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Portland State University WEDNESDAY, AUGUST 7, 2013 | vol. 68 no. 07

In the US, a culture of violence

Portland State recognizes World Breastfeeding Week PSU unveils a new, state-of-the-art breast pump in SMSU lactation room

Professors see links between gender norms and violence against women

Gwen Shaw Vanguard Staff

Ravleen Kaur Vanguard Staff

In Portland alone, over a thousand cases of domestic violence against women were recorded from January through June of this year. With continual cases of sexual assault, harassment and domestic violence being reported across the globe, a singular question arises: Is there a culture of violence against women in the United States? “Yes, there is a culture of violence against women in the United States,” said Eric Mankowski, a psychology professor at Portland State whose projects have included studies on masculinity, mental health and men in court-mandated domestic violence intervention programs. Mankowski believes that violence toward women is, on the whole, not the result of individual character traits, but rather the culmination of cultural forces. He echoed the common sentiment in academia that sexualized representations of women in the media contribute, in part, to widespread violence. “It is not possible as an individual to live in this society and not develop sexist beliefs...at least to some extent. This is how oppression works,” Mankowski said. See VIOLENCE on page 2

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Margaret goodlowe, the office manager at the Resource Center for students with Children, stands beside a Medela Symphony breast pump, one of the new additions to the Smith Memorial Student Union lactation room.

Last Thursday kicked off World Breastfeeding Week, and Portland State recognized it by unveiling the new Medela Symphony breast pump in the Smith Memorial Student Union lactation room last Friday. “This is arguably the best breast pump out there as far as how much it’s talked up by lactation consultants,” said Jenni Seven, a lactation and child care specialist at the Resource Center for Students with Children. “It’s a closed pumping system, which means it’s completely safe…It actually is known to help women to increase production…so it will be able to help keep a lot of moms breastfeeding while attending school.” “Support” is the theme of this year’s World Breastfeeding Week. “People are trying to emphasize the need for support and the ways that people can support breastfeeding mothers,” Seven said. “And the ways that breastfeeding mothers can support themselves by taking care of themselves.” Seven couldn’t say exactly how many breastfeeding mothers there are on campus, but she noted that about one-fifth of PSU’s student body are parents. “I can say with confidence that there’s someone in [the lactation room in] Smith usually multiple times a day,” she said. There are currently seven lactation rooms around campus, and each has

a lock with a security code available at the RCSC for mothers to pick up. “We want to be sure that no matter where a student is on campus, there is a place for them, within a reasonable distance, so that they can pump if they need to before, during or after class,” said Carrie Cohen, a PSU professor who teaches “Current Issues in Pregnancy and Birth”—the capstone course that first discovered the need for better lactation spaces on campus. In addition to needing a passcode to get into the lactation spaces, most include chairs, fridges, changing tables and other convenient things for breastfeeding mothers. “One of the things that really helps moms, whether they are students or employees, is to have a private, safe and comfortable location where they can pump,” Cohen said. “Someplace where they can relax, because being able to relax and feel safe and private helps with the milk gland reflex and enables them to pump successfully, sometimes within a short period of time.” Using most breast pumps available today involves carrying around a bulky bag full of equipment. The new Symphony breast pump in Smith is considered a multi-user pump. It holds the main mechanism, while mothers have access to the individual accessory kits. The RCSC currently has a limited number of kits to give away for free to students. The regular retail price for the accessory kits is $52.99, and they occasionally go on sale on retail websites like Amazon. If the RCSC’s supply of free kits runs out, students may be See BREASTFEEDING on page 9

Show provides platform for intimate storytelling No topic untouched—as long as it’s sex related Ryan Voelker Vanguard Staff

Who doesn’t have a unique sex story they’ve been dying to tell? For more than a year now, a storytelling series called the Mystery Box Show has provided a platform for Portlanders to craft and share their personal tales of sexual misadventure. Some stories are tragic, many others are embarrassingly funny, but the series creator aims to show audiences that stories centered around genitalia can actually come from the heart. “Everybody’s interested in sex— well, almost everybody,” Mystery Box Show creator Eric Scheur said.

“But the show is really about the art of storytelling, and the fact that it’s all about sex is secondary.” Scheur has been a fan of storytelling and stand-up comedy for many years. He started the Mystery Box Show, which is held every other month, in April 2012. Since then the show has grown in popularity, with the last several shows selling out earlier than ever. The next show will be held Aug. 22 at Brody Theater in downtown Portland. “We’re definitely gaining ground, and that’s really flattering to me,” Scheur said. “But I don’t think people would keep coming back if it was just people saying dirty words onstage.” As the name might imply, the show See SHOW on page 9

Eric Scheur, Mystery Box Show founder, performs on stage.

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VIOLENCE from page 1

Some see connections between violence and socioeconomic status Kathryn Farr, a professor emeritus of sociology at PSU who has studied violence against women and girls worldwide, agrees that oppression is both cultural and institutional. “The culture in the United States models, encourages and legitimates male violence against women,” she said. Farr pointed to social institutions that she felt lend higher status to men—the family, the political system and religious organizations. “[These] provide the structure for men to control women and women’s rights,” Farr said. “Women who challenge these controls...can thus be construed as legitimate victims of violence.” A number of professors at Portland State pointed to the dangers of more implicit forms of violence that they say permeate American society. “Clearly, most men do not rape, murder or beat women,” Farr said. “However... violence against women can be placed on a continuum.”

Farr includes psychological abuse—along with physical violence—on that scale. In Farr’s view, men and women who laugh at or overlook sexist jokes, for example, implicitly uphold cultural contributions to violence. “Cultural content can be used to demean, humiliate and frighten women,” Farr said. Rebecca Hannagan, a former visiting professor of political science who is a member of the research faculty at Northern Illinois University’s Center for the Study of Family Violence and Sexual Assault, agreed. “Because the masculine ideal stands in opposition to the feminine, to be a failure as a man is equated with everything female,” Hannagan said. She explained that while the masculine ideal of strength, power and success looms large, most men struggle to conform to cultural expectations. “Females become the butt of all jokes, reviled, and even feared or hated. When this translates into fearing or

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WRITERS Tamara Alazri, Kat Audick, Brie Barbee, Christian Carson, Tristan Cooper, Melanie Cope, Robin Crowell, Matt Deems, Mike Diallo, Matthew Ellis, Elisha Feliciano, Stephanie FudgeBernard, Blake Hickman, Katie Hoyt, Ravleen Kaur, Nicholas Kula, Emily Lakehomer, TJ Love, Caroline McGowan, Austin Maggs, Jessica Miller, Sheena Miller, Alex Moore, Suraj Nair, Tanner Notch, Kaela O’Brien, Eva-Jeanette Rawlins, Jeoffry Ray, RaChelle Schmidt, Gwen Shaw, Easton Snow, Brandon Staley, Stephanie Tshappat, Shawn Veasey, Ryan Voelker

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They ‘picked’ us Shawn Veasey Vanguard Staff

The annual Pickathon Music Festival, which takes place at Pendarvis Farm in Happy Valley just southeast of Portland, has always prided itself on its diverse and unique musical collaborations. This year, however, Pickathon founder Zale Schoenborn wanted to set a more magical tone. Schoenborn decided to collaborate with faculty and students at Portland State’s School of Architecture to create a 600-square-foot bamboo structure at the main entrance of the festival. Nearly every Pickathon attendee entered through the architectural piece designed and built by PSU students under the guidance of assistant professor Travis Bell. “Watching people walk into the festival through these graceful structures, I definitely saw lots of positive reactions and heard plenty of comments from festival attendees,” said Karen O’Donnell Stein, the communications and student services coordinator for the School of Architecture. “The structures really mark that moment when you walk into this magical gathering.” Though the project was the brainchild of Schoenborn and School of Architecture’s Director Clive Knights, it was Bell who was tasked with seeing it through to completion. “It was a design that everyone had a hand [in] and everyone had ownership of,” Bell said. “And because of that they

were able to put a lot of energy into seeing the design through to the end.” The design phase started in Bell’s winter term “Architectural Design Studio” class, where students came up with a proposal for the project. Once it was given the goahead, students were offered the opportunity to enroll in Bell’s summer “DesignBuild” class. For some students, like recent PSU Master of Architecture program graduate Joel Dickson, enrolling in the class “was a pretty easy decision to make.” Students are rarely afforded the opportunity to create full-scale versions of their designs. “One of the best things was getting to see an idea come to life,” second-year graduate student Heidi Crespi said. “There’s no better way to understand how materials go together to make an architectural space than to build it full size,” Knights said. Students created the structure with an eye to Pickathon’s dedication to sustainability and environmental responsibility. The festival is said to be first of its kind to be completely plastic-free, which played a significant part in the students’ choice to build the architectural piece from recycled and sustainable materials, including salvaged bicycle inner tubes and 700 bamboo canes. The bamboo was harvested by students and generously donated by a festival sponsor, the Bamboo Garden Nursery in North Plains, Ore.

