HomeMy WebLinkAbout3916
RESOLUTION NO. 3 9 1 6
A RESOLUTION OF THE CITY COUNCIL OF THE CITY OF AUBURN,
WASHINGTON, ACCEPTING THE APPROPRIATION AND
EXPENDITURE OF FOUR THOUSAND NINE HUNDRED TWENTY AND
NO/100 DOLLARS ($4,920) IN GRANT FUNDS FROM THE CULTURAL
DEVELOPMENT AUTHORITY OF KING COUNTY ("4CUL TURE") AND
AUTHORIZING THE MAYOR AND CITY CLERK TO EXECUTE THE
CONTRACT WITH "4CUL TURE" ON BEHALF OF THE CITY
WHEREAS, the City of Auburn Arts Commission, on behalf of the City of
Auburn, submitted an application to the Cultural Development Authority of King County
("4CUL TURE") for a grant as part of the 2005 Site-Specific King County Performance
Network Project; and,
WHEREAS, the City of Auburn has been advised that it has been approved to
receive a grant from said program in the amount of Four Thousand Nine Hundred
Twenty and No/1 OOs Dollars ($4,920); and
WHEREAS, acceptance of the grant will benefit the citizens of Auburn.
NOW, THEREFORE, THE CITY COUNCIL OF AUBURN, WASHINGTON,
HEREBY RESOLVES as follows:
Section 1. Acceptance of Grant and Authorization of Contract. The City
Council hereby accepts a grant from "4Culture" as part of the 2005 King County
Performance Network Site-Specific Project, in the amount of Four Thousand Nine
Hundred Twenty and No/100 Dollars ($4,920), and authorizes the Mayor and City Clerk
to execute, on behalf of the City Contract No. 105319A with "4Culture" in a form
substantially as set forth on the copy of the Contract marked as Exhibit "A" attached
hereto and incorporated herein by this reference.
Resolution No. 3916
september 26, 2005
Page 1
Section 2. Implementation. The Mayor is further authorized to implement
such administrative procedures as may be necessary to carry out the directions of this
legislation, including assuring that the grant fund appropriation is included in the
appropriate budget documents of the City.
Section 3. Effective Date. This Resolution shall take effect and be in full
force upon passage and signatures hereon.
3re)
Dated and signed this - day of October, 2005.
CITY OF BURN
EWIS, MAYOR
ATTEST:
w~-------
lie E. Daskam, City Clerk
Resolution No. 3916
September 26, 2005
Page 2
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Resolution 3916 Exhibit A
Agreement No. 105319A
Contractor's Federal Taxpayer 10 No. .
Contractor. City of Auburn
Project Title: 2005 King County Performance Network
Contract Amount: $ 4,920.00 Fund Source:
Contract Period From: 06/01/05 To:
CP - KC Performance Network
12/31/05
AGENCY SERVICES CONTRACT 2005
THIS CONTRACT is entered into by the CULTURAL DEVELOPMENT AUTHORITY OF KING COUNTY
("4Culture"), whose address is 506 Second Avenue, Ste 200, Seattle, WA 98104-2307 and telephone
number is (206)296-7580 and the Citv of Auburn (the "Contractor"), whose address is 910 Ninth St SE.
Auburn. WA 98407 and telephone number is (253) 804-5049. Contractor is an art, cultural or historical
organization or specialist qualified to receive funds pursuant to King County Code Sections 2.48 and 4.42
and RCW 67.28.180 and as hereinafter may be amended. The 4Culture Board of Directors approved
providing funds for this project by Motion No. 2005-07.
4Culture desires to provide funds with which the Contractor shall render certain services to King County
citizens. Such services are for the benefit of art museums. cultural museums, heritage museums, the arts,
and/or the performing arts and are consistant with those defiFled in RCW 67.28.180 ("Public Benefit
Services").
.4Culture is organized pursuant to King County Ordinance 14482 and RCW 35.21.730, et sea. RCW
35.21.750 provides as follows: "[AI~ liabilities incurred by such pUblic corporation, commission, or authority
shall be satisfied exclusively from the assets and properties of such public corporation, commission or
authority and no creditor or other person shall have any right of action against the city, town, or county
creating such corporation, commission, or authority on account of any debts, obligations, or liabilities of
such public corporation, commission, or authority."
The legislative authority of 4Culture has found and declared that providing funds to Contractor to reimburse
Project costs in consideration of services provided hereunder constitutes a public purpose with the meaning
of Article VII, Section 1 of the Washington State Constitution for which public funds may properly be
expended or advanced.
NOW, THEREFORE, in consideration of payments, covenants, and agreements hereinafter mentioned, to
be made and performed by the parties hereto, the parties covenant and do mutually agree as follows:
AG SVC 05
Page 1 of7
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Resolution 3916 Exhibit A
B. Contractor may apply to 4Culture for reimbursement upon completion of specified phases as
detailed in the Specific Scope of Services and Reimbursement Schedule attached to this contract.
C. Contractor shall submit an invoice and all accompanying reports in the forms attached hereto as
"EXHIBITS", not more than 30 days after the completion of each specified phase identified in the Specific
Scope of Services and Reimbursement Schedule. 4Culture will initiate authorization for payment after
approval of corrected invoices and reports. 4Culture shall make payment to the Agency not more than 60
days after the appropriate invoice is received.
D. Contractor shall submit its final invoice and all outstanding reports within 30 days of the date this
Agreement terminates. If the Agency's final invoice and reports are not submitted by the day specified in
this subsection, 4Culture will be relieved of all liability for payment to the Agency of the amounts set forth in
said invoice or any subsequent invoice.
