Kendall Morgan Rhodes VRP

Kendall Morgan Rhodes

SVP, Digital Programming & Content Production
Relativity Media

Kendall_Rhodes13

Bio (from NATPE’s Speakers page)

Kendall Rhodes serves as Senior Vice President of Relativity Media where she is responsible for expanding Relativity’s original digital content, developing channel strategies, launching branded video marketing campaigns for Relativity’s feature films, developing intellectual property, and growing Rogue’s audiences across the Rogue Movie Network and Relativity Media’s digital properties such as iamROGUE.com and AritstDIRECT.com.

Rhodes has been developing and producing content for features, television and the web for over ten years. Rhodes produced a number of feature films as co-founder and President of Cherry Road Films such as Southland Tales with Dwayne The Rock Johnson, Sarah Michelle Gellar, Seann William Scott, Mandy Moore, and Justin Timberlake; The Hunting Party with Richard Gere and Terrence Howard; L.A. Riot Spectacular with Snoop Dog and Emilio Estevez; and Eulogy with Ray Ramono, Zooey Deschanel, Famke Janssen, and Debra Winger. While President, Cherry Road Films had a first look, development deal at Warner Independent Films, a division of Warner Brothers. Rhodes also incubated and launched SpinDaily.com in 2008, an editorial website dedicated to making videos on the latest trends and products in beauty, fashion, lifestyle and music in the Los Angeles area. Prior to 2002, Rhodes was the coordinating producer of A&E’s Inside Story and Investigative Reports, co-produced a documentary in Cuba with Academy Award winning director, Barbara Kopple, as well as worked at Nibblebox.com (Hypnotic) and CNN.

Rhodes went to University of North Carolina at Chapel Hill for her BA. She received a scholarship to complete her Masters from San Diego State University in Women’s Studies and also her MFA in Film from Columbia University in New York.

LinkedIn: https://www.linkedin.com/in/kendallmorganrhodes

Summary (on LinkedIn):

For over ten years, Rhodes has been creating and producing long- and short-form multiplatform content and branded entertainment. Rhodes has developed and produced feature films, television shows, digital web series, YouTube campaigns and branded viral videos.
Rhodes is currently Executive Producing for Relativity Digital Studios and responsible for the packaging, production and daily oversight of a number of their original series.

Experience:

SVP, Digital Programming & Content Production
Relativity Media
February 2010 – Present (4 years 6 months) Beverly Hills, CA
Co-Founder/President/Feature Film Producer
Cherry Road Films
January 2002 – September 2010 (8 years 9 months) Santa Monica, CA
Co-Founder/Digital Producer
SpinandStir Media
October 2008 – January 2010 (1 year 4 months) Los Angeles, CA
Creative Executive
Hypnotic
January 2000 – January 2001 (1 year 1 month) Greater New York City Area
Series Coordinating Producer
BNN
September 1999 – September 2000 (1 year 1 month) Greater New York City Area
Assistant Producer
CNN
May 1998 – September 1999 (1 year 5 months) Greater Atlanta Area

Education
Columbia University in the City of New York
2000 – 2002
San Diego State University-California State University (Scholarship)
1996 – 1998
University of North Carolina at Chapel Hill (Honors)
1990 – 1994

Organizations
The Paley Center’s Media Council – Member
International Academy of Web Television (IAWTV) – Member
Academy of Television Arts & Sciences – Interactive Media Peer Group
Film Independent – Member Arts Circle
Sundance Institute – Innovator
Women In Film

Language: French

Twitter: @spinkendall (1,486 followers) https://twitter.com/spinkendall
“Producer Film, TV, Digital + I just like to make good content with cool people.”

Google+: https://plus.google.com/105288311568269589677/posts
(One of her three posts is Variety’s article “Relativity Launches Digital Studio Division (EXCLUSIVE)”)

IMDB Pro: https://pro-labs.imdb.com/name/nm0604811/

Credits:
Money for Nothing (Executive Producer) (In development)
Bob Thunder: Internet Assassin (Producer) (In production)
Interns (2014 TV Mini-series) (Executive Producer)
Girl’s Guide with Michelle Phan (2014 TV Mini-series) (Executive Producer)
Tube Top (2011 Talk show) (Producer)
The Hunting Party (Co-Executive Producer)(2007)
Southland Tales (Producer) (2006)
The L.A. Riot Spectacular (Executive Producer) (2005)
Mail Order Wife (Producer) (2004)
Eulogy (Executive Producer) (2004)

In The Media:

-Kendall Rhodes has been on many panel discussions on online video production including “Digital LA – Branded Entertainment Panel” and “Digital Hollywood” etc.

YouTube Stars Get the Hollywood Treatment
7/15/2014 Variety
http://variety.com/2014/digital/news/youtube-stars-get-the-hollywood-treatment-1201262848/

YouTube star Shane Dawson is one of the featured cast members in “Bob Thunder: Internet Assassin,” a feature-length digital movie lampooning YouTube multichannel networks being co-produced by Relativity Digital Studios and video site FilmOn.

“Bob Thunder: Internet Assassin” is being funded by FilmOn Prods., owned by Alki David — the eccentric entrepreneur who has tried to launch an Aereo-like Internet TV service to stream broadcast networks online. David and Relativity’s Kendall Rhodes serve as producers.

Online video tips from Spin and Stir Media

12/27/2008
http://stylecampaign.com/blog/2008/12/online-video-tips-from-spin-and-stir-media/

2009 will see a surge in retailers using product and educational videos on the web and in email campaigns.

Dave Witzig from ShopNBC reported that customers that watch their videos convert at twice the rate of customers who don’t. Conversion rates increased 45% on 10 different products after retailer MyWeddingFavors.com tested more than 100,000 video impressions.

Obviously now is the time to start thinking about an online video strategy.

I interviewed Kendall Rhodes – seen below – founder of SpinandStir Media, which caters solely to business who want to produce internet video content.
kendall

1. Introduce yourself
SpinDaily.com is a video blog for Los Angeles fashion, beauty, arts, culture and lifestyle.
SpinAndStir Media is an internet video production company that produces high quality video promotions, web series, how-to videos and short films.
……

Ashley Kaplan VRP

Ashley Kaplan is the head of content for Fullscreen (since December 2013).

Previously, Ashley was vice president of digital content and strategy for the Magical Elves production company. In this role, Ashley oversaw the development, production, and content partnerships for all media adjacent to the company’s television properties—most notably the Emmy-winning series Last Chance Kitchen, which ranked as the most viewed web series in Comcast history. Ashley was also responsible for the development and production of various original branded entertainment projects and spearheaded the launch of the Elves’ Latin programming division.

Before joining the Magical Elves, Ashley helped launch Logo’s digital content department, producing the first online original series for the channel. There she went on to create a vast library of content for the collection of Viacom websites. Previously, Ashley served as a producer at Current TV and as a development executive at Evolution.

Experience:
Multiplatform Producer LOGO/ MTV Networks
August 2006 – 2013
Manager of Development Evolution Film & Tape Inc.
June 2004 – June 2006 (2 years 1 month)
Manager of Development Evolution Film & Tape
2004 – 2006 (2 years)

Education:
Washington University in St. Louis
1999 – 2003

LinkedIn: https://www.linkedin.com/profile/view?id=5553996&authType=name&authToken=TaT2&trk=prof-sb-browse_map-name

In the Media:

Ashley Kaplan spoke at Born to Stream: The Economics and Ideals of Internet-Originated Television on April 29th.

With online video consumption rising fast, a new breed of television channels is emerging directly from the broadband Internet firmament. Professionally produced, built around strong brands and attracting significant audiences, this new programming wellspring offers viewers exciting new choices and paves the way for partnerships with traditional television networks and distributors. Find out what’s driving a fresh new content category – and where cable fits into the picture.

Audio: http://2014.thecableshow.com/schedule/Session/1053 (start: 4’50’’)

Fullscreen Names Ashley Kaplan as Head of Content

Seasoned Media Veteran with a Proven Track Record for Pioneering Online Content for Traditional Media Joins the Company to Supercharge Video Storytelling for Creators and Brands

Fullscreen http://www.fullscreen.com/press/fullscreen-names-ashley-kaplan-head-content/

Fullscreen, Inc., the media company powering the creation and sharing of video with the connected generation, has selected television and digital media veteran Ashley Kaplan as the company’s new Head of Content. Kaplan brings her knowledge and expertise in content creation, development, production, and content partnerships for traditional and online media to the company’s leadership bench. At Fullscreen, Kaplan will be charged with overseeing the ongoing production and development of premium content with talent and brands.

After years of producing both award-winning television programming and digital, short-form content, Kaplan was sought out by CEO George Strompolos to head up and build out Fullscreen’s original content division and production capabilities. “The connected generation prefers streaming video to traditional programming,” said Strompolos. “We’re continuing to witness increased viewership across our network online and on across mobile devices—from 9% to more than 40% over the past two years—and Ashley is the perfect person to capitalize on this growing audience through the creation of stories that these new viewers can shape, influence, and personally engage with.”

Kaplan’s passion for short-form digital content began in 2005, when she served as a producer at Current TV. She later went on to create a vast library of content at Viacom websites. Notably, Kaplan helped launch the digital content department for Logo (a Viacom property), and produced the first online original series for the channel.

“The conventions of storytelling are changing,” said Kaplan. “The younger generation craves media that is drastically different from what traditional television programming offers. They want personalized content that is available across devices at a moment’s notice. Fullscreen embraces these new conventions and offered me the perfect environment to create premium content with and for this generation.”

Kaplan joins the company after serving as Vice President of Digital Content and Strategy for the Magical Elves production company, where she oversaw development, production, and content partnerships for all media adjacent to the company’s television properties. Her work included the Emmy award–winning series Last Chance Kitchen, which ranked as the most viewed web series in Comcast history. Kaplan was also responsible for the development and production of various original branded entertainment projects and spearheaded the launch of the Elves’ Latin programming division.

Fullscreen Names Ashley Kaplan Head of Content to Develop Premium Online Video (3/5/2014)
http://www.hollywoodreporter.com/news/fullscreen-names-ashley-kaplan-head-686129

Fullscreen, with its software and analytics tools, has positioned itself as one of the most tech-focused of the YouTube networks. But the Culver City company is putting a greater emphasis on premium online video with the appointment of Ashley Kaplan as head of content.

Kaplan joined Fullscreen in December from Magical Elves, where she was vp digital content and strategy and oversaw such projects as Last Chance Kitchen, the web series companion to Bravo’s Top Chef.

In her new role, Kaplan will oversee ongoing production and development of premium content with Fullscreen talent and brands.

“I’m really starting almost from scratch and building a full-service, world-class production facility,” Kaplan tells THR. “Fullscreen has become one of the leading MCNs on YouTube — we have the opportunity to continue our evolution into a media company. The connected generation and content is a big part of that.”

CEO George Strompolos founded Fullscreen in 2011. Today the company, which is backed by The Chernin Group, Comcast Ventures and others, works with online talent including The Fine Brothers and violinist Lindsey Stirling. It was the No. 3 YouTube partner channel in January with 26.4 million total unique viewers behind Vevo and Zefr, according to comScore.

Kaplan says the company wants to continue to grow that audience, especially on mobile. Mobile was only 9 percent of Fullscreen’s traffic in 2011, she says, but had grown to more than 40 percent as of late 2013.

Fullscreen’s mobile focus is not surprising given its January acquisition of Supernova, the developer behind video sharing app Viddy.

