The Lumberjack



Students Serving The Cal Poly Humboldt Campus and Community Since 1929

Category: Life & Arts

  • Resident Evil Reviewquiem

    Resident Evil Reviewquiem

    By Will Bishop

    It’s been 30 years since the T-virus outbreak in Raccoon City. During the events of Resident Evil Requiem (RER), survivor, Leon S. Kennedy, must return to the crucible in which he was made in hopes of finding answers about The Umbrella Corporation’s curse. Forged in a trial by fire which rapidly mutated him from a remarkably brave rookie cop — who’s really, really hot — into a ludicrously badass superhero who can roundhouse kick someone’s jaw off of their face — who’s still really, really hot. But, Leon’s is not the only story being told here.

    Enter Grace Ashcroft, a new addition to the Resident Evil (RE) roster. The series has long made its name by functioning as an inversion of the usual horror formula. In most horror media, ordinary individuals are placed in extraordinary circumstances and forced to then become extraordinary or face the penalty of death. In RE, you are playing as elite counterterror operatives, the president’s bodyguard — individuals uniquely and highly suited to deal with the extraordinary circumstances they find themselves in, yet still become entrenched in fear. In keeping with the last couple installments, Resident Evil 7: Biohazard and Resident Evil Village — both helmed by stubborn and perpetually bewildered everyman Ethan Winters — our new hero in RER is a regular person. Albeit an FBI agent, but a sedentary one surrounded by towers of files threatening to fall off her desk. Unlike Ethan, Grace is smart enough to be afraid.

    The game is split between these two vastly different perspectives, both embodying unique design philosophies which permeate all aspects of their gameplay and the scenarios they face. Leon can stylishly obliterate an entire room full of zombies, and is highly incentivized to do so. Grace, on the other hand, must be careful, methodical, patient, seizing every advantage she can and avoiding conflict whenever possible. 

    In the game’s first half, the back and forth provided by a dual protagonist setup is absolutely ingenious. It essentially condenses the progression of an RE title to level sized loops of fear and catharsis. The series has always operated according to this paradigm, in the early game resources are scarce, your combat capabilities are limited, and even a small number of assailants can be an enormous threat. By the third act, you become a wrecking ball, armed to the teeth and massacring every grotesque abomination that comes your way. You are rewarded for your suffering and your fear. This often leads to the downfall of many RE games; as by the final act, all tension is out the window and you are simply cruising to the finish line, waiting to count the amount of eyeballs possessed by whatever G-virus flesh ball you’re squaring up with in the big showdown.

    RER subverts this by shifting its power dynamic on a constant basis. Spend an hour making panicked runs back to the item box with Grace, chipping away at a level one hastily obtained item at a time in the vein of Resident Evil 2, then spend ten minutes with Leon, running through the same environment decapitating everything in sight with a hatchet in Resident Evil 4 fashion.

    Rather than working against itself, this implementation of the fear and catharsis paradigm works brilliantly. Highlighting the strengths of its level design, resource economy and enemy placements while it’s in survival horror mode, then allowing itself to flex its best in class combat and myriad execution animations in action mode. 

    If there is one area where the game falters, it is in its failure to fully commit to this tag team approach for the entirety of the game. It never fully abandons it, but it never does it quite as well or with as much consistency in its second half. It continues to be a great game, but it stops feeling so clever. In a surprising turn, the main strength of the game over its back half is actually the narrative itself, which successfully weaves Grace and Leon’s stories together while telling a poignant story of regret, hope and motorcycle duels.

    Will Bishop is a Cal Poly Humboldt journalism major. He is prone to writing essays about things that bother him, and fictional works about things that also bother him but in different ways. A highly bothered individual, and a lover of cinema, music, and large trees/rocks. He can often be found in the woods, dancing to bring down the sky.

  • After four years, BTS creates a new album 

    After four years, BTS creates a new album 

    By Alba Galvan 

    The internationally renowned K-pop band Bangtan Sonyeondon (BTS), known for top song’s Dynamite and Butter, released Arirang, their first album in four years.

    The seven members of BTS have been on a hiatus while they finished their mandatory South Korean military service, which they completed in June 2025. During their time serving, the band members were also working on their own solo projects.  

    Arirang released on March 20 — BTS’ comeback was widely celebrated by millions of fans, resulting in the song Swim becoming their seventh number one song on the Billboard Hot 100.

    The album has a total of 14 tracks — and let me just say, each song hits. 

    Body to Body starts with lyrics telling ‘Army’ — the fandom name — to live in the present and enjoy life.‘Put your phone down, let’s get all the fun.’  

    At the end of the song, you feel the blend of hip-hop and Korean folk music in a way that draws the listener in, wanting to hear more of the song. 

    Hooligan is the song you go with if you miss their earlier work. This was peak trap-pop, and I think the clashing of knives was interesting and added character to the song. 

    Aliens is really interesting, ‘The nerve on you, shameless. Show some respect, we aliens.’ I interpret that as their way of saying they paved the way for other Korean artists in western media. 

    2.0 was also neat, you can just feel their well-deserved egos in this song with lyrics like, ‘came back for what’s mine.’ Fun fact: Mike WiLL Made-it produced both songs. 

    FYA is a song I hope to listen to in a club. This is a new style for them, it’s definitely unlike anything I have listened to by BTS and it’s very catchy. 

    No.29 is not a song, but the sound of the sacred bell of the great King Seongdeok, which is an important part of Korean history.

    SWIM — UGHHHHHH, this shit was so good. As someone who was previously a big supporter of the group, this reminds me so much of their older albums when I first fell into the whole fangirl era of my life. 

    Merry Go Round was very emotional, with English translated lyrics that brought tears to my eyes, “Feel like I’m grown up now, but my worries are just the same. Every day the same routine, merry-go-round.” 

    Normal is beautifully written — it highlights the struggles of how normal looks different for others and how fame has become a challenge when it comes to wanting a normal life. 

    Like Animals feels more R&B and is fully in English. This song, once again, is beautifully written, and I have had it on repeat. I won’t be surprised if it’s on my top five Wrapped Spotify songs. 

    They Don’t Know ‘Bout Us feels like a message towards critics — they do this in a cool, dark trap and hip-hop style. 

    One More Night has an interesting house style music mix with synths, and Into the Sun has a more robotic-rock feel to it. Both songs are experimental for the group and I think they were a good addition to the album. 

    Please has an R&B style with intimate lyrics and an easy-going beat, and I know younger me would be squealing like such a fangirl because it’s a love song. 

    I truly believe this is a very well-written and beautiful album. It almost makes me wish I had succeeded in getting their concert tickets, as I would call this the comeback of the year. 

    Alba, she/her, Lumberjack reporter. Journalism major who loves to read and write. She’s very passionate about sharing and listening to different opinions and loves self-expression. Contact email: agg83@humboldt.edu 

  • Hawthorn Gathering

    Hawthorn Gathering

    By Ursula Newman


    On a warm, sunny afternoon on Foster Avenue in Arcata, eager helpers gathered at the newly-purchased university farm plot for a volunteer work day. The March 27 event brought together some of the Humboldt community to support the Critical Agriculture Studies & Agroecology program (CASA). The day consisted of an unofficial launch of the student farm’s Healing Justice Garden with the planting of a black hawthorn tree alongside other medicinal herbs and flowers.

    The program — housed in the College of Arts, Humanities & Social Sciences within the Department of Environmental Studies — aims to educate students about agricultural practices through a social justice lens. 

    Throughout the day, conversations focused on the importance of planting for protection and healing in the context of interpersonal and state violence. The intimate group of volunteers primarily consisted of social work students and faculty — many connected to Project Rebound and justice system–impacted research — a handful of university staff and faculty in sustainability, environmental studies and critical race and gender studies, as well as a few graduate students in anthropology and environmental studies. 

    Although the event was public — in the sense that it was posted to the new CASA instagram account — many of the attendees were already acquainted with program leader and Environmental Studies Professor Renée Byrd.

    “I don’t know that we’ve advertised a work party for the whole farm yet, but, we’re kind of trying to build up in a sustainable way, and manage the flow of all the different people that want to be involved,” Byrd said. “It’s slower, maybe than all of us would want, but I feel like we’re kind of [still] building up capacity and infrastructure.”

    When asked about how attendees heard about the Healing Justice Garden workday, Byrd referenced the need to develop a network of working groups to manage interest. 

    “[Its] people who I know have particular expertise, or were excited about various aspects that are out here working,” Byrd said. “We’re developing a network of working groups underneath the land collective that will focus on various areas, [or ways] people can plug in. Like a pond and hydrology working group, a compost working group ect.”

    As volunteers arrived, Byrd expressed her interest in leading abolition and re-entry focused, land-based healing work, and using this space as part of that vision.

    “There are a lot of answers that we as humans don’t have right now. But, if we look to the more-than-human world, there’s so many ways that we can be guided,” Byrd said. “I’m interested in thinking about plants as [a bridge] to help us in that transition between the world we have now and the world we’re building.” 

    The gathering focused on the design and development of the Healing Justice Garden, one of many projects starting up on the 2-acre section of land that’s currently in use. Modeled after a medicine wheel, the garden will have a central space with a stone altar and four paths leading to garden rooms, each featuring different plants and benches for visitors. On the southern edge, volunteers planted the native black hawthorn tree, known for its heart health benefits and significance in various cultures throughout history.

    Other projects on the property include a planned student gathering space with medicinal herbs, a space for the Rou Dalagurr Food Sovereignty Lab to farm and a Black Ecology space at the end of the plot with a greenhouse designated for student-led projects. In the coming months, they will be allowed to expand farther into the approximately 20-acre plot and begin to work the soil on 8 acres total. 

    Another project in the space is hosted by the Milpa club on campus, where students and community members part of the Aquilli Metzli group work to bring people together to discuss cultural identity and agriculture practices. They plan to host monthly events on the land and grow traditional crops like corn, beans and squash.

    Adrianna Salgado, a cooperative member with Aquilli Metzli, described the importance of making space for cultural reconnection. 

    “We’re thinking a lot about Indigenous peoples of the Americas as our ancestors, and how do we make space for that within this new agriculture department?” Salgado said. “How do we make space for traditional agriculture and reclaim that? So much of the food we consume comes from exploited Latinos, our culture, our traditions. So, how do we create a space to bring students to reconnect with that on a different level, especially with so many Latino students coming to Cal Poly [Humboldt]?”

