Winter 2025

PULSE CWU’S STUDENT-RUN LIFESTYLE MAGAZINE | WINTER 2025

FITTING IN WITH FITTERER’S pg. 12 SKATE OF THE ART pg. 26 WA MUSIC SPOTLIGHT pg. 36 BEHIND THE COFFIN: THE MAKING OF DRACULA pg. 68

PULSE CWU’S STUDENT-RUN LIFESTYLE MAGAZINE | WINTER 2025

International communication major, Brenda Garcia srikes a pose for the Art of Ballet Folklorico photoshoot (pg.36) photo by Javier Angulo design by Zoey Ryan

photo by Tyler Diltz PULSE 2

FITTING IN WITH FITTERER’S pg. 12 SKATE OF THE ART pg. 26 WA MUSIC SPOTLIGHT pg. 36 BEHIND THE COFFIN: THE MAKING OF DRACULA pg. 68

3 PULSE

12 rer’s pg. e t t i F h t n wi Fitting i 6 ger Pg.1 r u b s n e l El

PULSE 4

Rockin’ Roller Derby Pg.20

From Whisper s to Wagers P g.24

javier angulo

photo by design by

Zoey Ryan

ART pg.26 E H T F O E SKAT pg.35 Sk8ter Paper Doll r ess, time fo Pet lonelin pg.64 a happy pet THE TRUTH BETWEEN THE WORDS pg.65 Trinketville pg.66

t of ballet The ar orico pg.36 folkl‘ LLING OF The STORY TE 46 CORRIDOS pg.

Grunge pg.48 HIPHOP pg.52

RAVE pg.54 A Music Locale pg.56

Behind t OF DRACULhAe coffin, THE MAKI NG pg.66

lights, camera, rollie pg.76 Philip Derise, from NYU to cwu pg.78

YOUR DESTINED MUSIC APP (QUIZ) pg.62

5 PULSE

photos by Tyler Diltz design by Caleb Cleland

EDITORIAL Editor-in-chief Gunner Stuns

Writers

STAFF

Catherine Bell, Hope Cox, Elijah S Giampietro, Gil Martinez, Hudson Moore, Patrick Pugh, Ja’ Kai Thomas

Co-editors Larissa Baldovinos, Austin Hardebeck, Charlotte Zombro

for more exclusive content, visit us at

Design

PHOTOGRAPHY Directors of Photography

Creative Director Zoey Ryan

Lead Designers

Caleb Cleland, Katrina Nolan

Tyler Diltz, Keaton Wyers

Photographers

Designers

Jade Cupples, Maddie Landon

Social Media Designer Rieley Iverson

MULTIMEDIA

Web Manager

Brian Valencia

Javier Angulo, Chayton Garcia

ADVISING Faculty Advisor Jennifer Green

509-963-1066 jennifer.green@cwu.edu

PULSE magazine is a student-run lifestyle magazine, both in print and online at www.cwupulsemagazine.com PULSE produces one issue an academic quarter. Student editors make policy and content decisions for the magazine, which serves as a public forum for student expression. PULSE serves the Central Washington University community with informative, engaging, and interactive content covering campus and community life, trends and issues, and providing practical magazine and multimedia training.

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Music is one of humanity’s oldest traditions, from singing to instrumentation. In the issue of

photo by Tyler Diltz

PULSE 9

E

Let me set the record straight on this one. This is the sixth edition of PULSE I’ve worked on and is easily one of my favorites. Our staff came together on this one to craft some stories and spreads that, in this editor’s opinion, will be a hit with readers for years to come. With winter quarter being the shortest, we worked hard hours right until deadline to get this magazine out to you and I sincerely hope you’ll enjoy exploring some of our cultural roots and seeing some of what local spots might have to offer you.

NO T

GUNNER

’S

S EDI N U TO T R S

PULSE that you hold in your hands, several different musical traditions old and new are explored in our spotlight section for this edition. Starting with “The Art of Ballet Folklórico” on pg. 36 and featuring stories such as “The Seattle Sound” on pg. 46 and “A Music Locale” on pg. 56. In these stories and more, you’ll learn about the cultural impact music has had on us from the far past to performances you can seek out today (once you’ve finished reading, of course!)

Another highlight of this issue are the new ways to experience our town.

Feeling hungry? “Ellensburger” on pg. 16 might be just the story you’re looking for. “Rockin’ Roller Derby” on

pg. 20 profiles a local sports team that champions ideas of unity and support on and off the track. Finally, you can get a look at skaters in their natural element and their unique fashion in “Skate of the Art”, a photo collage spanning from pg. 26 to pg. 33.

Finally, I’d like to thank my friends and family for their continued support of my journalistic endeavors. I’m very proud of this issue and our staff this past quarter, with each and everyone’s voice shining through somewhere in these pages and I thank them for their hard work. But, my biggest thanks goes out to YOU, dear reader. Thank you for reading and supporting our magazine.

I hope you love what you see!

design by Zoey Ryan

FITTING IN WITH

Zombro rdebeck & Charlotte story by Austin Ha Garcia photos by Chayton les pp design by Jade Cu

A

re you bored of your typical shopping locations? If you find yourself thinking yes, then you’re in luck. Recently, an Ellensburg staple reopened with a breath of new life: the Fitterer’s building. With so much love and history put behind it and a central downtown location, maybe your curiosity is piqued. With Fitterer’s back up and ready to do business, PULSE takes a deeper dive into the Fitterer’s building and what can be found housed within.

According to the Yakima Herald, the building was named for the Fitterer brothers who once sold furniture there, the business was handed down from generation to generation until Brad Fitterer’s retirement in 2022. For two years, the building remained dormant and unoccupied until it was purchased

by Adam and Kelli Rynd, who sought to bring life back into the historic building and downtown Ellensburg as a whole. “[Fitterer’s] was a great vehicle for us to help give back to the community and certainly contribute to the revitalization and enhanced growth of downtown,” says Adam Rynd. Now, sitting on the corner of Fourth and Main are several businesses and offices all operating out of the three story complex. This led to a landmark reopening for the people of Ellensburg as they couldn’t wait to see what was in store.

Or more accurately, stores.

PULSE 12 | OUR TOWN

The Rynd family is well in-touch with Ellensburg and have a passion for the downtown aesthetic that the town wears with pride. Because of this, they wanted to be sure that the iconic history of the old furniture store remained, despite its new purpose. “I know that there is a lot of fun things that we found as we were doing the remodel project,” says Kelli Rynd. “We found a really cool old safe that was in there…so there’s history.

There was a shootout at one point downtown, where there’s a bullet hole upstairs and one on the second floor. So that was kind of fun, cowboys fighting each other.” This iconic downtown staple is will continue to be revitalized as time goes on thanks to the Rynd’s influence, allowing these new businesses to flourish.

Woody’s Classic Man Situated right inside the front door on the ground floor is a barbershop unlike any other in Ellensburg. From custom haircuts, to a variety of men’s clothing to a whiskey bar: Woody’s Classic Man has everything a rugged Ellensburg resident is looking for. Owned by the Rynd’s, this location is the fourth of its kind, and the first to come with a whiskey bar in-house for its customers. Woody’s fills

a niche that Adam Rynd first noticed was unfulfilled years ago. “My wife and I recognized that there were no men’s clothing stores,” says Adam Rynd.

“Mills Brothers, which was located in Wenatchee for over 100 years, closed in 2019. So there were no men’s clothing stores in all of Central Washington.”

While each shop is stocked with plenty of big name brands, such as Pendleton and 7Diamonds, no two Woody’s Classic Man locations are exactly the same.

“Each store has a little different kind of lean,” Adam Rynd says. “In this store it’s a little bit more of a Western lean. In Chelan, it’s a little bit more of a sporty kind of lake lean… our Wenatchee store has a wide variety of things, in addition to a full men’s formal program.” A men’s formal program complete with suit rentals is exactly the kind of personalized shopping experience Adam Rynd intends to have in every Woody’s store. “All of our stores are about experiential retail,” says Adam Rynd. “It’s not just [to] shop, it’s [to] go and experience something.”

Across from the barber chair sits display racks full of handpicked Levi’s and leather jackets with a big name written all over them: Screaming Trees founding drummer, Mark Pickerel. “We also have a special addition with Mark’s

consignment products,” says Adam Rynd. “Mark has become a friend and a vendor in our space here. He’s curated a wonderful collection of vintage clothes.”

With 75 different whiskeys available behind the bar, 30 different cigars for purchase and a barber or two in every location, every Woody’s store is fully stocked for your convenience. “We’re trying to create just a very shoppable men’s experience,” says Adam Rynd.

“Men can come in, find what they’re looking for, or maybe what they didn’t necessarily know they were looking for, so they can look good, feel great and smell great.”

The Sweet Spot A candy and ice cream store that not only fills the need for sugar, but also the need for fun with its wall-to-wall shelves of toys. Just across the way from Woody’s is the Rynd’s second business venture: Ellensburg Sweet Spot. Emily Pease, current store lead and CWU student, speaks on everything that Sweet Spot has to offer. “We make dirty sodas and then a pretty awesome swirl freeze ice cream, which is a soft serve ice cream with a bunch of different toppings you can

13 PULSE

add in,” Pease says. “We have a seating area where we have a lot of kids after school… and then our second floor has a lot of games and Legos on it.”

This is a sister location to several of the Rynd’s other stores throughout Washington state and prides itself on being more than a store. Following a similar business model to Woody’s Classic Man, this is a place for “experiential retail.” Pease concludes, “I love seeing everybody come in and get along no matter what. Something off campus like that, as somebody that goes to Central, I really thought it was unique.”

Sparrow’s Nest Up the center stairs, on the second floor, is a gift shop and gathering space fittingly named Sparrow’s Nest. The smell of incense leads you past the shopping displays to a meeting area overlooking the foyer of the Fitterer’s building. This is where Greyson and Sparrow Fletcher sell their wares and hold events for the Ellensburg community. Sparrow Fletcher, co-owner and Sparrow’s Nest’s namesake,

PULSE 14 | OUR TOWN

puts emphasis on the event aspect of the shop. “What the community was telling us [was that] they wanted a place to gather and do fun things,” says Fletcher.

Intending to make Ellensburg a more lively place for everyone, Fletcher keeps her ear to the ground to better meet the needs of the locals. “I really listen when people come in and tell me things,” she says. “I had a mom come in and tell me that her teenagers don’t have anything to do in town and would I consider doing something for teenagers? We had so much fun doing a game night.”