hating actual women, it can lead to violence.” Hannagan was careful to evaluate peoples’ behavior as a side effect of both internal and environmental factors. “In my research I typically take behavior as the result of both disposition and situation,” Hannagan said, explaining that while a number of cultural norms promote violence, some individuals would commit violent acts regardless. “This makes studying gender-based violence challenging,” Hannagan said. Hannagan, who has studied military rape extensively, finds similar dynamics at play in the civilian life and military, though she feels the military “amplifies” certain violent norms. Many women who have served in the military describe a hyper-masculine environment where sexual harassment is normalized. Mankowski explained that while men are not responsible for systematic violence, they play a key role in breaking the cycle. Professors seem to agree that notions of masculinity—not just femininity—play a key role in perpetuating a culture of violence. Cultural ideals of masculinity, many

argue, contribute to a culture of violence. “The culture of violence against women is also connected to the culture of violence among men,” Mankowski said. “And men’s violence toward themselves as well, in the forms of high rates of suicide and drug abuse.” According to 2012 data published by the Centers for Disease Control and Prevention, “suicide among males is four times higher than among females and represents 79 percent of all U.S. suicides.” “Many men feel disempowered or even victimized, but this is not due to their status as men, but due to ways in which they lose out in other systems of power—race, class, sexualities,” Mankowski said. “Men of color, gay men, disabled men, poor men...have differential access to this male privilege.” Nicholas Newby, an officer with the Portland Police Bureau, weighed in on what he witnesses in his line of work. Based on his experiences, Newby sees violence toward women as linked to socioeconomic status. “That is not to say; however, that domestic violence towards women does not occur

in families or relationships that have reached a higher socio-economic success level,” Newby said. Violence, he said, is often passed down from generation to generation. “Children from families in which domestic violence is present are exposed to this and seem to have a greater probability of acting out in the same fashion as they grow older and create new relationships,” Newby said. According to a 2010 study published in the National Institute of Health’s Journal of Family Violence, children who are exposed to domestic violence are more likely to suffer from depression and engage in delinquency than non-exposed children. At the end of the day, Hannagan sees gender roles as directly influencing the violence that many women have faced in their lives. “It comes down to power and who holds it when we talk about gender,” Hannagan said. “Thus, [male perspectives] are as important to consider as feminist perspectives.” This story concludes a three-part series exploring violence against women at Portland State.

Iranian Festival celebrates 14th year

Brian Nguyen/VANGUARD STAFf

Raz, a Latin-Middle Eastern fusion ensemble, performs at Saturday’s festival. Sheena Miller Vanguard Staff

On Saturday, Aug. 3, the 14th annual Iranian Festival took place in the South Park Blocks next to the Farmers Market. The event was put on by the Andisheh Center, an organization that connects Iranian-Americans and others to the cultural traditions of Iran. The festivities included Iranian music, food, dancing and games. Said Amali, the president of the Andisheh Center, said that the purpose of the yearly summertime festival is “to showcase Iranian culture and art to the general public.” The festival drew a large crowd, and this year both the booth and sponsor counts reached all-time highs. A tent from Portland State’s Middle East Studies Center joined numerous others at the festival.

Massoud Saberian, one of 30 festival organizers and volunteers, noted that the Iranian community in the Portland area has been steadily growing. Part of the festival since its smaller beginnings, Saberian explained that the event has grown exponentially over the years. “[The event has] been wellreceived, and it’s not just for one group,” Saberian said. “It’s appealing to many people of [many] differences.” This year Saberian manned the game booth, offering people a place to sit and play chess and backgammon, the latter of which originated in Iran. Other booths present this year ranged from those providing back massages and henna art to others spreading the word about nonprofit educational leadership programs. Selene Saraf, a youth ambassador for

Iranian Alliances Across Borders and a student at Union High School in Camas, Wash., recruited people for the program and shared information at her booth. Saraf has been involved with the program since 2011 and noted that the IAAB has helped her love being Iranian despite having to face stereotypes. The mission is of IAAB is to “make Iranian-Americans more noticed as a minority, and to break the stigma,” Saraf explained. Saraf plans to dedicate more time to working with IAAB, possibly becoming a counselor at Camp Ayandeh, the annual Iranian-American leadership camp, after she has graduated from high school. Following music and dance performances by Iman Sani, Mostafa Khaknegar and the Delshodeh Dance Ensemble, the Iranian American Professional Society of Oregon held their annual scholarship reception and fundraiser honoring high school graduates from the class of 2013. Several scholarships went to Maysa Shakibnia, a graduate from Corvallis High School and incoming freshman at Oregon State University. Shakibnia was awarded the Rad Family Scholarship, the Shadbeh Athletic Scholarship and the IAPSO’s Graduating Seniors Scholarship.

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‘TEDsex Talk’ tackles taboo topics Speakers advocate tolerance, understanding of others Blake Hickman Vanguard Staff

Last Thursday, the Jean Vollum Natural Capital Center on Northwest Ninth Avenue hosted Portland’s first “TEDsex Talk.” Organized by Portland State senior Brian Forrester, the event drew so much interest in the days preceding it that it had to be moved from its previously arranged location at the Pacific Northwest College of Art to accommodate more guests, and the talk drew a crowd large enough to fill the new space. “I guess if you put the words ‘sex’ and ‘free’ in the title of something, it will draw a lot of interest,” Forrester mused. Host Ecotrust waived a portion of their usual event fees, and Hot Lips Pizza provided refreshments. In keeping with the format of the popular TED Talks, the evening featured three 15-minute presentations

followed by a brief questionand-answer period. The event started with a presentation by Viva Las Vegas, a published author (her memoir Magic Gardens was released by Dame Rocket Press in 2009) and a performer at Mary’s Club in downtown Portland. Las Vegas’ presentation, titled “Are Strippers Sex Workers?” centered primarily on a conversation she had with her father about her profession and the mutual understanding at which they arrived, as well as how society views strippers. During her talk, Las Vegas raised a rhetorical point, wondering aloud why female nudity was readily embraced in art museums but otherwise shunned to strip clubs. Second presenter and PSU professor Ben AndersonNathe used a question raised by his daughter about “girlfriends” and “boyfriends” to talk about sexual orientation. Anderson-Nathe seemed interested in the countercultural aspect of getting people to talk about sex. “We live in a culture that is saturated with sex but almost totally lacking in terms of authentic

opportunities to talk about the real questions, experiences, joys and fears about sex, our sex lives and our bodies,” he said. “‘TEDSex’ is a chance to come together and start some of those conversations. Not all of the questions were answered, but maybe this is a step toward creating space for more of this dialogue down the road.” The third presentation was by PSU alumna and sex education advocate Shelagh Johnson, whose resume includes time at organizations such as the Cascade Aids Project and Planned Parenthood. Johnson embraced sex education after taking women’s studies courses as a science undergraduate. During her lecture, Johnson encouraged the crowd to look beyond stereotypes of “us” and “them,” which she implied lead to shame and a lack of mutual understanding. Johnson said that college is a good time for students to stay open to experiences that will help them form their own identities. The question-and-answer that followed included audience members wondering

Jinyi Qi/VANGUARD STAFf

Ben Anderson-Nathe, an associate professor of child and family studies at PSU, speaks about sexual orientation at Thursday’s event. what steps they could take to move beyond stereotypes and a brief discussion about how the recent Jeff Cogen scandal has put sex in the headlines in Portland. Chairman of the Multnomah County Board of Commissioners, Cogen is currently being investigated for an extramarital affair he admitted

to having with a Multnomah County employee. Forrester is considering a sequel after the success of the first talk. “I’m still in awe of how many people showed up. For an event that was conceived and executed all in about three weeks, it was pretty impressive. I think everyone had a good time, lots

of laughs and learned a few things,” he said. “About half a dozen people approached me wanting to help throw a ‘TEDsex’ 2.0,” he continued. “The question on the table is whether or not we keep the format and change the theme or if we just focus on different aspects of sexuality all the time.”

VANGUARD • WEDNESDAY, AUGUST 7, 2013 • OPinion

OPINION

EDITOR: BREANA HARRIS OPINION@PSUVANGUARD.COM 503-725-5692

Fan fiction and nepotism Why can’t I be a famous author? Guest Column Breana Harris

A corinna scott/VANGUARD STAFf

The slum pope Taking a different route, spreading a different message Everywhere and Here Eva-Jeanette Rawlins

or a long time the Roman Catholic Church has seemed, to me, quite austere and removed from daily realities; its age-old traditions and white-clothed specter of a pope have often felt more symbolic than tangible. The child-sex-abuse scandals and the lack of accountability in the church left a bitter taste in many mouths and called into question the relevance of an institution that couldn’t—or in some cases, wouldn’t—protect its most innocent. Pope Benedict XVI did little to change this perception, and many saw his attempts at resolving the sexual abuse scandal as too little, too late. Something has happened, however. The tide seems to be changing, and instead of washing out to sea, it’s lapping up on the shore and touching people’s toes—real people’s toes. The change comes in the form of Pope Francis. Watching the new pope on his recent visit to Latin America was quite remarkable. Gone were the images of a stiff, hunched-over man in a robe that looked like it weighed two tons, waving from behind a bullet-proof contraption. In their stead there were scenes of a vibrant, smiling, kind man shrugging off his security detail and making his way through a crowd, embracing little children and letting them walk alongside him. It was strangely exhilarating. In Brazil, he visited one of the most desolate slums in the country, which the authorities have tried to bulldoze on several occasions, and garnered

the nickname “the slum pope.” Addressing the giant crowd, he insisted that “[t]hose in power must stop pushing the poor aside.” You get the feeling that it was more than rhetoric—he meant it. Probably because he does things like stop his motorcade to embrace a sick person. He also refuses to live in a palace. According to a Time magazine report, the day after he was

There is something very human about this holy man. Something that says, ‘I’m like you.’ He asks his followers to pray for him constantly, which means he actually believes their prayers matter.