Kaplan adds, “What’s really interesting is an intersection between technology, product and content. That’s what makes me really excited about the future of Fullscreen.”
Fullscreen Is Building An Off YouTube Subscription Video Site For Millennials (Exclusive) (5/22/2014)

No word yet on when Fullscreen’s subscription initiative is scheduled to launch, but we’re told the company’s new Head of Content, Ashley Kaplan and team are already working on securing premium comedy programming that will be distributed on the site.

http://www.tubefilter.com/2014/05/22/fullscreen-subscription-site-off-youtube/

New Form Digital Studios & Kathleen Grace VRP

New Form Digital Studios
http://newformdigital.com/

NewForm-394x222

Twitter: @NewFormDigital https://twitter.com/NewFormDigital (no tweet)
Instagram: http://instagram.com/newformdigital (no photo)

Brian Grazer, Ron Howard Launch ‘New Form’ Digital Studio With Discovery
4/2/2014 THR
http://www.hollywoodreporter.com/news/brian-grazer-ron-howard-launch-693189

howardgrazer_a

Discovery Communications is teaming with Imagine’s Brian Grazer and Ron Howard to launch digital studio New Form.

The new studio will be lead by chief creative officer Kathleen Grace, formerly head of creative development at YouTube Space LA, and will make scripted programming for Discovery’s online networks.

The studio will receive less than $5 million in funding a year, according to a report from the New York Times.

Discovery has built up a roster of digital properties. It acquired San Francisco network Revision3 in 2012 for $35 million and launched science-themed TestTube and humor site Animalist in 2013.

“We are excited and proud to have the most accomplished and creative minds in all of film and television investing with us in New Form,” said Discovery Communications president and CEO David Zaslav. “Brian and Ron are best-in-class storytellers, and we look forward to developing compelling programming for today’s digital viewers. This creative powerhouse, coupled with Discovery’s strong programming expertise and our ability to engage viewers across our global platforms, is an unparalleled combination.”

Grazer added, “Technology is rapidly changing the entertainment landscape for studios, producers and audiences, and Ron and I could not think of a better partner to invest with than Discovery to expand beyond film and television and enter into the digital frontier.”

Grazer and Howard noted in the Times report that their involvement in the studio would be limited. Others involved include attorney Craig Jacobson, former Tribune Broadcasting president Ed Wilson, former William Morris CEO Jim Wiatt, Imagine co-chairman Michael Rosenberg and CAA.

Noted Howard, “By investing with Discovery, New Form is poised to re-imagine storytelling and reach new audiences online and beyond.”

DISCOVERY COMMUNICATIONS, RON HOWARD AND BRIAN GRAZER FUND ‘NEW FORM’ DIGITAL STUDIO
4/3/2014 Discovery
http://press.discovery.com/us/discovery-digital-media/press-releases/2014/discovery-communications-ron-howard-and-brian-3022/

Based in Los Angeles and helmed by Kathleen Grace, who has been appointed Chief Creative Officer, New Form will focus on developing high-quality, scripted and unscripted programming for today’s digital viewers. Partnering with key distributors and brands, New Form’s series will be available through a series of partnerships, with the possibility of expanded distribution across Discovery and partner platforms globally in the future.

Discovery to Make Scripted Online Videos With Oscar Winners
4/3/2014 The New York Times
http://www.nytimes.com/2014/04/04/business/media/discovery-to-make-scripted-online-videos-with-oscar-winners.html

LOS ANGELES — A cable giant that specializes in nonfiction programming is teaming up with two movie superpowers to make scripted online videos.

The new studio will seek to create three- to six-minute episodic video series and stand-alone videos à la Funny or Die, Will Ferrell’s comedy website.

“We want to connect with a scalable amount of people and have an impact on the culture,” said Mr. Grazer, whose recent TV and movie projects have included “Rush,” “Arrested Development” and “Cowboys & Aliens.”

The financial commitment is small. New Form, which will be run by Kathleen Grace, a former YouTube executive, will receive less than $5 million annually in funding, according to a person briefed on the investment who spoke on the condition of anonymity in order to discuss private information.

Lots of production companies have experimented in this arena, but few have had Oscar winners involved: Mr. Howard and Mr. Grazer won multiple Academy Awards for “A Beautiful Mind” in 2002. In an interview, the two men at first said their involvement in New Form would be relatively limited, but in a follow-up call they emphasized deeper creative involvement.

“We’re super excited about exploring this new world,” Mr. Grazer said. “We intend to participate to the extent that we can.”

Mr. Howard noted that he had directed Funny or Die videos. “This is now going to be the place to go and do that,” he said, calling the partnership “creatively exciting.”

Discovery Teams With Ron Howard And Brian Grazer To Create Digital Studio
4/3/2014 Deadline.com
http://www.deadline.com/2014/04/discovery-teams-with-ron-howard-and-brian-grazer-to-create-digital-studio/

Kathleen Grace will be chief creative officer of the LA-based operation. Her mission, the companies say, is to develop “high-quality, scripted and unscripted programming for today’s digital viewers” — and to create alliances with “key distribution partners and brands.” Digital productions typically have low budgets, and generate low revenues on the Internet, but the ones from New Form have a “possibility of expanded distribution across Discovery and partner platforms globally.” The announcement comes ahead of Discovery’s upfront presentation today in NYC, where Ron Howard will appear to introduce the digital JV. “By investing with Discovery, New Form is poised to re-imagine storytelling and reach new audiences online and beyond,” he says.

Ron Howard, Brian Grazer to Launch Digital Studio with Discovery Communications
4/2/2014 Variety
http://variety.com/2014/digital/news/ron-howard-brian-grazer-to-launch-digital-studio-with-discovery-communications-1201151019/

New Form, which will also produce unscripted content, expects to license content to a wide range of digital distributors and will not operate a standalone website. Discovery may take some projects for itself but will be counted on more for its expertise in ad sales, marketing and distribution.
……
New Form isn’t the first time at the digital rodeo for Howard and Grazer. Way back in 1999, they were part of a dream team of Hollywood players including Steven Spielberg, David Geffen and Paul Allen who attempted to launch Pop.com, a digital studio in the pre-broadband era that quickly fizzled. “We were a decade or two early,” joked Howard. “It was fascinating then and entirely exploratory, but it’s even more fascinating now.”

YouTuber Tony Valenzuela on his pitch to Ron Howard venture, New Form
7/9/2014 Stream Daily
http://streamdaily.tv/2014/07/09/tony-valenzuela-on-his-pitch-to-ron-howard-venture-new-form/

New Form Digital announced on Tuesday that it has launched the New Form Incubator to help develop and fund 14 short films produced by top YouTube talent this summer.

Those chosen for the incubator’s inaugural round of projects include 5SecondFilms, Anna Akana, Craig Benzine (WheezyWaiter), Joe Penna (MysteryGuitarMan), Joey Graceffa, Meghan Camarena (Strawburry17), P J Liguori (KickThePJ), POYKPAC, Sawyer Hartman and Tony Valenzuela (BlackBoxTV).

Valenzuela pitched New Form chief creative officer Kathleen Grace a horror mystery titled The Fourth Door that will use YouTube’s clickable annotations to an interactive storytelling experience.

The New Form Incubator shorts will initially be distributed through each creator’s YouTube channel, with the possibility of extending the deals to include additional content and expanded distribution across global platforms.

Ron Howard and Brian Grazer’s New Form Digital to Fund 14 Short Films from YouTube Creators
7/8/2014
http://entertainment.msn.com/news/article.aspx?news=876566

New Form Digital, the studio formed by Discovery, Ron Howard and Brian Grazer, announced on Tuesday that it has launched its first creative venture, New Form Incubator, through which they will develop and fund 14 short films with popular YouTube content creators.

The first 14 shorts will be produced by Youtube personalities 5SecondFilms, Anna Akana, Bertie Gilbert, Chris Riedell and Nick Riedell (The Brothers Riedell), Craig Benzine (WheezyWaiter), Joe Penna (MysteryGuitarMan), Joey Graceffa, Meghan Camarena (Strawburry17), PJ Liguori (KickThePJ), POYKPAC, Sawyer Hartman, Tim Hautekiet, Tony Valenzuela (BlackBoxTV) and Yulin Kuang.

The short films created under New Form Incubator will be distributed through each partner’s YouTube channel, with the possibility of extended content deals and expanded distribution across global platforms if successful.

“The New Form team is excited to be working with some of our favorite online content creators to make films that, while short in nature, are truly unique in today’s multiplatform landscape,” said Kathleen Grace, chief creative officer of New Form Digital. “Our New Form Incubator partners represent not only some of the most successful channels on YouTube, but also a new breed of filmmaker for a new generation.”

Kathleen Grace, Chief Creative Officer at New Form

Personal Website: http://kmgrace.com/ (Her works and reels are on it.)

From the website:

I am a writer / director / producer based in Los Angeles. (Yes, that is a lot of slashes) I am the Chief Creative Officer of New Form Digital.

Prior to New Form Digital I was the head of creative development for the YouTube Space LA, a 41,000 square foot facility where YouTubers make videos for their channels, collaborate with other creators, share their experiences, and learn how to build a YouTube channel.  In my life before YouTube I was the Vice President of Production and Programming at Next New Networks (acquired by YouTube in 2011) where I produced original series and worked with emerging YouTube creators through the Next New Creators program. I created the critically acclaimed web series The Burg that got the attention of mainstream media (NY Times, Wired, LA Times, SF Chronicle, Reuters), hipsters, and  media moguls alike. I created, produced and directed  Michael Eisner’s new media studio Vuguru’s mockumentary The All for Nots. It premiered on HDNet and the Internet.

Email: kathleen.grace@gmail.com
Phone: (424) 259-3463

As a keynote speaker on Cynopsis Digital’s Big Monetization Summit, Kathleen Grace gave a speech “It’s All about the Fans”. Here’s the slides:
http://www.cyndigitalmonetization.com/files/2014/06/cynopsis_monetization_kathleenPDF.pdf
(It Gets Better was mentioned.)

LinkedIn: https://www.linkedin.com/in/kathleengrace

Twitter: @kmgrace https://twitter.com/kmgrace (707 followers)
“A writer, director, producer who makes stories for the Internet, TV, and film. I am the manager of creative development for the YouTube Space LA.”

Instagram: http://instagram.com/catillya/
Tumblr: http://kmgrace.tumblr.com/
YouTube: https://www.youtube.com/user/catillya
IMDB: http://www.imdb.com/name/nm2348849/

Alex Sepiol and Michael Sluchan VRP

Alex Sepiol

Twitter: @ASepiol (2,392 followers)  https://twitter.com/ASepiol
“Another stereotypical gay, Prius-driving liberal in Hollywood. SVP at USA. Near the 101”

Instagram: http://www.iphoneogram.com/u/204212728
Yfrog: http://twitter.yfrog.com/user/ASepiol/photos
Google+: https://plus.google.com/111259281609384897280/posts
LinkedIn: https://www.linkedin.com/pub/alex-sepiol/5/7a8/b8a

Experience:

Development Executive, Senior Vice President, Original Scripted Series Programming
USA Network
June 2005 – Present (8 years 11 months)Universal City, CA
– Development and current programming of original series at USA Network. Shows I developed and oversee include Burn Notice, White Collar and Suits.

