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Examples of Gold Standard Workforce Development Partnerships
Examples of Gold Standard Workforce Development Partnerships October 2018 Prepared under contract PY17-BGCC-X-351-VAR for Workforce Snohomish BGCC Business Government Community Connections Annie Laurie Armstrong 22 West Armour Street, Seattle, WA 98119 (206) 619-0808 [email protected] https://bgccseattle.workpress.com/ Table of Contents 1. Introduction 1 2. Study Methods 4 3. Assumptions Driving the Work of Gold Standard 5 Workforce Development Partnerships 4. Gold Standard Worksite Development Partnership Descriptions 8 5. Observations 23 6. Next Steps 24 Attachment 1 - Summary of Gold Standard Workforce Development Partnership Characteristics Attachment 2 - Key Contacts 24 i | P a g e Examples of Gold Standard Workforce Development Partnerships 1. Introduction Workforce Snohomish, a local workforce development board (WDB) located in Everett, Washington, is getting ready to launch a renewed focus on Snohomish County’s ambitious Blueprint Strategic Planning and Implementation process. Workforce Snohomish was a founding member in Snohomish County’s pioneering efforts to design services that address the needs of local targeted industry sectors through the Snohomish County Blueprint Partnership. The Partnership, formed in 2003 and active through 2015, was comprised of representatives from Snohomish County Government; the local economic development council; the local workforce development council; every public K-20 educational institution operating in Snohomish County as well as a private industry educational organization; and an aerospace industry association. The initial charge of the Partnership was threefold: 1. Lay the groundwork for the development of plans and programs supporting targeted sectors through the efficient and cost-effecting use of federal, state, and local resources; 2. Make the case that Snohomish County is a region for the development of the sectors; and 3. -
Crossing Over: from Black Rhythm Blues to White Rock 'N' Roll
PART2 RHYTHM& BUSINESS:THE POLITICAL ECONOMY OF BLACKMUSIC Crossing Over: From Black Rhythm Blues . Publishers (ASCAP), a “performance rights” organization that recovers royalty pay- to WhiteRock ‘n’ Roll ments for the performance of copyrighted music. Until 1939,ASCAP was a closed BY REEBEEGAROFALO society with a virtual monopoly on all copyrighted music. As proprietor of the com- positions of its members, ASCAP could regulate the use of any selection in its cata- logue. The organization exercised considerable power in the shaping of public taste. Membership in the society was generally skewed toward writers of show tunes and The history of popular music in this country-at least, in the twentieth century-can semi-serious works such as Richard Rodgers and Lorenz Hart, Cole Porter, George be described in terms of a pattern of black innovation and white popularization, Gershwin, Irving Berlin, and George M. Cohan. Of the society’s 170 charter mem- which 1 have referred to elsewhere as “black roots, white fruits.’” The pattern is built bers, six were black: Harry Burleigh, Will Marion Cook, J. Rosamond and James not only on the wellspring of creativity that black artists bring to popular music but Weldon Johnson, Cecil Mack, and Will Tyers.’ While other “literate” black writers also on the systematic exclusion of black personnel from positions of power within and composers (W. C. Handy, Duke Ellington) would be able to gain entrance to the industry and on the artificial separation of black and white audiences. Because of ASCAP, the vast majority of “untutored” black artists were routinely excluded from industry and audience racism, black music has been relegated to a separate and the society and thereby systematically denied the full benefits of copyright protection. -
Big Al's R&B, 1956-1959