named the next pope he proceeded “to pay his hotel bill; wearing sensible black shoes, not the showy red of his predecessor; getting his own coffee from a vending machine.” There is something very human about this holy man. Something that says, “I’m like you.” He asks his followers to pray for him constantly, which means he actually believes their prayers matter. But most revolutionary,

of course, were his recent comments on homosexuality, which the church has vehemently protested. In an almost off-the-cuff conversation with members of the media, he asked, “If someone is gay and he searches for the Lord and has goodwill, who am I to judge?” This sent out shock waves that continue to reverberate around the world. No previous pope would have been caught dead saying that. The thing is, this pope really believes that his religion is for everyone and, unlike so many that came before him, does not seek to exclude but rather to embrace. Truly a breath of fresh air. In the same vein, he paid a visit to a desolate island off the coast of Italy and spoke to a crowd of Muslim refugees. Time reported that over the last 20 years, 6,000 of these immigrants have been lost at sea attempting to find refuge. Pope Francis asked, “Who wept for these people who were aboard the boat? For the young mothers who brought their babies? For these men who wanted to support their families? We are a society that has forgotten how to cry.” One gets the feeling that this pope has not forgotten how to cry, or how to care for the most marginalized, and not just those who ascribe to his faith. Muslims, atheists—he doesn’t seem to care all that much. That’s perhaps the most beautiful part of it all. He sees human beings and not just masses of followers. He doesn’t just preach to the poor, he touches them. He lets his white robes get dirty. It’s people like Pope Francis who make you believe—believe that his message is more than just rules and platitudes, that it’s about love.

couple days ago, I happened to read a review of the film Lovelace on the Vanity Fair website. I’m looking forward to seeing it, and I was hoping the critics liked it. The review wasn’t negative, but it filled me with righteous anger. The critic was 19-year-old Cazzie David, who made it clear she had never written a movie review before. She spent most of the article talking about herself and how she’s super-sensitive to the world—she cries because dogs have to wear leashes and bus drivers have to drive the same route every day. She also really, really loves movies, but has conveniently never heard of any of the movies Vanity Fair offered to let her review. She chose Lovelace because it sounded like a romantic comedy. And she only enjoys romantic comedies—because she’s sensitive, of course. By this point, I don’t need to explain to any film majors or film geeks why I was so angry. I can hear your groans from here. Lovelace is a biopic about ’70s porn actress Linda

Lovelace and her abusive husband. And poor, poor, sensitive Cazzie had to cover her eyes through most of it. How does this 19-year-old girl, who clearly has no idea what she’s doing and is obviously staggeringly immature, get to write movie reviews for Vanity Fair? It baffled me at first. Then I searched her name on Google and discovered she’s the daughter of famed comedian and Seinfeld creator Larry David. So there you have it. I’ve never really gotten mad about nepotism in acting, because I know I wouldn’t cut it as a starlet even if my last name were Collins, Kravitz or Roberts. But as someone who has written copious film reviews, I suddenly understood why it could be infuriating. I’ve also been perturbed by the recent rise in fan fiction authors retooling their stories to pass as original and suddenly becoming rich and famous. Most people know the story of E.L. James, and how the massively successful and genuinely horrible Fifty Shades of Gray series started

out as Twilight erotica stories. Not only does Twilight author Stephenie Meyer make millions for her drivel, now somebody is making millions from fan fiction based on that drivel. Then there’s The Mortal Instruments: City of Bones. The film version comes out Aug. 21, starring Lily Collins (speaking of starlets and nepotism). Most people don’t realize that Cassandra Clare, the author of the book series on which this film and its future sequels are based, got the story from her Harry Potter fan fiction. Mundanes and shadowhunters? They used to be muggles and wizards. Clare has faced accusations of plagiarism for years now, but nobody really cares. I have to be honest about why these things bother me. It’s obviously because I’m a writer and people have always said I’m good at it (damn them!). It’s only natural to get frustrated when you see people succeeding with such relative ease. But shouldn’t that be good news for all of us who are aspiring authors? We can start writing Mortal Instruments fan fiction, change the names around, and be set for life. That’s all you have to do these days—that or have a famous relative make a few calls.

Letter to the Editor I am writing this letter in response to [the] July 31 Vanguard article “PSU’s Diversity Action Plan proving difficult to define.” It’s important to understand both the background and goals of this campuswide initiative. Portland State University’s Diversity Action Plan was published in February 2012 and set forth a plan of action regarding eight diversity goals, the metrics to measure attaining these goals and the resources necessary to accomplish these goals. The goals include: 1) Produce graduates who can be leaders in a global community; 2) Ensure that diversity is incorporated into the curriculum; 3) Create an environment that is welcoming, inclusive and diverse; 4) Create more robust communication channels to bring the world to the campus and the campus to the world; 5) Endorse a campus-wide cultural competency training plan; 6) Recruit and retain cross-culturally sophisticated faculty and staff; 7) Recruit and retain a greater number of historically underrepresented, historically underserved and international students; and 8) Develop and support relationships with the community, alumni and other partners. When these goals are met, new goals and metrics will be introduced. The goal was to have both a top-down and bottom-up approach to ensure the diversity goals are met. Specifically, each of the eight

sections has a member of the President’s Executive Committee as the lead. Each section also has an accompanying subcommittee made up of individuals from across the university including the Diversity Action Council members. Feedback from across the university has been received from emails, website comments and two open public forums that were attended by students, faculty and staff. All of the feedback is being evaluated on an ongoing basis and serves to update the Diversity Action Plan. For Portland State to be successful in achieving these diversity goals, it requires the commitment of every student, faculty and staff member. For example, one important goal is to create an environment at PSU that is welcoming, inclusive and diverse. That requires all of us to treat one another with dignity and respect and create an environment that is welcoming to everyone by our words and our actions. In addition to providing feedback on the diversity plan, I would also like to extend an invitation to any PSU student, faculty or staff member who would like to become a member of one of our subcommittees or the Diversity Action Council. Sincerely, Jilma Meneses Chief Diversity Officer

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The $44 million plan Remodeling the Stott Center Ms. Fudge’s Sweet Nothings Stephanie Fudge-Bernard

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Genderswapping A less-serious way to address sexism Page by Page Brie Barbee

hat is gender? For some gender is just a way of identifying whatever they’ve got going on between their legs, but the stereotypes associated with gender and sexuality have a substantial impact on our lives. Our gender, and the way we label ourselves, has a way of determining how we are viewed and treated by other people. Society has a way of creating stereotypes about various aspects of the way we live. Men are expected to be physically and mentally strong, and not overly emotional. Women are supposed to be nurturing and good at cooking. If for some reason you don’t fit the mold, it’s almost as if something is wrong with you. However, the idea of gender is constantly changing in the 21st century. Gender is now a moldable concept that is constantly being shaped by the hands of modern society. Yet even in a society striving for gender equality, a division among the sexes is still present. Gender-swapping elements of American popular culture (simply switching any character or trope of one sex with someone of the opposite sex) can reveal the remaining gender stereotypes in our society and challenge what many people unconsciously associate with a specific gender. While many of us might not think of sexism as a real issue in the United States anymore, it’s the little things that show us the issue is far from over, like the fact that men make

more money than women at the same jobs, and that women are viewed as incapable of addressing serious issues in a logical way as writers or political or religious leaders. Gender-swapping at its finest addresses the underlying sexism that still permeates American culture in a not-soserious manner. It is not an attempt to undermine the seriousness of gender inequality, but rather to get people thinking about the issue in different ways. When you gender-swap superheroes, book covers or fashion models, you realize how ridiculous the opposite gender looks doing these things, and it’s actually supposed to be weird. If you are thinking how odd a man looks doing this, or a woman looks doing that, the meme is doing its job by revealing the gender stereotypes ingrained in our culture. If they weren’t there, buried deep inside of our collective subconscious, then simply swapping someone’s gender wouldn’t make any difference. Yet it does. Gender-swapping definitely seems strange, it might even seem funny, and it’s OK if it does. The purpose of genderswapping is to get people to think and recognize the stereotypes and assumptions that we make as individuals. It’s not an attempt to change what we believe, but rather to get us thinking about why we think that way. Seeing a spandex-clad man with his body contorted in a weird position and his butt in

the air might seem amusing, but the humor is brought on by the difference of the image from what we are used to seeing. Somehow it seems less strange or even less demeaning when a female superhero is posed in a ridiculous way to accentuate her breasts or butt than if a man were doing it. That doesn’t seem like gender equality, does it? Or say you are walking through a bookstore. You pick up a book. If it was written by a man, it will likely have some abstract or epic-looking piece of art on the cover; but if it was written by a woman, you’re more likely to see a happy couple holding hands or flowers adorning the front. But does that represent what the book you are holding is really about? Gender-swapping is a very important way to address something that most Americans don’t think of as a problem anymore. We are constantly reminded about the equality that we didn’t have in the past that we have in the present. Women can vote and become CEOs, and have tons more freedom than they did 100 years ago. Yet only thinking of the past causes many people to overlook the things that haven’t been fixed yet. The progress that’s already been achieved is no reason to stop striving for change and innovation. Sometimes it takes a joke, a snarky comic or even a story for people to realize that there is still work to be done. Sometimes it takes one genderswapped picture for someone to realize that sexism is still alive today. But sometimes that’s all it takes to spark a debate or change the way we thought before.

