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Grand opening of Jenni Rivera Performing Arts Center sends a powerful message of opportunity and empowerment 

Jessica Rodriguez
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Grand opening of Jenni Rivera Performing Arts Center sends a powerful message of opportunity and empowerment 

As her children sat in front of the audience, a black and yellow butterfly gently glided above them, as one fan pointed out. Some gasped, others were amazed because in that moment, many felt Jenni Rivera’s presence.

Her son Mikey Rivera later admitted to the Viking News that he “got a little emotional for a second with the butterfly flying around.” To him, it didn’t feel random. It felt “serendipitous,” like it was meant to be. 

During Jacqie Rivera’s speech, daughter of Jenni Rivera, a butterfly passed over her children Michael Rivera, far left, and Chiquis Rivera, left, and passed towards LBCC’s Superintendent-President Mike Munoz, right, and LBCC board of trustees president Uduak-Joe Ntuk, far right. Butterflies were a symbol that Jenni deeply resonated with, as she saw her transformation in life, from getting out of toxic relationships and blossoming into her singing career, similar to how caterpillars turn into a beautiful butterfly. (Keith Lewis)

Thursday’s Ribbon-cutting ceremony for the renaming of the G building to the Jenni Rivera Performing Arts Center at Long Beach City College was a celebration of the late singer’s everlasting impact on education, her community and female empowerment.

Fourteen years after her death, “La Diva de la Banda” still holds a significant legacy in Long Beach and to her fans. 

Ana Medina, a fan of Jenni Rivera, traveled from Corona, California to attend the ribbon-cutting ceremony of the Jenni Rivera Performing Arts Center at LBCC’s Liberal Arts Campus. Medina is an aspiring photographer who is interested in attending college at LBCC. (Keith Lewis)

Among the crowd was Cindy Lopez, a member of the Jenni Rivera dedicated fan club, J-Unit, who has lived through Jenni’s music.

At first, she spoke about Jenni’s significance to female empowerment. “Era una chingona, (she was a badass), she was unapologetic, a woman who never pretended to be perfect.”

When asked about her favorite song, she hesitated, not because she didn’t have one, but because the one she chose carried too much weight. 

“No Llega el Olvido,” she said as a single tear ran down her cheek. 

Her husband had passed away four years earlier.

She spoke about how Jenni’s songs speak to a truth that forgetting isn’t possible. That love doesn’t disappear just because someone is gone.

“Es dificil…(it’s difficult…)” she said. “It’s really hard to lose someone, especially when you’ve been with that person for a lot of years.”

He died in a tragic car accident coming back from a trip to Mexico, leaving her as a young single mother. She didn’t face it alone. The Rivera family showed up for her at a time she needed it most. Juan Rivera, Jenni’s younger brother, organized a car wash to help raise money for the funeral. 

That’s why to her this ceremony meant more than recognition or honoring another public figure, it was honoring a woman and her family that lifted others and understood struggles.  

“Pues la vida continúa (well life continues)… and that’s something I always loved about Jenni Rivera. She has a strength that allows you to keep going, no matter what. That’s what inspires me, to keep moving forward even with the pain,” said Lopez.

The ceremony started with a performance from Los Vikingos, LBCC’s very first mariachi ensemble, which is made up of performing arts students. It was an open event for students, faculty and long-time fans who gathered to witness this historic moment. 

Among the most impactful voices was Jacqie Rivera, Jenni Rivera’s daughter, who addressed the crowd with a message of hope and perseverance.

On behalf of her mother, “Today I want to share a message to all students, to every artist walking through these doors, anyone starting over and every young person who doubts themselves, they will see her name and they will remember that Jenni Rivera started exactly where they are now.”

Her words resonated deeply, especially with a lot of people who saw themselves reflected in her mother’s journey. 

Intense emotions that, for many fans, caused goosebumps when talking about Jenni. “It gives me so much hope, especially with everything that’s going on today…words can’t even express how proud I am to see that my people are opening doors in places that we weren’t welcomed in,” Ana Medina, long-time fan, expressed.

She continued, “I don’t want to cry… when she said she was living in a garage, with her kids, and I’ve been in situations like that with my mother too.”

As the public celebration concluded, the event shifted into a more intimate and emotional setting for a private concert in the new building’s small auditorium that hosts up to 263 guests. There, Jacqie Rivera and her sister Chiquis Rivera took the stage alongside the Mariachi Divas de Cindy Shea. 

Daughters of late singer Jenni Rivera, Jacqie Rivera, left, and Chiquis Rivera, right, sing on the stage of the small auditorium in the Jenni Rivera Performing Arts Center at LBCC on Thursday. The multi-Grammy winning all women group The Mariachi Divas de Cindy Shea performed along with them. (Keith Lewis)

Each of them performed one of their mother’s most beloved songs, Jacqie performed, “Yo soy una mujer” and Chiquis “No llega el olvido” and they came together to perform “Ya lo se” in the end. The performance was filled with raw emotion, their voices carried both strengths and vulnerability as they honored the woman who brought them here today.

Daughters of Jenni Rivera, Jacqie Rivera, left, and Chiquis Rivera, right, share a hug after performing a singing tribute for their mother at the renaming ceremony for the Performing Arts building at LBCC on Thursday, where the building officially became The Jenni Rivera Performing Arts Center. (Keith Lewis)

The atmosphere in the room was heavy as some sang along and others became overwhelmed with emotions. As their sibling in the audience took photos of the two, Mikey was moved to tears. Capturing the performance as a deeply personal tribute to their mother.

The emotions of the evening continued when Rosa Saavedra, Jenni’s mother, spoke in spanish about the honor her daughter had received. “ I’m happy, I feel emotional, I feel so grateful for what was done here and that it was made possible thanks to all the fans and I want to tell the students to keep going, that yes, it is possible. If Jenni could do it, anyone can.”

This celebration of resilience, culture and opportunity extends beyond today.  Superintendent-President Mike Munoz said in 2021, the school engaged in a student climate survey that exposed that only 49 percent of students believed they felt like they mattered or belonged. 

By placing Jenni Rivera’s name on this building, the college aimed to send a clear message. Long Beach City College has long been a place of opportunities and growth, while Rivera’s life symbolizes determination and cultural pride. “By combining those two legacies, we’re creating something powerful,” Munoz said. 

Importantly, the recognition extends beyond the building itself. While the construction was funded through Measure LB and donations from the Jenni Rivera Love Foundation, the partnership surrounding her name allows the campus to create lasting opportunities for students. 

