Resources

Killer Frequency Companion Post

Today’s show is in Spanish, pre-recorded, and shorter than my usual. It’s a brief conversation with two educators, Berit and Mayde, who have been working in Minneapolis at the epicenter of the ICE raids. I’m honored to have the voices of those who have been resisting in real time on the ground on Killer Frequency. Put me on in the background.

Black Arts Events

Durham, NC

Black Trans Short Film Festival

This is my fourth response in my series on Decolonial Art History. I’ve been following a virtual course taught by scholars from around the world, and my goal has been to respond to each class with some form of reflection that I share on Killer Instinct. The intention is simple: to stay actively engaged, to immerse myself in the material rather than passively absorb it. I’ve been deeply enjoying the process. If you missed the first three responses, they’re linked below.

For this entry, I created a collage in homage to the Chinese artist Pan Yuliang. I encountered her work in a lecture titled Birth and Decay in Sites of Flux: Agentive Traces from Art of mid-20th Century in East and South-East Asia, taught by Professor Eileen Legaspi Ramirez of the University of the Philippines Diliman Department of Art Studies. What struck me most was Yuliang’s life story as told by her different names and how she complicates art historical research.

Professor Ramirez spoke candidly about the challenges of researching Yuliang. The artist appears under multiple names in the archival record. Research tends to assume stability: one name and one searchable identity.

Yuliang unsettles that expectation.

Professor Ramirez also discussed the tension between how Yuliang chose to represent herself and what emerges about her life through sustained research. How do we honor self-portrayal while acknowledging the fuller historical record? Yuliang insists on that question with unusual force.

Born Chen Xiuqing in Yangzhou, Jiangsu in 1895, she was later renamed Zhang Yuliang after being orphaned and sold into sex work by her uncle at fourteen. Her name changed again when she became a second wife and adopted her husband’s surname, becoming Pan Yuliang, a name she ultimately claimed as her own. These shifts were shaped by class, gender, vulnerability, and survival. Her multiple names reflect both structural constraint and personal agency.

Professor Ramirez noted that Yuliang herself never publicly spoke of her experience in sex work. That knowledge emerged later through research. This raises a delicate ethical question: how do scholars integrate biographical truths that an artist did not foreground?

Where is the line between contextualization and intrusion?

In my collage, I include Yuliang’s self-portraits as a way of centering her own acts of self-fashioning. Her legacy poses productive challenges to scholars today. What does it mean to sign oneself into history under a name that has been imposed, changed, and reclaimed?

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Previous Class Responses

Class 1

Class 2

Class 3

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Further Reading

From Brothel to Biennale. How Pan Yuliang Rewrote Her Destiny Through Art

Killer Frequency Companion Post

We’re digging through the crates together live today hunters! We’ll be listening to music that has released today for the first time together live on air. Discovering new music is so fulfilling, yet it can be a challenge to follow new drops and take the time to… dig. I’ll be browsing around, but Kehlani’s fresh eponymous album is an absolute must.

Share the live with a friend, spread the word, and put me on in the background.

Killer Frequency Companion Post

Tomorrow, I’ll be live discussing the first Netflix series ever filmed in Martinique and the largest Martinican production to date: Bandi. Thank you , for your perspective about this show. We look forward to your review!

This series was just released on April 9th, so I hope to introduce you to your weekend plans.

A binge.

The cast is almost entirely Martinican, and it’s primarily in French and Creole. The playlist for this live comes directly from the show’s soundtrack. Spoiler free.

If you’re enjoying my content and learning new things from my platform, please tell a friend and spread the word! There’s nothing like word of mouth.

Join and enter the vibe of Bandi.

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On Youth, Aging, and the Discipline of Evolution.

I like to use pop culture as an entry point into broader reflections. So, in the spirit of honesty…

I recently binged Age of Attraction, a new Netflix series centered around age-gap relationships. The show is hosted by Nick Viall and his wife, who themselves are in a controversial age-gap relationship. If you follow reality TV, you may also recognize them from the broader orbit of shows like Love Is Blind, where their commentary and interviews have drawn significant discourse.