s the dust still settles on the beautiful (and expensive) Academic and Student Rec Center, Portland State already has its eye on an ambitious remodel of the Peter W. Stott Center—and it’s not going to be cheap. The $44 million plan would transform the big heap of concrete into an extravagant Viking Pavilion with an 82-foot-high glass wall facing the Park Blocks. While an incredible $22 million is supposed to be paid by PSU, the other half would be put onto the backs of tax payers. The school has raised only $10 million so far. Part of that was a comparably small $5 million gift from an anonymous donor, who perhaps was too embarrassed by the lavishness of the proposal to actually leave a name and number. PSU claims that the expense is justifiable because of the 36,000 square feet of academic space the new building will have. Unfortunately, that space was only added as an afterthought. The same expense was still planned for the big, bunkerlike building even when the proposal was just going to include creating an improved basketball court that PSU could whip out and show the other children to prove something or other. As it stands now, the remodel would create a sports, study and event showcase that would in all honesty probably be pretty cool if it didn’t highlight just how much our school cares about athletics (with academics only an afterthought). Because, you know, Viking

basketball is so crucial to the life of every PSU student on campus. The new arena would seat 4,800 people and feature retractable bleachers, giving it the potential to be used for 30 games a year and also as a 5,500-seat lecture, banquet or concert space. That is a 960 percent increase in seating space over the Smith Memorial Student Union’s 500-seat ballroom,

The plan to create a giant event space is really cool in theory, but its swollen price tag will undoubtedly somehow be dropped onto the backs of students who already pay too much for a state university.

which of course could be useful to have. It is also a leap from the 1,500 seats that we currently have in our basketball space. The Stott Center is about 50 years old and supposedly high-maintenance. On a positive note, the renovation is expected to raise about $7.5

million a year in event-related spending. The plan to create a giant event space is really cool in theory, but its swollen price tag will undoubtedly somehow be dropped onto the backs of students who already pay too much for a state university. Whether it’s to cover unexpected costs or a rise in tuition because administration decides that the new Viking Pavilion makes PSU a more desirable school, this expensive project is going to impact students’ already empty pockets. Even more upsetting is the amazing lack of interest in the academic value that could be afforded to the campus, as evidenced by the fact that the design did not originally include classroom or lecture hall space. PSU seems to be focusing a little too much on showing off with this glitzy Viking Pavilion plan, and the intense focus on basketball seems ridiculous and insulting to the majority of students who have no connection to the team. Most important perhaps, is PSU’s inability to pay for the wasteful remodel on its own. As administrators beg for money from state legislaters and alumni alike, it wastes valuable opportunities to expand in different ways. We are a humble state school that, while very large, should not be trying to create an enormous pavilion that may not draw a crowd anyway. The cool space that would be available for other events is unrealistic and does not justify the cost. Our basketball program should not be as important as a slew of other things, like creating enough classrooms for our already overcrowded university.

Miles Sanguinetti/VANGUARD STAFf

VANGUARD ••TThursday, WEDNESDAY, uesday, THURSDAY, TUESDAY, Jan. JANUARY OCTOBER Nov. FEBRUARY JANUARY AUGUST 31, 8, 2013 2012 10, 25, 26, 7,•2, 2012 2011 2013 ARTS •2012 ARTS ••&•OPINION ARTS OPINION CULTURE &ARTS CULTURE &&CULTURE CULTURE

ARTS & CULTURE Interdimensional man of mystery EDITOR: Turner Lobey ARTS@PSUVANGUARD.COM 503-725-5694

Oni Press releases new graphic novel Tristan Cooper Vanguard Staff

Still one of the most popular mysteries in recent memory, the infamous (and unidentified) D.B. Cooper, who hijacked a Boeing 727 and subsequently disappeared, has fueled conspiracy theories for decades. Ever since Cooper jumped out of the aircraft mid-flight with a parachute and $200,000 in 1971, countless books, movies and songs have been created in his honor. It’s only fitting that, since the fugitive’s alias allegedly comes from the name of comic book hero Dan Cooper, the enigma be explored in graphic novel format. Portland publisher Oni Press and local cartoonist Brian Churilla have stepped up to the challenge with The Secret History of D.B. Cooper, and it’s almost definitely not what you’re expecting. After the first page of historical recapping, we flash back to a week earlier. Cooper awakens not only in a different time but a different plane of existence, an abstract hellscape where eyeballs grow like tulips and grotesque monsters roam the land. He isn’t phased—he’s been here before. They call it The Glut. There, armed with a sword, Cooper instinctively cuts a path towards his target. The bulbous monster isn’t happy to see him; pretty much everything in The Glut is hostile to our hero, save for a one-eared teddy bear who may or may not be a Soviet agent. Cooper is a CIA agent—a key player in the Cold War, which still raged in the ’70s. His

The Northwest’s most mysterious criminal is exposed in The Secret History of DB Cooper. trips to The Glut are a part of a new kind of experimental psychic warfare. When that bulbous monster eventually gets his head sliced open, a corresponding Soviet official in the real world receives a splitting headache to match. As the world’s most skilled mental assassin, Cooper is an asset to the CIA, but he suffers from his own personal demons. Estranged from his wife after the disappearance of their

daughter, Donna, Cooper has plunged so deep into his work that he’s started hallucinating visions of the girl in The Glut. The bombastic riff on a historical mystery pushes “based on a true story” to its limits. There’s a lot of creativity here, but the story seems to squander the fertile conspiratorial ground of its hero’s namesake. Not long after we see what really happened on that Northwest flight, the implications are swept under the rug with a few offhand remarks. The story leaves out a lot of the interesting loose ends of the real-life case, like the hostage release and Cooper’s discarded money, found years later. With such a loose adaptation that involves very few of the actual events, it made me wonder if the story wouldn’t be better served if it were completely free of the D.B. Cooper name. Beyond that, the book is fun and actionpacked, if a bit too reliant on plot twists. It makes more sense in its original serial format; there the twists serve to drive the reader to pick up the next issue. In the collected edition, the twists come one after another a little too quickly, and are either predictable or relatively inconsequential. In one case of the latter, a relationship between two of the characters is revealed—but it was only a secret to one other character, who has no reason to care. It comes across as an awkward and forced play for the audience’s sympathy. Cooper is likable enough, at least, though he suffers from stoic-wiseguy-badass syndrome, a disease for which comics has no known cure. Churilla also draws and colors his own work, which far outshines his capable writing. The Glut is a wonderful and disgusting place, and it

feels fully realized. The creatures are grotesque and ballsy (sometimes literally), and I never felt as though I’d seen the same monster somewhere else before. The real world is a bit more drab, but Churilla’s exaggerated bodies and facial features lend an air of the ethereal to the comic’s reality. Colors in both dimensions are vibrant and varied; Churilla really knows how to add depth to his work without letting his coloring do too much of the heavy lifting. As a cartoonist, Churilla has the benefit of being the sole storyteller (not discounting the work of the editor or letterer). Several times our view flashes back and forth between the events happening simultaneously in the real world and The Glut; these scenes reflect and correspond to each other both in form and in the story. The transitions are smooth and invisible in one instance and brash and effective in the next. This is all with hardly any verbal cues—the visuals clue the readers in without looking down on them. Churilla makes it look easy. At $29.99, the oversized hardcover might be a little steep for some. Those looking for a more affordable option might try the digital version from Comixology for $9.99, available on any device with a screen.

Oni Press presents The Secret History of D.B. Cooper Brian Churilla $29.99 Available at bookstores and comics shops everywhere

Waking up Stumptown’s hip-hop scene Luck-One and Dizz release Critical Mass TJ Love Vanguard Staff

Let’s face it—by any measurement, Portland’s hip-hop scene is weak. There are cities half its size that not only manage to produce high quality hip-hop on a consistent basis, but whose artists are able to gain an international following. Maybe it’s Portland’s demographics. A miniscule black population coupled with a proliferation of hippies and hipsters, half of whom happen to play in bands, has in all likelihood contributed to the current status quo, where there’s no viable hip-hop scene at the table because not enough people care to try. As far as the more well-known Portland hiphop artists go, Luck-One is kind of an anomaly. He is black, and by virtue of that fact he represents a severely marginalized and underrepresented community in the contemporary Portland narrative. He’s a native and he represents PDX to the fullest. His music doesn’t sound like a demo for Rhymesayers, and when he says something on wax you believe him. I first heard his music while living in Oslo, Norway, and what initially impressed me was his lyricism. To be perfectly honest, the way he crafts his verses and puts his bars together made me think I was listening to Nas at first. The latest offering from the self-proclaimed “King of the Northwest” is a collaborative effort with singer/producer Dizz, a fellow Portlander, entitled Critical Mass. Similar to Nas and Ras Kass, Luck-One’s had more than his fair share of wack production on his previous projects, but this latest album is a welcome deviation from that Achilles heel as the beats are up to par with Luck-One’s immaculate flow and labyrinthian yet accessible rhymes. Together he and Dizz have concocted an LP of bangers that cement Luck’s status as “that dude” in the Northwest, and should help awaken a near-comatose Stumptown hip-hop scene.