E. Accompanying the final invoice for the project, the Contractor shall also submit:
1. A project evaluation report upon the form provided by 4Culture.
2. If 4Culture requests, at least two images (prints, slides, or digital images accompanied by
a high-quality print-out) of publishable quality for use by 4Culture to publiCize its funding programs. Photos
shall have credits, caption information, and permission to publish.
F. If the Contractor fails to comply with any terms or conditions of this contract or to provide in any
manner the work or services agreed to herein, 4Culture may withhold any payment to the Contractor .until
4Culture is satisfied that corrective action, as specified by 4Culture, has been completed. This right is in
addition to and not in lieu of 4Culture's right to terminate this contract as provided in Section IV, any other
rights of4Culture under this Agreement and any other right or remedy available t04Culture at law or in.
equity.
IV. TERMINATION OF AGREEMENT
A. If, through any cause, the Contractor shall fail to fulfill in a timely and proper manner its
obligations under this Agreement or if the Contractor shall violate any of its covenants, agreements or
stipulations of this Agreement, 4Culture may terminate this Agreement and withhold the remaining
allocation. Prior to soterminating this Agreement, 4Culture shall submit written notice to the Contractor
describing such default or violation. 4Culture shall not so terminate this Agreement if 4Culture determines
that Contractor has, within twenty (20) days of the date of such notice, fully corrected such default or
violation.
V. MAINTENANCE OF RECORDS
A. The Contractor shall maintain accounts and records, including personnel, property, financial, and
programmatic records and other such records as may be deemed necessary by 4Culture to ensure proper
accounting for all contract funds and compliance with this Agreement. All such records shall sufficiently and
properly reflect all direct and indirect costs of any nature expended and services provided in the .
performance of this Agreement.
B. These records shall be maintained for a period of six (6) years after terminati6n of this
Agreement unless a longer retention periOd is required by law.
AG SVC 05
Page 3 of?
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Resolution 3916 Exhibit A
B. To the full extent provided by applicable law, the Contractor shall protect, defend, indemnify, and
save harmless 4Culture its officers, employees, and agents from any and all costs, claims, judgments,
and/or awards of damages, arising out of or in any way resulting from the acts or omissions of the
Contractor, its officers, employees, and/or agents, except to the extent resulting from 4Culture's sole
negligence. If this Agreement is a "a covenant, promise, agreement or understanding in, or in connection
with or collateral to, a contract or agreement relative to the construction, alteration, repair, addition to,
subtraction from, improvement to, or maintenance of, any building, highway, road, railroad, excavation, or
other structure, project, development, or improvement attached to real estate" within the meaning of RCW
4.24.225, the Contractor shall so protect, defend, indemnify, and save harmless 4Culture, its officers,
employees, and agents only to the extent of the Contractor's, its officers', employees', and/or agents'
negligence. The Contractor agrees that its obligations under this subparagraph extend to any claim,
demand, and/or cause of action brought by or on behalf of any employees, or agents. For the purpose, the
Contractor, by mutual negotiation, hereby waives, as respects 4Culture only, any immunity that would
otherwise be available against such claims under the Industrial Insurance provisions of Title 51 RCW. In
the event 4Culture incurs any judgment, award and/or cost arising there from including attorney's fees to
enforce the provisions of this article, all such fees, expenses, and costs shall be recoverable from the
Contractor. Claims shall include, but are not limited to, assertions that the use or transfer of any software,
book, document, report, film, tape or sound reproduction or material of any kind, delivered hereunder,
constitutes an infringement of any copyright, patent, trademark, trade name, and/or otherwise results in
unfair trade practice.
X. INSURANCE REQUIREMENTS
The Gontractor shall procure and maintain for the duration of this Agreement insurance as
described on the Exhibit labeled as Insurance Requirements attached here to.
xt CONFLICT OF INTEREST
Chapter 42.23 RCW (Code Of Ethics For Municipal Officers-Gontract Interests) is incorporated by
reference as if fully set forth herein and the Contractor agrees to abide by all the conditions of said Chapter.
Failure by the~Contractor to comply with any requirementsof such Chapter shall be a material breach of
contract.
In addition, Contractor represents, warrants and covenants that no officer, employee, or agent of
4Culture who exercises any functions or responsibilities in connection with the planning and implementation
of the Specific Scope of Contract Services funded herein, has or shall have any beneficial interest, directly
or indirectly, in this contract. The Contractor further represents, warrants and covenants neither it nor any
other person beneficially interested in this Agreement has offered to give or given any such officer,
employee, or agent of 4Culture, directly or indirectly, any compensation, gratuity or reward in connection
with this Agreement. The Contractor shall take all appropriate steps to assure compliance with this
provision.
AG SVC 05
Page 5 of?
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Resolution 3916 Exhibit A
XVI. SURVIVAL
The terms and conditions of Sections III, V, VI, VII, VIII, IX, XI, XII, XIII, XIV and XV shall survive the
termination of this Agreement and shall be continuing obligations of the parties.
4Culture:
Date
/; /z-A S-
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Signature
(J e+ a]? J....ew,'s
Name (Please type or print)
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I1/fY(jL
Title (Please type or print)
OCT - 3 2005
Date
AG SVC 05
Page 7 of?
Resolution 3916 Exhibit A
EXHmIT A
SCOPE OF SERVICE
Citv of Auburn Arts Commission (Auburn) and 4Culture mutually agree that the following services be provided in
accordance'with Auburn's participation in the King County Performance Network and the artist applications
submitted to and approved by 4Culture.