The R & B Book S7 The greatest single event affecting the integration of rhythm and blues music Alone)," the top single of 195S, with crossovers "(YouVe Got! The Magic Touch" with the pop field occurred on November 2, 1355. On that date. Billboard (No. 4), "The Great Pretender" and "My Prayer" (both No. It. and "You'll Never magazine expanded its pop singles chart from thirty to a hundred positions, Never Know" b/w "It Isn't Bight" (No. 14). Their first album "The Platters" naming it "The Top 100." In a business that operates on hype and jive, a chart reached No. 7 on Billboard's album chart. position is "proof of a record's strength. Consequently, a chart appearance, by Frankie Lymon and the Teenagers, another of the year's consistent crossover itself, can be a promotional tool With Billboard's expansion to an extra seventy artists, tasted success on their first record "Why Do Fools Fall In Love" (No. 71, positions, seventy extra records each week were documented as "bonifide" hits, then followed with "I Want You To Be My Girl" (No. 17). "I Promise To and 8 & B issues helped fill up a lot of those extra spaces. Remember" (No. 57), and "ABCs Of Love" (No. 77). (Joy & Cee-BMI) Time: 2:14 NOT FOR S»U 45—K8592 If Um.*III WIlhORtnln A» Unl» SIM meant tea M. bibUnfmcl him a> a ronng Bnc«rtal««r to ant alonic la *n«l«y •t*r p«rjform«r. HI* » T«»r. Utcfo WIIII* Araraa ()•• 2m«B alnft-ng Th« WorM** S* AtUX prafautonaiiQ/ for on manr bit p«» throoghoQC ih« ib« SaiMt fonr Tun Faaturing coont^T and he •llhan«h 6. -
Jimmie Vaughan More Blues, Ballads and Favorites Bio
Jimmie Vaughan More Blues, Ballads and Favorites Bio For Jimmie Vaughan, too much of a good thing is a concept that simply doesn‟t exist. The legendary Texan guitar dynamo was so pleased with the response to his 2010 album Blues, Ballads and Favorites that he decided to follow it up with a brand new collection he‟s calling— what else?—More Blues, Ballads and Favorites! Packed with 16 covers of classic tunes that are close to his heart, the album—recorded, like the previous one, in his hometown of Austin, Texas—reunites Vaughan with the same cast of musicians that helped him out on the previous set. Also returning for round two, to assist with the vocals, is Lou Ann Barton, whose powerful pipes grace several tunes on the new release. “The first album was a success,” says Vaughan, “and what happened is I never really stopped. Even after I turned the first one in I was still recording. I‟ve decided that, as long as I feel like it, I‟m going to do that from now on.” Jimmie Vaughan—who first came to prominence as co-founder of the pioneering Texas blues- rock band the Fabulous Thunderbirds in the ‟70s— has certainly earned the right to do whatever he wants whenever he wants to do it. Since he was a kid, Vaughan has dedicated his life to mastering his axe and reminding folks what American music is all about—music, he says, that need not be categorized. “When I talk about country and blues, they‟re the same thing,” he says. -
May Washington Blues Society Bluesletter Calendar Note: Please Confirm with Each Venue the Start Toast 8PM Highway 99 Blues Club, Seattle - Chris Eger Time and Price
In This Issue... Read About Chris Eger’s CD Release Party! Welcome Back, Shemekia Copeland! Coming to Sunbanks: Hamilton Loomis (Photo by Judy Tilley) (Photo by Joseph A. Rosen) (Photo by James Westveer) Letter from the President 2 Bellevue Jazz & Blues Festival 5 Chris Eger Band CD Release 12 On the Cover: Sarah Brown 2 Spring Sunbanks Preview 8 Winthrop Blues Festival Update 13 Letter from the Editor 3 2016 BB Award Winners 10 June Blues Festival Updates 13 Officers and Directors 4 One Nominee’s Reaction 11 Membership Opportunities 14 Letter from Washington Blues Society President Tony Frederickson Hi Blues Fans, A thousand of us it becomes $200,000. Two her help in getting sponsors for the Best of the thousand it becomes $400,000! That is the “Power Blues award show, and Roy Brown for his talents This month I am writing about the importance of of Numbers. This is a very reasonable amount to as an emcee. You all rocked and I grateful to all of supporting the Save KPLU campaign and keeping donate for most of us and because of the power of you for all your efforts! it in its existing format, but as a community non- numbers it carries a huge impact! Please give this profit. The clock is ticking and the time is now to some serious thought and check our Washington For those of you who missed this event be sure to write your check in support of this worthy effort. Blues Society Facebook page for the upcoming make time next year to come and support our great By keeping KPLU as it is not only will we be shows and pick the show that you want to attend! Pacific Northwest talent. -
