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Arts & Entertainment

I Got This Sh*t From Tina: Lessons From Mama Knowles

by Mariah Yonique Strawder & Samantha Talbot 06/26/2026

written by Mariah Yonique Strawder & Samantha Talbot

On May 18th, 2026, Black365 hosted their second speaker series at UCLA. In collaboration with the Afrikan Womxn’s Collective at UCLA and American Pride Rises, Black365 brought businesswoman, fashion designer, art collector, and activist, Tina Knowles. We also can’t forget that she is the mother of two musical icons: Beyonce and Solange. The Tina Knowles event was a conversation centering on personal evolution, overcoming generational challenges, and uncovering the strength within our roots. Tina shared how she repeatedly reinvented her career by refusing to let fear, regional stereotypes, or societal expectations restrict her potential. To navigate these hurdles, she highlighted the importance of breaking generational curses of passive humility, learning instead to celebrate personal achievements and recognize one’s value. Ultimately, she challenged the audience to banish self-limitation, embrace their heritage, and step forward as assets to any room they enter.

Before recapping the event, Nommo would especially like to thank American Pride Rises for helping Black365 fund this event. Black365 Founder and Defending Our Dreams Fellow, Runor Pinnock, on APR and their support: “They were the ones that helped to fund this beautiful event, American Pride Rises was founded to help preserve diversity, equity, and inclusion across college campuses. With that, Black365 is meant to highlight Black history and culture year-round. This event is basically us standing our ground and saying that we’re not going anywhere. We’re Black and we’re proud, and we deserve to have our stories heard year-round, and that’s the community footprint we want this institution to remember us by.”

There was so much to learn from Mama Knowles. There were a few lessons that stood out which every Black woman should know. Nommo would like to call them Tina’s 3 B’s.

First, Be Kind

In discussing the strict curation of her inner circle, Mama Knowles kept her policy clear by saying that absolutely “no haters allowed” in her circle. She said everyone should look for friends who lift you up and lift everybody else up because “It doesn’t cost anything to be kind or lift someone up. If you will just find it in your heart to lift somebody up every single day, even if it’s just a small thing, it makes your day as well as theirs.” This is exactly how she raised her own successful family while working for years in the busy entertainment industry. For the students in the audience, it was a great reminder to stay away from negative people and protect their peace of mind. She encouraged everyone to look at their friend group as a supportive team where everyone helps each other out. In the end, her message showed that you can only truly succeed when you have a good inner circle standing right behind you.

Second, Be Authentic

On the topic of navigating predominantly white spaces while remaining unapologetically Black, Mama Knowles responded by saying she learned at a very young age the importance of being authentically herself no matter what room she is in. This is something that she has worked hard on teaching her daughters, grandchildren, and youth that she mentors. Mama Knowles says that Black people are a special people and should recognize that it is a blessing. She tells the audience that you bring value to any room by being yourself, “You don’t need to code-switch and be somebody else. Be authentically yourself. I promise you that when you have the confidence to be yourself, everybody else likes you, too.” Her powerful words filled the room with an immediate sense of pride and confidence. Walking into spaces where you’re the only one who looks like you can be intimidating, but Mama Knowles made it feel like a superpower instead of a disadvantage. She wanted the students to understand that trying to fit into someone else’s box only dilutes what makes them unique. By sharing this, she gave everyone in the room permission to take up space and be incredibly proud of exactly who they are.

Third, Be Proud

When asked what honoring and preserving her family’s legacy means to her, Mama Knowles told the audience that preserving history and lineage is everything. She reminded the audience that our name is our biggest gift and it sets us apart from everyone on this earth. Additionally, she encourages everyone, if they can, to put their investigator hats on and try to find out where they come from, especially Black folk. Just knowing this information can make you feel proud of who you are and where your ancestors came from. Knowing that her grandmothers and great-grandmothers were enslaved and somehow managed to free their children from that same destiny has given her an immense amount of pride. Mama Knowles tells the audience that “You should be proud of your heritage and learn about your ancestors.Go and research your history, know your story, and pass it on to your kids.” Her passion for family history was obvious, and you could tell how much her ancestors’ strength still inspires her today. She made it clear that if we don’t take the time to look into our roots, those precious family stories can easily be lost over time. For the students listening, it felt like a call to become the keepers of their own family legacies. Ultimately, her message was a beautiful reminder that truly knowing where you come from is the best way to ground yourself as you move forward in life.

As we reflect on the Black365 & Afrikan Womxn’s Collective event with Mama Knowles, the knowledge gained, and the lessons learned, NOMMO spoke with Afrikan Womxn’s Collective President and event attendee Addison Perry who shared how Tina’s 3 B’s help shape her understanding of power and Black womanhood.

