VOLUME 77 • ISSUE 4 • JULY 20, 2022
DOES PORTLAND NEED MORE UNIONS? NEWS
ARTS & CULTURE
OPINION
What do proposed changes to Portland city charter mean? P. 4-5
Fool’s Gold exhibit turns family memories into art P. 6
The workers of Portland need more unions P. 7
AT PSU L L A R O F N M U L O ORM C F T A L P N O I N I P O OPEN LIATION W/PSU ITOR • STATE NAME AND AFFI E ED ED AND CHOSEN BY TH TE AN AR GU T NO , ID PA COM • SUBMISSIONS ARE UN ITOR@PSUVANGUARD. ED TO NS IO IN OP D AN S ORIE • SEND THOUGHTS, ST
CONTENTS
COVER ILLUSTRATION BY LEO CLARK
CALL FOR SUBMISSIONS SEND US YOUR LETTERS TO THE EDITOR
P. 3
OPINION COLLECTIVE POWER ISN’T DEAD
P. 7
NEWS: PORTLAND BALLOT MEASURE OFFERS NEW FORM OF GOVERNMENT
P. 4-5
EVENTS CALENDAR JULY 20-26
P. 8
ARTS & CULTURE JODIE CAVALIER’S FOOL’S GOLD EXHIBIT MEMORIALIZES FAMILY THROUGH ART P. 6
STAFF EDITORIAL EDITOR IN CHIEF Tanner Tod MANAGING EDITOR Karisa Yuasa NEWS EDITOR Nick Gatlin MULTIMEDIA NEWS EDITOR Eric Shelby ARTS & CULTURE EDITOR Kat Leon OPINION EDITOR Justin Cory
PHOTO EDITOR Alberto Alonso Pujazon Bogani ONLINE EDITOR Christopher Ward MULTIMEDIA EDITOR Olivia Lee COPY CHIEF Nova Johnson DISTRIBUTION MANAGER Tanner Todd CONTRIBUTORS Camden Benesh Analisa Landeros Jesse Ropers Isabel Zerr
PRODUCTION & DESIGN CREATIVE DIRECTOR Whitney McPhie DESIGNERS Leo Clark Mia Levy TECHNOLOGY & WEBSITE TECHNOLOGY ASSISTANTS Rae Fickle George Olson Sara Ray Tanner Todd
ADVISING & ACCOUNTING COORDINATOR OF STUDENT MEDIA Reaz Mahmood STUDENT MEDIA ACCOUNTANT Maria Dominguez STUDENT MEDIA TECHNOLOGY ADVISOR Rae Fickle To contact Portland State Vanguard, email editor@psuvanguard.com
MISSION STATEMENT Vanguard ’s mission is to serve the Portland State community with timely, accurate, comprehensive and critical content while upholding high journalistic standards. In the process, we aim to enrich our staff with quality, hands-on journalism education and a number of skills highly valued in today’s job market.
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TANNER TODD After a month-long hiatus from publishing, the Portland State Vanguard is back—with an update! We will be reviving our “Letters to the Editor,” a recurring Opinion feature that publishes and spotlights voices from around PSU, as well as the larger community of Portland, Oregon. This is a section devoted to spotlighting the opinions and feelings of our readsers, rather than the writers and contributors in our newsroom, and we welcome submissions from anyone. We’re particularly interested in perspectives related to current Portland events and community issues, as well as circumstances that impact the Pacific Northwest overall. We’d also love to hear your thoughts on stories we’ve covered—if you have a strong opinion about something we’ve reported, write us! We’ll happily read your submissions. To share your letters for publishing consideration, email your thoughts to opinion@ psuvanguard.com with the heading LETTER TO THE EDITOR, followed by your subject line. We look forward to hearing from you soon. Sincerely, The Vanguard Editorial Staff
PORTLAND BALLOT MEASURE OFFERS NEW FORM OF GOVERNMENT THE PROPOSED REFORMS TO PORTLAND’S CITY CHARTER EXPLAINED NICK GATLIN Portlanders will vote on a ballot measure that would dramatically alter the structure of Portland city government this November. The proposal would make three major changes to Portland’s charter. First, it would institute ranked choice voting for city elected officials, allowing voters to rank candidates in order of preference rather than casting a single vote for one candidate. Second, it would increase the number of city council members from five to 12, with three each representing four new geographic districts. Third, the proposal would give sole legislative authority to the city council, removing the mayor entirely from council except in the case of a tie-breaking vote. Instead, the mayor would have exclusively administrative powers, and the authority to nominate city officials for the council’s approval. A new city administrator would take control of overseeing the city’s bureaucracy, a role that is currently fulfilled by the five commissioners. These proposed changes were drafted by the Charter Commission, an independent body appointed by the Portland City Council every 10 years to assess the city charter and recommend amendments. If approved by voters in Nov., changes would take effect by the Nov. 2024 elections.
