Portland State Vanguard Volume 77 Issue 5

VOLUME 77 • ISSUE 5 • JULY 27, 2022

“P

C E P S ER

” S E V I T

E X H I B I T SPOTLIGHTS PROTEST PHOTOGRAPHY

ARTS & CULTURE

NEWS

OPINION

BLM Protest Photography comes to Portland Art Museum P. 4-5

A closer look at Portland’s historic rise in crime P. 6

Ted Wheeler is the face of progressive hypocrisy in Portland 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 DESIGN BY WHITNEY MCPHIE COVER PHOTO BY JEREMIAH HAYDEN

CALL FOR SUBMISSIONS SEND US YOUR LETTERS TO THE EDITOR

P. 3

OPINION TED WHEELER IS A FALSE PROGRESSIVE

P. 7

ARTS & CULTURE “PERSPECTIVES” EXHIBITION SHINES A SPOTLIGHT ON RACIAL JUSTICE

P. 4-5

EVENTS CALENDAR JULY 27-AUG. 2

P. 8

NEWS: PORTLAND IN THE 2020S: A RISE IN CRIME

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 Jeremiah Hayden Analisa Landeros Jesse Ropers Isabel Zerr

PRODUCTION & DESIGN CREATIVE DIRECTOR Whitney McPhie

ADVISING & ACCOUNTING COORDINATOR OF STUDENT MEDIA Reaz Mahmood

TECHNOLOGY & WEBSITE TECHNOLOGY ASSISTANTS Rae Fickle George Olson Sara Ray Tanner Todd

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.

ABOUT Vanguard, established in 1946, is published weekly as an independent student newspaper governed by the PSU Student Media Board. Views and editorial content expressed herein are those of the staff, contributors and readers and do not necessarily represent the PSU student body, faculty, staff or administration. Find us in print Wednesdays and online 24/7 at psuvanguard.com.

Follow us on Facebook, Twitter and Instagram @psuvanguard for multimedia content and breaking news.

FOR MORE INFORMATION, EMAIL EDITOR@PSUVANGUARD.COM

SEND US YOUR LETTERS TO THE EDITOR! HAVE A STRONG OPINION ABOUT CURRENT PORTLAND EVENTS? SHARE IT!

FOR MORE INFORMATION, EMAIL EDITOR@PSUVANGUARD.COM

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

“PERSPECTIVES” EXHIBITION SHINES A SPOTLIGHT ON RACIAL JUSTICE

Portland Art Museum showcases photography from Black Lives Matter protests "PERSPECTIVES" EXHIBITION AT THE PORTLAND ART MUSEUM. JEREMIAH HAYDEN/PSU VANGUARD JEREMIAH HAYDEN When Minneapolis police officer Derek Chauvin murdered George Floyd, he ignited a worldwide firestorm that would last throughout the summer of 2020. While it was far from an isolated incident, Floyd’s death was a massive awakening for those incited to action by video evidence of the arrogant cruelty of United States policing, particularly against Black Americans.

Portland protestors endured an onslaught of pushback from elected officials and police during the protests. This included, but was not limited to, the Portland Police Bureau’s constant use of tear gas and Donald Trump’s publicity stunt in which federal agents tear gassed and kidnapped Portlanders off the streets in unmarked vans.

Perspectives, a new exhibition at the Portland Art Museum (PAM) from July 16 through Nov. 13, bears witness to this history-

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ARTS & CULTURE

making racial justice movement through the camera lenses of Portland photographers. The exhibition features more than 60 works from local photographers of color and creates space for conversations about how systemic racism pervades society.

“The very first day that the protests happened at Peninsula Park and into downtown, when everyone destroyed everything, I was there,” exhibiting photographer Mariah Harris said. “I had no idea what was going to unfold—I never had any protest photographing experience. Turns out, I’m really good at it.”

Born and raised in Portland, Harris typically focused on family and boudoir photography, but in the summer of 2020 was compelled to document a protest happening a couple of blocks from her house.

“I wasn’t prepared for the police brutality,” Harris said.

“There’s another activist, Mac Smiff, and he did some quote about how when we first came out, we were out here with hula hoops and flip-flops, then by the end of the summer, we were out here in bulletproof vests, gas masks and wet-wipes—just to get protection from the police.”