Education:
Stanford University 1995 – 1999

Filmography:
Neil, Inc (2015) Network Executive
Complications (2015) Network Executive
Suits (2013) Network Executive
Burn Notice (2012) Network Executive
Fairly Legal (2012) Network Executive
White Collar (2011) Network Executive
Royal Pains (2009) Network Executive
In Plain Sight (2008) Network Executive

Michael Sluchan

Michael Sluchan is senior vice president, original scripted series programming, at USA Network. He developed and oversees current production on Royal Pains and Necessary Roughness. In addition to development, Sluchan served as the current executive on the limited event series Political Animals, as well as In Plain Sight, The Starter Wife, The Dead Zone and the award-winning hit show Monk. Sluchan joined USA in October 1999 as a creative executive in long-form programming and moved to the original scripted series department in 2005. Prior to USA, Sluchan worked at Cosgrove-Meurer Productions, ABC Entertainment and ABC News. Outside of his professional endeavors, Sluchan served on the board of directors of Outfest from 2006-2010. Born and raised in New York City, Sluchan received his B.A. from the University of Pennsylvania.
(from Emmy’s Board of Governors bio)

Twitter: @theslooch (545 followers) https://twitter.com/theslooch

“NYer living in LA doing what I love – television. Characters Welcome. Foodie, volleyballer, gay, pop culture addict w/ a love of family, friends & game nights.”

LinkedIn: https://www.linkedin.com/profile/view?id=7464378&authType=NAME_SEARCH&authToken=Vu_c&locale=en_US&srchid=956222061397166087176&srchindex=1&srchtotal=2&trk=vsrp_people_res_name&trkInfo=VSRPsearchId%3A956222061397166087176%2CVSRPtargetId%3A7464378%2CVSRPcmpt%3Aprimary

Experience:

SVP, Original Scripted Series Programming
USA Network
– Present (1 year 10 months)

Education:
University of Pennsylvania
1989 – 1993

Organizations:
GLAAD

Filmography:
Royal Pains (2015) – Network Executive
Over/Under (2012) – Network Executive
Underfunded (2007) – Network Executive
Monk (2006) – Network Executive

– Sluchan is one of the judges of NBC’s Short Cut Festival.

In The Media:

The Funniest Greatest  Scripts Stories Ever Edited Told
UPenn Alumni Profile
http://www.upenn.edu/gazette/0113/pro04.html

Class of ’93 | Michael Sluchan C’93’s story about loving stories begins inside his childhood home. Every evening, he’d curl up on the couch to watch Joanie chase Chachi or root for Charlie’s angels to save the day. (“I wasn’t very discriminating,” he says of his preteen tastes.) He eventually graduated to film-studies classes at Penn, and later joined in the Harry Potter craze.

“I’ve always loved the fact that you can just create these worlds,” he says. “I especially love serialized books where you can see character growth, and I think that’s what TV series allow you to do, too: you can really watch the characters evolve.”

Several decades after tuning in religiously to Happy Days and The Love Boat, Sluchan still spends his time thinking about fictional characters in unusual situations—only now he gets paid for his opinions. As vice president of original scripted series programming at USA Network, he helps develop new shows and oversee current ones. He made sure Monk, The Starter Wife, and The Dead Zone all ran smoothly, and more recently he developed (and still oversees) Royal Pains, Necessary Roughness, In Plain Sight, and Political Animals.

“No two days are ever alike because you never know what problems or issues are going to crop up in a show’s production or development,” he says. “Because we’re dealing with so many different creative personalities, we really are serving as project managers on everything that we do.”

The other day, for instance, he was in Las Vegas for a Royal Pains shoot. Filming there was actually part of a broader deal with the city, and Vegas officials set strict parameters for each shooting location. As a result, he found himself as the go-between for the Royal Pains cast and crew, the show’s ad salespeople, and the city, making sure deadlines were met and agreements followed while guarding the show’s creative freedom.

Along with on-set drop-ins, Sluchan does a lot of reading. He reads every outline, script, and revision for each of the four shows he currently oversees, along with samples, pilots, and script submissions for new shows. It adds up to hundreds of pages each week and results in frequent all-day read-a-thons on Saturdays.

“I do more reading [at USA] than I did at Penn, and I was a history major and an English minor,” he says with a chuckle. His undergraduate experiences dissecting literature certainly help, though. “I think that so much of reading and giving notes on a script are things you learn in English class,” he says. “Stuff like, ‘What makes a good story? Are these good characters? Is the structure clear? What would help with the characterization?’ You really need to recognize what works and what doesn’t—and why.”

Asked what makes a script ‘work,’ he points to “a moment to fall in love with—something you’ve never seen before that makes you fall in love and relate to it a certain way. Usually, there will be this moment where you just get it.”

Sluchan entered the TV world on the ground floor. A few months shy of graduating from Penn, he’d had one of those Oh-crap-I have-no-idea-what-I’m-doing-with-the-rest-of-my-life moments so familiar to liberal-arts majors. A friend’s older sister worked for ABC News. Sluchan loved television and was well-versed in history and current events. Why not give it a try? he thought.

He landed a phone interview, then didn’t hear back for nearly three months. The call eventually came in August of 1993. Would he like to come work as a production secretary?

“If ABC News is offering a job, you don’t turn them down,” he says now. In his “very entry-level” position, he booked travel and crews and began to learn about budgets. “I liked it,” he says, “but that wasn’t where my passion was.”

He discovered his true calling while on vacation in Los Angeles, walking through the West Coast branch of ABC, surrounded by posters of Mork nanu-nanu-ing and Richie Cunningham slurping a malt. For the first time, he thought about the behind-the-scenes people who coined Fonzie’s signature Ayyy and created tangled situations for Laverne and Shirley to unravel.

“I realized there was this whole other side of television that I’d never even thought of,” he says. “Suddenly I was very determined to get a job at ABC—but in entertainment.”

Sluchan eventually landed in ABC’s business-affairs department on the West Coast, then became assistant to the network’s head of movies and miniseries. TV movies were big business at the time, and ABC produced about 35 each year, he says. That output ranged from the wacky-titled (She Woke Up Pregnant) to the big-starred (First Do No Harm with Meryl Streep and Allison Janney) to the eerie (a Shining miniseries based on Stephen King’s book). He left for Cosgrove-Meurer Productions in 1998 and arrived at USA Network the following year. He’s been there in a variety of roles ever since, and in 2010 was named an Amazing Gay Man in Showbiz by the Professional Organization of Women in Entertainment Reaching Up (POWER UP) for his work in television and on the Outfest board of directors.

Now in the midst of a two-year term on the board of governors for the Academy of Television Arts and Sciences—the group that gives out Emmy awards—Sluchan says he gets to “vote for fun categories” and, of course, attend both the Emmys and the Creative Arts Emmys. A pretty cool switch for the kid who grew up watching it all at home.

USA Network’s Michael Sluchan Upped To SVP Original Scripted Programming
1/7/2013 | Deadline.com
http://www.deadline.com/2013/01/usa-networks-michael-sluchan-upped-to-svp-original-scripted-programming/

USA Network has elevated Michael Sluchan to SVP Original Scripted Programming. Sluchan, a 13-year USA veteran, oversees current series and develops and shepherds production on new shows alongside SVP Alex Sepiol. Both report to Bill McGoldrick, EVP Original Scripted Programming. “Michael is a truly talented executive with vast relationships in the creative community and an incredible ability to nurture the types of writers and producers we love to work with,” McGoldrick said. Sluchan oversees production of USA dramas Necessary Roughness and Royal Pains and also oversaw recent limited series Political Animals.

Sluchan joined USA as creative executive, longform programming in October 1999. He developed and oversaw production of such movies and miniseries as Dominick Dunne Presents: Murder In Greenwich, Rudy: The Rudy Giuliani Story, Call Me: The Rise And Fall Of Heidi Fleiss, and Spartacus. In 2005, he moved over to the original series area as director, original scripted programming, where he began working on the fourth season of Monk. A year later, he was promoted to VP Original Scripted Programming.

USA UPS MICHAEL SLUCHAN TO SENIOR VICE PRESIDENT, ORIGINAL SCRIPTED PROGRAMMING
1/7/2013 | Press Release from USA
http://www.thefutoncritic.com/news/2013/01/07/usa-ups-michael-sluchan-to-senior-vice-president-original-scripted-programming-16215/20130107usa02/

NEW YORK – January 7, 2013 – USA Network has elevated Michael Sluchan to senior vice president, original scripted programming, it was announced today by Bill McGoldrick, executive vice president, original scripted programming, and to whom Sluchan reports.
……
Before arriving at USA, Sluchan worked in movies and miniseries development at Cosgrove/Meurer Productions and ABC Pictures. He began his career in New York at ABC News as production secretary for Lifetime Magazine with Lisa McRee. He then moved to Los Angeles as an assistant in the Cap Cities/ABC Network legal and business affairs department. From there, he went to work for Barbara Lieberman, senior vice president, motion pictures for television and miniseries, ABC Entertainment.

Sluchan currently serves as a Governor at the Academy of Television Arts & Sciences for the Television Executive Peer Group. Outside of his professional endeavors, Sluchan is a former board member of Outfest, the leading organization showcasing, nurturing and preserving lesbian, gay, bisexual and transgender film images and artistry.

Sluchan was born and raised in New York City and received his Bachelor of Arts, majoring in History, from the University of Pennsylvania.

‘Walking Dead’ Producer Brings World War II Alien Drama To USA
12/8/2012 | carveonline.com
http://www.craveonline.com/tv/articles/201283-walking-dead-producer-brings-world-war-ii-alien-drama-to-usa
……
“Horizon” reportedly centers on a female secretary at the FBI who learns that her husband may have died while fighting an alien ship in the South Pacific. As she presses her own investigation into the events that claimed her husband, she becomes the only person in a position to oppose the invaders’ agenda.

The project was created by “Burn Notice” screenwriter, Bridget Tyler, with “The Walking Dead” executive producer, Gale Anne Hurd attached as an executive producer.

According to USA Executive Vice President, Bill McGoldrick the network “had been actively thinking about how to do genre and period dramas and what an USA genre and period show is.” The report notes that Tyler’s “Horizon” script came as a writing sample for a staffing position on another series before it was discovered by USA Senior Vice President Alex Sepiol.

Christensen Brothers Win Appeal Against USA Network
8/9/2012 | American Bar Association
http://apps.americanbar.org/litigation/committees/intellectual/news.html

The suit alleges that in 2005, Forest Park developed an idea for a show called Housecall, “in which a doctor, after being expelled from the medical community for treating patients who couldn’t pay, moves to Malibu and attends to the rich and famous.” Forest Park created a series treatment for the concept that included storylines and character bios, and the Christensen brothers met with Alex Sepiol, a programming executive at USA Network, to pitch the idea. The brothers allege that, although Sepiol was receptive to the idea, nothing ever materialized after the meeting. Subsequently, in 2009, USA began airing Royal Pains, a show that the brothers claim is a rip-off of their concept for Housecall that focuses on the life of a “concierge doctor” providing medical services to the wealthy residents of the Hamptons.

Judge Colleen McMahon had originally dismissed the suit on the grounds that the claims brought against USA Network were preempted by the Federal Copyright Act. She ruled that, because the allegations entailed the theft of uncopyrightable ideas, the suit had no merit. The Second Circuit, however, disagreed, based largely on the fact that the plaintiffs chose to allege breach of implied contract rather than copyright infringement. The Second Circuit ruled that a claim under state law for breach of implied contract, including a promise to pay, is quantitatively different from a suit to vindicate a right included in the Copyright Act and is therefore not subject to federal preemption.

