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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
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‘We Gon’ Be A’ight’: Hope and the Fight for What’s Owed

by Mariah Yonique Strawder 01/25/2026
written by Mariah Yonique Strawder

Kendrick Lamar’s “Alright” is the kind of track that hits you in the chest when the world feels heavy. When it dropped in 2015, it became an anthem for protests, for healing, for just making it through the day. And even now, years later, it still speaks to something deep in us. It’s something for Black folks navigating a world that constantly tries to dim our light.

At first listen, “Alright” sounds like a celebration. But when you really sit with the lyrics, you realize it’s not just about feeling good. It’s about surviving pain and still choosing joy. Kendrick talks about police violence, addiction, depression, and the weight of being Black in America. And yet, through all of that, he repeats: “We gon’ be alright.” The song is more than just optimism. It’s resistance.

Hope, in this song, isn’t soft. It’s not about ignoring what’s wrong. It’s about facing it head-on and still believing in something better. That kind of hope is powerful. It’s the kind that kept our ancestors going. It’s the kind that fuels movements. And it’s the kind that reminds us that even when we’re tired, we’re not done.

“Alright” also makes me think about reparations. Not just in the financial sense, but in the emotional and spiritual sense too. What does it mean to be owed something after generations of harm? Kendrick doesn’t say the word “reparations,” but the theme remains present. He’s talking about what’s been taken, our peace, our safety, our lives, and what it would mean to get some of that back. Not just through checks, but through healing, through justice, through being able to live without fear.

The road to that kind of future isn’t smooth. There are setbacks. Kendrick talks about feeling weak, about wanting to give up. And that’s real. We all have those moments. But what makes “Alright” so powerful is that it doesn’t end there. It reminds us that even when we fall, we rise. That our stories keep going despite the struggle.

So what does the future look like? If we really believe we’ll be alright, then it looks like more than just surviving. It looks like communities that are safe, schools that are funded, neighborhoods that aren’t being pushed out by gentrification. It looks like joy, like art, like Black kids growing up knowing they’re loved and protected.

01/25/2026 0 comments
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‘Heaux Tales’ As Told By Jazmine Sullivan

by Allison Scott 01/25/2021
written by Allison Scott

We truly do not deserve Jazmine Sullivan. After a six-year hiatus, she released her EP, Heaux Tales, to start 2021 the correct way. It’s a collection of eight songs side-by-side, showcasing real “tales” of sex, money, and discourses on relationships women in her life have had. The tales and songs together act as a call and response. While embracing all of these principles, Jazmine reminds us of the roots of R&B. She gives us gospel but makes it nasty (via Twitter .)

Any woman who wants a man with money is immediately labeled as a “gold digger.” But “Precious’ Tale” preaches the reality that we know our worth. A woman wanting money in a relationship is just proof that we have ambitions too. “The Other Side” is the most empowering track on the EP. It outlines these dreams of owning a business, finding a man with money, and paying rent on time. “Price Tags (feat. Anderson .Paak)” does the same thing, but a little more cocky this time. Anderson .Paak essentially takes the role of complaining about a woman running up a check. Still, if a man wants to indulge in her body, he must respect a mutually beneficial relationship.

“Lost One” is the answer to “Rashida’s Tale.” Together, they showcase the pain when we admittedly hurt someone we truly love. The lyrics on this track are authentically apologetic, yet an acceptance and ownership of mistakes that have been made.  

“Antoinette’s Tale” voices the hard truth that men cannot handle a woman who assumes power over her own body. Male dominance and ownership of female bodies is too often normalized in heteronormative relationships. My personal favorite, “Girl Like Me (feat. H.E.R.),” is the perfect conclusion and response to this sentiment. It’s almost entirely acoustic, making it incredibly intimate. H.E.R. matches Jazmine’s energy with flawless vocal runs like no other. “I ain’t wanna be, but you gon’ make a hoe outta me;” these lyrics are a little too accurate. The slow buildup to a painful cry of feeling unwanted by a partner epitomizes the contradictions that women experience. We want to be desired without compromising ourselves, but this ends up being the case. 

Heaux Tales speaks on behalf of Black women in ways that we didn’t even know we needed. The EP is insightful while showcasing Jazmine and her contributors’ beautiful and naturally trained voices. R&B “these days” neglects the vocal techniques and instrumentations given at its birth, making it acceptable for just “anyone” to put themselves in the category. But Jazmine has redefined this genre, creating a standard that cannot be met all willy-nilly. Her talent is unmatched, and her stories are incredibly valued.

