The Portland nonprofit movie house/national treasure kicks off its 100th birthday party July 10 with a 35mm screening of the first film ever to show there when it opened in 1926, the silent comedy More Pay, Less Work, with live organ accompaniment. The week continues with more 35mm screenings of such favorites as Evil Dead 2 and Back to the Future, a screening of the Hollywood's own 70mm print of 2001: A Space Odyssey, and the opening of Christopher Nolan's The Odyssey, also in 70mm. (Several screenings were sold out well in advance.) —MS

Tin House might have gotten a rebrand earlier this year as the McCormack Writing Center, but the organization’s weeklong writers’ workshop, held annually at Reed College since 2003, continues. Each evening, a handful of faculty members—whose work spans fiction, nonfiction, poetry, and various unclassifiable genres—take to the Cerf Amphitheatre stage for a free reading. The biggest name this year is Pulitzer finalist and PEN/Hemingway Award winner Torrey Peters (Detransition Baby, Stag Dance), but others to know include Denne Michele Norris, Emma Copley Eisenberg, Jamel Brinkley, Sarah Aziza, and Kelli Jo Ford. —RJ 

It’s a good time to be a New Yorker. Go play pretend as the North American tour of Alicia Keys’s acclaimed jukebox musical, which takes a semiautobiographical approach to the singer’s Manhattan upbringing, makes a Portland stop. —RJ

Is self-love the key to romantic success? That’s what Andrea Parson, a former NW Dance Project company member and onetime Princess Grace Award winner, heard from her mom at age 8. Three decades later, she’s exploring the question in a solo piece that draws together movement, confession, and clowning. Directed by Jessica Wallenfels (who, fun fact, appeared in Twin Peaks as a teenager), the work considers Parson’s own dating experience as well as the life of a medieval religious recluse. Date night, made. —RJ

French filmmaker Chris Marker’s 1962 time-travel short screens at downtown Vancouver’s Kiggins Theatre with a live performance of a new electronic score. Officially "un photo-roman," or a story told in still images, the postapocalyptic time-loop tale inspired Terry Gilliam’s 1995 film 12 Monkeys. —MS

There’s no better way to take in jazz than in July, on a blanket on the grass, under the swooping arches of the St. Johns Bridge, for free. The venerable fest turns 46 this year; arrive early and leave the umbrellas and tents at home. Among those on the bill: bluegrass trio Dadweed, jazz-fusion group Greaterkind, and a Sade tribute band. —RJ

The waterfront party and downtown parade are the main events, but the Pride calendar is packed with all kinds of activities, including a mass wedding/vow renewal at Darcelle XV Plaza sponsored by Voodoo Doughnut (BYO county marriage license), an afternoon block party filling Ankeny Alley, and the 32nd annual Dyke March on Saturday night.

It’s been more than 10 years since Houston-born comedian Shane Torres, who in 2013 was crowned Portland’s Funniest Person at Helium Comedy Club, moved from the Rose City to Brooklyn. In the last decade, he’s done the late-night rounds, hosted a podcast with Kyle Kinane, and released an hourlong TV special, The Blue Eyed Mexican. Tonight, the self-proclaimed “Native-American Meatloaf impersonator,” once known for “brutally honest jokes about cracking toilet seats and selling plasma,” will test out new material. —RJ

Since 1999, Portland Center Stage has devoted a weekend to free staged readings, performances, and workshops—an exciting, behind-the-scenes opportunity to see new work early in its life. This year, expect readings of a musical that flips the Noah's Ark narrative and of a play set against the backdrop of the 1921 Tulsa race massacre, as well as a showcase of work by teen playwrights. —RJ

Get your body paint ready for one of the biggest events on the cycling calendar. It’s a protest against oil dependence, a celebration of bodies, and a quintessential Portland experience, even if that just means getting stuck waiting for thousands of your naked, smiling neighbors to pass. —RJ

Along with a promise of art, food, fun, and more than 180 vendors, the east-side hood brings a packed music lineup on four stages to its annual street party: Arietta Ward and Farnell Newton, Mic Crenshaw, Tahirah Memory, Assigned Gay at Band, a whole lot of brass bands, and many more.

Sometimes, a KBOO fundraiser grows up to be one of the country’s most beloved music festivals. Find stages set among trees, hammocks strung up for lounging, and a bill featuring Steve Earle, Alela Diane, Quasi, the Womack Sisters, and Fabiano do Nascimento. —RJ

Few contemporary artists are as famous as Hockney, who died June 11 at age 88. He cut his teeth as a pop artist in the 1960s, working in California and his native England. In contrast to the larger pop movement’s use of mass-market imagery in fine art (ad slogans, logos, and celebrity kitsch), Hockney depicted intimate, often personal scenes with an intensely flat and iconographic style. He made paintings that looked like ads instead of turning ads into paintings. Painter is usually the first on a list of Hockney’s trades, followed by draftsman, printmaker, stage designer, crafty MacGyver of outmoded technologies, and on and on. In recent years, he primarily worked with an iPad. His digitally produced work, elaborately printed at large scale or shown on various inventive screen displays, makes up a chunk of the more than 200 pieces in David Hockney: Works from the Collections of Jordan D. Schnitzer and His Family Foundation. But the two-story exhibition draws on more than six decades of his career. There are no traditional paintings on canvas, however. While this does leave a hole in the show’s otherwise retrospective scope, it also speaks to Hockney’s endless experiments with the textures (and often the intentional lack of texture) that printmaking, photography, and more rudimentary examples of digitized painting software can offer. —MT