On principle, I don’t support the show or the Vialls, as it were. I find the premise questionable and inherently unsafe. Ditto for them as a couple.

And yet, I watched. Partly because I love reality television. Partly because there has been so much conversation around it. But also, because even in what we might consider “trashy television,” there are often opportunities for reflection.

And this show left me thinking about something I return to often: People’s capacity for change.

Can people change? Change of any sort — changing habits, tendencies, mindsets, patterns. Of course, they can and they do.

Sometimes. But it feels rare, and even when it happens, often shallow or too late.

It’s a question that many of us confront repeatedly in our relationships with parents, friends, coworkers, romantic partners, and even ourselves. We find ourselves hoping for change, waiting for change, or questioning whether change is even possible. And I felt like that question was humming in the background of this series.

One of the most surprising things I noticed was that many of the younger participants appeared more mature than their older counterparts. They were asking themselves thoughtful questions, reflecting on their decisions, and showing a willingness to reconsider their assumptions.

Youth can have its own genre of wisdom, and I think a lot of that wisdom is connected to a capacity for change.

Which led me to think about youth as connected to cognitive flexibility, something we may gradually lose over time. When we talk about aging gracefully, so much of that conversation is focused on our bodies and how we look.

That has its importance, as our health and physical well-being impact quality of life.

But I don’t think we give nearly enough attention to how our minds age.

How do we make sure our thinking ages well?
How do we make sure our emotional lives age well?
How do we make sure our psychology evolves?

What I noticed among many of the older contestants was rigid thinking patterns: deeply entrenched insecurities, coping mechanisms, and responses shaped by years of repeated behavior.

The metaphor that came to mind for me was this: Imagine a car driving in a figure eight, over and over again, on the exact same path for years. Eventually, that path becomes deeply carved into the ground. So much so that the car might even find itself unable to get out.

That’s what our habits and tendencies can become over time. Time gives us wisdom — yes. But time also gives us practice in our worst habits. And over time, those habits become etched into who we are and very difficult to escape.

So, how can we nurture our capacity for evolution?

So when we think about whether people can change, it’s easy to get lost in outward-directed thinking. But I’m finding it more helpful to bring it back inward. Because as they say, we only really have control over ourselves.

If that.

How can I nurture my own capacity for change?

Because while change is possible, it’s difficult at the least and often rare. Admittedly, I’ve found that giving up hope in others’ capacity for change has actually been helpful.

It’s helped me:

• set better boundaries

• exit relationships that don’t serve me

• conserve energy and reclaim time

• engage my chosen community with greater acceptance

It allows me to practice radical acceptance — loving people as they are, rather than waiting for them to become something else.

I’m trying to focus more intentionally on my own capacity for change and thinking of that as something I can actively nurture over time.

So, I want to think through a few characteristics that I believe nurture that capacity.

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1. Self-Awareness

First, self-awareness.

An ability to take a cold, hard look at ourselves without protecting our ego.

This means facing resistance, seeking discomfort, and questioning things we may not want to question. Honest, challenging reflection.

But equally important: self-awareness is not change.

I think we sometimes treat awareness as transformation.
“At least I know.”
“At least I admit it.”

And while that deserves credit, awareness without action is meaningless at best. At worst, it borders on ethically questionable.

Change requires:

• habit shifts

• discipline

• consistency

• reflection

2. Cognitive Flexibility

Cognitive flexibility or the ability to reconfigure our thinking, adapt, and shift perspectives.

I like to think of this as strength training for the mind.

We strengthen it through:

• learning new skills

• reading

• language learning

• strategy games

• travel

• exposure to new ideas

• facing fears

All of these are mental workouts. They are essential!

3. Curiosity

Curiosity keeps us flexible.
Curiosity prevents rigidity.
Curiosity invites growth.

4. Self-Compassion

Because this process is difficult.

We need to be able to hold ourselves with compassion.

5. Discipline & Strategy

Awareness is important.
But a game plan is better.

30-day challenges.
Seasonal reflection.
Intentional habits.