Amount: Contract Maximum $4.920
Partial support for: Sponsorship and co-presentation of three events as part of the 2005 King County Site Specific
Performance Network. Auburn will sponsor three performances between September 1 and November 30,
2005 in collaboration with 4CUlture's county-wide Performance Network. The Auburn Arts Commission
will provide administrative support, publicity and facilitation for the following three artist performances.
Funds dispersed under the terms of this agreement will provide for artist fees according to the following
fee/artist schedule and artist liability costs as needed. Auburn agrees to provide $2,000 in matching funds
for artist fees and project expenses:
Artist
Fees &
Expenses
$2,630
$2,590
$500
$5,720
Insurance Costs
Not to Exceed
$1,200
Provided by artist
Provided by artist
$1,200
Total Fee and
Expenses
$3,830
$2,590
$500
$6,920
Kristen Tsiatsos
Greg Williamson Big Band
Christian Swenson
Total Artist Fees
Project Fundin~
4Culture contract maximum $4,920
Auburn Arts Commission Match $2,000
PAYMENT SCHEDULE
Due and payable upon fmal schedule, artist agreements and submission of signed invoice.
PUBLIC BENEFIT
Performances will be open, accessible, publicized to the community and provided free of charge.
PUBLICITYJPROMOTION POLICY
Prominent acknowledgment of 4Culture King County Performance Network is required of all recipients for use in
all publicity and promotional materials, including, but not limited to brochures, press releases, programs, posters,
public service announcements, flyers and advertisements. Please contact your Project Coordinator for an electronic
logo file.
Resolution 3916 Exhibit A
,CONSUME is a lighthearted absurdist look at America's need to consume that asks the
question: "Is our need to consume consuming us?"
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Set in the new civic town square arid social center of rural life, the mall (or, more specifically, the
'mall's courtyard), CONSUME blends movement, character and madcap scenes into a fun,
interactive performance experience for shoppers. Fashioned after my past performances of M3
(Occidental Square, Seattle), ALPHA (plaza ofthe Herny Jackson Federal Building, Seattle)
and, most recently, JANE (see work sample), CONSUME will create an explosion of
performance that approaches the material from all sides - highly sculpted dance, quirky
characters, visual design elements and interactive performance art - filling the mall courtyard
with a feast of sights and sounds.
CONSUME Is comprised of three sections that occur simultaneoUsly and that surprise shoppers
with unannounced (yet planned) performance. Ideal locations are large malls such as Bellevue
Square, Narthgate and South Center. Total pelformance time is approximately 45 minutes with
sections of the work overlapping with the others. Exact rllImbers of performances per venue will
be figured out later in the planning process.
The cast of characters for CONSUME is costumed and coiffed in a highfystylized manner
modeled after American life in the 195Ds; think sculpted hair, perfect shoulders and twinkling
smiles. All costuming has a cartoon-like quality with lots of piping, padding and vibrant colors.
The Three SectiollS
The Housewives are a dance theater trio of perfect 1950s AmeriClR.middle ciass housewives.
We find them "center stage" in the courtyard, dancing with their electric mixers and their
vacuums, their frying pans and their whisks. But are they dancing with. their appliances or are
the appliances dancing them? Using a combination of choreographed marionette movements
and ballroom dancing rotations. these women are not your mother's mothers, but rather cartoon
and clown-like caricatures of them. These housewives are obsessed, jealous and prepared to
do anything to be perfect. When the inanimate objects take on a personality of their own, the
hilarity begins and the themes of obsession, desire, precision and control come to light.
Television Man is a cyclical series of infomercial-like comedic scenes staged in an oversized
fake television. Playlng on a heightened sense of reality, Inside of this box Is a real .life actor,
seen only from the chest up. His snake-oil pitch weaves in 1950s-styte brand advertising that is
similar to sponsor ads on early television series. The general themes for Television Man are
superficiality aM perfection.
The Researchers are subtle interactive guerrilla art that requires audience participation. The
hopes for this section are that participants leave wondering: "Was that 'real' or performance?'
, Five well-dressed quick and manipulative fake market researchers poll shoppers about what
they want. Fashioned atter the Researchers from M3 and The Tour Guides from ALPHA, these
characteriil are sure to beguile even the most savvy of shoppers and leave the participants
talking about their experiences long after CONSUME is done.
In full respect of the fact that malls are private property, CONSUME will work in accordance with
mall regulations and managernent to provide a stimulating and dynamic cultural experience for
shoppers, mall staff, and the artist. CONSUME will be planned to occur during the busiest time
of shopping during the week (mast likely weekends), catching as many shoppers as possible by
surprise giving the largest possible number of shoppers the opportunity to benefit from the
performance.
Kristen Tsiatsios 206.720.0383
fT
CONSUME
KCPN 2005
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Resolution 3916 Exhibit A
KRISTEN TSIATSIOS
8216 Linden Ave N, Seattle, WA 98103
(206) 720.0383/ kristen!t@hotmail.com
4WARDS
lOOl KING COUNTY SPECIAL PROJEcTs grant for the completion of JANE
ZOOt ALLIED ARTS FOUNDA nON gt:ant for the completion of Alpha
CNOREOGRAPHY
ZOOJ
2002
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2000
2000
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1999
1999
1998
1998
1996
JANE, glassbones, Northwest New Works, On The Boards. (Seattle, WA)
LIFT & SNATCH, video collaboration with Paul WlUis &. Ntc Warmenhoven, Ultra.