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NEWS
The proposal has been met with a mixed reception among Portlanders, with multiple members of the Charter Commission— such as Mayor Ted Wheeler, Commissioner Mingus Mapps and Commissioner Dan Ryan—publicly voicing concerns about the possible changes, despite their loud opposition to the current form of government. Portland State Vanguard spoke to two people with knowledge of Portland’s current government—Richard Clucas and Ethan Seltzer—to get a better understanding of this potential overhaul. Richard Clucas is executive director of the Western Political Science Association and professor of political science at Portland State University, where he teaches courses on state and local government. Clucas outlined some of the complaints with Portland’s current government, particularly its “commission”-style system distinct from the more typical “mayor-council” system. Under a commission system like Portland’s, the city commissioners act as both legislators and administrators for the various city departments. Portland’s form of government was enacted in 1913 as a Progressive-era reform meant to increase government responsiveness to public concerns.
“We do have a commission system of government, which is very rare in America today, and we’re the largest city to have that,” Clucas said. “At one point in time there were lots of cities that had commission structures of government, but they came to find that these systems have lots of problems… Among the problems that are often identified is that you elect people who are asked to run a bureaucracy besides serving on the city council, and most of them don’t have any sort of professional background in running a bureaucracy. They may be good at running for election; that doesn’t mean they would be a good administrator.” While commission governments were originally intended as a progressive reform, many governments which adopted them ultimately chose another path. “I mean, the original impetus for creating commission forms of government about 100 years ago was a thought at the time that they responded well to crises,” Clucas said. “But over a period of time, after a variety of cities adopted them, they realized they really didn’t function well, and so they abandoned that charge.” Besides issues of administrative expertise and crisis response, Clucas noted that Portland city government has taken criticism for its citywide commissioner elections, which some point to as a reason why “[each commissioner] typically comes out of the central part of the city, and those who don’t live in central Portland—years, decades underrepresented—have not had a voice on the city council.” When asked about the argument that the ballot measure contained too many changes to be workable, Clucas had doubts. “The charter reform commission has come forward with a proposal that’s designed to address this myriad of different problems that are perceived to be existing in this city,” Clucas
PSU Vanguard • JULY 20, 2022 • psuvanguard.com
MIA LEVY
said. “And then to say, ‘Well, it’s too much, it’s too many things, there’s too much experimentation going on,’ there seems to be some other story here than that complaint.” The proposed set of reforms, Clucas argued, all “fall into what would be considered ‘best practices’ in government reform.” Reforms like ranked choice voting and geographic districts, he said, are regularly recommended by groups like the National Civic League in their Model City Charter, though they actually prefer a council-manager system with no mayor. On ranked choice voting, Clucas said, “If you look across the globe, it’s been used in a lot of different places, and if you talk to reformers about how to get political systems to have better representation, ranked choice voting is routinely held up as an ideal form of election system to have.” “There’s a complaint in this city, and has been, that different regions of the city are not being represented by the city government,” he said about geographic district elections. “And so the commission has put forward a proposal to address that.” Overall, he said, he was skeptical of the idea that one should oppose reform because “it has too many factors going on, it’s too unusual of a package put together,” because all the proposed changes represent best practices. “People who are complaining about too much going on probably have other things on their agenda that they are thinking about, but they’re not using it as a reason for opposing it,” Clucas said. Ethan Seltzer had a different outlook. Seltzer is a professor emeritus in the Toulan School of Urban Studies and Planning at PSU, and has previously served as the director of the Toulan School and the PSU School of Art + Design, land use supervisor for Metro, and assistant director for the Southeast Uplift Neighborhood Program. He has lived in Portland since 1980, and has worked for neighborhood associations in Southeast Portland, a city commissioner, and Metro, the Portland-area regional government. “Here’s the deal,” Seltzer said. “What I found when I was working for neighborhood associations was that the commission form of government… One of the things it really did was, by making city commissioners responsible for administration,