Music Calendar Arts Calendar
PAGE 2 — Thursday, January 10, 2008 The Carrboro Citizen This Week - January 11, 2007— January 17, 2008 Friday Saturday Sunday Monday Tuesday Wednesday Thursday Black Skies, Howl, Curtain The Moaners, Robosapien Somerhill Gallery holds The Three Girls and The Coalition for the The Rosebuds play the Cat’s Yeasayer and MGMT play of Night and St. Jude play the and Miss Mary Wanna play a reception for their new Their Buddy Tour comes to Constitution holds a Debate Cradle with Honored Guests the Local 506 at 9 p.m. Tickets Reservoir at 9 p.m. the Local 506. Show at 9 p.m. exhibition, featuring ceramics Memorial Hall, featuring folks for Impeachment at the and Lake Inferior. Doors at $8 advance, $10 at the door. and only $2 per band! by Lydia Thompson and and roots musicians Emmylou Century Center. A Republican 8:30, advance tickets $10, $12 at paintings by Michael Harris, Sean Colvin, Patty Griffin, will argue for impeachment and the door. Barringer. From 2-5 p.m. and Buddy Miller. 843-3333 a Democrat against it. for tickets. Arts Calendar Music Calendar Acrylics by Douglas Clark, focus- St, 1-D, Hillsborough. 10am-5pm ing on landscapes and automo- Mon-Sat. 732-5001, www.hillsbor- tive – DeWitt Law. 118 E Main oughgallery.com. St. 338-8200, dewitt-law.com. “Picturing the World,” Caroli- Through Jan 31. na’s celebrated phototournalists Paintings by Deborah Russell – Ackland Art Museum. South Co- – Fleet Feet Gallery. 406 W E Main lumbia St & Franklin St. Chapel Hill, St. 942-3102. Through Feb 1. -
Wilson Pickett, New York City, 1981; Swamp Dogg; Aretha Franklin, New York City, 1982; Fred Wesley, 2011; Dr
HYTHM AND LUES From left top and clockwise: Wilson Pickett, New York City, 1981; Swamp Dogg; Aretha Franklin, New York City, 1982; Fred Wesley, 2011; Dr. Mable John. Photos: © Fredrich Cantor; Courtesy of Swamp Dogg; © Fredrich Cantor; Mark Puryear, Smithsonian Institution; Courtesy of Stax Museum of American Soul Music Right side: The Dixie Cups® began performing rhythm and blues music in 1963; the group now includes original members Barbara A. Hawkins (right) and Rosa L. Hawkins (left), joined by Athelgra Neville. Photo by Richard Strauss, Smithsonian Institution Rhythm and Blues 53 Tell It Like It Is by Mark Puryear In 1964 The Dixie Cups®, a female vocal trio from New Orleans, crooned out a cheerful version of “Chapel of Love” and knocked the Beatles from their number one spot on the pop charts. A year later, the trio released “Iko Iko,” a song first released in 1954 by James “Sugar Boy” Crawford as “Jock-A-Mo,” whose lyrics recount the meeting of two groups of Mardi Gras Indians. Since then, this song has been cov- ered by artists from the Grateful Dead to Cyndi Lauper, and continues to move new generations with its infectious New Orleans rhythms. The career of The Dixie Cups, and their direct and indirect roles in carrying rhythm and blues (R&B) into mainstream consciousness, speaks to the enduring pow- er of this music to transcend region and musical category and become a representative sound of the country. Musical Crossroads by Dwandalyn Reece The National Museum of African American History of musical genres, highlighting musical innovations, and Culture (NMAAHC) was established by an act of significant time periods and events along with Congress in 2003 making it the nineteenth museum historic performances to capture the music’s impact of the Smithsonian Institution. -
Something Happened to Me Yesterday © Felix Aeppli 06-2019 / 06-2020
