By Kaylon Coleman

I remember the excitement I felt as soon as the lights dimmed, and the track began. “Chromakopia… Chromakopia” erupted from the crowd as the wall shrouding Tyler, The Creator slowly raised to reveal the artist. 

As soon as I stepped into the Golden 1 Center on Feb. 23, I was immediately overwhelmed by the sheer size and magnitude of the venue. It was my first time going to an arena for an event. I was there for Tyler, The Creator’s “Chromakopia World Tour,” with openers Paris Texas and Lil Yachty. 

In the days leading up to the event, I could not contain my excitement. It wasn’t just the concert I was excited about, but the whole trip itself. I feel like two things revitalize my spirit during the semester, and they are road trips and concerts. Whenever I get to do a two-for-one, best believe I’m over the moon.

Sometime before I left for the trip, I had an opportunity to talk to Camo!, a member of the Concrete Boys, the collective led by Lil Yachty. They’re traveling alongside Yachty as the tour progresses, so I asked if it was possible to get an interview when they stopped in Sacramento. Long story short, I did not get the interview. To be fair, I don’t even think they went to the show that night, but that’s neither here nor there. In spite of not getting an interview, the concert was still electrifying to say the least.

Once we found our seats, my friend and I roamed a little bit to grab the essentials — popcorn and some water — before scouting out the merch line to see where we would have to book it once the concert was over. To our surprise, the first openers of the night, Paris Texas, started their performance as we were still perusing. We excitedly rushed back to our seats and locked in for the first of many performances that night.

I had never heard a Paris Texas song before the concert, and neither had my friend, so we both decided to go in blind and just experience their music for the first time live. I can say they were actually pretty cool. From what I heard, I’m guessing the duo is an alt hip-hop/alt rock band, but I don’t know for certain. What I do know is that they had the crowd moving in what was ultimately a fun performance. The band seemed to be feeding off the energy of the crowd and delivering it right back. During one of their last songs, the group asked for everyone to light up the arena in what was probably the most beautiful moment I captured from the night.

Once their performance was up, my friend and I sat giddy with excitement as we knew it was only up from here. It was only maybe ten minutes after Paris Texas got off stage that Lil Yachty made his appearance, which was incredibly shocking to me. In all my concert experiences, (some of which were Yachty himself), I’ve never experienced such a non-delayed schedule time like this. I was pleasantly surprised to see him hop on stage that fast after the last performance and to see how fast Paris Texas got on stage too.

Needless to say, Yachty served as the opener I needed to really get turnt up. Yachty played a variety of songs during his performance, starting with hits such as Hate Me, Split/Whole Time, and From The D To The A. He then followed this up by going into his more popular older songs such as Minnesota, iSpy, and One Night. He concluded his set by playing songs off his newest solo album release, Let’s Start Here, and at this point I had practically already lost my voice. 

Once Yachty walked off stage, I couldn’t stop talking about how we were getting treated to a Lil Yachty concert AND a Tyler concert (can’t forget about Paris Texas, too). My friend and I were ecstatic as we bounced around in our seats anticipating the main performance. This time it took about 40 minutes before Tyler graced us with his presence on stage, but none of that mattered once his performance started.

The entire arena boomed in unison as everyone chanted “Chromakopia… Chromakopia,” the intro to Tyler’s song St. Chroma and his album Chromakopia in extension. Tyler then followed up that intro with the next three songs on the album, and can I just say seeing the transition from Rah Tah Tah to Noid live was everything I needed and more. He followed this up by playing more songs from the album, including Sticky, which probably drew the most hype from the crowd.

Before Tyler performed the second half of his album, he switched things up by implementing a creative way to showcase his various eras. He had a set up that resembled a cozy living room accompanied by a record player and a box of records. He then flipped through the records until he found one of his previous albums, put the record on, and performed hits from that era. 

I was mesmerized by the dedication, the atmosphere, and the sheer magnitude of the event. For my first arena-sized concert, I can say unabashedly that it was a 10/10 experience. As Tyler ended off his set with I Hope You Find Your Way Home, (my favorite song off the album that I was dying to see), I was left with a sense of bliss, knowing this trip was undoubtedly worth the effort. I was also left with a sense of yearning for my next concert this month, Laila!, with hopefully the potential of an interview as well.

Kaylon Coleman is a junior journalism major with a concentration in news and a minor in Psychology and Communications. He is the Social Media Assistant Manager for LJ. He is also the president of the Black Student Union at CPH, social media coordinator for the Umoja Center, and a part-time radio DJ.

Cal Poly Humboldt’s marching band members form bonds through their unique performances

By Savana Robinson

From playing on a carousel in Cloverdale to marching in a parade in San Francisco to performing in Battle of the Bands at UC Davis, the Cal Poly Humboldt Marching Lumberjacks play a variety of gigs around northern California. 

Alfie Chiper, junior environmental science and management major and clarinetist for the Marching Lumberjacks, pointed out their favorite gig.

“I think my favorite that we do — and it’s actually coming up this week — we play for the St. Patrick’s [Day] parade in San Francisco, and I really like that one,” Chiper said. “It’s just super cool to be in such a big city and have so many people watch us and listen to us and like, feel our energy and stuff.”

The Marching Lumberjacks, created in 1968, are the oldest student-run organization at Cal Poly Humboldt, according to Tati Bond, who is in charge of public relations for the band. Bond also said there are currently about 40 members in the band.

Jessi Fleming, senior studio art major, tuba player and axe major (or conductor) for the Marching Lumberjacks, spoke about why she liked Davis Picnic Day, where they participate in Battle of the Bands.

“My favorite gig is definitely one we have to travel to. I like Davis Picnic Day because we get to stay there for two nights instead of one,” Fleming said. “I really appreciate the bonding opportunity for the band because we’re all a bunch of friends, and it’s like going on a road trip with your friends, and it’s a lot of fun.”

Nick De Anda is an alumnus who still plays guitar with the Marching Lumberjacks. He has been playing with the band since 2021 and graduated with a degree in music performance in 2023.

“If you go to the Battle of the Bands, you’ll notice that we are the band that has the most fun,” De Anda said. “Everybody else, they can bring it, but nobody has fun like we do.”