Judge John M. Walker Jr., writing for the Second Circuit, explains that, even though uncopyrightable material may fall within the subject matter of the Copyright Act, the equivalency requirement for preemption is not met in this case because “extra elements” exist that create qualitative differences between a contract claim and a copyright-violation claim. Among other things, the Copyright Act, unlike contract law, “does not provide an express right for the copyright owner to receive payment for the use of a work.” The court, accepting the plaintiffs’ version of the facts as true for the purpose of the motion, concluded that an implied contract, including a promise to pay, was formed on the Christensen brothers pitching their show concept to Sepiol and that USA Network’s failure to compensate Forest Park Productions for Royal Pains gave rise to a cause of action not subject to preemption. The court also ruled on two other issues, holding that, based on the choice of law rules for a federal court in New York sitting in diversity jurisdiction, California law should be applied in this case and that, in addition to the court’s finding of no preemption, the plaintiffs’ complaint is adequate under the Supreme Court standards in Twombly and Iqbal.

USA Network Promotes Alex Sepiol
10/11/2011 | The Hollywood Reporter
http://www.hollywoodreporter.com/news/usa-network-promotes-alex-sepiol-246790

He has been upped to senior vice president of original scripted series programming.

USA Network has promoted Alex Sepiol to senior vice president of original scripted series programming. He will continue to report to Bill McGoldrick, senior vice president of original scripted programming.

Sepiol will continue to oversee production on USA’s Burn Notice, White Collar, Fairly Legal and Suits, all of which he brought to the cable network and developed. He will also be responsible for overseeing production on the untitled Douglas McGrath project, one of two half-hour comedy pilots that have been greenlit, as well as an untitled hourlong drama from White Collar creator Jeff Eastin. Sepiol also oversaw day-to-day production on the second season of In Plain Sight.

“Alex has consistently demonstrated an eye for shows that not only connect with our audience but push the USA brand to new and exciting places,” said McGoldrick. “In his short time as an executive, he has identified and cultivated relationships with some of the most talented writers working in television today. This is a well deserved promotion for an executive who has played a major role in the success of our network.”

Sepiol first joined USA in 2001 as an assistant to Jeff Wachtel, USA co-pesident. He returned to the network in 2004 as a production executive.
USA’S ALEX SEPIOL UPPED TO SENIOR VICE PRESIDENT, ORIGINAL SCRIPTED SERIES PROGRAMMING
10/11/2011  press release from USA
……
Sepiol joined USA in the summer of 2001, as the assistant to Jeff Wachtel, one of USA’s co-presidents, and co-head, original content, Universal Cable Productions. After a brief hiatus, he rejoined the network in 2004 and has been busy developing and serving as a production executive, as well as looking for new series projects for USA to develop. In 2008, he was named alongside an elite group of young executives in The Hollywood Reporter’s “Next Generation.”

Prior to joining USA, Sepiol worked as Paul Nagle’s assistant at the William Morris Agency. Outside of his work in television, Sepiol wrote two one-act plays that were produced at the Plymouth Theater in Los Angeles in the fall of 2004.

Sepiol was born and raised in Northern California and received his undergraduate degree from Stanford University.

10 Amazing Gay Men in Showbiz 2010
Power Up Films
http://www.powerupfilms.org/index.php?option=com_content&view=category&layout=blog&id=23&Itemid=83

Michael Sluchan is Vice President, Original Scripted Series Programming at USA Network. He developed and oversees production on ROYAL PAINS. He is the current executive on IN PLAIN SIGHT and oversaw MONK, THE STARTER WIFE and THE DEAD ZONE. Joining USA in October 1999, Sluchan oversaw many longform projects, including “Murder In Greenwich,” “The Rudy Giuliani Story,” “The Rise and Fall of Heidi Fleiss” and the miniseries “Spartacus.” Sluchan got his start at ABC News.

He served on the Board of Directors of Outfest from 2006-2010. A native New Yorker, Sluchan received his BA from the University of Pennsylvania.

Michael Sluchan 2010 POWER UP Honoree Speech:

“POWER UP continues to be of vital importance to ALL LGBTQ people; to be recognized for my contributions to our community by an organization whose mission is so near and dear to my heart is an amazing honor.”

USA promotes Alex Sepiol to VP
6/2/2009 | Variety
http://variety.com/2009/scene/news/usa-promotes-alex-sepiol-to-vp-1118004412/

USA Network has upped Alex Sepiol to VP of original scripted series programming.

Sepiol has overseen production of “Burn Notice,” which returns for its third season on Thursday, and “In Plain Sight,” currently in the midst of season two. He will continue to report to Jackie de Crinis, exec VP of original scripted programming.

“We have a great niche in that we continue to explore smart escapism programming,” Sepiol told Daily Variety.

Next up at USA is “Royal Pains,” which also premieres Thursday, and “White Collar” — starring Tim DeKay, Matthew Bomer and Tiffani Thiessen — currently in production for a possible first quarter 2010 premiere.

“Burn Notice” is cable’s top-rated scripted series in the 18-49 demo.

Lincoln grad is a rising star
12/2/2008 | Recordnet.com
http://www.recordnet.com/apps/pbcs.dll/article?AID=/20081202/A_LIFE12/812020305/-1/rss06

He isn’t besieged by autograph seekers when he walks down the street, but Stockton raised Alex Sepiol is a rising Hollywood star.

The 31-year-old graduate of Lincoln High School – Class of 1995 – was named in a recent “Hollywood Reporter” profile of the hottest people in the entertainment industry younger than 35.

A director of original scripted series programming for USA Network, Sepiol is refreshingly grateful for the success he’s found in the industry.

“I was really fortunate,” he said of the “Hollywood Reporter” mention. “I’ve been working at USA Network and have had a good run of it the last few years.”

A good run of it is a bit of an understatement.

Sepiol, whose role at the No. 1-rated cable network is to plow through the onslaught of ideas and unearth the hidden gems, has proven to have great instincts.

The first program he developed, “Burn Notice,” debuted in 2007 as the No. 1 new show and will begin its third season in January.

“If I had to name a single thing (I’m most proud of), it would be ‘Burn Notice,’ ” Sepiol said in a conversation while he was home visiting his parents – Jim, a family physician, and Janet – for Thanksgiving.

“It was initially a pitch, just an idea. It was the first time I had the opportunity to see a project through. It’s been a remarkable thing to watch it grow, change, evolve and to, hopefully, have had a positive influence over how that happened.”

He influenced the show from the start.

Writer Matt Nix’s original story of a spy who’s burned – that is, dismissed by the U.S. government – and needs to pick up odd investigative jobs to support himself as he works to discover who burned him, was set in Newark, N.J.

Sepiol suggested Miami.

“In Newark, you have a guy who’s unhappy about his life in a miserable place. In Miami, he’s the only guy not happy to be in Miami,” Sepiol said.

The dark tone of the original story had to be altered to fit the USA model of character-driven stories that are funny and dramatic, but Nix’s use of the spy’s voiceover describing how to accomplish his tricks of the trade, remained.

“I thought that was the coolest thing,” Sepiol said.

Sepiol’s passion for the show helped get it produced, and he remains heavily involved.

Among other roles, he oversees the hiring of writers, selection of directors and cast members and coordinates with the marketing, scheduling and publicity departments of USA.

He has a similar role with “In Plain Sight,” the Albuquerque, N.M.-based show about the witness protection program that came to him as a script.

Sepiol just returned from New York where a pilot was shot for another project he’s overseeing, called “White Collar,” about a con man who teams with an FBI agent to fight crime.

Jetting around the country to the sets of television programs he’s ushered through isn’t the life Sepiol expected when he graduated from Stanford in 1999 with a humanities degree in modern thought and literature.

He just knew he didn’t want in on the dot.com boom with many of his friends. He moved to Los Angeles expecting to write, as he’d done since working on The Lincolnian as a high school student.

His first job was in the marketing department of a video-game company that no longer exists. He was copying his resume at a Kinko’s when he ran into a friend from Stanford who was working at the William Morris Talent Agency. The friend took one of Sepiol’s résumés, and Sepiol eventually was hired at William Morris as an agent assistant.

“For people looking after college to get into the entertainment industry, I highly recommend agent assistants jobs,” Sepiol said. “They pay very poorly and it’s brutal in terms of hours, but you learn so much so quickly. I’m fortunate I had that training.”

Sepiol’s also worked as a writer’s assistant on USA’s “Touching Evil” and as a researcher for VH1’s “Fortune Files.”

Sepiol doesn’t look too far into future positions, perhaps because he’s still stunned by just how far he’s already come.

“When I moved down (to Los Angeles) it wasn’t to be a network executive,” Sepiol said. “I didn’t even know this job existed. I’ve been incredibly fortunate to do the things I’ve done. I’m incredibly lucky with all the people I’ve got 10 to work with, and the projects I’ve gotten to work on. USA is an incredible place to be.”

Sepiol, likewise, considers Stockton a great place to have been.

“I feel very proud of being from Stockton,” Sepiol said.

He notes Tokay students Scott Kannberg and Stephen Malkmus formed the band “Pavement,” that the college scenes of “Raiders of the Lost Ark” were shot at University of the Pacific and, “of course, Chris Isaak is from Stockton.”

Alex Sepiol is from Stockton, too, and while he isn’t on the cover of any record and won’t tour the country for adoring fans, his work is definitely playing to rave reviews.

USA ups programmers
8/1/2006 | Variety
http://variety.com/2006/scene/news/usa-ups-programmers-1200342699/

USA Network has upped Lindsay Sloane and Michael Sluchan to VPs of original scripted series programming.

Pair will report to senior VP Jackie de Crinis. Both will be charged with developing projects; Sluchan will continue to oversee production of “Monk,” while Sloane will continue to shepherd “The Dead Zone,” “The 4400″ and “Psych.”

USA exec VP of original programming Jeff Wachtel described Sloane and Sluchan as “truly the heart and soul of our scripted series team.”

Sluchan most recently worked on the USA dramedy pilot “Underfunded.” He joined USA in October 1999 as a longform exec working on movies. Before that, Sluchan worked at Cosgrove/Meurer Prods. and ABC Entertainment.

Sloane is working on the Sarah Goodman/Lorne Michaels pilot “To Love and Die in L.A.” Prior to USA, Sloane was VP of development at Gran Via Prods.

Hayden leads USA longform
3/14/2002 | Variety
http://variety.com/2002/scene/news/hayden-leads-usa-longform-1117863986/
……
At the same time at USA, several promotions have been granted: Christof Bove has been promoted to VP of development for longform; Michael Sluchan to director of development of longform; Gary Shapiro to director of development for reality programming and specials; and Bill McGoldrick to director of development for original series.
……
Sluchan is responsible for development and production of longform projects, reporting to Hayden. He joined USA as a creative exec in longform in October 1999.

Smokehouse’s TV projects

Smokehouse has just signed a deal with Sony Pictures Television. The two-year agreement calls for Smokehouse to develop and produce comedy and drama series for broadcast, cable and digital platforms.

According to Smokehouse’s IMDB Pro page, they are not developing any TV project yet. The only TV series they have done is TNT’s Memphis Beat. Smokehouse produced 4 episodes in 2011.

George Clooney Inks Overall Deal With Sony Pictures TV
6/9/2014 THR
http://www.hollywoodreporter.com/live-feed/george-clooney-inks-deal-sony-710491

George Clooney is joining the ranks of big-screen stars heading to the small screen.