Plans are underway to establish an endowment that will provide scholarships and support services, particularly for student parents. “Within the next year to 18 months, we will be rolling out scholarships in her name,” Munoz shared. 

In this way, Rivera’s legacy will not only be remembered but will also actively shape the future of students for years to come. 

LBCC broadcasting student, Lizzette Ramirez is seen reporting for LBCC’s KLBC radio for the ribbon-cutting ceremony Thursday for the Jenni Rivera Performing Arts Center at the Liberal Arts Campus. This new building hosts classes and facilities for broadcasting media students and aspiring singers, dancers and actors. (Keith Lewis)

Opening night shines a light on student art

Diosa Hippolyta
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Opening night shines a light on student art

Over 100 gathered to experience the unveiling of 63 student artists selected for the 2026 Juried Art Exhibition Opening Reception in the Art Gallery on Feb.28 at LAC showcasing their true and authentic voices through art.

Long Beach City College Studio Arts department hosted the event after a faculty-led jury had to make the tough decision to select 63 students out of more than 100 that entered the very competitive honor.

Family, friends, professors, and community attended the unveiling event showing love and support for the student artists who have worked days, months, and even years to prepare for this moment in their lives.

Messages of love, joy, pain, sorrow, even the devastation of America’s history of colonization, enslavement, and destruction of the original peoples were included at the Opening Reception. 

Featured artist, Acaua, shares his piece called, “Close to The Wild Heart , 2025” with Karla Aguiniga, Art Gallery Manager, at the 2026 Juried Student Art Exhibit Opening Ceremony Feb. 28 at the LBCC Art Gallery. (Diosa Hippolyta)

One artist who was in featured at the exhibit was Acaua whose submission was called, “Close to The Wild Heart, 2025” 
 “I wanted to bring an interior vision about the current political moment in the United States.

More specifically, I wanted to show how we as immigrants respond to life adversities outside of our homeland,” Acauas’ artist statement said.

Nigerian student artist, Adewale, submitted, “Owo Do’ Ti’ (Dirty Hands)” and is supported by professor Tanya Crane.

Adewale takes his own experiences out of the frame of the, “…fear and tension experienced by our communities.”

Adewale’s art piece touches on America’s painful history of what colonialism and theft of resources have done to Africa with an intentional message in the spelling of ‘Afrika.’

Europeans, particularly the Portuguese and British,  have been blamed for polluted languages by substituting C whenever they saw K or heard the K sound – as in Kongo and Congo as part of occupation, colonization, and intentional genocide.

Featured artist, Adewale, left, shares his piece called, “Owo Do’ Ti’ (Dirty Hands)” with fellow honoree, Acaua, right, at the 2026 Juried Art Exhibit on Feb. 28 at the LBCC Art Gallery. This art piece is an understanding of what colonialism and theft of resources have done to Africa. (Diosa Hippolyta)

“As a Nigerian descendant, a prideful Afrikan, I have an inside perspective on how European countries and Arab countries have abused and marginalized Africans (English) to enrich their countries. This toxic relationship between Afrika and many countries has always been more parasitic than beneficial,” Adewales’ artist statement said.

Adewale explains that this work doesn’t intend to compare the struggles but rather compare how people push forward whether when dealing with the drought and thorns, searching for luck or crossing deserts and seas for the pursuit of their dreams.

Students utilized many mediums including metal, electrical, wood, feathers, traditional regalia and a variety of unique art structures. 

Life-sized clay heads, Facebook posts, and even QR codes were part of the art pieces.

Ernesto Marta, studio arts major, shares his piece called “Mom’s Cross” that he designed for his mother for her 102nd birthday this month.

“She always wears a cross and I wanted something for her to put on her, on her scarves, 

so I wanted to make a piece of jewelry for my mom and make something that incorporates all of the things that I had learned to that point in that particular class,” said Mata.

Ernesto Mata’s submission “Mom’s Cross” was created in 2024 and inspired by his mother and her love for scarves and crosses for LBCC’s 2026 Juried Student Art Exhibit Opening at LAC in the Art Gallery on Feb. 28. Mata wanted to make something for his mother incorporating the skills he had learned in class to that point, like riveting, piercing, bezel setting, and design. (Diosa Hippolyta)

For student artists, like Francisco Baldonado, who shares his life’s journey through stages in his piece called, “Redefine: Past, Present, and the Future” highlights some of the painful and prideful moments that have sculpted him into the human being we see today. 

The submitted piece was done for a final assignment for his 3DR class where students were asked to select a doppelganger or a wearable piece.  

“So the first stage represents, obviously, as the title, you know, suggests, it’s basically like, you know, I did, you know, the sculpture with the facial expression of someone that is like angry or mad. That’s the reason I titled it, you know, I titled each piece individually. And that one is called madness because that’s who I was, you know, growing up,” said Baldonado. 

He also talked about how he was impacted by the violence he witnessed in society verses at home and how his journey is about how he has redefined himself.  

“We grew up specifically in a rough neighborhood where we, I experienced, you know, insane, you know, violence at a young age. And, you know, I have older brothers and some of their friends were shot or killed,” Baldonado said. 

Featured artist, Francisco Baldonado, supported by professor, Luis Moreno Napoles, created a series of three stages of his life’s journey titled, “Redefined: Past, Present, Future” on Feb. 28 at the 2026 Juried Student Art Exhibition Opening at the LBCC Art Gallery at LAC. Baldonado chose to create a series of three life-size clay busts as a kind of doppleganger of himself and specifically used brown clay to reflect the color of his skin, tying the work to his personal experiences. (Diosa Hippolyta)

Baldonado continues to remember his past and tries to explain why things may have happened being racially profiled at such an early age.

“So I think that was, you know, the factor that, I mean, I don’t want to add an excuse, but, you know, growing up in that neighborhood and then the way I looked, right, with my brown skin and, you know, my facial tone,” said Baldonado.

Having family and friends to support you on your journey is a very important part of any healing journey and Baldonado had his nephew, Anthony Baldonado, a music producer and DJ himself.

“For me, it was very beautiful to see because I do know his journey. I’m very familiar with his story so it gives me a sense of pride to see him turn his story into a piece of art. Because it is a piece of art,” said Anthony as he looked at his uncle’s work on display in the gallery.

An ICE Facebook page provided a series of quotes as inspiration with QR codes on display for attendees to interact with.