She noticed that media coverage often focused on spectacle and chaos. “I’d rather find some Black joy,” she said. All her photos are in color, edited in a similar style to how she edits her portraits—bright saturation with a subtle sepia tone.

“The fact that people are able to express Black joy while protesting Black pain—that’s freaking crazy,” she said.

For the exhibition, Harris self-published a book of her photos.

PSU Vanguard • JULY 27, 2022 • psuvanguard.com

"PERSPECTIVES" EXHIBITION AT THE PORTLAND ART MUSEUM. JEREMIAH HAYDEN/PSU VANGUARD She sees increased support of Black-owned businesses as one of the movement’s wins.

“That positively affected people’s lives because, you know, people want income,” she said.

The seeds for Perspectives were planted as protests were ongoing. Rachael Allen and exhibiting artist Daveed Jacobo work together at Portland’s Village Free School. Allen had been thinking about colonization and eurocentrism in art and coldsubmitted a form on the PAM’s website after finding inspiration from Jacobo’s protest photos.

“I want to know what you’re doing to uplift people in this moment—to commit to community, to decolonize art in the museum,” she recalled stating in the email. “Do you have ideas?” the museum wrote back.

What started as an idea for an online exhibit quickly morphed into a guerilla art campaign or an outdoor show in the museum courtyard. As more decision-makers got on board, it ultimately found its place in the main gallery.

A group of Village Free teachers had joined Black Lives Matter protests as schools remained closed due to COVID-19.

“For us, it was connected to school systems and punitive action,” Jacobo said. “There’s been this maturing rhetoric around philosophies of—can we create a better world, that’s not this police state, carceral system—but also of relationships? We’re not here to police each other. We’re here to be in relationship.”

Born in Los Angeles, Jacobo moved to Guatemala after his home was destroyed in the 1984 Northridge earthquake. He recognizes that although his experience as an Indigenous person and son of undocumented immigrants in the U.S. differs from that of many Black Americans, the movement for racial justice offers countless opportunities for solidarity.

“I have very strong feelings around authority and policing in general because of the way I grew up,” Jacobo said. “Ever since I can remember, the police were always an enemy or a danger, a threat.”

At the opening of Perspectives on July 16, Teressa Raiford of Don’t Shoot Portland moderated a panel with the exhibiting photographers. The conversation highlighted the views that informed each artist’s work, from radical abolitionist ideals to more liberal notions of reform and representation. Raiford asked the artists what they hoped viewers would gain from the exhibition.

“Don’t look at it and go on,” Linneas Boland-Godbey said. “Take a second, take a breath, figure out if there’s a story behind it.”

Boland-Godbey’s “Masks of Color” photo series highlights the disproportionate effect that COVID-19 has had on people of color.

“People like me are still being murdered at high rates,” Joseph Blake said. “We’re still dealing with brutality in all shapes and forms.” Blake recently graduated from Portland State and finished his student teaching at Sunnyside Environmental School. The protests were the first time he felt taken seriously as

PSU Vanguard • JULY 27, 2022 • psuvanguard.com

"PERSPECTIVES" EXHIBITION AT THE PORTLAND ART MUSEUM. JEREMIAH HAYDEN/PSU VANGUARD a photographer. “Just remember that it’s still happening,” he said.

Emery Barnes, who now lives in New York, wanted to photograph the full range of experiences at the protests—anger, joy, and everything in between. He hopes viewers remember the initial catalyst for the protests. “Why were we protesting, and what can we do to avoid things like this happening in the future?” he asked.

Byron Merritt, an executive at Amazon in Los Angeles, brought his camera downtown during the uprising. His street photography— portraits of people in front of the infamous black wall installed to protect the Apple store—does not capture any protest activity. In addition to his subjects, he was intrigued by the background of the portraits—a constantly-changing graffiti art mural in honor of George Floyd and others killed by police across the U.S. “One of my mindsets was less about taking people’s portraits,” Merritt said. “It was more about giving people portraits.”

An interesting dichotomy in Merritt’s work is a pair of photos that feature Portland Police Chief Chuck Lovell and other officers standing in front of the George Floyd mural in uniform.