Addison: The “three B’s” Ms. Knowles shared helped me further reflect on the way I think about what power even looks like for Black women. She did not define it through how well you can fit into a room or how much you can adapt yourself for other people’s comfort, she defined it through how firmly you know yourself. The first principle, “Be Authentic”, hit because oftentimes we are constantly expected to code-switch just to be taken seriously. She made it clear that showing up as yourself is not a risk, it is actually where your power lives. “Be Proud” took that further by connecting identity to ancestry, and highlighting the importance of knowing where you come from.There is something grounding about being reminded that the strength we carry did not start with us. “Be Kind” was the principle that resonated with me most because kindness is essential not only for having power but also for finding peace and support. She framed kindness not as something passive, but as an active choice to uplift others. I think that message was really important given how often Black women are placed in environments that encourage competition rather than support. She emphasized the importance of surrounding yourself with people who genuinely want to see you succeed, and that kind of community is a powerful form of strength in itself. All three principles together paint a picture of Black womanhood that is rooted, proud, and community-oriented rather than performative. It made me reflect on how I show up in spaces and whether I am leading with those same values. Ms. Knowles made it feel less like advice and more like a reminder of something we all already know deep down.

Nommo talked with Black 365 founder Runor Pinnock about her organization’s growing success and what’s next.

Black365 is growing rapidly, and a board has been established. How is it having a team that is passionate about the org’s mission of celebrating Black history and culture all year round?

Runor: There are truly no words to express the pride and joy I have in my E-board. A team like this is rare to find where it truly feels like we’re a family. The six of them are the embodiment of my visions materialized, and I affectionately call them my “E-Board babies” because of how protective and invested I am in their personal growth. They came into Black365 eager to start in April and were able to execute two entire events in a little over a month. The passion and commitment they displayed throughout was so beautiful to witness because I learned as much from them as I hoped they did from me and our experiences together. I’m quoting one of my E-Board members, Julia Perry, who described her ideal experience as one with a balance of “joy and professionalism”, which we managed to do. I never could have imagined others being as passionate about black storytelling as I am, but now that I know they exist, I intend to do everything I can to continue setting an example.

The 3 events Black365 has hosted have been amazing and packed with attendees. What does this mean for you? Why is cultivating this space important?

Runor: I still get emotional every time I see people interact with us. Though I founded this organization, it is not mine alone; it is for everyone- the attendees, supporters, partners, the casual spectator! Black365 would not exist without any of them. Hearing the positive feedback and the excitement that every event garners is so magical because this is what I intended. I always wanted those who feel as though they may not fit within UCLA’s status quo or underrepresented in their stories to feel seen when they step into something we host.

What do you hope for the future of Black365 as you plan to graduate next year?

Runor: In the essence of its name, Black365 is meant to exist beyond me. I emphasize to my board and in conversations surrounding the organization that I never intended for this to simply start and die with me once I graduate. I am aiming to lay a foundation for future Black Bruins to take up and cultivate these spaces into more than anything I could have envisioned. If nothing else, Black365 is an enduring legacy that always represents the continuity of black culture and history.

We also talked with Black365 inaugural Co-Director of Social Media & Marketing Nazyrah Otubuah about what it’s been like working with Black365 so far and what she hopes for the future.

Nazyrah: Black365’s goal to highlight Black stories means a lot to me as someone whose story often goes unheard a lot of the time. In an age where a lot of Black stories are either censored or simply ignored, it’s vital that we hear them at a place like UCLA, a PWI. Black365 believes that creating community is essential and I really align with that, which is one of the main reasons I joined. For me, being on Black 365’s E-Board has been one of my most fulfilling college experiences so far. It’s been a pleasure getting to know such fun, passionate, and dedicated individuals who show up every week and put their best foot forward no matter the challenges presented against us. Working with them has been nothing but wonderful, full of support and collaboration, where no idea is too big or too crazy because we’re willing to give it our all. I’ve grown in my career path as well as a person and it’s all thanks to these amazing people, and I’m excited to put on more fun events for everybody next year. My hopes for the future are to spread the mission of Black365 further than UCLA’s campus. Our mission to highlight all kinds of stories across the Afrikan diaspora is a really special one, and I want as many people as possible to be able to see themselves in our speakers and to take something that they could use in their everyday life. It’s truly inspiring seeing the community we’ve built and I want as many people as possible to be able to experience different kinds of Black excellence through our speaker series.

Black365 has been established for less than 6 months and has taken the Black Bruin community by storm, providing the community with engaging and insightful events from celebrity panels to hot topic discussion nights dissecting popular culture and societal issues.

Be sure to follow Black365 on social media and be on the lookout for more speaker series and events during the next year. @uclablack365 on Instagram and TikTok

06/26/2026 0 comments

Arts & Entertainment Black History Commentary

No Laughing Matter: Resistance and the Redefining of Afrikan Humor

by Orisha Lamon 05/15/2026

written by Orisha Lamon

When you’re at your grandma’s or cousin’s house for a sleepover, there is somehow going to be a movie either featuring, or referencing, Eddie Murphy and his comedic craft. Murphy is a figure that has defined much of Afrikan comedy alongside comedians and writers like Arsenio Hall, Paul Mooney, Robert Townsend, and Keenen Ivory Wayans – also known as The Black Pack. The Black Pack, shaped comedy around the Afrikan experience, around Afrikan cultural production and community. While the argument that these productions partake in systemic webs of white consumption and racial capital point to an overarching contradiction, commentators like Artel Great frame this “post-Blaxploitation” era of film and comedy (if you could even call it post) as a point and tool of resistance. With its audience in mind, the Black Pack highlights aspects only the Afrikan experience could really pick up on, not in a dog-whistling, subliminal messaging way but as an obviously comedic and dramatized reflection of Afrikan life far removed from the lens of racialized stereotypes. Instead, the Black Pack depicts archetypes that humanize and promote the multiplicity of being Afrikan – rather than a characterization in a white visual medium, it is its own cultural production, and through this production (which remains sensationalized and commodified through whatever means of consumption) it emerges as a reference point for cinema history and rejects the violent origins of film and humor stemming from anti-Afrikan violence and the maintenance of white supremacist ideology as seen through Amerikkka’s first picture film, “The Birth of a Nation”.