Featured artist Daniel Shugarts shares his interactive piece titled, OR Code Spiral with fellow artist Francisco Baldonado at the 2026 Juried Student Art Exhibit Opening Ceremony on Feb. 28 at LAC in the LBCC Art Gallery. Shugarts is supported by Prof. Stas Orlovski and shares in his statement how he tried mix the naturalness of the golden spiral with the technological aspects of the QR codes and his appreciation for works of Wassily Kandinsky as inspiration. (Diosa Hippolyta)

Artist Daniel Shugarts unveiled his “QR Code Spiral” taking the idea from the classic Spirograph drawing kit made in 1965. 

“I am fascinated by the way QR codes are able to convey so much information in a somewhat simple design and set of symbols,” Shugart’s artist statement said.  

Many of the symbols in the piece allow for an interactive QR Code that explores the mind, some symbols open to pictures of his other pieces of work. 

Selected artist Juan Pablo Rodriguez Villegas submitted “God Bless ICE!, 2025”

Juan Pablo Villegas unveiled a submission, “God Bless ICE, 2025” that features Jesus targeted by an U.S. Immigration and Customs Enforcement (I.C.E) for the 2026 Juried Student Art Exhibit Opening Reception on Feb.28 at LAC in the Art Gallery. Actual quotes from an I.C.E. Facebook page were used to create this piece set in the background. (Diosa Hippolyta)

“This might be a very controversial and very political painting, but in my opinion, if Jesus (a brown person, from the Middle East, who was once an immigrant) were alive today, he would probably be deported by the same people who claim to follow his word,” Villegas artist statement said.

He collected many comments used in his piece from real people that he found on Facebook in posts made related to I.C.E and deportations made lately causing many emotional reactions.

“It just makes me really sad.  There’s a lot of feelings that come along with this, especially because my family is religious, but we can obviously tell what’s right and what’s wrong here,” said Jossane Bajal as she looked at the I.C.E. agent pointing a gun at Jesus.

Villegas  is no stranger to art either as his submission won the 2nd Place honor at the 2024-2025 Juried Student Art Exhibit.

Karla Aguiniga, LBCC’s Art Gallery manager, explains that the annual event is an exhibition where students submit work either created in class or as independent projects.

“The exhibition was put together very quickly between myself and some of my student workers, and we organize an exhibit that normally our shows have a very clear theme,” said Aguiniga.

The jury process took about two days of full-time faculty coming and reviewing the work, reading artist statements along with writing pieces about their work to give more information about what the pieces mean to them.

“The quality definitely has gone up, and I do think that the work is…You know, there’s a lot of really great work that is very professional and shows a lot of different conceptual thinking,” said Aguiniga when asked about how the submissions have changed over time.

Aguiniga announced that the winning artists are Mary Warner, Matt Mageno and Jenna Le will be receiving the $3,000 in awards and prizes at the Awards and Closing Reception.

The 2026 Juried Student Art Exhibit is scheduled to run through Mar. 26 for the judging and thousands of dollars in awards will be presented during the closing reception and awards ceremony on Thursday, Mar. 26 from 5 p.m. – 8 p.m in the Art Gallery.

Three districts, one movement: People Over Politics gains supporters

Jayleen Vasquez
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Three districts, one movement: People Over Politics gains supporters

Three candidates from three different city council districts across Long Beach all came together on Wednesday for a campaigning event that included open discussions with community members, where they shared their goals and outlined their future plans to improve the city. 

Deb Kahookele for District 1, Tara Riggi for District 5, and Sequoia Neff for District 9 are running for City Council under one movement, The People Over Politics Movement. 

“People Over Politics” is a political movement that aims to include the voices of students, the community, and aims to take their voices into consideration when making decisions. 

“For me, the People Over Politics movement is very simple, It’s putting the people first,” Neff said. 

All three candidates are new to politics, having previously worked in real estate, and each of them have personal connection to the community of Long Beach, having all attended schools in the area. 

This shared educational foundation established a base for community engagement and indicates the candidates comprehensive understanding of the area’s distinct needs.

The event was supported by the Long Beach Reform Coalition Center, a local political action committee dedicated to promoting transparency and accountability within the Long Beach Government.

“The reform coalition is here for you standing up to hold the city accountable, to make sure it’s transparent, to make sure it’s responsive to residents, that’s our mission,” volunteer executive director of the Coalition, Ian Patten said.

During the discussion all three candidates emphasized what exactly “People Over Politics” meant at a personal level. 

Sequoia Neff, a District 9 candidate for Long Beach City Council, speaks to the audience during the “People Over Politics” discussion in Long Beach on March 18. Neff spoke strongly about what “People Over Politics” meant to her alongside her fellow candidates. (Jayleen Vasquez)

“For me people over politics really means making decisions that are not influenced by political alliances, special interests, and really being an independent voice on council,” said Riggi. 

The discussion was used for the community to highlight some of their concerns as well as pinpoint what some of the council’s current members are failing to do. 

During the Q&A section, a Long Beach community member and mom, Raylene Childe, expressed frustration over the transformation of a standard park into being a dog park during the pandemic, recalling memories of her son always playing there before it was taken over.  

“I’m putting on my mom hat. My son is a third grader at Cesar Chavez Elementary School, the park he uses, that park during the pandemic turned into this makeshift dog park which was great for the residents! However, my son comes home from school because it is still used as a dog park and he has feces on his pants, feces on his shoes.” Childe said.

Residents in attendance expressed not only concern, but hope as well, while they shared some of their personal experiences and asked questions about policies the candidates would put into place.

As the June election approaches, these three candidates have come together in a campaign to unseat their opponents and current council members, all three unsatisfied with the current state of the city.

“The money that could be spent in our own communities, our backyards we don’t see it. So the decisions that are being made are not involving what we, what I feel, is the community which is the people,” Kahookele said.

One volunteer, Carmen Valdes, was in attendance for Neff’s campaign table, has a history of being engaged in the community noted why it’s important for students to get involved.

“More so than anybody else, what’s happening in city hall is going to affect students, because they’re coming into what’s being said by the city, what the city is voting for and doing.” Valdes said.

Kahookele, Riggs and Neff gave residents a chance to hear directly from candidates, and fostered meaningful conversations about the future of the community by encouraging participation from all age groups, including students, highlighting the importance of diverse voices in shaping local policies.

From concept to icon: a close look at the birth of Jenni Rivera’s bold, extravagant, mermaid cut dresses 

Paloma Maciel
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From concept to icon: a close look at the birth of Jenni Rivera’s bold, extravagant, mermaid cut dresses 

With her resilience, charisma and realness, “La Diva de la Banda,” Jenni Rivera is an iconic, relatable and loved queen. However, there is an aspect of hers that is so unique and distinguishable that it has created a lasting stamp on her identity.  