Northwest Film Forum (Seartle. WA)
THOREAU'S CABIN.~, Arts In Nature Festival, Camp Long (Seattle, W A)
UNDER THE VIADUCT, g/assbanes, Allied Arts Wrecking Ball, Alaskan Way Viaduct
(Seattle, WA) ,
ODE TO THE LILY, collaboration with Nic Warrnenhoven, Velocity's Late Night Cabaret
(Seattle, WA)
STARVED, gl=bcmes, Nico Gallery, Pioneer Square (Seattle, W A)
SEAMS, collaboration with Lucia Neare, 1Z Minutes Max, On The Boards
(Seattle, WA)
ALPH,^:, ~, Jackson Federal Building, (Seattle. WA)
THE SEVENTIi CHAIR, g/assbones, Fuseba11, Conoolidated Works, (Seattle, WA)
TIfIS IS WHAT PLUlOCRACY LOOKS LIKE. collaboration with Nlc Warmenhoven.
Westlake Center. (Seattle. WA)
PLA Y, g/assbone.s, Experience Music Project. ~ttle, W A)
GHETIO. directed by Lauren Marshall. Seattle Public Theater (Seattle. W A)
M', glassbooes. First Thursday Artwalk (Seattle, W A)
SEEDS, glassbones, Feast, On The Boards (Seattle. W A)
SEEDS, gIassbones, Rolnp Festival (VIctoria, Be), a~ (Seattle, W A)
SIGNAL '5, created with'Reggle Watts, On the Boards, Velocity, ArtSpace Gallery
(Seattle, W A) ,
AN ALTERED LIFE. directed by Robin Lynn Smith, written by Elizabeth Heffron, Freehold
Theater (Seattle, WA)
FOR MARIGOLD, collaboration wlthglassbooes, Artis!:s Open Forum, Seattle Fringe Festival,
arrsEdge, Bumbcuhoot (Seatde, WA)
PINK FWATING ISLANDS, created with Ladan Yaltadeh. Freehold Theatre (Seattle, W A)
P.ERfORMANC;E
ZOot EVENING OF IMPROVISA nON, Curated by Vanessa de Wolf, Studio-Current (Seattle, W A)
2002 JALOPY, Alethea Adsltt,glassbones, Richard Hugo House (Seattle, WA)
Kristen Tsiatsios 266. 720.0~83
CON SUMP.
KCPN 20G5
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Resolution 3916 Exhibit A
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KRISTEN TSIATSIOS
8216Unden AveN, Seattle. WA 98103
(206) 720.0383 / krlstenltGhotmaU.com
PERFOR~ANCE C..DNT'D
2001 JALOPY (Part li), Alethea Adsitt,glasshones, On the Side, Freehold
(Seattle. WA)
2001 JALOpY (Part 1), Alethea Adsitt,gla~. Under Construction, Velocity
(Seattle, WA)
2001 FABLE, BetterBiscuitDance. Northwest New Worb,On the Boards (Seattle, WA)
2000 DOUBLE LINE, Alethea Adsltt,glasslxme..Feast. On The Ba!trds (Seattle.WA)
2000 BLIGHf, BetterBlscuitDance, Feast, On The Boards (Seattle. W A)
1999 INNOCENTS, Alko Kinoshita. Journey's Down the River. Freehold (Seattle. W A)
1999 BEFORE. Rebekkan Dinaburg, Seattle Mime Thelttre.artsEdge (Seattle, WA)
1999 SPLICED, BetterBlscuitDance, Seattle Fringe Festival (Seattle. WA)
1999 . HEAVEN'S TO BETSY, BetterBiscultDance, Weeding (Seattle, W A)
1998 HEA VEN'S KEY. Ladan Yalzaden, Northwest New Works, On The Boards
(Seattie, WA)
1997 FLOATING ISLANDS, Ladan Yalzadeh, Northwest New Wow. On The Boafds (Seattle, WA)
1996 OBJECTS IN TIlE MIRROR, Alethea Mitt, 1Z Minutes..MlIX, On The &ards
(Seattle, WA)
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Kristen Tsiatsio$. 206.72[).03B3
CONSUME
KCPN 2005
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Resolution 3916 Exhibit A
ING COUNTY PERFORMANCE NETWORK
Project Detail Page
d Avenue, Suite #200 I. Seattle, WA 98104-2307
B.O
206296.7580
206.296.8574 TTY
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Ions on your selection asa finalist for the 2005 King County Site Specific Performance Network! This is your
,y to update the Local Arts Agency presenters on the specifics of your project in order to assist with the flnal
~ of projects for 2005, In their consideration of projects, presenters must consider cost and technic,,1 elements.
complete this form providing preliminary expenses and fees for your project development and presentation. The
'program aliocation will be based on the selection of a specific site and budget in negotiation with the presenter(s).
,'se use the reverse side of this form to detail any changes to your project concept or contact information.
Deadline:
Feb. 18,2005
Applicant:
'This Project Detail Page must be received by 4:30 p.m. on:
Friday February 18, 2005
NAME: Kristen Tsiatsios
ESTIMATED PROJECT BUDGET
Detail
Proiect Expenses
Technical Personnel
Production Expenses
Technical Costs
Total Production Expense
$1600
$
$730
$300
$2630
ARTIST FEES
Director/Admin Fee: $750
Performers Fee: 4@$150
Sound design: $250
Artist Fees
PRODUCTION EXPENSES
Rehearsal: 45 hours @ $6
Costumes: 4 @ $40
Props: $50
Prop construction (TV): $250
Additional Proiect Income (contributions,
arants. etc.)
