Page 14
April 22, 2015
C LASSIFIEDS /B IDS
Portland Public Schools-
2SHQXQWLOÀOOHG
FAM - Director of Project Man-
agement, Planning & Design.
Event Custodian – part-time,
Oregon Convention Center,
Reporting to the Senior Director $13.42 - $15.19 hourly. Dead-
of Facilities & Asset Manage- line: 04/27/15
ment is responsible for direct Set-up
and
Housekeeping
comprehensive management of Custodian, Oregon Convention
the project management team, Center, $15.71 - $17.70 hourly.
deferred maintenance and con- Deadline: 04/27/15
tracted management programs
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including maintaining process
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position is responsible for ap-
on the north; 42nd Ave on the
proximately 13 technical and ad-
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ministrative staff and an annual
the south, and North Chautau-
operating budget of $2.5M to
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07KH3URMHFW0DQDJHPHQW
total annual income does not ex-
Planning and Design team pro-
ceed $25,000 as an individual,
vides planning, design and con-
or $40,000 for an entire house-
struction services to all Portland
hold, for the past 12 months.
Public School (PPS) facilities.
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Compensation:
ZZZRUHJRQPHWURJRYMREV for
$81,366.00 to 98,047.
the complete job announcement
To apply, visit http://jobs.pps.net and a link to our online hiring
Job Number #2100011941
center or visit our lobby kiosk at
Metro, 600 NE Grand Ave, Port-
land.
Advertise with diversity
in The Portland Observer
email ads@portlandobserver.com
0HWURLVDQ$IÀUPDWLYH$FWLRQ
Equal Opportunity Employer
PUBLIC NOTICE/ REQUEST FOR PROPOSALS:
Worksystems and the Workforce Investment Council of
Clackamas County are seeking competitive proposals for the
provision of services related to mental, behavioral and vocation-
al counseling for long-term unemployed job seekers and vet-
erans enrolled in the region’s Reboot Northwest project7KH
5HTXHVWIRU3URSRVDO5)3ZLOOEHSRVWHG$SULORQ:6,·V
ZHEVLWH ZZZZRUNV\VWHPVRUJ. Proposals are due noon, May
22, 2015:RUNV\VWHPV,QFLVDQHTXDORSSRUWXQLW\HPSOR\HU
program. Auxiliary aids and services are available upon request
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dial 711.
A Sharp Focus to Controversy
C ONTINUED FROM P AGE 9
gospel, soul, and R&B and the
inspiration they offered to the
civil rights movement, and HBO
recently picked up the U.S. TV
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I saw “Drunk Stoned Brilliant
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Lampoon” late in the festival and,
frankly, it was my last choice in
its time slot; this brand of raunchy
dominant-culture humor is not
really my thing. But actually the
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history of the humor magazine
that presaged “Saturday Night
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“Animal House,” “Caddyshack,”
and “National Lampoon’s Vaca-
tion.” It cleverly uses clips from
the mag’s own art to illustrate
much of the history, and assem-
bles interviews from a cast of
mostly privileged white male con-
tributors who are now in their 60s.
It’s a worthwhile window into the
history of American humor and
culture -- though for all its wist-
IXO QRVWDOJLD WKH ¿OP ODFNV DQ\
awareness that whole segments of
American society (like, uh, wom-
en and ethnic minorities) never
had a heyday in which their raun-
chiest humor found a dominant
culture audience, and aren’t likely
The origins and legacy of the Black Panthers is brought to life in the
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to experience that heyday.
Havana, Cuba and their parallel
³7KH%ODFN3DQWKHUV9DQJXDUG stories of struggling for the inde-
of the Revolution” really is more pendence. Though each individ-
P\FXSRIWHDDQGWKLV¿OPGLUHFW- ual story contained interesting
ed by venerable documentarian IHDWXUHV WKH ¿OP QHHGHG IXUWKHU
Stanley Nelson delivers a compre- shaping to establish a more de-
hensive look at the controversial ¿QHG OLQN RU SXUSRVH EHWZHHQ
organization’s origins and legacy. them.