Her mermaid cut brightly colored dresses, embroidered with intricate floral designs and fluffy ruffling layers that make it seem like she is floating on clouds, was a design that was custom made for her by designer Adan Terriquez. 

One of these dresses will be on display in the lobby of the New Performing Arts building, which is named after her, starting Thursday. Her black dress with vibrant yellow flower embroidery, which was used to promote the banda edition of the album “La Gran Senora” will be brought in for the renaming ceremony of the building and will be on display afterwards for students to come visit it. 

Jenni Rivera’s iconic black and yellow gown made by designer Adan Terriquez is displayed in an exhibit at The GRAMMY Museum. This large three-part exhibition was put on right after the death of Rivera and showcased personal items of hers along with her dresses. Courtesy of The GRAMMY Museum/ Becky Sapp.

According to Rivera’s son, Mike Rivera, the dress will remain in the lobby for a time, and Rivera’s family intends to have it there in a more permanent manner, but they are currently still working out some logistics. 

Adan first met Rivera on the set of her photoshoot for the album cover of “Reyna de Reynas” in the year 2000, where his brother Jamie worked as a stylist for the production company and introduced them to each other then.

Jenni Rivera, left, and Adan Terriquez, right, are on the set of the photo shoot for the cover of Rivera’s album “Reyna de Reynas,” back in 2000. They met for the first time at this photo shoot, and soon after Adan became her fashion designer. Courtesy of Adan Terriquez.

Even in these early moments, Adan knew he wanted to create a timeless, recognizable style for Rivera. 

“When we were talking that day that I met her, about how she wanted a designer. Well, she told me that she wanted a fashionable look. That she wants, ‘oh well I want you to make me dresses that are very modern, I want you to make me very fashionable..,” Adan said. 

He continued, “So, I told her ‘no.’ I told her ‘I’m going to make you a style, not fashionable.’ She told me, ‘What is the difference?’ The difference is that fashionable items cycle out and style stays,” Adan said. 

To create her style, Adan took inspiration from the fashion of some of her favorite artists like Lucha Villa, Rocio Dural and Lola Beltran, fusing their Mexican and Spanish styles together.

The mermaid silhouette originates from flamenco dresses in Spain, and the detailed flowery embroidery is traditionally found in charro Mexican dresses. 

The process to perfect her style was one that took many trials of testing. It started with a simpler design, which was slowly modified each time, to see which version felt more like her and complemented her best. 

Jenni Rivera in an early version of her signature mermaid style dress. This version has a more simple design that stays true to the deep neckline and the fit and flare silhouette and doesn’t have ruffles yet. Courtesy of Adan Terriquez.

They always kept the same fitting form of the dress, the mermaid cut with the deep neckline, but experimented with the design of the embroidery and the shape of the tail, said Adan. 

Jenni Rivera, right, wears the first dress that her designer Adan Terriquez, left, had made for her, to an award show early in her career. Courtesy of Adan Terriquez.

The quality got better every time, and “each time the dresses were more beautiful,” recalled Adan. 

During the peak of Rivera’s career, about the last five years of her career, Adan explained that every week he would turn in one or two new dresses. He had a team of about eight people, who would help him put together the dresses as they worked together to embroider them, apply rhinestones by hand and even paint on some dresses. 

They would always be working on a couple of dresses at a time, so that they could have the dresses ready immediately after one another. 

The dresses he made towards the end of Rivera’s career were more complicated to make, a testament to his growth as a designer. 

“Before, when I was starting, the dresses were less and they were easier to make. As time passed by, they were more and more difficult to make. They had to top the dress I had just made her,” Adan said. 

The dress that Adan is most proud of is the black dress with yellow embroidery that will be on display at LBCC. Apart from being used to promote the banda edition of the album “La Gran Senora” it also appeared on Rivera on the inside of the CD in the original version of the album. 

Singer Jenni Rivera, left, wears the famous black and yellow dress that her designer Adan Terriquez, right, made for her. This dress became the face of her “La Gran Senora” banda edition album. Courtesy of Adan Terriquez.

This dress is not only Adan’s favorite, but it is also a fan favorite. 

“That dress has a story that’s both beautiful and sad,” Adan said.

He was accustomed to Rivera giving away her dresses to fans and friends, and Adan loved this dress so much that he wanted to prevent this dress from ending up in someone else’s hands.

“I would tell her to gift it to me. If you’re going to give it away, give it to me. I could make it again, but it’s not the same as her having used it,” Adan said. 

She would gift him other dresses, but it just wasn’t the dress that Adan wanted. One day, he directly asked her again, “Jenni, please gift me that dress.”

“She said ‘no’. And I said ‘why?” She responded, “Because one day that dress is going to be in a place where you feel more proud of seeing it there, then to have it in your closet in your house,” Adan said.

“I didn’t understand what she wanted to tell me,” Adan said. 

Fast forward to one or two years right after he had this conversation with her, Rivera died, and the Grammy Museum dedicated an exhibit to honor Rivera, with some of her personal items like her favorite overalls, her bible and her office chair, as well as some of her most iconic dresses. 

Most of the dresses displayed were made by Adan, including the yellow and black dress. 

Jenni Rivera’s iconic black and yellow gown made by designer Adan Terriquez is displayed in an exhibit at The GRAMMY Museum. Courtesy of The GRAMMY Museum/ Becky Sapp.

“Her dress was placed in the Grammy museum, the one that’s here in Los Angeles. It’s the most important (place) for music in the world and below (the exhibit) said ‘Adan Terriquez’,” said Adan proudly.  

In addition to these dresses, Adan and his team created over 400 fashion pieces in total for Rivera. 

“The 400 pieces were in between shoes, boots, hats, jackets, vests, pants, shorts,” Adan said. 

Adan even designed her signature batwing, butterfly dresses, where one black variation appeared in the “Basta Ya” music video, and she used a blue one to perform in. 

A portrait of singer Jenni Rivera in her mother’s home, where she is in a butterfly dress designed by Adan Terriquez. Butterflies were a symbol that Rivera deeply resonated with, as she saw her transformation in life, getting out of toxic relationships and blossoming into her singing, similar to how caterpillars turn into a beautiful butterfly. (Paloma Maciel)

Designer Adan Terriquez’s designs for the black and yellow dress, left, and for Jenni Rivera’s signature butterfly dress. (Paloma Maciel)

Having been a designer for over 30 years and worked with big name artists like Karol G and Ana Barbara, among others, Adan voiced that an artist’s image is very important to the success of an artist and that designers play a crucial role in it. 