De Anda noted that the Marching Lumberjacks are unique and that his instrument, the guitar, is not usually seen in a marching band. He said they are not a traditional marching band, and he learned to play guitar on the go.

De Anda explained how the band plays.

“We’re more categorized as a scatter band — it’s pretty self-explanatory. We just kind of scatter ourselves around. There’s no formation. We don’t really follow a strict marching code. We try to march in step, but it’s very free-flowing,” De Anda said. “The uniforms are very relaxed but simple, just a yellow shirt and green pants.” 

De Anda explained that his favorite part of playing in the band was getting his emotions out through sound.

“Bobbing my head or screaming at the top of my lungs — it gets the demons out, essentially,” De Anda said. “So I feel like when I am playing a song where it’s traditionally high energy or I feel a responsibility to upkeep the morale, that’s when I feel more empowered. That’s my favorite part about being in front of people in that uniform and with all those wacky instruments and stuff.”

De Anda also spoke about the appeal of playing in the band and how being silly and expending energy is good for the soul.

“All these college kids have all this pent up energy and they just want to spend it somewhere and making music with their friends and acting a fool and screaming at the top of their lungs for these songs that are super, super old, but we all happen to know,” De Anda said.“It’s got its own little charm in comparison to other groups.”

Chiper said anyone at any skill level or who wants to learn an instrument can join, and Fleming noted that joining the band is low stakes.

“The band is very lowkey. If you want to show up to one rehearsal a month, that’s fine,” Fleming said. “We have no time commitment, no playing ability [requirement]. We take everyone and anyone.”

Savana Robinson is a senior journalism major and news editor of The Lumberjack, as well as a multimedia journalist and producer at Redwood News. She loves motorcycles, cats and video games.

Pigeon Pit, Foot Ox and other local bands sell out folk punk show at Arcata venue

By Jess Carey

There’s a line out the door and down the street at Outer Space in Arcata. Mulleted concert goers sport patched up jackets and Doc Martens poking out from underneath baggy jeans. Smoke from cigarettes and weed drift in the crisp cold late winter air. The chatter of the queue is cut through by the occasional bark of a dog or car engine revving. Lonely chords from an acoustic guitarist on the lawn color the scene. The Plaza seems alive, breathing with activity. Outside the venue, a hand-drawn whiteboard sign reads “Pigeon Pit Tonight, Friday March 7th.” The turnout is notably large.

Outer Space is a pillar of the Arcata music scene. Their location at 837 H St. is a relic, having been built in 1900, and have been hosting shows on the Plaza since 2022. Outer Space’s sober space and all ages policy make it a unique and accessible island of culture and community. The space is managed by a volunteer-run and non-hierarchical collective. The venue’s DIY values are reflected in its colorful interior, featuring a zine library, local art for sale and eclectic decor. 

Handmade cloud lights floating from the ceiling colored the room with a faint blue as the crowd trickled into the venue. Per the collective’s policy, no one is turned away for lack of funds. A large crowd eagerly awaited the show while soundchecks were wrapped up. Brandon Hook was the secret superman audio engineer of the night, who skillfully mixed the sound for both the in-house audience and live stream. Recordings can be found on Outer Space’s YouTube channel, @outerspacearcata. 

Local musicians open the show

The chatter cut down as the lights dimmed. Trinket, the opener for the four-band lineup, took the stage and greeted the packed house. Trinket is the solo project of Arcata local Caleb Van Lynn, who can also be found around town selling mushrooms at farmer’s markets and hosting the open mic at Culture Shrooms. Trinket’s gritty, wholesome songs are comforting but edgy, holding space for determined resistance and big feelings simultaneously. He sings and accompanies himself on the guitar with an occasional harmonica break. His heartfelt lyrics and bright presence set the scene, warming up the crowd for a night of down-to-earth acoustic jams. 

Trinket closed the set with a tune called, Feeling All Those Feelings That You Are Feeling. The lyrics invite listeners to be present with big emotions. 

“Feeling bad, feeling sad, it’s natural,” Van Lynn sang. 

Next in the lineup was Wounded Animal, the self-proclaimed bard-core project of Eureka’s Ethan Rubin, whose style is refreshingly unique. The ensemble consists of upright bassist Norm Crawford’s thumping support. Local singer-songwriter Polimana colored the tunes with jangling accompaniment on a handmade fretless gourd banjo. Rubin’s piercing viola playing was the heart of the music, impressively belting strong lead vocals whilst fiddling up a storm. The songs felt dark and alive, like the smell of the forest floor, with lyrics spinning tales of strange creatures and odd happenings. 

Foot Ox was up next. Hailing from Portland, Oregon, their music is spinning and vivid, grounded in folk influences while taking influence from psychedelia and embracing experimentation. As Pigeon Pit’s tourmates, their sounds are very complimentary, even sharing bandmates as the bassist, pedal steel player, and violinist rolled over to the next set.

Folk Punk legends Pigeon Pit take the stage

Pigeon Pit is a poster child for contemporary folk punk, founded by frontwoman Lomes Oleander in Olympia, Washington nearly a decade ago. Folk punk’s appeal is in its rawness, realness and approachability. The anarchist spirit of punk takes on a new acoustic color without compromising any of the volume or attitude. Traditional punk’s typical electric guitars and noisy feedback are replaced with banjos and fiddles, grounded in a DIY spirit. The band’s senior album Crazy Arms was independently released in Jan. 2025, and the show in Arcata was sandwiched between stops in Sacramento and Portland on a West Coast tour. 

The band took the stage met with roaring applause as they launched into a fiery rendition of Bad Advice, the first track off of their new album. Pigeon Pit’s well-polished musicianship and seasoned stage presence shined through their entire set. Oleander’s warbling vocals are simultaneously vulnerable and strong. Her sharp rhythm guitar was the sturdy guts of the ensemble, punctuated by Maddie Bun’s twangy banjo. Violinist Eva held it down on backing vocals while decorating the music with fiddling flourishes. Drummer Olive Hannah tapped out a steady backbone, working together with bassist Jake to ground the vibrant tempo. The sliding spinning riffs of pedal steel were the sonic sprinkles on top.