The Oscar winner’s Smokehouse Pictures — which he runs with partner Grant Heslov — has inked a two-year overall deal with Sony Pictures Television to develop and produce comedy and drama series for all platforms, including broadcast, cable and digital, The Hollywood Reporter has learned.

The deal expands Clooney’s relationship with Sony, where Smokehouse has produced features including The Monuments Men, August: Osage County, Argo and more. The company previously had a first-look TV deal with Warner Bros. Pictures and Warner Bros. Television. Under the latter, Clooney and the company produced TNT’s Jason Lee cop drama Memphis Beat, which ran for one season on the cable network.

Heslov, meanwhie, has a long roster of TV credits as an actor. As an exec producer, his credits include Memphis Beat, Unscripted and K Street.

At SPT, Clooney joins a roster of producers including Breaking Bad’s Vince Gilligan, Shawn Ryan (The Shield), David Shore (House), Barry Josephson (Bones) and Televisa, among others.

Clooney becomes the latest big-screen star to ink TV deals. He joins Steve Carell and Jessica Biel (both of whom are based at Universal Cable Productions), among others.

George Clooney & Grant Heslov’s Smokehouse Pictures Inks Overall Deal With Sony Pictures TV
6/9/2014 Deadline.com
http://www.deadline.com/2014/06/george-clooney-grant-heslovs-smokehouse-pictures-inks-overall-deal-with-sony-pictures-tv/

Since launching Smokehouse in 2006, Clooney and Heslov have been focused primarily on features, developing and producing films that the two directed, like Leatherheads, The Ides Of March and The Monuments Men (Clooney) and The Men Who Stare At Goats (Heslov) as well as features directed by others, most recently Argo, helmed by Ben Affleck and last year’s August: Osage County, directed by John Wells. Clooney comes from a strong TV background, having started in television as an actor and then producer. CAA-repped Smokehouse has a history at Sony  — the company moved its feature deal from Warner Bros. to Sony in 2009.

Feature projects in development (10 feature films):

Coronado High ( Drama)
– A look at the lives of a group of young drug smugglers.

Dangerously Funny (Comedy)
– Folk and comedy duo tom and Dick Smothers Brothers work their way up from 1960s San Francisco clubs to landing their own primetime TV show.

Untitled George Clooney Project (Crime | Thriller)
Starring George Clooney

The Yankee Commandante (Drama) (with Focus Features)
– An American named William Alexander Morgan travels to Cuba in the late 1950s to lead a guerrilla force against President Batista and join sides with Fidel Castro during the Cuban Revolution.
Director: George Clooney

The Monster of Florence (Crime | Drama | Mystery) (with FOX 2000 Pictures)
– A reconstruction of eight double homicides believed to have been committed single-handedly between 1968 and 1985 in and around Florence, Italy.
Starring George Clooney.

The Innocent Man (Drama)
– The story of Ron Williamson, a man who sat on Oklahoma’s death row for 11 years for a crime he didn’t commit. Based on John Grisham’s “The Innocent Man: Murder and Injustice in a Small Town.”

The $700 Billion Man (Drama)
– The true story of a Government bailout manager who moved to a cabin in the woods after the U.S.’s financial meltdown in 2008.

Pioneer (Thriller)
– A man working on an oil pipeline investigates his brother’s death. Based on the Norwegian film ‘Pioneer’.

Our Brand Is Crisis (Comedy | Drama)
– A feature film based on the documentary “Our Brand Is Crisis”, which focuses on the use of American political campaign strategies in South America.
Starring George Clooney

Hamdan v. Rumsfeld (Drama | Thriller) (with Civil Dawn Pictures)
– A thriller set against the backdrop of the war on terror, The Challenge tells the inside story of a historic Supreme Court showdown. At its center are a Navy JAG and a young constitutional law professor who, in the aftermath of 9/11, find themselves defending their nation in the unlikeliest of ways: by suing the president of the United States on behalf of an accused terrorist in order to prevent the American government from breaking the law and violating the Constitution.

Tegan and Sara VRP

Tegan and Sara

Tegan and Sara are a Canadian indie rock duo formed in 1995 in Calgary, composed of identical twin sisters Tegan Rain Quin and Sara Keirsten Quin (both born September 19, 1980). Both musicians are songwriters and play the guitar and keyboards.

The twins are openly gay. Tegan lives in Vancouver, British Columbia, Sara lives in Montreal, Quebec, and also in New York City with her girlfriend; they have been dating since 2011.

Background and early work: 1997–2003

Tegan and Sara Quin were born September 19, 1980 in Calgary, Alberta. They began playing guitar and writing songs at age 15, forming a band called Plunk without a drummer or bass player. In 1997, they used their school’s recording studio to record two demo albums: Who’s in Your Band? and Play Day. In 1998, they won Calgary’s Garage Warz competition, using the studio time they won to record their first professional demo, Yellow tape, which was followed by Orange tape and Red tape.

In 1999, they released their debut album Under Feet Like Ours independently under the name “Sara and Tegan”. Two songs from Red tape appeared on the album, and two from Orange tape. They later changed their name to “Tegan and Sara” because it was easier to pronounce and because they wanted their name to stand out amongst the other “Sara” musicians at the time such as Sarah McLachlan and Sarah Slean. They reprinted their first album under the name Tegan and Sara. Neil Young’s manager signed them to Young’s Vapor Records label and they released This Business of Art through Vapor in 2000. They have toured extensively since then. In 2002, the band released their third album If It Was You. Their fourth album, So Jealous, was released in 2004 and led to wider success. This album was released through both Vapor and Sanctuary. One track on the album, “Walking with a Ghost”, was covered by The White Stripes, who released it on their Walking with a Ghost EP.

Mainstream success: 2007–2011

Their 2007 album, The Con, was released by Vapor and Sire. The album was co-produced by Chris Walla. Jason McGerr of Death Cab for Cutie, Matt Sharp of The Rentals and previously Weezer, Hunter Burgan of AFI, and Kaki King all appear on the album.

On October 27, 2009, Tegan and Sara released their sixth album Sainthood, produced by Chris Walla and Howard Redekopp, as well as a three-volume book set titled ON, IN, AT, which is a collection of stories, essays, journals, and photos of the band on tour in America in the fall of 2008, writing together in New Orleans, and touring Australia. The photographs in the book are by Lindsey Byrnes and Ryan Russell. Sainthood debuted on the Billboard top 200 albums at number 21 selling, 24,000 copies in its first week. While recording Sainthood, Tegan and Sara spent a week writing songs together in New Orleans. The song “Paperback Head” appeared on the album, making it the first song on any Tegan and Sara album that they wrote together. Spin magazine gave Sainthood four out of five stars and wrote, “Tegan and Sara’s music may no longer be the stuff of teens, but its strength remains in how much it feels like two people talking.”

In 2011, they launched 2011: A Merch Odyssey, which saw at least one new item in the official online stores every month, all year long. A live CD/DVD combination package titled Get Along was released on November 15 and contains three films titled “States”, “India” and “For The Most Part”. Get Along was nominated in the 2013 Grammy Awards for “Best Long Form Music Video”.

Heartthrob: 2012–present

Tegan and Sara started recording their seventh studio album, Heartthrob, on February 20, 2012. The first single, “Closer”, was released on September 25, 2012. The album was released on January 29, 2013 and debuted on the Billboard top 200 at number 3, the band’s highest charting record to date, selling 49,000 copies in its first week. Heartthrob debuted at number 2 on the Canadian chart, digital downloads chart and hit number 1 on the rock and alternative album charts. In July 2013, the album was shortlisted for the 2013 Polaris Music Prize.

In 2009, Tegan and Sara worked as producers for the first time. Tegan worked with char2d2 on the 2009 Small Vampires EP, while Sara worked on 2010 debut albums for Fences and Hesta Prynn.

Tegan and Sara have appeared on American, Canadian, and European television shows, including The Ellen DeGeneres Show (2013), Jimmy Kimmel Live! (2005, 2013), Jonovision, The Late Late Show with Craig Kilborn (2004), Late Night with Conan O’Brien (2005, 2007, 2009, 2012), Late Show with David Letterman (2000, 2008, 2012), The NewMusic, The Tonight Show with Jay Leno (2008, 2013), C à vous (2013), and ZeD.

Tegan and Sara songs have been featured in the films “Dallas Buyers Club”, “G.B.F.”, Monster-in-Law, Sweet November, and These Girls, and in the television shows Degrassi: The Next Generation, 90210, Being Erica, Ghost Whisperer, Grey’s Anatomy, The Hills, Hollyoaks, jPod, The L Word, Life Unexpected, Melrose Place (2009 series), One Tree Hill, Parenthood, Rookie Blue, Vampire Diaries, Veronica Mars, Waterloo Road (2011) and What’s New, Scooby-Doo?. Their song “Closer” was covered by Glee on the episode “Feud” which aired March 14, 2013 at 9pm EST on Global for Canada and Fox for USA. The song is also used in the teaser trailer for the 2013 independent comedy film, “Exes”.

In 2006, Tegan and Sara performed in The L Word episode “Last Dance” (season 3, episode 11). In 2008, they appeared on the kids music television show Pancake Mountain where they acted in a skit and performed their songs “Back in Your Head”, “Hop a Plane”, and an acoustic version of “Walking with a Ghost”. In 2010, they appeared on CBC’s Mamma Yamma, revising their single “Alligator” into a children’s song. In 2012, Tegan and Sara appeared in the 90210 episode “The Things We Do for Love” performing “Closer” and “Now I’m All Messed Up” from their album Heartthrob.

In 2011, Sara Quin was a panelist on the CBC Radio 1 program Canada Reads, defending Jeff Lemire’s graphic novel Essex County. The book, the first graphic novel to be featured as part of Canada Reads, was voted off after the first round but then later placed #1 in a “People’s Choice” poll with more votes than all other books combined.

In March 2013 during the SXSW festival Tegan and Sara co-hosted the mtvU Woodie awards with rapper Machine Gun Kelly. They also performed their single “Closer”. The Woodie Awards aired on MTV on March 17, 2013. On September 30, 2013, Tegan and Sara performed “Closer” on Today.

Tegan and Sara have collaborated with The Lonely Island on a song called “Everything Is Awesome!!!” for The Lego Movie soundtrack. The movie opened in theaters on February 7, 2014. The song debuted at number 62 on the Billboard Hot 100 chart and number 24 on the Official UK Singles chart.

Official Website: http://www.teganandsara.com/

Twitter (420K followers)

https://twitter.com/teganandsara

Facebook (1,040,378 likes)

https://www.facebook.com/TeganandSara

My Space (51K & 322,058)

https://myspace.com/teganandsara

Tumblr

http://teganandsara.tumblr.com/

IMDB: http://www.imdb.com/name/nm1763207/

Soundtrack credits: The Lego Movie (2014), Altitude (2010), Dallas Buyers Club (2013), 90210 (TV Series) (3 episodes) (2009-2012), Grey’s Anatomy (TV Series) (performer – 8 episodes, 2005 – 2007) (writer – 3 episodes, 2005 – 2012)

Tegan Quin on Her ‘Awesome’ Vocals and Tegan and Sara’s ‘Lego’ Song

“We were told we should sing it with as much excitement and jubilation as possible,” singer tells Rolling Stone

2/18/2014 | The Rolling Stone

http://www.rollingstone.com/music/news/tegan-quin-on-her-awesome-vocals-and-tegan-and-saras-lego-song-20140218

When the musical comedy trio the Lonely Island reached out to Tegan and Sara with the prospect of recording a song for The Lego Movie, Tegan Quin remembers their reaction was, “Legos, cool!” The indie-pop sister duo worked on a demo and within two weeks, found themselves recording “Everything Is Awesome” with Devo frontman Mark Mothersbaugh. “Two hours later, we watched the video and voila,” Quin says. The ebullient hit single debuted at Number 11 on Billboard’s Dance/Electronic Songs chart.

