Archive for the ‘New Launches’ Category

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Joe Berger, Magazine Marketing Consultant, On Magazine Distribution, Launching Magazines, And The Major Changes He Witnessed Over More Than 40 Years In The Business.  The Mr. Magazine™ Interview.

April 18, 2024

Joe Berger has been at it since the early 1980s.  He understands and knows the single copy and subscription magazine distribution channels inside out.  He is too humble to call himself president or founder of Joe Berger Consulting and prefers to be referred to as a “Magazine Marketing Consultant.” 

In that capacity, he offers service and advice to magazine publishers both big and small.  He is also will to chat with you about your magazine for an hour or two before “going on the clock.”

A realist and a firm believer that in a digital age, the platforms out there don’t meet the definition of a what a real magazine is, but he knows how expensive doing a print today, even if it is only 5,000 copies.

I asked Joe about his job and whether it is a walk in a rose garden, his answer, “Well, Samir, I look at it this way. Roses are pretty, right? They smell nice. They’re nice to look at. It’s great to sit in a rose garden. But if the chair collapses and you fall into the rose bush, you’re going to get stuck with a lot of thorns. Magazines aren’t easy. They’re not an easy thing to love. They’re not an easy thing to get into.”

So without any further delay, please enjoy my conversation with Joe Berger.  But first the soundbites:

On the changes in the magazine distribution industry: The first is you had the consolidation of magazine publishers through the leveraged buyouts of the 80s and 90s, carrying through to the private equity purchases in this century.

On another major change: When I got in the business in 82, there were probably about 11 national magazine distributors. Over time they were winnowed down till now, in 2024, we have one.

And one more change: The next set of changes came in subscription marketing. The advent of auto renew is a pretty big deal for both print and digital publishers. It can make life both a blessing and a curse for publishers.

On the cup half full or half empty: I’m generally an optimistic person. It comes down to what are you willing to deal with? Nostalgia is a very powerful emotion, but it doesn’t really do anything other than give you a desire for the way things were.

On his advice for someone launching a magazine: The advice that I give to everybody is, let’s look at your business plan, but just as important, maybe even more so, read your contracts and understand them.

On the biggest stumbling block launching a magazine: Money is a stumbling block, even for somebody who just wants to do something small, 5,000 copies, because press runs at that price are very pricey per copy. And then, how are you going to get them out to your audience?

On digital platforms: At the end of the day, I’m inclined to agree with you that if it’s just a website with a bunch of news articles, that’s not a magazine, that’s a website with news articles. The reality is that all these different things over the years were supposed to save magazines: tablets, pivot to video, pivot to subscriptions. Now, we’re pivoting to AI.

On his job as a walk in a rose garden:  Well, Samir, I look at it this way. Roses are pretty, right? They smell nice. They’re nice to look at. It’s great to sit in a rose garden. But if the chair collapses and you fall into the rose bush, you’re going to get stuck with a lot of thorns.

On bookazines: As far as bookazines go, they exist because the newsstand market does not work anymore. It doesn’t work very well for mass merchandise titles and it doesn’t work so great for specialty and niche titles.

On whether the newsstands will continue to exist: So long as Barnes & Noble exists,  we will have large-scale magazine racks.

On what he misses most: As far as the newsstand industry goes, the newsstand industry conferences that we used to have, it was nice to see people. The one-on-one meetings were  worthwhile.

And now for the lightly edited conversation with Joe Berger, Magazine Marketing Consultant:

Samir Husni: So you have been in this business since, what, the 80s?

Joe Berger: Since June of 1982. I graduated from college. I had a job offer from a small, actually the smallest national distributor at the time, a company called Capital Distributing. Capital was    owned by a publishing house called Charlton Press.

They published magazines, comics, and books. Most everything they had were the number two, three or four in their category. And they had offered me a job post-graduation on the terms that I got out to Chicago in early June for training.

And if you recall, back then, there was a pretty bad recession going on. So, I was happy to have a job offer. And that’s when it all kind of began for me.

Samir Husni: That’s great. And in those 40 plus years, I’m sure you’ve seen a few things. Can you name three major things that you think have changed?

Joe Berger: I can come up with nine divided into three different areas, all things that I’m involved in currently. Starting in newsstand distribution, three big things happened there.

The first is you had the consolidation of magazine publishers through the leveraged buyouts of the 80s and 90s, carrying through to the private equity purchases in this century. You also had the consolidation of the wholesaler side of the business. That was due, in many cases, to the owners fear of being charged by the FTC with collusion. Remember, the business came into being because of the FTC breaking up the old American News monopoly in the 1950’s. Many of the businesses were family owned and on their second, third, or fourth generation, and the new generations just didn’t want to have anything to do with all the changes the retailers wanted. And then the last thing that happened was the consolidation and collapse of national distributors.

When I got in the business in 82, there were probably about 11 national magazine distributors. Over time they were winnowed down till now, in 2024, we have one.

The next set of changes came in subscription marketing. The advent of auto renew is a pretty big deal for both print and digital publishers. It can make life both a blessing and a curse for publishers. The advent of email marketing is a big deal as well. And lastly, the fact that the post office has gone from kind of a pain in the neck to a giant pain in the neck, culminating in the difficulties we’ve seen arise even in the past six months.

Finally, in the magazine houses themselves consolidation has also been a really big deal. A number of very large magazine publishers and an even greater number of medium-sized publishers have just gone away. Secondly, the rise of digital publishers, who are is turning back to print to use as a brand extension. And lastly, the consolidation of major printers who will do magazines has affected everybody.

Samir Husni: Are you seeing the cup as half full or half empty?