There is a slight skepticism in framing humor as resistance, especially as expressions of joy are intertwined with a notion of exclusivity and ignorance to a material reality. Much of cultural expression has and is commodified alongside this growing question of resistance, and redefining it with consciousness requires us to struggle against racial capitalism and its extension. In doing so, we should shy away from emphasizing identity politics and calls for representation, and turn our attention to needs redefining of expressions life and the confines of a material validation. I, however, found the way Artel Great explains resistance through Amerikkka’s Afrikan comedy supergroup to develop a fascinating approach to how humor was utilized as a tool of resistance. Humor is reframed not as a way to entertain and assimilate to an industry but as a moment that displays and creates relationships to Afrikan culture, community, and a lived experience that could only be felt while busting out laughing after seeing the remnants of Jheri Curl juice on the couch in “Coming to America”. Places such as the church, the barbershop, hair salon, and the corner store where folks working and passing each other everyday become a part of a mundane tradition that is then recounted through a lens of humor, fiction, and relatability. “Coming to America” is an example of reframing this experience of Blackness by bridging relatability, humor, fantasy and culture with identity politics and demands for complex representations of Afrikan people. Through the geographic and cultural aesthetics, “Coming to America” varies class distinction with a fascinatingly fictional narrative of an Afrikan country of royalty that engages with the lived experience of working and middle class royalty in Queens, New York. The creations of both Zamumba and Queens as spaces of Afrikan social and artistic expression as well as cultural hubs of community depict an outward humanization and normalization of Afrikan life, contesting the stereotypical and racist characterizations housed within the media. Instead, “Coming to America” highlights the possibility of life, a fantasy that centers on Afrikan imagination, and engages with the implications of Afrikan freedom in the fictional realm and beyond.

While writing this, I find myself still grappling with this question of humor as resistance. In a contemporary sense, humor has been an overly sensationalized tool platforming identity politics rather than a struggle – there often is a reinforcement of recognition and visibility that work in ways that both organize structure with capabilities of mobilization but also engage with systemic order of consumption – this dual work of connection and sentiment informs a relationality between interactions with humor as a tool of resistance, but also one to redefine outside of a white capital medium.

05/15/2026 0 comments

Arts & Entertainment Black History Commentary

Museums Suck: The Getty’s Black Photography Exhibit

by Faith Olaleye 04/21/2026

written by Faith Olaleye

Marble floors glisten with the warm light emitting from the fixtures above them, as thousands of footsteps parade in a hush, portraits of civil rights leaders and everyday people lining the walls of the Getty Center’s latest exhibition, Photography and the Black Arts Movement.

As a lifelong artist, I’ve been taught to venerate the museum, though I never have. One of the essays that got me into art school centered on how these spaces never felt like home to me. They were white walls and spotless floors, the individuals centered in the paintings which lived within them just as pale as the surfaces on which they hung. I must have overlooked the splendor everyone else drew from them. Maybe I wasn’t tapped in enough, maybe I wasn’t a “real” artist, since museums have “real” art, and thus are the only valuable places to consume it from.

But in museums, I rarely see myself, I rarely see us. That’s because those who fund them have no connection to the fervor that produces the poignant works I’m moved by. Paintings that I whisper to my brother about, questioning how an artist perfectly articulated a cultural reference. The people whom I, as an artist, if I wish to somehow gain any footing or advancement, must please. I entered the walls of the Getty with that same mindset and chilling understanding. In some part, this belief was broken by the presence of a Black exhibit that was both broad and visually stunning, but my issue with the institutions remains.

As a Black person, particularly a Black artist, I’m well aware of the environment that museums cultivate. They provide a transaction to a visitor, and are precise about who they feel is worthy of participating in that trade. In exchange for a facade of sophistication and refinement, the visitor gives their three hours to the marble halls and cascading gardens of the environment. Most of the visitors, though the crowd had some racial diversity, were clearly those who could afford to take time out of their day to venture out and look at art for hours. They entered the space with the hopes of gaining cool points amongst their friends and colleagues for being able to expatriate about the Gauguin they saw during their time there, based solely on the placard placed beside it, which they briefly skimmed.

People of color and those of a lower socioeconomic standing are rarely welcomed to take part in this transaction. Museums, akin to golf, are oftentimes reserved for those who have the time, finances, and triumph in the geographic lottery to be able to enjoy them. Furthermore, those who decide what work is shown, and which stories those works tell, don’t often uplift the voices and experiences of Black artists. Which is why this exhibit caught my eye.