“When I go to see an artist I like that they are well dressed. If they don’t have pretty clothes, I say, ‘Mmm, I paid so much and they can’t even dress good’,” Adan said. 

Nwaka Onwusa, a music historian and curator, who helped put together the Grammy exhibit in 2013, and became a fan of Jenni Rivera after discovering her from the process, pointed out how Rivera’s transformation into her elaborate gowns embodied her story of resilience. 

“I think that’s her coming into that era. Of like ‘Oh, La Gran Senora.’ … It’s boldness, it’s her being elegant, its her self-empowerment in the beauty that she is like, you know, I don’t look like what I’ve been through,” Onwusa said. 

Onwusa expressed the admiration that she has for Rivera and her perseverance in life. 

“I connected to her story and when I was like ‘damn’, she had a baby and she still went to college and she still like, she persevered. That’s something as a woman… that’s encouraging. It’s like that kind of motivation is just, I look to any woman who beats the odds and becomes that successful, like that’s what’s so moving for me,” Onwusa said. 

Rivera exuded telenovela glam with her smoky, dramatic eyeshadow and big curls that made her look effortless, adding to her powerful, confident persona. 

Like Adan, who created Rivera’s notorious mermaid style dress, his brother Jaime Terriquez was her makeup artist and stylist, also completely transforming Rivera’s appearance.

When Jaime met Rivera, she followed a Chicana style of makeup. Jaime recalls her having thin eyebrows and liking painting her lips with dark colors, which Jaime did not like. 

Jaime worked to give her a more glammed-up image and expressed that he steered her away from ever using red lipstick, because that’s one of his makeup don’ts. 

Behind Rivera’s extravagant gowns and newly found bold makeup look were two brothers working tirelessly behind the scenes. 

Jenni Rivera, middle, poses with her makeup and hair stylist, Jaime Terriquez, right, and her designer, Adan Terriquez, left, the same day she attended the Latin GRAMMYS award show in 2002. That year, she received her first Latin GRAMMY nomination for best banda album for “Se Las Voy a Dar a Otro.” Courtesy of Adan Terriquez.

Jaime recounted a personal anecdote with Rivera, while traveling with her that demonstrated the intensity of her artist life. 

“Sometimes we went on the plane because she presented for example, here at the moment and in two, three hours in another state, or other place. And while we arrived from one place to the other, on the same plane, I would do her makeup, her hair, redoing her hairstyle and retouching her makeup. When we arrived, she would directly go to sing where she performed and that’s how we were, always running,” Jaime said. 

Adan described Rivera as being caring and said that his favorite memories with her were when she would call him late at night to check up on him. 

“(My favorite memories) are the calls that she gave me at 10 in the night, two in the morning to ask me how I was. She asked if I needed anything and if I was ok. … She cared for the people she worked with…It wasn’t just work she also took care of us,” Adan said. 

Chicano photo exhibit boosts student belonging on campus 

Dom Maddan
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Chicano photo exhibit boosts student belonging on campus 

Chicano pride was on full display at the opening event for the Centro de La Raza Legacy photo collection, which featured the work of photographer John A. Taboada on Thursday, Feb. 26 in LAC’s M building. 

The exhibit is on loan for a year from the Historical Society of Long Beach, a non-profit organization that preserves local stories and photography, with which LBCC has a partnership. 

Over 3,000 of Taboada’s photographs of friends, families and local activists from the years of 1970 to 1985 were kept, archived and provided to LBCC by Taboada’s family on his behalf.  

The collection mostly depicts residents of Long Beach’s east side neighborhood, around the time when former president Lyndon B. Johnson had anti-poverty programs and the area served the local Hispanic communities.  

Photos of the exhibit’s “La Lucha” section, showing various protests and young students who participated were just some of the photos on display at the Centro de La Raza Legacy exhibit on Feb. 27. (Ryan Guerrero)

El Centro De La Raza, a community center in Long Beach, was known for helping LB’s  Hispanic communities but also had its doors open to help anyone who needed it.

“We did have Black, white, Asian, Latino and Chicano kids in all of our programs. So it was a great opportunity for us to serve as young leaders,” said Ron Arias, a contributor to the collection.

The photo exhibit was considered by LBCC after a report in 2020 found that there was a low student morale at LBCC. 

“Only 49% of students felt like they belonged and mattered,” said Superintendent President Mike Munoz at the ceremony commemorating the photo exhibit.

This prompted an initiative to highlight student experiences and the founding of LBCC’s DEIA Public Art Advisory Group on campus, which has built a board to highlight Long Beach history through these exhibits. 

The first art experience that this group has facilitated, which showcases the diversity on LBCC’s campuses, is the mural “Yesterday, Today and Tomorrow” that stands on the side of the LAC’s M building. This mural was painted in 2024 by Chicano artist Paul Botello. 

“So many of the people who were a part of the collection are still alive, so their kids and grandkids will come in and see it too. It was such a great experience for the entire community,” said Mary Dixon, the outreach coordinator for the Historical Society of Long Beach. 

This event brought together the community to experience Chicano culture and encapsulated pride and hope for student morale to persist in the future. 

‘La Reina de Long Beach,’ Jenni Rivera, va ser honrada en ceremonia de apertura para nuevo edificio puesto en su nombre 

Jessica Rodriguez
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‘La Reina de Long Beach,’ Jenni Rivera, va ser honrada en ceremonia de apertura para nuevo edificio puesto en su nombre 

Una noche en el antro La Tormenta en Los Ángeles, a tan solo once años, Jenni Rivera, era la más joven de doce concursantes en un concurso de canto.

Aunque normalmente era una joven segura de sí misma y dedicada, esa noche le entró miedo y por los nervios se le olvidó la letra de la canción “Besos y Copas.”

Después de salir corriendo del escenario, derrotada y triste porque creía que había decepcionado a su padre, juró nunca a cantar otra vez. A pesar de eso, su padre, Pedro Rivera sabía que su hija era luchadora y regresaría a cantar otra vez. 

El vio algo en Jenni, tanto que desde pequeña le dio el nombre, “La Reina de Long Beach.” Un nombre que sigue inspirando nuevas generaciones en su comunidad.

Ahora, más de una década después de que falleció, esta identidad vuelve al punto donde empezó ella, ya que Long Beach City College se prepara para honrarla en una ceremonia este jueves, que marca el nombramiento oficial del nuevo Edificio de Artes Escénicas (Performing Arts Center), destinado a llevar su nombre. Un homenaje que refleja no solo su éxito, sino el viaje que la llevó hasta allí.