PSU Vanguard • JULY 20, 2022 • psuvanguard.com
it gave citizens direct access to the bureaucracy in a way they typically don’t get. If, for example, you have a concern about traffic in your neighborhood, you could talk to someone you can vote for who can give you access to the bureau in a way you don’t ordinarily get in other forms of government.” Seltzer did not consider Portland’s current government structure to be an insurmountable obstacle. “It’s an unusual form of government,” he said. “But at the same time, if you look at what Portland accomplished in the ‘70s and the ‘80s and the ‘90s, and even the 2000s, Portland went from invisible to being internationally recognized for accomplishing things that other cities weren’t accomplishing, changing its transportation system that really focused more on bikes and pedestrians, reviving its downtown in a way that other places only dreamed about… When you compare Portland to other cities in the United States, it wasn’t just one neighborhood or one business strip that came back during that period. It was the whole city.” “Despite the fact that… no other city of Portland’s size uses the commission form of government, nevertheless Portland accomplished something that other cities could only dream about, which is amazing,” Seltzer said. “You know, how could that be if it’s such a horrible form of government—then how did Portland do so much in a relatively short period of time?” Seltzer also voiced concerns about the reduced role of the city mayor under the reforms, and a lack of city unity. The Charter Commission, he argued, “has focused on one issue, which is representation. And they’ve done it in such a way that I think the proposal that’s coming out in November really does a disservice to the notion that we are a city, one city, trying to accomplish a city’s worth of work. The way that they have structured their proposal, basically you have a firewall between the policy side of city government and the administrative side. The mayor has no role in the legislative side of what the city does.” Regarding geographic district elections for city councilors, Seltzer was pessimistic: “If [the Charter Commission] were serious about wanting to wrap up geographical representation, they would have done it in the context
of a broader approach, which would have included some people elected citywide and some people not. In other words, there would have been an effort to ensure that a citywide perspective is part of the policymaking process of Portland— and frankly, what they’ve created, it will never have a citywide point of view. It’s just not in the cards.” Seltzer argued that the focus on reforming the government structure itself is a distraction from other issues, such as commissioners having difficulty passing legislation. “This is not a particularly wild-eyed bunch of people,” he said. “They’re pretty similar in their values and their concerns, and the way that they approach the issues. So why are they having trouble counting to three? Why can’t they get three votes for what it is they need to do? Why do they somehow think that the form of government is holding back their ability to operate effectively simply within the walls of City Hall itself? That seems like a weird excuse to me.” “I gotta tell you, when I worked for city government back in the ‘80s, we didn’t sit around bemoaning the form of government,” Seltzer added. Despite varying opinions on the reform process, both Seltzer and Clucas agreed that reforming the style of government would not fix any problems overnight. “There is no magic in governmental form,” Seltzer said. “There is no magic in socalled ‘professional management.’ The city of Portland has managed to accomplish great things with the commission form of government, and many governments managed by professional governments have been profoundly lackluster in their accomplishments.” After quickly paraphrasing Winston Churchill’s famous quote on democracy, “it has been said that democracy is the worst form of government except all those other forms that have been tried from time to time,” Clucas ended with this: “There is no panacea. There is no one particular form of democratic structure at the civic level that’s gonna work perfectly. The question is whether or not the changes that are being proposed will address the problems that are currently existing.”