Joe Berger: I’m generally an optimistic person. It comes down to what are you willing to deal with? Nostalgia is a very powerful emotion, but it doesn’t really do anything other than give you a desire for the way things were. You can’t go back, and in many cases they weren’t that way to begin with. I’d rather look to the future.

Samir Husni: Let me put you on the spot. If somebody today says, Joe, I want to start a new magazine, do you say like, get out of here? Or do you say, oh, come on and let me give you some advice?

Joe Berger: It would depend. I have said, go away. I give anybody who contacts me an hour or two of my time for free. And then after that, if they’re serious, we start the clock.

The advice that I give to everybody is, let’s look at your business plan, but just as important, maybe even more so, read your contracts and understand them. And for the love of God, don’t take them to your cousin Gerald, who does real estate on the side, because he’s not going to be able to understand these things and point you in the right direction.

About two years ago, I had a guy come to me. He had a really cool-looking alternative art magazine. I liked it a lot. And I liked him, but it became readily apparent that this guy didn’t have much money. And the contract that he was under with a very small distributor was not going to do him any good. He was never going to see any money.

There was really nothing that could be done for him unless he was willing to blow his rent money for the next few years. So I told him: here’s a couple things you might try to do and good luck. On the other hand, I’ve had people come to me who have a decent amount of money in the bank ready to invest in this. And if they have a halfway decent business plan I’ll work with them.  

Money is a stumbling block, even for somebody who just wants to do something small, 5,000 copies, because press runs at that price are very pricey per copy. And then, how are you going to get them out to your audience?

Samir Husni: You think that’s the reason people go digital?

Joe Berger: I think so, sure, because there’s less cost involved. And theoretically, you can get to your audience quicker.

At the end of the day, I’m inclined to agree with you that if it’s just a website with a bunch of news articles, that’s not a magazine, that’s a website with news articles. The reality is that all these different things over the years were supposed to save magazines: tablets, pivot to video, pivot to subscriptions. Now, we’re pivoting to AI. So far, none of it has actually done very much except for the very largest publishers that still have a bankroll that they can afford to lose.

Samir Husni: You’ve worked with some big publishers, and continue to consult with some major publishers. Has it been a walk in the rose garden through those years? Or have you had to pick a lot of thorns?

Joe Berger: Well, Samir, I look at it this way. Roses are pretty, right? They smell nice. They’re nice to look at. It’s great to sit in a rose garden. But if the chair collapses and you fall into the rose bush, you’re going to get stuck with a lot of thorns. Magazines aren’t easy. They’re not an easy thing to love. They’re not an easy thing to get into.

And honestly, as I’ve discovered, they’re not an easy thing to get out of. I have a really weird skill set. I’ve had many employers, potential employers, kind of look at me and go, I don’t know what to do with you. You’re an interesting guy and you seem nice, but I can’t fit you into that. So that’s at least been my experience.

Samir Husni: No, it’s not. Magazines aren’t easy. That’s for sure.

Joe Berger: On the other hand, to get back to them looking nice and smelling pretty, that’s very true. There’s been a lot of things about being in this business that I’ve really enjoyed. And there’s also things in this business at times that wake me up at two in the morning and keep me up until the sun comes out.

Samir Husni: Tell me, as you look at the field of magazines today, this is one thing you didn’t mention in terms of the changes that are taking place. We’ve seen a huge drop in the number of new magazines coming into the marketplace. I mean, the height of almost 500, 700 magazines back in the 80s and 90s to less than a hundred in the last two or three years.

But the market has exploded with bookazines. What’s your thoughts about this bookazine phenomenon? Are they magazines?

Joe Berger: Funny that you asked that question because in my newsletter on Tuesday, I’ll answer that question. But I’ll premiere it for you and you can tell me what you think about it.

As far as bookazines go, they exist because the newsstand market does not work anymore. It doesn’t work very well for mass merchandise titles and it doesn’t work so great for specialty and niche titles. Bookazines exist because the traditional newsstand market collapsed along with the titles that supported and made the newsstand distribution system exist in the first place. TV Guide, Cosmo, People, the women’s general service titles at checkout, adult publications, which was one of the big legs of a traditional magazine wholesaler’s profit center. All of that’s gone and nothing came that could take its place.

In the 90s and the early aughts, the industry was held up and supported to some degree because there was a decent number of medium-sized publications that still made the market possible. Titles like ones that I worked with, Computer Shopper, Low Rider, those types of publications. And that was a big part of what made it work. When that stopped working, it cleared the path for bookazines.

The only people who can really do bookazines effectively and with enough volume to make it worthwhile though still are very, very large publishers. So are they magazines? Again, if you go to the fact that a magazine is something that’s metered, that has frequency and that sort of thing, no. They’re basically annuals. They’re special interest publications. Back in the day when I worked at Outside, we had an Outside annual, with a different BiPAD and UPC code from Outside magazine.

Bookazines are using what’s left of the newsstand distribution business. There’s nothing wrong with them.  They’re something that at the moment is continuing an industry and making it possible for the industry to exist in some form. If you took bookazines away from what’s left of the newsstand marketplace, the market would shrink probably another 50 to 60 percent.

Samir Husni: Do you think we will see the day that there will be no newsstands in this country?

Joe Berger: No. Just like will we see a day when there’s going to be no record stores? There are still record stores. There’s not very many of them, but they’re still here.

Barnes & Noble, so long as Barnes & Noble exists,  we will have large-scale magazine racks. Now, we are seeing in their new stores, that are smaller than their old full-service stores, that the rack is about half the size of what it used to be, which means they can carry fewer titles. So we might see something like that happen.

