Kool B

Kool B is an established force in the literary world of Houston. He is a Sam Houston award winner fo

09/04/2026

https://koolb.biz/track/4790300/kool-b-interview-kpft-the-living-art-show

Kool B Interview KPFT - The Living Art Show Kool B Interview KPFT - The Living Art Show

07/23/2026

Big Boy Art In THE House!

06/26/2026

https://koolb.biz/track/2816995/i-m-going-home-3

I'm Going Home 3 by Kool B Blues Poem

Columbus wrote it in his own diary: "The Africans know a way to the west, but it goes around the doldrums... we would never survive."

He knew. Africans had already mapped the Atlantic crossing. Already navigated currents that terrified European sailors. Columbus wrote it down. Then history buried it.

The Timeline:
· 1311: Mansa Abu Bakr II of Mali sent 200 ships west... 181 years before Columbus
· One ship returned. The captain said the others disappeared into the ocean
· The rest made it. We know because of what Balboa found

The Discovery:
When Spanish explorer Vasco Núñez de Balboa reached Panama, he found them: an entire African village. He wrote it in his diary, confused. "How did these Africans get here?"

Then there are the Olmec heads massive stone sculptures at San Lorenzo and Tres Zapotes in Mexico. Unmistakably African features. Carved 2,000 years before Columbus was born.

Why They Ignore It:
Dr. Barbara Sizemore said it plainly: "This is written history. Diaries. Archaeological evidence. Records sitting in archives. They ignore it. All of it. Why? To preserve the myth of white superiority. That's what our whole educational process is devoted to."

The Truth:
· Columbus's diary — written in his own hand
· Balboa's diary — documenting what he found
· The Olmec heads — carved in stone 3,000 years ago

This isn't folklore. It's not oral tradition passed down through generations. It's written history.

The truth was always there. They just bet you'd never go looking for it.

Follow @blkcultureunfiltered for the stories they tried to bury.

#blackhistory #hiddenhistory #africanhistory #columbus #blackculture

05/21/2026

https://www.instagram.com/reel/DX__O9Sk4dp/?utm_source=ig_web_copy_link&igsh=NTc4MTIwNjQ2YQ==

Columbus wrote it in his own diary: "The Africans know a way to the west, but it goes around the doldrums... we would never survive." He knew. Africans had already mapped the Atlantic crossing. Already navigated currents that terrified European sailors. Columbus wrote it down. Then history buried it. The Timeline: · 1311: Mansa Abu Bakr II of Mali sent 200 ships west... 181 years before Columbus · One ship returned. The captain said the others disappeared into the ocean · The rest made it. We know because of what Balboa found The Discovery: When Spanish explorer Vasco Núñez de Balboa reached Panama, he found them: an entire African village. He wrote it in his diary, confused. "How did these Africans get here?" Then there are the Olmec heads massive stone sculptures at San Lorenzo and Tres Zapotes in Mexico. Unmistakably African features. Carved 2,000 years before Columbus was born. Why They Ignore It: Dr. Barbara Sizemore said it plainly: "This is written history. Diaries. Archaeological evidence. Records sitting in archives. They ignore it. All of it. Why? To preserve the myth of white superiority. That's what our whole educational process is devoted to." The Truth: · Columbus's diary — written in his own hand · Balboa's diary — documenting what he found · The Olmec heads — carved in stone 3,000 years ago This isn't folklore. It's not oral tradition passed down through generations. It's written history. The truth was always there. They just bet you'd never go looking for it. Follow @blkcultureunfiltered for the stories they tried to bury. #blackhistory #hiddenhistory #africanhistory #columbus #blackculture

Learned, Not Inherent. 🗣️🗯️

In this viral argument—which often resurfaces from his appearance on Real Time with Bill Maher and has been echoed in recent CNN interviews—Pierce lists specific historical events to show that what people call “senseless violence” actually has deep, instructional roots in the U.S.:

Point Coupee, Louisiana: He cites the beheadings of enslaved people as an early method of terror used for control.

The Tuskegee Experiment: He points to the 40-year study (1932–1972) of Black men dying from syphilis without treatment as institutionalized violence.

The Trail of Tears: He references the forced removal of Native Americans and the use of smallpox-infected blankets as population-eliminating tactics.
#fy #explore #exploremore #viralvideos

05/21/2026

https://www.instagram.com/reel/DXKdW2-ifHS/?utm_source=ig_web_copy_link&igsh=NTc4MTIwNjQ2YQ==

Learned, Not Inherent. 🗣️🗯️ In this viral argument—which often resurfaces from his appearance on Real Time with Bill Maher and has been echoed in recent CNN interviews—Pierce lists specific historical events to show that what people call “senseless violence” actually has deep, instructional roots in the U.S.: Point Coupee, Louisiana: He cites the beheadings of enslaved people as an early method of terror used for control. The Tuskegee Experiment: He points to the 40-year study (1932–1972) of Black men dying from syphilis without treatment as institutionalized violence. The Trail of Tears: He references the forced removal of Native Americans and the use of smallpox-infected blankets as population-eliminating tactics. #fy #explore #exploremore #viralvideos

05/05/2026

Write, Record, Repeat is Kool B's mantra!

05/05/2026

This painting has a powerful, magnetic presence that immediately draws the viewer into its richly textured surface. The face fills the frame with confidence, creating an intimate, almost iconic composition. Kool B's bold handling of line and color gives the portrait a strong sense of individuality and symbolic depth, rather than aiming for literal realism.
The color palette is especially compelling. Cool blues and greens dominate the face, creating a sense of cohesion and calm, while vibrant accents of orange, yellow, and lime introduce energy and visual contrast. These warm highlights—particularly around the eyes and contours—add dimensionality and guide the viewer’s gaze across the features. The layered application of paint creates a tactile quality that feels alive and dynamic.
The stylized eyes are a standout element. Their graphic shapes and rhythmic markings suggest awareness and inner complexity, turning the gaze into a focal point without relying on traditional detail. The decorative crown-like shapes above the head further elevate the figure, lending a sense of symbolism, regality, or spiritual significance. Repeated dots and patterns unify the composition and reinforce the piece’s ceremonial, almost mythic tone.
Overall, the artwork demonstrates a strong, assured artistic voice. The combination of expressive abstraction, thoughtful color relationships, and symbolic embellishment results in a portrait that feels both intimate and universal. It invites prolonged viewing and interpretation while confidently standing on its own as a striking, memorable work.