TECHNICAL COSTS
Documentation (Video/Photos) $300
$
$
$
Fee per Performance
Single Performance
Multiple Performance
in Single Venue
Single Performance in
3-5 Venues
$2630
Base + $250/Derformance
Base + $350/Derformance
5. Applicant
Signature: ,
Si9nature: sent electronicaliy by Kristen Tsiatsios
Date: 2/18105
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l-- Resolution 3916 Exhibit A
KINt; COUNTY PERFORMANCE NETWORK
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CULTURE
III!1lG CIlUNI' la~6,"Cj iU
Project Detail Page 2
Project Narrative Changes/Updates
INSTRUCTIONS
Please provide any updates or additional information regarding your project proposal that you wish to tell us. You are
not required to complete this page unless your contact information has changed or the concept or scope of your project
ro osal has chan ed si nificantl from the ori inal ap Iication.
PROJECT CONTACT:
CHANGE OF
ADDRESS/PHONE?
NAME:
NEW:
UPDATE PROJECT DETAILS
The Housewives have been cast by the wacky trio of~ucia Neare (former 4Culture award recipient), Kristen
Tsiatsios (Director/Choreographer) and Vanessa DeW{)lf. The Television Reporter will be played by the
sharp tongued and charismatic Nic Wannenhoven. These four performers will receive the performance fees
as listed in the budget. The Market Researchers will be cast by five volunteer performers enabling artist fees
4Culture '" , '" ,", '.,..
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4. AtlfltICltlon Checklist::
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",~If'1Hnt Signature:
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Resolution 3916 Exhibit A
KING COUNTY PERFORMANCE NETWORK
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Read the KIng County Performance Network guidelines before filling out this form.
Subm~ one original plus 5 copies oflheappllcatlon and artist resume. DO NOT STAPLE; doll1ree
hole punch, including original.
Submit only one set of required work sample and optional support materials.
ArtisU' Ensemble! Organization Name: GrEIg Williamson Trio/Pony Boy All Star Big Band
Contact Name: Mr. xO Ms. 0 Tttle: Composer, Arranger, Musician
First Name: Gregory
Address: 5059 Pullman Avenue NE
last Name: Williamson
City: Seattle
Zip: 98105
Area Code: 206 Phone: 522-2210
Area Code: 206 Fax: 522-2210
e-mail: greg@ponyboyrecords.com
http://www.ponyboyrecords.com
County Council District Number: ;t
THIS IS REQUIRED /NFORMA TlON Call King Co. Records and Elections at (206) 296-1581 to verify your
Council District or vlsit:1. e roke. v k cldi ma .
Please attach a one-page description of your idea(s) for a site-specific production.
Additional factors will come into play fulther into the process, such as technical
requirements, site avai/ability, etc. Bul for the purpose of this application, ptease just
describe your idea(s).
(attached)
tf your proposal has special requirements (which might incfude technical needs, venue
restrictions, or the need to be paired with a specific suburban community, please explain
within your aflached one-page project concept.)
Stage, lighting and technical requirements will vary for each project concept and will be
provided by the artist
o Signed application (1 original and 5 copies)
o Artist Resume, to include your work, in the proposed discipline as well as history of
COllaborative and site-specific projects as relevant (1 original and 5 copies)
o Work Sample, a high quality video sample is strongly encouraged, but work sample
may be submitted in a variety of formats (1 copy) Please include a separate page
detailing title, date, description, all participating artist(s) and applicant involvement in
selected sample(s}
tl Support Materials, to include articles, reviews, sample publicity materials, etc. (1
co
Date: November 1, 2004
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. KING COUNTY PERFORMANCE NETWORK
Site-specific Performance Artist Application
, November I , 2004
Artist/Ensemble Name: Greg Williamson Trio, Pony Boy All-Star Big Band
Resolution 3916 Exhibit A
PROJECT CONCEPTS
In touring King County, I have identified several opportunities to pi'esentthe great American art
form of jazz music in surprising and unexpected ways. As well as musical performances, this series
of events will involve the four basic elements of performance art: time, space, the performers themselves, and
the relationship between audience and performer. The jazz music may be traditional, yet the presentations
unusual. These expressions of a jazz concert/happening will stimulate, surprise and entertain communities
around King County. The jazz art pieces I propose will completely unfold before an audience/passers by in their
entirety in non-traditional spaces. Each performance of this series will include everything from the musicians
seemingly spontaneous arrival. assembly of their instrument, a musical performance, dancers
arriving/listening/dancing, unexpected interruptions and participation, a lot of great music, and a creative
departure of band members and dancers. I have investigated and suggested specific sites/communities along
with each of my project concepts.
I have had considerable experience producing and performing in musical events and working with community
presenting organizations and budgets. I consider the advertising, preparation, composition. and performance
to all be a part of the artisti.c expression. I look forward to the opportunity to partner with King County
Performance Network and local arts agencies. Technical requirements for these performances will be minimal.
The response to inquiries has been positive at possible venues.
.
PROJECT CONCEPT NO. I:
IDEA: A BIG BAND IN PUBLIC PLACES (courtyal'ds, common areas, etc). AND A PUMPKIN PATCH
SITE(S): A series of performances in Duvall, Carnation, Fall City. Shoreline, Enumclaw and Bothell.
I propose to present the 17-piece Pony Boy All Star Big Band, musicians and swing dancers, approaching the
performance area from different directions through the community streets, clad in. tuxedos or festive dress.
Uke a scene from the Twilight Zone, the Norman Rockwell~que band members will gently filter into the
community. interacting with the space and the pedestrians, pedestrians become audience, climaxing in a fun
and involving set of big band music, claSsics and new works, with a few dancers to seed the act of participation.