“Art is art,” Portland activist and journalist Mac Smiff said when asked about the photo at the opening reception. “I’m not sure I would take a puff piece photo like that, but understanding some context of how that happened could maybe help it make sense.”

“I just showed up one day and just shot whoever was there,” Merritt said. “I didn’t recognize them when I shot it. Everyone there was there for a reason, and I don’t know what their reason was at that time. I did find it interesting that they were there.”

Asked if he was concerned that it might effectively cleanse the image of the police during an uprising against police violence, Merritt replied, “No, no, that wasn’t a concern of mine.”

“The point of art is to ask questions,” Smiff said. “Being in a museum says, ‘this is over, this is history.’ Confronting emotions through art can be healing and helpful—but it’s still a museum.”

“Hopefully, it’s gonna give hope to people and energy again,” Harris said. “Just reflect on how we’ve come a long way, but we still got a long way to go. We want to tell our own damn history, and we can tell it the way we want to.”

ARTS & CULTURE

5

PORTLAND IN THE 2020S: A RISE IN CRIME A LOOK BEHIND THE INCREASE IN VIOLENCE BYSTANDERS AT A PORTLAND CHURCH FIRE IN 2020. ERIC SHELBY/PSU VANGUARD

JESSE ROPERS Over the past few years, crime rates have been on the rise across the country. Portland has been no different, with dramatic increases in reported crime, particularly homicides.

Once one of the safest large cities, Portland’s homicide rate in 2022 is on track to break historic records with 51 murders as of July.

To put this number into context, the yearly average of homicides for the past two decades has hovered in the 20s.

“We are in a different place than we’ve ever been,” said Brian Renauer, chair of the criminology and criminal justice department at Portland State and school faculty for 22 years. “Particularly when it comes to violent crime and homicide, we’ve been among the lowest in the nation in terms of rate per population. It wasn’t until 2019 when we saw the beginning of a dramatic increase in homicides in the following years.”

Renauer made sure to stress the starting point for the current trends. “It’s important to know that this trend began a year prior to the pandemic, as well as any changes to the Police Gang Enforcement unit or the disbanding of Portland Police Bureau’s Gang Enforcement unit,” he said. Both of these units were dramatically changed after the 2020 George Floyd protests, as both have been proven to disproportionately target Portlanders of color, particularly Black Portlanders.

6

NEWS

“The idea that removing a number of officers from being on duty negatively leads to a rise in crime is based on the premise that they were out proactively discovering and preventing criminal activity before it occurred, or that by them making arrests of those accused of crimes and putting them into the criminal justice system is doing something effective to reduce crime rate and help people,” Renauer said. “Saying that crime rate hinges on just the police is just too simple of an explanation for why crime is going up or down… there are so many other factors that come into play. One of those factors is the criminal justice system, but the police only play a small role in the system.”

Instead of subscribing to the mindset that less cops equals more crime, Renauer had a different view. “What are the strategies that the entire criminal justice system is applying to address crime and recidivism, and to assist people returning from prison?” Renauer asked.

“97% of those who are going to prison are coming back to our community, and are they coming back better equipped to reintegrate into society and live a crime-free lifestyle?”

Renauer wasn’t entirely dismissive of the idea that some parts of reorganizing police structures in recent years have had negative effects. “This is not to say that the reduction in staffing is not problematic,”

he said. “Reduction in staffing can pose—if it’s significant enough—an issue. That’s the question. Does it reach a point in the reduction of staff that it does become detrimental to the agency function, and we don’t have good evidence to what that point is.”

Moving beyond the police, Renauer detailed the many nuanced and complex factors that could be responsible for the increase in homicides.

“There isn’t a lightbulb switch that goes off in someone’s head that makes them want to go out and start shooting people,” he said. “It’s the evolution of a developmental process in that person that they come to the realization that carrying a gun, using that gun, achieves some sort of purpose or fits some rationale in their head.

That’s not something that occurred overnight, but instead evolved over years.”

A crucial aspect Renauer attributed to the increase in homicides dates much farther back than 2019, originating in the Great Recession of 2008. The historic economic devastation of the 2008 financial crisis destroyed opportunities across the nation, especially in already disadvantaged and disenfranchised communities.