A devout Muslim and a relentlessly positive person, Luck-One is about progress, building and being true to oneself, maintaining an edge without resorting to misogyny and violence. And for a region whose hip-hop output is generally seen as soft, corny and generic in comparison to that of other cities, this man is a godsend. “It’s Your Time,” featuring Mica Paris, is a celebration of perseverance driven by a sample— Des’ree’s “You Gotta Be”—that’s so familiar it’s incomprehensible that Dizz is the first to use it. Luck-One and Paris do Dizz’s enterprising cratediggin’ justice with a unique brand of conscious and skillful rhymes that’s reminiscent of Talib Kweli and Mos Def in their Black Star heyday. Luck-One graciously waxes philosophical on “Thank You,” a coming-of-age song in which he thanks all those who’ve supported him on his journey thus far. Clocking in at just under three minutes, he narrates his journey as an up-andcoming artist and expresses heartfelt appreciation for those who helped him get to where he is today. “It’s how I made it big/battlin’ on stages, kid/ Writing for the life of me dyin’ to find a way to live/Expressing that to my brothers their mothers caging in/I guess a life of incarceration’s the wage of sin/We went from rockin’ in McClaren’s serving three to five/To find our passion in rappin’ just to be despised/So when they tell me I’m comin’ across as cocky, I say where we from it’s a big deal to be alive/The multitude of ways they kill us is amazing/That’s why I keep ’em with the hands raisin’/Ain’t no time to waste, got me recording with haste/Flippin’ through lyrics I laced, every show’s a celebration/So while we living and dreaming in the present time/Let’s make a toast and try to kill it till the end of time/ You know you’re only as great as your fans make you/Please allow me to say thank you.” Luck-One and Dizz get anthemic with the appropriately titled “PDX.” Luck’s punchlines hit harder than Mike Tyson in his prime, and Dizz blesses his cohort with a bass-heavy, trunk-rattling canvas, buoyed by some beautiful work on the keys. “Darius Miles,” while short, is Luck-One’s high-water mark in terms

Critical mass is the latest collaborative effort from local hip-hop staples Luck-One and Dizz. of emceein’—over a relentless, menacing backdrop, Luck-One blacks out with wordplay wizardry and patterns that challenge anybody to come for his title as King of the Northwest. As an artist, Luck-One’s craftsmanship with the pen and pad is comparable to Lupe Fiasco (sans the sanctimonious douchebaggery). Dizz is a capable producer with a wide range of styles, which complements Luck’s upperechelon pen game perfectly. There are a couple

missteps on Critical Mass—it can get a little too saccharine and sparkly at times—but as a whole it’s a solid album.

Luck-One and Dizz Critical Mass Architect Entertainment Available now

Arts &Arts Culture & Culture • WEDNESDAY, •Tuesday, AUGUST Jan. 31, 7, 2013 • VANGUARD

Upcoming at 5th Avenue Cinema Jaime Dunkle

Vanguard Staff

1. Rebecca

Directed by Alfred Hitchcock (1940) 130 minutes

In 1940, Alfred Hitchcock’s psycho thriller Rebecca won an Oscar for Best Picture. Not bad for his first American film. This Gothic suspense opens with a fantastical sequence: a moon hidden beneath clouds, dissolving into a mansion’s gate, followed by a long take panning across a foggy path. These cuts directly correlate to the off-screen voiceover, creating a sense of deja vu that lingers throughout the film. The plot is simple, but rich in emotion. A widower, Maxim de Winter, remarries, and his new wife is taunted by memories of his first wife, who was named Rebecca. This is played out in weird scenarios, like when the housekeeper preserves Rebecca’s old room, shamelessly crushing Mrs. De Winter’s spirit, which is one of the main themes of the movie. Although Hitchcock shrugged somewhat at this Oscar-winning film—telling renowned director and film critic Francois Truffaut, in the book Hitchcock, that Rebecca lacked humor—it’s clear the film is wholly crafted by Hitchcock the auteur. Friday, Aug. 9, and Saturday, Aug. 10, at 7 p.m. and 9:30 p.m.; Sunday, Aug. 11, at 3 p.m.

2. Rushmore

Directed by Wes Anderson (1998) 93 minutes

This is one of those gauche ’90s movies starting with a neurotic character replete with inappropriate lasciviousness and ending with some light-hearted, hopeful message. This comedy’s central character is extracurricular-activity junkie Max Fischer (Jason Schwartzman), the worst student at Rushmore Academy. French Club president, founder of the astronomy society, captain of the debate team, and on and on—Fischer is involved in almost all the campus clubs. But that doesn’t mean he’s excluded from expulsion. At first, Fischer is a listless genius. But he ends up getting inspired to save the Latin Club when he meets teacher Rosemary Cross (Olivia Williams) at Rushmore. Their entire friendship is uncomfortable since Fischer, a 15-year-old student, falls in love with Miss Cross. Fischer ends up in public high school and builds an $8 million aquarium to impress Miss Cross, but she doesn’t go to the opening. She eventually comes around when Fischer directs a pyrotechnic play about what looks like Vietnam. The film concludes hopefully by tying up all the loose ends and dispelling all the conflicts among the characters, but without an end in sight. If you like uncouth dialogue, inappropriately

tense moments and lighthearted yet vague resolution, see this movie. Friday, Aug. 16, and Saturday, Aug. 17, at 7 p.m. and 9:30 p.m.; Sunday, Aug. 17 at 3 p.m.

3. Days of Heaven

Directed by Terrence Malick (1978) 94 minutes Classified as a romantic drama, the story of Days of Heaven is kind of slow and drawn out. The tone is bleak and the dim lighting makes it feel even more ominous. The art-house cinema scenes, like the surreal close-ups of locusts eating locusts, make it easy to see why Days of Heaven won an Oscar for Best Cinematography in 1979. It also won Terrence Malick the Best Director award at the Cannes Film Festival that year. The movie is depressing, but it has clean aesthetics and is visually stunning. The story is tragic, and it ends badly—something that should happen more in movies. Friday, Aug. 23, and Saturday, Aug. 24, at 7 p.m. and 9:30 p.m.; Sunday, Aug. 25, at 3 p.m.

4. Labyrinth

Directed by Jim Henson (1986) 101 minutes Almost anyone who saw Labyrinth as a kid went through a goth phase at some point later in life. The costumes are something Christian Death founder Rozz Williams would’ve worn. Labyrinth’s cast is mostly underworld Muppets—it was the second collaboration between Jim Henson and Brian Froud, who also made The Dark Crystal. It’s also the last film Henson directed. Sarah (Jennifer Connelly) prays that the goblin king, Jareth (David Bowie), will take away her infant brother, Toby, whom she is unhappily babysitting. Jareth, who is both diabolical and strangely romantic, kidnaps Toby and demands that Sarah go through his labyrinth if she wants him back, but he also tries to enchant her with a spell to make her stay. This is totally the quintessential “be careful for what you wish for” story, and oddly moralistic. Typically, goblins create problems along the way. Just because the costumes, props and cinematography are complex doesn’t mean the plot and characters have to be too. The bottom line is that this movie is fun to watch. And even though Bowie is in it, some scenes are kind of corny and leave you feeling like a total dork. Friday, Aug. 30, and Saturday, Aug. 31, at 7 p.m. and 9:30 p.m.; Sunday, Sep. 1, at 3 p.m.

5th Avenue Cinema 510 SW Hall St. $3 general admission, free for students

6 8

Set phasers to stunning ‘Trek in the Park’ concludes with Star Trek classic ‘The Trouble with Tribbles’ Turner Lobey Vanguard Staff

Captain’s log, Stardate 91193.96. We have encountered a humanoid species gathered at the Cathedral Park amphitheater. The inhabitants of the green terrestrial sphere are collected to take part in what the people of Earth call a “play.” I, as the ship’s commanding officer, will observe this ritual to better understand this planet’s life-forms. For that is my mission: to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no man has gone before. My field observations are as follows. The aforementioned play is presented by local acting group Atomic Arts, founded in 2009 by siblings Amy and Adam Rosko. The troupe is now in the fifth and final year of its live adaptations of classic Star Trek episodes. In their four summers dominating Portland’s park theatrics, “Trek in the Park” has performed Trek series favorites “Amok Time,” “Space Seed,” “Mirror, Mirror” and “Journey to Babel,” becoming a staple of local summer entertainment in the process. Now, for their final voyage at the helm of the Starship Enterprise, Atomic Arts takes on the beloved fan favorite “The Trouble with Tribbles.” In “Tribbles,” Captain James T. Kirk and the crew of the Enterprise travel to Deep Space Station K7 to protect a shipment of quadrotriticale (don’t make the mistake of calling it wheat), destined for the nearby planet, from any Klingon interference. On the station, a shifty rare-goods merchant gives Lieutenant Uhura a tribble—a small, furry, cooing breeding machine with a 12-hour reproductive cycle—putting the fate of

Paint by numbers Local artist’s unique style makes math beautiful Jessica Miller Vanguard Staff

Sienna Morris started drawing with numbers in 2008. She called it “Numberism,” a term she coined herself. Morris incorporates mathematical formulas into her paintings. She uses math to make art, which may sound odd, but her pieces are truly breathtaking. When asked if she had a favorite equation to draw, Morris paused before scrambling for a piece of paper and a Sharpie and writing out a complicated formula called the Drake equation, developed by astronomer and astrophysicist Frank Drake and expanded upon by scientist Carl Sagan. In essence, it estimates the probability of intelligent life in the cosmos. “It all depends on the variables you put in, and you get different outcomes,” Morris explained. “Most people don’t associate math with beauty. Artists are always trying to tell a story. I’m using math to tell a better story. I realized that I can use these equations as a tool. The first thing I did was the Fibonacci sequence and actually showed it as snail,” Morris said. Many of the formulas she uses in her works are advanced and challenging. Asked which is hardest, Morris said, “Probably…Einstein’s