01/25/2021 0 comments
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Album Review: Isaiah Rashad – Cilvia Demo

by 02/12/2014
written by

Album coverTop Dawg Entertainment (TDE) has risen to become one of the most respected and influential record labels in the hip-hop genre thanks to an amazing line-up of artist—notably Kendrick Lamar & Schoolboy Q—and in-house producers who have been able to craft some of the most inventive hip-hop albums of recent memory. This year, the label has decided to start with some new blood, by releasing the debut album of their newest signee, Isaiah Rashad.

Isaiah Rashad’s Cilvia Demo, is a slow-riding, introspective work that serves as a perfect introduction to Isaiah as an artist and as an individual. The album contains 14 tracks filled with highly personal anecdotes of growing up fatherless in Tennessee, a history of ill-fated relationships & substance abuse, and the challenges of remaining honest in a deceitful industry. Rather than portraying himself as an infallible, high and mighty rap star, Isaiah openly confesses his flaws and insecurities on this record. The vulnerability that permeates throughout the project is what makes Isaiah’s words not only relatable, but also real, as though he is speaking to a close friend rather than a random listener. He is able to speak on a number of societal ills, like institutionalized racism, without sounding preachy or dull, which is an accomplishment within itself. For instance, on the standout track “Heavenly Father,” Rashad reflects on his drug problems, thoughts of suicide, and womanizing tendencies over a soulful, gospel-lite instrumental that manages to be quite catchy regardless of its dark subject matter.

Although rap veterans like Andre 3000 and Scarface have done this type of southern confessional rap for years, Rashad manages to stay true to his southern roots without sounding redundant, thanks to creative use of flow, melody, and wordplay that stand out on the minimal and abstract instrumentals provided by producers Antydote, Mr. Carmack, Farhot, and D. Sanders. The laid-back and experimental beats are definitely a nice change of pace from the trap heavy sound that has become popular in the last couple of years. And the sparsity of guest features, aside from a few of his TDE brethren and songstress SZA, allows for Rashad to remain the center of attention and proves him capable of handling a solo project single-handedly.

With this project, Isaiah Rashad has proven to naysayers and skeptics alike that he is worthy of the TDE name, instead of merely copying reused formulas, and is out to pave a road for himself.

 

02/12/2014 56 comments
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Kendrick Lamar Leaves Grammys Empty-Handed

by 01/29/2014
written by

kendrick-lamar

This past Sunday, the 56th Annual Grammy Awards caused quite a stir for rapper Kendrick Lamar, who was nominated for seven Grammys, but won not one. Most shockingly, he lost to Macklemore and Ryan Lewis for Best Rap Album.  Macklemore and Ryan Lewis’ The Heist not only beat Kendrick’s Good Kid, M.A.A.D City, but also Jay Z’s Magna Carter… Holy Grail, Drake’s Nothing Was the Same, and Kanye’s Yeezus.

However, as it was a surprise to many that Kendrick Lamar did not win in any category, a debate sparked in the music world on the perpetual pattern of Black musicians’ lack of recognition.

Yet, Macklemore expressed through Instagram his reaction to winning Best Rap Album:

Source: Macklemore's Instagram

Source: Macklemore’s Instagram

“You got robbed.  I wanted you to win.  You should have.  It’s weird and sucks that I robbed you.  I was gonna say that during the speech.  Then the music started playing during my speech and I froze.  Anyway, you know what it is.  Congrats on this year and your music.  Appreciate you as an artist and as a friend.  Much love”

Also, along with the Instagram post Macklemore addressed in his caption:

Source: Macklemore's Instagram

Source: Macklemore’s Instagram

“My text to Kendrick after the show.   He deserved best rap album… I’m honored and completely blown away to win anything much less 4 Grammys.  But in that category, he should have won IMO.  And that’s taking nothing away from The Heist.  Just giving GKMC it’s proper respect.. With that being said, thank you to the fans.  You’re the reason we were on that stage tonight.  And to play Same Love on that platform was a career highlight.  The greatest honor of all.  That’s what this is about. Progress and art.  Thank you. #grammys”

Although, the fans can be thankful for Macklemore’s acknowledgement that he did not deserve the award, the big question is why wasn’t Kendrick awarded for any nominations?