Fletcher recognizes the unique position of having so many different shops in one place, especially in a town like Ellensburg, where Fitterer’s is the only real building of its kind. “It’s a really unique building. It’s being called a mall and we like that,” Fletcher says. “It’s a fun mall where someone can come in and do a whole lot of shopping in one space, which is really great and we needed it.”

If you come to Sparrow’s Nest for an event, you’ll stay for the unique products lining the shelves. “I think the best way to describe us is as an eclectic gift store,”

says Fletcher. “We have a wide variety of things from home goods, to beauty, to bar and kitchen… You can come in and find one-of-a-kind things here.”

For many, a college town like Ellensburg can become no more than a means to an end, for work or school or some similar evil. Sparrow’s Nest recognizes the importance of having a third place to gather and partake in the community around you. “I think anybody looking for a unique gift should definitely come in and check us out,” Fletcher says.

“Anyone who’s looking for something to do in our community, something fun and different.”

The Grazing Table on 4th On the ground floor of the Fitterer’s building sits an assortment of meats, cheeses and gifting goodies all visible from the street. The Grazing Table on 4th is a gourmet market with a focus on charcuterie and local vendors. It is the most recent business to take up residence in the building. After touring the renovated Fitterer’s building, husband and wife duo, Rob and Dana Henning,

found a spot perfectly fit for their business. “We were coming back from the farmer’s market on a Saturday and saw the ‘for lease’ signs and we couldn’t believe it,” says Rob Henning. “We saw this last space with the beautiful storefront and the perfect ground floor location was still available,” says Dana Henning. “Then we started to think about what would be a great business to go in here.”

For the Hennings, it wasn’t as simple as finding a location and setting up shop. They wanted to ensure they were creating a business that both vendors and shoppers could enjoy. “We began by asking the local farmers market vendors whether they’d be interested in being part of a brick and mortar experience,” says Dana Henning. “Then after we got a number of yeses… we realized there might be potential here.” Dana Henning adds that this became especially clear on the last day of the farmer’s market, when people around her were lamenting the end of the summer and the inability to get the goods they like. This is where The Grazing Table on 4th comes in: The

desire for year-round local goods, with a focus on food, specifically charcuterie.

Rob Henning says, “We’re all about the charcuterie. Helping people put together charcuterie boards, but also helping somebody relax.”

At its core, The Grazing Table is a place dedicated to Ellensburg, the Pacific Northwest and the locals who bring it all together. In addition to offering a 20% discount to locals on Wednesdays, the Hennings also make an effort to bring in vendors and artisans from the area.

“Local is at our core,” says Dana Henning. “That’s how we started, and that’s what we’re most proud of.”

As far as the food goes, The Grazing Table on 4th has a variety of goods available for purchase.

“We have a beautiful selection of local PNW and international meats and cheeses. Craft sodas, smoked salmons, jams, mustards and pickled goods,” says Dana Henning. “We are ready to help anyone put together a proper spread for home.” They also have a selection of curated giftable items, which the

Hennings themselves stand behind for their own home. “The gifts, my wife has impeccable taste,” says Rob Henning. “I have a feeling she keeps bringing things into the store that work best in our home so that I’ll buy them.” The Grazing Table on 4th also offers customizable gift baskets for any occasion, hoping to branch out with even more personalized options in the future. “The next move forward [is] into the bundled items and kits,” says Dana Hennning. “Then to be able to offer probably small catering services to small events... as well as online offerings.”

“So many people live here, they’ve come from different parts of the world,” says Rob Henning. “They’re from here, they’ve traveled abroad… they get these different tastes they want to explore, but they don’t want to have to travel to New York to get some prosciutto.” The Grazing Table on 4th has found its niche in the melting pot of Ellensburg. The wide variety of shoppers provides the business with the perfect environment to thrive within a building that has so much history and so many connections.

15 PULSE

The WILDCAT

BURGER

s n e l El R E G R BU story by Patrick Pugh & Hope Cox photos by Chayton Garcia & Keaton Weyers design by Jade Cupples

S

ince the dawn of time many questions have stumped humanity.

Questions that make us question who we are and what our place might be in these vast cosmos we call the universe.

PULSE seeks the answer to one such important question, “What is the best burger in all of Ellensburg?” CWU students speak on the various local burger spots and what makes them their favorite and a local eatery weighs in on what makes their burgers special.

In addition, a PULSE reporter shares her views on several burgers served around Ellensburg.

Word of Mouth One person who’s thrown their hat into the ring is Jace Mears, a junior at CWU and an elementary education major, who claims that the best burger joint in all of Ellensburg is Campus U-Tote-Em. “For me, it’s nostalgic,” says Mears. “My mom went there when she was doing college, she used to eat there. We would stop by whenever we went through Ellensburg.”

Another student, Abby Willey, might find it hard to agree with Mears’ assessment. Willey cites the CWU’s

very own Lion’s Rock as her favorite place to acquire the scrumptious meal based on convenience. “I don’t go out... so, it’s just in and out,” says Willey.

As important as it is to get the opinions of ordinary people, it’s just as essential to get the perspective of those who own a burger joint. After all, they’re the ones in the kitchen. Jeremy Custer, co-owner of The Ridge (a restaurant and bar located in Ellensburg) explains not only what makes a great burger, but also what makes a great burger experience.

First, he brings up the fact they serve

two different types of sandwiches at different times to help fit customers’ moods. “We’ve got the Smash Burger and the Ribeye Burger. Smash Burger, we wanted something that we could do fairly quick [and] easy. I mean honestly, they’re straight forward burgers but if you do them right, they’re amazing,” says Custer. “The other burger [is] the Ribeye Burger and we use the ribeye trimmings and fat that get cut in with all the beef. It just gives it an extra amount of richness, which people love.”

Custer also explains what makes going to a burger joint so special, specifically at his place, “You have service everywhere.

What sets it apart is the focus on hospitality... The idea is making them feel special so that they want to come back. They want to tell other people how great everyone treated them as they came in. That really carries a lot of weight in this town. I think it carries a lot of weight anywhere, but this town specifically.”

PULSE reporter, Hope Cox, visited several local eateries and now gives her opinion on what the best places are for readers to try out on their own.

U-Tote-Em The Wildcat Burger consists of bacon, cheese, an onion ring and BBQ sauce.

The burger came wrapped in a napkin to keep your hands from getting too messy.

It was well-constructed and not squished, unlike what you would experience from a fast food chain like McDonald’s. The burger had a good crunch between the onion ring and crispy bacon. The cheese melted perfectly around the beef patty and there was a good sauce-to-burger ratio. The BBQ sauce added sweetness and tanginess which paired well with the savory beef patty and salty bacon. This was a great burger.

The Campus Burger is a deluxe burger that consists of bacon and cheese. It was well-constructed and easy to see all the different layers. The bacon, onions and pickles had a satisfying crunch. The sauce dripped a little with each bite. A solid choice.

The Ridge

The Tav All burgers from The Tav include mayo, lettuce, tomato, relish and pickles on a toasted sesame seed bun.

The Super Mother is a quarter-pounder with American cheese and ham or bacon.

The burger was well constructed. The bacon was crispy and savory. The beef patty was a little bland and had a noticeable charred taste. The pickles were tangy and crunchy and the relish was sweet. The mayo was mostly in the middle and not spread evenly throughout the bun. The edges of the burger were a little dry. The first bite was bland but got a little better with each bite. Overall, Mediocre.

On the other hand, the Super Garlic Mother is a quarter-pounder topped with fresh garlic and cheddar cheese. The beef patty was bland beside the charred taste from the grill. The burger lacked the taste of garlic. Not as good as advertised.

Neither burger was completely finished and only a few bites were taken because of the bland taste.

Central

E C A L A P E TH

The Palace Cafe The Palace Cafe is a local restaurant located on Main St. All burgers include crisp iceberg lettuce, tomato, pickle, sweet onion, mustard-laced relish and mayonnaise on a freshly baked sesame bun.

The Bacon Cheeseburger consists of crispy bacon strips and Tillamook cheddar cheese. However, the burger lacked structural integrity, and had fallen into two piles on the plate before reaching the table. The top half consisted of a fistful of shredded lettuce, tangy pickles and rings of white onion.

The bottom half consisted of the well-seasoned juicy beef patty topped with melted cheddar cheese wrapped around the patty, and strips of crispy bacon strips. Once assembled, it became a tall burger and a mouthful to eat. Each bite, a new adventure of sweet, savory and tangy flavors bouncing from taste bud to taste bud. Overall, a great burger, with subpar presentation.

The Caprese Burger is a grilled herb-infused turkey patty on a ciabatta bun with basil aioli, fresh mozzarella, roma tomato and fresh basil. Served on a plate, sliced down the middle. The basil had a very prominent flavor and paired well with the juicy, savory patty.

The tomatoes were not evenly spread throughout the burger. The burger tasted similar to a margarita pizza, so if that is your go-to choice of pizza, then this is the burger for you.

Burgers from left to right: CWU, The Ridge, The Palace Cafe, U-Tote-Em.

PULSE 20 | SPORTS

story by Austin Hardebeck photos by Tyler Diltz design by Caleb Cleland

There is something very powerful in the heart of quiet Ellensburg. Bonds that cannot be broken and a family that cannot be separated. The Rodeo City Roller Derby. This competitive event most likely flies under the radar of many sports fans, so the rules may seem vague and unfamiliar. On the contrary, the sport is very simple: There are two teams of five skaters per round (or bout) and each team has one Jammer and four Blockers. The objective is for the Jammer of each respective team to break through the line of blockers and make a lap along the track. Once this is done, the cycle repeats with the opposite team.

Who are they?

PULSE sat down with several members of Ellensburg’s own roller derby team, Rodeo City Roller Derby, to get some insight into what this sport has to offer and how one might get involved. Each of the competitors comes from a different walk of life and has different reasons for joining. April Rohrbach (also known as Fastest Cactus or number 32 on the track) serves as the PR representative for the team, as well as a competitor for the past eight years. “I thought it was super cool for a small college town and I just thought it sounded like a super badass thing to do and I wanted to be a badass,”

A Look into the Rodeo City Roller Derby

21 PULSE

says Rohrbach. On the other hand, some like Anna Alegria (SourPatch, number 111), join the sport as a way to ground themselves from other problems in their life. “I have a very busy and very demanding life,” says Alegria. “Roller derby seemed like a really nice outlet.