Pigeon Pit’s songs are grounded in honesty with a punk edge and cutting lyrics that describe sparks of joy punching through the gloom of the world. Oleander’s almost frantic lyricism cascades vignettes of daily life and memories. Their song Soup for My Family was a notable fan favorite. The whole audience sang along to the chorus as a mosh broke out in the center of the dance floor.

DIY sentiments shine through the music 

After a few vibrant full-band songs, Oleander stood alone to pick out some solo tunes while the band took a break. Her music was just as strong without accompaniment, a testament to the power of her songwriting.

“I love local DIY music scenes and one of the coolest fucking things about tours is getting to go to local shows and different scenes every night,” Oleander said, while tuning her guitar in between songs. “It’s really cool to see what other people are doing, it’s really fun for me.”

She expressed gratitude for the venue and its community, cementing the music’s message of resilient joy in the face of struggle.

 “It’s about our collective power, you know, when we work together to make things different in our world, which is what DIY means,” Oleander said “That’s why I love it so much.” 

The band returned to jam out a few more, and the energy was even more electric. Oleander broke a string during a vibrant rendition of Bronco, not skipping a beat. They closed the set with a sparkling rendition of Milk Crates, the song ending with an echoing mantra. 

“No job, no place to get away from / I’ve been to a world worth living in / no rent, no lies to memorize/ No fucked up world to drown out,” Oleander sang. 

An encore brought the band back up for Run Your Pockets, a heart-wrenching number with themes of changing times and fading light, ending the night on a bittersweet note. 

“Support your local DIY music scene and harm reduction collectives and all the cool direct action shit that’s happening here in Arcata,” Oleander said. “Disperse peacefully!”

Jess Carey is a senior at Cal Poly Humboldt, majoring in biology and double minoring in botany and journalism, and the science editor for The Lumberjack. They are passionate about telling stories that are relevant to the community, branching their interests in science, music, and the arts.

By Dylan Jewett

College radio has always been a unique branch of the broadcast world and the radio programs here at Cal Poly Humboldt have been no small feat. Every Thursday at 8 PM, a new band from the community or other places in California gets hosted in a studio on campus called the LIXX Lounge, located in Gist Hall. LIXX broadcasts live to listeners online at krfh.net and over the radio waves on 105.1 FM.

Pickpocket, a local indie and surf rock band made up of university students Colby Palmer on drums, Luke Shanafelt on guitar and vocals, Andy Garvin on bass and vocals, and Jesse Sammel on guitar, was hosted on Feb. 20 in the LIXX Lounge. They played an hour-long set of originals and covers and got the crowd moving. The turnout of students who showed up to support the band in person was impressive and heartwarming to see.

They have been a band for two months and are looking forward to the future with the local music scene. The LIXX show was Pickpocket’s first time performing as a band, and the energy they brought to the table was incredible. As students, they said it can be hard to find time to practice. 

“Finding time to all practice and get together is hard enough, not to mention finding new music and learning it all together,” Palmer said. “We try our hardest, though, and I think it shows.” 

In the near future, the band hopes to record and share their music online to expand their reach. With the band members still in school, they plan to keep playing in the local scene and record their music. “We do want to record and post our music online and reach people as far as possible,” Palmer said.

The energy of the show was truly electric. For their final song, they performed Rock and Roll Night Club by Mac DeMarco and a dance party in the middle of the room erupted. Everyone was grooving to the music and creating a wonderful environment full of love and support for local music.

Having a space on our campus that’s able to put a spotlight on local talent is truly incredible. Every week, a different band is highlighted on KRFH for everyone to tune in to. A range of genres is highlighted, and no band is too much like the other. With new shows every week, there is no shortage of new music to discover in the local community. If you have a local band and want to play on air, you can reach out to the LIXX team through the KRFH website. The future looks bright for the LIXX program as bands continue to play and students continue to help put on these shows. The Next LIXX performance is on Thursday, March 13 with Spitbug.

“Our first show together was a blast! We all had a ton of fun, and of course with a first show we all noodled a bit, but that’s part of being new musicians in a new scene,” Palmer said. “Overall, a really awesome and inspiring performance for all of us.”

Dylan Jewett is a junior journalism major at Cal Poly Humboldt. They are an avid photographer and loves to crochet, hang out with their cat, and go to concerts in their free time.

In Paddington in Peru, maybe the road to El
Dorado was the friends (bears?) we met along the way

By Julia Kelm

Paddington in Peru (2025) is the newest installment of the Paddington trilogy, featuring Ben Whishaw reprising his role as Paddington Brown, the very polite, marmalade-loving bear. The tale follows Paddington and the rest of the Brown family as they go on a trip to Peru to find Paddington’s aunt, who has mysteriously disappeared from the home for retired bears.

I saw this film at the Minor Theater in Arcata. They were kindly giving out free posters of Paddington in Peru, so I obviously took one. It now resides in my room next to a poster of Bob Dylan — as they intended, I’m sure.

This movie had a pretty high bar to reach following Paddington 2 (2017) — which it did not meet, unfortunately. However, that does not mean that this movie was not fun or as full of heart and whimsy as the first two.

Paddington in Peru is basically a fish out of water story, taking Paddington out of London and into the jungles of Peru. It was still entertaining, don’t get me wrong. 

For me, what makes Paddington so endearing is its cozy cottage core vibe, something the other previous two films did so well.

Outside of the general plot of the film, Antonio Banderas and Oliva Colman deliver a memorable and stellar performance.

Banderas plays the ship captain, Hunter Cabot, who is haunted by his past ancestors — who are also played by Banderas — and has a desire to find the treasure in the mysterious El Dorado. He’s just so silly and goofy in this movie, and the recurring theme of characters wanting to eat Paddington is also amusing.

Colman, who plays the suspicious nun working at the retired bear’s home, is probably one of the finest living actresses still performing. Somehow, she always gives an amazing performance, even in less serious films like Paddington in Peru.

A notable part of the film, and something I found surprising, was its unexpected core message of adoption, being an immigrant and the lost heritage that communities often face when assimilating. 

Something that is often overlooked about Paddington is his Latino roots. Considering how extremely British he is, it’s very easily forgotten. 

