures held in Western museums. The dispute also foreshadowed later international campaigns for the repatriation of African artifacts removed during the colonial era. Although overshadowed at times by political disagreements and cultural disputes, FESTAC '77 ultimately succeeded in placing Lagos at the center of the global Black cultural renaissance. The festival strengthened ties between African nations and the diaspora while leaving a lasting legacy through institutions and infrastructure developed to host the event. It remains one of the most ambitious cultural projects ever undertaken in post-colonial Africa. #History #nigeria #congolaise🇨🇩 #africa #surualifupi

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