So I can leave everything on the track instead of bringing it home”.

Family As the members of the Rodeo City Roller Derby tell the stories of how they got involved and what serving with their teammates is like, one thing becomes abundantly clear: This is not a team, but a family. These individuals all come together to create a space of unity and motivation for each other on and off the track. Bailey Hillard (Rock-em Sock-em, number 64) is very open about these bonds. “I moved here to

work at Central and I didn’t have any friends and do my master’s program.

I came here and I immediately had a family of 30 plus people. I broke my leg my first practice here, and everybody came and fed me. They offered to take me to doctor’s appointments and they offered to walk my dogs. It was super nice” says Hillard. Gillian Sigle-Hall (Leana Clockya, number 33) agrees with Hillard’s assessment of their group, adding that making friends is one of the best parts of the sport. “You get such a diverse type of people that you never know... we’re all there to do this sport, but also to have fun and make friends” says Sigle-Hall. An immediate sense of hospitality can be felt just by watching how this team supports each other every second. If one cries, they all cry. If one

Check out the team’s website:

View the full photo gallery:

succeeds, they all succeed. This rings especially true for Kayla Robinson (Slaybretooth Tiger, number 11), who sees every match as a victory regardless of the points scored. “I’m not too worried about winning. Because I’ve already won if I’m still out here doing it,” Robinson says. “I had skin cancer at 27. Which really, the C-word throws a wrench in your life. And I had a major knee surgery that they said I would never skate again.

So anytime I’m out there, I am already winning”.

Spirit of Competition Throughout the years, as teammates have come and gone, the core beliefs of the team remain and thus a tradition is born.

Lifting one another up and living by the golden rule is the bare minimum for the team, and this is illustrated most by the tradition of competition.

The team carries with them a fire for victory and the key to that is motivation. “We always do a team huddle and so everyone has someone else’s name. And when you have that person’s name, you have to think of a word for them. Something that you think resembles them or embodies them and you write it on their arm… you can look at that word and be like, ‘oh yes, I am a boulder.’ ‘I am resilient.’ ‘ I am,’” says Alegria.

Having that spirit,

especially when you feel down and out |or lost in your own mind, can bring one back to the game and contribute to not only fun for the team, but also for those cheering on from the stands. Its full-throttle, heads-in-thegame sportsmanship that is likely to be remembered for years and years to come.

Getting Involved The Rodeo City Roller Derby is also always accepting new members. “It’s

inclusive of a lot of other expansive genders” says Colleen Carroll (CCyalater, number 404). The Roller Derby is not specifically designed to exclude others from participating, but was created out of a need for companionship and bonding over friendly competition. But how does one join this team? There are several avenues of contact if you want to be involved. The easiest would be through www.Rodeocityrollerderby.com, where you can find and fill out the “Contact Us” prompts. From there, you will be directed to Robinson, who will get you ready for the next season. You can also find useful information about events and sign-ups through the Rodeo City Roller Derby Facebook page.

Sitting within the confines of the local gym, one might get the sense that they’re watching something truly one of a kind. Something beyond the sound of rolling wheels, whistleblowing, and cheering. Stronger than tungsten, and more powerful than an ox. Within the confines of the local gym is a family with a determination to win. A determination to fight. And a determination to uplift. This family is the Rodeo City Roller Derby.

story by Gilberto Martinez-Camacho design by Katrina Nolan Think your March Madness bracket is killer? Now you can actually cash in on those predictions. Legalized sports betting is sweeping the nation, with billions of dollars being wagered every year. The practice of sports betting is going mainstream, with apps, websites and in-person locations popping up all over. However, with this easy access comes a need for responsible gambling and understanding the potential risks.

What is the sports betting scene in the U.S. like? It’s practically mainstream thanks to a 2018 Supreme Court decision that gave states the green light to legalize sports wagering. Thirtyeight states and Washington D.C. have jumped on the bandwagon, creating a massive industry that raked in over $100 billion in wagers, plus nearly $2 billion in tax revenue for state and local governments according to taxfoundation. org. This rapid growth has a flip side.

There’s a rising concern about problem gambling, especially among young people. With online platforms so easy to access and marketing campaigns in overdrive, it’s easier than ever to get in over your head.

Sean Green, the voice behind “The Sports Gambling Podcast,” has answers as to the impacts of legalized betting on sports. What exactly is sports betting?

Green breaks it down simply, stating

that it’s “wagering money on a specific outcome.” That outcome could be anything from who wins the Super Bowl to whether the next pitch is a ball or a strike. Green emphasized the sheer variety of bets you can make. It’s a whole world of possibilities, from predicting final scores and point spreads to guessing which player will score the first touchdown.

Unlike many other states where you can place a bet online or at a casino, Washington state decided to keep sports betting within tribal casinos only. Kelly Main from the WSGC (Washington State Gambling Commission) explains that this is rooted in “Washington’s history with gambling and its conservative approach to regulation.”

They’re taking a cautious approach, trying to find that sweet spot between economic benefits and potential social costs. Another Washington quirk is that it’s illegal to bet on local college teams. Troy Kirby, also from the WSGC, explains this rule came about through collaboration between the Gambling Commission and the tribes. It’s all about protecting the integrity of college sports and preventing any conflicts of interest.

Some might see it as a bummer, but it shows how seriously Washington takes responsible gambling.

THE RUNDOWN

There are countless ways to place your bets.

Here’s a quick rundown:

STRAIGHT BETS

The simplest form, you’re just pick ing the winner.

PARLAYS Feeling bold? Combine multiple bets for a potentially huge payout. But reme mber, higher risk, higher reward. If one leg of your parlay fails, you lose the whole thing .

POINT SPREADS

While sports betting can be fun, it’s crucial to remember it is still gambling and that comes with risks. Addiction is a serious concern. The excitement of winning can be a powerful pull and it’s easy to get caught up chasing losses or betting more than you can afford.

Sean Green is upfront about this, saying, “There is a percentage of the population that has addiction issues.”

And with online platforms making it so convenient, it’s even easier to fall into unhealthy habits.

The good news is that according to Main and Kirby, the WSGC is on top of this. They offer resources for people struggling with gambling addiction and have even set up self-exclusion programs, where you can basically ban yourself from gambling, either for a while or permanently. It’s a proactive way to help people stay in control.

Green had some wise words about recognizing the signs of a problem.

He said to ask yourself if gambling is “impacting your life in a bigger sense,” such as affecting your finances, relationships or overall well-being. He

This is where things get strategic.

The sportsbook gives one team a point advantage to even the odds, making it inter esting to bet on the underdog.

put it this way: “If it’s impacting your life or just impacting your life outside of just ‘oh, hey this is a hundred dollars,’ like win or lose it either way, doesn’t ruin my day.

Forget who wins; this bet is all abou t the Ruin my life. Hey, if I total points scored in a game. Will it be over win, that’s fun.” Basically, or under the number set by the spor tsbook? if it stops being just a bit of fun and starts to take over, it’s time to take a step back. Remember, These are the fun ones. Want to bet there are no guarantees on who scores the first touchdown, how man in gambling. Even the y three-pointers a player makes, or even experts have losing what streaks. The key is to be color Gatorade gets dumped on the winning responsible, set limits and coach? Prop bets are where it’s at. never bet more than you can afford to lose.

Green’s advice for college students? Keep it fun and responsible. Don’t and most importantly, if you feel like it’s get sucked in by those “free bet” offers or becoming a problem, don’t hesitate to think you’ll get rich quick. Treat it like reach out for help. entertainment and only bet what you can afford to lose, such as the money you’d spend on a night out with friends. Lastly

OVER/UNDERS

PROP BETS

(photo essay

)

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The Art Fo Above: Alexa Silva (left) and Brenda Garcia (right)

Table of Contents 1. Introduction 2. The Origins 3. A Reflection of Mexican Identity 4. Dance, Trajes, and Stortelling 5. Enduring Legacy 6. About the Dancers PULSE 36 | WA MUSIC

37 38 39 42 43 44

of Ballet Folklórico story by Larissa Baldovinos

photos by Javier Angulo

design by Katrina Nolan

T

he stage glows in a warm golden hue as a chorus of violins and trumpets fills the theater. Dancers, adorned in brightly colored skirts and charro suits, move in perfect unison.

Their feet strike the floor in rhythmic bursts that echo like a heartbeat. You watch wide-eyed in wonder, captivated by the vibrant whirlwind of color and sound. Ballet Folklórico is more than just a performance. It is a celebration of history, identity and resilience. Across Mexico and beyond, this traditional dance form continues to captivate audiences, passing down stories through intricate footwork and elaborate costumes.

PULSE delves into the roots of Ballet Folklórico, its regional variations and the passion of those who keep it alive today.

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The Origins Ballet folklórico, a vibrant fusion of classical ballet and traditional folk dance, offers a modern reimagining of Mexico’s deep-rooted cultural heritage. This art form embodies the ongoing interplay of indigenous, African and European influences that have shaped the nation’s identity. Its origins can be traced to Mexico’s indigenous communities where regions like Veracruz, Oaxaca and Yucatán developed dances and rituals reflecting their connection to nature, spirituality and the cosmos. More than just a means of expression, these dances also served as acts of resistance, particularly during Spanish colonization.

Brenda Garcia, a sophomore international communications major and co-leader of CWU’s folklórico team, highlights this history when discussing dances from Veracruz. “While it is a wedding traditional dance, originally the folk song ‘La Bamba’ was sung by African slaves who escaped Spanish colonialists and hid in the mountains of Veracruz with the help of indigenous people from many places inside Veracruz,” she shares. This example reflects the enduring spirit of survival and cultural blending within folklórico, emphasizing the interplay of different cultures and identities.

Adrian Olivas, executive director of Bailadores de Bronce in Seattle, explains how ballet folklórico evolved through a combination of cultural influences. “There are European styles, native styles, even with pre-Hispanic elements and then Aztec and Mayan cultures, which evolve, especially after the Spanish came,” he says. Olivas also highlights the deep regional diversity in Mexican dance styles, noting how specific cultural exchanges shaped them. “In Guerrero, you see Chilenos influenced

by Chilean ships that stopped there during the gold rush in Alaska,” he adds. He further points out regional variations in European influence saying, “For example, in Jalisco, there is a lot of French and Spanish influence. That’s why you have people

with green eyes. In Durango, you have German and Austrian influences. That’s why you see the polkas.”