And we obviously see in mainstream stores, Walgreens, Walmart, CVS, that the mainline rack has shrunk. In many cases, some stores I used to haunt on a pretty regular basis, they’ve gone from 12 running feet down to two. Sometimes you see checkouts, sometimes you see the checkouts pulled out.

I don’t think we’ll see the newsstand go away, but I think the newsstand will continue to shrink. And the other side of that equation, though, Samir, and I think this is good, is that we will see a lot of publishers who still want to sell their magazines via retail find other markets and places to sell them, if they’re clever enough.

Samir Husni: Can you give me an example of those other places?

Joe Berger: Sure. Go to a magazine like Kinfolk, for example, and look at their stockist list, and they’re in stores that have nothing to do with traditional newsstand distribution.

Samir Husni: Do you consult with Kinfolk?  

Joe Berger: I do not, but there’s a lot of indie magazines that I track. You might find them in clothing stores, they can be in record stores, they can be in all kinds of different alternative outlets, generally not mainstream retail. So long as some of that exists, there’s hope out there.

Samir Husni: Tell me, if you reflect back on those 40 years, what was the most pleasant moment, pleasant surprise, like, wow, I’ve made it.

Joe Berger: I don’t know if I’ve ever actually had that feeling.

Samir Husni: The opposite of that, what was the most challenging moment? You said, why am I doing this?

Joe Berger: That’s an easy one. First, let me answer your first question. In 1995, when the industry started to consolidate, it became very apparent that the industry as I knew it wasn’t going to exist anymore. Things were chaotic for several years, and when the dust began to settle, I realized that if I could survive that I could survive anything. Around 2002 I worked out a deal with the Athlon Sports Company, to bring my consulting practice in house with them and join with a colleague of mine, who I knew quite well and respected highly, and spent a number of years working with him, and with a gentleman who ran their newsstand department, and I really enjoyed that.

Maybe that’s when I thought I had made it?

In 2009, when the whole economy pretty much collapsed, Athlon exited our agreement and I was back on my own. They tried to do it with some dignity and respect, which were the words they used. But honestly, the feeling of betrayal that I felt at that time was very, very intense.

That was a pretty dark moment. Over the next decade we had Source Interlink collapse, we had a couple of other fairly large specialty wholesalers collapse, we had Kable go out of business, Curtis go out of business, all of that. It became apparent to me that I needed to change my focus and add some skill sets, which is what I’ve done since then.

So now, I’d say I feel more like a seasoned veteran. A survivor. And I still work with some very good people. That’s a nice feeling.

Samir Husni: What do you miss most? I mean, do you miss the face-to-face meetings that you used to do visiting the wholesaler? Do you miss the conferences, the conventions that are all gone?

Joe Berger: Yeah. As far as the newsstand industry goes, the newsstand industry conferences that we used to have, it was nice to see people. The one-on-one meetings were  worthwhile.

The thing I enjoyed most about the newsstand side of the business were the people. There were a lot of characters in the business, and some really, really good people. Some of them are now doing other things. Many of them have passed away. And that’s a shame. A lot of deep knowledge about how to do things has been lost over the years.

On the other hand, I mean, I still have a lot of face-to-face meetings like this, like you and I are having right now. And again, I’m doing other things as well. And so, I get together with those people and have meetings with them.

And I try to keep as many scheduled meetings with clients as I can.

Samir Husni: Before I ask my typical last two questions, is there anything I failed to ask you that you’d like to ask and answer?

Joe Berger: Good lord, I don’t know. I guess it’s, if I have any real regret or sadness about the magazine industry here in the States, it would be the fact that we don’t really have any good organizations right now. A lot of it, so much of it has sort of gone off into very niche directions.

There is the Niche Conference, there’s CRMA, there’s IRMA, but none of them are really nationally oriented. Companies like Mequoda have some meetings. There’s a subscription e-commerce service bureau company here in Chicago that has meetings for their clients. But there isn’t a really large-scale organization. And I think that’s a shame. I see it as something that’s hurting this business.

You have FIPP and Distripress in Europe.  I love what the International Magazine Conference has created.  Many good things could come out of that organization. I would love it if there was some way we could get their footprint here, stateside, bigger, so we could start doing IMC meetings here. Maybe at some point that’ll happen.

Samir Husni: If I come to visit you one day unannounced, what do I find you doing? Packing boxes these days?

Joe Berger: In the next two weeks, for sure. And then probably the two weeks after that, you’d see us unpacking boxes. But on a typical night, if Samir dropped in, you’d probably find me walking the foster dog, getting her ready for her evening. Then we’d be cooking some dinner, and then we’d have some dinner. And then we might play some games or read. At some point, we might all wind up on the couch, watching a little bit of TV. And then the dog would get her last walk of the night, and that would be that. Which I think is pretty much what a lot of people do.

Samir Husni: What keeps you up at night? I know you said sometimes you wake up at two in the morning until the sun comes up.

Joe Berger: Right now, the thing that will be waking me up at night and keeping me up for an hour or two would just simply be going through the list of everything we need to do as we prepare for this move to a new home and a new way of living.

But if you press me as far as magazine-related things, I guess  it would be the usual list of things that need to be done: Run the gap list, compare e-commerce results, look at a newsstand trial galley, edit the newsletter.  Do I have the headspace for all of this?

As far as the rest of it goes, you can’t really worry too much about what’s going to happen in the future because no matter how prepared you are, you never know exactly what’s going to happen.

Thank you, Samir. I appreciate the opportunity. We’ll talk to you soon.

Samir Husni: Thank you.