    This sentiment reflects a key goal of the student farm space: to bring together diverse knowledge systems into a shared space for learning and rehabilitation.

    That interdisciplinary collaboration is also taking form in building infrastructure. Engineering students are currently designing a handwashing station to support future workdays on the farm.

    First-year engineering student Addison Gartenlong is part of a team working on the project through her Engineering 205 class. She explained that currently, all water use is coming from a tank that must be filled with water for them to then use.

    “The [new handwashing] system is going to work with the rain catchment system that’s out here, that a previous [Engineering 205] class had built last semester.” Gartenlong said.

    The goal is to complete construction of the handwashing station by the end of this semester. In the case that the rainwater catchment were to run dry, the station will have the ability to use the tank as backup. However, Gartenlong explained so far the rainwater catchment seems to be sufficient.

    Plans for a nearby greenhouse will allow water from both the handwashing station and rainwater catchment to be used for irrigation, supporting sustainable water use.

    Byrd emphasized that the student farm’s strength lies in its ability to bring together different forms of knowledge and apply lived experience to the agricultural approach.

    “Part of our Polytech vision, right, is that it’s about being place-based. It’s about being hands-on,” Byrd said. “Right now we have a long, long legacy of environmental justice and ecological justice-centered programming. This [project] very much makes sense for who we are. Part of the argument that I’ve made is that the North Coast has a very distinctive food system with a lot to teach the rest of California.”

    While projects on the new land begin to start up, Byrd expressed that this event is an important step towards more community engagement.

    As the semester comes to a close, organizers are working to develop systems that will allow more students and faculty to participate in the space. With more volunteer days and possibly an opening ceremony hosted on the farm in the fall, those interested in getting involved have much to look forward to.

    “We’re developing the forms for faculty to fill out to decide to bring a class here; a research proposal process, so the graduate students, undergrads and faculty can propose the research they want to do out here,” Byrd said. “There’ll be lots of different ways to plug in and contribute. We’re just still developing the infrastructure processes to manage the number of people who are excited about it.” 

    Ursula Newman is a journalism major, Lumberjack science editor and Humboldt local. You can find her all over the county doing all kinds of things. Contact her at uon1@humboldt.edu.

  • KyleGPT: What it means to be human

    KyleGPT: What it means to be human

    By Jasmin Shirazian 

    At the crossroads of human connection and technological development sits an app on the app store that comments on the ever-evolving reliance on artificial intelligence (AI): KyleGPT. Over a span of three nights, Kyle Roshan Namgostar developed KyleGPT out of frustration with how humans have interacted with AI — and partially because he thought it would be funny. Namgostar graduated from Cal Poly Humboldt in 2025 with a degree in computer science, and has been developing software since he was 10 years old. 

    “KyleGPT is a human-to-Kyle communication channel,” Namgostar said. “That answers the artificial intelligence problem of people transitioning from relying on one another to relying on a machine, which inherently removes us from what it means to be human.”

    Namgostar is a first generation college student of Iranian and white descent. As a child, he used Youtube to learn how to create different worlds online as he played games like Five Nights at Freddy’s and Minecraft. Namgostar’s background in tech gives him ample opportunities to blend digital realms with artistic commentary on his field. While his qualms with AI usage fuel his art, his main frustration lies with the lack of ethics poised by tech companies that push the software out. Namgostar understands and sympathizes with the masses who are being told that if they don’t learn to incorporate AI into their work, they will become redundant. 

    “I think that human beings are special because of their ability to adapt and cooperate with one another and socialize,” Namgostar said. “It is very scary to be told over and over again in your classes, by potential employers, the Internet and influencers online, CEOs and the executives that run this world, that if you don’t learn how to use artificial intelligence to your benefit, eat it for breakfast, lunch and dinner, that you are going to fall behind and you are going to fail.”

    In turn, he created KyleGPT: an app with a similar interface to that of ChatGPT, where anyone can ask questions that Namgostar can answer directly himself — and there’s a chance one of his responses will be to Google it yourself. But, nevertheless, he created an app to get people to text him instead of using AI; an app that holds a mirror to the human connection lost in AI conversations. Namgostar also worries about the risks that come with unstructured AI use, such as underage access to character AI apps. 

    “Kids are forming parasocial relationships with fictional characters and people,” Namgostar said. “Kids who cannot fully grasp the fact that what they’re talking to is not a real person.”

    Traditional machine learning and generative AI are two separate beasts, according to Namgostar. Generative AI is generally built on massive foundation models, such as large language models, that then runs through massive datacenters that deplete communities of local resources, such as water. Smaller scale models, on the other hand, can be run with much less energy. 

    “Generative AI is a whole monster, and it uses a lot of energy,” Namgostar said. “It’s the kind of thing that’s running constantly on those data centers that are using a shit ton of water, and then there’s smaller models, because I think it’s more of a spectrum. [For smaller models], there’s data in and there’s data out, and it doesn’t try to expand on that, interpolate or extrapolate that. It’s usually really quick and can usually run locally on [a personal] machine, rather than on some data somewhere.”

    Through concern, frustration, anger and angst, Namgostar retaliates against big tech by using ethically sourced, locally hosted AI to create software that can be mutually beneficial for both the user and the creator without using excessive amounts of energy.

    “I still believe that, because a group of people are so set on using AI to collect our data, train it and commit all these atrocities, make us economically and socially and culturally and educationally rely on them,” Namgostar said. “It is important for us to fight back, and for me, that means prioritizing human connections and prioritizing human intelligence, while recognizing that they are going to move a lot faster with their tools.”

    While KyleGPT is Namgostar’s first development, it is far from his last — he is currently working on a social media platform where users can interact with one another, rather than just him. For now, KyleGPT is available on the App Store for human-to-Kyle connection. 

    Jasmin Shirazian is the award-winning, curly-headed copy editor of The Lumberjack. Her beats range from breaking news to covering local performances. In her free time, she enjoys leaving the country and spending time with her cat. Inquiries can be sent to js760@humboldt.edu.

  • What to make of All That’s Left of You

    What to make of All That’s Left of You

    By Kaylon Coleman

    What are we left with when all else is left within the control of others? When it all feels hopeless, when it feels like there’s nothing you can do? Over spring break, I was granted the opportunity to view the first showing in a series of films hosted by Shine a Light on Palestine and Watermelon Pictures, titled All That’s Left of You. Believe it or not, this was also my first time attending a film at the Minor Theater, which will present the series of films from now until May. If you’re interested in what the movie has to offer, the second and last showing of the film will happen tonight, March 25, at the Minor, with the next film in the series happening April 22 and the last film happening May 27.

    All That’s Left of You is a fictional narrative that showcases the lived experience of a single Palestinian family over the course of seven decades. The film takes us from the Nakba in 1948 up until “present day” in 2022. 

    This movie is powerful, it’s complex and it cuts deep. The non-linear structure reminds me a bit of City of God, where they must recount the backstory before the full story can be understood. The movie deals with loss, resilience, heart and hope. But, above all else, I think its central theme is about humanity — the human condition and experience.

    In a world where the voices of the Palestinian people are constantly subjected to the will of their suppressors, especially in the modern media landscape, All That’s Left of You is a standout film that amplifies the voices of Palestinian experiences, voices and art — by a Palestinian, for Palestinians. 

    The director, Cherien Dabis, who also plays the main female lead, did incredibly well within her role. While I want to give flowers to everyone for their performance, especially Sanad Alkabareti for his role as young Noor, I must single out Dabis for her artistry both on and off-camera. Her vision encapsulated Yafa and the West Bank through the progression of time and conflict incredibly. Dabis did a great job of placing the audience right there with the main characters, translating their emotions by showing, not telling.

    I also love the way the moral dilemmas show up throughout the film. Without trying to give anything away, the film encounters several scenarios where the main cast is stuck trying to make the best of impossible situations, with no true right answer. The film gives you a glimpse into the humanity of those who are often monstrified, and leaves you with a sense of contemplation and fervor.

    So, again, I ask: what are we left with when all else is left within the control of others? When it all feels hopeless, when it feels like there’s nothing you can do? We’re left with what we can control, what no one can take from you: our thoughts, our emotions, our values, our actions, our beliefs. We’re left with our humanity and all that encompasses. When everything is stripped away, that’s All That’s Left of You.

    Kaylon Coleman is a senior journalism major with a concentration in news and a minor in communications. He is the Life & Arts editor for LJ, Marketing and Communications lead for the Umoja Center and a part-time radio DJ and merch manager for KRFH. If you have a topic you want him to discuss, email him at kc403@humboldt.edu.

  • Strays in Arcata

    Strays in Arcata

    By Nick Escalada

    The tranquil uptown neighborhoods of Arcata are frequented by many a wild animal, but among their most notorious visitors are feral cats. Cats are incidentally a tidy, low-maintenance pet popular among Cal Poly Humboldt students, who sometimes find themselves unable to care for their felines after they transfer or graduate. The Humboldt County Animal Shelter takes in cats who are too young or vulnerable for the streets.

    “So, you’re just starting college, you’re independent for the first time and you want to get your own pet under your name,” Rachel Norton, legal office assistant at the shelter, said. “You know, that’s great. I did the same thing when I was 22 — I had two dogs, and it was really hard.”

    In Norton’s experience, younger people often underestimate the weight of taking on a responsibility like pet adoption. Even relatively self-reliant animals like cats can bear complications that demand the care and resources one might associate with parenthood.

    “You could get taken advantage of financially, or you can end up with a pet that is not as medically or physically sound as it was advertised,” Norton said. “If you look deep inside and you’re like, ‘Yes, I can have this pet, I can financially provide,’ that includes if anything medical comes up. And sometimes, medical things will come up. A cat will get unexpectedly sick or unexpectedly injured. So, you need to be prepared to maybe spend between $200 and $2,000 at the vet if it comes up.”

    Animal control avoids picking up mature cats who don’t need medical attention, as they’re more likely to be eventually euthanized than adopted. Leaving them without spaying or neutering is when problems arise. Gestation in mother cats only takes six months, and their litters can reproduce themselves a mere eight weeks after.

    “One female cat can generate hundreds of kittens in one year because they can become fertile at four months old, or sometimes even earlier depending on that cat,” Norton said. “So, she has babies, those babies have babies four months later, and so on and so forth.”