Polkas, which originated in Bohemia and spread across Europe before reaching the Americas, became a key part of Mexican folk traditions, especially in regions like Durango. There the blend of European and Mexican influences is reflected in local dance styles, often performed with brass bands or accordion music.

A Reflection of Mexican Identity Ballet folklórico is more than a performance; it is a vivid embodiment of Mexican identity. Every twirl, every step and every beat carries the weight of history and the stories of those who came before. Offering a snapshot of its diverse regions, struggles and triumphs. As a living expression of pride and resilience, it connects dancers and audiences alike to a shared cultural heritage.

The blending of different cultural elements is central to the form’s significance. Take the Son Jarocho from Veracruz for instance, a fusion of indigenous rhythms, African percussion and Spanish melodies. This dance speaks to the larger story of mestizaje, the blending of cultures that shaped Mexico’s identity in complex ways. Mestizaje is not just about unity; it is about adaptation, survival and the continued evolution of Mexico’s cultural narrative.

Ballet folklórico’s power extends beyond the stage. It has become a symbol of national pride and resilience, particularly for Mexican communities facing the challenges of globalization. Adrian Olivas explains that these dances are “...About telling the stories of our people, telling the stories of resistance and of survival.”

For many Mexican-Americans, ballet folklórico is more than a dance form; it is a vital anchor to their cultural roots, allowing them to express pride and maintain a connection to their heritage, no matter where they live.

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“The power of the native dance, the power of these influences that have come into our days, this is what makes the folklore so rich.

Not just steps, it has a meaning.”

Amalia Hernández, Mexican choreographer, founder of Ballet Folklórico de México

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Dance, Trajes and Storytelling Ballet folklórico is as much about storytelling as it is movement.

Each dance embodies a distinct narrative, using rhythm, music and choreography to portray the history and culture of Mexico’s diverse regions. Through these dances, performers share the stories of their ancestors—stories of celebration, mourning, resistance and hope.

One of the most iconic dances is “Jarabe Tapatío” (Mexican Hat Dance). Originating from Jalisco, it depicts a flirtatious courtship between a man and a woman. Christina Olivas, artistic director of Bailadores de Bronce, describes it as “...A partnership dance. Either the guy chasing the girl or the girl chasing the guy. It’s usually a love story.” The male dancer often moves with a “stoic” demeanor, while the female dancer moves with grace and energy, symbolizing courtship.

Alexa Silva, a junior forensic economics major and co-leader of CWU’s folklórico group, shares that Sinaloa is her favorite region, describing it as “very carnival themed and really fun,” which evokes the lively spirit of the Carnaval de Mazatlán, one of the largest carnivals in the world, behind only Rio de Janeiro and New Orleans.

Also related to Sinaloa is the “Danza de Venado”

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(Dance of the Deer), a powerful and ancient dance rooted in the Yaqui people of northern Mexico.

Building on vibrant energy, the “Danza de los Viejitos” (Dance of the Old Men) from Michoacán showcases older men who express both humor and wisdom through their movements.

Dressed in elderly costumes with exaggerated masks, they perform playful, energetic steps. The dance symbolizes the cycle of life, the role of elders in society and the respect they command. In some cases, prominent community men are honored by performing this dance. Garcia describes the style of Guerrero, saying it involves “hip movement and flat feet, sometimes performed barefoot.” These grounded, deliberate movements help

dancers spiritually connect to the earth and their cultural roots.

Before enjoying the movements of a dance, one must first take in the trajes (costumes), which play a crucial role, serving as vibrant symbolism. As Adrian Olivas explains, they are “a visual representation of the traditions in each region,” embodying indigenous roots and historical influences. For example, in Aguascalientes, traditional outfits feature vibrant dresses adorned with lace and ribbons, reflecting the state’s agricultural heritage.

In Chihuahua, costumes highlight rural and ranching traditions, while Hidalgo’s attire is marked by intricate embroidery that connects to the Otomi culture. Yucatán’s light huipils (loosefitting tunics) tie the attire to Mayan heritage, symbolizing the region’s cultural legacy.

In Guerrero, Garcia shares that the women’s attire features bright yellow baloné skirts, which represent “...The flowers of quadril,” referring to the region’s traditional flora. She gave some insight on Veracruz, where the costumes are a reflection of how the state has evolved, noting that “Flowers in the hair symbolize a new beginning,” which ties back to the region’s colonial past.

Adrian Olivas further emphasizes that the costumes from each region are “a connection to their roots and a symbol of the sacrifices made by their ancestors.” In the contemporary era, ballet folklórico is evolving, with modern performers incorporating elements of hip-hop, jazz and contemporary dance. This adaptation helps engage younger generations, especially at Quinceañera parties where it is custom to perform dances to your family and friends. Christina Olivas discusses the balance between honoring tradition and embracing innovation, noting that choreographers face the challenge of keeping folklórico fresh while respecting its lineage. “Once it’s on stage, it’s no longer considered tradition anymore,” she says, “or once you put in a certain move or you’ve done this and that… that makes it less traditional.”

dance, the power of these influences that have come into our days, this is what makes the folklore so rich. Not just steps, it has a meaning.” Folklórico stands in defiance of cultural erasure, ensuring these communities retain space to tell their stories and celebrate their roots. With each generation, certain stories may be lost, swallowed up by time or diminished through the lens of modernity. What elements of folklore history have already been altered or erased—whether deliberately or unintentionally—and how can they be preserved before they fade completely?

Enduring Legacy In the United States, especially in areas with large MexicanAmerican populations, ballet folklórico serves as a vital link to cultural heritage. As Silva expresses, “No matter where you come from or where you are now, you can always reconnect with your culture, especially when it comes to dancing.” This resonates deeply with many immigrants and their children, who struggle to preserve their cultural identity while adapting to mainstream society.

Ballet folklórico becomes an act of resistance, allowing individuals to celebrate their heritage openly and reject pressures to conform. It also acts as a bridge to their roots, staying connected to traditions while engaging with new environments, and raising awareness about the Mexican-American experience through community celebrations and educational programs.

As a cultural artifact and artistic expression, ballet folklórico is especially significant in a society where cultural assimilation has long been encouraged. Marginalized communities, particularly Indigenous populations have faced efforts to erase their cultural identities. In an interview with the Los Angeles Times, Mexican choreographer and founder of Ballet Folklórico de México Amalia Hernández shares, “The power of the native

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On the Dancers Brenda Garcia and Alexa Silva have been friends since early elementary school. Garcia’s curiosity about her culture sparked an interest in mariachi during middle school, leading her to seek new opportunities. She turned to Silva, a lifelong dancer, who encouraged her to join their local folklórico group in high school. Their shared passion for dance and Mexican artistry continued into college at CWU. After a few years of getting involved on campus, they decided to expand that passion within the Latinx Student Organization (LSO). In Fall 2024, they launched CWU’s Folklórico Group, offering Latino students a space to connect with their heritage—one zapateado and twirl at a time.

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The Storytelling Of story by Brian Valencia design by Jade Cupples

Music throughout history evolves with the society it’s born into; corridos aren’t any different. Rooted in storytelling, music once sung within the empty borderlands of the Southwest now dominates charts, taking artists to places they couldn’t dream of—Grammys and interviews on late-night TV. From telling stories of heroes and outlaws to electric sounds, this genre has captivated audiences young and old.

the country,” says Miguel Cabañas, an associate professor of Latin American and Chicano/Latin studies at Michigan State University. Its popularity rose during the Mexican Revolution, creating a new art form. “It would narrate the culture of our people. Before, corridos were stories,” says Juan Villagran, vocalist and radio host for Radio Mexicana 99.7 FM. “You’d hear one, and it felt like watching a movie.”

With the rise of organized crime, drug use and the disconnect between generations, why does music matter?

Why does the unique storytelling angle of corridos matter in social commentary?

Corridos became ingrained in Mexican culture. Its popularity was solidified during the golden age of Mexican films—movies that showcased songs like “Corrido de Jorge Torres” and “La Feria de las Flores”.

Roots of Storytelling Corridos have origins in the early to mid-19th century in the old Southwest.

Old folk music about heroes, outlaws and battles helped it gain regional popularity—but it was also practical for people to hear what was happening. “At the beginning, it was a form of newspaper in some ways because it was popular with a lot of people… it was a way to understand what was going on in

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The sound of corridos has remained relatively similar to when it started.

Dominico Cañon, an artist and composer for Lado Exclusivo, says there are a few standout subgenres of corridos that are instrumentally different but share similar sounds. “Banda corridos use brass instruments, trumpets, clarinets, charchetas and are more dynamic as opposed to other corridos,” says Cañon.

“Norteños are played with accordion, drums, tuba, bass, and bajo sexto. Sier-

reño corridos are played with a guitar as harmony, requinto, bass, tuba or tololoche, and charchetas.”

Corridos tackling themes of drug trafficking, known as narcocorridos or corridos bélicos, eventually began to emerge. “Smuggling was common all throughout the 20th century—cigarettes, drugs, alcohol. Especially when there was prohibition in the U.S., illegal substances would go back and forth,” says Cabañas.

But its chokehold on mainstream music wasn’t solidified until the following decades. It wasn’t until the ’70s and ’80s that artists changed what singing and composing a corrido meant.

For younger generations, narcocorridos were a seamless transition. “Young Mexicans started to sing rap and things like that, but something was missing.

It was the identity that was missing,” says Cabañas. “They went to gangster rap. It was on the rise, and the topics of violence, drugs and the police state were part of that era.”

Because of the Mexican music industry’s success, it became an easy target for early Sinaloa cartels, which originated in

the Golden Triangle region of western Mexico—the heart of the Mexican drug trade. “Many of the original creators of narcocorridos came from Mexico’s gulf state of Sinaloa,” says Parker Asmann, a journalist at InSight Crime. “Drug trafficking groups in general have long paid musicians to write songs about their activities.”

While some artists were and continue to be paid to sing and narrate cartel stories, the narcocorridos subgenre was already rising. It was a way to connect with the struggles of the time—an ugly reality that continues throughout the ongoing drug war.

The State of Corridos Since prohibition in the early 20th century and even the ’70s and ’80s, the cartel and migration landscape has changed significantly. Dozens of groups currently control different criminal economies and different territories. “The organized crime landscape is more complex and fragmented than the landscape we had 20 or 30 years ago,” says Asmann.