Sites would be chosen for their center of activity, bolstering a possible vacant or depressed business location,
or for the contrast effect of a sWanky big band in a rural or suburban location. Advertising and marketing 01
this series would take place to pique audience interest with retrostyle flyers, posters, and press in a somewhll
non-specific reference or featuring a contrast of location. An intriguing twist is the urban/rural contrast of I ""
band performing at a busy pumpkin patch on a Saturday afternoon before Halloween in Carnation or Enumclaw. ,
PROJECT CONCEPT NO.2: ,
IDEA: JAZZ TRIO PERFORMANCE IN VACANT STORE FRONT AT LUNCHTIME
SITE(S): A series of performances in Downtown areas of Auburn, Carnation, Renton and E:numclaw
I will present a jazz trio inside of a vacant retail space in the historic downtown core spaces. This effort would
bring people back into the old business districts and help revitalize these parts of our communitie,s by provldlrll
art, music and interest to their experience in these locations. Again, this jazz presentation, taking place behInl;'
the doors of a vacant retail space, will completely unfold before the passers by in its entirety. I see this
performance presented with an elegant evening party atmosphere complete with small party tables and couplll ,
dancing.
PROJECT CONCEPT NO.3:
IDEA: THE HISTORIC JAZZ ROADHOUSE SERIES
SITE(S): A series of performances in Shoreline, Bothell. Tukwila, Auburn, Enumclaw
A series of traditionally planned and advertised jazz concerts. highlighting the history of the roadhouses of ~ "
County. I have long heard stories from the "older" jazz and big band musicians of the antics and gigs which
occurred at the establishments past the outskirts of town. These roadhouses were the outposts of speak..."
culture which gave rise to the jazz age and jazz music itself. Many roadhouses became the great dance h", ..
their time. These communities have not seen this level of exciting music in a long time. These concern wtIl...':
tied into the history of the community or the building itself with photos. interviews, stories, musical selee:
and personal musical testimonies. Informal historical research has always been a part of the lineage or Jan.
would be formalized through interviews, books, historical societies and online history sites.
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: KING COUNTY PERFORMANCE NETWORK Resolution 3916 Exhibit A
, Site-specific Performance Artist Application
November I, 2004
Artist/Ensemble Name: Greg Williamson Trio, Pony Boy All-Star Big Band
Greg Williamson, Resume/Bio.
Greg Williamson began playing drums and piano at an early age, listening to the record collection of his
parents, always returning to that curious double live LP by Thelonious Monk. His mother still takes credit
for bringing him - at an age less than one year - to concerts of Duke Ellington and Louis Armstrong in 1965.
By the time he hit high school, he had won several college festival awards. In 1986 he gained a degree in
jazz studies from Western Washington University, also studying classical percussion & composition. During
this time he played many musicals, big band shows, local gigs, and was principal percussion, timpanist and
clinician with the Seattle Youth Symphony.
Woody, Glenn & Harry
While in college, he also began hanging out and mentoring with jazz drummers Jeff Hamilton and Mel Lewis
- and bassists John Clayton and Ray Brown, soaking up the lineage of jazz. Relocating to Los Angeles, he
was very quickly touring With the Glenn Miller Orchestra, then Woody Herman's Young Thundering Herd,
and then the Harry James Orchestra. Greg counts these years of road band experience and performing
behind guest artists as priceless and immeasurable. Wonderful people like Rosemary Clooney, The Mills
Brothers, Anita O'Day, Helen Forest, Helen O'Connell, Art Lund, and others.
Seattle & Big Bad Groove
In 1990 he made Seattle his home and continued to do occasional tours while bursting into the fertile
Seattle music scene. He began groups of his own, drawing on some of the tine musicians from his road
band a5$ociations. The Big Bad Groove Society is a sextet with flexible horn instrumentation for which
he also writes and arranges, tapping into the big band sound with a small group flexibility. The group
included friend and Ernestine Anderson pianist Larry Fuller (later to join Jeff Hamilton & Ray Brown's Trio).
Ernestine & Steve Allen
He also began performing, touring and recording with jazz singer; Downbeat Poll winner, and Grammy
nominated vocalist Ernestine Anderson. Still working with Ernestine, he has toured Japan numerous times,
Brazil, and all around the United States. Several years later he also began wor.king with legendary pianist
and funnyman Steve Allen, perforrning on night dub dates, big band shows, Las Vegas showrooms, and a
revival of the original "Tonight Show" - a touring ensemble including Louis Nye and Bill '~ose Jimenez" Dana,
working with the great pianist Paul Smith, a veteran of Ella Fiu:gerald, CBS Orchestra, and many others.
This again gave more opportunities for performing with the great stars of jazz, swing, and film. Joe Williams,
Steve & Edie, Buddy Grecco, and more. His collective "played with" list is extensive.
Pony Boy Records ,
The release of a Big Bad Groove Society recording in 1994 saw the formation of Pony Boy Records, an
affable moniker for promotion and distribution. The title "Live at Kellys" became the first of many live
recordings at the home club of bassist al1d raconteur Red Kelly. Red became a personal link to many of
the characters of 50's big bands' hey<lay - the same big bands which Greg had played 30 years later.
Pony Boy Records, a label for the fun ofjatz, became immediately popular. With other musicians of like
mind wanting to be part ofthe "stable of artists", Pony Boy has grown to more than 30 releases, including
Williamson's highly regarded "Swing Your Big Head" enhanced-CD, and his new "Double Sax Quintet" _
listed in the Jazz Times Year in Revi~wC:ritics Picks 2002 (Top Ten - Harvey Siders).