    Norton believes that all cats are better off spending their entire lives indoors. After all, nearly every hazard, disease and violent encounter that afflicts a pet occurs outside the house.

    “They are getting into cat fights, they are transmitting illnesses, they are getting injuries,” Norton said. “I talked to someone last week whose cat came home with injuries, and suddenly it didn’t have an eye and its leg was in half.”

    The center is able to provide deworming and every essential feline vaccine except for rabies, but they do not accept surrendered animals from owners. Take a feral cat to a local rescue if it needs fixing or has medical or behavioral issues — but first, double-check that it doesn’t belong to a neighbor.

    There are, however, circumstances where owners are left with no choice other than to part ways with their companions. If you don’t know another family to entrust them with, refrain from the inhumane and illegal practice of pet abandonment and instead leave them in the care of one of the animal rescues recommended by the shelter. These include the Sequoia Humane Society, Miranda’s Rescue, Companion Animal Foundation, Humboldt Animal Rescue Team (HART), Sierra Pacific Furbabies, NorCal Pet Supply and Bless the Beasts of Humboldt County.

    “Sometimes, life happens,” Norton said. “If you absolutely have to rehome your cat, [these organizations] can all help with finding placement or, sometimes, owner surrenders.”

    Nick is the news editor at The Lumberjack, and studies wildlife and journalism with the goal of spreading his love of nature through media. Chat with him at ne53@humboldt.edu!

  • A Memorable Moment: Love, Music, Unity at the 32nd Annual Social Justice Summit 

    A Memorable Moment: Love, Music, Unity at the 32nd Annual Social Justice Summit 

    By Serah Blackstone-Fredericks

    The 32nd Social Justice Summit is a week-long event that hosts a forum for humility to reside on campus via workshops, knowledge sharing and dancing. This year’s theme, “Moving Together: Expression in Action,” was felt, heard, and seen deeply. When I walked into Dandha Da Hora’s workshop, I did not know what to expect. As I sat recovering from the flu, I could not shake that I wanted to be well enough to attend Da Hora’s talk midweek. Something about the messaging whispered I needed to be in her presence.

    Marjie Wolfe, a graduate student in the Environment and Community program, was heavily involved in Da Hora coming to Humboldt. “When I heard the theme, I thought Da Hora’s body of work would be perfect for this event,” Wolfe said.

    Upon arriving, I was grateful to be seated near the speaker herself. A warm presence enveloped the room as Da Hora dove right into the connection between community and liberation within the Afro-Brazilian community in Salvador, Bahia, Brazil, where she is from. She invited attendees to move in closer to spend time together collectively and to embrace connection. Da Hora shared about Ilê Aiyê (Ee-leh Ah-ee-yah), a community that created a space and movement to empower youth to dream bigger and explore outside of their hometown. Her talk wove a beautiful tapestry of oral history, from the oppression and exclusion of Black and Brown bodies in Brazil at Carnival, to the work her community has invited with Ilê Aiyê, and closed with a beautiful crescendo of rhythms with a vibrant music presentation. She paid respects to everyone who taught her and supported her to be where she is today, and by the end of her talk, I felt so captivated I wasn’t ready for it to be over.

    “Samba keeps us alive and maintains our tradition,” Da Hora said.

    At the end of the presentation, organizers of the summit provided lunch for the attendees. The food did not disappoint — tenderly prepared by Pupuseria San Miguel, we enjoyed delicious pupusas with bean and cheese, accompanied by two salsa choices: mild and spicy, along with curtido, a delicious tangy side of veggies to top the pupusas. After having one, I realized I needed to save the other or I’d be too full to dance.

    I then migrated outside, a bit tardy for a dancing component. The participatory movement brought me to life; I felt the rhythm starting to move and lift me. The drums beckoned my hips to sway, my feet to spin and my arms to open. As a generous group of us all moved together, the rain oscillated from pouring to misting, yet no one seemed to feel cold. Bystanders were invited to join as the group continued to grow. The audience enjoyed watching the brave humans that decided to take up dancing in the rain. The beat of the rum, rumpi, lê (room-room-pee-lei) in our hearts and within us. As the dancing portion finished, Danda invited us to sing a song together. At the end, we closed out with appreciation and aché (ah-shay) to the heavens. We shared how we felt, and we connected eyes with strangers in a way that brings a stillness of nostalgia to the page as I think about the moment.

    I returned later that evening for Da Hora’s dance class, which was filled with students, dancers, her accompanist, Annie and community members alike. After one of the best dance warmups of my life, we jumped right into a flowing routine of movement that connected each dance phrase to the next with intense passion and care.

    Danda made the eight hour trek from Santa Cruz, California with some of her musicians, to grace us with her lively presence, dynamic speaking, and community connective song and dance.

    There is something about embodying authenticity that draws community to you; in turn, the community will replenish your cup. In arriving with an open heart, I learned more about myself and about how I can support my individuality within blossoming. With the beat of the rum, rumpi, lê reverberating in my heart, the wisdom of Da Hora’s words linger many days later. I can’t wait until she returns to Humboldt.

    Serah Blackstone-Fredericks is a cross-disciplinary anthropology major, minoring in arts in health and narrative medicine. A multidisciplinary artist, mother, and multilingual global citizen, you can find her prancing in her garden or in her kitchen baking, fermenting, and exploring natural dye via experiments. Her work explores storytelling from a perspective of cultural humility, ever curious on  shaped connections and how we live and heal. Feel free to connect with her at sb625@humboldt.edu.

  • Can the resident LJ film enjoyers predict the Oscar’s winners?

    Can the resident LJ film enjoyers predict the Oscar’s winners?

    Kaylon Coleman and Julia Kelm

    The 98th annual Academy Awards are just around the corner. Whether you care about the awards or not, you definitely know some film nerd who does. You know, that guy who backed you into the corner at a party and told you against your will why Timothée Chalamet’s balls are orange. This article is for him to complain about, and for you to use as rage bait when you see him again.

    To avoid boring you to death, we’ll focus on the more “major” categories. Such as best actor and actress, best original song, best animated film, directing and best picture.

    I think it’s a safe bet to expect One Battle after Another and Sinners to be the MVPs of the night. Both films have consistently won awards leading up to the Oscars and will likely sweep most of the categories.

     

    Best Actor:

    Julia: The likelihood of Michael B. Jordan winning best actor has greatly increased. Chalamet, the previous academy favorite, ruined his chances after basically calling opera and ballet pointless in an interview. Theater kids try not to piss me off challenge: impossible.

    Kaylon: Honestly, I think Michael B. Jordan has it in the bag. Chalamet claims Marty Supreme is his magnum opus, which may be true for the time, but he needs some more experience under his belt. I could see it potentially going his way, but Jordan is my favorite to win.

    Best Actress:

    Julia: Best actress is 100% going to be Jessie Buckley. She has swept every previous award cer

    emony. I love Emma Stone, but she doesn’t need another Oscar. 

    Kaylon: I can’t lie, I haven’t seen Hamnet yet, but from what I have seen, it looks like Jessie Buckley is the favorite to take it home.

    Best Animated film:

    Julia: KPop Demon Hunters, I think, has a good chance at winning the best animated film category. Although it’s kinda mid, I’d be happy to see Disney lose again for the fourth time in a row since Encanto. 

    Kaylon: I’m stuck between KPop Demon Hunters and Zootopia 2. Zootopia 2 is the only piece of media Disney has dropped in recent years that could contend with best animated film, but the cultural significance of KPop Demon Hunters can’t be beat I think. Zootopia 2 just didn’t have enough time to ruminate while KPop Demon Hunters had all of Gen Alpha in a chokehold. I say 60-40 KPop Demon Hunters.

    Best original song:

    Julia: If KPop Demon Hunters wins, that means Golden is probably going to win best original song. I Lied to You in the Sinners soundtrack is the winner in my heart, no matter what — but if money’s on the line, I’m betting on Golden.

    Kaylon: I agree entirely. Once again KPop Demon Hunters is so culturally significant, but Sinners is just as notable. When we look back on 2025, we’re gonna remember the spirits scene from Sinners while KPop Demon Hunters fades into the blur that is animation. Yes, I’m biased. But, I feel like I Lied to You has it.

    Best Directing:

    Julia: Paul Thomas Anderson is likely to take the cake on this one. He has been nominated 14 times, but never won. I don’t know what it is, but I have a gut feeling it’s about time the academy finally throws him a well-deserved bone.

    Kaylon: I have the same gut feeling as Julia, except mine is for Ryan Coogler. Yes, Anderson has yet to win an Oscar, and is seasoned in his field — and the Oscars love to give out honorary Oscars — but I think Coogler deserves it. The Oscars also love to play in the face of Black people, but I think the significance of Sinners just can’t be denied.

    Best Picture:

    Julia: Best picture wins are often linked with directing wins. However, I think things could be different this year and Sinners will take the best picture spot. In all honesty, I’m feeling pretty 50-50 between Sinners and One Battle after Another. So, if this is the one you’re betting on, perhaps reconsider in favor of one of the more predictable categories.

    Kaylon: Now for the Crème de la Crème the real magnum opus — Best Picture. There’s a good plethora of films to choose from, ranging from the future cult classic F1 to the unforgettable Marty Supreme. Yet, I think we all know it’s down to the two titans for Best Picture – Sinners and One Battle After Another. And I think it comes as no surprise that my choice is 100% Sinners. Yes, it’s my personal favorite to win, but I just can’t not see it as the actual winner. Sinners sweep is in bound. Mark my words, folks.

    Kaylon Coleman is a senior journalism major with a concentration in news and a minor in communications. He is the Life & Arts editor for LJ, Marketing and Communications lead for the Umoja Center and and a part-time radio DJ and merch manager for KRFH. If you have a topic you want him to discuss, email him at kc403@humboldt.edu.

    Julia is a journalism major and the co-EIC of the paper. She loves film and is a regular on Letterboxd. She also enjoys going on walks in the forest and taking pictures to relax. If you have a movie you’d like her to review, please email her at jk328@humboldt.edu.

  • Woman Down is romanticized toxicity 

    Woman Down is romanticized toxicity 

    By Alba Galvan

    Book Review: Woman Down

    W.T.F. — that’s what I think about the book Woman Down. I have read 22 out of 23 of Colleen Hoover books, and although she’s considered problematic for her novels often romanticizing toxic and abusive relationships. Hoover is an instant buy for me every time. She has a way with words that tends to draw readers into her books.