The infamous drug war continues in major U.S. cities with increased drug abuse, as well as states throughout Mexico reaching a record number of homicides. It’s becoming difficult to ignore.

There’s been a push to ban corridos that discuss drug-related violence, like narcocorridos, corridos bélicos and tumbados, but with limited success.

Mexico and the U.S. have continued to collaborate to stop the flow of drugs and violence. “Homicide in Mexico has reached historic levels ever since the Mexican government, with the support of the United States, initiated the militarized crackdown in 2006,” says Asmann.

Tumbados and the Generational Divide Thanks to the genre’s massive popularity in Latin America, it has spawned a subgenre that resonates with younger

listeners, transcending its popularity globally. Grammy-winning artists like Peso Pluma are pioneers of corridos tumbados, a genre that mixes regional Mexican music with trap, often emphasizing marijuana use, similar to rap. “With the instruments selected in tumbados, you see more guitars and electric bass, bajoloche (acoustic guitar), and acoustic bass with a slapping sound,” says Cañon.

Music reflects stories and topics relatable to the youth. For Cabañas, corridos, like many other genres, mirror the system they exist within. “Young people want to become part of the core of capitalism. They want power, they want visibility—people seeing them in their car,” he explains. Flashy cars and designer clothes give people status. Cabañas sees consumption as a way for young people to claim status.

While older generations understand that music is usually a fantasy, there’s a reason they aren’t fond of the changes.

“Nowadays, the youth sing corridos and don’t know what they’re singing—they simply just do it. It used to be stories of real life and real events and those were the original corridos,” Villagran says.

He understands the money behind the business and hopes the youth don’t fall into vices, as he’s seen it numerous times.

“I’ve worked with lots of artists and heard their stories … lots of artists have fallen into [drug addiction] and passed away or gone to prison,” says Villagran.

“There’s lots of people in power who don’t want our youth to make it because it’s going to affect them when they develop those intelligences.”

While the border and drug crisis continues, corridos reflect grander social issues, evolving as the culture finds its connection to its tradition. Corridos are one of many popular genres in Latin America and they’ll continue evolving as there are more stories to tell.

mpietro h S. Gia ja li E y b andon story addie L M y b n desig

illustration contributed

by Caleb Cleland

W

hy conform? The sound and attitude of grunge solidified Washington as one of the most important cities in the history of rock music. Its originality and “anyone can do it” attitude reshaped American pop culture and music.

Grunge brought the counter-cultural attitude of punk to the front of the mainstream. Many critics of the time highlighted how grunge succeeded as a musical style that was beloved because it was unique and emotionally powerful, not technically impressive or radio ready.

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Music Like No Other “Nobody sounds like that at all,” says Rudy Gerdeman, a WWCD radio host whose career spans back to the ‘90s. “No other scene in LA, New York, Chicago, Cincinnati, anywhere. Seattle had its own thing that nobody’s replicated since the early 90s.”

The Seattle alternative scene took the raw energy of hardcore punk, the heavy and distorted guitar sounds of sludge metal and the bizarre and creative nature of the indie scene and blended it all together. Multiple Seattle bands gained an underground following throughout the ‘80s, with members from one popular band often leaving and going on to join or form another. After Nirvana released Nevermind and changed music, many of these bands went on to perform together in arenas across the world.

The importance of the unity within the Seattle scene cannot be understated.

“There was a vacuum for original music because the industry wasn’t promoting it

so people just put it out themselves,” said Jason Benjamin Clifton, lead vocalist of local band SixGun. “Indie music, faith no more, that’s what spawned Nirvana.

Punk had taken it as far as it could. Punk alone wasn’t gonna be a thing, it had to become what it came to keep going. The caterpillar must become the butterfly.”

Originality is something that mainstream rock had become deprived of by the late ‘80s. Hair metal bands sounded too alike and had catalogs full of music that was focused on radio success and not enough on creativity. Alternative music got its name because it was an alternative to the sound that was being promoted in the mainstream, much like Indie got its name because its artists were signed to independent labels. While not from Washington, Pixies are a legendary and heavily influential band that tied together and pioneered the sound of both of these scenes. In a Rolling Stone interview in 1994, Kurt Cobain spoke on their influence. “When I heard the Pixies for the first time, I connected with that band so heavily, I should have been in that band - or at least in a Pixies cover band,” Cobain said.

Before Nevermind, mainstream success was separate from average society, with the idea of a “rockstar” being something that was somewhat superficial and unattainable to the average person. It seemed like only the most skilled and charismatic people could become rockstars and musicians that wanted to make it big had to promote themselves in accordance with an image of what the mainstream defined as successful. The lifestyle that hair metal was promoting excluded most people. Chris Cornell, frontman of legendary Seattle band Soundgarden, talked about how Nirvana changed music in a 1994 interview with Kiro 7 News. “You went from seeing a video of a band like White Snake where you have the singer’s model wife doing a striptease act on the hood of a Jaguar and basically all of these rock bands presenting themselves as having a lifestyle that you will never have, that’s very special and it’s very exclusive,” Cornell said. “Then you see a video with

a band like Nirvana where the band essentially looked like everyone and their friends at high school and it was proof that anyone can do it.”

A Lifestyle For The People Grunge began before the tech booms of Amazon and Microsoft. At the time, Washington was not an economic superpower and expensive housing wasn’t a defining feature of Seattle. Working class Washingtonians wore flannels and Doc Martens because they often had to work in cold conditions to survive. They needed clothes that were affordable and warm, ones that they could wear on days of cloudy skies and pouring rain.

Screaming Trees were a legendary grunge band founded in Ellensburg. Mark Pickerel, Screaming Trees founding drummer and creator of local clothing brand Road Trip Records, talks grunge fashion. “We liked this idea of wearing clothes that were synonymous with blue collar work, with migrant workers, identifying with people who worked in the logging industry, the agriculture…

It was also attractive to us because it was affordable. We were living in Ellensburg where we didn’t really have a lot of options when it came to finding clothes to wear on stage,” Pickerel says, “It was convenient for us that flannels and denim and work boots and suspenders had become the dress code for grunge bands. It eliminated this pressure to spend money on clothes that we couldn’t afford or find.”

Coming from punk, protest against oppression and inequality was an integral part of grunge culture. The glamorous aspect of ‘80s hair metal had grown stale by the end of the decade and people became sick of the over-sexualized nature of the genre. Anti-sexist lyrical content was part of the foundations of grunge and remained present throughout, with songs like Soundgarden’s “Big Dumb Sex” helping define the early grunge Scene and “Polly” by Nirvana becoming a fan favorite.

On the liner notes of “Incesticide,” Kurt Cobain wrote “If any of you in any way hate homosexuals, people of color, or women, please do this one favor for us leave us the f–k alone.”

Nirvana incorporated lyrics related to the topic throughout their catalog, describing “Rape Me” as having been written with the intention of making his lyrics blatantly apparent. “I got tired of people trying to put too much meaning into my lyrics, so I decided to be really blunt and bold,” said Cobain. After a decade of music that made it seem like only a specific type of person could be successful through looking a certain way, grunge came along, shattered this notion and said that anyone could do it through being themselves.

Legacy of the Screaming Trees Founded in Ellensburg, Screaming Trees carved out a unique place as pioneers in the alternative scene, drawing more from psychedelic and southern rock than their metal and punk influenced Seattle counterparts. Mark Lanegan, the bands lead singer, is considered one of the greatest baritone singers in rock history, with a sorrowful, beautifully smooth and powerful tone as well as brilliant poetic lyrics. The band’s 1992 album” Sweet Oblivion” stood out in the mainstream as it was still distinctly grunge, but much more melancholy in comparison to its somber Seattle counterparts.

Today, Screaming Trees and Mark Lanegan stand out even more. In the ‘90s, grunge perfectly captured the vibe of Seattle - music that was raw and energetic but somber at the same time matched a city with pouring rain, cloudy skies and a vibrant urban underground. While these terms still define Washington, listening to Pearl Jam or Alice in Chains doesn’t bring to mind blocks of expensive company buildings or the Amazon Headquarters.

Eastern Washington, however, is still rolling hills, clear skies and farm country.

“Sweet Oblivion” and the rest of the Screaming Trees catalog captures this vibe nearly perfectly. Jason Benjamin Clifton described Lanegan’s importance.

“When Lanegan came in he just dropped the hammer with the lyrics and the voice, he was their Johnny Cash.” Clifton painted a Screaming Trees mural that can be found posted against a wall in an alleyway near D&M Coffee on Pearl Street.

Pickerel gave a unique story of how the success of Screaming Trees was tied to CWU. “I give a lot of credit to CWU for energizing and helping propel the band into an international marketplace,” says Pickerel.

While there was much unity in the alternative scene at the time, Pickerel has a perspective on the competitive side. “Our first record that we put out ourselves, called ‘Clairvoyance’ got a horrible review in The Observer, so our first public acknowledgement from CWU was a really negative one in the form of an awful review written by someone that worked for The Observer that was also in a competing band,” Pickerel says. “At first our impression was that we were gonna have a hard time winning the fans and support from kids on campus.”

Success really started brewing for Screaming Trees when they got signed to SST in 1987. “When we got signed to that label, that really boosted our reputation, it put us on the map internationally. That’s when we started to enjoy some success outside of Ellensburg,” says Pickerel. “Prior to that we didn’t really have a local following, we weren’t asked to play at any of the local bars. Our music was too edgy and subversive to appeal to the 21 and over crowd at the time.”

CWU’s campus was instrumental to the band’s early success. Screaming Trees advertised by putting flyers around campus and playing shows at Hal Holmes Community Center downtown. The ‘Burg radio station, at the time called KCAT, were impressed by the work Screaming Trees did with SST, appreciating and promoting the band’s music more once they got word of the accomplishment. Screaming Trees worked with many CWU graduates and students during their early years. Steve Fisk, the band’s first producer, spent time in CWU’s music department.

Another graduate owned a local studio that the band recorded in and Mark Lanegan’s girlfriend at the time helped the band design album covers and set up photo shoots with people in the photography department.