One may argue that it has nothing to do with race or ethnicity. However, this calls into question the many other Black musicians, throughout the history of the Grammys, who also did not win the Award.  For example, Run-DMC, Tupac, Nas, Mos Def., The Notorious B.I.G., and Snoop Dogg (now known as Snoop Lion) fall under the “Never Won a Grammy” category.

Instead of a Grammy in a specific music based category, artist of color such as Bob Marley, Chuck Berry, Jimmy Hendrix, and Diana Ross have won the Grammy Life Time Achievement Award.

Is the Lifetime Achievement Award the category for prominent musicians whose race and ethnicity once got in the way of acknowledging their significant contribution to the music industry?  Taken into account that certain categories were not in place during the career of some of the musicians such as Best Rap Album, which did not become an official category until 1996.  But what about the many other categories such as Album of the Year, Best New Artist, Record of the Year, or even Best Dance Recording? Although music seems to progress, the music industry and its idea of “progress” is still at a standstill.

To the public, the number of Grammys a musician has defines his or her quality as a musician, and in Kendrick Lamar’s case his quality as a rapper.  Yet, when a musician wins zero out of seven awards centered around or connected to the Hip-Hop genre, what is the excuse?  What is the basis of the judging system in deciding who wins Grammy Awards and who doesn’t? Do Black musicians pressure and question the voting system, or do they let the music speak for itself?

 

01/29/2014 133 comments
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DJ Jukeboxx: Behind The Turntable

by 11/12/2013
written by

DJ Jukeboxx/ Photojournalist: Mark Anderson/ Nommo Staff

DJ Jukeboxx/ Photojournalist: Mark Anderson/ Nommo Staff

Bullets tore through the air, splitting a woman’s leg – causing pandemonium. Amongst the party, UCLA’s DJ Jukeboxx dropped behind his equipment avoiding the unnamed bullets.

In transitioning from DJing “hood parties” to turning up UCLA’s party scene, Aaron Willis (commonly known as DJ Jukeboxx) says that the fundamental element that has kept him DJing is his, “passion for the –art and craft”. Discovered at an early age, music – in all its majestic sense – has been that which moves him. “Music speaks as an emotion,” says DJ Jukeboxx. Though well aware of his interest in music in youth, DJ Jukeboxx did not get into DJing until he was 16.

With faces dull, guests at Aaron Willis’s sixteenth birthday stood lifelessly as the hired DJ [name unknown] failed to play relevant music; In the moment, not wanting his party to be a bust, a sixteen year old Aaron Willis ran to his room to make a mix of songs on a downloaded program called “Virtual DJ”. The hired DJ played Aaron’s mix, and the twerk sessions began. Since this first experience as a vicarious DJ, Aaron Willis has not only taken his art of mixing to the next level, but has continued to perfect his craft.

“DJing has kind of helped me bring in my whole business perspective – it’s like me having my own little business, and being a CEO.” Both elevating his art and coordinating business ventures, five years in, DJ Jukeboxx now plays at Westwood’s parties at a rate of a hundred-fifty dollars – reasonable when taking into account his popularity and demand. “Sometimes, I’ll be walking around and [with no one in sight] hear, ‘DJ Jukeboxx! DJ Aaron! And I’m like – why can’t I just walk around and be a normal person?” It seems true that with great power (in this case, the power of mixing), comes great responsibility. With this newfound success, Aaron Willis has found himself acclimating to both the fame and responsibilities that have come with being “UCLA’s Official DJ”. “I’ve never been the type to be a super popular person, and I don’t like being popular now. Sometimes it gets to the point where my phone keeps getting blown up, like dang, somebody always trying to party”, says DJ Jukeboxx.

Constantly working, yet unrelenting, DJ Jukeboxx continues to DJ weekly. Money aside, he recognizes the need to create a party atmosphere for the black community, especially when “[UCLA’s] white parties [and] white fraternities don’t let black males in– I hear it’s because they think we’ll take their girls or something,” says DJ Jukeboxx. Now a third year Accountant major, DJ Jukeboxx is looking to pass the reigns when he leaves. But before then, he says the next level for him is to “DJ Bruin Bash” – either way, Aaron Willis (AKA DJ Jukeboxx) is currently proclaimed, “UCLA’s Official DJ.”

 

DJ Jukeboxx can be found on:

 

Soundcloud: Soundcloud.com/dj_jukeboxx

Twitter: @Aaronyallout

Instagram: @Aaronyallout

 

Author: Adar Carver

Nommo Staff

11/12/2013 32 comments
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My N***A, My N***A!

by 10/31/2013
written by

yg

Rapper YG

Five months ago when I first heard the song, “My N***a”, by local rapper YG, the first thing I noticed was the beat. Immediately, I found myself grooving to it. Initially, the lyrics weren’t too bad. I was used to YG’s subject matter so nothing came off particularly shocking.