( contined)
<01
10)
. kiNG COUNTY PERFORMANCE NETWORK Resolution 3916 Exhibit A
Site-specific Performance Artist Application
November I, 2004
Artist/Ensemble Name: Greg WillJamsonTrio. Pony Boy All-Star Big Band
(I
\.
Greg Williamson, Resume/Bio, Page 2
r
Greg's development of skills in graphic arts, promotion, and digital audio recording/mastering has allowed
Pony Boy Records to help ;an artists with the tools of music. Live performance is the target of the effort
- promoting concerts, tours and gigs;
Pony Boy Records celebrated its 10th Anniversary in September of 2004 and Greg produced the First
Annual Pony Boy Records Jazz Picnic at Seattle's Magnuson Park with a little help from some wonderful
sponsors. Over 40 musicians played throughout the afternoon to a total audience of about 500 jazz fans
and community members. This well publieized, critically acclaimed event was enjoyed by all.
Play Jazz - Tour - Swing Hard
Greg has continued to play and record with many artists including Ernestine Anderson, Larry Fuller. Brian
Nova and HB Radke to name a few. Over the years he has kept busy performing at festivals and concerts
all over the world including an annuattour of Japan with the Brian Nova Trio, special p~ojects with rock
and blues superstar Steve Miller and too many recording and arranging projects to mention. Greg has also
spent several years with Sinatra-style wise guy HB Radke; perfonning for swooning swing-dancers, national
sports crowds, and even as a personality on national shock-jock radio with Tom leykis. Altogether Greg
has appeared on more than 40 CDs, and can of&ln be heard backing upa varie\y singers and jazzers up
and down the west coast.
Jazz Education
Greg has continued to teach drums and jazz privately and 'in clinics; focusing on musicality and the lineage
of big band and jazz. His technique is relaxed and natural, bouncing the stick to get a warmth of sound
from good instruments, digging on time and feel. He draws from stories and experience of drummers and
musicians before him - and draws comparisons to some classical technique.
He participated in the 2002 Intemationai Association of Jazz Educators Convention and coached the
National Community College Jazz Ensemble rhythm section. He enjoys clinics and rehearsing school
groups; imparting his sense of joy of music to swdents; and the drive, dance, and texture available to
performers of all kinds.
Education:
Greg earned a degree in Jazz Studies from Western Washington University, 1986, where he studied
composition and classical performance. He has also studied privately with jazz drummers Mel Lewis in
New York and Jeff Hamilton in Los Angeles.
Resolution 3916 Exhibit A
February J 8, 2005
Applicant: Greg Williamson
Greg Williamson Trio/Pony Boy ~1I~Star Big Band
KING COUNTY PERFORMANCE NETWORK
ESTIMATED PROJECT BUDGETS
CONCEPT NO. I,
BIG BAND/PUBLIC PLACE,
PUMPKIN PATCH
Proiect ExDenses
Artist Fees $2,100
T ethnical Personnel $0
Production Expenses $90
Technical Costs (t may be $0) $100
TotalProduction Expense $2.290
Additional Project Income
(contributions, grants, etc.)
I (Artists in-kind donations) see -Artists" befow
2 ("Creation" in kind donations) see "Creation fee- below
3
Fee Der Performance
Single Performance $2.590
Multiple performance! I venUe $2,590; "$2,200
Single performance/l~5 venues '$2590; "$2290
(Ueach performance after
one, cost may be averaged)
Detail: Artistis: 17 musicians + 4
dancers = 21 artJsts x$1 00
Budgets do not include (refJects $50 each donated
marketting and promotion performance)
expenses. Posters and ftyers Production=cartage,
may be done at minimal tTechnical Cost for tent rental
expense, perhaps in may be $0, depen<1ing on
cooperation with presenting location.
organizations. Periormance: $300 one time
"Creation Fee" added to first
perform'ance.($/OO in-kind)
CONCEPT NO.2:
JAZZ TRIO IN
VACANT STOREFRONT
$925
$0
$90
$350
$1,365
, , ,
see "Artists" below
see "Creation fee" below
$1.665
$1.665; "$1,100
$1.665; "$1,365
Artists:
3 x $225 musicians
2 x $125 dancers
(reflects $50 each donated
performance)
Productiol1=cartage.
t Technical Cost far rental
tables, PA, lights may be $0,
depending on location.
Performance: $300 one time
"Creation Fee" added to first
performance. ($1 OOin.I<ind)
nMultiore Performance in
same venuerefJects 1/2
Technical Costs (rentals) and
no r:".fa"e.
~l
CULTURE
CONCEPT NO.3,
HISTORIC IAZZ
ROADHOUSE SERJES
$2.450
$0
$120
$25
$2,820
see "Artists" below
see "Oeation fee" below
$3,220
$3,220; "$2,975
$3,220; ""$2,820
Artists:
14 x $175 musicians
(reflects $50 each donated
performclOce)
Production = cartage.
tTechnical Costror rental
media projector, PA may less,
depending on location.
Periormance: $400 ope time
"Creation Fee" added to first
performance. ($2oo in-kind)
"Multi ole Performance in
same venue renects 1!2
Technical Costs (rentals) and
no cartage.
Resolution 3916 Exhibit A
KING COUNTY PERFORMANCE NETWORK
Project Detail Page
4Culture
506 Second Avenue, Suite #200 / Seattle, WA 98104-2307
wwwAculture.o
INSTRUCTIONS
Congratulations on your selection as 'a finalist for the 2005 King County Site Specific Performance Network! This is your
opportunity to update the Local Arts Agency presenters on the specifics of your project in orderto assist with the final
selection of projects for 2005. In thelr,consideration of projects, presenters must consider cost and technical elements.