“We were really lucky because we had access to Central’s art department where people could literally do work on our behalf and get credits for it,” Pickerel says. “They could use it to beef up their own program on campus, beef up their own credentials or grades. That was really convenient to us, I don’t think it was lost on us that we were lucky to have that baked into being an Ellensburg band. The more I look back on our early development of the band, the more I recognize how much the support from CWU and the community throughout Kittitas Valley, [and] what an integral role that played in our development and confidence and self-esteem.

photos contributed

by Charles Peterson

story by Ja’ Kai Thomas

In a city that is renowned for its alternative rock, Seattle’s hip-hop roots have stayed in the background, largely forgotten by the rest of the world. With so much involvement in the hip-hop space, you have to wonder why so little of its history is talked about. Seattle hiphop reflects both the underground and above ground music space. Many artists in the Seattle area have and continue to dip their toes into the industry. You just need to know where to look.

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design by Maddie Landon

Amidst the tech-driven innovations and coffee culture that define Seattle, a vibrant hip-hop scene has grown, nurtured by passionate artists and fans alike. The city, often celebrated for its grunge and alternative rock, harbors an equally compelling history of hip-hop evolution, shaped by talented DJs, rappers and producers who left their imprint on the culture.

Hip-hop found its way into Seattle’s local consciousness largely due to the efforts of DJ Des “Nasty’’ Rodriguez.

As noted in a 2023 NPR article by Daudi Abe, Rodriguez, originally from the Philippines, introduced Seattle to live-mixing and scratching through his signature “Mastermixes”— 30-minute DJ sets broadcast on the radio. His energetic style and groundbreaking approach ignited interest in hip-hop throughout the city, offering audiences a new sound that resonated with the community.

Rodriguez soon became a regular at the Boys & Girls Club’s weekly parties in Seattle’s historically Black Central District. These gatherings were more than just events; they became cultural hubs where hip-hop enthusiasts came together to celebrate the genre, sharing ideas, talents and ambitions. It was at one of these parties that Rodriguez crossed paths with the party’s host, a rising artist named Sir Mix-a-Lot. Their meeting would mark the beginning of a collaboration that helped propel the Seattle scene forever.

Together with Ed Lock and Greg Jones, Rodriguez and Sir Mix-a-Lot co-founded Nastymix Records in 1985. According to the NPR interview with Abe, this independent label operated with a modest team of just ten people, yet its impact was anything but small. Despite its limited resources, Nastymix became a force to be reckoned with. Within two years, the label released two Sir Mixa-Lot albums — certified by the Recording Industry Association of America (RIAA). This remarkable success put Seattle’s hip-hop scene on the map and inspired many aspiring artists to believe in the possibility of making it big.

Nastymix Records would reach its end

in 1992, only a year after Sir Mix-aLot departed from the label, taking his fans along with him. The label’s seven year run left a big mark on the hip-hop industry. It became the blueprint for a label that puts out local music and reaches a global audience simultaneously, a blueprint that several entrepreneurs in the hip-hop industry would closely imitate. Nastymix proved that even a small label from a city not typically associated with hip-hop could make waves on a national level, influencing independent labels that followed in its footsteps.

The Foundation laid by Sir Mix-a-Lot and Rodriguez paved the way for a fresh generation of Seattle hip-hop artists to emerge in the 1990s. The Scene flourished, with a mix of newcomers and seasoned talents collaborating to push the genre forward. Among them was Ghetto Children, a group formed by “Vitamin D” Brown and William “B-Self ” Rider while they were still students at Garfield High School. According to Abe, their passion for music eventually led them to create their own production companies, Tribal Music Inc. and Tribal Productions, setting a standard for the next wave of producers and artists in the city.

Brown, in particular, remains an influential figure in Seattle’s hip-hop scene.“Through it all, the scene was held down by Vitamin D, creator of legendary Central District basement recording studio The Pharmacy, and son of Motown legend and Ozone member Herman Brown,” Abe writes. His role as a producer has helped shape the sound of many rising talents. The Pharmacy became a hub where creativity flourished.

Where all the magic happens. Its impact is still felt today, serving as a key incubator for Seattle’s emerging hip-hop voices.

You can’t forget about Ishmael Butler when talking about the Seattle scene.

Also known as “Butterfly,” Abe writes that he is another former Garfield Student. Butler gained recognition on the East Coast as a member of Digable Planets, a group known for its innovative jazz-infused rap style. His approach to incorporating samples into his music became a defining trait of Seattle’s production landscape, influencing numerous artists who sought to blend diverse sounds into their work. His presence reinforced the city’s reputation as a place where creative experimentation was not only encouraged but celebrated.

The 1990s also saw the rise of Central Intelligence, a hip-hop group formed in 1997. What started as a casual project among friends evolved into something much bigger. Their music, deeply rooted in personal experiences and social consciousness, resonated with listeners who sought authenticity in their hiphop. Though the group is no longer as active, founding member Kym Wiliams has continued his journey in the industry as a producer. He carries forward the spirit of the Seattle hip-hop movement.

Reflecting on the group’s origins, Williams says, “I want to say it started off with Diopolis and I in his basement freestyling, just messing around, and he basically said to me ‘we should do a group.’ And then I thought you can’t be serious, that doesn’t sound like something we could remotely do.

By 1998 there were five of us and we decided we were going to give it a shot, just kind of mess around and see what we could do with it.” This humble beginning mirrors the origins of many hip-hop groups, where passion and camaraderie fuel creativity and ambition.

Seattle’s hip-hop scene has long been a dynamic and influential force, even if it hasn’t always been in the spotlight. The city has produced pioneering artists, innovative producers and trailblazing record labels. Seattle’s hip-hop legacy is one that deserves recognition. As the genre continues to evolve, the foundation laid by these trailblazers will ensure that Seattle’s place in hip-hop history remains undeniable. photo contributed

by Ilja Tulit

story by Hope Cox & Larissa Baldovinos photo by Karla Martinez design by Maddie Landon Peace, Love, Unity, Respect and Responsibility; PLURR is the foundation of the rave culture. In a densely packed venue where creative expression, freedom, dancing and the love of music are prevalent, the rave is a source of love and unity for a community of EDM lovers. A community where everyone belongs regardless of background and identity. Free from judgment as long as you follow the PLURR moto.

When it comes to raves, we think of dancing to EDM, wearing revealing outfits surrounded by neon spotlights and a large crowd. The majority of people get their perceptions of rave culture from the media. These perceptions often come with stigmas against the rave community. But what do ravers say being part of the community is really like?

PULSE 54 |WA MUSIC

Full of Love Eva Sten, an environmental science major, first learned about the rave scene at 13 years old. “I had older friends who would go and tell me all about them…

It just seemed like a lot of fun,” says Sten. Her first rave was an unforgettable experience. “Best moment of my life. I was the happiest I had ever been,” says Sten. “I love the people. I love the lights.

I love the freedom. I love the food… At raves, I feel probably some of the most free moments I’ve had in my life.”

More love for the experience was shared

by Karla Martinez, elementary education major. Martinez discovered EDM when she was 11 years old but started attending at the age of 18. “It’s emotional… freeing…You’re out in the middle of nowhere…Everyone is half naked…

Listening to music you don’t hear playing on mainstream radio. It’s your one chance to blast the music you don’t hear everywhere else,” says Martinez.

The Experience The first rave can be nerve-racking and exciting. So many emotions rush through you, as you take in all of the new sensations and experiences. Maxwell Callero, construction worker, got into EDM through Martinez when they started dating. Callero started going to raves as the COVID-19 pandemic was nearing an end. “We started going to shows and I had a good time, so we started going to more.” He offers the details of attending his first rave. “It was exhausting. I think I had 24,000 steps in one day…The campground is a mile from the concert and then you’re jumping around…going to a different stage. But it’s worth it. The first one I went to was Beyond…Everyone there was super nice,” says Callero.

Martinez remembers a similar mix of emotions at her first rave. “It felt very surreal. It was emotional. It was exhausting…It was two days long.

It was just a lot.” She can’t help but share one of her most memorable moments as a raver many in the community would envy. “I would say my favorite memory was getting

caked on by Steve Aoki...He is known for throwing full-on birthday cakes at the crowd,” says Martinez.

He also recalls a more comical memory at a rave festival at the Gorge, which he attended with Martinez. He describes encountering farmers wearing “Romeos and their cowboy hats,” which struck him as unusual for a festival setting. “I was like, what are these guys doing here?” he says. Curious, he approached them, and they quickly became friendly. The next night, Callero and Martinez snuck into the VIP area and saw the farmers again. “We were talking with them one night and then the next night we hopped the rail up in the VIP,” Callero recalls.

They met the farmers’ dad, who turned out to be the town sheriff. “He was in a Hawaiian shirt and a straw hat, but you could tell there was a bulletproof vest…

He was trying his best to fit in.”

If you’re not a fan of the mess don’t worry Sten shares, “Smoke breaks outside…Fun moments of being in the bathroom with your friends. Just laughing and talking and taking a break from everything. I think those are the best moments besides the music.”

Rave Fashion Sten explains her approach to rave attire: “I typically like to wear something sexy but modest...Raves give you that freedom of expression to feel comfortable in your own body and show it off because everyone else is also doing the same thing.” For her, the rave environment allows for self-expression and confidence, where fashion becomes a way to embrace individuality.

Martinez, on the other hand, prioritizes comfort and practicality. “I try to wear different colors every year…I wear clothes that I can move around and sweat in because you sweat a lot when you’re constantly on the move,” she says.

Meanwhile, Callero keeps it casual with a playful twist. “I will typically wear a fun shirt and unbutton it all the way [and shorts].” For both Martinez and Callero, rave fashion is about balance—comfortable, breathable and ready for action.

RESEARCH Before You Go As the rave scene continues to evolve, there are a few key tips to keep in mind before you head out to ensure a safe and enjoyable experience. Sten shares her excitement for the raw energy of the event saying, “Riding the rails is really fun…you get…to the guardrail and you get on it for dear life and you ram your body back and forth.” Martinez agrees, but highlights the importance of the supportive crowd noting, “I’ve always liked being on the rail, a lot of people don’t. The crowd is kind enough where you’re so far in the back…if you kindly make your way up to the front, they will let you.”

However, Martinez points out that with the increase in popularity, safety measures have become more stringent. “There is now more security and medics on the campgrounds,” she says, adding that the attendees have also shifted. “There is a younger crowd now…We have met people who would go and only know maybe one artist.”

Both Martinez and Callero had a lot of advice to offer. Martinez emphasizes staying hydrated and wearing comfortable shoes. She also notes the company you keep matters. “Not just friends, not just people you like, but people you trust.”

She encourages ravers to keep an open mind. “You might hear a sub-genre you thought you wouldn’t like, and then you end up liking the artist.”