Quin says they spent all of a couple of hours working on the song, futzing around with its tempo and its key to get it just right. She was happy with the result. “Obviously we got to end up as Legos,” she says. “We saw a couple of scenes from the movie and I thought it was really smart and funny.” Rolling Stone caught up with Quin to put together (har har) how the song was recorded.

6 major reasons Tegan And Sara are on fire right now
Everything is awesome for musical sister duo

2/18/2014 | HitFix Music

http://www.hitfix.com/immaculate-noise/6-major-reasons-tegan-and-sara-are-on-fire-right-now

Tegan and Sara Quin made a very conscious decision to make their music more “accessible” with the release of their last album “Heartthrob” last year.

“Look at Adele and Coldplay, who are accessible to more people. For their fans, that’s really raw and emotional… I can’t change my voice. I’m never gonna sound like Katy Perry or Chris Martin or Adele,” Tegan told me back in May 2012. “There’s always going to be fans who wish we still sat on stools and didn’t have a band and played our shows that way… but now I want to share my music with as many people as I can.”

“Heartthrob” became one of the sister-duo’s best-selling album to date, and yielded their biggest singles, and thrust them further into music’s mainstream — and main stage, big screen, small screen and into headlines. And even moreso lately, it seems, they’re everywhere.

Here’s six major reasons Tegan and Sara have been totally killing it so far in 2014:

1. “Everything Is Awesome.” It is indeed. Anybody who has set foot in “The Lego Movie” and/or The Internet will be unable to deny the attractive power of the film’s, erm, anthem “Everything Is Awesome.”

Everything is cool when you’re part of a team. And it took a team. Mark Mothersbaugh of Devo produced and co-wrote the soundtrack to “Lego Movie,” including this brain-gum of a single. Tegan and Sara plus comedy troupe The Lonely Island all piled on to its “remix,” which itself should be the topic of a masters thesis class in contemporary pop music. It not only makes fun of popular music tropes, but has its own lyrical subversion and performances that T&S knock out of the park.

2. Opening for Katy Perry. A few months ago, I had the privilege of seeing Katy Perry take the stage at the Hollywood Bowl, and some of her own personal favorite, hand-picked artists open the show. T&S, who have performed with Perry before, lit up the Hollywood Bowl with their typically hysterical banter. Their appreciation for each other, their acumen to warm a (literally) chilly and mainstream crowd and their kinship with Perry could kindle even the coldest cockles.

Perry has tapped T&S among her set openers for the forthcoming Prismatic World Tour, with Tegan and Sara’s spots starting Sept. 9 in Vancouver. Don’t expect “Everything Is Awesome” to make the setlist, though.

“Without the Lonely Island guys traveling with us, I can’t really imagine it within our set. But that’s not because I’m not proud of it,” Sara Quin told Billboard.

3. “Don’t Find Another Love.” I have listened to this new song from the soundtrack to “Endless Love” about 700 times. It’s equal parts Ellie Goulding, Local Natives and Diana Ross, and yet still inextricably Tegan and Sara. Upbeat and “wicked,” it’s simple and unapologetically sweet.

Do not see the movie. I’m sorry. Do listen to this amazing soundtrack, which also has some Immaculate Noise favorites like Nonono, Cults, The Tallest Man On Earth and The Bird And The Bee with The National’s Matt Berninger. There is no pouty Pettyfer to contend with.

4. Oreos. God, as if I didn’t love Oreos enough. Tegan and Sara retained their distinct style and voices for a fresh commercial for the milk-loving cookie co. And they didn’t write this “Wonderfilled” jingle, ad company The Martin Agency did. How did they manage to find the perfect opportunity to line their pockets with fresh, delicious money without compromising their sound? Well, of course, it helps that their sound has drastically changed from their early career, but the dance-pop version of T&S is a no-brainer for partnerships like these.

This campaign started around the Grammys last month. Now give me a bite.

5. “Shudder to Think.” Still hungry? How about their original song for Oscar-nominated “Dallas Buyers Club?” Beyond even that: 10% of the sales of the soundtrack went to (RED) in the global fight against AIDS. This burst of awesome has staying power into 2014 because “DBC” is up for a whopping six Academy Awards in March, including Best Picture. How about a Best Song nod for T&S soon, huh?

6. That Ellen Page name-check. The “Juno” actress and your new best friend gave a nine-minute speech on Valentine’s Day as a coming-out, during a human rights conference. “I am here today because I am gay,” Page said, then saluting others’ efforts to “promote safety, inclusion, and well-being for LGBTQ youth.”

“There are pervasive stereotypes about masculinity and femininity that define how we’re all supposed to act, dress, and speak, and they serve no one. Anyone who defies these so-called ‘norms’ becomes worthy of comment and scrutiny, and the LGBT community knows this all too well,” Page said from the podium at the Human Rights Campaign Foundation’s Time To THRIVE conference. “Yet there is courage all around us. The football hero Michael Sam; the actress Laverne Cox; the musicians Tegan and Sara Quin; the family that supports their daughter or son who has come out.”

Tegan and Sara were “out” as lesbians in their teens. Fifteen years on, strangers still approach them and tell them their own stories of coming-out. T&S have been powerful and vocal activists and advocates for LGBT rights, starting by being who they are and being very talented. A hat-tip from a high-profile actress is not just lip service but a testament to power by example. A very cool moment.

‘The Lego Movie’: Why Tegan & Sara Went Chirpy for ‘Everything Is Awesome’ (Video)

2/17/2014 | The Hollywood Reporter

http://www.hollywoodreporter.com/earshot/video-lego-movie-why-tegan-680761

The duo worked with Andy Samberg’s Lonely Island and film composer Mark Mothersbaugh for the blockbuster’s insanely upbeat track.

While this week’s Hot 100 chart includes two songs in the Top 20 that were first heard in feature films (Pharrell’s “Happy” from Despicable Me 2, and Idina Menzel’s “Let It Go” from Frozen), a wacky single from current box office champ The LEGO Movie is also finding an audience. “Everything Is Awesome,” a collaboration between Tegan & Sara, the Lonely Island and film composer Mark Mothersbaugh, debuts at No. 11 on the Dance/Electronic Songs chart, with 34,000 downloads sold to date, according to Nielsen SoundScan.

The chirpy, insanely upbeat track does not exactly fit into the nuanced indie-pop catalogue of Tegan & Sara, but that’s what attracted the veteran sister duo toward the project, the group’s Sara Quin tells Billboard.

“We want to be a ‘serious’ musical band, while also being funny people,” says Quin. “But this was so adorable, and the movie looked great, and the opportunity to do something with Mark Mothersbaugh and the Lonely Island… it was sort of a no-brainer, and it’s turned out to be this really cool moment. We feel like it was a win-win.”

Tegan & Sara signed on to record “Everything Is Awesome” after hearing an early version of the song, which didn’t yet have the Lonely Island delivering the rap breakdown. Although the duo typically writes its lyrics, the song’s cleverness and catchiness pushed Tegan & Sara to cut vocals for a new version of the “Awesome” song.

“It’s a crazy earworm,” says Quin. “As someone who prides myself on being able to write things that are memorable and hooky, the second that we heard this song, I was astounded. Whether you like the song or not, whether you think it’s funny or annoying, there’s no denying that it’s a ridiculously hooky thing. As soon as you hear it, it never leaves your brain.”

Quin says that her sister Tegan went into the studio with Mothersbaugh — the leader of Devo who composed music for films like 21 Jump Street and Cloudy with a Chance of Meatballs — to record the song’s main vocals, while Sara sent in backing vocals from her apartment. Although the pair was never in the studio with the Lonely Island, Quin says that the final product is a “fun, spontaneous” combination of their pop stylings and the Andy Samberg troupe’s off-the-wall antics. And after The LEGO Movie earned positive reviews and grossed $69.1 million over its opening weekend last week, Quin says that she’s noticed a swell of interest in the song over the past week.

Tegan & Sara have been on the road for over a year supporting their 2013 album Heartthrob, and will be opening on part of Katy Perry’s Prismatic arena tour this summer. However, fans shouldn’t expect to hear “Everything Is Awesome” nudged in between recent tracks like “Closer” and “I Was A Fool” at Tegan & Sara concerts.

“The other night, we were playing a show and were about halfway through the set when I heard a guy go, ‘Play “Everything Is Awesome”!’ And I was like, ‘Oh no, this could become a problem,'” says Quin with a laugh. “Without the Lonely Island guys traveling with us, I can’t really imagine it within our set. But that’s not because I’m not proud of it.”

 

Tour schedule:

http://www.teganandsara.com/shows/

Jamie Vollmer VRP

Untitled

About:
http://www.jamievollmer.com/about.html

Author. Speaker. Consultant.

Jamie Vollmer is an award-winning champion of public education, and the author of the highly acclaimed book, Schools Cannot Do It Alone.

He has spent the last twenty years working with school districts, education associations, foundations, and chambers of commerce across the nation to halt the erosion of public trust and build support for America’s public schools. His primary goal is to help educators and their allies remove the obstacles to progress and create schools that unfold the full potential of every child. He is the proud recipient of the 2012Friend of Public Education award, presented by the Ohio Federation of Teachers. In 2010, he received the Learning and Liberty award, presented by the National School Public Relations Association in recognition of his “outstanding efforts to strengthen school/community partnerships.”

Vollmer is not a professional educator. He became involved with school reform after careers in law and manufacturing. He worked in the firm of former United States Congressman William Cramer until 1985 when he relocated to Iowa to become director of franchise operations for the Great Midwestern Ice Cream Company. The company was proclaimed by People magazine to make the “Best Ice Cream in America!” He ultimately became the company’s president.
In 1988, he was invited to serve on the nationally recognized Iowa Business and Education Roundtable. After two years as a volunteer, he changed careers and became the Roundtable’s Executive Director. He remained in that post for three years after which he formed the education advocacy firm, Jamie Vollmer, Inc.

Once a harsh critic, Vollmer has become an articulate friend of America’s public schools. His presentations combine statistics, logic, and humor to energize and encourage educators, business leaders, and community groups to work together to build successful schools.
In addition to his book Schools Cannot Do It Alone and numerous articles, Mr. Vollmer has written and produced the videos, Why Our Schools Need to Change, Teachers are Heroes, and Building Support for America’s Schools. He has served on the boards of the National PTA and the North Central Regional Educational Laboratory.

Jamie holds a Juris Doctor from The Catholic University in Washington, DC. He received his B.A. in political science from Penn State University. A native of Philadelphia, he is married to his college sweetheart, the former baton twirling majorette, Jeanne Hecker. They have three grown children, all gainfully employed.
His Book:
http://www.jamievollmer.com/book.html

“My father died in a spectacular room in his home on the Florida coast.”