The lower level of the west wing was filled with the work of numerous Black artists, like L.A.’s own David Hammons. One particularly striking work was a portrait of a man in the early 70’s, adorned in an all-white suit, whose eyes didn’t meet anyone who looked like him until I walked into the room, and most likely didn’t again until quite some time after I’d left. And while the exhibit was extensive and spanned multiple mediums, from painting and photography to mixed media installations, the gap between the work and the audience was increasingly evident. This was most clear in a moment where two teenage girls chose an enclosed room whose walls were pasted with newspaper clippings of wars and uprisings to be the site of their TikTok. It calls into question what purpose is served by an exhibit that so beautifully displays the history of a people, when those very people are rarely given access to the space it inhabits.

This conflict with museums and the relationship Black artists must have with them has been circling my mind since I began my formal art education in the Fall. I’d been thinking of myself as an artist, my values, the ethos that shines through in my work, and the audience I wish to speak to. Many of my peers echoed similar concerns about the balance between artistic integrity and making a living. So I, considering that my staunch stance could be rooted in youthful defiance, sought the opinion of those more experienced than I’ve grown to be.

I asked a peer, quite my senior, who’d worked in the industry across mediums and came back to school to pursue a graduate degree, what they thought. We discussed it, and my opinion stayed firm. We each echoed the same things, not quite sure of the solution but certain of the issue. At one particular moment, we dared to proclaim that museums had lost their relevance. Most people don’t frequent them, and in terms of cultural cache, they’re akin to a 1996 MC Hammer. We noted that many artists are moving away from the museums and that we, as Black artists, must create our own spaces and alternative forms of showcasing.

There’s a cruel tug of war in which Black artists are coaxed to engage. Either strip your work of its seasoning to ease the palette of the culturally disconnected individuals who you need to fund your work, or safeguard your flavor and potentially forfeit financial success and the security of an established career in the arts. I dare to say, we must put down the rope. And maybe, if we’re lucky, our final tug before letting it fall will reverberate and mollywop the institutions on the other end. Maybe it won’t.

I acknowledge that it may be wishful and naïve thinking to believe it is possible to authentically create and still make a living, but that’s the same reasoning that allows the culturally severed, but financially tied, to maintain the upper hand. My suggestion is that we, as Black artists, must create our own spaces, where the work not only reflects us but is accessible to us. Curators like Gabrielle Narcisse and Robert Provilus, with the BLACK STARS exhibition in New York this past Black History Month, have already begun creating a blueprint for how that can come to pass.

While the struggle between unfettered expression and financial stability will likely persist, continuing to center institutions that are incapable of connecting with the cultural collective consciousness is neither beneficial for the progression nor the ownership of Black artists and our audience.

04/21/2026 0 comments

Arts & Entertainment Black History Campus Culture Gender and Sexuality Lifestyle

Black Girl, Take Up Space: Lessons From JaNa Craig

by Mariah Yonique Strawder & Samantha Talbot 04/11/2026

written by Mariah Yonique Strawder & Samantha Talbot

Black women are so often told that they need to work twice as hard to get half as far as their non-black counterparts; unfortunately, this adage is proven true time and time again across everyday life, politics, and media. This is even true for reality television, notably dating shows, where Black women are overlooked, scrutinized, or forced into stereotypical labels that do not reflect them in the slightest. Take the infamous Love Island, where the Black female contestants are ignored by the male contestants, torn apart by the media, or often both. Despite this, the Black women of Love Island have repeatedly risen to the occasion, persevered against negative opinions and vitriol, built strong fan bases, and garnered national success. Love Island contestant JaNa Craig is one such woman who has become an inspiration to Black girls who are reaching for success, trying to fit into spaces that do not welcome them, or simply looking for love.

Black365 is an organization at UCLA that brings speakers to campus to highlight Black history and culture outside of Black History Month. On February 18th, 2026, Black365 hosted its first ever event. Black365 brought up JaNa Craig, one of Love Island USA’s biggest stars, to talk about shaping her narrative as a Black woman in media, her journey in business, and relationship advice.

Nommo Newsmagazine had the honor of talking to Black365 Founder and UCLA Student, Runor Pinnock, about why creating spaces like Black365 is important and the significance behind having JaNa Craig as one of the organization’s first speakers.

“In the midst of budget cuts aimed at defunding Diversity, Equity, and Inclusion initiatives and increasing attempts to suppress culturally significant aspects of our university, Black365 was created with the intention of filling in the gap I saw as a black transfer student. I wanted to ensure black students- especially those who struggle the most to acclimate to campus, like transfers and commuters- had a safe space to gather where there was no need to code-switch, dilute, or subdue themselves. Forming a space like Black365 where joy is built into its fabric- from the speaker down to the questions- must exist so students can feel supported wholly and be unashamed of their blackness. One of the most powerful tactics of resistance is joy, and having JaNa Craig as our first speaker, who personifies black joy, was so monumental.”

Though there was much to learn from JaNa Craig, there were a few standout lessons that every Black girl (and young adult figuring out their way in life) should hear.