Kirk and Crow find themselves knee deep in tribbles in the “Trek in the Park” adeptation of the classic Star Trek episode. the Enterprise and the space station in jeopardy. The show is about the story and the people, and the cast is where it truly comes alive. “Trek in the Park” co-founder Adam Rosko stars as the cool and confident Captain Kirk. He accurately portrays the suave charm that defined Kirk, but without the smarminess William Shatner brought to the classic role. Donning the yellow shirt, Rosko sells the show with his witty and calm command. Jesse Graff, who plays Spock, has mastered the icy-cold logic of the pointyeared Vulcan first officer. When the two share the stage, they capture the chemistry of the dynamic duo—the bickering, the banter, the charm—and make it their own on the park stage. The rest of the cast is equally impressive. Ryan Castro’s Pavel Chekov, Nate Ayling’s Scotty, Jake Street’s Dr. “Bones” McCoy and Dana Thompson’s Nyota Uhura all deserve praise. Rather than

field equations, because they’re so complex and it’s hard to wrap my head around them.” While the equations are humbling, the piece featuring them, Universal Proprioception, is one of her most stunning. “Proprioception is the physical identity of the self,” Morris explained. “Applied to the universe, ‘universal proprioception’ is the desire to know the universe as you know yourself, and vice versa.” The mathematic and scientific equations can be challenging, but Morris has had guidance in times of need. “I’m offered perspective. I get to meet geniuses. I’ve met people who work at CERN [the European Organization for Nuclear Research] and NASA. They help guide me. Usually, though, I take the path of least resistance,” she said, laughing. Not only does Morris get advice from experts in the math and science fields, she has become one herself: Several local teachers are using Numberism in their art classes. Students interviewed her to learn how Numberism works and created their own drawings using numbers significant to them. Morris’ downtown studio sits on a block with other small art studios. On the second night of a silent auction featuring her work, the whole block was awash with open galleries, street poets writing personalized poems for donations, musicians, even a pair of mimes. Her studio is small, but the walls are covered with her art and the floor is covered with prints. She’s gotten a good turnout for her auction and she’s sold a few big pieces, including a few limited editions. Several of her original pieces sold the first night, including Reverse Entropy: Etched on glass, the piece depicts a woman holding an hourglass. The woman is made up of the numbers one through 12. At the center of the hourglass is the equation for the speed of light, where time ceases to exist. The space outside the hourglass is made up of the formula for imaginary numbers, representing a place where time doesn’t exist.

rehashing decades-old roles, the group comes together to respectfully transform the classic characters in a style that is both fresh and unique. “Trek in the Park” stays true to the campy charm that defined Gene Roddenberry’s original Star Trek series. No situation is too dire, nothing is too dangerous, and death and defeat are laughed at (unless you’re a Red Shirt; then you’re screwed). The production excels at embracing the vibe and tone that made the television series so successful, at the same time transforming its style and presentation to perfectly suit the outdoor environment. The approach is minimal. The stage is the environment; other than three walls bearing the ship’s serial number, NCC-1701, the sets exist in the imaginations of the viewers. Props consist of office chairs and tables; the most intricate is Captain Kirk’s command chair. The costumes worn by the

noble Starfleet crew and the notorious Klingons are made with the affectionate touch that could only mark the loving work of a Trekkie. It’s all very simple, but, in a way, that’s what “Trek in the Park” is all about. It’s not about being a big production with the lights and glamour typical of theater. It’s about a dedicated cast and crew with a love for Star Trek putting on the best damn show they can and sharing their favorite stories with their fellow Portlanders. At heart, Star Trek has always been about unity. It’s about diverse groups of people banding together to overcome overwhelming odds; to meet evil, oppression and wrongdoing with truth, understanding and acceptance. This year’s production stays true to that theme. Local businesses joined together, providing the support and funding to make “Tribbles” happen. That doesn’t begin to cover the behindthe-scenes work that made the actual creatures come to life. Cast, crew and community members poured forth supplies and hours of hard work and dedication to create the hundreds of furry tribbles used on set. Seeing them onstage is not just an impressive example of what happens when people come together for a common goal, it’s also inspiring. Without the crowd-sourced creatures, there’s no way the production could have properly presented the threat posed by the little fuzz balls—or sold the show at all. It may seem minor, but then Star Trek has always taught us how important the little things are. This is your commander signing off. Just as the voyage of the Starship Enterprise is a five-year one, the “Trek in the Park” journey is also coming to an end (in fact, the park plays outlasted the television series, which only ran for three seasons). The destination is the unknown, the uncharted. Atomic Arts productions will continue in a different form, but the days of “Trek in the Park” are nearly over. Enjoy it while you still can. And remember, live long and prosper.

Atomic Arts presents Trek in the Park: The Trouble with Tribbles August 10–11, 17–18, 24–25 at 5 p.m. Cathedral Park amphitheater 410 SW Kingston Ave. Free and open to the public

Sienna Morris, right, explains how she drew a heart with mathematical precision.

Corinna Scott/VANGUARD STAFf

With the silent auction, “Making Room for the Brain,” Morris hopes to sell enough to be able to spend more time in the studio, drawing. If anyone were to inspect her work, it wouldn’t be too surprising why: her piece Cello took roughly 300 working hours to complete. But the auction is not just to sell off her gallery; she is eager to start a new series based on the human body. She is, of course, starting with the brain. “As an artist, it just makes sense to start with visual perception,” she said. “And the brain is how we perceive the world.”

After spending the last six months working on pieces set in space, she’s looking forward to spending the next six working on the brain. If one of her most popular pieces, Human Heart— which contains 16 different equations—is any indication, her new series is going to be a big success. While her work is extraordinary to see in the studio, she always has a spot at the Portland Saturday Market, where many prints of her work are available for sale. For more information on Sienna Morris and Numberism, visit fleetingstates.com.

Artsnews & Culture • WEDNESDAY, •Tuesday, AUGUST Jan. 31, 7, 2013 2013 • VANGUARD VANGUARD

SHOW from page 1

BREASTFEEDING from page 1

Show creator helps storytellers narrow focus

Budget increase benefits RCSC

is a bit of a mystery to some people. Initial notions about what the show entails range from pornographic spectacle to stand-up comedy. In actuality, the show falls somewhere in between. “It’s my goal to have as broad a scope of sexuality as possible,” Scheur said. “As long as the story is tied to sex in some way, it’s fair game.” Each show features five storytellers who share their personal 10- to 15-minute story, unscripted and without notes. It’s a similar format to other storytelling events like the Moth Radio Hour. Scheur has invited specific, well-known storytellers for past shows, but many participants are just ordinary people who pitched ideas through the show’s website. Once a story is accepted, Scheur works with the storyteller through a coaching process and fits them into a show where they will mesh well with the rest of the night’s stories. “It’s not totally formulaic, but for each show I try to keep a variety of stories and not beat the audience over the head with the same type of story,” he said. “Some stories

can be pretty heavy, and I don’t shy away from them, but I try to keep those to one a show.” Scheur has even told a couple of stories himself. He is resistant, however, to being the focus of Mystery Box. His priority is to help others craft their stories and to help them connect with an audience, which he described as being like putting a puzzle together. By now, he has developed a pretty good sense of what works and what doesn’t.

“It’s my goal to have as broad a scope of sexuality as possible.” Eric Scheur Mystery Box Show creator

“The most successful stories tend to focus on a specific incident,” Scheur explained. “But there was one guy who wanted to tell the story of, basically, a 30year, on-and-off love affair. Thirty years is a lot to fit into 15 minutes. It took a lot of work to do it, but it’s been

one of my favorite stories in the show.” Scheur feels that a lot of the importance of the show comes from the lengthy coaching process. He said that the process tends to delve into territory that makes the individual think hard about their story, changing it from just a simple anecdote to something much bigger. “There’s something a little therapeutic about it,” he said. Scheur feels that the show’s therapeutic quality extends to audience members as well, who may find strength in hearing stories about situations they’ve also experienced but have been too embarrassed to talk about themselves. “I think people get all sorts of different types of things from it,” Scheur said. “For some people it’s just a rush of letting themselves be vulnerable in front of a crowd, but all good stories have emotions that people can recognize, and hopefully it can help some people realize they’re not alone in their insecurities.” To learn more about the show or to pitch a story, visit mysteryboxshow.com.

able to work with the RCSC to get kits from the Nursing Mothers Council of Oregon for a discounted price. The money for the purchase and installation of the Symphony pump and

extra kits came from a budget increase for the RCSC last year. Seven said there was a big push from the student body to expand the resources available to student parents, and

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part of that increase was used for the breast pumps. “[If] it’s really successful and people love it, then we need them to step up and speak up if they want more,” Seven said. “We really just need to hear from parents [about] what they need, what they want and what they are going to demand from their school.”

PSU Chamber Choir wins international award Group is 1st US ensemble to receive invitation in 9 years Blake Hickman Vanguard Staff

Portland State is now home to an internationally recognized chamber choir. After a long journey from Portland to Gorzia, Italy (located near the border of Slovenia), PSU’s Chamber Choir was awarded the Grand Prix at the 52nd annual Seghizzi International Choral Competition. “I think this award recognizes that Portland State is one of the strongest choral and vocal programs in the

country,” said Ethan Sperry, the director of the Chamber Choir. “I think this has been true for a long time—much longer than I have been here—but external recognition is important.” The competition featured 22 top choral groups from a roster of 21 countries that included Austria, Israel, Puerto Rico and Indonesia. “I hope this will help us attract the most promising young singers and choir directors to come and study here,” Sperry said. “I also hope it is a mark of pride that all students of Portland State can carry with them, to know that members of our community have

achieved international distinction for their abilities and hard work.” The group’s appearance at the competition was the culmination of more than a year’s worth of fundraising activities. Finalists were determined based on their scores for performances of works from classical categories; the ensembles selected to compete in the finals were able to perform pieces from any genre. The PSU Chamber Choir’s set included Eric Whitacre’s “A Boy and a Girl”; “Desh,” as arranged by Sperry; “Pater Noster” by Giuseppe Verdi; and “Blessed Art Thou O Lord” by Sergei Rachmaninoff.