NEWS
5
Fool’s Gold exhibit memorializes family through art
Cavalier captures a mix of fantastical and practical storytelling ARTIFACT AT JODIE CAVALIER'S FOOL'S GOLD EXHIBIT. CAMDEN BENESH/PSU VANGUARD JESSE ROPERS It’s clear from first glance that the Fool’s Gold exhibit transforms the gallery into something unique. As a result of the orange layer pasted over the usually clear windows at Portland’s HOLDING Contemporary gallery, the normally white walls inside appear neon orange. Upon entering the gallery, the orange light fades, but still subtly bathes the Pacific Northwest space in a light reminiscent of the Mojave Desert, where Fool’s Gold exhibit artist Jodie Cavalier grew up. The subject matter of Cavalier’s work often revolves around the lives of her family members, and this project is no exception. It focuses on the life of Cavalier’s grandfather, who passed away from COVID-19 in 2021. Cavalier’s show is a multimedia project that uses ceramics, seemingly ordinary objects and a select few printed pieces to transform the gallery space. The show runs from June 3 to July 30, with gallery hours from Friday to Saturday 12–5 p.m. A closing ceremony will be held on July 30 at the gallery from 5–7 p.m. and include a publication that will provide additional context for different pieces in the exhibit. In an interview with Vanguard, Cavalier discussed the origins of her project. “Conceptually, the show is about my grandfather, and it came out of writing at first,” she said. Her writing is a large part of her current practice and is what most of the show came out of, yet she said it didn’t feel right in the show itself. “I was thinking about how my grandfather didn’t know how to read, so I was like, ‘maybe it’s okay for it to come out of that, but it shouldn’t be the focus,’” Cavalier said. She continued thinking about the type of man her grandfather was, eventually tying his approach to life into her decision to use ceramics
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ARTS & CULTURE
as her main creative focus. “My grandfather was always tinkering around the house and working on projects,” she said. “He wasn’t educated; didn’t know how to read or write. But he always found these creative solutions and taught himself how to do things.” Cavalier took up this spirit, embracing ceramics as the primary medium without formal training. “I have some experience working with ceramics over the years, but it felt right to explore making with a material I wasn’t fully trained in,” she said. “I think that’s been quite wonderful because it reflects a lot of the ways I imagine he navigated the world. Finding solutions to things and learning things on his own.” Her journey with the medium included stumbles and multiple broken objects before arriving at how the show is today. Cavalier said that this natural exploration was crucial to her project. “There are certain things I made—like the handmade tools—that a trained ceramist would never attempt, because it doesn’t make sense with the material,” Cavalier said. “Me not knowing all the restrictions that clay has and learning along the way opened it up to some really creative, interesting objects.” “The palette of the show is something I thought about at the very beginning of the show in order to make decisions and reign things in so as not to include everything,” Cavalier said regarding her use of color. Ultimately, she chose three colors for the show’s base color palette. The first color was blue, symbolic of the blue denim and workwear her grandfather wore. “My grandfather wore blue jeans and a white t-shirt basically every day unless we were going to a funeral or a wedding,” Cavalier said. Naturally, the next color she decided on
was white as an extension of his daily attire. However, for her, it expanded beyond his clothes. “In southern California—don’t know if it’s just Mexican neighborhoods—the bottom half of tree trunks are painted white,” she said. “I was told as a kid it was to keep away a certain type of insect.” As it evolved, the association of white extended to include white picket fences and decorative rocks from the lawns of her childhood, as well as connecting white with flour tortillas. “I thought about how all these sources of white push up against the white walls of an institution, a gallery space, a school space,” Cavalier said. The final color she chose was green, linked with her grandfather’s sleek green work truck. This final color was ultimately less pronounced throughout the exhibit, and featured most prominently in the section titled Lunch as part of the stand that complements the work. As she continued the project, she added additional colors inspired by found objects of her grandfather’s. Some objects Cavalier included for the way they complemented the themes and color scheme of the show, while others she chose due to how they displayed her grandfather’s personality. One example is in the wrapped belts placed on the wall of objects. “They were these tender objects I found,” Cavalier said. “The pride and care that went into wrapping them and storing them in a particular way. There’s such tenderness and care, and it’s a way to showcase that through objects.” Another object that shows her grandfather’s ingenuity is the abalone shell holding poker chips in the workstation section. “He just tied wire around an abalone shell and used it as a thing to hold screws and nails and things,” Cavalier said. “I was like, wow! I didn’t realize how much we shared sensibility in making.