    Hoover is a top-selling author, having sold over 50 million books worldwide and being titled a bestselling author by the New York Times. I even have a tattoo inspired by one of her books, so when I say I know her writing and that I know when one of her books is bad or good — you best believe I’m telling the truth. 

    Woman Down brought so many emotions out of me that I haven’t felt in a while, discomfort, enjoyment, sadness and the passion to want to read again. It was so unrealistic that it took me a whole day to fully process my emotions once I finished reading the book.

    This book is one of my least favorite books by Hoover after Maybe Someday and not because the writing was bad; it was good and simple. This book definitely got me out of a reading slump, but I dislike this book because of how selfish and stupid the female main character was from start to finish.  

    Woman Down is about an author named Petra Rose who’s been struggling with writer’s block after a movie adaptation of her latest book receives backlash. So, as a getaway, she decides to go on her yearly retreat to a secluded cabin on a lake.

    While on this trip, she expresses on a video call with her best friend that she feels her books are too unrealistic and that’s why she’s been in a slump. When asked if she would welcome the idea of the unrealistic becoming realistic, she agrees, and is then dragged into her fantasies when she meets and begins to lust over a married cop who is willing to help her find inspiration for her book. 

    Petra is now in a cycle of being unable to separate reality from fiction, and falls for this married cop, Saint, who is willingly cheating on his wife to help her find inspiration for her book. 

    Hoover starts the book by clarifying that its storyline isn’t based on her own life, and asks readers not to compare the two just because both her and her main character are writers. Although the first half of the book was filled with so much whining and complaining about her last movie adaptation that it sounded like Hoover was venting through Petra. It’s hard not to compare both real life author Hoover and book author Petra, given the backlash and the drama that happened. 

    The rest of the book is filled with plot twists after plot twists – this is where the spoilers come, Saint  helps Petra experience things she hadn’t gone through to bring her inspiration. One night, he decides to break into her cabin to give her the experience of fear so she can authentically write what her characters will go through in her book. Petra believes this is a life-or-death situation, and when she finally realizes it’s Saint, instead of going home AND CALLING THE COPS, SHE FORGIVES HIM! She forgives the same man who made her believe she almost died and reduces what happened to her as a misunderstanding. 

    What I didn’t like about this book is how much the phrases, “you wanted this,” and “you asked for this,” appear. The amount of guilt-tripping that Saint puts on Petra throughout the story is disgusting and disturbing. Only then is it revealed that she is married with children, and this story takes a bigger turn with darker tones as stalking, possessiveness and cheating become common throughout the book.

    This book ended in the most bothersome way, and all I can say is this was a two-and-a-half-star rating out of five for me. I went into this book blind, and it brought out so many conflicting emotions. It’s sitting heavily on me as I STILL try to process what I read, because I truly disliked this book and the characters. 

    Do I recommend this book? No, but if you can separate reality from fiction and realize how everything in this book is not a reflection of how love should be perceived, and you don’t romanticize the stalking and victim-blaming that goes throughout the book, then yes. Read it and form your own opinion. 

    Alba she/her, LumberJack reporter. Journalism major who loves to read and write. She’s very passionate about sharing and listening to different opinions and loves self-expression. Contact email: agg83@humboldt.edu 

  • The Romantic Album Review

    The Romantic Album Review

    By Kaylon Coleman     

    Ladies, gentlemen and non-conformers, the time we’ve long awaited has ultimately dawned upon us. After essentially A DECADE since his last independent album, Peter Gene Hernandez, more popularly known as the one and only Bruno Mars, has finally made his way out of Vegas and into the booth with his new album The Romantic.

    If you happen to be unfamiliar with Bruno Mars, let me start by asking you how much the rent is for that rock you’re living under. But nevertheless, I can’t blame you if you need a refresher. Like I said, the man’s been gone for nearly a decade — well kind of. While this is his first solo album in a minute, we can’t blow by the spectacle that was An Evening With Silk Sonic, a collaborative piece of work between Bruno and artist Anderson. Paak that dropped back in 2021. Besides a couple singles such as APT with ROSÉ or Die With a Smile with Lady Gaga — and even that one with Sexxy Red that everyone forgot about — Mars has, for the most part, been absent from the musicscape… until now.

    Now, there’s two types of Bruno’s: The Bruno that’s smitten, and the Bruno that’s heartbroken. Bruno Mars is so goated in his craft that they had to nerf him by soul linking his music to his romantic escapades. As a fan, you’re caught between rooting for the human condition that is finding a partner and feeling all the feelings and being happy for Bruno. But, dammit if that boy’s heartbreak doesn’t fuel something primordial within his soul and music.

    Lastly, there’s three facets I’ve come to recognize from every Bruno Mars album. You have the karaoke, killer and K-Mart song. The karaoke is the one on the album you’d sing your heart to, perhaps at Richards Goat on a Sunday Night with friends. You have the Killer — at least one song fits within this threshold, but the door is definitely open for more. To put it bluntly, this is the song that kills, 10/10 everytime. Finally, you have the K-mart song:  the catchy, poppy song you’d see in like an Old Navy or Target commercial, K-mart just flows with the other K’s.

    The album kicks off with Risk It All. A classic Bruno formula: claiming to commit bodily harm for the love, affection and attention of a honey. “I would run through a fire, just to be by your side.” Very reminiscent of Grenade in that respect. This is a very solid intro to the album. 

    Next is Cha Cha Cha, and the title ain’t lying — it’ll have you cha-cha-cha-ing your heart out alright. This is one of those feel good Bruno Mars songs that’ll have you smiling on your first playthrough. Definitely adding this one to the skating playlist.

    I Just Might. The song that kicked the whole romantic era off. A singular, seemingly random drop at the start of 2026 after Bruno informed the public his album was done. This song is one of them ones. I don’t consider it the killer on the album, but it’s obviously the golden child so far. This is the Bruno Mars that the people have been longing for. A fun, feel good song with Bruno just doing him. Peep the music video if you haven’t yet.

    God Was Showing Off. Oh, yeah. Now we’re really getting to the meat and potatoes. Again, not the killer for me personally but this is definitely top three on the album. The beautiful production and slower pace allows Bruno to do what he does best; sing his motherf-ing heart out. “You know, whoever said God don’t have favorites. Never seen you before.” Definitely stealing that one.

    Why You Wanna Fight. If the previous songs were smitten Bruno, this is just a glimpse of what heartbroken Bruno has to offer. It gives me Silk Sonic vibes for sure but I think it’s one of the only songs that also channels that Doo-Wops & Hooligans vibe as well. I tried to warn y’all earlier, this is yet again not the killer of the album, but once again, it cracks my top three. This man don’t miss. This one also pairs as my karaoke song, y’all will catch me belting this have no doubt.

    On My Soul and Something Serious. I don’t have too many notes about these songs. On My Soul definitely gives me Skate vibes but it mostly just features Bruno flexing his vocal capabilities.

    Something Serious is probably the weakest song on the album. This one would be the song you’d see in that Old Navy commercial. 

    Nothing Left. This one’s a complete 180 from the last couple songs. Heartbroken Bruno has made his appearance. This one gives me the slightest Gorilla vibes — the guitar is also nuts.

    Dance With Me. Now this one — this is the one. This is the killer. It’s by far the most wholesome song on the album. I feel like this song is where Mars truly explores the raw side of love. We’re getting a glimpse into his most vulnerable state; Mars laments his relationship, hoping he can just embrace and dance with his partner one last time. Big When I Was Your Man parallels here. The production; beautiful. Vocals; beautiful. Absolutely no notes. Not only my favorite off the album, but definitely the most slept on.

    If you’ve made it to the end of this review, whether you have or haven’t streamed The Romantic yet, go venture out to the marsh or the forest and just play it through. And if Bruno Mars sees this, I’ll be at the Inglewood show Oct. 3, ready for that interview.

    Kaylon Coleman is a senior journalism major with a concentration in news and a minor in communications. He is the Life & Arts editor for LJ, Marketing and Communications lead for the Umoja Center and and a part-time radio DJ and merch manager for KRFH. If you have a topic you want him to discuss, email him at kc403@humboldt.edu.

  • Taiko Drums and Lion Dancers ring in the Lunar New Year at Cal Poly Humboldt

    Taiko Drums and Lion Dancers ring in the Lunar New Year at Cal Poly Humboldt

    By Sadie Shields

    Lion Dancers swayed

    while the taiko drums beat and people chattered as the Lunar New Year event kicked off in the Kate Buchanan Room (KBR), hosted by the Asian, Desi, Pacific Islander and Middle Eastern and North African Center (ADPI-MENA).

    Students, faculty and community members gathered to celebrate Lunar New Year’s Year of the Horse on campus Friday, Feb. 27, from 5 to 8 p.m.

    Student Staff Lead of ADPI-MENA, Shaun Masuda, discussed the event’s overall growth.

    “Last year, we were averaging around 100 people for our bigger events,” Masuda said. “This year, we were just at about 200 people who signed in, including students and community members… which was a significant increase from our turnout last year.”

    The growth was visible as every table and chair was filled to the brim with community members, staff and students. Masuda believes the increase in participants has something to do with the space this year, including the accessibility benefits of the KBR space.

    “We like to host in the KBR not only in the addition of having a big space inside, but also because it’s easily accessible to students and the community, being in the student activity center,” Masuda said.

     The Lunar New Year is celebrated not only in China but also in nine other Asian countries and globally. There are twelve animal Zodiac signs in total in the Lunar New Year, with this year being the year of the Fire Horse. Those born in the Year of the Horse are said to be energetic, creative, confident, cheerful and responsible. You are considered to be born in the Year of the Horse if you were born in 1954, 1966, 1978, 1990, 2002 and 2014. Next year is the year of the Goat.

    Gary Ronnie, the leader of Taiko drummers in Humboldt, explains how much the culture means to him and what it means to share it. According to the United States Census Bureau, only 3.2% of Humboldt County’s population accounts for Asian residents. 

    “There is such a small percentage of Asians in this county that I love, that we are out there and we’re playing music to share the culture,” Ronnie said. “It’s really important. Involve other people. Connect with music.”

    Emily Hsu smiled as she shared her own journey. 