Paddington in Peru focuses a lot on Paddington’s lore, with the ending showing us exactly where Paddington came from and reconnecting him with his culture to an extent. 

Immigration really shouldn’t be politicized, but this film’s messages seem important — especially right now. 

I should also point out that this film is viewed through the lens of the colonizing British, so take all that with a grain of salt. I think it’s worth mentioning for a kid’s film, these messages are leagues ahead of the AI crap kids are probably watching instead. 

If you’re already a fan of Paddington, then you will likely have a delightful time watching this film. If you haven’t seen anything from Paddington, then a movie marathon should definitely be on your calendar. 

Julia is a journalism major at Cal Poly Humboldt. She loves film and is a regular on Letterboxd. To quote Robin Williams in her all-time favorite movie, Dead Poets Society, “The powerful play goes on and you may contribute a verse. What will your verse be?”

by Noah Pond, Eli Farrington, Jasmin Shirazian and Barley Lewis-McCabe

A 4-foot-tall vagina with a disco ball clitoris stood at center stage as two women stormed on dancing to It’s Raining Men by The Weather Girls. The sausage fest to end all sausage fests, the first night of the Mr. Humboldt Pageant took place at the Arcata Theater Lounge this weekend for the first time in five years. Consisting of a series of weird and wacky competitions, activities and contestants, the pageant followed a format reminiscent of Ms. America, but with a unique Humboldt twist.

This year’s Mr. Humboldt Pageant was the first one to take place since before the COVID-19 pandemic, and also the first one to feature “all-stars” from past pageants. These “all-stars” were allowed to compete against a swarm of new contestants in a fantastically extravagant, unapologetically unfiltered and highly anticipated showdown of the ages. 

Judge, local drag queen and former reigning Mr. Humboldt champion Komboujia provided some insights into the inner workings of the pageant and how the contestants were judged, which included a question and answer segment, a swimsuit contest and a talent show. Komboujia also noted her appreciation for the positive environment that the pageant creates. 

“What really brings me joy is being able to create space for people to feel safe and welcome, and have a good time,” Komboujia said. “Especially people who are like me, who may not feel like they have a lot of space here locally. Bringing those people into [this] community really brings me joy and motivation.”

Like any fundraiser, the proceeds are donated to a good cause, which is selected by the previous winner of the pageant. 

“Since the [former] winner gets to choose where the proceeds go, I get to choose. My proceeds are going to the Raven Project, and a youth drag mentorship program called System Failure that runs out of Outer Space here in Arcata,” Komboujia said. 

The event’s festivities were wild, packed full of little challenges, dances and even condiment splattered bodies. During the Q&A, Mr. Mckinleyville Statue was asked what Humboldt’s alternate mascot would be — he had a snarky political remark locked and loaded. 

“You already had one, but everyone turned me down — bring back great Americans,” Mr. Mckinleyville Statue said. “You can’t get rid of me.”

Alex Stillman, Arcata Mayor and presenter of the Cougar Award, was a part of the local lady legends who sat as the judges of the event. Stillman has been an Arcata resident since 1971, and has been presenting the Cougar Award since the very first Mr. Humboldt, back in 2013. She accepted the honor of judging years ago when the pageant was in its early years and has continued to since then. She views the event as a play; an opportunity for men and women to be ridiculous and put on a fun show for a good cause. 

“When an older woman is going after a younger man, they call ‘em cougars,” Stillman said. “A long time ago, I was asked to come to the very first Mr. Humboldt and I was a judge. Then they asked me — since I happen to be an older judge — if I would give out the cougar award.”

Stillman has been an Arcata resident since 1971, and has been presenting the Cougar Award since the very first Mr. Humboldt, back in 2013. She views the event as a play and an opportunity for men and women to be ridiculous and put on a fun show for a good cause. 

The night rolled on as dirty jokes rang throughout the venue. Two male-presenting audience members were called onstage and asked to strip as the hosts explained that two female-presenting counterparts had been tasked with using various condiments to paint a portrait of Stillman on the torsos of the gents. The pungent scents of barbecue sauce, ketchup and mustard filled the nostrils of audience members all throughout the venue.

The contestants’ next challenge was a swimsuit contest. They each took their own approach to it; some threw bags of nuts from their pants and others shook their rumps in sparkly thongs. Baby Bigfoot even removed his suit to reveal a shredded, hairy bod. Covering his crotch was a gigantic, 15-inch banana slug plushie. 

During the intermission before the next competition, the hosts informed the crowd that Mr. King of the Universe (Mr. KOTU) and Mr. Mckinleyville Statue had fallen in love, and Mr. KOTU had proposed backstage. A few moments later, they were on stage being joined in holy matrimony. Mr. KOTU wore a veil and Mr. Mckinleyville Statue wore a suit, and Komboujia performed the honors. They seemed to be a perfect fit, with Mr. KOTU being a Trump impersonator and Mr. Mckinleyville Statue being a former republican president and colonizer. However, moments after they were married, they tried consummating the marriage on stage. When Mr. KOTU “finished,” his heart stopped and he died in front of the crowd’s very eyes. 

“My marriage was short but beautiful,” Mr. KOTU said. “Again, he’s no Ivanka, but it was beautiful. He was rock hard — nobody was as hard as that statue.”

The chaos continued as the hosts announced Mr. Mckinleyville Statue was shot and killed backstage, and replaced by Mr. Riptide — who was the same man, just without the statue in front of him. In yet another unexpected twist, Mr. KOTU was resurrected as Mr. Apocalypse. 

Mr. Apocalypse, dressed head to toe in a red suit bedazzled in sequins and horns, brandished a pitchfork with dildos on the end of each prong. He won the pageant despite his Cheetos-dusted face and the poopy diaper he twerked in during the swimsuit section. He was not surprised by his victory as he was crowned Mr. Man of the Year.

“I feel it was inevitable, I knew there was no way I wouldn’t win especially as I was reborn from the death as the dildo king,” Mr. King of the Universe said.

The second night was just as extravagant. The line to get inside was down the block, with about 100 people standing in the intermittent rain, anxiously waiting for one thing — to see the best hunk o’ man meat in Humboldt County. 