I learned a lot, as I expected to,
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but I have to say that the National story of Jordan Davis, an African
/DPSRRQ¿OPMXJJOHGLWVYDULRXV American teen who was gunned
story lines a bit more successful- down by a middle-aged white man
ly; I got lost at times in Nelson’s who had confronted Davis and his
assemblage of stories and left with three friends about their loud mu-
lots more questions, even after two VLF,VRZDQWHGWKLV¿OPWREHEHW-
hours. However, that would have ter than it is, given the importance
been particularly hard to avoid of its subject matter, but it seems
in telling this piece of history; as WKH ¿OPPDNHUV ZHUH VR LQWHQW RQ
WKH ¿OP SRLQWV RXW LQ LWV RSHQLQJ UHOHDVLQJ D ¿OP DERXW WKH WULDO RI
scenes, each participant has his Davis’s killer that they didn’t take
or her own history of the Black the time assemble a very care-
Panther party that they were part ful analysis of the larger issues.
of -- and that doesn’t even account 7KH\ EHQH¿W IURP WKHLU FRPSHO-
for the popular culture perceptions ling subjects, particularly Davis’s
of the group. Anyone interested repellant assailant, but I am still
in furthering her education on this wishing for a more nuanced ex-
important piece of American cul- amination of the escalating prob-
WXUHZRQ¶WZDQWWRPLVVWKLV¿OP lem of gun violence against young
“How to Dance in Ohio” won black men.
an audience award, which sur-
7KH¿QDOWKUHH¿OPVDUHZRUWK
SULVHG PH D OLWWOH EXW WKH ¿OP LV seeing for their specialized sub-
well worth a look. In Columbus, jects. “Tell Spring Not to Come
Ohio, a group of teens and young This Year” documents the expe-
adults on the autism spectrum pre- riences of one inexperienced and
pare for an American rite of pas- ill-equipped unit of the Afghan
sage that is the setting for untold National Army charged with
agonies even for those of us not maintaining security after the de-
RQ WKH VSHFWUXP D 6SULQJ )RU- parture of international forces.
mal. They are all working with a 7KH ¿OPPDNHUV HPEHGGHG ZLWK
kind and quite brave psychologist the unit and captured heartbreak-
who prepares them for and stag- ing scenes of the chaos and blood-
es the event as part of their work shed experienced by young men
WR SUDFWLFH VRFLDO VNLOOV 7KH ¿OP with few real other options. “Dev-
particularly follows three young il’s Rope” artfully captures a sense
women in their journey of prepa- of the legacy of barbed wire fenc-
ration for the dance, and its ten- es in the American West, includ-
der exploration of their ups and ing long, silent tracking shots and
downs in experiencing this event laconic commentary from barbed
that might otherwise have been in- wire enthusiasts. Finally, “Love
accessible to them is not only illu- 0DUULDJHLQ.DEXO´IROORZVWKHHI-
minating about autism, but is also forts of a dynamic Afghan woman
achingly familiar terrain for any- who runs several orphanages and
RQH 7KH ¿OP¶V VXEMHFWV DQG SDU- seeks to help a young couple ac-
ticularly their relationships with complish a love marriage against
their caring parents are often quite relentless social odds in an un-
moving and this depiction gently yielding society.
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we don’t always perceive so accu- WKH2UHJRQ&RXUWRI$SSHDOVDQG
rately.
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“Tocando la Luz” took home an LQWKDWFDSDFLW\+HUPRYLHUHYLHZ
DZDUG IRU WKH EHVW ¿UVWWLPH GRF- FROXPQ 2SLQLRQDWHG -XGJH DS-
umentary feature, though I think SHDUV UHJXODUO\ LQ 7KH 3RUWODQG
others outshone it. It follows the Observer. Find her movie blog at
stories of three blind women in RSLQLRQDWHGMXGJHEORJVSRWFRP