TUMBLING DICE / FOOL TO CRY 1974 Something Happened To Me Yesterday © Felix Aeppli 06-2019 / 06-2020 FEBRUARY 8-13 Musicland Studios, Munich (Entry 0.249A) FEBRUARY 20 – MARCH 3 Musicland Studios, Munich (Entry 0.249A) APRIL 10-15 Rolling Stones Mobile (RSM), Stargroves, Newbury, Hampshire (Entry 0.249B) JUNE 1 Promotional film recordings, probably LWT Studios, London (Entry 0.250B) DECEMBER 7-15 Musicland Studios, Munich (Entry 0.254) 1974 Links Ian McPherson’s Stonesvaganza http://www.timeisonourside.com/chron1974.html Nico Zentgraf’s Database http://www.nzentgraf.de/books/tcw/1974.htm Ian McPherson’s Discography http://www.timeisonourside.com/disco3.html Which Album May I Show You? http://www.beatzenith.com/the_rolling_stones/rs2.htm#74iorr Sessions & Bootlegs at a Glance https://dbboots.com/content.php?op=lstshow&cmd=showall&year=1974 Japanese Archives Studio Website https://www10.atwiki.jp/stones/m/pages/282.html?guid=on The Rolling Stones on DVD http://www.beatlesondvd.com/19701974/1974year-sto.htm NOTES: Whilst every care has been taken in selecting these links, the author, of course, cannot guarantee that the links will continue to be active in the future. Further, the author is not responsible for the copyright or legality of the linked websites. TUMBLING DICE / FOOL TO CRY 1974 Sing This All Together LIVE & MEDIA SHOWS STUDIO SESSIONS RELEASES 0.248A JANUARY, 1974 SYMPATHY FOR THE DEVIL (SINGLE), DECCA DL 25610 (WEST GERMANY) A Sympathy For The Devil B Prodigal Son (Rev. Wilkins) Side A: Recorded at the One Plus One sessions, Olympic Sound Studios, London, June 4-10, 1968. -
Bonnie Raitt
Sharing America’s National Music - The Blues 2010 Blues Hall of Famer Bonnie Raitt Digs In Deep With Her 20th Release! Legendary Rhythm & Blues Cruise #26 MARCH 2016 - #9 US $7.99 Canada $9.99 UK £ 6.99 Australia A $15.95 2 - Blues Music Magazine - MARCH 2016 CONTENTS MARCH 2016 FEATURES 6 BONNIE RAITT Excellence by Art Tipaldi 14 JAMES HARMAN DEPARTMENTS The ‘Iceman’ by Pete Sardon 5 RIFFS & GROOVES From The Editor-In-Chief 16 BILLY FLYNN by Art Tipaldi Working Man’s Blues by Tom Hyslop 32 DELTA JOURNEYS It Is The Water? 18 BRANDON SANTINI by Roger Stolle Paying Them Dues, Pays Off by Mark Thompson 33 BLUES MUSIC STORE CD, DVD, And Books Specials 20 MARY FLOWER by Blues Music Magazine Lady Fingers by Phil Reser 38 AROUND THE WORLD 22 WEE WILLIE WALKER Recording Blues Soul Survivor by Bob Margolin by Thonas J. Cullen III 40 BLUES ALIVE 24 JOHN FOGERTY Leadbelly Festival Review Saved By The Blues by Michael Cala by Bill Vitka 41 MUSIC SAMPLER NINE 26 WALTER TROUT 16 Songs To Download A Soul In Flight by Various Artist by Vincent Abbate 29 ALBERT CASTIGLIA 42 REVIEWS Keep On Pickin’ CDs, DVDs, and Book Reviews by Art Tipaldi Available At BluesMusicStore.com 62 LET’S GO BLUESIN’ LRBC #26 by Art Tipaldi PUBLISHER: MojoWax Media Inc. PRESIDENT & DESIGN: Jack Sullivan EDITOR-IN-CHIEF: Art Tipaldi want to take a moment to welcome LEGAL: Eric Hatten Barbara Newman to the blues family. As the newly hired CEO and President CONTRIBUTING EDITORS of the Blues Foundation, Barbara David Barrett / Michael Cote / Thomas J. -
Copy of Songbook Master Index for Website
The Studio Songbook Master Index SONG WORDS & MUSIC BY (OR ARTIST) 1985 Bowling For Soup (Someday Baby) (Muddy Waters) *Fun Chord Progression (try it at high speed) n/a 100 Games of Solitaire Concrete Blonde 19th Nervous Breakdown Rolling Stones 2000 Light Years From Home Rolling Stones 24 Hour Fool Debbie Davies 25 Or 6 To 4 Chicago 3 a.m. Matchbox 20 3/5 of a Mile In 10 Seconds Jefferson Airplane 32-20 Blues Robert Johnson 500 Miles Proclaimers 634-5789 Pickett, Wilson 634-5789 Pickett, Wilson 7 Things Miley Cyrus 867-5309 (Jenny) Tommy Tutone 96 Tears ? And the Mysterians A Change Is Gonna Come Sam Cooke A Change Is Gonna Come Sam Cooke A Hard Days Night Beatles A Quitter Never Wins Tinsley Ellis A Thousand Miles From Nowhere Dwight Yoakam A Whiter Shade of Pale Procul Harum ABC Jackson 5 Abraham Martin and John Dion Abraham, Martin & John Richard Holler Across the Universe. Lennon/McCarney Addicted To Love Robert Palmer