I don’t think he would ever have considered himself an artist, but I learned so much from him and embodied it naturally.” She also touched on the importance of blurring the lines of formal training and her grandfather’s craftiness while not putting one above the other and letting both shine. Themes of gambling, luck and wealth are apparent in the workshop scene and throughout the show in nearly every work. Cavalier explained how this vein of thought was essential to the show. “My grandfather gambled a lot, and I wanted to include that not so much in terms of addiction, but more so in the sense of dreaming,” she said. “I can’t speak for anyone else’s experience, but for me growing up poor was thinking about what it would mean to find gold or to be wealthy. Not so much a class difference. It was more so kind of an escape.” She linked this directly with her work, saying, “For me creating a space in the gallery is a similar process of creating a different reality, headspace, or timeline you can operate on before you come to and are back in the reality of the situation.” This idea is continued in the show by including both real objects of her grandfather’s and made pieces. “There’s a mixing of the fantasy and the dreaming with the more practical, factual storytelling,” Cavalier said. “Those two worlds are meshed together in the space.” As a whole, Cavalier hoped that everyone could get something out of her show. “I want [people] to come through with openness and curiosity,” she said. “I want them to find a space where they can meditate on ideas that are complicated and sad and still find moments of beauty in them. For them to walk away with an entry point to do that for themselves in their own practice, whether it’s artistic or not.”
PSU Vanguard • JULY 20, 2022 • psuvanguard.com
COLLECTIVE POWER ISN’T DEAD STRIKE THEM WHERE IT HURTS
LEO CLARK ALEX ALDRIDGE Since I started paying close attention to politics over the last eight years, I have noticed time and time again calls for a general strike as a response to various repressive policies or legislation, the latest of which being a call for a general strike in response to the Supreme Court’s decision to overturn Roe v. Wade. While a general strike that shut downs the economy would give bargaining power back to the working class when negotiating with a capitalist elite who are exploiting their labor at an increasing rate, the foundation required to pull off a large-scale coordinated general strike is missing enough pieces to make the chances of that happening frustratingly low. The most important of these missing pieces is union participation. In 1983, 20.1% of the workforce were union members, compared to only 10.3% in 2021. Like the McCarthyism of the mid-20th century that created a fear of the Communist boogeymen and convinced enough people to where they laughably believe that center-right President Joe Biden is a socialist, the corporate ruling class has done a phenomenal job of brainwashing the populace enough to the point that one has to whisper the word union at their workplace like it is a dirty word that will get them fired. Over the past couple of years we’ve seen a national labor movement with successful union elections taking place at multiple different companies, most notably Amazon and Starbucks. The workers pushing for unionization have faced an uphill battle from companies that would like nothing more than to continue to maximize their profit margins at the expense of the workers. In 2021, Amazon reportedly spent $4.3 million on antiunion consultants, which is only a speck of dust compared to the $137.4 billion they made in the fourth quarter of 2021 alone. The battle for unionization to improve the lives of the working class is taking place here in the Pacific Northwest as well. At the end of 2021, workers at five Burgerville locations ratified the first fast-food union contract in the nation with the help of the Industrial Workers of the World, though it was a three-year journey involving picket lines and boycotts. Other efforts have seen more pushback. The opposition and disruption of another local unionization push was evident at Voodoo Doughnuts during last summer’s heat waves, when management at the Old Town location fired nine employees who didn’t show up to work for two of the hottest days due
PSU Vanguard • JULY 20, 2022 • psuvanguard.com
to safety concerns from the heat. The National Labor Review Board (NLRB) found that Voodoo Doughnuts had violated their employees’ rights by firing them as retaliation for their strike. Currently, two New Seasons locations are also in the process of waiting for the NLRB to approve the paperwork to begin a vote for unionization. Though a New Seasons location in North Portland failed in a union drive in 2017, the current push from the other two locations seems to have been sparked by a series of policy changes, including a new attendance policy by the company. While higher union participation should be a priority for the working class across all industries, it is important to note that not all unions are effective or even representative of the working class. Top-down structured unions—like the 57 national unions that make up The American Federation of Labor and Congress of Industrial Organizations (AFL-CIO)—are so tied up in a bureaucratic and hierarchical nature that they often do a terrible job of representing the workers in order to not cause friction with their employers. If the goal of a union is to represent the interests of the workers in giving them collective bargaining power, then these AFL-CIO type unions have already failed in that mission based on their top-down structure alone. Much like our politics being more of a representative democracy than a direct democracy, the set-up of some of these unions gives more of an illusion of collective power for the workers, rather than representing the rank and file members of the working class. The working class will always face an uphill battle against the ruling class’ bloodthirsty quest for profit at the expense of their employees. For too long wages have stagnated at an insulting rate compared to the rise of cost of living, especially when looking at previous generations comparatively. The capitalist class has clamped down on the working class so efficiently and tightly— suffocating us all in the quest for profit—that working class solidarity and collective bargaining are necessary means of defending ourselves from exploitation. They say that nobody wants to work anymore, which I believe is true. No one wants to work for shit wages and insufficient hours for a company whose CEO can buy another yacht or go into space while their workers are having to work three jobs just to feed their kids.