“You had a generation of kids that were perhaps elementary to middle school range to high school range that are seeing opportunities lost for their friends, family, neighbors that changes their

viewpoint on their life expectations,” Renauer said. “Usually what we know about people who get involved in gun violence is that they grew up in some traumatic situations in their households or neighborhoods.”

A majority of those killed in 2021 fell between the ages of late teens to early 30s, those most affected by the trauma of the recession.

Currently what is known about those doing the killing is that, more often than not, they match the victims demographically.

Beyond homicides, Renauer clarified that violent crime as a whole has not seen the same levels of dramatic increases. “It’s really only homicides in which we see this sort of three year increasing trend, but violent crime as a whole is still lower than historic high levels, and a lot better than other urban areas,” he said.

“I think it’s a good time for the system to really pull back and think through the way it’s approaching crime all across police, courts and corrections,” Renauer said. “How they are working together, how they could be more effective with one another and working with communities and politicians to address crime.”

As for the future, Renauer is hopeful. “I’m optimistic that this isn’t a permanent feature of the area, in the sense that we’ll be able to right this ship in the next couple of years.”

PSU Vanguard • JULY 27, 2022 • psuvanguard.com

TED WHEELER IS A FALSE PROGRESSIVE PORTLAND'S MAYOR IS EMBLEMATIC OF THE LIE OF PROGRESSIVE CAPITALISM

WHITNEY MCPHIE

PSU Vanguard • JULY 27, 2022 • psuvanguard.com

JUSTIN CORY

By now it is doubtful that many people—regardless of whether they reside within or without the city of Portland— have illusions about the authenticity of Ted Wheeler’s portrayal as a progressive.

In the face of the historic uprising for Black lives and police abolition after the brutal murder of George Floyd, Wheeler refused calls to give up his position as police commisioner. He has continually stood in the way of substantive police reform.

In 2020, the city passed police funding cuts due to mounting public pressure only to have Wheeler turn around and increase their funding the following year using the same tough on crime tropes as conservatives, in spite of more police not being a real solution to the increase in violent crime we have seen. Sending in armed state mercenaries is much easier than owning up to and facing the scale of economic and institutional failure we are experiencing.

He has also continued to shirk responsibility for the undeniable brutality Portland police meted out on protestors night after night under his command in 2020 and into the present.

There is also his continued courtship with conservative business lobbies like the Portland Business Alliance (PBA). According to the Willamette Week, PBA was fined for violating city lobbying rules 25 times, writing that “the penalty is significant in part because Wheeler’s narrow reelection victory in November was largely bankrolled by business interests, which were simultaneously making policy demands of his office that they failed to disclose to the public.”

Combine all of that with his continual dehumanization of houseless people through policies of sweeps and inhumane camping bans, as well as lack of access to housing, exorbitant costs of living and developer greed, and it’s hard to see Wheeler as anything other than the typical rich businessman’s lackey.

But Tear Gas Teddy comes from a long line of white settler colonial ancestors who were eager to cut up the Indigenous lands known as the Oregon territories.

These so-called pioneers exploited natural resources and amassed the kind of massive wealth necessary to catapult Wheeler to the position of power and dominance that he currently maintains.

In 1912 Ted Wheeler’s great-grandfather Coleman Wheeler founded a lucrative timber company in Wheeler, Oregon, but only after they and their cohorts cleared the timber-rich lands of the Siletz and Tillamook tribes who had lived upon them for thousands of years.

An article from 1913 in the Tillamook Observer wrote that the wealthy Wheeler Lumber Company founded the coastal town “employing only white labor.”

Throughout the 20th century, the company expanded all across Oregon and into Northern California, amassing more and more Indigenous lands and deforesting them for the family’s financial gain.

After Coleman passed away in 1973, Ted Wheeler’s father Samuel Wheeler took the reins of the company and led the merger with several others to become Willamette Industries. Weyerhaeuser bought them out in 2002 for $6 billion, leaving Samuel Wheeler controlling 1.5 million shares worth about $83 million.

An incredibly important and often neglected aspect of these events was the devastating Indian Termination Policy implemented by the United States government from the 1950s to the 1970s.

These policies aimed to end the federally protected land trusts agreed to in countless treaties signed between tribes and the U.S.