VANGUARD••T•Thursday, uesday, THURSDAY, TUESDAY, WEDNESDAY, Jan. JANUARY OCTOBER Nov. FEBRUARY JANUARY 31, AUGUST 8, 2013 2012 10, 25, 26, •2, 7, 2012 2011 ARTS •2012 2013 ARTS ••&•OPINION OPINION CULTURE &ARTS ETC CULTURE & CULTURE 10 VANGUARD 6

ETC.

EDITOR-IN-CHIEF: WHITNEY BEYER EDITOR@PSUVANGUARD.COM 503-725-5691

Saturday, Aug. 10

PDX Holistic EcoFair 10 a.m.–2 p.m. Jean Vollum Natural Capital Center 721 NW Ninth Ave. #200

Portland’s first-ever Holistic EcoFair will happen on Aug. 10 at Ecotrust. This fair will offer attendees the chance to learn valuable information about preventative, regenerative and holistic medicine by offering access to more than 20 local businesses and practitioners, including authors, vegan and gluten-free food, design-yourown hula hoops and much more. Admission is $3 in advance and $5 at the door. For more information, visit ecotrust.org.

sAY GOODBYE TO A PORTLAND TRADITION with the last summer performances of “Trek in the Park,” every Saturday and Sunday through August, at Cathedral Park in St. Johns.

Wednesday, Aug. 7

Sounds of Summer Concert Series 11:30 a.m.–1:30 p.m. Pettygrove Park 1990 SW Fourth Ave.

The Sounds of Summer Concert Series features talented local musicians in the perfect event to visit during your lunchtime breaks on Wednesdays this August. Presented to you by SoMa, a community leader in innovation and sustainability, the concerts begin on Aug. 7 with a performance by concert rock violinist Aaron Meyer. Each performance is free and you are welcome to bring your lunch along or grab some grub at one of the surrounding local businesses. FREE

Friday, Aug. 9

Bite of Oregon 11a.m.–10 p.m. Tom McCall Waterfront Park Southwest Naito Parkway

Aug. 9 marks the beginning of Bite of Oregon, an annual event that brings Oregon’s finest fare together in one place. This year the festival celebrates “Oregon’s bounty” with a delicious selection of the sweet and the savory from restaurants and food carts around the state, as well more than 20 flavors of Oregon craft beer and featured drinks from 20 different Oregon wineries. Tickets for entry to the festival are $5 per day or $15 for the weekend. For more information, visit biteoforegon.com.

Vagabond Opera 6 p.m. Washington Park International Rose Test Garden 400 SW Kingston Ave.

The Washington Park Summer Festival presents the Vagabond Opera, a group that can only be defined as a “bohemian absurdist cabaret” and is a blend of various European musical traditions. Bring a blanket, perhaps a picnic and friends and family of all ages to enjoy a unique show in a beautiful setting. FREE

Thursday, Aug. 8

Movies in the Parks: Raiders of the Lost Ark 6:30 p.m. Elizabeth Caruthers Park 3508 SW Moody Ave.

Movies in the Parks delivers a screening of the classic film Raiders of the Lost Ark, a movie that fits into the series of films depicting everyone’s favorite fictional archaeologist and adventurer, Indiana Jones. Premovie festivities including live music by local musicians and free popcorn beginning at 6:30 p.m. FREE

Northwest Dance Project’s In Good Company 6 p.m. Washington Park International Rose Test Garden 400 SW Kingston Ave.

Local and award-winning, the Northwest Dance Project promises to create a special atmosphere with an evening of performances featuring the vintage sounds of vinyl with live vocals and fantastic dancers. This is the perfect opportunity for all ages to be the audience to a wonderful show and enjoy the rose garden while the summer weather lasts. FREE

Movies in the Parks: The Avengers 6:30 p.m. Parklane Park Southeast 155th Avenue and Main Street

Movies in the Parks once again offers a unique viewing experience in one of Portland’s many beautiful parks. Come watch the blockbuster film The Avengers and load up on free popcorn at the same time. A live musical performance by The Cat Jugglers will precede the show at 6:30 p.m. Film screenings begin at dusk. FREE

11 a.m.–9:30 p.m. Northeast Alberta Street between 10th and 30th avenues

Alberta Street, one of Portland’s designated art districts, presents the 16th annual Alberta Street Fair. This all-ages event features live music, a collection of artists selling their wares, food and drink and much more with live performances over three different stages throughout the day. For more information, visit albertamainst.org. FREE

Sunday, Aug. 11

Battery Powered Orchestra Workshop 11 a.m.–10 p.m. Cymaspace 4634 NE Garfield Ave.

Battery Powered Orchestra is Portland’s first do-it-yourself electronic music event. The workshop takes place over two days, Aug. 10 and 11, and features classes on subjects like how to build an Atari Punk Console, a 4093 quad oscillator, a multiwave LFO module or an Arduino synth; a review of the basics of electronics for musicians with veteran circuit heads; and much more. For more information and to purchase tickets for the event, visit kickstarter.com/projects/ t r av i s f e l d m a n / b p o w- b a t t e r ypowered-orchestra-workshop.

Trek in the Park 5 p.m. Cathedral Park North Edison Street at Pittsburg Avenue

“Trek in the Park” returns to delight Portlanders for the final year with a reenactment of the classic Star Trek episode “The Trouble with Tribbles.” Watch local actors perform their own rendition of the story accompanied by live music each Saturday and Sunday evening through August. FREE

Tuesday, Aug. 13

Breaking Bad Season Five 9 p.m. EastBurn 1800 E Burnside St.

The new season of Breaking Bad premiers this Sunday, and you can come celebrate with your friends at EastBurn starting at 9 p.m. and enjoy $1 off of all tallboy cans. The best part? No cover charge and the full dinner and drink menu until 10 p.m. FREE

Wednesday, Aug. 14

Rooftop Cinema: Bill and Ted’s Excellent Adventure 7 p.m. Hotel deLuxe 729 SW 15th Ave.

Celebrate the return of Rooftop Cinema with a screening of Bill and Ted’s Excellent Adventure, the classic tale of two dudes journeying through time on a quest to prepare an adequate history presentation for class. The event will feature a pre-movie live musical performance, and food will be available for purchase from a selection of fine Portland eateries. Doors will open at 7 p.m. and the movie will begin around 9 p.m. Some seating is available. FREE

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VANGUARD • TUESDAY, JANUARY 10, 2012 • ETC.

SPORTS • WEDNESDAY, AUGUST 7, 2013 • VANGUARD

Basement Notes: The contenders Hungry young fighters ready to fill the void as legends transition toward retirement Marco España Vanguard Staff

In a profession as physically and psychologically arduous as boxing, participants tend to peak later in life than they do in many other sports. The toll exacted by a prizefighting career is one that unseasoned fighters are rarely equipped to handle—boxers spend years inside the ring taking punches before they ever get a shot to earn a living at it, if they ever get a shot at all. More often than not, it’s the old guard that asserts itself whenever enterprising young upstarts make their move for the real money. But as boxing continues to lose ground in the increasingly fragmented landscape of sports entertainment, it is clear that the business is in desperate need of some new blood. Floyd Mayweather, the most bankable pay-per-view attraction of the past decade, is 36 years old and has stated—if such a declaration from Floyd can be taken at face value— that the six-fight contract he signed with Showtime earlier this year will be his last. Manny Pacquiao is 34, an acting congressman in the Philippines and coming off a crushing knockout loss to longtime rival Juan Manuel Marquez in December. Undisputed middleweight champion Sergio Martinez is 38 and has a surgically repaired

knee and a twice-broken left hand to show for his last year of action. Wladimir and Vitali Klitschko each still have a foot planted firmly on the neck of the heavyweight division, but the brothers are 37 and 42, respectively, and began laying the groundwork for their post-fight vocations several years ago. If the prizefighting industry is to evolve beyond the periodic novelty cash-grab it has become over the last 20 years (though there is no evidence that the sanctioning organizations currently in charge of staging professional boxing matches have any desire to evolve), it will need a steady stream of fresh talent to promote. There are a few candidates who just might be up to the task. On the surface, 27-year-old Brandon Rios is exactly the sort of fighter that the casual fan has been waiting for. He provides the portion of the pugilistic experience that passersby long to witness, even if they’re hesitant to admit it—the primitive vicarious release that comes when blood spills onto the canvas. Rios hails from west Texas and has been fighting out of Oxnard, Calif., since wiping out Raul Montes in the third round in his first professional fight in 2004. Now with a record of 31 wins, one loss and a draw, the years have done nothing to temper his reputation as a wholly unrepentant brawler—Rios has 23 knockouts,

Adrien broner is one of a handful of emerging stars who seem poised to take over the professional boxing business. but he has practically tripped over his own feet at times in his attempt to end every fight that way. His seventh-round stoppage of Mike Alvarado last October was named fight of the year by Sports Illustrated, and their equally savage rematch in March—a unanimous victory for Alvarado—is among the favorites for the distinction this year. Rios’ recklessness will be put to the test against another legendary brawler when he takes on Pacquiao in November. At 23 years old, junior middleweight bruiser Saul

“Canelo” Alvarez has been a celebrity in boxing-mad Mexico for years already, making his professional debut at age 15. He has amassed a record of 42 wins and one draw, which had come against mostly anonymous competition before he rolled to a unanimous decision over faded former champion Shane Mosley a year ago. Canelo stepped up the competition from there, stopping Josesito Lopez in the fifth round of their bout in September and following it with a clear decision against Austin Trout.