As the event began, the crowd was presented with a showstopping lip sync from co-host Komboujia. The competition went similarly to the night before, with a Q&A, a swimsuit competition, trivia, elimination rounds and so on. 

When all was said and done, the winner was announced as Mr. Cowabunga. The energy of the audience was palpable as the crowd favorite was announced. 

“We love the people of Humboldt County and we can work together to make this a better place,” Cowabunga said. “Be humble. Humboldt #1!” 

The gender-bending extravaganza offered an avenue of safety and fun for members of the community, while also serving as an opportunity for participants to experiment with their identities. The competition advertises itself as a celebration of non-toxic masculinity, at a time when this pushback is needed more than ever. 

Senior communications major Kelly Padrick and sophomore business major Alex Moore were in attendance on the first night of the performance. They looked on Instagram to find out if the Arcata Theatre Lounge was doing anything for Valentine’s Day and thought the Mr. Humboldt pageant looked peculiar.

“It was just the amount of weird that we expected,” Moore said.

The pair recommended that anyone who had the chance to go and see it should take it. 

“I paid to be entertained,” Padrick said. “And I was.”

“What are we playing?” the pianist asked the drummer. 

“Jazz,” the drummer said.  

There’s an often repeated saying that Humboldt has more artists per capita than anywhere else in America. I don’t know if that’s true — or how it would be fact checked — but from what I saw, I wouldn’t be surprised. Every Sunday, Northtown Coffee — a small coffee shop five minutes away from campus — becomes the epicenter of jazz in Arcata. Dozens of people pack into the small room to drink and dance, listening to an ever-growing jazz combo. 

True Laboissonniere, a freshman mechanical engineering major, gave some insight as to why jazz is so different in Humboldt.  

“It has less people, but every person I’ve met about [jazz] is super passionate about the scene so that’s super cool, especially compared to other parts of California,” Laboissonniere said. “People here really take their passion to the next level but there aren’t as many people to do so”. 

Due to the improvisational nature of jazz, it’s a lot more community-based than some other genres. It’s a genre that requires a level of listening, especially for proper improvisation. Because it’s such a cooperative genre, and due to the smaller size of the scene up here, it becomes incredibly close-knit, which just leads to better playing.

Jazz began in New Orleans in the early 20th century as a mix of blues and folk music, which both evolved from songs sung by enslaved people. Jazz was a form of self expression for black musicians who were oftentimes unwelcome in other musical spaces. Jazz provided them an opportunity to make their voices heard and experiment musically. Part of that experimenting included spontaneous improvisation. The person credited with being the first to do so is cornet player and bandleader Buddy Bolden, but trumpet player Louis Armstrong was one of the first to put heavy emphasis on the improvising soloist, which would then become the standard in the genre. 

Jazz is freedom of expression in music. The most central pillar of jazz, the thing that truly sets it apart is the inherent sense of improvisation, and that’s appealing to a lot of folks. 

Dan Aldeg, a jazz professor at the university, elaborated on this. 

“I think there’s not just that sense of freedom of expression but that improvisation that’s inherent in jazz,” Aldeg said. “That sort of personality is more attracted to doing that in music and you might find that seeping into other people’s lives, in a more improvisational approach to living as well.” 

The first performance I saw in Humboldt was a man playing a 5 string bass on the street, next to the Arcata plaza. He had a jerry-rigged set up of two amps and one speaker stacked on top of miscellaneous boxes. His veins were so varicose from years of playing  that they almost burst out of his hand as he slapped the bass. It was improvised, it was jazz, it was incredible. This man was the epitome of what makes Humboldt jazz so special — the eccentric people who embody the free-spirited energy that makes jazz unique. 

For some people, jazz is more than just music. Marvin, an 80-year-old Humboldt State University alumnus with a big white beard, a fisherman’s hat and a euphonium, shared how jazz has impacted him.

“I was born in 1945 — When my mom was five months pregnant, she and my dad won a jitterbug contest,” he said over the loud live jazz. “It’s always been there.” 

Humboldt doesn’t have the smoky jazz bars of New York or San Francisco, or the vibrant New Orleans street bands with passionate buskers playing flamenco guitar. 

When asked about the individuality of jazz,saxophone player and Cal Poly Humboldt student Mathias Severn said, “Jazz is like so unique because of the improvisational aspect where you can just kind of pour your heart out into the music and let whatever comes out come out [it] works as jazz.”

Barley is a freshman journalism major, Photojournalist, and untraditional reporter, they like to cover interesting stories that center on social change, and human impact.

By Griffin Mancuso

As the light faded from the towering windows lining the side of the Gutswurrak Student Activities Center and lively conversations dwindled into silence, Sarai Bordeaux stood at a podium in front of dozens of student and community members — fist pressed against their heart, breathing slowly and deeply. The silence was then broken by a loud, passionate holler.

“We are so glad you are here, glad your body is here, your mind and your spirit, too,” Bordeaux said. “Glad that you have accepted this invitation, agreed to the deeper learning — the deeper learning of our names through the stories of others.”

The People’s Mic Poetry Slam on Feb. 8, hosted by the Umoja Center and Black Humboldt as a part of Black Liberation Month, was a space where joy, grief, anger and hope let themselves loose. Students and local artists, including Sarai Bordeaux, Ra Mhtp, Bamidele and artist duo Mo’Love performed original works reflecting their experiences with Black culture, love, community and more. The night included a guest performance by LA-based artist and award-winning poet Bay Davis and an open-mic portion for the audience.

Alexus-Harrelle Deshazier, the head coordinator for the Umoja Center, emphasized the importance of engaging with Black students on campus and was overjoyed at the level of attendance and support for the poetry slam.

“We had close to 40 individuals sign in and attend throughout the event,” Deshazier wrote via email. “What I was most impressed with was the level of engagement from the audience with our performers. I truly felt they showed a genuine level of appreciation of their art and what the performers had to share.”

Sarai Bordeaux, a Humboldt State alum and Education Resource Innovator for Black Humboldt, who hosted the poetry slam initially became involved through Black Humboldt. They described poetry as a vessel for authenticity and honesty that they don’t always get to express.