Under Public Law 588, the Oregon coastal tribes of Siletz, Grand Ronde, Coquille, Coos, Lower Umpqua, Siuslaw and others were terminated on Aug. 13, 1954, when President Eisenhower signed the bill into law. Fixico reported that each tribal member received a final per capita payment of $792.50 for the sale of Grand Ronde reservation timber and grazing lands to U.S. timber interests.

One of the largest of those coastal benefactors was the Wheeler Lumber Company.

Termination was also devastating to the Klamath Tribe of Southern Oregon and Northern California.

David G. Lewis wrote that “the Klamath Reservation was very wealthy in timber and water resources, and included a large forest of about 1 Million acres of Ponderosa Pine and access to the upper Klamath River as well as the headwaters of the river.” The tribe lost water rights, fishing and hunting rights and their land was sold off to private parties in 5000 acre increments.

These policies almost ensured the end of these dispossessed tribes—all as more money flowed into the coffers of wealthy timber companies like the one owned by the Wheelers.

The Siletz, Cow Creek Band of the Umpqua Tribe, Coos, Lower Umpqua, Siuslaw, Klamath and Coquille tribes fought back and did win back federal recognition and some small remnants of their federally-protected trust lands throughout the 1970s and ‘80s.

For the Klamath the damage was already done, and as Fixico wrote, “the law did not restore all of their former reservation lands, leaving them only a dozen small areas of about 300 acres in Klamath County.”

According to the World Forestry Center, Coleman Wheeler was “always proud of his pioneer heritage, he was a former director of the Oregon Historical Society. In 1962, he was made a trustee of the Oregon State University Foundation.”

These Oregon institutions continue to glorify “pioneers” like Wheeler’s ancestors while their descendant presides over the largest city in Oregon and continues the probusiness colonial exploitation of these lands and the people on them, Indigenous and settler alike.

I wish that this kind of privilege and pseudo-royal white settler ascendancy were an anomaly in the contemporary era of the so-called United States.

However, when you follow the money and trace the ancestry of our current batch of political and economic leaders across the nation, most of them derive from these same kinds of circumstances.

This history is alive today as it manifests in the wealth and sovereignty stolen from Indigenous people, enslaved people, immigrants and even disenfranchised white settlers promised a better position if they remained loyal to the racial caste they joined by virtue of having white skin at birth.

So-called progressive Democrats across the nation stand as inheritors of this legacy just as deeply as conservative Republicans do. Both also continually fight for their true class interests in maintaining the empire through military imperialism, economic hegemony, ecological devastation through resource exploitation and all of the other requisites to keeping the parasite of capitalism functioning.

Ted Wheeler isn’t all that different from Donald Trump when it comes to their inheritances of vast family fortunes through generational violence and their modern amassing of power and influence, as well as whom in our society they really answer to.

In 2016, the Willamette Week reported that Ted owned “a $1.3 million home in Portland’s West Hills, a beachfront home in Arch Cape, Ore., and an $800,000 property in the San Juan Islands.”

He should give these and all of his riches back to the Indigenous descendants of the people his ancestors robbed. Further, we as a society should organize ourselves to fight back against these systems of death, misery, exploitation and ecological pillage. Give the land back to the over 566 tribes of Turtle Island, ask their forgiveness, make restitution and build a new society based upon human flourishing. None of the political parties are going to do any of this, but it must be done.

OPINION

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Events Calendar July 27-Aug. 2 ERIC SHELBY

WED JULY 27

THURS JULY 28

FRI JULY 29

SAT JULY 30

SUN JULY 31

MON AUG. 1

TUES AUG. 2

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ART

MUSIC

FILM/THEATER

COMMUNITY

INTERNATIONAL MULTICULTURAL SHOWCASE OREGON SOCIETY OF ARTISTS 10 A.M.–4 P.M. FREE EXPERIENCE THE LAST DAY OF THIS EXHIBIT