After Midnight Eric Clapton After Midnight Eric Clapton After Midnight Eric Clapton After Midnight Eric Clapton After Midnight Clapton, Eric After the Goldrush Neil Young After The Goldrush Neil Young Aiko Aiko Grateful Dead Ain’t Too Proud to Beg Temptations Ain’t wastin Time no More Allman Bros Ain’t Wasting Time No More Allman Brothers Ain't Gone "N" Give Up On Love Vaughan, Stevie Ray Ain't Gonna Give Up On Love Stevie Ray Vaughan Ain't No Sunshine Bill Withers aint that a shame Fats Domino Ain't To Proud To Beg Temptations Aint too proud to beg Temptations Ain't Too Proud To Beg Temptation Ain't Too Proud to Beg -
Live at Rockpalast (CD) Page 1 of 2
FAME Review: Johnny Winter - Live at Rockpalast (CD) Page 1 of 2 FAME Review: Johnny Winter - Live at Rockpalast (CD) Live at Rockpalast Johnny Winter MVD Audio - MVD5185A (CD) Available from MVD Entertainment Group . A review written for the Folk & Acoustic Music Exchange by Mark S. Tucker ([email protected] ). Since I covered this gig in its DVD format (here ), I'm here going to take the opportunity to ponder why Johnny Winter seems to have been neglected by time and scribes, as the man certainly hasn't come in for the accolades and sales figures so richly deserved by such a devotion to his art and the blues. The key, however, may well lie in what MVD, the issuing label, describes as his perennial approach: "straight up blues…lean and mean". Such a domain is not always to the market's tastes, the popular mind being a fickle beast and too oft informed by a surfeit of tinsel and glitter having nothing to do with true aesthetics, authenticity, or integrity. Nowhere is this more glaringly proven than in the analogue case of brother Edgar's raging success with the now anthemic Frankenstein , a cut having nothing to do with the gent's love of rhythm and blues, soul, and the sort of bayou sound so well shown in the still underrated White Trash ensemble. More, Free Ride , another big hit off the same LP (They Only Come Out at Night ), was not Edgar's at all but entirely the child of pop schlockmeister Dan Hartman. Must be grating, to earn supper and sleep by lowering oneself to such levels, hm, Edgar? No insult is intended, the music world is tough, but Johnny himself was rarely able to do that transformation shuffle very well. -
Jimi Hendrix the Collector’S 1969: Studio, Private, Related & Remixed Recordings
Jimi Hendrix The Collector’s 1969: Studio, Private, Related & Remixed Recordings Studio & Private pg. 2 – 115 Related & Remixed pg. 116 – 131 Cover Sources pg. 131 – 136 Brief CD Track List pg. 137 – 147 Song Index pg. 148 – 153 Flac Fingerprints pg. 154 – 161 The intention of this set is to bring together all 1969 Hendrix-related recordings in the best available sound quality and the most complete versions. As with all reference works of this magnitude there are likely unintended errors in spite of diligent efforts to be error free; corrections are encouraged. If you are aware of any upgrades, know of additional tracks that should be included, or have comments about the information presented here please contact [email protected] or [email protected]. This collection was assembled based on information contained at Doug Bell's website, which is compiled from several reference sources: http://home.earthlink.net/~ldouglasbell/jimi.htm. Further details were obtained from Jimpress (2014-2015, From The Benjamin Franklin Studios, 4th edition): http://www.jimpress.co.uk/, Ultimate Hendrix (2009, Backbeat Books), Jimi Hendrix: The Ultimate Lyric Book (2012, Backbeat Books), In From The Storm: http://infromthestorm.net/hendrix.html, and Discogs.com. All tracks are as they appear on their sources, though some sources are known to have utilized normalization, pitch correction, etc. A few tracks have had beginning/ending dead silence removed and are so noted, and track 127 has had a minor non-music patch. Four tracks are lossy and so noted. The track order is roughly from session takes to intermediate mixes to final and alternate mixes; complete versions precede incomplete versions.