“Poetry is the only space where I get to yell,” Bordeaux said. “And so that’s what really draws me to it is like, I don’t have to hold my tongue — it’s mine. It’s mine, so I can do what I want with it.”

All Love Aundrea, one half of Mo’Love, shared a blend of poetry and acapella with the crowd. She described her goal with poetry as healing racial trauma by uplifting Black arts and culture. She also hopes to provide a space for her and other Black women to feel the love of their community.

“You know that saying, ‘To know me is to love me?’” Aundrea said. “That is one of my biggest goals for my audience — to just let them see me, let them love me, because everybody who I symbolize as a Black woman, it will translate to them and to the Black community as well.”

Deshazier hoped for attendees to take away the historical significance of art in the Black community and encourage everyone to join in celebration.

“I want people to leave this event, and all of our events, understanding the incredible impact the Black and Brown community provide in terms of art and culture in this country,” Deshazier said. “We have a long history of channeling our pain and frustrations into the beauty that is expressed in our art. This event was a representation of this history.”

Bay Davis began her performance with a grounding exercise before launching into a series of vulnerable poems on her experiences with Black culture and her queer identity, carrying the audience with her on an emotional journey that concluded with a standing ovation. Her first poem of the night challenged the idea of Black joy as a radical act or sacrifice, instead calling for it to be the standard rather than the exception.

“I’m gonna teach my grandchildren not to fight like a boy or a girl,” Davis said. “Are they Black? Are they Brown? I’m going to teach them to fight. I, God willing, am going to live long enough to teach my grandchildren to fight like they are going to win. That’s all that we can do.”

Aundrea described how Davis’ presence provided a space for trans people within the Black community.

“When we lift up people who don’t normally have those spaces, magic happens,” Aundrea said. “It felt like church in here — it felt better than church.”

The messages in Davis’ poetry resonated with Bordeaux in a way that they felt they needed. Davis called for dignity to be more than radical, the elements of prayer and her promises to herself were deeply impactful to them.

“We’re out here to thrive, and we’re being asked to put ourselves in a situation where we’re only thinking about our survival right now,” Bordeaux said. “But tonight, it shows that there’s so much more and no matter what we’re facing, we’re not just looking for survival.”

Griffin Mancuso is a journalism major and one of the managing editors of The Lumberjack. He has written stories for every category in the paper, but particularly enjoys writing human-centric stories. He has also freelanced for the North Coast Journal and News Decoder.

By Julia Kelm

Anora (2024) is about a young sex worker from Brooklyn, Ani — Mikey Madison — who gets a chance to live a more luxurious life when she meets and impulsively marries Vanya — Mark Eydelshteyn — the son of a Russian oligarch. Once the news reaches Russia, her new life is threatened as Vanya’s parents set out for New York to get their marriage annulled.

Everything about Anora felt well polished and concise, while also feeling unique and non-generic. I had high hopes for the film in general going in, due to already enjoying writer and director Sean Baker’s other works, such as The Florida Project (2017). 

Baker is known for his unconventional female protagonists, often telling stories of people who are normally looked down upon in society.

“It’s just a response to what I’m not seeing enough of,” Baker said  in an interview with Letterboxed. “It’s very simple. It’s just that the reason that there are marginalized communities and subcultures and groups of people is because they’re ignored, and so the antidote to that is in just stop ignoring.”

Anora continues the theme of telling stories of people who aren’t seen in the mainstream as real human beings.

This film was my favorite of what I’ve seen from Baker so far. It’s clear to me that Baker’s directorial style is beginning to be perfected. While I did feel like the beginning of this film dragged on for the first 30 or so minutes, the second act of the film shifts dramatically when a group of henchmen arrive to confront Vanya and Ani about their marriage. 

What was once an overstimulating whirlwind of strip club, party and sex scenes transforms into an almost goofy chase as Vanya makes a run for it upon learning that his parents are on their way.

I found myself laughing out loud multiple times, along with the other moviegoers at the Minor Theater in Arcata — which was a surprise to me. 

I knew Baker had the potential to be funny. I definitely remember exhaling air from my nose when I saw The Florida Project for the first time. I would even call Anora a comedy at times. It is noticeable with the editing style, and how the characters — mainly Ani and the henchmen — played off one another.

Keep in mind this film does have its dark moments, delving into some important themes of female autonomy and sex work, so don’t go expecting a straight-up comedy or something.

Lastly, I want to mention just how good Madison is in this role. Ani has this Jersey accent that is heightened when she’s with her patrons, and less so when she talks to her sister in a few scenes.  To me, that by itself showed her dedication to the role.

I left the theater resisting the urge to talk in that Jersey twang, just because of how angelic Madison sounded. 

Also, from what I understand, the way Madison portrays sex work is fairly accurate, despite it being a more glamorized interpretation.

I wouldn’t mind if she grabbed that Oscar for best actress this year. However, I doubt she would be the academy’s first choice. Demi Moore seems more posed for the award due to her win at the Golden Globes. I also foresee if Moore does win, the Academy would get a fair amount of positive press — and publicity is all the Academy really cares about.

Julia is a journalism major at Cal Poly Humboldt. She loves film and is a regular on Letterboxd. To quote Robin Williams in her all-time favorite movie, Dead Poets Society, “The powerful play goes on and you may contribute a verse. What will your verse be?”

By Eli Farrington and Noah Pond

Dimly lit fluorescent lights hung from the ceiling as the unromantic scent of beans and gasoline wafted through the air. It was Valentine’s Day, and sophomore mechanical engineering major Jaimie Lerma was on her first date with her highschool boyfriend. 

“I wanna say I was like 16 or 17,” Lerma said. I got taken to a burrito place next to a gas station, and his mom gave him money to pay for the both of us, and then he made me pay for myself so that he could keep the extra change. We also got Build-A-Bears afterwards and I had to pay for both of them.” 

Lerma’s first date gone wrong resulted in a three year high school relationship, but despite her underwhelming past with Valentine’s Day, her experiences have not all been bad. 

Nowadays, Lerma is in a happy relationship with her current boyfriend, who she describes as very sweet. Her favorite Valentine’s Day memories include beachside picnics and fun adventures with him. 

Some folks don’t have a particularly bad date to look back on, but instead a lack thereof. The dean of arts, humanities, and social studies, Jeff Crane is in this boat. 