Even religious traditions like Ramadan or Lent — at their core — are about intentional evolution. Whether religious or not, we can adopt the spirit of those practices:
regularly reflecting on what we need to release and what we need to cultivate.

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Journal Prompts

To close, I want to offer a few gentle journal prompts:

• What’s a hard truth about yourself you’re ready to accept today?

• What’s a lie you’ve been telling yourself?

• What’s a small change you could implement right now?

• What’s something you could read or explore to support your growth?

• What activities have you been curious to try?

• What pattern in your life feels deeply etched — like that figure eight?

• Where might you be very aware yet slow to act?

• What would nurturing cognitive flexibility look like in your life right now?

And as always, I hope this offers something to reflect on.

This is Kitty.
Until next time hunters, y’all be safe out there.

Resources

Killer Frequency Companion Post

RIP Nancy Metayer Bowen

Resources

This year felt like the universe picked me up, shook me, and placed me back down facing the opposite direction with a forceful push. Shaken.

I had a vision for what my future would look like, but 2025 didn’t seem to get the memo. It had other plans.

I graduated into an unprecedented job market with unique challenges for Black women. It felt like I was wrestling my degree out of my university’s cold hands just in time as campuses turned into tense political battlefields with Trump’s inauguration. There I was finishing my dissertation on marginalized communities in a keffiyeh looking for jobs in higher education.

Little did I know.

It’s been a humbling year.

When my plans started to crumble, I was left knocking frantically on multiple doors. Any door.

Starting my own business. Freelancing.

Building my own platforms.

Networking. Upskilling. Volunteering.

Applying.

I had no idea where I would land, and I spent much of the year convinced I might never. It was a season of a lot of rejection.

Rejection is evidence of trying, but it’s also a rigorous exercise in ego death. I spent much of the year feeling like I wasn’t good enough. Navigating commentary that suggested I wasn’t doing enough, doing the right things, or that I was actively doing all the wrong things. I was struggling.

But I kept on knocking. I changed my resume, adapted my interview strategies, and consulted mentors.

I started my job search not planning to leave California.

I ended up leaving the country.

I broadened my search in terms of field. Pay. Level.

And when I felt like all hope was lost, I resigned to entrepreneurship. That’s no disrespect to entrepreneurship. It’s now become a cornerstone of my professional life that I will never give up, but I never imagined it for myself. I had a lot of misconceptions about it. Mostly, I didn’t have the confidence.

What did I have to offer and who would really pay?

I thought confidence was a prerequisite. I’ve since come to see it as an entrepreneurial skill you can develop in the process.

Entrepreneurship didn’t stop the knocking, however. If anything, it amplified it. Entrepreneurship doesn’t mean you stop applying to jobs. Many entrepreneurs have full-time jobs. A lot of contracts are in traditional application portals and require a conventional hiring process.

I continued applying to jobs, fellowships, programs, anything that seemed slightly fitting and beneficial. Rejection had taught me that there was no reason to be picky at the application stage.

I was also knocking on doors that didn’t even present themselves as doors. Sending out resumes wherever I could find an email, cold calling, asking. Twice.

It was depressing.

The rude awakening that making a living, no matter which way you cut it, is hard.

It shouldn’t be this hard.

The end of the year brought glimmers of hope. An interview. A second round. A few fellowships that said they’d get back to me. Some subscribers here and there on my platforms. Modest but fulfilling. A couple of contracts secured. Invoices sent.

Entrepreneurship, the ability to secure resources by my own hustle, gave me more confidence than I knew possible. Sometimes the path you fear you’re not good enough for is exactly what shows you your worth.

As I close out the year, I’m hearing a few doors start to unlock and click open.

Just barely ajar.

Still, after many doors slamming the sounds are reassuring.

I had to shake you up to get you where you were trying to go because you were headed nowhere stubbornly fast.

Shaken, inside and out. Completely turned around, but ending the year confident if nothing else.

That the knocking has paid off.

That I’m now standing at the edge of abundance.

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Killer Frequency Companion Post

Jay-Z is on tour, on stage, and in the press.

His legacy under intense scrutiny.

Family at the center of every trending topic.

So, let’s talk about it. Put me on in the background.