Then came the hook.

The word “n***a” is repeated a total of eleven times. Not only is the use of the word excessive, it is also the only lyric throughout the second part of the hook. Literally, the last four bars of the chorus are dedicated solely to that word. As my shock faded away, I admit I continued to bob my head. By the time the hook repeated, I was singing along.

I couldn’t deny its beat, and regardless of the lyrical content, the song was catchy. When the song was over, I hit the replay button. By my second listen, it had made a home in my head. Throughout the next few days, the song was a constant hum in my mind.

Last week as I scrolled through the top songs on iTunes, I was met with YG’s blatant yet catchy tune sitting at number twenty-five.

I was in shock.

Questions immediately formed in my mind: How can this song have made it to not only mainstream status, but to number twenty-five as well? How can this song, with such explicit lyrics that even the title had to be bleeped out, climb the mainstream ladder? How are people of different races responding to the lyrics of the song?

Earlier this week, I decided to interview students of different racial backgrounds to get their opinion on the song by asking four simple questions:

1. How do you feel about the song?

2. Do you like the song?

3. How would you feel if you had to sing this song in public?

4. How would you feel if you had to sing this song in front of a group of people that identified with a racial or ethnic group outside of the group you identify with?

At the end of the survey, I was faced with a very different question to ask than what I had initially set out to.

First, as expected most people said they would either feel embarrassed or awkward singing it in public and in front of people of a different racial background, while some said that they just wouldn’t sing it all.

One student of Middle Eastern decent, Sarah Rahimi [a fourth year IDS major] said, “I wouldn’t sing it. It’s not my word to use.”

Another student, Aaryn O’Quinn, an Afrikan-American fourth year student said, “I wouldn’t sing this in public. It would be like making a mockery of my people.”

Nonetheless, there were a few that said they would feel comfortable singing it in public, depending on the space. Third year Afrikan-American Aerospace Engineer major, Trevon Rodney claims, “It’s all about the location. I would feel just fine singing it on the Afrikan Diaspora floor [a residential community specifically aimed at Afrikan-American students], but I wouldn’t feel comfortable singing it in Ackerman Student Union.”

As I said, all of this was expected. What wasn’t expected however, was how hard it was to talk about the lyrical content when it came to that word. While talking about the song, one thing that struck me was how awkward almost all non-black participants were when answering the questions. And it wasn’t just non-black students. In the beginning, even black students did their best to skate around the word before finally just saying it. While I definitely didn’t expect the participants to just go out and say it, I didn’t think it would be that hard to talk about. Almost all knew the song so the presence of the word wasn’t unexpected. Furthermore, they had the opportunity to read the lyrics beforehand. None were fazed until it was time to actually talk about it.

As I started the discussion, all participants that weren’t of Afrikan-American decent tensed up and almost stammered through their responses. Nobody wants to say the word, which is understandable, but it was like the word left their voices immobile. “The N-word” was obviously the replacement of choice. However, “That word” and “You know…” were often used as well. The issue wasn’t their euphemism of choice, it was the way they used it. Regardless of the word that was chosen, somehow the word they had tried so hard to avoid still got the best of them. Prior to having to acknowledge the word, they were effortless in articulating themselves. However, “That word” left them immobile. One participant of Latino decent seemed to be so stumped that I actually gave him permission to say it. He was a little awkward at first but as soon as he said it, it was as if a weight had lifted off of him. The word was the biggest elephant to have ever occupied a room.

When I asked how they would feel if they had to sing the song in public, just the thought  entering their brains caused them to choke up.

For those who were embarrassed during the interview I understand that my Afrikan-American ethnicity could have been a part of the issue, but I was still taken aback.

For our one-on-ones, some students felt the need to overcompensate for their responses, and went into lengthy explanations of why it was okay for them to feel embarrassed about it.

One participant, a white female third year Political Science major says, “The song seems to be using the word in a non-historically racist way, almost as another word for friendship or brother… If I were to sing this song in public, I would hope for acceptance and to be able to convey that I wasn’t in any way trying to use it in a racist manner.”