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A Pioneer In The Field Of Single Copy Distribution, Linda Ruth, President, PSCS Inc., Tells Samir “Mr. Magazine™” Husni: “We’ve Got To Be Doing What’s Best For Every Member In This Business.”

April 12, 2024

A pioneer in the field of single copy distribution, Linda Ruth, president of PSCS Inc., has been one of a very few women working in the newsstands’ distribution channel of the magazine business.  She started in the 1980s when the single copy industry was comprised of at least eight major national distributors and almost 400 wholesalers and too many to count retailers.  Things have changed, and they changed a lot, to say the least.

I had the opportunity to chat with Linda about the many changes taking place in an important sector of the magazine industry, a sector that is rarely talked about, and we went down through memory lane, the present, and of course the future.  What is going on now, and what to expect in the future.  The role of print and bookazines in a digital world and the advice she gives to newcomers to the magazine world.

A very frank and down to earth discussion with a woman who has seen it all and is still at it, with the same spirit and passion she had when she first started.   At no loss of words, she tells you the status of the industry as it is without any sugar coating and she is quick to caution you that, “We’re in a situation now where we’re all on the same ship, all the distribution channel partners, and we don’t want it to sink, but we’ve really got to work together to keep that ship afloat. We can’t be fighting over the lifeboats.”

So please enjoy my conversation with Linda Ruth, president, PSCS Inc.  But first the soundbites…

On a major change in the single copy distribution business: When I got started, there were plenty of women in publishing, in editorial and even in subscription circulation, but very few in newsstand sales in magazines. That’s one thing that has changed to some extent.

On another major change in the distribution channel: We’re down to a small handful of companies, with one large company, Accelerate 360, dominating national distribution; wholesaling; data; retailer racking; and even have their own not-insubstantial publishing arm.

On a third major change in the distribution business:  Publishers used to have a lot more power in the distribution business. They could negotiate discounts; they could pick and choose what retailers got the display allowance. Now they feel powerless.

On the status of single copy sales today: We’re in a situation now where we’re all on the same ship, all the distribution channel partners, and we don’t want it to sink, but we’ve really got to work together to keep that ship afloat. We can’t be fighting over the lifeboats.

On new magazines arriving to the marketplace: Some of the most successful ones have gotten a good online start before they came to print, they started an online community, and they developed a really great level of interest in what they had to say.

On magazine categories that are doing well: The craft space is still doing well, and the mindfulness space. I have a new title in the architecture space, and it’s taking a little bit of a quirky, different angle on it, and I’m really optimistic about it.

On the current bookazine scene: It’s great. You get these publications with fewer issues, higher quality, higher price points. The reader gets something of real value and they’re paying for what they get. The publisher sells at higher efficiencies and is able to monetize circulation.

On young people working in this industry: As long as this business is seen as declining, we’re not going to attract a lot of young people to it. I would like to see that change.

On the power of print in a digital age: I mentioned the print publishers who’ve come to me from digital. And of course you have publishers that start in print and then migrate partially or totally to digital. That’s not always a complete disaster, but sometimes a publisher is not expecting the loss of authority that can come from that change.

And now for the lightly edited conversation with Linda Ruth, president, PSCS Inc:

Samir Husni: Hello, Linda, and thank you for chatting with me. We’ve known each other for years. There’s a lot of talk in the industry about magazines and the future of magazines, but very few talk about magazine distribution, whether on the subscription side or the newsstand. So my question to you, you’ve been in this business on the circulation side for many years.

Linda Ruth: That’s right, I got started in the 1980s working for BYTE, a McGraw Hill magazine, in Peterborough, New Hampshire.

Samir Husni: Over those years, what do you see as the major changes? ‘

Linda Ruth: When I got started, there were plenty of women in publishing, in editorial and even in subscription circulation, but very few in newsstand sales in magazines. That’s one thing that has changed to some extent.

Back then, there were roughly 400 wholesalers. Most of those wholesalers or even most of them were family-owned. Their companies were passed down from generation to generation.

They used to have conventions several times a year. And I remember talking to one of the women at a convention one evening, and she was expressing what it was like to be part of a wholesaler family. “We’re a group,” she told me, “a special group of people who have been involved with magazines as part of a family tradition. And in some ways it feels like we’re royalty.”

Of course that is very much changed. The independent retailers are mostly gone, the chain stores have taken over, and the wholesalers have vanished. We’re down to a small handful of companies, with one large company, Accelerate 360, dominating national distribution; wholesaling; data; retailer racking; and even have their own not-insubstantial publishing arm. This was a road down which we began marching decades ago, and it may have been unavoidable, but it leaves publishers in a place where they have no choices. Distribution costs rise and they don’t have any recourse. A publisher recently said to me, “I trust the people who are working there on our behalf, but as for their owners, the big money interests, it feels like they’re not working with us to keep us all in business. They’re just picking over the carcass of the newsstand industry.”

Samir Husni: So do you think the wholesalers changed from royalty to beggars?

Linda Ruth: Not beggars, because the power resides with them. That’s a third big change: publishers used to have a lot more power in the distribution business. They could negotiate discounts; they could pick and choose what retailers got the display allowance. Now they feel powerless. Every year they are being asked for more in terms of more fees, more discounts, more commissions; even promotions are being set up and billed back to them without their say-so. And while publishers in the past had money to burn (another change we could discuss—the parties alone back then!), many publishers today are running on a very tight margin. There isn’t a lot to play with, and every successive change makes them feel like they are moving closer to the brink of doom.

Samir Husni: What do you think can be done about that?