    “I’ve been doing Taiko since I was a kid, maybe in seventh grade,” Hsu said. “I played in Anaheim for a long time, and they went to a group in L.A. After that, I moved to Chicago and played in Chicago for a while, and now I’m here.”

    For three hours in the KBR, culture was not just discussed — it was heard, tasted, worn and shared. As students trickled out into the cool Friday night, the sense of community lingered long after the taiko drums fell silent, music still playing as the ADPI-MENA Center began cleaning up.

    Bio: Sadie is a junior communications major, journalism minor at Cal Poly Humboldt who has an interest in covering and taking photos for sports and wildlife journalism, and a slight interest in breaking news. She can be reached at sls331@humboldt.edu.

  • Geologist digs up an ancient civilization at The Miniplex

    Geologist digs up an ancient civilization at The Miniplex

    By: Will Bishop

    Humboldt County is not often a place where stars land. Our biggest city, Eureka, feels as though, past a certain hour in the depths of night, you could imagine an apocalypse had occurred — wiping the scourge of humankind from the streets. Yet there is a certain pull, an uncategorizable allure that sometimes draws a very bright thing into our orbit. And so, it has happened once more. The inexplicable, almost baffling gravity of The Miniplex has pulled in yet another star. Like our own miniaturized pet black hole. Landing an intimate set with Animal Collective’s own Brian Weitz, currently on a tour under his moniker, Geologist.

    Opener Complex Crown, the stagename of local electronic artist Max Brotman, established a heady atonal atmosphere. Primarily driven through rhythmic gymnastics rather than conventional melodic structures, it’s very much the sort of music you need to buy into entirely, or it will sound like nothing at all. As someone who buys into this sort of thing all the time, who owns stock in Richard Devine and loves killing the vibe with extremely confusing music that makes everyone go, “Why are you doing this?” — I thought it was very cool. A sort of full-body aural wash. Music to rewrite the polarity of your atoms. A projector displayed live video synth-driven visuals courtesy of Wil Bruce. Brotman also wielded a harmonium, establishing a precedent of artists throughout the evening using instruments I had never seen before in my entire life. 

    Thus bringing us cleanly to the hurdy-gurdy man himself: Geologist. I wasn’t entirely sure what his live act would consist of. Weitz, known for using a headlamp onstage because of the sheer amount of knob fiddling necessary to fulfill his role within Animal Collective, has until this year been the solo projectless member of the group. That changed with this year’s release of his debut album, Can I Get a Pack of Camel Lights?, a psychedelic post-rock journey with the aforementioned hurdy-gurdy taking center stage.

    The hurdy-gurdy is a very unusual instrument; something between a guitar, a piano and a gramophone. It conjures a sort of funereal aura, recalling that time you went to war for the independence of Scotland, when you and all of your friends were brutally slaughtered under the yoke of British expansionism. When hearing a hurdy-gurdy as played by Brian Weitz, it is more akin to experiencing a tranquil and voluntary heat death in the high deserts of the mind. Beholding cacti morph into shamanic entities of mysterious power and ambiguous intentions while you pound Arnold Palmers — periodically looking down at the visage embossed upon the can and watching him rapidly age 7,000 years over and over again while asking yourself, “Why 7,000 years?”

    Standing in the tightly enclosed and low-capacity environment of The Miniplex, mere feet from the man while he conjured forth ancient beings from a great beyond, clicking pedals on and off — sans headlamp—  and absolutely hurding the flippin’ gurd. It was easy to feel as though he was playing this show specifically and entirely for you. With only one small, rhythmically confused individual standing in front of me, my eyes were as if magnetically locked to his fingers — clacking with tap dancer’s grace and the speed of genetically modified super gazelles. To witness such esoteric mastery, like the revival of some arcane Byzantine art, was an experience that can truly only be summarized with an enigmatic riddle: what spins round and round, walks five hundred steps and always ends up exactly where it started? The hurdy-gurdy, baby.

    Bio: Will Bishop is a Cal Poly Humboldt journalism major. He is prone to writing essays about things that bother him and fictional works about things that also bother him, but in different ways. A highly bothered individual and a lover of cinema, music, large trees and rocks. He can often be found in the woods, dancing to bring down the sky.

  • My Interview With Jordan Bentley

    My Interview With Jordan Bentley

    By: Kaylon Coleman

    Last Thursday, Feb. 19, I had both the privilege and the opportunity to conduct my second high-profile Q&A style interview, this time with CEO of Hypland, Jordan Bentley. The event, titled Passion to Paycheck: In Conversation with Jordan Bentley, was hosted by the Umoja Center for Pan African Student Excellence as part of their Black Liberation Month events and festivities.

    Bentley is a Class of 2024 Forbes 30 Under 30 honoree and the visionary founder of Hypland, a global streetwear brand redefining the intersection of anime, gaming and fashion. What originally started out as a hustle in high school has since cultivated into a multimillion dollar business, spawning high-impact collaborations with iconic franchises such as Yu-Gi-Oh!, Hello Kitty, Naruto and One Piece. In 2024, Hypland opened its first flagship retail store in the heart of LA’s Little Tokyo. Bentley’s work has been featured in publications like Forbes, Complex, Hypebeast and more.

    Before the actual Q&A started, I was able to converse with Bentley about various topics including relationships, gaming and, of course, anime. It was during this time when I realized just how down to earth Bentley truly is. If there’s one thing I want to highlight from our interactions, it’s Bentley’s character. Throughout the entirety of Bentley’s visit, he took the time to ask the name of every person he encountered, and truly seemed to care about the conversations at play. 

    After some thoughtful conversation and riveting chess matches between my co-facilitator Stanley Checa-Valdez and Bentley, it was time to set up for the event. It was then that I started to feel the weight of the assembly start to build. Seeing flocks of people shuffle in, secure their complementary goodie bags graciously provided by Bentley and reserve their seats, it felt like the spotlight was pointed at me. I’m generally good about public speaking, but this felt real, like an actual spectacle. However, the combination of meeting Bentley beforehand, plus the crowd starting to fill with those I love made my nerves dissolve almost entirely.

    After introductions were made, the panel was on its way. The Q&A consisted of 12 questions split between me and my co-facilitator in which we asked Bentley a variety of questions spanning from his apprenticeship under Virgil Abloh, to his time on Sweet Life: Los Angeles to how hustling chips in high school equipped him with the practices he’d then go on to utilize running a multimillion dollar business.

    Bentley provided thoughtful and insightful pieces of advice that anyone — not just business students — could walk away with. One key takeaway was to try, try, try. The best way to figure out your passion is to try everything. If it doesn’t work out, hey, at least you tried. Failure isn’t definitive. Instead it’s a tool. It’s a building block that either takes you one step closer to your goals or helps align you with what your goals truly are.

    Another key takeaway from the panel was to build relationships. Bentley reflected on how the biggest thing he took from college was the relationships he built and the different perspectives he gained therefrom. He challenged students to leave their comfort zones and to seek connections outside of their circle. As a journalism student this heavily resonated with me as it’s cemented into us that networking is half the battle of the college experience. 

    This advice transcended just personal relationships as well. Bentley mirrored the “closed mouths don’t get fed” sentiment when the panel transitioned to Q&A from the audience and a member inquired about a potential internship opportunity. Bentley respected the hustle, saying opportunities go to those who ask and promised to connect after the event.

    To close out the night, Bentley along with all of the Umoja Center Staff went out to dinner in Eureka and we were able to talk a little more afterwards, with him stating that if we ever need anything his line is always open and to feel free to reach out anytime. 

    Kaylon Coleman is a senior journalism major with a concentration in news and a minor in communications. He is the life and arts editor for LJ, Marketing and Communications lead for the Umoja Center and a part-time radio DJ and merch manager for KRFH. If you have a topic you want him to discuss, email him at kc403@humboldt.edu.

  • Dancing and playing into Fiesta Folkloricas “Viva La Revolución”

    Dancing and playing into Fiesta Folkloricas “Viva La Revolución”

    By Sadie Shields 

    Colorful skirts swept across the stage, live mariachi filled the auditorium and traditional dances from all across Latin America reflected both history, celebration and identity.

    The festival began to the sound of the Hueso Coyoleras, also known as Aztec dancer foot rattles, filling the quiet room. The Aztec dancers walked from the entrance to the stage to begin the show, as the festivities of Fiesta Folklorica began.

    From showing revolutionary imagery, to celebration, to love, the Fiesta Folklorica show was created to represent the culture behind Latin America and give the Latin community a voice at Cal Poly Humboldt, a Hispanic-serving institution.

    Hosted at the Van Duzer Theater on campus, the event brought together student performers, musicians and community members for three nights that honored heritage through movement, music and storytelling. Dance groups representing different regions performed throughout the evening, each piece telling a story through costume, rhythm and expression. 

    For many performers, the event represented months — and sometimes years — of preparation. Luna Salinas, a junior music education major, described their journey into Danza.

    “I’ve been dancing for two years in Danza Azteca,” Salinas said. “I was doing it in the class first and then I got introduced to this whole production.”

    Carlos Jaimes Gaytan, a senior in wildlife conservation and management has also been in Danza Azteca for a year.

    “I was introduced to the club by Keneti Pinones and Naeem Alston to their Danza Azteca club with yolotl,” Gaytan said. “It’s been an amazing journey and I love every bit of it.”

    Beyond performance, Cesar Nuñez, a senior music major and musician, emphasized the deeper meaning behind the event — especially in a small Northern California community.

    “It’s important to hold this type of event in Arcata because it gives us Latinos a voice, and it shows a community,“Nuñez said. “Our culture and how we have fun, how we like to party,  it kind of shows the world that we’re not scared. We’re here, and we’re loud and proud about it all.” 

    The evening included moments of celebration and cultural pride, with audience members cheering and performers sharing their passion for dance and its importance to their culture. 

    “I think [Fiesta Folklorica is] important because they want us to feel shame, but I am not [ashamed] about my culture. Through this experience of dancing and singing our heritage, I have adopted so much pride in the process,” Salinas said. “We’re not going anywhere. And if you just leaned into it, you would find the life and love within it.” 

    Sharing the same sentiment, senior biology major Gala Villavicencio has cultural and personal connections to Danza as well.

    “Danza Azteca specifically has so many layers to it. It has deep roots that we’re blessed to spread,” Villavicencio said. “I just know that it connects back to my family, and even though I carry them with me, they haven’t had that opportunity to learn about Danza Azteca. And here I am out in Humboldt, learning, educating and doing my best to make them proud.”