While it’s incredibly important to look at labor movements from the past, especially when we take for granted some of the benefits we have because of those movements, the working class of today looks very different and will require different strategies and methods to stop the exploitation of our labor by the contemporary capitalist elite. Independent contract and gig work make it hard for individuals to be able to effectively advocate for themselves. Any time the working class is divided, whether it be from companies having multiple tiers of employees or through the creation of temporary or independent contractor positions, the strategy is to amplify individualism of the worker in order to dissuade working class solidarity. Much like polluting companies and mainstream environmentalism passed off responsibility to the consumers, any push for individualism should be looked at critically as a strategic effort to divide and conquer the working class. Creating a strong labor movement and working class solidarity—including much higher union participation—are essential elements if we want to see a successful general strike come into fruition. Strike funds would also be necessary to help workers when they go on strike, as without those safety nets, many of the working class wouldn’t be able to sustain themselves for the duration of a strike. A strong labor movement would facilitate the collective bargaining power that the working class could use when fighting against the exploitation of their labor by the capital class. While the capitalist system is still intact and trampling over the workers to further enrich the wealthy, the working class needs to fight tooth and nail against the continued exploitation of their labor. Whether that be through conventional methods like unionization and collective bargaining, or through sabotage of the workplace to disrupt company profits, the means by which workers need to fight will need to be different and creative. An injury to one is an injury to all, and working class solidarity is a necessity moving forward into the uncertain and bleak future. Similar to how state-preferred methods of protest are less effective than more creative direct actions, our labor’s power of strike and refusal is still a far more powerful weapon against capital than permitted protests or boycotts.
OPINION
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EVENTS CALENDAR JULY 20-26 ERIC SHELBY
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SAT JULY 23
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TUES JULY 26
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FILM/THEATER
COMMUNITY
SENIOR DRAWING STUDIO TRUE NORTH STUDIOS 1–3 P.M. $15 LEARN DIFFERENT DRAWING TECHNIQUES, MEANT FOR SENIORS
BLACK PIONEERS NIGHT KELLY’S OLYMPIAN 9 P.M. $15 THIS 21+ EVENT HIGHLIGHTS BLACK ARTISTS AND PRODUCERS, AS WELL AS A LOCAL CLOTHING BRAND
