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The Future of Vocational Education


In Iowa today, Secretary of Education Arne Duncan unveiled the Obama administration’s new vocational education plan. The president proposes to revise the Carl D. Perkins Career and Technical Education Act by investing an additional $1 billion to increase partnerships between high schools, colleges and employers, with the goal of directing students toward high-need industries such as engineering and healthcare.
But the choice of venue for the announcement—the Des Moines Area Community College—underscores a critique of the president’s education and jobs agenda aired on both the right and left: that it focuses too much on post–high school occupational training, and not enough on introducing younger adolescents to the world of work outside the classroom. Indeed, the administration's policy blueprint states that high school students enrolled in career and technical education programs must still achieve "mastery of the core academic content required of all students." In many Western European nations, on the other hand, the high school curriculum is significantly differentiated for teenagers depending on whether they are headed to a liberal arts university, a technical college, or into the workforce. 
In a new book, Schooling in the Workplace, Nancy Hoffman of Jobs for the Future argues the United States should adopt a Swiss-style vocational education system, in which students in their last two years of high school have the option of participating in highly structured workplace apprenticeships, working for pay several days per week and spending the rest of the time in the classroom. “We have a 22 percent youth unemployment rate right now, compared to 5 percent in the Netherlands or Switzerland,” Hoffman told The Nation. “Among that 22 percent are young people who are going to be permanently scarred, and that’s damaging to the human psyche. We don’t think about what we can do to help the young people in our charge discover the role of work in our lives.”
In the following interview, I talk with Hoffman about why vocational education is so controversial in the United States, what role the liberal arts should play and how emphasizing career training might change the teaching profession. The interview has been condensed and edited for clarity.
I was fascinated by your idea of providing older teens—especially “the forgotten half” that will not attend a four-year college—with an easier “transition to adulthood.” You describe upper secondary school students in Switzerland working behind the counter in a cell phone shop for school credit, which will certainly horrify a lot of advocates of a college-prep curriculum. Can you talk about why you think this type of “transitional” work is so important?
In Switzerland there are whole stores run by kids, so there are multiple jobs including management, repair, all the technical jobs, plus customer service. If we have a situation in the United States where only about 20 percent of 26-year-olds have any credential, we need something for people to do to get them from 16 to 20 without landing in jail, on welfare or on the street; something that gives them a structure and lets them figure out their potential and interests.
This guy working in customer service at the cell phone shop was going to get a retail certificate in meeting the national standard. And whether he is going to make the leap forward to become a cell phone designer, who knows? But being in a setting where adults have goals, having a structure from age 16 to 19, seems like a much more positive option than what many young adults experience in our country. This Swiss person has an income. He gets paid anywhere from 800 to 1,000 euros per month. He has to demonstrate his competencies in sales. He will have the equivalent of really a year or two of community college, because he was also going to school two days per week.
What about students learning how to debate the big ideas in literature and in politics? What about gaining exposure to great art and writing about it?
In the United States, we need a much stronger set of academic demands up to age 16.  But for the large mass of young people who are muddling along between 16 and 22, trying not to land in jail, or be unemployed or on the street—or even just going from job to job—you might have to ask: What would be a good enough system? And we know people who pay taxes and have jobs and have healthcare are much more likely to vote, to use social services and to participate in democracy. As for the debate of the big ideas, the number of students who actually get to do that is relatively small. I don’t like the idea of giving it up, but it’s probably unfortunately very much class-based in this country anyhow.
You really like the Swiss system. What one or two aspects of it do you think are most realistic for American states to implement?
Volkswagon is starting a European-style apprenticeship program in Tennessee, but for high school graduates. The first thing that has to happen is employers have to be able to see there is some self-interest in engaging with young people in the workplace. That’s a very tough sell. You probably have to start with more internships and apprenticeships at the community college level than in high school, because most people in this country just don’t believe that 16-year-olds can be productive workers—though there is plenty of evidence they certainly can be.
The second thing, which is maybe boring but most important, is the combination of employer and government infrastructure to support employers in taking in young people. I was just in North Carolina talking about this stuff with business leaders, and they really sort of got it. The Swiss government particularly invests a great deal in analysis of jobs to figure out what competencies should exist. They invest in initial workplace training [for apprenticeship hosts], because small businesses can’t do this on their own. It’s a whole intermediary infrastructure, plus a research and support structure shared between employers and the government, which makes this possible. There are just a few institutions or non-profits, like workforce investment boards, that do this in the United States.
You are a fan of “dual systems” in which students learn theoretical subjects in school, say two days per week, and more practical ones in the workplace three days per week. But does emphasizing practical learning, as the German and Swiss systems do, make academic high school teaching a less prestigious or desirable profession? Making teaching more elite is a major goal of American education reform, and it seems like de-emphasizing the traditional classroom might have certain adverse effects on teaching that your book doesn’t acknowledge.
I get where you’re coming from, because you’re coming from a US context. But this is not even a question in the European countries. In Finland, as you know, there are ten applicants for every place in teachers’ college, and that’s whether you teach in a vocational or an academic program.
It’s actually harder to recruit teachers for vocational systems than for academic ones. Except in a few countries with really highly regarded systems, “vocational” still carries a stigma. And despite all the good things I say about the vocational system, I only know a couple of families in Europe [among my social and professional peers] who sent their kids to the vocational system. Their kids become economists, say, like they are.
Isn't that somewhat disturbing, because it suggests the vocational track really is the track for working-class kids?
It’s not disturbing at all. Income inequality is much greater in the United States than in European countries. There is much greater mobility in the European countries than here. Secondly, my view is that I would much rather have a 3 percent youth unemployment rate and most young people having a job, than have the bifurcated system we have in the United States, [in which some kids go to four-year college, and the rest face a 22 percent unemployment rate].
The really strong countries have pathways from vocational education straight through to technical colleges. An interesting data point from Switzerland is that 42 percent of the students who get fours or fives on PISA exams [the highest scores] enter the vocational system. That’s because they know that if you want to be an engineer, work in IT or any of these high-tech jobs, you’re going to be much more likely to get a job after real work experience. In Norway, one young woman I met did a university degree in graphic design and then discovered she wanted to go back and do a vocational program, because she needed work experience.
We behave as though nobody needs to learn to work. We behave as if somehow education alone will launch you into a career, although we know almost everyone is going to two or four-year colleges because they want to get a job. So why one would think that between 16 and 19 years old it isn’t good to get some work experience, I don’t know
Alesana (pronounced /ˈælɨs ˈænə/ Alice-Ana)[5] is an American rock band from Raleigh, North Carolina. Formed in 2004, the group has released one EP and three studio albums. With their current signing to Epitaph Records, the band reached success after their debut, On Frail Wings of Vanity and Wax, with a high attention drawn to their musical style which regularly shifts between light and heavy music. Their band name is derived from street named Aliceanna St., which is located in Baltimore and where the group originated.