MUSIC ON MAIN: JACKSTRAW MAIN STREET 5 P.M. FREE BLUEGRASS MUSIC ON MAIN STREET, PORTLAND

D.E.B.S OMSI 8 P.M. $20+ 2004 TEEN ESPIONAGE FILM

DRAG QUEEN BINGO THE PHARMACY PDX 7 P.M. FREE BINGO HOSTED BY LOCAL DRAG QUEENS

HELD TIGHT FULLER ROSEN GALLERY 12 P.M. FREE ART EXHIBITION BY MOLLY ALLOY

THE OTHERSIDE TOUR WONDER BALLROOM 6:30 P.M. $26 AMERICAN COUNTRY MUSIC BY CAM

NEPTUNE FROST HOLLYWOOD THEATRE 7:30 P.M. $10 AFRO SCI-FI PUNK FILM SET IN RWANDA

LAVENDER U-PICK WAYWARD WINDS LAVENDER FARM 10 A.M.–5 P.M. FREE EXPLORE THE LAVENDER FIELDS

BLACK DOMAIN ARCHITECTURAL HERITAGE CENTER 11 A.M.–5 P.M. $8 PHOTOGRAPHY EXHIBIT WITH PORTRAITS OF BLACK PORTLANDERS

DJ AND LIVE MUSIC THE PHARMACY PDX 9 P.M. FREE MUSIC AND A DJ

OTHELLO LUUWIT VIEW PARK 7 P.M. FREE SHAKESPEARE PLAY

JIMMY O. YANG NEWMARK THEATER 7 P.M. + 9:30 P.M. $30+ STAND UP COMEDIAN AND WRITER COMES TO PORTLAND

ART IN THE DARK: GLASS SHADOWS MARY S. YOUNG PARK 7:30 P.M. $80+ AERIAL DANCE IN THE TREES

DESTRUCTO 45 EAST 10 P.M. $15 DJ PRODUCERS IN PORTLAND

THE WARRIORS IN 35MM HOLLYWOOD THEATRE 7 P.M. $10 1979 FILM TAKING PLACE IN NYC BY WALTER HILL

PORTLAND’S WORLD NAKED BIKE RIDE PENINSULA PARK 9 P.M. FREE RIDE YOUR BIKE NAKED

LLOYD BLOCK PARTY HASSALO PLAZA 11 A.M.–4 P.M. FREE ART AND MUSIC WITH LIVE PERFORMANCES

CHAMBER MUSIC NW FESTIVAL KAUL AUDITORIUM 4 P.M. FREE MUSIC BY STRAUSS AND SCHOENBERG

THE SHINING OMSI BRIDGE LOT 9 P.M. $20+ WATCH THE POPULAR KUBRICK FILM AGAIN ON THE BIG SCREEN

WASABICON PDX HILTON PORTLAND DOWNTOWN ALL DAY $20+ COSPLAY, ANIME AND EVERYTHING IN BETWEEN

PRINTMAKING WORKSHOP MULLOWNEY PRINTING 10 A.M. $850 DAY ONE OF A FIVE-DAY INTENSIVE PRINTMAKING WORKSHOP

DEATH BELLS MISSISSIPPI STUDIOS 8 P.M. $14 ALTERNATIVE AND INDIE MUSIC

PSYCHOTRONIC AFTERSCHOOL SPECIAL 16MM HOLLYWOOD THEATRE 7:30 P.M. $10 MIND-BENDING FILMS FROM THE 70S AND 80S

COME THRU: BLACK AND INDIGENOUS MARKET THE REDD ON SALMON STREET 3–7 P.M. FREE MARKET WITH LOCAL VENDORS OF COLOR

ART EXPLORERS: NATURE ART WOODSTOCK COMMUNITY CENTER 9:30 A.M. $33 AGES 1–6, LEARNING COLORS AND TEXTURES IN THE WORLD OF ART

NOON TUNES SUMMER CONCERT SERIES PIONEER COURTHOUSE SQUARE 12 P.M.–1 P.M. FREE FREE CONCERTS, DANCE WITH VENDORS

B-MOVIE BINGO HOLLYWOOD THEATRE 7:30 P.M. $8 BINGO AND WATCH A B-MOVIE

MONTAVILLA STREET FAIR MONTAVILLA TOWN 10 A.M.–5 P.M. FREE LOCAL ARTS AND FOOD IN DOWNTOWN MONTAVILLA NEAR PORTLAND

EVENTS

PSU Vanguard • JULY 27, 2022 • psuvanguard.com