Linda Ruth: We’re in a situation now where we’re all on the same ship, all the distribution channel partners, and we don’t want it to sink, but we’ve really got to work together to keep that ship afloat. We can’t be fighting over the lifeboats. We’ve got to be doing what’s best for every member in this business. We have a lot of conversations about what the distributors need to stay in business; and from a publisher’s perspective it’s important to keep them in business. But it would be good to also ask the publisher, hey, what can we do to help you stay in business? We know that you’re creating the product, you’re paying your editors, you’re paying your printers, your shippers. How can we help keep you in business? And once those questions are asked, maybe we can find some answers that don’t endanger the entire supply chain.

Samir Husni: I agree, that’s one of the important things that we have to keep in mind. What about somebody who wants to start a new magazine today, and they come to you and said, Linda, I need your help. What would you tell them? Forget about it?

Linda Ruth: Not at all. Every year I have a few publishers who come to me and say, I want to start a print magazine. And some of them survive, and some thrive. I have a couple of really promising ones right now that I’m very excited about. I work with them to minimize the risk at the same time we’re developing a print audience.

Some of the most successful ones have gotten a good online start before they came to print, they started an online community, and they developed a really great level of interest in what they had to say. They’ll have a strong website, a strong list, good social media presence. They know they have a message that people want to hear. The messages tend to be fairly vertical nowadays, and that’s a good thing.

So I help them get a start in the bookstores and any appropriate specialty outlets.

That reduces their risk, because publishers nowadays are coming with very high quality publications, ones that cost a lot to put together in print, and they don’t want to blow out a couple of hundred thousand copies and take the risk that they won’t sell. Years ago you got a nice sales pop just for launching a magazine; the first issue would be higher than the subsequent two or three, and then you could build back to that launch level. That doesn’t happen anymore. You’ve got to get in there, find your space, find your category, and then build more organically. Where there is sufficient interest, there will always be room to grow.

Samir Husni: You mentioned you’re seeing more vertical new magazines, like they have to be in a vertical space. Is there any specific space you are seeing more than the others?

Linda Ruth: The craft space is still doing well, and the mindfulness space. I have a new title in the architecture space, and it’s taking a little bit of a quirky, different angle on it, and I’m really optimistic about it. And I have a couple of thought leader magazines. Historically, opinion hasn’t been the easiest category. But that’s changing a bit. There’s so much noise in the online communication channels, so much misinformation, disinformation, AI, that people are looking for more fact-based, reasoned views and opinions.

Samir Husni: You mentioned crafts, and you’ve represented some of the largest craft publishers, like Stampington, and you also represent the Old Farmer’s Almanac and their publications; so you work across a variety of categories. With all these existing clients, I mean, have your journeys with them been a walk in a rose garden?

Linda Ruth: Not always a walk in the rose garden, but for the most part, it’s been really satisfying. Working on a magazine, I won’t say it’s like raising a kid, because it’s not. But it has this element that you’re really putting something of yourself into it, and you’re creating something and growing something. You’re working with some of the most creative people there are, who want to reach out to like-minded readers, who take great pride in what they’re doing. Who are creating whole worlds for themselves and their readers. Who are, especially in today’s climate, very brave. It’s a privilege.

Samir Husni: You mentioned creating new worlds, and we have a world of bookazines that are out there. What is this doing to the magazine category?

Linda Ruth: It’s great. You get these publications with fewer issues, higher quality, higher price points. The reader gets something of real value and they’re paying for what they get. The publisher sells at higher efficiencies and is able to monetize circulation.

Samir Husni: And what do you think about the power of print in this digital age?

Linda Ruth: I mentioned the print publishers who’ve come to me from digital. And of course you have publishers that start in print and then migrate partially or totally to digital. That’s not always a complete disaster, but sometimes a publisher is not expecting the loss of authority that can come from that change. The loss of advertisers, the greater difficulty in getting samples, interviewees, and various kinds of contributions.

Samir Husni: Can you imagine a print magazine wholly made for advertising (MFA) only like what’s happening with Forbes.com?  

Linda Ruth: Actually, yes. Remember Computer Shopper?

Samir Husni: In your career, 40 plus years, can you name a particularly challenging time; and can you name a special moment or a pleasant surprise?

Linda Ruth: I can, and the two go hand in hand. In the 1990s, I was working for a big consultant and we were building a company together and he fired me. It felt like a huge betrayal. I didn’t know what to do, and I had always heard that after you’ve been fired, you were poison in this business and no one would have anything to do with you.

And I started getting calls, from client publishers, from wholesalers and national distributors and even a couple of retailers, and they said, Linda, we don’t know what happened with you, but you can count on us. One of my publishers told someone, “If Linda wants a job, she can come work for us. And if she wants to be a consultant, we’re going to be her first client.” A distributor hired me for a year’s worth of consulting. And a wholesaler group asked me to continue managing their retail program.

It was a wonderful, uplifting experience for me to have such an outpouring of support from all corners of the industry. It made me feel like this industry was home to me. And some of those people are gone now, but a lot of them are still here, and I have so much appreciation for them to this day.

Samir Husni: Is there a question I didn’t ask you and you’re dying to ask yourself and answer it?

Linda Ruth: I think the question would be, where is the next generation in this industry? Where is the next generation of people in magazine distribution, magazine sales and distribution? One of the reasons that I know so many people in this industry is we grew up in the industry together. Now they’re in charge of things. They’re running the national distributor and in high level positions at the wholesaler and at the retail chains. I do have younger people in their thirties who work in my office. But I am not seeing people in their generation for them to work with and talk to and learn side by side with. As long as this business is seen as declining, we’re not going to attract a lot of young people to it. I would like to see that change.

Samir Husni: I don’t want to take a lot of your time, but my typical last two questions is, if I come uninvited one evening to your house without a notice, what would I catch you doing? Reading a book, watching TV, cooking?