Lesson 1: Make Sure Not to Fit In

When asked how she owns her narrative and identity as a Black woman in society, JaNa Craig expressed the importance of not settling in life. Having strong, unshakable morals is key to preserving your identity in a society that can shift its views of you on a whim. She also noted that the company you surround yourself with plays an integral role in who you become: “Be careful who you call your friends,” she shared. As a self-proclaimed “military brat” and usually one of the few Black students in her high school and college classes, Craig said that between constantly moving and never truly fitting in any one place, she often felt alone. However, she would make sure not to fit in, and urged others to do the same, “since you’re already standing out.” She made a conscious effort to wear her hair how she wanted (and to set boundaries so people wouldn’t touch her hair) and to make friends with anyone and everyone, especially those who might have felt as alone as she did. Though college can be an isolating time, one where you’re more aware of how you stick out than ever before, Craig encourages positive self-talk, and reiterates the simple yet comforting notion that “it’s not that deep.” She herself believes that faith and a “whatever happens will happen” mentality are the key to preserving your peace in the volatile young adult years.

Lesson 2: Let People Underestimate You

When asked what it’s like navigating a male‑dominated industry as a dark‑skinned Black woman, JaNa Craig spoke with honesty about the pressure to represent girls who look like her. Instead of running from that responsibility, she uses it as motivation. “I like when people underestimate me,” she shared. For her, underestimation becomes power when you stay humble, stay educated, and refuse to let labels define you. Still, she acknowledged the reality that Black women often “have to work twice as hard, be twice as nice” just to be taken seriously. She framed that struggle as a generational investment, hoping her great‑grandchildren won’t have to endure what Black women face today. Craig also emphasized the importance of surrounding yourself with people who reflect your values, reminding the audience to be careful about who they call their friends. Above all, she urged young Black women not to settle, grounding their ambitions in strong morals and a deep sense of self-worth.

Lesson 3: Know Your Worth

When the conversation shifted to how Black women were treated in the villa and how she handled the backlash that followed, JaNa Craig grounded her response in self‑worth. She reminded the audience that the right person will never make you feel insecure, and that loving yourself first is non‑negotiable. “Never forget your worth,” she said, urging young women to focus on their careers, their friendships, and their own growth. She emphasized that there is no rush, “you have time”, and that when your person enters your life, you’ll recognize it by how you feel about yourself, not by how loudly they perform love. For those who have been disrespected in relationships, she offered both compassion and clarity, insisting that you only have one life to live, so spend it wisely. Craig shared that she believes in karma and that if you are in the right, things will naturally work out in your favor. “You will naturally get your lick back,” she joked, but quickly added that she ultimately puts everything in God’s hands. She said she’s grateful even when people do her dirty, because it teaches her about herself and makes room for new blessings. In her eyes, every loss becomes a lesson, and every setback becomes a setup for something better. As she put it, “It will always work out for you in the end.”

As we reflect on the Black365 event with JaNa Craig, the knowledge gained, and the lessons learned, Nommo spoke with event attendee Da’Vionnah Hutchinson, who shared how Craig’s honesty and confidence shaped her own understanding of what it means to be a Black woman taking up space in this world.

“As a young Black woman, hearing her speak after watching what she went through on Love Island felt personal. I remember watching those moments play out in real time and feeling frustrated and honestly hurt by how easily she was overlooked and reduced. So being able to hear her unpack that experience herself, in her own words, felt like a full circle moment I did not even realize I needed. Being a Black girl on campus, you get used to seeing things play out a certain way, especially when it comes to how Black women are treated and perceived, so hearing her talk about her experience on Love Island just confirmed a lot of what is already known and felt. But what stood out more was the energy in the room and the way she and Serena showed up together. There was something real about that bond, something that did not feel forced or for show. It felt like two Black women choosing each other and standing firm in that choice, and that is not something we always get to see in spaces like that.

Despite everything that happened on television, JaNa spoke with so much confidence. She did not deny what happened or try to make it seem lighter than it was, but she also did not let it take anything away from who she is. It reminded me that even when spaces do not treat us the way we deserve, we still have control over how we carry ourselves and how we define our worth. Jana was serious about being her unapologetic self. No shrinking, no trying to make themselves more digestible, just fully existing in who they are. As a Black girl, that matters. We often feel like we have to adjust how we show up depending on the space, but seeing that level of confidence and authenticity makes it feel like it is okay to just be. Not perfect, not overly polished, just real. Overall, it just felt good to witness that kind of con\helnection and to hear someone like JaNa speak with that level of honesty. It reminded me that there is power in being yourself, even when it is not always easy, and that seeing Black women support each other like that is something that should be normal, not rare and I’m glad to have experienced it at an event hosted by Black 365 (shoutout Runor).”

As Runor said, JaNa Craig embodies black joy and love, which in itself is a form of resistance. Especially for Black women, expressing joy and loving ourselves and others is countercultural. It is incredibly important, now more than ever, that we as Black women cultivate spaces of community and belonging to support each other through the ups and downs of school, love, and life. Black365 will be hosting more speakers and events in the near future, so be on the lookout for more opportunities to engage in these spaces.