Contents

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[edit] History

[edit] Formation and Try This with Your Eyes Closed (2004–2005)

Although the band's members first began playing together in Baltimore,[6] Maryland, Alesana officially formed in October 2004 in Raleigh, North Carolina and was founded by Shawn Milke, Patrick Thompson, Dennis Lee, Steven Tomany and Daniel Magnuson. The name of the band is was inspired from Aliceanna St., which Shawn Milke and Patrick Thompson lived on when playing in Baltimore, MD. Aliceanna St. is located in Fells Point, a neighborhood in Baltimore. Alesana was the first band to join Tragic Hero Records in 2005,[7] and their 3 demo songs titled "Apology", "Beautiful in Blue" and "Goodbye, Goodnight for Good" which were featured on a compilation All The Tragedy Money Can Buy. Later they released their debut EP, Try This With Your Eyes Closed, in May of that year. They toured in the United States, including an appearance at the Cornerstone Festival. In the same year Daniel Magnuson was replaced by Will Anderson.

[edit] On Frail Wings of Vanity and Wax (2006–2007)

In 2006 the group added a new drummer Jeremy Bryan to replace Will Anderson and added guitarist/vocalist Adam Ferguson to their lineup.[6] They followed with a full-length album, entitled On Frail Wings of Vanity and Wax, during the summer of 2006. In late 2006 and signed on to Fearless Records, which re-released their LP in March 2007 to mixed reviews and released a music video for "Ambrosia". In the same year, the song "Apology" in an acoustic version was featured on the compilation release, Punk Goes Acoustic 2. Later in the middle of the year, Steven Tomany left the band and was replaced by Shane Crump who had previously played bass for Your Name in Vain. The band attended the entire Warped Tour 2007 and 2010. In early 2008, On Frail Wings of Vanity and Wax charted on the Billboard Heatseekers chart, peaking at #44.[8]

[edit] Where Myth Fades to Legend (2008-2009)

In 2008 Alesana finished recording their second album, "Where Myth Fades to Legend". The album was released on June 3, 2008 but was leaked on popular torrent sites on May 25. Where Myth Fades to Legend is also the title of their headlining tour with Sky Eats Airplane, Our Last Night, Lovehatehero, and The Chariot. Shane Crump was recently revealed in the intro to Alesana's 4th video blog on PureVolume to be a vocalist on the new album. All the female vocals done on the band's albums are done by guitarist Shawn Milke's sister, Melissa.
On the 2008 Warped Tour, Shane Crump briefly left due to personal matters at home and Jake Campbell (Twelve Gauge Valentine guitarist) became a temporary fill in-bassist. Upon Crump's return, Adam Ferguson and the band parted ways and Cambell became rhythm guitarist.
In 2009 Alesana toured on the 2009 Australian Soundwave Festival, playing alongside; Nine Inch Nails, Alice in Chains, Chiodos, All That Remains, New Found Glory, In Flames, Lamb of God, Silverstein, Billy Talent, Emery, The Dillinger Escape Plan, Anberlin and Underoath. Alesana toured with Drop Dead, Gorgeous, Fear Before, I Set My Friends On Fire, and Fall From Grace on the World of Tourcraft tour later that year.
On January 20, 2009 the music video for "Seduction" was officially released and on March 10, 2009 the album Punk Goes Pop 2 was released which includes Alesana's cover of "What Goes Around...Comes Around" by Justin Timberlake.
Alesana's Where Myth Fades to Legend has also charted on the Billboard 200 at #96 and on the Billboard Hard Rock Album at #13.

[edit] The Emptiness (2009-present)