Linda Ruth: All of the above, or maybe playing a video game, up until about nine o’clock. I like to front load my days, so although you are always welcome, you don’t want to show up too late, Samir.  

Samir Husni: And what keeps Linda up at night these days?

Linda Ruth: Not much–I sleep really well.  

Well, I really appreciate you taking the time and. I’m so pleased that I got this opportunity. It’s always great to spend a little time with you, Samir.

Samir Husni: Thank you.

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Good Journalism, Thoughtful Passion, And A Solid Business Are What “Connect” Gia Miller & Justin Negard “to Northern Westchester.” The Mr. Magazine™ Interview.

March 20, 2024

“It’s a nice feeling, working together. We’re both very creative, and we bounce ideas off of each other really well. When one of us is stuck on something, the other one can really jump in to help that idea form and get it to the right place. It’s been a really nice partnership in that way.” Gia Miller

“We’re telling real stories and we’re putting in quality-level journalism into it. We’re fact checking everything. We’re finding as many experts as we can, so the story is being told correctly. And I think a big point that’s worth touching on is that we don’t do pay to play. Obviously, we have advertisers, and we’re happy to have them. But we don’t allow that to affect our editorial, and people really have noticed that.” Justin Negard

Journalism, quality journalism, passion, thoughtful passion, business, solid business, are the major cornerstones of Connect to Northern Westchester.  Cornerstones that are rapidly disappearing from the worlds of journalism, passion, and business.  Until you meet Gia Miller and Justin Negard, and you see clearly that quality journalism, thoughtful passion, and good solid business thinking are all manifested through the two of them and their magazine that they founded to serve the area of Northern Westchester, New York.

A good read and a better display of visual photography, typography, and illustrations that “connects” you to an area of our country which brings the term local to a national level. 

A job so very well done that I thought I should have a chat with Gia and Justin, mainly for selfish reasons, to show me that good quality journalism is not dead and that there are good story tellers who believe in the value of printed magazines and what they have to offer.

My conversation with Gia Miller, the co-founder, co-publisher and editor-in-chief,  and Justin Negard, co-founder, co-publisher and creative director was as delightful as the magazine itself.  So please enjoy this conversation with two entrepreneurs who still believe in the power of print in a digital age. 

But first for the soundbites:

On why print: (Gia Miller) The problem is when you try to connect digitally, your feed is really curated. You’re only getting news and information about people that you’ve chosen to get news and information about. 

On the early days: (Gia Miller) We originally started as a website towards the beginning of the pandemic. And it was literally just for our small town of Katonah. So, when we ended up deciding that we were going to print a magazine, we went back and forth with the name, and we chose to keep it as Katonah Connect, even though we were mailing to a larger audience than just Katonah, because that name had name recognition.

On their feeling today about the magazine: (Justin Negard) I think everything we’ve done has been kind of a surprise. The very first edition, we had that beautiful feeling that, hey, we put out our first magazine. And that hasn’t gone away yet. We’ve put out our second, our third, and now we’re over a dozen. And each time it’s special. It’s an amazing thing. But we don’t really notice it as we’re going along. We sort of step back, and we think about the fact that this started with a conversation at a coffee shop. And now we are covering so much of our region.

On the business model: (Gia Miller) From a business model perspective, we pay for the publication with advertising. I actually remember in journalism school learning how much money subscriptions suck from your business. So, we decided that we would do direct mail and just directly mail into homes and businesses in our area and support the publication via advertising.

On the most pleasant moment: (Gia Miller) I always say I’m living the dream I never knew I had.

On teamwork: (Justin Negard) I love calling the shots creatively. I’m very lucky that we work so well together because we each stay in our lane and we’re each very good at what we do…And we both have great taste, so it’s easy.

On keeping it local: (Gia Miller) You can find 25 stories online about how to put on your makeup or the latest fitness craze, but you can’t find 25 stories that are local, that are about the people in your community. I think the positivity is a part of it, and then, honestly, it’s the community piece. Knowing who your neighbors are, who the business owners are and what they’re up to. We take a lot of national stories, and we make them local. We only interview local experts. We bring it back to our community in whatever way we can.

On the status of journalism: (Justin Negard) We are at a point where journalism is a very loose word and it’s become weaponized and co-opted by the wrong people on both sides of the political spectrum or possibly even in other countries. My hope is that the younger generations are smarter to these things, and they know what they are reading and where it’s coming from, whereas maybe older generations don’t pay attention to that as much.

On their mission and vision: (Justin Negard) We’re not trying to influence anybody, but we want to at least establish quality journalism wherever our footprint is.

And now for the lightly edited conversation of Gia Miller & Justin Negard, founders of Connect to Northern Westchester magazine:

Samir Husni: Why did you decide to connect via a print magazine? 

Gia Miller: That’s a great question. It kind of just happened, honestly. I think the problem is when you try to connect digitally, your feed is really curated. You’re only getting news and information about people that you’ve chosen to get news and information about.  In order to really know who’s in your community, that’s what the media is for; that’s what newspapers and magazines exist for.

Justin Negard: There was a real void in our community. The numbers are showing also that local publications are actually thriving. So even though some magazines are switching to digital, for a lot of reasons, my opinion is that people don’t necessarily care about having an actual paper news feed. They just want to get that hard hitting quick news or whatever it may be, wherever they are. But when it comes down to a local level, people like having an actual, ‘this is our town, this is my business’ publication.

To Gia’s point, there was a void in our community that needed to be filled. 