04/11/2026 0 comments

Arts & Entertainment Black History Campus Culture

Back to Black Wednesday: A Night of Jazz

by Faith Olaleye 03/31/2026

written by Faith Olaleye

Students sit huddled on couches in a dark room, red light pinging off the brass of a saxophone as a steady baseline echoes from the double bass. Drums couple with warm piano chords, leading the way for the blaring sax. This was the scene as students gathered in the Black Bruin Resource Center for Black Wednesday, a tradition started by the Afrikan Student Union at UCLA in the early nineties.

Started as a way to celebrate culture and foster the Black community on campus, events like this continue to unite students decades later. Joined for a night of live jazz and performances, dozens of people bustled into the BBRC, many there for different reasons. Some students expressed that they try to make an effort to engage with events held on campus by Black organizations as a way to further connect with their peers. Others, many of whom were transfers and freshmen, attended as an opportunity to become more involved with the Black community at UCLA and better acclimate to such a large environment.

Janiyah Williams, a third-year transfer student, said the BBRC was the first place she felt comfortable being herself on campus. Spaces like Black Wednesday are crucial for Black students at UCLA. At an institution where we make up less than 7% of the undergraduate population, it’s easy to feel alone and disconnected from the community.

We asked some students what they believe should be done to continue making spaces for Black students on campus. Many said events like movie nights, tailgates, and speaker sessions hosted by numerous Black organizations at UCLA have provided opportunities for them to connect with peers and find a sense of community. Others expressed that they often don’t know where to look for events or find fellow Black Bruins. Listed below are some orgs that prioritize uniting Black students on campus.

By attending events like Black Wednesday and utilizing spaces like the BBRC, students can better connect with the Black community at UCLA. Gathered for a night of jazz and camaraderie, students found a space to be themselves and meet fellow Black Bruins. We can’t wait to see what the next Black Wednesday has in store.

Resources:

@blackbruins

@uclabbrc

@uclablack365

@houseofbruin

@aacsatucla

@ucla.cod

@uclaeastafricans

@csaucla

@harambeeucla

@nsa.ucla

@culturalaffairs

03/31/2026 0 comments

Arts & Entertainment Culture

A Night with Willow Smith at Blue Note Jazz Club

by Bahji Steele 03/05/2026

written by Bahji Steele

On Monday, February 16th, at Blue Note Jazz Club, Willow Smith offered a small audience an intimate first listen to her newest album, “petal rock black.” Known for her unique vocal style, Willow used the legendary jazz venue to introduce a project that leans fully into jazz techniques while maintaining her grungy roots. The setting felt intentional. Blue Note’s Los Angeles location, newly opened this year, joins a lineage of rooms that have hosted icons like Stevie Wonder, Liza Minnelli, and Dizzy Gillespie—a fitting backdrop for an artist stepping deeper into her musicianship. This venue is also very collaborative, with past other artists coming to enjoy but also jumping on stage when called upon to create something new.

She opened with “hear me out,” live-layering her vocals in real time, building the song piece by piece before the audience. It immediately showcased her control and experimentation: stacked harmonies, airy runs, and complex vocal jumps. Sparse arrangements defined the night, honoring the Jazz Club environment, with her drummer and pianist taking extended, expressive solos that transformed the set beyond just a standard album preview. Her drummer, in particular, earned a standing ovation for a solo that felt emotionally raw and intense.

When the album officially dropped days later, the feature list added a new dimension to what we had heard live. The project includes Kamasi Washington, George Clinton, and Tune-Yards—a diverse lineup. Tune-Yards’ scattered, rhythm-forward sound feels similar to Willow’s. George Clinton’s presence carries historical weight: a revolutionary force in funk and R&B, he narrates a poem on the opening track, “petal rock black,” with lines that echo later in songs like “ear to the eocoon.”

Live, “Sitting Silently” was a standout, with its haunting staccato piano and vocals, and “ear to the cocoon” followed with a sense of grandeur and joy emanating from Willow’s performance. However, “not a fantasy” is the track I will be replaying for the coming weeks.

The Blue Note performance didn’t feel like a promotional stop but a statement. Willow Smith is expanding her artistry in real time, honoring jazz traditions while reshaping it through her own alternative lens. In a crowded room in Hollywood, I felt like I was discovering a small artist for the first time, not the global star that we know Willow to be.

03/05/2026 0 comments

Arts & Entertainment Commentary Culture

Unearthing Black Authors: Expanding the Exploration of Black Literature in Western Media

by Samantha Talbot 02/22/2026

written by Samantha Talbot

There is much to be said about the current state of the Western literary canon, referring to a body of literature consolidated across time and continents that is considered highly influential or “great” to the Western world; in other words, books that we would call “classics.” Much of the discourse surrounding the Western literary canon centers on the prominence of white, male authors in this arbitrary grouping and how this preference for the works of this specific kind of author consequently affects which books (and, by extension, perspectives) are taught in schools. A lack of diversity impacts how students view the world and, beyond the classroom, the narratives being pushed and prioritized in our society. There has always been a call from students, educators, and avid readers alike for increased diversity in the literary canon, for the highlighting of varied racial, gendered, and queer literature. And these pushes have been mostly successful (though one cannot ignore the waves of book bans in public schools over the past few years), with many universities offering literature courses centered on authors of color, women, and queer authors.