    Before leaving, Jaime Gatan shared how he wants to let his culture be more known.

    “I want to show, I want to educate, I want my culture to be known, in that it shows other people that [you] too can do things like this wherever you go, however small or little, however big or small,.” Gatan said.“ You are a representative in the area. And we’re doing a really good job here representing our culture and trying our best to educate other people about it.”

    Director Jacqueline Silva, professor and the director of Fiesta Folklorica, explained how the performances represent the stories of the Latin culture.

    “Our dances tell stories which can represent historical events, courtship, animals native to the land and much more. La Revolución is an homage to Las Adelitas [female soldiers] of the Mexican Revolution,” Silva said. “They were such an integral part of war and unfortunately, were not giving the recognition they deserved. Now many groups honor their heroic actions on stage and we felt it was important to share this with our community.”

    Through music, dance and community, Fiesta Folklorica served as both a celebration and a reminder that culture continues to live and grow. Wherever people choose to carry, they will not be silenced. 

    Sadie is a junior communications major, journalism minor at Cal Poly Humboldt who has an interest in covering and taking photos for sports and wildlife journalism, and a slight interest in breaking news. She can be reached at sls331@humboldt.edu.

  • Death and Transformation in the Key of Life 

    Death and Transformation in the Key of Life 

    By Will Bishop

    My Ghosts Go Ghost by By Storm album review

    For as much as we idealize it; for as much as we will it on ourselves, on others, on the world. For as much as we want it, need it, long for it, die for it, there’s nothing more scary than change; the intransmutable transformation. To watch the unyieldingly cruel beauty of the world around you give way in landslides and avalanches. To feel meteors falling down from the sky crashing and destroying with an indiscriminate lust like the libido of a dying and powerful thing. To watch the people around you melt and explode to watch their faces change and mangle and become more beautiful and become more terrible and become something you no longer recognize.

    My Ghosts Go Ghost is an album born out of forced metamorphosis. After the untimely death of Stepa J. Groggs, the trio known as Injury Reserve was forced to change in order to survive. The two remaining members couldn’t continue as they were, Injury Reserve was a project largely defined by the interplay of Groggs and Ritchie with a T. After the release of By the Time I Get to Phoenix, an album which marked a stark contrast from the rest of their discography and was largely completed by the time Groggs passed away, the remaining duo needed to move on. They took on the name of the final track for their final album as Injury Reserve, and together they started over as By Storm.

    Coincidentally, By the Time I Get to Phoenix was an album about death. Ritchie’s stepfather had suddenly passed away, and the resulting project was an outpouring of pain shrouded in the eerily and supernaturally cruel timing of Groggs following shortly after. There’s an innate assumption that both projects are largely about him, when in reality, the theme of death on their previous project was pure happenstance. My Ghosts Go Ghost is a sprawling project covering a multitude of topics disconnected from Groggs — at least it seems that way. But, that’s not how it works; the surreal pain of loss is universal. Like a hallucinogenic third eye awakening, once a new depth is revealed you see it everywhere in everything.

    On the opening track, Can I Have You For Myself?, Ritchie talks about a relationship on the brink of enormous change. A child is on the way, and the protagonist of the song struggles to accept the death of his status quo. “You giving all of you, I want you all for me.” A life killing a way of life. The innate greed of love, the hunger you feel for another person. The desire for your relationship with them, your exact relationship, to endure forever. Frozen under a hundred miles of ice so the sun can never break its spell. Loving someone away from life, deep below and so protected even the imperceptible rotation of the earth can’t touch you. In the most protective parts of our hearts, we all feel this way about anybody, about anything that we love. Real love is love you feel for something as it is. Not how it was, or how it could be, but for what it is in the present. Whether romantic or otherwise, change is that great killer of love. A burning orca whale bullet breaking through the ice.

    But death is not forever, death is not death. The stopping of a heart, the eternal stealing of breath. Death is simply change. And even when love is killed, love can live on.

    “I woke up in a sweat with yesterday still stuck to me like glue,” Ritchie wails, with Parker Corey’s production making it sound like he’s crying out from some awful and trapped place. “It ain’t dead weight, it ain’t dead weight.”

    A frantic mantra in the dark, bouncing off the walls like echolocation, searching for love and meaning within the pitch black cave of death. Knowing that it’s still there, you just can’t see it with your eyes anymore. So, reach out with those quivering limbs and dance. “There’s nothing to run from, it’s all brand new.” You will never escape, you will never make it back to a place that no longer exists. And you will be in love forever.

    It’s a bruising, melancholy listen, even in comparison to By the Time I Get to Phoenix. There’s a profound sense of absence, absence of hooks, absence of easy catharsis. Many tracks feel like decapitated and delimbed versions of songs that might’ve been hits in some other alternate timeline. Moments of propulsion degenerate and degrade into shambolic instrumental anxiety attacks. Drum patterns start and stop and fall away in the mix, swallowed up by growing sonic voids. Jazz, industrial, hip-hop, it’s an unquantifiable blend of sonic ephemera — a difficult listen meant to communicate difficult feelings.

    Will Bishop is a Cal Poly Humboldt journalism major. He is prone to writing essays about things that bother him, and fictional works about things that also bother him but in different ways. A highly bothered individual, and a lover of cinema, music, and large trees/rocks. He can often be found in the woods, dancing to bring down the sky.

  • Wuthering Heights

    Wuthering Heights

    By Alba Galvan

    I had to use the bathroom for two straight hours, but I refused to go as the movie Wuthering Heights had me glued to my seat. 

    The cinematography in this movie was perfect; if there were things in this movie that the director Emerald Fennell did right, it was the visuals, costumes, hair, makeup, lighting, and music that captured the dark gothic vibes spectacularly.

    I have not read the book by Emily Brontë, published in 1947, but from what I gathered from TikTok, X and other social media apps, the general consensus of those who read it was disappointment in the movie adaptation. Critics claimed it was nothing like the book, but rather a self-insert of director Fennell’s personal fantasy, starring white-boy-of-the-month: Jacob Elordi.

    The male protagonist, Heathcliff, played by Elordi, received backlash that the character got whitewashed, and in Hollywood, this is common with roles meant to be played by non-white actors. There were previous adaptations in which Heathcliff was played by white actors, but in the book, Heathcliff is described as dark-skinned. Elordi, on the other hand, is again, a white man — from Australia. Many of the book’s crucial scenes were cut, like the ghost scene, and there were also a lot of sex scenes that were not necessary, as they were not in the book, leading to disappointment from the readers because they felt the movie had sexualized the original plot of the book. 

    As someone who didn’t read the book, I enjoyed Wuthering Heights for what it was: a tragedy. This movie had me in a trance, I fell in love with Heathcliff. Between you and me, I would make the same choices Isabella Linton did, but only because of how handsome Heathcliff was. Keep in mind that this movie is not to be romanticized. This movie is about two toxic people being horrible towards each other. The choices they made affected those around them in the most cruel ways possible. 

    I wouldn’t call this the all-time best movie I’ve ever seen. Trailers for the film made me believe this would be a love story, especially because it was released on Valentine’s Day. Since I didn’t read the book, I only knew what was shown in trailers. 

    If you plan to watch this movie with family, be warned, it has many, and I mean MANY, intimate scenes. I learned that the hard way by inviting my younger sister and mother to watch the movie with me. It was awkward. 

    I left this movie crying. I entered with a full face of makeup and left the theater with a bare face. What I did like about this movie — other than the aesthetics and how handsome Jacob Elordi was — is the message at the end of the movie. Spoiler incoming, I liked how it showed how two people can love each other so much it hurts, and still don’t end up together. They manage to hurt each other because of pride and miscommunication — that is what made me cry; that is what has been weighing on me for days after I’ve seen the movie. 

    This movie will be interpreted differently by everyone. I know my mom and I disagreed about what the message behind the movie was. If you have read the book, you may or may not like it and interpret it differently. In my personal opinion. I give this movie a 3/5 star review. 

    Alba she/her, LumberJack reporter. Journalism major who loves to read and write. She’s very passionate about sharing and listening to different opinions and loves self-expression. Contact email: agg83@humboldt.edu 

  • Blood on the dance floor

    Blood on the dance floor

    By Will Bishop

    With the wind howling and the sun sinking, five challengers entered the Arcata Veterans Hall. While generally a place for people whose battles have already been fought, this night was an exception. It was time for a long awaited return; a resurrection of something once thought to be dead and buried — the reemergence of 105.1 KRFH Radio’s Battle of the Bands (BotB) on Saturday, Feb. 21.

    “I’ve seen posters, like, vintage posters in the station of old BotBs, but I don’t think we’ve done one in a minute,” said KRFH Station Manager Miranda Ricks, a senior year journalism major. “This was kind of a little passion project of mine because I think it’s so — I don’t want to use the word cliche, but it’s such a movie trope to have a BotB, and I’m just really happy we were able to pull it off.” 

    Attendees were encouraged to scan QR codes located around the premises to vote for their favorite act, while merch tables could be found all over offering both band specific loot, as well as good ol’ fashioned KRFH memorabilia. Around 6 p.m., the first band took the stage.

    Datura Blues: Starting things off with a moody and atmospheric bang were KRFH BotB vets Datura Blues. Consisting of multiple Humboldt State University (HSU) alums including Oryan Peterson-Jones, who wrote his own ethnomusicology major called “Music as a cultural metaphor.” From 2000-2004, they played every KRFH BotB, and were valiantly defeated every time. 

    “We’re not a winning band,” Peterson-Jones said. 

    Given their sound, a purely instrumental cosmically minded psychedelic maelstrom, this is no surprise. Many of history’s greatest heroes are unsung in their time. 

    Speaking of history, Peterson-Jones’ legacy with KRFH goes all the way back to 1994, with his high school band entering the fray as young upstart contenders. He would go on to become program director and music manager, and even become close friends with KRFH founder Gary Melton. A true KRFH hall of famer if ever there was one. 

    Heaven’s Taint: A lineup choice clearly intended to give the audience whiplash. Regarding the contrast between the first two bands, frontwoman Sunny Breed, a Cal Poly Humboldt (CPH) alum with a psychology major, said, “We’re gonna break that trance, we’re gonna break it up.” Breed, in the purest sense of the word, is a rockstar. A performer equal parts electric and elastic, pogoing around the stage in a pair of white framed shades and spitting out every word.