In late February, Shawn Milke announced Alesana had started writing new material for their upcoming album. They began recording their third studio album, in July 2009, in Portland, Oregon, with producer Kris Crummett. The album, according to Shawn Milke on The Rave TV, would be entitled "The Emptiness".[9] The title "The Emptiness" has also been confirmed in a blog on the band's Myspace profile. The band has made their progress in the studio viewable to fans through a Twitter account and an official website run by the band themselves. In mid-July, Alesana had their Myspace profile edited by Justin Reich with pictures that according to Shawn, hint towards themes in the concept album; the photos show the band in fine suits holding bloody weapons inside an abandoned room, and a newspaper article with a headline "Alesana Unveils New Story This Winter."[10]
Shawn Milke declared on August 19 via Twitter,
It is 6:19 AM and I just finished my last scream...the record is finished..."The Emptiness" is complete...xo shawn[11]
concluding the band's recording session, which began on July 10. Alesana then set out for North Carolina to rest before they began their Vs. tour, which they headlined and included the bands The Bled, Enter Shikari, Broadway, Madina Lake, and Asking Alexandria. On the Vs. tour, Alesana's set included two new songs titled "To Be Scared By An Owl" and "The Thespian". Soon after concluding their month long Vs. tour, Alesana headlined the "You'd Be Way Cuter in a Coffin" Tour with From First To Last, The Word Alive, Asking Alexandria, and Memphis May Fire.
On October 2, Milke and Lee held a second interview with TheRave.tv where they revealed that they were shooting a music video in the fall for one song from The Emptiness. The two members went on to tell Linda, the interviewer, that due to their large fan base in Mexico and South America, they would be releasing a Spanish version of 2 of their songs. Milke also revealed that the album, The Emptiness, is to be released on January 26, 2010.[12] The band finally released the track listing and cover art to the new album on November 10 on their myspace blog[13] On November 23, Alesana released their first recorded work off of The Emptiness, "To Be Scared By An Owl" and began to promote it as a single.[14] The same week, they entered the studio to begin filming their third video which according to their website, is "The Thespian", the song was released on December 8, 2009. In 2009, the band won the Best Hardcore/Screamo Band at the Top in Rock Awards.[15]
Milke announced
Ladies and gentlemen, boys and girls, today is a VERY exciting day for Alesana! we have released a streaming version of The Emptiness in its entirety today right here on myspace! this is your first chance to hear our story from start to finish! The Emptiness received a ( 2.5 / 5.0 ) by AP Magazine (www.altpress.com), a 7/10 by RockSound (www.rocksound.com), a ( 2.0 / 5.0 ) by RRR (www.reviewrinserepeat.com),and a ( 4.0 / 5.0 ) by Lexington Music Press (www.lexingtonmusicpress.com).[16]
After the release of their music video for "The Thespian" on March 17, the band became less active and starting promoting the 2010 Warped Tour, which they took part in at the end of June.[17] Right before their first venue on the Warped Tour, guitarist Jake Campbell left the band to be with his family, and Alex Torres of Greeley Estates took his place.[18] The album debuted at #68 on the Billboard 200 making it their highest charting album.
July 22 of 2010, Shawn Milke posted a blog on the official Revolver website regarding his constant desire to write scripts, stories and music; considering The Emptiness his 'first printed story'. Milke went on to say that he is constantly writing, and that new material for an Alesana album—as well as material for Wake Me Up, Juliet and Tempting Paris—was already being created.[19]
The group announced a headlining tour entitled: Two Frail Weeks of Vanity and Wax, in which they would perform their debut album, On Frail Wings of Vanity and Wax in its entirety on each tour date of the tour along with stating that some songs would never be played again after the tour. The band stated that chosen VIP's will be involved within the testing of new tracks that are prepared to be included on their fourth studio album, which is going to be recorded in March 2011 with producer Kris Crummett.[20] On November 1, 2010, it was comfirmed that Alesana signed to Epitaph Records.[21]