However, I’d like to focus on the issue of which authors are being represented in this diversity. From my experience as a Black AP English Literature/Language/African American Studies student attending school in a white, suburban town, and as a current English major at UCLA, I encounter many of the same Black authors: usually a combination of Langston Hughes, Toni Morrison, Frederick Douglass, W.E.B. Du Bois, and Phillis Wheatley. Furthermore, schools always pull from the same few works: Hughes’ “Harlem,” Morrison’s Beloved, Douglass’ Narrative, and so on. Not only that, sometimes educators will cover the exact same excerpts from these works, with a relatively similar analysis that has been taught for decades.

I admit that this can be said about all authors to some degree. Usually, authors are known for a specific work, and specific parts of that work have more cultural prominence than others, such as a famous soliloquy or an especially notable last chapter. However, I believe this is far more frequent with Black and other marginalized authors than it is with white, male authors. I have never read the same Shakespeare play twice in any class, yet I will come across the same excerpt from Du Bois’ The Souls of Black Folk numerous times across different classes. I only just learned recently from a friend that Du Bois also wrote short stories (e.g., “The Comet”), rather poetic ones at that. From my experience, I am more likely to come across a white author that I have not heard of than a Black author. This extends even beyond the classroom, to where most people are exposed to only a select few Black authors and books, while knowing significantly more of their white counterparts.

This is not to say that authors like Hughes and Morrison are not worth engaging with, just because they are more prominent in popular culture. Their most famous works are famous for a reason, and it is always good to diversify your reading in any way that you can (and I personally believe everyone should read Morrison’s The Bluest Eye). However, by pushing the same few Black authors, it suggests that there are only a few Black authors worth engaging with, and that, of those, only a handful of their works are worth reading; thus, only a select few Black perspectives are worth listening to. It can also perpetuate the notion that there are only a small percentage of “great” Black authors out of an insinuated small pool of talented Black writers.

I strongly believe that the Western literary canon should encompass a broader range of Black experiences, and we should collectively make an effort to bring lesser-known Black (and other marginalized) authors into literary spaces. There is no shortage of excellent writing from Black authors, both from the past and in our contemporary era; we just need to make the effort to engage with them. There is a wealth of undiscovered works simply waiting to be unearthed, and in doing so, perhaps we can expand our understanding of Black literature as a whole.

02/22/2026 0 comments

Arts & Entertainment Commentary Culture

Modern Day Minstrelsy: Natalie Nunn, Zeus Network, Anti-Blackness, Caricatures

by Mariah Yonique Strawder & Julia Elizabeth Perry 11/25/2025

written by Mariah Yonique Strawder & Julia Elizabeth Perry

“When characters enact stereotypes for the amusement of others.”

Natalie Nunn and Zeus Network have exacerbated conversation and controversy about the line between entertainment and exploitation.

Nunn is known for her appearances on seasons 4 and 13 of the reality TV show Bad Girls Club (2006-2017), as the executive producer of the Bad Girls Club spin-off, Baddies (2021-present), and for her viral clips and sound bites on TikTok. Zeus Network was founded in 2018 by social media personalities DeStorm Power, Amanda Cerny, King Bach, and television producer Lemuel Plummer (who currently serves as president and CEO). The streaming service produces social media personality-driven reality TV shows featuring creators such as Natalie Nunn, Joseline Hernandez, Tokyo Toni, and Blac Chyna.

When Black students living in the Afrikan diaspora Living Learning Community at UCLA were asked their thoughts on Nunn and Zeus Network, most were inclined to comment on the negative stereotype perpetuated by the network, the influence it has on Black culture, and the implications it has on how the world perceives the Black community within popular media.

Zeus Network & Exploitation

“Zeus Network promotes stigmas that surround Black women, men, and transgender people for the sake of entertainment.” Nazyrah Olubuah, first-year English student. In Maia Niguel Hoskin’s article “Black Folks Deserve Better: Lemuel Plummer’s Zeus Network Is Everything That Is Wrong With Portrayals Of Blackness On Television,” Hoskin highlights how CEO Plummer uses his platform to perpetuate stereotypes and inaccurately represent Blackness.

Content/Consumption

Hoskin’s article also emphasizes the demoralizing images of Black women that run rampant on Zeus Network. In almost every series the show produces, it depicts the women as sexually promiscuous, angry, aggressive, and intellectually inferior. “All they do is eat, drink, fight, smoke, have sex, and fight some more,” exclaimed Nazyrah Olubuah describing the content in many of the shows produced by the Zeus Network. Olubuah highlighted how this type of representation can be detrimental in shaping how individuals view the Black community, as well as how the Black community views itself.