So begins this provocative story of a businessman’s journey through the land of public education, and his transformation from critic to award-winning advocate of America’s public schools. Part memoir, part how-to manual, Schools Cannot Do It Alone tells of his encounters with blueberries, bell curves, and smelly eighth graders, and, most importantly, describes a no cost plan that every district can use to secure the support it needs to unfold the full potential of every child.
Based on his twenty years of working with school districts across the country, Jamie Vollmer argues that we are at a pivotal point in our history. Public education is under attack as never before. Bashing public schools has become a blood sport—a  dangerous game in which sensational headlines publicize half-truths, statistics are used out of context, and test results are reported in the worst possible light. We are witnessing a campaign to annihilate the emotional and intellectual ties that bind the American people to their public schools. And it’s working.
Schools Cannot Do It Alone confronts the threats to public education, and presents a practical, doable plan to increase student success. Vollmer’s community-based program, called “The Great Conversation,” provides step-by-step instructions to tackle the major obstacles to school improvement, including:

  • The Terrible Twenty Trends. The major social, political, and economic trends that are individually and in toxic combination eroding public support for public schools.
  • Nostesia. The debilitating fusion of nostalgia and amnesia that destroys rational thought in millions of Americans. Nostesiacs insist that “if we could just have the schools we used to have around here, everything would be all right.”
  • The highly corrosive tendency among America’s teachers, administrators, and, sometimes, board members to bad-mouth one another and their schools in public.
  • The obstacles presented by Vollmer’s First Rule of School Restructuring: You cannot change a school without changing the culture of the surrounding town.

Schools Cannot Do It Alone includes an expanded version of the famous “Blueberry Story,” and the latest update of “Vollmer’s List.” This exhaustive review of the responsibilities heaped upon the nation’s public schools over the last hundred years proves that our schools are no longer being told to teach America’s children. They are being told to raise them.
From the first words of the Introduction, to the final chapter’s inspirational message of hope, Vollmer praises the people who work inside our schools. In clear, compelling terms, he offers, he offers a plan to help them gain the public support they need to prepare all children to succeed in the knowledge age. He argues with passion that America’s teachers and administrators are ready and able to meet the challenges of our time, but they cannot do it alone.

 
The Burden:
http://www.jamievollmer.com/poster.html

The Ever Increasing Burden on America’s Public Schools (PRINT VERSION)
This is a story about America and America’s public schools. Specifically, it’s about how we, as a society, have changed what we ask our public schools to do. How we respond to this story will affect everyone’s future whether or not we have children in school.

America’s first schools appeared in the early 1640s. They were designed to teach young people—originally, white boys—basic reading, writing, and arithmetic while cultivating values that served a new democratic society. The founders of these schools assumed that families and churches bore the major responsibility for raising a child. During the 1700s, some civics, history, science, and geography were introduced, but the curriculum was limited and remained focused for 150 years.

By the beginning of the twentieth century, however, America’s leaders saw public schools as the logical place to select and sort young people into two groups—thinkers and doers—according to the needs of the industrial age. It was at this time that we began to shift non-academic duties to the schools. The trend has accelerated ever since.

The contract between our communities and our schools has changed. It’s no longer “Help us teach our children.” It’s “Raise our kids.” No generation of teachers and administrators in history has had to fulfill this mandate. And each year, the pressure grows.
Social and economic conditions demand that we unfold the full potential of every child. Our futures are tied to their success as never before.But this is a job for all of us. Everyone, in every community, must help remove the obstacles to student success. We must recognize our common interests, and do our part to help our schools create the graduates and citizens we need. Our schools cannot do it alone.

The Ever Increasing Burden on America’s Public Schools (VIDEO VERSION)

Your staff will cheer. The people of your community will stare in stunned disbelief.

Twenty years of research. Developed for educators and their allies. The Ever Increasing Burden on America’s Public Schools is finally available in video form.
Brilliant, stop-action animation has been combined with Jamie’s dramatic, on-screen commentary to expose the unprecedented challenges facing our public schools. Everyone who sees this video will walk away with a clear understanding of the mountain of social, psychological, and medical responsibilities that have been heaped upon the schoolhouse door.1
For two decades, the live reading of “Vollmer’s List” has been one of the most anticipated and compelling segments of Jamie’s speeches and workshops. Staff, community, parent, and business audiences have listened with rising alarm as he chronicles the staggering growth of mandates our public schools must bear. Now, everyone can share his powerful message, and quickly accomplish two critical goals:

  1. Help people in every community see just what it is that society is asking their public schools to do.
  2. Inspire the people working in our schools, and motivate them to strengthen ties with their communities.

Administrators, board members, teachers, and their allies can use this potent new tool in their struggle to increase local support for schools. The Ever Increasing Burden on America’s Public Schools was created to inform, entertain, and energize. And the feedback says it works.

The Blueberry Story:
http://www.jamievollmer.com/blueberries.html

The story below first appeared in Education Week (Volume XXI, Number 25 · March 6, 2002). Since then, it has been reprinted hundreds of times in newspapers and periodicals across North America.

The Blueberry Story: The teacher gives the businessman a lesson
“If I ran my business the way you people operate your schools, I wouldn’t be in business very long!”

I stood before an auditorium filled with outraged teachers who were becoming angrier by the minute. My speech had entirely consumed their precious 90 minutes of inservice. Their initial icy glares had turned to restless agitation. You could cut the hostility with a knife.
I represented a group of business people dedicated to improving public schools. I was an executive at an ice cream company that had become famous in the middle1980s when People magazine chose our blueberry as the “Best Ice Cream in America.”

I was convinced of two things. First, public schools needed to change; they were archaic selecting and sorting mechanisms designed for the industrial age and out of step with the needs of our emerging “knowledge society.” Second, educators were a major part of the problem: they resisted change, hunkered down in their feathered nests, protected by tenure, and shielded by a bureaucratic monopoly. They needed to look to business. We knew how to produce quality. Zero defects! TQM! Continuous improvement!

In retrospect, the speech was perfectly balanced — equal parts ignorance and arrogance.
As soon as I finished, a woman’s hand shot up. She appeared polite, pleasant. She was, in fact, a razor-edged, veteran, high school English teacher who had been waiting to unload.
She began quietly, “We are told, sir, that you manage a company that makes good ice cream.”
I smugly replied, “Best ice cream in America, Ma’am.”
“How nice,” she said. “Is it rich and smooth?”
“Sixteen percent butterfat,” I crowed.
“Premium ingredients?” she inquired.
“Super-premium! Nothing but triple A.” I was on a roll. I never saw the next line coming.
“Mr. Vollmer,” she said, leaning forward with a wicked eyebrow raised to the sky, “when you are standing on your receiving dock and you see an inferior shipment of blueberries arrive, what do you do?”
In the silence of that room, I could hear the trap snap…. I was dead meat, but I wasn’t going to lie.
“I send them back.”

She jumped to her feet. “That’s right!” she barked, “and we can never send back our blueberries. We take them big, small, rich, poor, gifted, exceptional, abused, frightened, confident, homeless, rude, and brilliant. We take them with ADHD, junior rheumatoid arthritis, and English as their second language. We take them all! Every one! And that, Mr. Vollmer, is why it’s not a business. It’s school!”

In an explosion, all 290 teachers, principals, bus drivers, aides, custodians, and secretaries jumped to their feet and yelled, “Yeah! Blueberries! Blueberries!”
And so began my long transformation.
Since then, I have visited hundreds of schools. I have learned that a school is not a business. Schools are unable to control the quality of their raw material, they are dependent upon the vagaries of politics for a reliable revenue stream, and they are constantly mauled by a howling horde of disparate, competing customer groups that would send the best CEO screaming into the night.

None of this negates the need for change. We must change what, when, and how we teach to give all children maximum opportunity to thrive in a post-industrial society. But educators cannot do this alone; these changes can occur only with the understanding, trust, permission, and active support of the surrounding community. For the most important thing I have learned is that schools reflect the attitudes, beliefs and health of the communities they serve, and therefore, to improve public education means more than changing our schools, it means changing America.

Copyright 2011 Jamie Robert Vollmer

The Great Conversation:

http://www.jamievollmer.com/the-conversation.html

No generation of educators in the history of the world has been asked to do what Americans now demand of their public schools. Our teachers and administrators must teach all children to high levels while, at the same time, they struggle to remedy the stunning array of social, psychological, and physical problems that retard the progress of so many of their students. Each year the burden grows, and each day millions of public school employees give everything they’ve got to meet the challenge.
Their record of achievement is remarkable. But no matter how hard they work, they cannot produce the results our nation needs. Not because they are lazy, stupid, arrogant, or unionized as so many politicians and pundits would have us believe. They cannot teach all children to high levels because they are working in a system designed to do something else: Select and sort children for an industrial society that no longer exists.
We must change this system. We must break the mental, emotional, and cultural grip of the status quo and create schools that unfold the full potential of every child. But we cannot. America’s educators and their allies cannot change the system and dramatically increase student success until we secure the four Prerequisites of Progress: community understanding, trust, permission, and support.
The Great Conversation is designed to secure the Prerequisites of Progress. It is a positive, ongoing discussion between educators and the public. The action steps are practical and powerful. They can be successfully executed in any district, not just those favored by history, geography, or economics. They produce an ongoing flow of positive communication that leads to the development of a community-wide culture committed to increasing student success.
The Great Conversation is easy to understand and undertake. No new money or personnel are required. The process is built to run on two separate but synergistic tracks. One formal. One informal. Each can run in isolation, but when pursued together, they quickly produce a wealth of benefits. In addition to community understanding, trust, permission to change, and support, districts can expect increased public participation at school events, better quality candidates for the school board, winning majorities of “Yes” votes during bond and levy elections, and, most importantly, a pronounced rise in the community’s store of social capital.
Participation in either track must be completely voluntary, but the broad participation of the staff—classified and certified—ensures maximum results. The rewards are substantial, and the process informs, inspires, and invigorates all who choose to participate.
The Formal Track
The formal track is a deliberate, organized, group action. It is designed to engage educators and the public in an ongoing discussion that leads to increased student success. The centerpiece of the formal track is a scripted message that evolves over time in a series of distinct phases. This track is usually initiated and maintained at the district level, but it can be launched by an individual school or a cluster of neighboring schools.
The most important feature of the formal track is that it takes place on the community’s turf at the community’s convenience. This must be understood: We are going to them. This stands in sharp contrast to the traditional approach to public engagement, which too often revolves around inviting the public to attend meetings held in the evening at the school. The response to this approach is, almost always, an audience comprised of the same twelve parents and the one weirdo who comes to all the meetings. The challenges facing our schools today demand that we engage the entire community.

The Informal Track

 

The people working in America’s public schools are often the largest and, potentially, most powerful force in the community. The informal track taps the power each of them has to influence his or her environment. It channels their ability to amplify and accelerate the movement of a positive message across the entire community.
Like the formal track, the core activity is talking. Unlike the formal track, which is built around the scripted presentations of teams, the informal track is conducted by individual staff members talking casually with the people who populate their social networks—family, friends, neighbors, and acquaintances. This track has no formal script, but the benefits accrue more quickly when these private conversations echo, at least in part, the message that is being presented in the formal track.