El evento empieza a las 12:30 p.m. e incluirá también una ceremonia de corte de listón que marcará la inauguración oficial de todo este nuevo edificio G.

Los hijos de Jenni estarán presentes en el evento y la comunidad es bienvenida a unirse.

El publico tambien podrá ver un vestido original de Jenni Rivera, su icónico vestido negro y hamarillo de la edicion album de banda “La Gran Señora” en el vestíbulo del nuevo edificio. 


La cantante Jenni Rivera, izquierda, trae puesto el famoso vestido de ella que es negro y amarillo, que fue diseñado por Adán Terriquez, derecha. Este vestido se usó mucho para la promoción de su disco “La Gran Señora” en edición de banda. Cortésía de Adán Terriquez. 

El grupo femenino de mariachi, Mariachi Divas de Cindy Shea, también se presentará.

Creció en un hogar humilde en Long Beach. Los primeros años de vida de Jenni estuvieron marcados por la familia y por su fuerte sentido de identidad. Su madre, Rosa Saavedra, afirmó que ese carácter decidido fue el cimiento de la persona en la que su hija se convertiría.

Una pintura de óleo de la familia Rivera está puesta en la casa de la mamá de Jenni Rivera, Rosa Saavedra. (Jessica Rodriguez) 

Mucho antes de convertirse en una de las reinas de la música regional mexicana, Jenni fue estudiante. Ella sobresalía académicamente y se enfocó en construir un futuro que enorgulleciera a sus padres. 

Pero su vida cambió cuando se convirtió en madre mientras aún estaba en la secundaria, una experiencia que para muchas mujeres jóvenes, marca el fin de su educación. 

Su madre Rosa dijo que continuar con los estudios no fue fácil para Jenni. Las expectativas culturales y una relación abusiva le dificultaba permanecer en la escuela. “El esposo no quería que ella estudiara,” dijo su madre.

“Iba a escondidas a la high school… se llevaba a la niña chiquita en el bus y se la llevaba a la escuela,” dijo su madre. “Hacía todo lo que tenía que hacer para trabajar… e irse a la escuela temprano sin que él la viera.”

Cuando asistía a LBCC, Jenni seguía negándose a rendirse. Después de que le robaron el coche, estando siete meses de embarazo y con una hija de cuatro años, iba en bicicleta a la escuela y al trabajo.

Esos primeros años estuvieron marcados por el sacrificio. Jenni manejo ser madre, el trabajo y sus estudios, muchas de las veces en secreto.“Batalló mucho, sufrió mucho por esa parte, pero salió adelante,” dijo Rosa.

En LBCC estudió negocios y después se transfirió a la Universidad Estatal de Long Beach California, donde obtuvo una licenciatura en Administración de Empresas. Trabajó como agente de bienes raíces antes de que despegara su carrera musical.

Sus dificultades se extendieron más allá del ámbito educativo. “Tenía mucho abuso doméstico… con los esposos le fue muy mal,” dijo Rosa.  

“Yo le decía a ella: ‘Eres muy inteligente, pero te falla el corazón,’ porque se enamoraba de gente que no debería. Pero así es muchas veces… en nuestra cultura les dicen que lo tienen que aguantar, que no pueden estar divorciadas o algo así. Pero no—también un día se decidió, porque el hombre le baja la estima a la mujer al grado de que la mujer dice: ‘No… yo soy alguien y voy a ser alguien.”

A pesar de haber sido echada de su casa cuando se enteró que estaba embarazada, ello quiso demostrarse a sí misma y a los demás que podía dar un paso al frente y convertirse en una “esposa de gańster” igual que su madre, recordó Rivera en su autobiografía, “Unbreakable,” publicado en 2013, tras su muerte.

Ese sentido de fortaleza y determinación se convirtió más tarde en una parte definitoria de la vida y el legado de Jenni. Ella canalizó sus experiencias en su música, utilizándose como una forma de empoderamiento. 

“En esa forma se defendía… por medio de las canciones,” dijo Rosa. 

La música de Jenni refleja sus luchas y victorias personales, conectando con los oyentes que veían sus propias vidas en sus letras. Su voz se convirtió en su símbolo de resiliencia para muchas mujeres que enfrentan desafíos similares. 

Aparte de su música, Jenni utilizó su plataforma para ayudar a su comunidad. Ella fundó la Jenni Rivera Love Foundation, la cual apoyo a mujeres afectadas por violencia doméstica, a niños que luchan contra el cáncer y a comunidades de inmigrantes.

Su madre conectó este trabajo con la liva que vivo Jenni pero ella nunca perdió su sentido de ser. Incluso cuando se enfrentó a críticas y dudas, se mantuvo decidida a demostrar su valía. 

El primer esposo de Jenni intentaba menospreciarla, recordó su madre. “El hombre le decía: ‘Eres una gorda, ¿quién te va a querer?… no cantas bien.’ Y ella le dijo: ‘Te voy a enseñar que sí.’”

Su madre describió momentos en los que Jenni llevaba sus álbumes a distintas discográficas y, simplemente por ser mujer, los productores arrojaban a la basura, delante de ella, los discos que les presentaba. Sin darle la oportunidad de escucharlos. 

Su determinación acabaría transformándola en una de las voces más influyentes de la música regional mexicana, dándole el título de “La Diva de la Banda.”

Un plato decorativo de Jenni Rivera con las palabras “La Diva de la Banda” se encuentra en la casa de su mamá. (Paloma Maciel)

Hoy, la presencia de su nombre en el nuevo edificio de Artes Escénicas de LBCC no es solo cuestión de reconocimiento, sino que también representa la posibilidad. 

Para los estudiantes que recorrerán esos pasillos, la historia de Jenni ofrece un poderoso mensaje sobre la perseverancia, la educación y la valía personal. Es un recordatorio de que el éxito no se define por las circunstancias, sino por las decisiones que se toman a pesar de ellas. 

A pesar de no haberse enterado de la gran inauguración en LBCC, a la madre de Jenni le sigue llenando de alegría ver que, una vez más su hija continúa simbolizando un sinfín de posibilidades para tantas personas. 

“Para que vean que sí se puede… si estudias y le pones ganas, vas a llegar a hacer algo.

Una serie de fotos familiares se encuentra en la entrada de la casa de la mamá de Jenni Rivera. (Jessica Rodriguez)

Monthly events should celebrate culture and history instead of fulfilling a quota

Dom Maddan
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March marks Women’s History Month, a celebration of female empowerment, accomplishments, history and overall femininity celebrated all across the U.S., including here at LBCC. However, for a month-long celebration that aims to “provide students with mirrors in which to see their identity recognized, honored, and valued,” according to the official LBCC website, there isn’t much to really look forward to.