Role models / Influence

Youth are consuming media at an all-time high through internet sites such as Instagram, X, TikTok, Snapchat, Facebook, YouTube and various other social media platforms. Often, the content youth engage with is not filtered to be age-appropriate, resulting in the fast-paced, mass consumption of information that can impact youth negatively. In Nunn’s case, she markets herself in a way that is entertaining and provoking. Through her behavior, she is often at the center of internet trends and/or memes that grow viral enough to reach youth. One of the most recent examples of this is a trend in which people created content lip-syncing and dancing to her song “Pose for Me.” Although the lyrics of this song were somewhat explicit, the trend was so viral that even children participated, most likely without realizing the meaning of the lyrics or Nunn’s fame. We spoke with students about Zeus Network’s representation of the Black community, and asked them how they felt about the content’s influence and its impact on Black youth.

“They’ll think that’s the box they have to fit in. They will feel pressure to conform to the stereotypes demonstrated in Baddies,” said Chidiogo Molokwu, a first-year biology student, emphasizing the potential risk of Black youth consuming the media produced by Natalie Nunn. Not only is the behavior that Nunn demonstrates highly questionable, but it has dangerous implications for the youth who consume it. Nunn’s use of her platform promotes the long-standing, harmful stereotypes that have been imposed on Black people for decades, showing Afrikan-American youth that this is the behavior that is expected of them. The content produced by Zeus Network also teaches the children who consume it that violence, screaming, or cursing is the right way to express emotions and solve conflicts, which can sabotage them in social contexts with their peers, as well as adults.

Jayla Ward, a first-year political science student, discussed Natalie Nunn’s identity as a parent. Ward contrasted Nunn’s identity as a mother with her role as a provocative and problematic media presence. “All kids deserve parents, not all parents deserve kids,” Ward says. Ward added this statement to highlight the hypocrisy of Nunn’s work. Considering that she is raising a Black daughter, should she not consider the implications for how Black women are projected in the media? The same media that her daughter may be consuming?

Accountability

Nunn was born in Concord, California, a middle and upper-middle-class city. She attended Aragon High School in San Mateo, California, a school that was nationally recognized for its academic excellence. Nunn later attended the University of Southern California, playing Division 1 soccer and receiving degrees in sociology and communications with minors in business and Spanish. Nunn is seen on social media flaunting her degrees. We asked students if they believed that Nunn’s educational background has any influence on her work and if she should be held accountable for the negative stereotypes that her work perpetuates.

“She does it on purpose. Her actions are calculated and manufactured to gain traction and profit off of the stereotypes that she perpetuates,” says Jayla Ward.

Writers’ Opinion + Moving forward

“Blacks are simultaneously underrepresented and overrepresented in American media culture,” claims S. Craig Watkins, an Assistant Professor of Sociology and Radio-Television-Film at the University of Texas at Austin. To contextualize this concept in the setting of the Zeus Network and Baddies, many of the shows within this network have casts that are dominated by Black people or people who have been influenced by elements of Black culture. At a surface level, having a Black-dominated cast would appear to be positive in terms of representation. However, since these Black people are predominantly represented in ways that are not accurate and are harmful, this portrayal aligns more with a consistent underrepresentation of Black people, a diverse and multifaceted population.

If continued, these portrayals are bound to influence generations of students consuming this media, including students at UCLA. The implications range from confining Black youth into stereotypes, teaching youth from other backgrounds that all Black people act ghetto or barbaric.

It is crucial to be intentional about the media we consume and the people that we give platforms to. While Zeus Network and Baddies represent Black people and culture in a way that is destructive, there is plenty of media that shows Afrikan-American culture in positive, authentic, and accurate contexts. Nommo staff have collaborated to compile a non-comprehensive list of shows, movies, books, and content creators by/about Black people to highlight narratives that represent our community ethically and responsibly!

TV SHOWS

Abbott Elementary
Raising Kanan
Black-ish
The Fresh Prince of Bel-Air
This is Us
Atlanta
Living Single
Insecure
Forever

MOVIES

Sinners
Green Book
Hidden Figures
Nickel Boys
Sing Sing
Entergalactic
Soul
Spider-man: Into the Spider-verse
Queen & Slim
Blackkklansman
If Beale Street Could Talk

BOOKS

The Poet X by Elizabeth Acevedo
Legendborn by Tracy Deonn
The Vanishing Half by Brit Bennett
Long After We Are Gone by Terah Shelton Harris
Nightcrawling by Leila Mottley
The Sun is Also a Star by Nicola Yoon
Born a Crime by Trevor Noah
The Blood Trials by N.E. Davenport
Sister Outsider by Audre Lorde
Homegoing by Yaa Gyasi
The Bluest Eye by Toni Morrison
Their Eyes Were Watching God by Zora Neale Hurston

SOCIAL MEDIA CREATORS

@keith_lee125 (TikTok, restaurant reviews)
@alexisnikole (TikTok, environmental educational)
@wisdm8 (TikTok, fashion)
@theconsciouslee (TikTok, politics/news)
@danessyauguste (TikTok, lifestyle)
@mariahcrose (TikTok, sports)
@skylarmarshai (TikTok, art/lifestyle)
@dasiadoesit (Instagram, rollerskating/lifestyle)
@KevinLangue (YouTube, comedy)
@debsmikle (Instagram, lifestyle)

11/25/2025 0 comments

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