The action steps of the informal track are simple to understand and easy to execute. They were specifically designed to add nothing to the existing workload. In other words, participation causes no pain. To the contrary, it produces joy. By choosing to participate, even a little, everyone plays a powerful role in increasing support for their students and their schools

Every district, rich or poor, regardless of location, already has the personnel, expertise, and resources it needs to execute all aspects of The Great Conversation and reap the rewards. The benefits that accrue are very much worth having. Obstacles that retard student achievement will be removed. Staff and public resistance to change will be replaced by an environment conducive to innovation and progress. The people of the community will begin to act as owners of their schools. Teachers and administrators will gradually find themselves accorded their proper status as the community’s most important professionals. In Great Conversation Communities, families, neighborhoods, and businesses will thrive and prosper.
As with so many other life-altering endeavors, the most important thing we can do is take the first step. We already have everything we need to participate. We have a tremendous story to tell and an army of educated people to tell it. Each of us is already immersed in our own vibrant social networks that can act as conduits for our message. By adding this simple but essential ingredient, and without breaking the budget, every district is perfectly positioned to set the stage to unfold the full potential of every child.

The Great Conversation is an essential building block of any strategy to increase student success. And the times demand that we do it now.

Reviews:
http://www.jamievollmer.com/invite-jamie.html

Excellent! Outstanding and worth repeating.
– Ohio School Boards Association
Electrifying! His enthusiasm is contagious.
– Alabama Education Association
A huge success. His mix of humor, compassion and conviction set the tone for the entire conference. –Pennsylvania School Board Association
Great! Professional, and crowd-pleasing. – Nevada Association of School Administrators
Even at ten o’clock on a Friday night he wowed the room. He was practical, compelling, and funny all at the same time. – Oregon Education Association
Best keynote speaker we have had in years. No one walked out! – United School Administrators of Kansas, Annual Convention
His contribution was vital. The presentation was informative and entertaining. – Capistrano Unified School District, California
Jamie possesses a rare combination of insight, experience, and perspective. He is a breath of fresh air.  – National Education Association
 

Contact Info:
http://www.jamievollmer.com/contact.html

Phone: 641-472-1558

News:

Jamie Vollmer Says Kids Can Learn if Allowed to Learn at Their Own Pace
http://caledonia.patch.com/articles/jamie-vollmer-to-racine-unified-community-you-have-power-to-affect-change

Racine Unified residents, we have the all the power we need to affect change for the better in our district. It won’t be easy, but it can be done if we do one very important thing: change the culture of our community.

That was the foundation of the message Jamie Vollmer, nationally known speaker and advocate for public education. He spoke at Wingspread on Jan. 25 to a crowd made up of educators, business leaders and heads of different organizations. In a nutshell, Vollmer told the audience, healthy communities are a direct result of healthy schools. Just look around, he was telling us, and you can see the truth of that statement.
“There is no quality of life without healthy schools,” he said.
Part of the problem is the current model of public education because it expects every child to learn the same material at the same pace in the same amount of time. But people just aren’t built that way, Vollmer stressed.

“No one has ever linked the speed at which you learn with your ability or capacity to learn,” he said. “Some people just take longer.”
Take high school, for example. We expect students to absorb a curriculum that has greatly expanded over the past 30 or 40 years, but we’ve not added a single minute to the school calendar. When kids can’t make the grade, so-to-speak, and can’t graduate in the prescribed four years, they carry that stigma with them for the rest of their lives.
It is in our power to affect substantive change, Vollmer continued. Our model of education worked for the economy of the time in which it was created by Thomas Jefferson in 1781, but it’s not appropriate for now. Most cultural shifts take about 100 years, like the agricultural age to the industrial age, but now we’re moving into what Vollmer called the “cognitive knowledge age,” and it’s only taking about 10 years.

Our education model is not keeping up and the question Vollmer wants us all to ask of ourselves, our educators and education administration is if whether or not what we’re doing is helping unlock the potential of every child.

“It’s not a grey area,” he said after his presentation. “It’s very black or white and if the answer to that question is no, then why are we still doing it?”
And the proof is in the proverbial pudding. When achievement goes up, just about everything we associate with the poorly educated goes down: crime, the need for social services, using the emergency room as healthcare. But you know what else happens when achievement goes up? The tax base because companies will settle in communities where there is what Vollmer called a “tight circle of human capital.”

So how do we get there? Well, it starts with changing our minds. Vollmer describes it as a low tech/high touch approach that has two primary focuses, each with a few steps.
For the first focus, we must build understanding so more people understand the very real challenges that go into educating every child. We need to build trust because there is a very real trust issue here between educators, administration, and the community as a whole. Next, we need to give the district permission to change. Vollmer says we have to give it to the board and to the Superintendent to be bold and often, that permission comes in the form of bonds to finance schools and programs. And finally, we need to really support our schools with more than money. The Racine Unified community is overflowing with talented people who could do a lot for our district’s kids with just a little time.
“We need a conversation at the community’s convenience,” Vollmer said. “That means forming teams to build rapport. Public education is a miracle and this its most hopeful time.”

During the Q&A that followed, Karen Urben addressed the voucher program in Racine Unified.
“With so many parents convinced that now they have the best education for their children, what can we do?” she asked.

“Do it better and let the chips fall where they may,” Vollmer responded. “Voucher and charter schools do not outperform public schools when the same socioeconomic standards for students are applied. We have to make sure our schools are the best they can be.”
Leighton Cooper, director of a Head Start program, asked for an example where Vollmer’s theories are working.

“Beloit, which I know sounds strange given what’s happening in their economy, but it’s true,” Vollmer answered. “Three years ago they started working actively to promote relationships between the schools and businesses and now they’re moving into the rest of the community.” And while Vollmer doesn’t really like standardized tests, he recognizes they are a measurement tool and according to what he said, Beloit is seeing dramatic improvement.
“But, you know, part of the reason they’re succeeding is because after a couple of failed attempts, residents gave a ‘yes’ vote on a bond for schools, and that’s part of what it means to give permission.”

I have to be honest and say that Vollmer blew me away. Of course we have the tools right here. What is stopping us? We stop ourselves and by extension, we stop our kids from becoming all they can be. I don’t pretend to know what this could all look like, but I know that I’m echoing my good friend and Caledonia Patch Editor Denise Lockwood when I say Vollmer is really telling us that it’s high time we show up not just for our own kids, but other people’s kids, too, because the health of our community depends on us putting ourselves out there.

Letter: Tweets Are Teachable Moment for Wilton

http://wilton.dailyvoice.com/opinion/letter-tweets-are-teachable-moment-wilton

WILTON, Conn. – The following is a letter from State Sen. Toni Boucher, R-Wilton, on the recent set of offensive tweets from a high school student

We have been presented a teachable moment in our town. A series of offensive tweets allegedly sent by a high school student is being investigated by the police and the state’s attorney.

 

The hateful language contained in these tweets does not represent the community in which we live and should not be tolerated in our homes, our town, or our state.

 

In the past, several towns in Connecticut have also been targets of anti-Semitic or racist incidents. These incidents provide us with teachable moments for parents and the school community to imbue their children with value of tolerance and respect. A serious discussion should be had regarding prejudice in all of its forms and the damage that it causes.

 

The message we must send is that there is zero tolerance for this kind of conduct. Our society was founded on the principles of respect and tolerance of the individual’s race, creed, religion, or sexual orientation. Too many have sacrificed and fought to uphold these principles. We must send a clear, unequivocal and united message that this offensive behavior has no place in our town.

 

Jamie Vollmer, author of “Schools Cannot Do It Alone,” writes that vigilance in the prevention of bullying is at the core of what we adults can do to help.

Do we remind our young people of their responsibility to interact fairly and thoughtfully with everyone around them?

Are we alert to signs of despondence or of fear in going to school that may reflect the impact of bullying?

Do we monitor computer use?

Do we step up to the plate to see that our own kids acknowledge responsibility if they have been victimizers?

 

VRP – Rob Feakins

VRP

Rob Feakins

 

Rob is the Chief Creative Officer and President of Publicis Kaplan Thaler

 

Rob Feakins was appointed to the newly created position of President, Publicis New York and Chief Creative Officer, Publicis New York and Publicis Dialog New York in early August 2006.

 

Rob joined Publicis from kirshenbaum bond + partners where he most recently served as Executive Creative Director and Vice Chairman. He joined that agency in January 2001 as Co-Executive Creative Director. At kb + p, he created memorable campaigns for Target, Mohegan Sun, Citi AAdvantage, and Liberty Mutual.

 

Rob spent the majority of his career at Chiat/Day Los Angeles where he worked on Nissan and Eveready Energizer. He’s won all the top awards including Cannes Lions, One Show Pencils, Andy Heads, and his work has appeared in virtually every award show in the industry. His work for the Energizer Bunny is represented in the book, The 100 best commercials. Rob is on the board of the Art Directors Club. And sits on the Creative Review Committee of the Ad Council.

 

In his free time, Rob makes amends to his wife Mary, and chauffeurs his daughters Maggie and Madeline to dance, soccer, and gymnastic meets.

 

 

Rob’s Reel: http://adsoftheworld.com/creative/rob_feakins

 

VRP Rob Feakins

VRP – Andy Goodman

VRP

Andy Goodman

www.thegoodmancenter.com

@goodmancenter

 

Andy Goodman is an American writer, producer, orator, and consultant. He has worked in the entertainment industry and in public interest communications.

 

Growing up, Goodman aspired to write for television. In 1991, he moved to Los Angeles and wrote for ABC’s Dinosaurs for three seasons. Three of Goodman’s Dinosaurs epidodes won awards from the Environmental Media Association (EMA). He also Co-produced the show from 1993-1994. Subsequently, he began working for CBS and hatched the fledgling series The Nanny.

 

When Goodman was ready to leave TV, he spent five years as EMA’s president.

Goodman also founded and directed the American Comedy Network.

 

Goodman works with nonprofit organizations, foundations, and educational institutions to improve their print, broadcast media, and Internet communications. He serves clients such as the Environmental Defense, Natural Resources Defense Council, and Sierra Club.

 

After leaving the EMA, he created a goodman , a consulting firm specializing in the effective communication of environmental and nonprofit causes. Goodman holds workshops based on his communication principles and published works, such as “Storytelling as Best Practice” and “The Four Connecting Points.” He has spoken at major conferences and for audiences such as Harvard’s Kennedy School of Government, the Woodrow Wilson School of Public Affairs.

 

Andy directs The Goodman Center, cofounded with Lipman Hearne in 2008. He is also a part of the faculty of the Communications Leadership Institute,[8] is a Senior Fellow for Civic Ventures, and serves on the boards of VolunteerMatch and Great Nonprofits.

 

VRP Andy Goodman

VRP – David Lubars

VRP

David Lubars

 

David Lubars is Chairman and Chief Creative Officer of BBDO North America.

Since David has been at the BBDO helm, the agency has become not only the dominant creative force in the city, but among the most awarded in the world – winning “Agency of the Year” honors at Cannes along with multiple other industry accolades, including 2011 Global Agency of the Year by both Adweek and Campaign magazines.

Under David’s leadership, BBDO is delivering the most creative and effective array of innovative ideas of any agency, big or small. In 2008, BBDO’s ‘HBO Voyeur’ project, a multimedia, multi-platform experience, swept virtually every category in Cannes Lions, including the Grands Prix in both Outdoor and Promo & Activation. Of course, BBDO continues to make great television ads:  the agency had the #1 commercial in the 2010 Super Bowl for Snickers and again in 2012 for M&M’s.

David has won every major creative award in the world several times over. His BMW Films was made part of MoMA’s permanent collection in New York City and won the first-ever awarded Titanium Lion at Cannes.

Before joining BBDO, David was President of Fallon Worldwide and Executive Creative Director of Fallon North America where he oversaw work for Citibank and BMW, among others.

 

VRP David Lubars