Besides activities hosted by clubs, there are only a few events put on by the school at LAC that actually are related to Women’s History Month this March; a Women’s History Month kickoff ceremony event that occurred on Mar. 4, a Sip n’ Science event on Mar. 17, a one and a half hour long chill session on Mar. 18 and finally a karaoke night on Mar. 24 to end the festivities.

Students might feel a bit of deja vu when looking at the list of events to celebrate women, as they are pretty much an exact replica of last month’s festivities celebrating Black History Month, where there was also a generic kickoff event featuring speakers, a sip n’ blank, and a karaoke night.

Instead of actually being a celebration for marginalized communities, events advertised on the LBCC website for these historical and cultural months on campus have become rather cookie-cutter, almost as if they solely exist to fulfill a quota.

Unlike the LBCC website would lead people to believe, there are a multitude of events that actually do celebrate communities on campus, however that’s not immediately obvious if students only look at the website’s calendar of events for things to do. 

An exhibit on campus that looked at the history of Black culture on the TTC campus on Feb. 19, called the “Forgotten Images” exhibit, which was a collection of over 20,000 antique items and imagery in use during slavery and the civil rights era.

However, there were little to no advertisements or promotions on the LBCC website for the event at all, contributing to a reportedly low turnout of  “under 100 people” according to a correspondent from Viking News who was at the event.

The events that were advertised however for Black History Month, instead were the same three generic events that occur for every cultural and historical month in the past and will continue into Women’s History Month and beyond.

According to Superintendent-President Mike Munoz, quoting a report put out by LBCC in 2021, “only about 49% of students felt like they belonged and mattered”. 

Due to this, the school has made an effort to try and expand student interest and belonging, starting an initiative to “instill a sense of mattering and belonging in historically underserved students through welcoming, anti-racist, and inclusive programs and services”, based on the 2021 internal report discussing student belonging on campus.

In March 2024, a mural was installed by artist Pablo Pero on the side of the M building titled “Yesterday, Today and Tomorrow” that celebrates the multicultural student body on campus, and a pop-up photography exhibit celebrating Chicano student power was featured in the M building in an attempt to try and make students feel more connected to campus.

All great, of course, however, wouldn’t students, especially ones from marginalized groups, feel more of a belonging here on campus if the events made to celebrate them and look into their history and heritage were the ones being advertised instead of an event where students drink soda and do a paint-by-numbers activity?

These cookie-cutter events are always welcome as a way to have students connect and chill during a hectic student life; they don’t particularly need to be the sole advertisements as ways to celebrate marginalized groups on campus.

The represented group should be the focus of these events, rather than nothing more than a party theme; and when events that actually do look into the history or culture of the represented people come to campus, LBCC should make it a priority that the student body actually knows these events are occurring.

‘La Reina de Long Beach,’ Jenni Rivera, to receive her flowers as G building will be renamed after her

Jessica Rodriguez
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‘La Reina de Long Beach,’ Jenni Rivera, to receive her flowers as G building will be renamed after her

One night at La Tormenta night club in Los Angeles, eleven year old Jenni, born Dolores Janney Rivera Saavedra, was the youngest of twelve contestants for yet another singing competition.

While normally a confident, driven young lady, that night, fear came over her causing her to forget the lyrics to the song “Besos y Copas.” 

After running off stage, feeling defeated and sad that she disappointed her father, she swore never to sing again. Despite this, her father, Pedro Rivera knew his daughter was strong-willed and would eventually find her way back to singing again.

He saw something in Jenni, so much so that since she was a baby, he gave her the nickname “La Reyna de Long Beach”—the Queen of Long Beach. A name that would later define her legacy and that continues to inspire new generations in her community.

Now, more than a decade after her passing, that identity has come full circle as Long Beach City College prepares to honor her, in a ceremony this Thursday which will mark the official renaming of the new Performing Arts building, set to carry her name. A tribute that reflects not only her success, but the journey that got her there.

The event, which starts at 12:30 p.m. will also hold a ribbon-cutting ceremony, which will mark the official opening of this entire new G building. 

Jenni’s children will be present for the event and the community is welcome to join. 

The public will also be able to see an original Jenni Rivera gown, her iconic black and yellow dress from the banda edition of the “La Gran Senora” album, in the new building’s lobby. 

Singer Jenni Rivera, left, wears the famous black and yellow dress that her designer Adan Terriquez, right, made for her. This dress became the face of her “La Gran Senora” banda edition album. Courtesy of Adan Terriquez.

The Mariachi women’s group, Mariachi Divas de Cindy Shea will also perform.

Raised in a humble household in Long Beach, Jenni’s early life was shaped by family and a strong sense of identity. Her mother Rosa Saavedra said her willful character was the foundation of who her daughter would become.

Long before becoming one of the queens of regional Mexican music, Jenni was a student. She excelled academically and was focused on building a future that would make her parents proud. But, her life changed when she became a mother while still in high school—an experience that, for many young women, marks the end of their education.

According to her mother Rosa, continuing school was not easy. Cultural expectations and an abusive relationship made it difficult for her to stay in the classroom. “Her husband didn’t want her to continue studying,” Rosa said.

“She used to go secretly to high school… she would take her little girl (Chiquis) on the bus and take her to school,” her mother said. “She did everything she had to do to work… and go to school early without him seeing her,” Rosa said.

When she attended LBCC, Jenni still refused to give up. After getting her car stolen, seven months pregnant with her second child and a four year old daughter, she would ride her bike to school and work.

Those early years were defined by sacrifice. Jenni balanced motherhood, work and school, often in secrecy. “She struggled a lot, suffered a lot on that front, but she pulled through,” Rosa said.

At LBCC she studied business and after attended the California State University of Long Beach where she earned a bachelor’s in business administration. She worked as a real estate agent before her music career took off.

Her struggles extended beyond education. “She endured a great deal of domestic abuse…she had bad luck when it came to finding a good husband,” her mother said. 

“ I used to tell her: ‘You are very intelligent, but your heart lets you down,’ because she would fall in love with people she shouldn’t have. But that is often how it is…in our culture, women are told that they just have to put up with it, that they can’t be divorced, or something along those lines. But no, eventually, one day she made the decision; because a man can chip away at a woman’s self-esteem to the point where she finally says, ‘No… I am somebody, and I am going to be someone,” Rosa said.