Gia Miller: We previously had a really nice local magazine in our area. I used to write for them occasionally.  At the beginning of the pandemic, it was sold to a family who chose to recreate it into what they envisioned. And it lost that local feel. It lost that feeling of community, of knowing who your neighbors are.

Justin Negard: Also, we are fortunate we live not too far from Manhattan. We have a lot of very interesting and talented and artistic people in our neck of the woods. There were tons, and there’s still a ton of stories to tell. 

Samir Husni: What drives you to this trust in print, especially on the local level? 

Justin Negard: Well, there are two sides of it:  Our personal preference, which, I know, you can’t run a business around personal preference, but it does matter. So, I am a designer, and I was a journalism graduate. And Gia is an accomplished journalist herself. In both of our worlds, we appreciate paper. We love paper. When we’re putting this magazine together, one of the fun things was laying out all these magazines in front of us, different samples from our printer, and touching each page and figuring out which paper stock we prefer.

It’s a pleasure now to see it laid out in the way that it is. We’ve designed our spine so there would be a rainbow; these little details matter to us. But even on the business side, if you look at our model right now, the print is skyrocketing. We’re doing great. And that’s been the focus of our income.

Gia Miller: We get a lot of feedback because we’re local. We actually see our readers and talk to them just when we’re shopping or whatever. Everybody tells us how much they like print, regardless of their age–younger than us, older than us. They all want to touch and hold and feel something. Very oddly to me, we get tons of compliments on our paper, on the quality of our paper.

Justin Negard: Another thing we did, that leans into that, is since our very first issue, we decided to put artwork on the back cover. We don’t sell that real estate. This is for local artists, which we are blessed to have so many talented local artists in our community. This is probably our highest profile one, a man named Ed Giobbi. In the beginning, we were wondering if we’re going to have enough stories to fill our pages, and now we’re laughing, because I found out that three blocks down the street from where both of us live is a man named Ed Giobbi, who is a bit of a recluse, but he’s a master painter who’s in the MoMA, the Tate, the Chicago Art Institute, the Whitney, and many other places.

So, we featured his artwork, and we feature a variety of artists in our area. Because it’s a print publication, the artwork extends the shelf life of this magazine. Because when you’re done looking at our covers, you can flip it over and leave this on your table. Now you have some beautiful artwork as well, which people have appreciated. 

Gia Miller: Yeah, it works. We hear from people all the time. 

Justin Negard: I design all the covers. As such, we keep that very simple as well. We don’t put local celebrities and subheadings and all this to clutter up the page. We keep it very clean for that exact same reason. We want this to look beautiful on people’s tables for some time to come. So even if the issue is a year old, it still holds up. 

Samir Husni: Great.  Since you started the magazine in 2022, you moved from zero circulation to over 21,000. Tell me about the business model. Tell me about that growth.  How does it feel to see this growth going on? 

Gia Miller:  Honestly,  everything has been a pleasant surprise as we’ve gone along. We’ve grown because the demand is there, and we’ve been able to support it financially. Even our name change was a surprise.

We originally started as a website towards the beginning of the pandemic. And it was literally just for our small town of Katonah. So, when we ended up deciding that we were going to print a magazine, we went back and forth with the name, and we chose to keep it as Katonah Connect, even though we were mailing to a larger audience than just Katonah because that name had name recognition.

Our thought was that we’d get a good four or five years out of that name before we had to change it. And it came quickly. It was about a year and a half.

Justin Negard: Yeah, it was much quicker than we thought. So, everything we’ve done has been kind of a surprise.

We had that beautiful feeling when we put out our first issue, and that hasn’t gone away yet. We put out our second, our third, and now we’re over a dozen, and each time it’s special. We’ve been growing and we’ve been so busy, and we haven’t paid attention.

We pay attention to every little detail, but we don’t always necessarily step back and really reflect on where it is. So, to answer your question, it’s an amazing thing, but we don’t really notice it as we’re going along. We sort of step back, and we think this started with a conversation in a coffee shop, and now we are covering so much of our region.

Gia Miller: And from a business model perspective, we pay for the publication with advertising. I actually remember in journalism school learning how much money subscriptions suck from your business. So, we decided that we would do direct mail and just directly mail into homes and businesses in our area and support the publication via advertising. So that’s the business model we’ve chosen.

Samir Husni: How does it feel to actually own the magazine?

Gia Miller: I always say I’m living the dream I never knew I had.

Justin Negard: How does it feel for me personally? Most of my career has been as a designer and a photographer, and that, of course, branched out into the worlds of branding, website design, brochures. I mean, you name it. So many different problems you’d have to solve. And for me, this is the epitome of all my skill sets. Everything that I’ve learned to do over the last decade plus of my career as a designer, I do every single day now and a whole lot more.

I love calling the shots creatively. I’m very lucky that we work so well together because we each stay in our lane and we’re each very good at what we do.  I’ve said if I can continue making money and paying our bills doing this, it’s the absolute dream, 100 percent. We don’t have to really answer anybody but ourselves. And we both have great taste, so it’s easy.

Gia Miller: I’m trying to think of the best way to answer that question: how does it feel still? We very intentionally did not want investors. We didn’t want to have to report to someone who would tell us, “that’s not a good idea,” or “that’s a little risky.”

It’s a nice feeling that we have; we’re both very creative and we bounce ideas off of each other really well. When one of us is stuck on something, the other one can really jump in and help that idea form and get it to the right place. And it’s been a really nice partnership in that way.

And there have been a number of articles that we’ve published that I’m pretty positive if we had financial backing, we would have been told no. And they were very well received in our community. 