[edit] Members

Current members
  • Jeremy Bryan – drums (since 2005)
  • Shane Crump – bass guitar, backing vocals (2007–2008; since 2008)
  • Dennis Lee – vocals (since 2004)
  • Shawn Milke – rhythm guitar, clean vocals, guitar, piano (since 2004)
  • Patrick Thompson – lead guitar (since 2004)
  • Alex Torres - lead guitar (since 2010)
Former members
  • Adam "Huckleberry" Ferguson – rhythm guitar, vocals (2005–2008)
  • Jake Campbell - lead guitar (2008–2010) bass guitar (2008)
  • Steven Tomany – bass guitar (2004–2007)
  • Will Anderson – drums, percussion (2005)
  • Daniel Magnuson – drums, percussion (2004–2005)

[edit] Timeline

Member Album Instrument
Try This With Your Eyes Closed On Frail Wings Of Vanity And Wax Where Myth Fades To Legend The Emptiness Fourth studio album
Shawn Milke Green tickY Green tickY Green tickY Green tickY Green tickY vocals, rhythm guitar, piano
Dennis Lee Green tickY Green tickY Green tickY Green tickY Green tickY vocals
Pat Thompson Green tickY Green tickY Green tickY Green tickY Green tickY lead guitar
Jeremy Bryan Red XN Green tickY Green tickY Green tickY Green tickY drums
Shane Crump Red XN Red XN Green tickY Green tickY Green tickY bass guitar, vocals
Alex Torres Red XN Red XN Red XN Red XN Green tickY lead guitar
Jake Campbell Red XN Red XN Red XN Green tickY Red XN lead guitar
Adam Ferguson Red XN Green tickY Green tickY Red XN Red XN rhythm guitar, vocals
Steven Tomany Green tickY Green tickY Red XN Red XN Red XN bass guitar
Will Anderson Red XN Red XN Red XN Red XN Red XN drums
Daniel Magnuson Green tickY Red XN Red XN Red XN Red XN drums

[edit] Discography

Studio albums
Date of release Title Label
June 6, 2006 On Frail Wings of Vanity and Wax Tragic Hero Records (reissued on Fearless)
June 3, 2008 Where Myth Fades to Legend Fearless
January 26, 2010[22] The Emptiness Fearless
EPs
Try This with Your Eyes Closed (2005, Tragic Hero, reissued on Fearless)

[edit] Videography

Year Title Album Director
2007 "Ambrosia" On Frail Wings of Vanity and Wax Jeremy Jackson
2008 "Seduction" Where Myth Fades To Legend Scott Hansen
2010 "The Thespian" The Emptiness Stephen Pentafrom wikipedia