Even in those moments, Jenni’s resilience began to take shape. Despite getting kicked out the house when she found out she was pregnant, she wanted to prove to herself and others she could step up and become a ‘gangster wife’ just like her mother, Rivera recalled in her autobiography, “Unbreakable,” released in 2013, after her death.

That sense of strength and self-determination later became a defining part of Jenni’s life and legacy. She channeled her experiences into her music, using them as a form of empowerment.

“That was how she defended herself… through songs,” Rosa said.

Jenni’s music often reflected her personal struggles and victories, resonating with listeners who saw their own lives in her lyrics. Her voice became a symbol of resilience for many women facing similar challenges.

Beyond music, Jenni also used her platform to give back. She founded the Jenni Rivera Love Foundation, which supports women affected by domestic violence, children battling cancer and immigrant communities.

Her mother connected this work directly to her daughter’s lived experiences. Jenni’s determination to overcome hardship, despite difficult romantic relationships and repeated challenges, became part of what drove her to support others facing similar situations.

Jenni never lost sight of her sense of self. Even when confronted with criticism and doubt, she remained determined to prove her worth.

Her first husband would try to belittle her, her mom recalled. “The man would say to her: ‘You’re fat, who’s going to love you?… You don’t sing well. No one’s going to accept you as a singer.’ And she said to them, ‘I’ll show you’,” Rosa said. 

Jenni also faced hardship in the male dominated Mexican music industry. 

Her mom described moments where Jenni would take her albums to different record labels, and just because she was a woman, the producers would in her face throw away the albums she brought in the trash. Without even getting the chance to listen to them.

Her determination would ultimately transform herself into one of the most influential voices in regional Mexican music, and give her the name of “La Diva de la Banda.”

Displayed on an end table in the home of Jenni Rivera’s mother sits a decorative plate of Jenni with the words “La Diva de la Banda.” (Paloma Maciel)

Today, her name on LBCC’s new Performing Arts building is not only about recognition but it also represents possibility.

For students who will walk those halls, Jenni’s story offers a powerful message about perseverance, education and self-worth. It is a reminder that success is not defined by circumstance, but by the choices made in spite of it.

Despite not knowing about the grand opening at LBCC, it still brings Jenni’s mother joy that yet again her daughter continues to symbolize endless possibilities to so many.

“Just so you can see that it really is possible… if you study and put your heart into it, you’ll go on to do something great,” Rosa said.

Vikings lose their first game of three to East LA, extends losing streak

Alejandro Diaz Lopez
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Vikings lose their first game of three to East LA, extends losing streak

The Vikings battled against East Los Angeles at home on March 10, losing in a high scoring game of 10-6, making their record 7-14. 

The first two innings were hard on young southpaw starter Sabin Tomlinson, as he gave up 5 runs in 1 1/3 innings pitched, bringing in reliever Zach Papscoe early in the game. 

“I found myself being loopy on the mound, I needed to be more strong with my outing and stay through the ball, we needed to stay locked in and just do our job for today”, said Zach Papscoe.

“We’re down a starter for the first game against ELAC, our relief pitcher tried to give us some innings but he didn’t have his best stuff today”, said coach Visico when asked about his starting pitcher Sabin Tomlinson. 

Papscoe would go 5 and 1/3 innings pitched as he tried to keep his team in the game, unfortunately falling short of a potential comeback. 

As LBCC was trying to get bats going, ELAC starting pitcher and designated hitter Phillip Chaidez allowed only three runs in the first six innings.  

The Vikings went on to score three runs against Chaidez in the bottom of the eighth inning extending their losing streak to three games. 

“We put up (six) runs, but we could’ve had a better game. We did have a lot of guys in scoring position but we weren’t able to capitalize today and that’s been the story all season long for us”, said Visico. 

Outfielder Myles Fendrick, who went three for five with two stolen bases talked about his performance on the plate.

 “I was just thinking about to be on time, (Chaidez) was throwing some curveballs and fastballs, so I got in front of it and hit it hard.” Fendrick said.

Third baseman Aaron Mingo went two for four with an RBI single, talked about being aggressive against ELAC but believed they had a good offensive game. 

“We just need to come out hot with the bats, but we were down and we hoped we were able to throw zeroes at them (ELAC)”, said Mingo. 

LBCC bounced back to win the final two games of the series against ELAC, improving their record to 9–14.

The Vikings’ current record is 10-16 overall and 7-6 in conference.

Alumni take on current LBCC men’s volleyball team

Sydney Lowe
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Alumni take on current LBCC men’s volleyball team

The Vikings men’s volleyball team played their annual alumni game against current players. The current team won in five sets, 3–2. 

Former LBCC athlete Joshua Nehls, who led the Vikings to a state championship in 2016, now serves as head coach, making the night a full circle moment for the program.

Alumni from as far back as 2008 through 2021 returned to compete, making it a great opportunity to reconnect and celebrate the team’s history.

Current members of the team enjoy this game because it can teach them new things. 

“Connecting with the alumni was especially meaningful since one of them is now their coach.  It gives the team added insight and perspective, along with constant encouragement to compete hard and “always be a dog.’” said current LBCC student Nathan Thai.

Alumni students like Devyn Zavala, who played from 2018-2020, credits LBCC for the way his career path played out.

“Had I gone to a different school outside of LBCC I think my career path would be different as well as my volleyball journey,”  Zavala said. 

The alumni games help the current team practice like they would play in a real game, hard and fighting for every point. 

“This year’s team is super competitive, they are fighting for every single point and they even ended up beating us tonight.”  Kristopher Johnson, another former LBCC player from the 2008 team, said. 

There are current students who enjoy the alumni game as it helps show the history of the teams before them. 

“Having the alumni back helps us see everything that built the program into what it is today and the state championships and the high level of players who came before us.” Travis Brown, current LBCC student, said. 

If it wasn’t for LBCC some alumni say they  would not have played volleyball or even been able to transfer. 

“I learned a lot from the team at the same time and it helped me grow,”  Krisopher Johnson, a member of the 2008 team, said. 

Rupert Scott, a former member of the 2014–2015 team, shared how the team felt like family when he attended LBCC.

“When I first joined the team it was shortly after moving to America, the team immediately felt like family to me,” Scott said.

Scott, who went on to play at the Division one level then moved on to play at the professional level as well, added that many of those teammates and old coaches remain some of his closest friends today.

The Vikings place a strong emphasis on friendship, culture, and being great teammates values that are clearly reflected in traditions like this.

The LBCC men’s volleyball team is off to an 11–7 start and 5–3 in conference play, with plenty of the season still ahead.

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