“Does having multiple lonely valentines without a girlfriend or partner count?” Crane said. “Many sad lonely valentines.”

Luckily for Crane, he has happily spent the past 30 Valentine’s Days with his wife, and won’t have to go through one of those lonely days ever again. 

Like Crane’s, some stories start off slow and build towards a happy ending, but for one Cal Poly Humboldt student who requested to be referred to as Alex, his experience was the complete opposite. 

Alex’s date started off strong, with a trip to the beach, ice cream, a pit-stop at an arcade, and then a nice dinner. 

“It was like a triple date. Honestly, it was on its way to being the best first date.”

The date began to take a turn for the worst when the pair decided to go on grinder together as a joke and look at other people in their vicinity. 

“I was on, you know, Grinder next to him and he was [too]. We were talking to each other, like, as a joke, and then someone pops up zero feet away, and we’re like ‘Sure, what the hell.’” 

The trio wound up in Alex’s car, with Alex sitting in the driver’s seat and his date sitting in the back with their new addition. 

“So I invite this man into my car,” Alex said. “And I was not feeling it, and I thought, you know, he would maybe take the hint, but you know what — he [Alex’s date] just ended up getting fingered in the back seat of my car while I was scrolling on TikTok. The other guy didn’t wanna finger [my date] with his own spit because he didn’t have any lube or whatever. I was like ‘whatever’ and then I went and got lotion out of my bag just so that he could finish and I could get the other guy out of my car.”

Some first dates are so bad that they just can’t seem to end soon enough. This was the case for Alex. Even though he and his date never saw each other again, they still send each other Instagram Reels. 

Eli Farrington is the opinion editor, and Noah Pond is the managing editor for The Lumberjack. In their free time, they like to encourage and support each other in becoming the intelligent, creative, and passionate men of tomorrow.

By Ursula Newman

For the last four decades, Good Relations has been more than just a place to buy sex toys and lingerie. Founded by former Humboldt State University professor and clinical psychologist Dr. Melinda Meyers, the space has been a trusted community resource, chock-full of sex education, body positivity and inclusivity. 

As a student at Humboldt, Meyers attended a home-based pleasure party — like a Tupperware party, but with toys — at a friend’s house. The presenter, Susan Anderson, was a nurse practitioner and women’s health specialist. Meyers was surprised by how educational the experience was, and soon began working at the company with Anderson. Within just a few months, she realized people needed lingerie. 

“The most affirming sex-positive thing for everybody is not the same thing, and I wanted to have a broader range,” Meyers said. “So, I started my own company in 1983.” 

After two thousand successful parties, she opened the first Good Relations store in Arcata. In 1994, she began teaching in the psychology and critical race and gender studies departments at Humboldt, and did so for 25 years. Meyers also worked as a licensed clinical psychologist for 16 years before retiring in 2021. During the pandemic, much of her time went into planning and designing the current location of Good Relations. In Nov. 2023, the store moved down the road and into the new space located at 329 2nd St. Today, it continues to serve the community by providing a welcoming, judgement-free space to explore pleasure, wellness and self expression. 

Meyers and her small team fill the store with care, looking out for products and brands that are sustainable, gender and size-inclusive, made in the United States and BIPOC, LGBTQ+ or women-owned. By being intentional when bringing products into the store, they are able to cater to all bodies and gender expressions. 

“I think people dress in ways that feel sexy to them, and or affirming to them,” Meyers said. “And sometimes feeling sexy is affirming, and sometimes the other way around. Part of feeling affirmed is being able to feel sexy. Our store definitely skews fem, but I have plenty of masc stuff, and fem and masc things that fit pretty much all bodies.” 

Because of her background, and with help from the store’s code of conduct, Meyers has a strong relationship with customers and values their discretion. When you enter the shop, a sign reads: ‘Good Relations is an anti-racist, anti-sexist, LGBT+, and sex-positive business that celebrates diversity and aims to create a safe and comfortable place for everyone to shop.’ Their code of conduct is outlined stating: ‘Do not touch, comment about, or make sexual advances to anyone in our store. Shaming someone’s interest you don’t understand is disrespectful. This is a store for adults. Please act like one.’ 

“People’s business is people’s business,” Meyers said. “Especially right now, it has to be discreet — it just has to be.”

In a small town, being a trusted business is important. Meyers stressed that a lot of work has gone into establishing that Good Relations is there as a resource.

“We work to stay within what our community is comfortable with,” Meyers said. “The store goes mild to wild. If you’re walking by with grandma and the kids, you’re not seeing anything in the back. We do that intentionally, and as a result we’ve never had any issue.”

Good Relations focuses on providing an enjoyable shopping experience for all. To stay accessible, there is a range of price points —with good, better, and best in every category. 

“I’ll always have 5 for $25 panties,” Meyers said. “Some of the panties in there will work on people who are tucking. There’s organic cotton in there when I can get it —that’s how we try to meet college students’ and other lower-income people’s needs.” 

Talia Block, a sophomore at Cal Poly studying psychology, noted the reasonable prices and supportive atmosphere. 

“I had a great experience there, they are so helpful,” Block said. “I went there the first time that I wanted to buy a sex toy, and they were so informative, kind, and helpful.”

When Good Relations started, advertising methods were much different. Meyers used advertisements on broadcast TV around 1996 that showcased and celebrated different bodies, and promoted inclusivity. The messaging of the store was unique. It was the only sex & body positive, education-focused store that Meyers knew of. 

“41 years into this, I still love it,” Meyers said. “I think now, contributing to that is the fact that I’m not alone anymore.”

Meyers offered a few suggestions to those who’ve never visited a sex shop before. Bringing a friend might help if you’re nervous, or check on Google and see when the shop is less busy. On the opposite side, come out during Arts Alive! on the first Saturday of every month. Blend in with the crowds, look at the monthly art on the walls, and browse the store. 

Good Relations strives to uphold its commitment to normalizing discussions on pleasure and wellness. Its doors are open to everyone, every day of the week.