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Resources

Exclusive: The Jay-Z Interview | GQ

Weekly Digest

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Black Arts Events

The Interior Designer Creating Language to Describe Black Decor Styles - Dwell

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Black Arts News

How early Black Chicagoans used photography to redefine their image - WBEZ Chicago

For a black globality

Black Opera Singers Are Redefining an Art Form Under Question

Recognizing Black Women Quilters On National Quilt Day

It’s Saturday night, hunters.

I’m serving a Shelf Life review of Liv Zander’s Feathers So Vicious.

Killer Frequency Companion Post

As we approach spring, this is a great time to sit and reflect. In this live show, we will be using journaling prompts from the year of the horse for a gentle journaling session. I’ll be playing music you can enjoy as we slow down and think together! Shout out to for being my top resource when making the playlists for this weekly radio show.

Bring your pens, paper, and a friend.

There’s nothing like word of mouth, so if you’re enjoying the content, please spread the word.

And put me on in the background.

Resources

I’ll be using this post by for our spring journaling prompts!

As of Late

Journal Prompts for the Year of the Horse

I’ve been thinking a lot about the Year of the Fire Horse, which comes around only once every sixty years. I don’t come from a culture that celebrates it, but somehow it feels perfectly aligned with …

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2 months ago · 56 likes · 2 comments · Martina

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Weekly Digest

Ear Candy Music

Honoring Women in Music

Ear Candy is here to serve your sonic sweet tooth…

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2 months ago · 2 likes · Kitty Killer and Alyssa M.

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Black Arts Events

Brooklyn, New York

National Black Writers Conference to Celebrate Poet Camille T. Dungy - BKReader

Fort Lauderdale, Florida

The African-American Research Library and Cultural Center Presents The 2026 Africana Arts & Humanities Festival | Broward County Community News#

Toronto, Canada

Myth, Masks, and LEGO: Ekow Nimako's Elaborate Afrofuturistic Sculptures — Colossal

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Black Arts News

The Moonwalk’s Roots in Black Artistic Resistance - AOL

Black Women’s Artwork That Everyone Should Have Eyes On

80% of UK music revenue comes from Black music genres, report finds

Introductory Reflections

This piece forms another response to the decolonial art history course I’m currently taking. If you missed the first response—Unicorn Cake: Tormented Pigments, which reflected on Pablo Picasso or the second, Charcoal and Lampblack which thinks through Blackness in Indian art history—you can revisit those after reading this short article!

The class I’m reflecting on here was taught by Samantha Noël and focused on the New Negro Movement across the United States, the Caribbean, and parts of Latin America. I promised myself that with each class I would follow one thread and produce some kind of response without letting perfectionism derail me.

I’ll be honest: perfectionism almost did.

This exercise has been teaching me how quickly perfectionism can disguise itself as rigor, and how easily it can slide into self-sabotage. Catching that impulse and continuing anyway has become part of the work.

From this class, I found myself drawn to a painting of candombe by Uruguayan artist Pedro Figari. That image became the thread I followed.

I am a tanguera and a longtime student of tango history. Tracing tango’s roots inevitably leads back to candombe and to Montevideo, so Figari’s impressionistic paintings of Black figures in communal dance felt like a continuation of studies I was already engaged in. I used the painting as a starting point, which quickly became an entry into early visual representations of candombe and, through them, a deeper art-historical exploration of Montevideo and Buenos Aires before they existed as we recognize today.

What follows is where that exploration has taken me so far.

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Rio de la Plata

When I first began studying tango, I was struck by the tension between its origins and its national symbolism. Tango is often treated as quintessentially Argentine, yet its roots lead unmistakably to Montevideo. This contradiction makes more sense once you step back from modern borders.

Candombe emerged before Argentina and Uruguay solidified as nation-states, during a period when Montevideo and Buenos Aires functioned as two sides of a shared cultural and economic zone along the Río de la Plata. Both were critical port cities, deeply entangled in Atlantic trade routes and the transatlantic slave trade, and both had large Afro-descendant populations shaped by enslavement and displacement.

In this context, candombe is not simply Afro-Uruguayan or Afro-Argentine.