Though his movement is much closer to a trudge than a dance, he’s always just one rib-caving body shot away from a knockout. Canelo’s next fight could be a careermaker—he’ll serve as Mayweather’s 45th opponent. If Canelo is being advertised as the next in line, Adrien Broner would have you believe that he is already there. The 24-year-old Cincinnati native has logged significantly fewer rounds than Canelo but has an impeccable 27-0 record since turning pro in 2008. Quick, gifted and unrelentingly brash,

he is viewed by many as the spiritual and stylistic successor to Mayweather, a designation that Broner has made no effort to dispute. His speed and movement are his most obvious assets, but Broner has knockout power as well—none of which has been lost as he’s moved up in weight. Broner went from junior lightweight to lightweight in November, then skipped a division to win a title in his welterweight debut against Paulie Malignaggi last month. Needless to say, he’s already looking ahead to the next big score.

Timbers battle to a draw in Cascadia Cup Portland runs out of time against Vancouver in front of sold-out crowd at Jeld-Wen Field Matt Deems Vanguard Staff

The Cascadia Cup came to the Rose City on Saturday as the Portland Timbers and Vancouver Whitecaps fought it out for Northwest soccer bragging rights. Timbers supporters made up the vast majority of the sold-out crowd gathered at Jeld-Wen Field, but Whitecaps fans represented themselves exceptionally well, occupying two full sections of the stadium. The match was a back-and-forth struggle for momentum in the first half as the teams went into their respective locker rooms without a goal to show for their efforts. The Timbers came out firing in the second half, finding the net just four minutes after the intermission, but Vancouver came back with a goal in the 69th minute that went unanswered for a 1-1 draw. Portland midfielder Diego Chara, who is currently one yellow card away from a

suspension, was out of the lineup for Portland. Defender Jack Jewsbury moved into the midfield to take his place, which gave newly acquired Alvas Powell a chance to start on the backline. It was the MLS debut for Powell, a 19-year-old Jamaican standout who is playing for the Timbers on loan from Portmore United. The Timbers put Vancouver goalkeeper David Ousted on notice early in the match, sending a shot on goal in the first minute. The intensity of the competition was evident from the start, but referee Silviu Petrescu was quick to let the two squads know that he intended to call the match tightly, stopping play in the opening minutes to give the Whitecaps’ Brad Rusin a one-on-one talk and then issuing a yellow card to Powell shortly after. At the 15-minute mark, a collision between Rusin and the Timbers’ Diego Valeri resulted in Rusin getting carried off the field on a stretcher. Rusin was

issued a yellow card after the play, though the crowd was vocal in insisting that a red card should have been handed down instead. Petrescu doled out four yellow cards in the first half alone. Ryan Johnson, who was brought into the game in the 40th minute when Frederic Piquionne went down with an injury, came through with the first goal of the game at the start of the second half. Johnson and Valeri found themselves in relatively light coverage in the 49th minute, and Valeri hit a cross over to Johnson, who struck a header that Ousted dove for just a bit too late as celebratory green smoke rose up in the stadium. The assist was Valeri’s eighth of the season, tying him for second in the league. Portland appeared to have seized the momentum, but the Timbers Army was silenced in the 69th minute when Whitecaps forward Camilo Sanvezzo booted a corner kick into the pack that Jordan Harvey finished off with a header. Timbers team captain and MLS All-Star Will

Johnson was frustrated with the play that led to the gametying score. “When we’re giving away amateur goals on set pieces, we’re making it hard on ourselves,” Johnson said. Portland nearly took the lead back in the 76th minute when the ball bounced around the Whitecaps’ box and Timbers defender Pa Modou Kah volleyed it

into the net, but Kah was flagged for being offside, the goal was negated and time expired at Jeld-Wen Field with the score tied at oneall. While Vancouver had reason to celebrate a hardfought draw, the home team left the stadium feeling as though they had failed to live up to the high standards they set this season. “Well,

obviously we’re disappointed in the draw,” head coach Caleb Porter said. “We expect to win every game we play.” The Timbers are currently tied with the Colorado Rapids for second place in the Western Conference standings. Portland now moves on to a road matchup with Real Salt Lake in the semifinals of the U.S. Open Cup tonight at 6:30 p.m.

Miles sanguinetti/VANGUARD STAFf

Ryan Johnson, right, scored for the Timbers coming out of halftime, but the Whitecaps responded with a goal of their own to earn a 1–1 draw.

VANGUARD • WEDNESDAY, AUGUST 7, 2013 • SPORTS

SPORTS

EDITOR: MARCO ESPAñA SPORTS@PSUVANGUARD.COM 503-725-4538

PSU football preview Vikings look to bounce back in 2013 Tanner Notch Vanguard Staff

Portland State football kicked off their preseason practice schedule at Stott Community Field last Thursday as the Vikings begin preparation for their opening game of 2013 against Eastern Oregon University. The matchup will take place at Jeld-Wen Field on Aug. 29 and will provide the team with an immediate assessment of where they stand after a 3-8 record last season. Fourth-year head coach Nigel Burton has been working with his team over the summer to try to improve upon their 11th-place finish in the Big Sky Conference in 2012. Though Portland State was expected to finish higher than they did, a host of injuries and the relative inexperience of the team led to a disappointing campaign in the Park Blocks. Burton will have several returning starters on the roster against Eastern Oregon, including quarterback Kieran McDonagh, who started all 11 games for the Vikings last year as a freshman. The Vikings have been solid offensively over the past two seasons and displayed tremendous balance

in 2012, averaging 222 passing yards per game and 216 yards rushing. McDonagh was a key factor in that success, throwing for 2,187 yards and 14 touchdowns and running the ball 89 times for 406 yards and nine touchdowns. The quarterback was also a finalist for the Jerry Rice Award, which recognizes the nation’s best freshman. Though McDonagh is the clear starter going into the new season, he’ll get excellent backup from Collin Ramirez and Paris Penn. PSU’s running game is also set to do some damage this year as the team returns seniors DJ Adams and Justin Lilley and junior Shaquille Richard to the backfield. Also entering the fold is freshman Steven Long out of Lake Oswego, who should help to round out an excellent core of running backs. Sophomore Thomas Carter is the standout at the receiver position, showing excellent versatility in leading the team with 32 receptions a year ago. He will be joined by juniors Alex Toureen, Roston Tatum and Kasey Closs, who will likely be the frontrunners for the remaining receiver slots. The Vikings will have talent to spare on the offensive line, where coordinator Brad Davis has done a remarkable job over the past four seasons. Portland

Time passes slowly in baseball. There is no game clock and no final buzzer; baseball moves through a 162-game season at its own pace, often laboriously, working toward the final out that won’t come until the players on the field manage to orchestrate it. A single game can take up an entire afternoon—a couple hundred can seem like a lifetime. For Alex Rodriguez, 200 games may represent exactly that.

On Monday, Major League Baseball handed down its ruling against 13 players for violating the league’s policy against performing-enhancing drug use. Ryan Braun, the 2011 National League MVP, was given a 65-game suspension, while 11 others received 50-game suspensions. Rodriguez’s sentence was the most severe of the group, stretching through the end of the 2014 season—the equivalent of 211 games. The league opted not to exercise its “best interest of baseball” clause,

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Top performers Ryan Johnson: 1 goal

Sunday, Aug. 4

NWSL

vs. FC Kansas City Thorns Miles Sanguinetti/VANGUARD STAFf

Coach Nigel Burton leads Portland State into the new season on Aug. 29 against Eastern Oregon. State brings two seniors back to the starting lineup, center Mitch Gaulke and right tackle Mitchell Van Dyk, along with junior left guard Cornelius Edison. New recruits Chad Bach and Ryan Brown join the team this year to add further depth to the line. The clear area of improvement ahead for Portland State is on the defensive side of the ball. The Vikings gave up an average of 401.5 yards and 36 points per game in 2012. much of the damage came in the air, where they allowed 275.3 yards per game

@getty images

Vanguard Staff

MLS

Timbers Vancouver

Alex Rodriguez received the most severe suspension yet for a player in violation of the league’s drug policy.

Tanner Notch

Saturday, Aug. 3

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and surrendered 29 passing touchdowns over the course of the season. The run defense was more successful and, fortunately for the Vikings, seniors Nick Alexander and Zack Ka’ahanui are back in the lineup to anchor the defensive end and defensive tackle positions. One of the toughest tasks for Burton and defensive coordinator Jaime Hill in the offseason was finding replacements for linebackers Khalil Bass and second-team All-American Ian Sluss. Senior Jaycob Shoemaker

and sophomores Zach Walen and Brandon Brody-Heim will be expected to contribute immediately for the Vikings. With a tough Big Sky schedule on the way, the Vikings will certainly have their work cut out for them in 2013. But as they move into the new season with proven talent at premiere positions, an excellent home field advantage at Jeld-Wen Field and host of quality recruits, fans of Vikings football have plenty of reasons to be excited for the future.

Major league fallout

Historic day for baseball ends with suspension of 13 players