“Don’t be afraid and don’t be ashamed to say, ‘yes I want this,’ and ‘no, I don’t want that,’” Meyers said. “You get to like whatever you want — you’re not hurting somebody else, you don’t have to earn the right to pleasure. Sex is healthy and pleasure is good for you.”

By Ariana Wilson

The Northcoast Preparatory Academy recently concluded its whirlwind theatre immersion exercise on Jan. 23-25. The performances were held in Gist Hall Theatre, allowing NPA juniors and seniors the creative liberty to design sets, props, and costumes, act, and collaborate with directors to adapt a play to their vision. This year’s play was Eugene Ionesco’s Rhinoceros. 

Ionesco’s play is an absurdist social criticism of fascism in Nazi Germany. The rhinoceros symbolizes the savage nature of humanity and portrays the ease at which individuals can become conformists when influenced by a majority.

As upperclassmen and students of NPA, actors Margot Roscoe, Joey Hodges, and Richie Alvarez embodied the roles of Berenger, Jean, and Papillon, respectively. 

“When you’re a character that is completely detached from the world, you can detach yourself from the world too, and you are completely limp to whatever else is happening, completely oblivious to the world around you,” Roscoe, who plays Berenger, said. “And then you get serious, and then you’re the only one left, and then you kind of have to face [yourself] and have to face humanity.”

Director Omar Gad was introduced to the project as students received scripts. Learning alongside the actors that were thrown into the “The idea was to introduce the scripts to [the students] and give them a feel for it,” Gad said. “I think people forget what absurdity feels like, and [we had to] bring them into the mentality of absurdism and fascism in a historical period.”

Directors Omar Gad and Rosemary Stevens had less than two weeks to rehearse and prepare for opening night. “It’s kind of a process that’s established at NPA,” Stevens said. “We read the script with the students, make sure they understand what’s going on. We do some theater exercises, build a little bit of the ensemble community beforehand, then we do auditions, and we give everyone their role.”

Berenger, identified as the town drunk, is relatively indifferent throughout the play and has no fundamental beliefs. Still, as more and more townsfolk begin to adopt this fascist mentality, deny humanism, reject individuality, and become rhinoceroses, Berenger starts to sober up and think for himself.

Director Rosemary Stevens reflected on Ionesco’s influence through the lens of her and Gad’s directorial vision.

“Ionesco’s interpretation of the times that he’s living was like, ‘Let me take all these horrible things happening and abstract it and make it almost so ridiculous and absurd,’” Stevens said. “So, we had to take some of the words Ionesco had written and give them to other characters but maintain the same story. And that was really fun, and it was really rewarding, seeing the way the students made it work.”

In the play, Berenger visits his steadfast and opinionated best friend, Jean, at his home following an argument the pair had at a local bar. Berenger shares his fears about the rampant rhinoceros with Jean as he watches everyone he knows morph into animals. Throughout their conversation, Jean paces in and out of his bathroom. Each time he returns, he resembles the savage animal more and more until he has completely transformed.

“When I’m turning into a rhinoceros, I say, ‘After all, rhinoceroses are living creatures, just like you and me. They have just as much right to life as we do,’ and I’m like, looking at the audience and saying, ‘Fascists are humans too,’” Hodges, who plays Jean, said. “And I’m like, ‘Why am I saying that?’ But NPA has always wanted us to voice our opinions [and be] advocates for everyone. NPA pushes you to go beyond what you are and then also reminds you that you’re not a horrible person.”

In the play’s final moments, Berenger is alone, the last unchanged human. His morals waver as he watches all his friends, colleagues, and loved ones become unfamiliar, horn-nosed beasts. He talks to himself to the point of invigoration, increasingly becoming aware of the importance of free will and accepting contradiction.

Rhinoceros is thought-provoking and timely. When politics and people are divided, it is easy to become detached, but Ionesco reminds us, “When you’re involved yourself, you can’t help feeling directly concerned.”

Ariana Wilson is a junior majoring in journalism and minoring in scientific diving. She intends to merge her passion for the environment and conservation with her love of journalism as a science writer in the future. This semester’s goal: write one story per section.

By Alexis Blue

Senior studio art major Maya Song revels in creativity, acrylic paint and half-inch flat brushes. Originally from the Bay Area, Song grew up drawing, garnering inspiration from her aunt, a collage artist, and her father who enjoys architecture. When she was 14 years old, Song began taking her art more seriously by joining El Comalito, an art collective in Vallejo, CA, which allowed her to gain some experience through art markets. 

“The first things I ever sold as paintings were because my brother was a skateboarder,” Song said. “He was sponsored by a deck company, so he had thousands of decks just at his disposal. I would sand them down, and repaint them, and then I would sell those at the market.”

In her last few semesters at Humboldt, Song has developed her skills as an artist, holding on to her childhood as inspiration. Song shared that her artistic style is often guided by children’s toys or images from sticker packs, digital art from the early 2000s and even equestrian themes.

“Every piece that I’ve ever done has had some sort of portraiture, essentially of family members,” Song said. “So, one of my maternal lineages — grandmas, aunts, my mom, stuff like that; a lot of exploration of generational womanhood.” 

As many artists experience, there are moments when creativity lulls and there are moments of yearning for inspiration. In these moments, Song has sought out music and friends.

“I think it’s really important to sort of surround yourself with other creative people from different mediums, because what everybody else is working on pushes you to think outside of your normal streams of inspiration,” Song said. 

Song reflected on some dream projects of hers in the future, including a project that she is currently working on, an Asian-American art gallery to recognize artists in the Humboldt County area. She also shared excitement in possibly seeing her art displayed alongside an inspiration of hers.

“We’ve always sort of talked about how there’s really a lack of representation in Asian-American art in the area, even though there’s so many amazing Asian creators that have come from this space,” Song said. “I think the cherry on top would be if we were to get some Martin Wong pieces in the exhibit.” 

Song believes that art is for everyone, not just conventional artists, and that there’s no wrong way to go about it. “You gotta just do it,” Song said. “It really is all benefit and no risk. You don’t have to show your work to anybody. It’s just to make something for yourself, and be super selfish about it.”

Alexis Blue is a junior at Cal Poly Humboldt, majoring in journalism and minoring in writing. She enjoys drinking coffee, sunsets on the beach, and playing soccer.