Callero adds the importance of buying tickets early and planning ahead. “Buy tickets as soon as possible. Put down the $10 deposit to make sure you have a ticket in case they sell out,” he advises.

He also suggests mapping out a schedule as most festivals have multiple stages with an artist performing at the same time. Sharing a personal story, Martinez reminds ravers to be there for each other, even when things go wrong. “We met a girl one year who was sitting alone, crying because her date ditched her,” she recalls.

“We kept her company, gave her some suggestions, and bought her a drink. Be there for others because you never know who might need a little kindness.”

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The strum of guitar sends a shock wave of adrenaline through your body. A powerful voice rocks your ears. All around you, a crowd bounces up and down, each enthusiast exploding with the same energy that has you tapping your foot, clapping your hands and cheering with all you can muster.

The flow of jams, the roar of excitement all around you, it feels completely electric. You promise

yourself that you’ll never forget how it felt to see your first live performance by an up-and-comer.

It could come as a surprise to some that Ellensburg comes rife with a scene of local musical artists, many of which are just hitting their first stride. PULSE had the opportunity to sit down with some of these musicians and listen as they spun tales of how they got started, what their music means to them, their creative process and how it feels to be a musician in the internet age.

photos contributed by Manta, by Brenden Fuller

self-expression. “...Usually it’s a way for me to just get my feelings out instead

“I love music. Music has been one of the most constant things in my life” says Lily Kealoha, music education major.

When they were growing up, Kealoha spent a lot of time

moving from place to place, making it difficult to keep friends. Because of this, they consider music one of their oldest and most consistent companions.

According to Kealoha, their draw to music was very natural,

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citing their Hawaiian.heritage as a big inspiration for engaging with the art form. “...I have a very big family and a lot of my family members play or sing,” Kealoha says. “It was a way for me to connect and keep with my family in a way that I hadn’t been able to before.”

That was how it started for them. Now, Kealoha is sharing their passion for music with the world, having

started recording songs .................... post online in 2023. ....................to .............Though their work is now in the public eye, open to interpretation and scrutiny, Kealoha isn’t put off by these things. “It’s been a really interesting experience,” says Kealoha on the subject of receiving feedback. “Overall, very positive.” They go on to add that most online spaces have been welcoming of smaller creators in their experience and they’ve even received constructive criticism so that they can continue to improve. “I’m very open to listening to [criticism] because, hey, if you hear something that I can’t and then I go, you’re right, then that’s something that I can improve on” Kealoha says.

Occasionally though, especially online, they encounter those whose criticism is aimed towards tearing them down rather than helping build them up. Despite that, Kealoha is undeterred, paying those types no mind and moving on.

But what makes music so important in Kealoha’s life that they’re so determined to keep creating? The answer is simple;

of bottling them up,” says Kealoha.

Though they don’t consider there to be a central message to any of their songs, but listeners take anything away, they want it to be that we all struggle s ometimes and that there is no shame in that. “We are all going through shit and I feel like talking about it’s very important, but also being honest with your emotions is very important,” Kealoha says. “I feel like my expression through music is me admitting mostly that I’m doing these things and it’s not a good thing. I shouldn’t be doing this, but I am because that’s being human.”

True to that idea is “Back Roads”, a song that Kealoha wrote towards the end of their relationship with their last partner, particularly when they could “feel the relationship was dying.” The song expresses emotions that have resonated with several others according to Kealoha. “I get a lot of good responses whenever I perform it live and whenever I post a video about it,” says Kealoha. “And it’s just a very fun song for me to sing.”

When it comes to encouraging new musicians, Kealoha’s advice is simply to get started. “If you’re thinking about it, just start doing it. Even if it’s not the greatest thing ever. It’s not going to be,” Kealoha says. “The first songs that you write, you’re going to look back on and go ‘God, how the hell did I think that sounded good at all?’ But the more that you do it, the better you’re going to do.” Another piece of advice they shared was to take inspiration from other musicians, sharing that they feel it makes one’s music better and can even elevate the material you were inspired by. When it comes to improving your music, Kealoha feels that one of the best ways it can be done is to expand your taste and horizons. “I feel like the best way to improve is to get out of your comfort zone,” says Kealoha. “Listen to artists that you normally wouldn’t listen to. Listen to your friend’s recommendations. Try and find things that you can love in everything that you do.”

Gus Crane and Dylan Alm, co-founders of the band Manta, have known each other and been jamming together since middle school. However, their musical journeys started in different places. “I started playing instruments in sixth grade,” says Crane. “ I came down to [my] basement and there was a bass guitar and a banjo. I thought the bass guitar made me look cooler than the banjo. So pretty much ever since then I’ve been playing.”

Crane cites the COVID pandemic as when he began writing music and experimenting with different guitars.

Alm on the other hand got his start with music a year or two later than his bandmate. “I was gifted my first guitar when I was 14, I think,” Alm says. His uncle is a luthier, someone that makes guitars, which is where the instrument came from. “Just having that piece of equipment [boosted] me forward into trying to really make something with it instead of just learning cover songs and stuff like that.” Once the pair of them were in high school, they became more serious about starting a band and officially formed Manta once they’d graduated, deciding thatthey’d riffed enough to start making songs together. Since then, Manta has produced and

PULSE 60 |WA MUSIC

performed several songs. But, what motivates them to create? For Crane and Alm, it’s a celebration of self-expression.

“It’s more about self expression, almost [in] like a performance art sense,” says Crane. “I have a lot of pent up stuff that needs to get out.” But beyond simply expressing themselves, Crane and Alm want to encourage others to do the same with their own projects. On the topic of what they hope listeners will take away from their songs, Crane says “that it’s okay to be loud and it’s okay to have these kinds of inner feelings, but it’s healthier to put them out in a way that is nonviolent.”

Alm echoes those same sentiments, but adds some of his thoughts on what else he wants people to take away from Manta’s songs. “I think just being yourself,” says Alm. “[Having] confidence to be yourself and to stick to your vision. And like if you have a creative idea, put it out there. [There’s] no point in not putting it out.”}Manta aims to express these ideas through their style of genre

blending, combining different elements of punk, alternative and metal. blending, combiningrock different elements However, the two ofrock themand alsometal. feel that of punk, alternative each of their However, thesongs two ofsound them diff alsoerent feel that from one another havediff identities each of their songsand sound erent of their own.

However, thereidentities are some from one another and have “challenges come with being in a of their own.that However, there are some band and creating music. “challenges that come withAccording being in ato Crane, chief amongmusic. these According challenges to band and creating is writer’s block.

“Sometimes we get Crane, chief among these challenges in and neither of“Sometimes us really have is writer’s block. weideas get or like just oneof ofus usreally has ideas the in and neither haveand ideas other says.and Another or likeone justdoesn’t, one of”usCrane has ideas the challenge they face oftsays. en isAnother timing, other one that doesn’t, ” Crane which Crane is probably the challenge thatadmits they face often is timing, biggest struggle for any band, which which Crane admits is probably the Alm readily agrees.

“Forband, any band, biggest struggle for any whichI think scheduling is the thing.

Alm readily agrees.

“Forhardest any band, I Just there,isfinding the time, the thinkgetting scheduling the hardest thing. right time tothere, [perform.]”

Just getting finding the time, the right time to [perform.]”

Manta also performs live at different venues, most notably live at “Old Skool’s.

Manta also performs at diff erent” However, despite playing in aSkool’s. band ” venues, most notably at “Old together, Alm have different However,Crane despiteand playing in a band levels of experience it comes together, Crane and when Alm have different to liveof performance.

“It hasit been a bit of levels experience when comes atolearning curve for sure, ” says Alm onof live performance.

“It has been a bit the subjectcurve of hisfor getting a learning sure,”into sayslive Alm on performance recently. the subject of more his getting into“But live each time we do it,more I think we get “But tighter on performance recently. each the sync.

Crane on timesongs we doand it, Imore thinkinwe get”tighter the other hand hasmore beenininsync. other bands on the songs and ” Crane before, so performing on the other hand live is something has been in other he has more expebands before, so rience with than performing live is his bandmate.

“It something he has was nerve morevery experience wracking with than at hisfirst, but it became bandmate.

“It so rewarding to just was very nerve get it out there and wracking at first, somewhat vainly, but it became so [to] have people rewarding to just coming get it outup there and to you and vainly, somewhat complimenting [to] have people you on itup and coming telling to you you and that you’re complimenting making you on itcool and stuff ,” Crane telling you that says. adds you’reAlm making that cool even stuff,”despite Crane the that says.nerves Alm adds can with that come even despite it, for an thepeforing nerves that can audience of the for most come withisit,one peforing an rewarding that he’s ever audience isexperiences one of the most rewarding had and getsthat to continue experiences he’s everhaving had and gets show after show. to continue having show after show.

photos contributed by Manta

by Brenden Fuller

Your Destined Music App story and design by Katrina Nolan

from music, what Q3. Aside else do you listen to?

START much do you value Q1. How music quality?

A. Not much B. A lot C. Kinda

Q2. Are you sharing the plan?

A. Yes B. No C. Maybe in the future

A. Podcasts B. Music Videos C. Live sessions and demos

tv/movie streaming Q4. What servies do you use?

A. Hulu B. Apple TV+ C. Neither of the above

type of music do Q5. What you gravitate towards?

A. Indie B. Global hits C. Everything!

do you like your Q6. How playlists?

A. By vibe B. By what’s trending in different spaces C. Mixtapes streaming service Q7. Islikeyour social media to you?

A. Yes! B. Not really, but I like to see what people are up to C. To discover others, not so much with friends

Check out PULSE’s Spotify staff playlist!

Mostly A’s

Mostly B’s

Mostly C’s

Spotify is your service! With a wide range of titles from Hulu and the iconic daylist, there’s bound to be something for you! And with the “Friends Activity” tab, maybe you’ll find your next favorite artist!

Apple Music is for you! Enjoy countless songs and their music videos and browse through countless playlists created by Apple Music staff. With Apple TV+, you’ll get to experience no Ads and shows like Severance, Ted Lasso, and more!

Youtube Music is your jam! Enjoy a wide variety of music forms from songs, music videos, demos, concerts, and live performances. Some say that Youtube Music has a better algorithm than Spotify; are you willing to put it to the test?

Student $5.99/mo. - Apple TV+ no Ads Regular $10.99/mo.

Student $5.49/mo.