It is Afro–Río de la Plata.

And when we speak about tango and its roots, we are speaking directly about Black cultural history in this region. Understanding this geography reframes the question entirely.

The cultural forms came first.

The borders came later.

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Early Visual Representations of Candombe

Pedro Figari, born and raised in Montevideo, occupies a central place in Uruguayan art history. Before turning to painting in his sixties, he was a lawyer and an influential public intellectual, deeply involved in the country’s political and cultural life. Though he was not formally trained as a painter, his work became canonical.

Initially, I planned to focus on a single painting of candombe shown in Professor Noel’s lecture. But when I searched for the image afterward, I found not one painting, but many. Candombe was not an isolated subject in Figari’s work—it was a defining theme.

Across these paintings, Black figures gather, move, drum, and dance in public space. Rendered impressionistically, they appear less as portraits than as memory translated into paint. What struck me was how clearly these works operate as more than aesthetic objects. They function as visual archives, documenting the development of a UNESCO Intangible Cultural Heritage.

Decolonizing Uruguayan Art History

Thinking through this history from a decolonial perspective, I began to notice a familiar pattern—one that echoes European modernism.

In the development of modernist art, African forms were foundational to innovation, yet African peoples and cultural labor were systematically excluded from the canon. Pablo Picasso could appropriate African masks and aesthetics (like with the faces of the sex workers in Les Desmoiselles d’Avignon), become exalted as a genius, and remain insulated from the violence that made those forms available to him in the first place.

Something structurally similar appears in the case of Figari.

Candombe—a Black cultural production—is central to his artistic output and to the formation of a national visual language. Yet candombe itself is often positioned outside the boundaries of “proper” art history, relegated instead to music, dance, or folklore. Art history’s tendency to distance itself from movement and sound plays a role in how Black cultural forms are absorbed, translated, and ultimately hollowed out within the canon.

Candombe is central to Uruguayan art history, yet its Black origins are repeatedly displaced as the canon elevates visual representation over embodied cultural practice.

Further Reading

Museo Figari | Pedro Figari: Candombe

One of the earliest visual representations of Candombe: Candombe federal, época de Rosas - PICRYL - Public Domain Media Search Engine Public Domain Search

Killer Frequency Companion Post

I’m back live today and I’m discussing the war in Iran, focusing particularly on its impact on Afro-descended Iranians building on a conversation that we started before when we discussed The Color Black: The History of Enslavement in Iran by Beeta Booghalizadeh.

For this discussion, I am centering a BBC podcast about the experience of Afro-Iranians in the context of this war. Join me for the live discussion! Put me on in the background.

If you’ve enjoyed Killer Frequency, you can support by sharing the information with a friend when the show airs. Encourage them to tune in! Nothing like word of mouth, so please spread the word.

Weekly Digest

From the archive:

KF MHz 16: The Color Black by Beeta Baghoolizadeh

And related material:

Review of The Color Black by Hooshyar Afsar

The Color Black: Enslavement and Erasure in Iran An Online Conversation with Dr. Beeta Baghoolizadeh

Resources

Iran War - Hearing from the Afro-Iranian community | The Conversation | Focus on Africa

Collective for Black Iranians

Writing Ourselves into Existence with the Collective for Black Iranians

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Black Arts Events

Brooklyn, New York

Celebrate Female Artists at The Black Girl Art Show in Brooklyn - BKReader

Chicago, Illinois

Vinyl Queens! Black Women in the DJ Scene Photo Art Exhibit | 03/27/2026 | Choose Chicago

Cincinnati, Ohio

At the Taft Museum of Art, a 40-year legacy meets a living artist – Soapbox

Black Arts News

Was Britain’s Queen Charlotte black? Netflix’s Bridgerton star insists ‘she was a woman of colour’ | - The Times of India

The Timeless Power Of Alvin Ailey And His Celebration Of The Black Experience - Essence | Essence

Killer Frequency Companion Post

This live is a review of Carrie Vaughn’s Kitty and the Midnight Hour, an urban fantasy with a radio host named Kitty as the main character.