ELEMENTAL HOLLYWOOD THEATRE 7:30 P.M. $10 WORLD PREMIERE OF THE FILM IN WARNING OF WILDFIRES IN THE WAKE OF THE EAGLE CREEK FIRE IN 2017
ENCHANTED TECHNOLOGY SUMMER FESTIVAL FARIBORZ MASEEH HALL ALL DAY FREE SUMMER CLASS BY THE PSU SCHOOL OF ART + DESIGN OPEN UNTIL AUGUST 23
MICHELANGELO’S SISTINE CHAPEL: THE EXHIBITION PIONEER PLACE 10 A.M.–6 P.M. $18.30–$25 34 DISPLAYED REPRODUCTIONS OF MICHELANGELO’S WORK
MACHINE GUN KELLY - MAINSTREAM SELLOUT TOUR MODA CENTER 7:30 P.M.–11:30 P.M. $25–$135 MULTI PLATINUM ARTIST TOUR ENDS UP IN PORTLAND
HADESTOWN KELLER AUDITORIUM 2 P.M.–4 P.M. $507 EIGHT TIME TONY AWARD WINNING MUSICAL IN PORTLAND UNTIL ITS LAST SHOW ON THE 22ND
HAPPY HOUR CRAFTS AND PINTS DIY BAR 2 P.M.–4:30 P.M. $28 BEER AND PAINTING CLASS LED BY AN INSTRUCTOR
ILLUSTRATION AND DRAWING SUMMER CAMP 232 SE 80TH AVE, PORTLAND 9 A.M.–3 P.M. $80–$375 FOR AGES 5–12, LEARNING ABOUT ART IN DIFFERENT WAYS
FRANKY WAH 45 EAST 10 P.M. $10+ ELECTRONIC DANCE MUSIC, 21 AND UP
JESUS SHOWS YOU THE WAY TO THE HIGHWAY 5TH AVENUE THEATER 7 P.M. & 9:30 P.M. FREE FOR PSU STUDENTS & STAFF, ALUMNI $5 GENERAL ADMISSION, CASH ONLY 2019 FILM BY MIGUEL LLANSO
DOLPHIN MIDWIVES ALBERTA ABBEY 8 P.M. $12 MUSIC PROJECT BY COMPOSER AND SOUND ARTIST SAGE ELAINE FISHER
ARTIST TALK: KELLI CONNELL BLUE SKY GALLERY 1 P.M.–2 P.M. FREE PNW PHOTOGRAPHERS SHARE THEIR UNIQUE EXPERIENCES
PORCH CONCERT SERIES CATHEDRAL PARK PERFORMING ARTS COLLECTIVE 10 A.M.–12:30 P.M. FREE SECOND ANNUAL CONCERT SERIES WITH FREE, LIVE MUSIC
JAW FESTIVAL: UNTITLED PROJECT BY LARRY OWENS ELLYN BYE STUDIO 7:30 P.M. FREE MUSIC AND CREATIVE STORYTELLING
ST. JOHNS ART WALK ST. JOHNS BOOSTERS 10 A.M.–4 P.M. FREE SHOWCASE OF LOCAL ARTISTS IN OREGON
COLOR LINE: BLACK EXCELLENCE ON THE WORLD STAGE PORTLAND ART MUSEUM ALL DAY $25+ EXHIBITION AT THE MUSEUM UNTIL FALL OF 2022
SINTA SAXOPHONE QUARTET - AMERICAN VOICES LINCOLN HALL 175 4 P.M.–6 P.M. $10+ JAZZ AND FOLK STYLE SAXOPHONE QUARTET
JAW FESTIVAL: A PLAYWRIGHTS’ FESTIVAL PORTLAND CENTER STAGE 1 P.M. FREE INVITES PEOPLE TO THE CREATIVE PROCESS OF A PLAYWRIGHT
OPEN STUDIO PORTLAND: WORKSHOP 3 UPCYCLING BLU DOT 10 A.M.–12 P.M. FREE WITH DESIGN-BASED ACTIVITIES FOR 9-13 YEAR-OLDS
FIGURE FOUR PORTLAND CENTER STAGE AT THE ARMORY ALL DAY FREE AN EXHIBIT ON AMERICAN POP CULTURE UNTIL SEP. 30
WAVVES ALADDIN THEATER 8 P.M. $22 SOUTHERN CALIFORNIA INDIE ARTIST
FIRE OF LOVE HOLLYWOOD THEATRE 7:30 P.M. & 9:15 P.M. $10 A VOLCANO LAVA LOVE STORY BETWEEN TWO SCIENTISTS
SEXYHEALS DANCE CLASS BODYVOX 7:30–8:30 P.M. $20 DANCING CLASS
MIKE BENNETT’S DINOLANDIA SW BROADWAY AT YAMHILL 11–7 P.M. FREE VISIT MIKE’S CREATIVE DINOSAUR ART ALL AROUND DOWNTOWN PORTLAND
LILY ROSE MISSISSIPPI STUDIOS 9 P.M. $15 COUNTRY ARTIST WITH HIP HOP BEATS AND R&B
THIEF IN 35MM HOLLYWOOD THEATRE 7:30 P.M. FREE 1981 CRIME THRILLER BY JAMES CAAN
W. KAMAU BELL & KATE SCHATZ IN CONVERSATION WITH MEGAN RAPINOE POWELL’S CITY OF BOOKS 5 P.M. $25+ CONVERSATION ON ANTIRACIST ACTIVITY BOOK
EVENTS
PSU Vanguard • JULY 20, 2022 • psuvanguard.com