    Lady in Waiting: It was time for the youths to take the stage to make everybody sad and introspective. This was the band’s first ever live performance, but listening to them you would never be able to tell. Like a newborn baby that’s inexplicably and disturbingly an adult man with a job and a drinking problem, they have arrived fully developed and ready to talk about what ails the world with whoever will listen. 

    The main songwriting duo at the heart of the group, Jack Sparks and Sophia Rudoni, are both art majors at CPH. Additionally, Rudoni is one of KRFH’s own, operating under the alias DJ Beeprincess. 

    The band’s influences are diverse and eclectic, emphasizing 90s New York bands like trip hop innovators Bowery Electric, and Japanese shoegaze act Pasteboard. Their third song, Martial Law, had more modern, political influences. 

     “Next song is about the president of the United States, fuck that guy. Fuck [Immigration and Customs Enforcement],” Sparks said.

    Shortly followed by a student making a quick announcement onstage regarding last week’s Siemens Hall occupation and the upcoming open forum scheduled for Friday, Feb. 27 at 8 a.m.

    Eradescents: By this point in the evening the audience had reached its peak size, and it was time for crowd-pleasing act Eradescents to take the stage. With only three members, they were the smallest band in competition, but they had heart to spare and powered through a rambunctious set rife with memorable moments. From a charged performance of Don’t Want to Know If You Are Lonely by Hüsker Dü to the band being honored with the first and only thrown novelty thong of the night — which swiftly wound up on the drummer’s head for the duration of their set. This was precisely the kind of performance you affiliate with a classic BotB experience.

    Pennies for Pluto: Announcing themselves with an improvised ditty about the event, the band quickly launched into an absurdly impressive set demonstrating virtuosic chops from every member. Frontman and bleeding heart of the band Orion Jesse Paul delivered a soaring vocal performance and shredding licks in equal measure.

    This marked the end of our lengthy and tumultuous journey. Each combatant had said their piece and now it was time for the audience to decide. Out of a grand tally of 112 votes in all, the winner of this most hallowed of tournaments was none other than Lady in Waiting. For their efforts each band member received a KRFH shirt, pin, patch and poster, as well as a slot in an upcoming Local LIXX session, a radio promo, and the opportunity to have their recorded music uploaded to KRFH’s automated system for that sweet sweet airtime.

    Will Bishop is a Cal Poly Humboldt journalism major. He is prone to writing essays about things that bother him, and fictional works about things that also bother him but in different ways. A highly bothered individual, and a lover of cinema, music, and large trees/rocks. He can often be found in the woods, dancing to bring down the sky.

  • Winging it at BSU Trivia Night 

    Winging it at BSU Trivia Night 

    By Marielle Winuk

    Taste buds sizzled on the tongues of sweating students as they scrambled to answer trivia questions and test their Black History Month knowledge at the Black Student Union ‘Hot Ones’ trivia event on Feb. 16. 

    Jei Farner, a bio chemistry and cellular biology major, hosted the four teams, titled Black Pepper, Black Power, Heartburn and Jalepeople through three different rounds.

    The round one categories consisted of Black history, film and tv, and music. The points earned in round one determined what level of hot sauce the teams received on their wings in round two. 

    In round two, it was time to face the first round of hot sauce. Black Power and Heartburn each sent up two members to compete in the Black Math category. Before answering, the team had to eat the hot wing and then answer the question. The first hot sauce used was called Tropical Amariallo, which had a heat level rating of six out of 10. Team Heartburn answered the most questions correctly, advancing them to the final round. The second match up was between Jalepeople and Black Pepper, with Black Pepper moving on to the finals. 

    In the final category, things started to get… hot. There were five wings on the table, and competitors raced to take at least two bites of the increasingly spicy wings while answering the trivia questions correctly. The wings got progressively spicier as they went down the line, and the final wing had The Last Dab Thermageddon hot sauce with a heat level of 11 out of 10. 

    Two gallons of milk and the cold outdoor air became essential to combat the spicy wings. Black Pepper went through their five hot wings and questions, and emerged victorious with a winning time of 12:23. 

    Marielle is a junior journalism major with an interest in politics and sports. She can be contacted at mmw146@humboldt.edu

  • Loretta Ross speaks on evading cancel culture, promoting “calling in” instead

    Loretta Ross speaks on evading cancel culture, promoting “calling in” instead

    by Alexis Blue

    Gutswurrak was filled with chatter, chilled drinks and cookies from a refreshment table on Feb. 11. The room felt lively; students, faculty, staff and community members gathered to listen to renowned author and activist Loretta J. Ross speak on contemporary society’s inclination towards cancel culture. 

    Ross spoke as the Black Liberation Month Keynote Speaker, hosted by the Umoja Center for Pan African Excellence. Ross is an activist, feminist, public intellectual and professor at Smith College in Massachusetts. A 2024 National Women’s Hall of Fame Inductee, Ross was an exceptional figure in the women’s movement. She joined in 1978 by working at the first rape crisis center in the country, where she developed her knowledge on women’s human rights, reproductive justice, white supremacy and the intersectionality of race with each issue.

    In her book, Calling In: How to Start Making Change with Those You’d Rather Cancel, Ross dives deep into what it means to call in, and how this strategy may be used to foster real change in activism as a whole, to fight modern facism in the United States. 

    “I remember Trump coming down that golden escalator,” Ross said. “I knew that America was not prepared for what he represented. Everybody in the media thought that he was a joke. I thought that he was an outcome of what America is and has busily denied forever.”  

    Ross continued by saying that 30 years ago, and even now, American society was so eager to call itself “post-racialist” to move past the fact that racism still exists in this country. 

    As an activist, Ross discussed her experience trying to fight facism in the past, and particularly in the contemporary political climate that surrounds the current administration. Her activism for the larger part of her life has never been easy, but has allowed her to gain insight into how exactly she wants to work towards her goals. 

    In developing how she wants to do work in her activism, she identified certain barriers and ways that people can advocate for change more effectively.
    “Doing anti-Klan work, doing the human rights work, doing the women’s rights work,” Ross said. “All of that slowly brought me to the realization that we cannot effectively fight facism when we’re spending our best bullets on each other.” 

    Ross outlines what she describes as a “Five C Continuum,” a framework for responding to challenging ideas and conflicts amidst one’s own activism: calling out, calling in, calling on, calling off and canceling.

    She strays from the idea of cancel culture, and instead promotes her idea of calling in, as it allows people to confront their own ideas in a more productive way. 

    “The first person you have to call in is yourself… You are modeling your best integrity in the world that you want to live in, not the world that you’re fighting,” Ross said. 

    A part of the continuum, a calling on strategy is useful specifically in addressing the people in one’s life as an incentive for them to confront internal ideas that are affecting their external behaviors. 

    “A calling on strategy is to help [the people in your life] pay attention to the good things that they’re capable of,” Ross said. “Using the adage of what Adrienne Maree Brown says, ‘What you pay attention to grows.’” 

    Ross highlighted the importance of humanizing people that have differing opinions and the importance of human rights. In a world full of hate, facism, racism and people in power trying to strip humans of their basic rights, Ross spoke to the power of love to defeat hate. 

    “For a movement, there will be many different people with many different thoughts moving in the same direction,” Ross said.  

    Alexis Blue is a senior at Cal Poly Humboldt, majoring in journalism – public relations and minoring in writing. In her free time, you’ll probably find her drinking coffee, watching sunsets, collecting shells on the beach and playing soccer.

  • Free showing of the Vagina Monologues

    Free showing of the Vagina Monologues

    by Eli Farrington

    Theater-enthusiasts and feminists rejoice, for The Vagina Monologues has finally returned to the Eureka Theater for Valentine’s Day weekend. 

    Originally written in 1994 by V Ensler, The Vagina Monologues addressed social stigmas surrounding women’s bodies, consensual and nonconsensual encounters, sexuality and conversations centered around rape and abuse. Ensler drew inspiration from real interviews and conversations with women of all ages, races and sexualities, discussing deeply personal topics such as bodily autonomy, self-confidence, intimacy, violence, trauma, resilience, vaginal care, menstruation, prostitution and much more. 

    The New York Times dubbed the play, “probably the most important piece of political theater of the last decade,” and even said “no recent hour of theater has had a greater impact worldwide” in a 2018 article. 

    The play was last showcased at the Eureka Theater 25 years ago by Humboldt director Kristy Hellum. Now, Hellum has returned to the local stage with an updated version that reflects the Humboldt community and current events while remaining true to Ensler’s original theme of empowerment, which is why proceeds from Hellum’s production will be donated to Humboldt Domestic Violence Services and Together Women Rise. 

    The play will be showing from Feb. 13-15. Doors will open at 7 p.m. on Friday and Saturday, and 1 p.m. on Sunday. 

    Stage Manager Liz Whittemore and Hellum are offering students a free showing of the final dress rehearsal on Thursday, Feb. 12. 

    “This is a special opportunity to experience the show before our official performances open on Friday evening,” Whittemore said. “Having an audience for this final run-through means so much to the cast and crew, and we would be honored to share it with you.”

    Hellum and Whittemore are incredibly excited to bring The Vagina Monologues back to the Humboldt community for the Valentine’s Day weekend. In the spirit of inclusivity, they want to make theater accessible to everyone, especially students who may not be able to attend due to financial barriers. 

    “Please arrive and find a seat before 8:00 p.m.,” Whittemore said. “No ticket is required for the dress rehearsal — just come in, settle in and enjoy the show.”

    Eli Farrington is the rosey-cheeked, cherub-esque Managing Editor for The Cumberjack. In his free time, he enjoys flying over the quad with a bow, wearing nothing but a loincloth and angel wings and shooting arrows of love into the hearts of Cal Poly Humboldt students. You can reach him at eaf62@humboldt.edu.

  • Humboldt Burlesque: Reclaiming while Entertaining

    Humboldt Burlesque: Reclaiming while Entertaining

    by Luke Shanafelt

    Tasseled titties spun in circles as the host, Mr. Gino, emerged onto the stage in an emerald crusted blazer. The swing band filled ears with waves of roaring twenties jazz tunes. A pastel pink haircut bounced to the beat, waiting for a dancer to throw shreds of underwear upon them.