While her response was standard enough, the amount of energy and effort put in was, in my opinion, way too much. You would have thought the participants were trying to solve the answer to world peace. In a way, maybe they were. We all know that racism is something that has plagued this country since its inception, and in my opinion something that has not been properly dealt with. Slavery and racism are always referenced as America’s dark past, and it seems like nobody is willing to shed the proper amount of light on it. We talk about it sure, but it’s always in a sugar coated politically correct way, full of euphemisms to make everyone talking about it feel comfortable, which is ridiculous because something as ugly as slavery shouldn’t make people feel comfortable.

Then it hit me. Although we as a country like to boast about living in a post-racial society, we have failed as a nation to educate each other on how to have a mature conversation about race. We haven’t learned how to be uncomfortable and learn from that awkwardness. Instead, we hide from the past and create euphemisms so we never have to really face it. We say “The N-word” because then we don’t have to truly think about the implications of it because it’s not that word, it’s the “N-Word”, and we get away with having yet another sugar coated conversation about race. Talking about this aspect of history should leave the people discussing it feeling anything, but comfortable.

I am going to say the word.

Nigga.

There.

Let the feeling of being uncomfortable sink in and deal with it. Now, with nigga aside, lets have a real conversation about race.

Are you for or against the use of nigga?

Author: Hailey Harris

Nommo Staff

10/31/2013 115 comments
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Interview: Terry Gray (TGray)

by 10/21/2013
written by


terry

Terry Gray, known as TGray, is a fourth year UCLA undergrad who has a strong passion for rap. He is an independent artist and is in the process of debuting his first mix tape The American Paradox.

Interviewer: Rasheed Tulay/ Nommo Staff

RT: So when did you start rapping and what motivated you to start rapping?

TG: I been rapping since I was nine consistent, but I started recording in the studio when I was about 17. I grew up in a hip-hop infused environment. It was the 90’s so my folks were always playing hip-hop and soul music and it just stuck with me.

RT: Who are your favorite MCs of the moment?

TG: I don’t really have favorites, but I definitely mess with Kanye, Jay-z, Eminem… you know the Gods. I think Kendrick is definitely one of the best right now. I just try to emulate the greats, so I don’t really focus on newer artists

RT: Where do you see yourself in five years in terms of music?

TG: I really don’t know, in five years I could be getting my PhD.

RT: I saw your College N****  video and thought it was dope, what challenges do you face pursuing a rap career while trying to stay ahead in school?

TG: So many challenges especially at UCLA. Constant time constraints, but school obviously has to come first. One thing I hate is people mistaking me as a “student rapper,” like someone who just raps as a hobby instead of serious occupation. I try to put as much time into my rapping as I do in the books.

RT: What is the relevance of the name?

TG: It is about how in the hood, I was considered the “white kid” of the group because I talked differently and was more focused school-wise, but then when I got into UCLA I was constantly reminded of my blackness. As a black male on campus, you’re not given the same respect because many people assume that I got in UCLA because of affirmative action or because I’m an athlete. So when I rap I try to bring different points of views together to show my versatility.

TGrayRT: How do you feel about the black presence on campus?

TG: I think the black community on campus could definitely be stronger. I know that the community is there, but it’s hard to feel it sometimes seeing how our school is predominantly Asian and White.

RT: If you could collaborate with any rapper of your choice right now who would it be? DOA (Dead or Alive)?

TG: Either Biggie or Em. Nah actually Biggie.

RT: Do you have anything planned in terms of shows at the moment.

TG: Not at the moment, but there are some definitely coming soon.

RT: When does your mixtape debut?

TG: It is coming in November and it is called American Paradox. It’s basically about the transition period between me leaving south central and  getting acclimated into UCLA, a whole different community.

RT: Any collaborations on the album?

TG: Nope just me, no features. It is meant to be an introduction to me as a person to the outside world. Just me.

RT: Who are your producers?

TG: I just find random producers online, but I try to only get quality. It’s kind of hard due to my lack of resources, but I make do. I try to keep the focus more on my lyrics.

RT: Yeah I saw your Figueroa R.A.P. video before you walked in. Who shoots your videos?

TG: Mike Le and he is cold behind the camera, I’m co-director though. I just try to give the best art I can give you know? Whether if it’s the video, the production, or the lyrics. I just try to craft the best art I can.

RT: If you could sign to any major label or group who would you sign with?

TG: I’m not even thinking about that right now. I’m on an independent grind. The internet makes it so that you don’t even need to be signed to a label to make it.

Twitter: @TGraytheparadox

Facebook: TGray

10/21/2013 55 comments
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