Regular $10.99/mo. - YouTube Premium

Student $5.99 /mo. - Hulu w/Ads Regular $11.99/mo.

PULSE 62 |WA MUSIC

HOSPITALITY

TOURISM & EVENT MANAGEMENT

­

pe T S S E N I L E N LOfor a Happy Pet tips

story by Catherine Bell Having a bit of the winter blues? Could your pet be as well? Wondering how you can help your animals when you must leave them at home? PULSE sat down with a few pet owners and got some tips and tricks that could make your pet less blue.

Talking with Ingrid Barajas about her dog Kiko, she explains that the time spend away from Kiko is usually a 9-5 business day, with some visits in between.

Barajas explains she has a tight routine with Kiko and he knows exactly what’s going on. “I want to say it’s the best part of his day, those three walks that we have,” says Barajas. They go on long walks multiple times a day as a way to get Kiko out of the house and tire him out while she’s at school or work.

The Smith family has other approaches to keeping their pets happy and healthy.

PULSE talked to Phoenix and Jennifer Smith about the routines of all of their exotic pets, and what a usual day is like for them.

Discussing the possibilities of what their animals might get up too while they are gone for the six hours during the

PULSE 64 |LIFE HACKS

photos by Keaton Weyers week days. The smiths predict that the dogs Huck and Uno sleep, while the cat Coraline runs around Phoenix’s room looking at the world through his window or is outside hunting. Now the bearded dragon Gordita is usually in the same position she was when Aspen Smith comes home from school.

“Georgia gets out all the time” the Smiths proclaim that one of their dogs likes to get out and go for strolls on his own. He’ll greet them at the driveway when they come home from school.

“Uno, a few times has broken out of his crate magically.” So while they seem to not have as strict of a routine as Barajas, their animals seem pretty happy.

PULSE sat down with a student Naomi Klockars, who has an emotional support animal (ESA), and Klockers told us how she feels about having her cat Mustard with her in her dorm, and how it is beneficial for both her and him.

Klockers expresses how long Mustard is alone per day. “I would say like once per day, like two hour gap. Luckily I have someone I know that checks in on him.

So he’s not left alone too long.”

design by Jade Cupples When Mustard is by himself for a long period of time Klockers has some special routines to keep him calm while she’s gone, “He likes to watch cartoons.” She specified, “He likes adventure time.”

Wondering how to reward your cat without giving them all sorts of treats that are unhealthy, find things they like to do. Klockers expresses this by how she rewards Mustard, “He likes going outside, so I’ll take him on a leash and I’ll take him outside.”

Wondering if your mental health would increase with an (ESA), “When I was younger I had a lot of anxiety, but definitely having a cat around [helps],” says Klockers.

tongue,

poem by Keaton Weyers

design by Zoey Ryan

65 PULSE

Trinketville photos by Keaton Weyers and Chayton Garcia

Trinket, noun trin·​ket / trin-k t / a small ornament (such as a jewel or ring) e

They exist all around your space. Lining your desk, catching the attention of curious visitors and adding a little bit of personality to what might otherwise be a mundane setting.

Of course, this could only describe trinkets. Trinkets are the perfect items to decorate your space and double as an easy pick-me-up, or as some like to call it, “a little treat”.

In recent years, interest in trinket collecting has grown as well as the selection of items. No matter the age range, there is usually a series/ set of trinkets that will appeal to you.

Whether it be LEGO minifigures, Calico Critters, jewelry, the Lenox Spice Village, crystals or none of the above. There isn’t really a limit when it comes to what counts as a trinket collection. Of course, this presents its own problems. With so many sets and different themes, how can you just choose one item when the entire series is just so cute?

Scan the QR code to read the full story:

story and design by Katrina Nolan

“

(Sonny Angels) make me happy anytime I see them, they keep me sane throughout the day.”

- Zoey Ryan, PULSE Creative Director, graphic design major

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A fog machine starts to whir, the lights dim and flicker, dread starts to creep over you as the essence of a vampire invades your mind… or is it truly the parasite of something that has taken over society since time began? “Dracula, A Feminist Revenge Fantasy, Really” directed by Kathryn Stahl is an adaptation of Bram Stoker’s classic novel. The production was scripted by Kate Hamill in 2020 for theater through the

perspective of the character Mina Harker. Central Washington University’s Theater and Film program produced “Dracula, A Feminist Revenge Fantasy, Really” during winter 2025.

PULSE had the opportunity to go behind the scenes to understand the production process of the play and take a bite into what the actors had to say about the making of their show.

behind the coffin: the making of

PULSE 68 |AFTER DARK

story & design by Zoey Ryan illustraions by Caleb Cleland photos by Keaton Weyers & Javier Angulo

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PULSE 72 |AFTER DARK

I think the biggest part in Dracula is looking at how toxic masculinity is an infection, and do you choose to use your voice or do you suffocate and through your silence become complacent to the systems of oppression?

-Kathryn Stahl | Director of ‘Dracula, A feminist revenge fantasy, really’ | SHE/ HER

73 PULSE

The time we find ourselves in with election, and everything going on in the world, it is important to share this story to people in time of crisis.

Brenda Hernandez-Poblete Mina Harker | they/she

PULSE 74 |AFTER DARK

75 PULSE

PULSE 76 |AFTER DARK

In a basement, light filters through the windows. Two little girls perform a play for their audience.

They sing, dance and act on a makeshift stage for family members who happily watch.

from elementary school to middle school, high school and eventually college. “It [has] always been a part of what I do,” Rollie says, adding that the theatre gene has always been “baked into” her.

One of the young girls is Emily Rollie. Today, Rollie is an assistant professor in the Department of Theatre and Film at CWU, as well as a freelance director and intimacy choreographer.

After getting her Bachelors degree in English and Education at St. Olaf ’s College, Rollie found herself living in Washington where she got her masters in theatre production at Central Washington University.

Rollie eventually went on to graduate school to get her PhD in Philosophy and Theatre at the University of Missouri.

Rollie has always had a love and passion for theatre. She grew up in an area of northern Minnesota that hugged the border of Canada, just a quick boat ride away. It was a small town, but it provided a lot of sources for creative outlets. “I could do music and I could do theatre and I could do speech and I could do yearbook and I could do all the things, which was awesome,” Rollie says.

Throughout Rollie’s childhood, theatre was a constant in her life,

photo by Sequoia Good

Rollie went on to direct numerous successful plays across the country, working in as many as 11 different states. One of the plays, “Everybody” by Branden Jacobs Jenkins, that was directed at CWU, went to National KCA and CTF and won national awards of a brave rehearsal space.

That award-winning play is “one of the things I’m most proud of,” Rollie says. “There’s a whole bunch of things, but the rehearsal space and this idea of being citizen artists whose work has power in the world.”

Rollie studied directors for her dissertation, to delve into how fellow directors hold space for all creatives in a room. In a class setting, Rollie frequently quotes Anne Bogart and the importance of having a space for others to create art together. “Everyone having a voice in the room is important,” she says.

From a little Minnesotan dancing with stars in her eyes to today, Rollie now lectures in acting, directing and women’s studies at CWU. One of her main focuses while teaching is how important community and consent-based tools are when it comes to collaboration.

story by Lexie Barker

design by Zoey Ryan

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Philip DeRise There are two roads to success in the creative arts, according to Assistant Professor of Film Philip DeRise.

One road is paying your rent with the practicing of your art. The other road is you get a day job and practice your art at night and on weekends.

DeRise has traveled both of these roads and says, “I don’t know what road’s better,” because each has its rationales and its challenges. DeRise says he always knew he wanted to be a teacher, but before joining the CWU department of theatre & film, he worked on production for films in Hollywood like “Eternal Sunshine of the Spotless Mind” and “13 Going on 30.” He then succeeded with corporate filmmaking for companies like Vox Media and Group Nine Media, while also being a professor for the NYU Tisch School of the Arts. He describes his nature as “restless.” DeRise has lived in New York for a long period of time, as well as in such far-flung locales as Astoria, London, Moscow, Singapore, Havana, Cuba, China and Colombia before relocating to Ellensburg. He was drawn in by nature. “To be near the mountains, to be near the Cascades was a huge piece to the puzzle,” he says.

In the early stages of his career, DeRise’s goal was simple: just get in. Starting out in the industry, it was about paying rent and securing the next job.

“I got very lucky,” he says. “But it was just survival.” There was

no road map, just hustle. “You never knew if you were going to get hired on the next one,” he explains. But after a few years, things began to shift.

By his mid-twenties, his reputation had solidified enough that he was able to worry less about surviving.

It was then that he was able to focus on more than just securing the next film. In the beginning, his work was primarily on the producerside, hen he began to think “‘How can I be creative?”

Corporate Media DeRise found his stride in the world of commercials, documentaries and corporate work, but his passion remained centered on storytelling and focusing more on narrative-driven content than traditional corporate messaging.

The pace of the work was relentless—one production a week, with multiple projects rotating through at any given time. “So, every month, you would have four going and then over the course of the year, I was doing 40 to 50.”

For him, this kind of work provided the perfect balance: a stable income and the chance to do what he loved.

“It’s the dream, I guess,” he says, reflecting on the ability to work with talented teams and continuously refine his craft. Even with the challenges, the ability to experiment and try new things in each story was a key draw. “Each story is going to be another you can experiment with,” he says.

story & photo by Chayton Garcia

The Future DeRise’s latest project, “Bible Camp 2024,” which he describes as a “quirky, offbeat film,” made its debut at film festivals before finding a home on PBS. “Once you give broadcast rights, you disqualify yourself from festivals. So, we couldn’t say no to PBS, but what we did was we hid the streaming from the publicity materials in order to continue to get into film festivals.”

The film’s credits include DeRise as director.

“There’s a misconception that great art needs to involve some sort of suffering, and this is a big thing among film schools. And my thesis or my point of view is that idea is false, and you can make very rich films and also make the experience as rich as the result. That’s the goal, and it starts with the idea that it’s possible. There’s a world in which filmmaking was about students yelling at their actors to act more and to be more scared, be more scared, and to yell and yell and yell.”

But, he adds, “There are ways to get them to be scared that are not screaming at them. And so, my job and my word of wisdom is you can get everything that you want and make the piece of art that you want to make, and you can do it in a way that is ethical and that is positive and that is rewarding for everybody involved. That’s the dream.”

design by Zoey Ryan

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cwupulsemagazine.com