    Burlesque entertainment uses elements of comedy, music and striptease to create a feminist counterculture rooted in tradition. On the night of Saturday, Feb. 7, more than 10 dancers, including Eureka Mayor Kim Bergel, took the stage at the Eagle House.

    Harry Sass closed the show with a flamboyant display of unapologetic swag. He came in hot dressed with a funky white suit and a long silver wig. As the crowd begged for more, that white suit began to dematerialize. With an array of stringed disassembly, pasty white quadrecepts revealed themselves in the red light. 

    “Burlesque was kind of like women taking back their power,” Sass said. “It’s about celebrating the beauty in everybody. The perfect body is what society says it is, and it’s unattainable.”

    In Humboldt County, people use burlesque to express themselves without feeling shame. The host for the evening, Mr. Gino, helped highlight why Humboldt is a great spot for drag and burlesque.

    “We have so many performers who feel safe putting themselves out there because we have love and support from our community,” Mr. Gino said.

    Mr. Gino’s hosting skills kept the momentum of the show beating like a pulse. Backed by an incredible talent of jazz musicians and two beautiful singers, Mr. Gino could do no wrong. Cheers rang almost every minute. It was the same enthusiasm some give to the Super Bowl.

    Ryan Citro, an organizer and performer in the event, talked about the style associated with drag and the time period it comes from.

    “When I dress up, I want to look like Marilyn Monroe,” Citro said. “I just love old Hollywood glamor, I love being on the stage and I love creating costumes.” 

    Citro took the stage with the attitude of a burlesque seasoned veteran. Her personality came through in her act with a calm confidence. Her peacock inspired attire also reflected her leadership and owning her own body, flaunting it not to attract mates, but to impress herself beyond her own expectations.  

    “Burlesque gives me a lot of confidence,” Citro said.

    Stripteasing takes some guts, especially performing to a sold-out crowd of more than 50 people. Citro created the peacock costume herself, something she tries to do with most of her costumes when she has the time and money. When she doesn’t, she looks to the community for help. Burlesque has themes of mocking high society, so hand-made costumes are not only sustainable, but also mimic the incredibly expensive culture of high fashion. 

    To striptease for a sold out crowd of people takes major skill, practice and confidence. These artists work hard to own their body and their style, and embracing themselves makes it easy for outsiders to come in and find confidence as well. 

    Burlesque dancers express themselves in a way that inspires. It’s an art form that shines light on glistening nipple pasties of all shapes, colors and sizes. In times of heated political turmoil, Americans have always had the freedom of expression to fall back on. Humboldt county’s hippie transplant origins gave the performers a comfort that holds them soft like a fern. 

    Humboldt is artistically rich. Whether it’s finding confidence in yourself by watching your favorite dancer, getting inspired by the epic costume design and music, or supporting the people who work hard to create events like this. 

    Mr. Gino had some final comments for the students of Humboldt regarding drag and burlesque.  

    “Get out into your community,” Mr. Gino said. “A lot of times students come up here just for school. Don’t just come to school and leave, w. We have a beautiful place here. It really is a special little bubble.”

    Luke is a senior journalism transfer from Socal who enjoys video editing, music journalism, and man on the street interviews. Contact him at ls432@humboldt.edu.

  • Iron Lung movie review

    Iron Lung movie review

    by Bodhi Haugen

    Iron Lung is based on an unsettling indie horror game released in 2022. Mark Fischbach, also known as popular YouTuber Markiplier, served as the film’s writer, director, producer, editor, and lead actor. The movie was also entirely self-financed by Fischbach, which made the project even more ambitious. 

    I purchased my tickets a week prior and was excited to see Fischbach bring his passion project to life in theaters. I was stunned by what I saw when I walked into Broadway Cinemas late on a Friday night — I hadn’t seen a theater so packed since the release of The Force Awakens over 10 years ago.

    Going in, I wasn’t sure where to place my expectations for a YouTuber movie. I had concerns that the acting might fall short or that the thriller genre could be tainted by my preconceived knowledge of Markiplier as the protagonist. Still, I had hope. 

    Nearly the entire film takes place inside a cramped submarine, with the window and exit welded shut. In this universe, all known planets have mysteriously disappeared, leaving only a single planet with an ocean of blood behind, along with space stations where what remains of humanity survives. Simon, played by Fischbach, is assigned to explore the ocean floor as punishment for his crimes, tasked with researching the phenomenon known as The Quiet Rapture.

    The film excels at making the viewer feel claustrophobic. The submarine is dimly lit and tightly confined, and I rarely saw more than Simon himself could. This limited perspective heightened the tension in various scenes.

    Throughout most of the movie, the only characters we hear are Simon and various voices over the intercom built into the submarine. This places Fischbach’s performance under the spotlight, as the audience spends nearly the entire runtime alone with him. Although the acting wasn’t the best I have seen, Fischbach sold a convincing performance in many of the film’s tense scenarios. 

    A setting like this thrives on silence, and that’s where the movie occasionally stumbles. I felt that Iron Lung relied too heavily on unnecessary monologues from both Simon and the intercom, which pulled me out of the immersion in certain scenes rather than letting the tension speak for itself.

    Visually, the film does not fall. Fischbach was creative with his shot composition, which amplified the anxiety of being on an underwater vessel. The use of unconventional camera angles helped me feel like I was in the submarine with Simon, rather than just observing it.

    Despite watching gameplay videos beforehand and being familiar with Markiplier’s content, I left the theater with more questions than I had going in. The film expands on the game’s eerie lore, but not enough information is provided for all the pieces to easily fall into place by the time the credits roll. While this may have been intentional, a bit more clarity would have helped the average viewer feel a little less lost.

    This movie isn’t for everyone — if you’re a fan of the game or of Markiplier, you’ll probably love it, despite some flaws. As a passion project and self-funded film, Iron Lung is visually compelling and holds its own alongside big Hollywood budgets. Even if you don’t have any prior connection to the game or Fischbach himself, the movie is still worth watching, but it doesn’t necessarily need to be experienced in theaters.

    I give it a 78% on ripe potatoes.

  • Frankie and the Witch Fingers brew a cauldron of sweat with opener Zookraught

    Frankie and the Witch Fingers brew a cauldron of sweat with opener Zookraught

    by Will Bishop

    This Saturday night, beneath a haloed Waxing Gibbous moon, the high ceilings of Kate Buchanan were filled with churning and rapturous sludge. Main act Frankie and the Witch Fingers, in tandem with opener Zookraught, metamorphosed the vast, generally bean bag adorned space into a downright disgusting melee of bodies and sonic warfare. No vast Orwellian projections of Kevin from The Office on the walls this time around. If you wanted to escape your roommates and sleep for an alarming amount of time in Cal Poly Humboldt’s unofficially-official chamber of nap-titude, you were gonna be better off trying your luck under that big lightbulb in the sky.

    Launching the night in T-minus to dance-punk doomsday fashion was Zookraught, a trio from Seattle consisting of Stephanie Jones on bass, Sam Frederick on guitar and Baylee Harper on drums adorned with facepaint that invited the tantalizing question, “What if Kiss was good?” Well, if Kiss was good, and a completely different genre of music and not in any way remotely similar to Kiss with the exception of their facepaint, then perhaps they would be like Zookraught — and perhaps they would be face-meltingly sick as fuck. Like Zookraught. For the first minute or two, I wondered where exactly their vocals were even coming from before realizing this is one of those “OH MY GOD THE DRUMMER SINGS”-type bands, promptly followed by the realization that they in fact all sing, and they will throw around that vocal baton at breakneck speed.

    Describing themselves after the show as “Team Fun,” the band conjures an aura of whimsicality, theatricality and ferocicality (sometimes bands deserve new words) in equal measure, crossing guitar necks like simulated ten-string intercouse and raging at the American political machine with all manner of electro-acoustical might. Nary an ass was left unshaken by the end of this blistering set, as the band perfectly navigated the precarious zone between hard as nails punk and hooky-danceable-borderline pop that you could show to your pop-loving suburban aunt if you wanted to kill her or something. 

    By night’s end, frontman of Frankie and the Witch Fingers Dylan Sizemore was among Zookraught’s biggest admirers, even going as far as to call them one of his favorite bands. 

    “It’s insane they even opened for us, because they’re amazing,” Sizemore said. “I wouldn’t even call them an opener, we just played with them tonight.” 

    Which brings us neatly to psych rock extraordinaires Frankie and the Witch Fingers, whose current lineup is comprised of the aforementioned Dylan Sizemore on vocals and guitar, Nicole “Nikki Pickle” Smith on bass, Josh Menashe on guitar, Jon Modaff on synths and Nick Aguilar on drums. The lone synth of Trash Classic introductory track Channel Rot heralded their arrival, prickling up the back of my neck and wriggling into my ears. Now that I’ve been infected with the Mind Virus, it is time to begin. 

    Cue guitars. The relentless, borderline monotonic ripper T.V. Baby immediately established the cadence of the set. From there on out, it was go, go, go. The jerky stork-like posture dancing of Sizemore, like the hands of a rapidly malfunctioning clock, could practically show you how the music sounded without hearing it. With a head rigidly strapped to a constantly pecking gimbal metronome hybrid apparatus some might refer to as a “perfectly human neck” and a hard V stance akin to an upside down yield sign — which for those of you who don’t have driver’s licenses, means go very fast. He is the visual embodiment of the band’s sound.

    While some may think of psych rock as eternally dressed in kaleidoscopic spaced out collages of LSD ambiance, Frankie and the Witch Fingers quote from a very different book. After the mayhem, Sizemore could be heard telling eager young fans about proto-electronic group Crash Course in Science, and it is precisely this kind of out-of-left-field reference that holds the keys to their unique sonic makeup. The high precision playing, the mutating repetition, the synth lead-ins; it all very much evokes the ethos of fringe, punk-inflected techno long before you would ever think of genre staples such as Spiritualized or Pink Floyd. Like motorik refracted through the scuzzed-out fuzz of psych rock. A mutant, a freak, a disgusting and abominable thing. Give me more, I want to keep hanging out with the swamp monster robot.

    Will Bishop is a Cal Poly Humboldt journalism major. He is prone to writing essays about things that bother him, and fictional works about things that also bother him but in different ways. A highly bothered individual, and a lover of cinema, music, and large trees/rocks, he can often be found in the woods, dancing to bring down the sky.