I couldn’t resist the meta layers here. I had to review it for Killer Frequency! Next week, I’ll be back live, so mark your calendars and keep me on in the background.

Resources

Kitty and The Midnight Hour

Got an idea for a radio show? | Instituto Buena Bista

Weekly Digest

From the archives:

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Black Arts Events

Dallas, Texas

African American Museum Dallas Hosts National Gathering of Black Artis – Black Art In America™ Gallery & Gardens

Zürich, Switzerland

Artist Kerry James Marshall shines a light on Black history in art at Kunsthaus Zürich - hube magazine

Black Arts News

Ulysses Jenkins, Los Angeles artist and pioneer of Black experimental video, dies at 79

W.E.B. Du Bois Documentary Features Voices Of Black Hollywood

How A Black Filmmaker Changed Movies From The Edge Of Appalachia - West Virginia Public Broadcasting : West Virginia Public Broadcasting

Killer Frequency Companion Post

This is for the listeners. Strictly for the listeners.

Today’s live is a playlist highlighting tracks for many recently released projects. This is the perfect live to put on in the background.

Resources

Got an idea for a radio show? | Instituto Buena Bista

Weekly Digest

Ear Candy Music

Analyzing Alex Isley's "Sweetest Lullabye."

When you think of a lullaby, it is a soothing and sentimental song that rocks us gently to sleep. In Alex Isley’s latest piece, “Sweetest Lullabye,” it brings forth that intrinsic value, but hits us in a much more complex way. It is hinted at in the title, with the subtle switch from its traditional spelling to instead end with an “e,” tying in …

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2 months ago · 1 like · Alyssa M.

Black Arts Events

Marrakech, Morocco

Too, Fly: On Icarus and the Black Art of Becoming - ART AFRICA Magazine

Black Arts News

Birmingham Museum of Art seeking missing segregation-era works of first Black artist

Black chefs reclaim food, culture as Black History Month turns 100

We Were Here: The Untold History of Black Africans in Renaissance Europe | Folger Shakespeare Library

Artists are Dying. We Must Dismantle the Cultural Industrial Complex

Where Beginners Belong: Learning To Surf Across Africa And The Diaspora - Travel Noire

An exploration of Blackness in Indian art history.

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Previous Class Responses

Class 1:

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Further Reading

1. Stitching memory: How Siddi women in India preserve memory through quilting | Garland Magazine

2. The Significance Of Black Colour In Indian Art And Architecture: A Brief Picture Of Black From The Indian Knowledge System

Killer Frequency Companion Post

Today, I’ve returned to the studio to bring you all another live show! I don’t have any fixed topics for today, so let’s just meet on the air and talk in real time.

Put me on in the background!

Weekly Digest

From the archive:

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Black Arts Events

Oakland, California

Oakland’s Homecoming Fashion Show Spotlights Black Designers | KQED

Poughkeepsie, New York

Spellbound in the Valley Book Fair

Salem, Massachusetts

First Major Retrospective for Black Indigenous Sculptor Edmonia Lewis Opening

Black Arts News

The hoodie: From fashion staple to cultural icon, MODA exhibition explores the history and impact - CBS Atlanta

An Exciting New Wave of Black Chefs in the U.S.

10 Institutional Shows of Work by Black Artists to See This Month

Artist turns survival into Black history art

10 Black LGBTQ+ Artists to Know from EMEI 2025 | Contemporary Lynx - print and online magazine on art & visual culture

How DJ culture helped connect Black music communities worldwide | NCPR News

Consider This: The weather memories of a Black migrant | The Quad

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Ida Faubert (1882–1969) était une poétesse haïtienne. Le poème ci-dessous s’inspire directement d’un des siens, intitulé « Mon amour, attendez», et cherche à poursuivre la conversation qu’elle a commencée — entre la nature et le cœur, entre le désir et la destruction.

Aujourd’hui, c’est son anniversaire !

L’Abîme

Le moment où je me suis rendue compte que je pouvais vivre sans toi
Était aussi douloureux que celui où je t’avais perdue.

Je préférais l’orage à la sécheresse alors je l’ai supplié.