Please complete this form.provi(ling preliminary expenses and fees for your project development and presentation. The
final program allocation will be basEld on the selection of a speCific sije and budgelin negotiation with the presenter(s).
, Please use the reverse side of this form to detail any changes to your project concept or contact information.
206 296.7580
206.296.8574 TTY
Deadline: This Project Detailflage must be received by 4:30 p.m. on:
Feb. 18,2005 Friday February 18, 2005
Applicant:
NAME:
(;'s-hQ.~ SWe'1s.svz " 51'V\, , -/kNM I,
ESTIMATED PROJECT BUDGET
Detail
Proiect Expenses
Artist Fees
$ tg(}'T)'
$
$ 400
$
14~tWJ.. Cfe..;,., (1 ,o/k~1J. ;;Jt 2t:O eo.d..t")
Jt3iJb 144V>1i\1iffmh6r(i'l.. J,($--;!t.->PW Hollo() ,
..$t /00 t<(.YI~\ of pr~4,.u 5f">.ce.. ((0 It(s..i)J; }OlhDV<)
Technical Personnel
Production Expenses
Technical Costs
Total Production Expense iJ 2.0'0
Additional Proiect Income (contributions.
orants. etc.)
.:rwk."ol.: ~1Ae-f1'ce $ /60
>~
$
$
Single Performance
Multiple Performance
In Single Venue
Singl~ Performance in
3-5 Venues
Fee per Performance
r (:CvI~IvJ.e-, Artl'$t~$
$ ? 00 ~. <OMG( -Jv'c\~ ,.,..... '1 N'I1''''
$ iffY/) eAd.. ~wvJ;;.'ce..-
$ !)(j() e().cJ.. r-er~MAA{/l...
5. Applicant
Signature:
Signatu~~~~
Date:
~. /0 I 2a>5
'.'
Resolution 3916 Exhibit A
. .
EXHIBIT C
INSURANCE REQUIREMENTS
Contractor shall procure, at its sole cost and expense, insurance against claims for injuries to persons or
damages to property which may arise from, or in connection with the perfonnance of work hereunder by the
Contractor, his agents, representatives, employees, and/or subcontractors. The costs of such insurance shall be paid
by the Contractor or subcontractors.
For All Coverages: Each insurance policy shall be written on an "Occurrence" form. The Minimum Scope of
Insurance needed for this contract is as follows:
18I Commercial General Liability
Insurance Services Office form number (CG 00 01 Ed. 11-88)-Minimum
Combined Single Limit of $1,000,000 131 & PO with a General Aggregate
per proiect
1. Deductibles and Self Insured Retentions.
Any deductibles or self-insured retentions must be declared to, and approved by, the COA. The deductible
and/or self-insured retention of the policies shall not apply to the Contractor's liability to the COA and shall be the sole
responsibility ofthe Contractor.
2. Other Insurance Provisions
A. The insurance policies are to contain, or be endorsed to contain, the following provisions:
(a) General Liability Policies
e-
(1) The COA, its officers, employees and agents are to be covered as primary additional insured as
respects liability arising out of activnies perfonned by or on behalf of the Contractor in connection with this
Agreement ---
(2) To the extent of the Contractor's negligence, the Contractor's insurance coverage shall be primary
insurance as respects the COA, its officers, employees, and agents. Any insurance and/or self-insurance
maintained by the COA, ns officers, employees, or agents shall not contribute wnh the Contractor's insurance
or benefrt the Contractor in any way.
(3) The Contractor's insurance shall apply separately to each insured against whom claim is made
and/or lawsuit is brought, except with respect to the limits of the insurer's liability.
(b) All Policies
(1) Coverage shall not be suspended, voided, canceled, reduced in coverage or in limits, except as
reduced in aggregate by paid claims, at any point during the life of this cOntract.
3, Acceptability of Insurers
Unless otherwise approved in writing by the COA, insurance is to be placed with insurers with a Best's rating of
no less than A: VIII, or, if not rated with Besfs, with minimum surpluses the equivalent of Bests' surplus size VIII.
4. Verification of Coverage
Unless otherwise approved in writing by the COA, Contractor shall furnish COA with certificate(s) of insurance
evidencing compliance with requirements set forth above, which certificate(s) shall provide that no material change, or
cancellation or nonrenewal of policies referred to herein shall occur without thirty (30) days' prior written notice to COA.
- ~ ~ -
cities
- - -~~ -- - -
Insurance Authonty
P,l1, Box 88030
Tukwila, \A/A 98138
26-Sep-05
Cert#: 4229
Plume: 2.06-57S-C,046
4 Culture
Attn: Charlie Rathbun
506 Second Ave, Suite 200
Seattle,WA 98104-2307
Fax: 206-575-7426
RE: City of Auburn
King County Performance Network Contract 2005.
Evidence of Coverage
The above captioned entity is a member of the Washington Cities Insurance Authority
(WCIA), which is a self insured pool of over 114 municipal corporations in the State of
Washington.
WCIA has at least $1 million per occurrence combined single limit of liability coverage
in its self insured layer that may be applicable in the event an incident occurs that is
deemed to be attributed to the negligence of the member.
WCIA is an Interlocal Agreement among municipalities and liability is completely self
funded by the membership. As there is no insurance policy involved and WCIA is not
an insurance company, your organization cannot be named as an "additional insured'.
Sincerely,
.eIL
Eric B. Larson
Deputy Director
cc: Brenda Heineman
Lori Patrick
cietter