Un arbre assoiffé prie pour l’inondation,
Au point d’en être abîmé.

Les feuilles sont tombées entre les nids d’oiseaux du bois,
Qui s’est courbé contre le vent en attendant la nuit.

Le moment où je t’ai perdue
Était aussi douloureux que celui où j’ai continué.

Killer Frequency Companion Post

As we approach Valentine’s Day, this live is a reminder that love is not solely romantic; it’s communal.

In this episode of Killer Frequency, called “Networks of Care: Ordinary People, Extraordinary Support,” we consider ordinary people as architects of extraordinary systems of solidarity and survival with an expert in the field, social work scholar Craig Mortley. This is a conversation for anyone thinking seriously about community and how to show up for others.

As institutions continue to fail or fall short, communities—particularly diasporic and marginalized ones—have long relied on informal, relational networks to meet material and emotional needs. This episode offers real-world insight into how these systems function and where they need care themselves.

Thank you , for making this interview possible! Next week, on February 20th, I’ll be back live, so if you’ve been missing that experience, mark your calendars.

Resources

Olongo Africa Calls for Submissions to Poetry Anthology

14 Books About Black Women Being Loved For Valentine's Day - Essence | Essence

Weekly Digest

Ear Candy Music

The Lastest in R&B

Ear Candy is here to serve your sonic sweet tooth…

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3 months ago · 2 likes · Kitty Killer and Alyssa M.

Ear Candy Music

Where Our Artists Are When We Need Them Most

A reflection on what it means when popular artists go quiet at moments that demand position…

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3 months ago · Kitty Killer

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Black Arts Events

Baltimore

Tom Miller’s work is Black history, queer history, art history, and Baltimore history | Baltimore Beat

Canada

Nine Black artists explore beauty and adversity in ST!LL BLOOM!NG - BurlingtonToday.com

Curaçao

SELFHOOD - Ora mi topa mi mes

London

Black Culture Market bring their Spring Market to Brixton on Sat 28th Feb and Sun 1st March 2026

Madison, Wisconsin

Madison artist uses paintbrush to celebrate Black history and representation | News | channel3000.com

New York City

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Black Arts News

Islam’s place in Black history deserves greater recognition - The Royal Gazette | Bermuda News, Business, Sports, Events, & Community |

10 Black artists to add to your rotation this Black History Month – Annenberg Media

Killer Frequency Companion Post

This week, I’m bringing back another previous live where we spotlighted Jennifer Givhan’s Salt Bones, the recently released Latinx Indigenous mythological mystery set in the Mexicali borderlands. This live is a full Shelf Life. Shelf Life is a segment dedicated to literature, because a great life means nurturing our bookshelves!

Shout out to Maya the Bibliophile for this recommendation! I highly recommend following her page, to keep your bookshelves sharp. This discussion will be spoiler-free, so whether you’ve read the book, just started, or are considering it for your shelf—this live is for you!

For Valentine’s Day, we’ll be celebrating by turning our attention to the love of our communities in a time of so much need. Please mark your calendars and plan to join next week, February 13th, for an interview about care and community with an expert in the field, social work scholar Craig Mortley! Thank you to for connecting me to Craig.

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Weekly Digest

Ear Candy Music

Where Our Artists Are When We Need Them Most

A reflection on what it means when popular artists go quiet at moments that demand position…

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3 months ago · Kitty Killer

From the archives

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Blacks Arts Events

Indiana

Connection to Freedom: Works by Mason Archie at Richmond Art Museum – Black Art In America™ Gallery & Gardens

Oregon

‘ReEnvisioning’ Oregon’s Black history through the beauty of art - Daily Emerald

Tennessee

Memphis Black History Month events offer music, dance and more

Black Arts News

Whoopi Goldberg Slams Elon Musk for Questioning Lupita Nyong'o's 'Odyssey' Role

Mýa Sets Release of 'Retrospect,' Her First New Album in Eight Years

Why Black Celebrities Are Being Accused of "Selling Out" | Psychology Today

Haiti’s Long Struggle and Why the Reparations Movement is a Public Health Matter! - Stabroek News