Justin Negard: Our very first issue, when it came out, we met with a wonderful person who was an editor at a previous magazine at some point.  She gave us some advice on the visual side. She said, this is lovely, but maybe have a local celebrity and have those subheadings and all that sort of thing. I mean, these are opinions that are perfectly well grounded. And there’s a lot of marketing and research behind making some of those decisions or turning down a certain article, whatever it may be.  We have been able to avoid that.

And I think our instincts have been good. If you have a local magazine, your inclination is to write about the local soccer game or to write about the local celebrity. We have a little bit of that, but we have leaned into more just interesting stories. They’re going to be interesting wherever you go, locally or nationally. And that’s what we’ve been able to do.

And if I can add one little detail to it, maybe because of the pandemic and various factors in our life, but humbly, Gia and I are probably far enough along in our careers and in our skills that we could work in Manhattan and work for an agency or work for a publication somewhere down there. But for circumstances in our life, we are local. And so, we have what I hope are national skills that we’ve brought to this local level. So that makes us more unique than other publications.

One of the things that I heard a lot is the reason there’s a rise in the city and local and regional magazines is that the need for that positive feeling, that you feel good as opposed to everything you’re bombarded with around you.

Samir Husni: Do you apply that to your magazine?

Justin Negard and Gia Miller (in unison):  Yes.

Gia Miller: But also, no, we’re not negative. We don’t feel the need to bash anybody. We come out every other month. We’re not hard news.  So that isn’t there. But I also think there’s a need for knowing what’s going on in your community and knowing local stories. On a national scale, magazines like Glamour, Cosmo and Marie Claire, they tell very similar stories. And you can also find 25 stories online about how to put on your makeup or the latest fitness craze or whatever.  But you can’t find 25 stories that are local, that are about the people in your community.

I think the positivity is a part of it, too. And, honestly, the community piece, knowing who your neighbors are, who the business owners are and what they’re up to. And we take a lot of national stories, and we make them local. We only interview local experts. We bring it back to our community in whatever way we can.

Justin Negard: I think the quality we bring to it as well. There are so many 24-hour news channels. And now, these days, without putting politics in the conversation, people are getting their medical opinions and their political opinions from, with all due respect to the Joe Rogans of the world, for example, or these 24-hour news channels that don’t always have the most credible journalists on the station. 

I think people are also hungry to read quality journalism. It doesn’t have to revolve around who’s running for president right now. There are other stories to tell. So, we certainly do put a positive spin on most of our stories, which is a consequence of the stories we’re telling.

We’re telling real stories and we’re putting quality level journalism into it. We’re fact checking everything. We’re finding as many experts as we can. So, the story is being told correctly. We have very strong opinions on a variety of things in our world today, but we keep that out as well.

And I think a big point that’s worth touching on is that we don’t do pay to play. Obviously, we have advertisers and we’re happy to have them, but we don’t allow that to affect our editorial. We did that in the beginning just for our own passion and our own our standards, our own morals . But we were also surprised that people really have noticed that in our area. And there are other publications in our region, and God bless them, but when you talk to people, they say, “yeah, that’s been paid for, and that’s also been paid for.” And they like the fact that we don’t do any of that. 

Samir Husni: Do you think, is it passion that’s going to drive the future of good journalism, the future of good magazines, as opposed to chain ownership or venture capitalists or people who have no idea what journalism is all about? 

Gia Miller: I hope so.  There are several chain publications in our area and the larger area around us who don’t know a lot about journalism, and it shows.  I think it is a skill set that you develop. You can study it in school or not, but you have to learn the skills to develop it. And I think from what we’ve seen, we’ve very quickly achieved respect in the community, and it’s because that’s our background.

Justin Negard: I think I would say yes.  There is definitely a difference. I think we are at a point where journalism is a very loose word and it’s become weaponized and co-opted by the wrong people on both sides of the political spectrum, or possibly even in other countries. My hope is that the younger generations are smarter to these things and they know what they are reading and where it’s coming from, whereas maybe older generations don’t pay attention to that as much. I hope, this is all big hope, that the younger generations will be smarter than that and this will eventually level out and they’ll realize what’s BS and what’s actually coming from a credible news source.

All we can do, though, is continue to sort of push back on that. There was another local publication that had been looking to sell and they did face sort of this onslaught of larger companies that were trying to push more of an agenda in the region. They’re trying to influence people on a more local level. We’re not trying to influence anybody, but we want to at least establish quality journalism wherever our footprint is.

Gia Miller: I want to know what you think about that question.

Samir Husni: You can tell that there is some good quality journalism in here. This is not like somebody got an article from a PR agency and then published it. And so, I congratulate you on that, because I’m one of those people who, before I retired, I told my students that journalism is dead. But I’m first-generation Presbyterian, so I believe in life after death. So, folks like you are bringing journalism, good quality journalism back. Because I learned in journalism school years ago that when a journalist gives his or her opinion, he or she is no longer a journalist. And we have nothing but opinion these days, and I wish it was good opinions or opinions based on facts.

Justin Negard: And I would tell anyone seeing this or reading this, whatever, it’s not just passion, I mean it definitely is passion for us. We’re doing this as a labor of love, but there are financial dividends. Neither of us are driving Rolls Royces today, but there’s a hunger for this. So, if there’s anyone on the fence thinking, “journalism is dead, I shouldn’t do it, I should do something else, I should just sell out and work for the big company that’s blah blah blah,”– nope, don’t do that.

There’s a lot of hunger for good quality journalism. People are ready to have a good organic meal.

Samir Husni: A more personal question, if I come visiting you one evening, unannounced, what would I catch you doing? Reading a book, watching TV, listening to music?

Gia Miller: Working!

Justin Negard: One hundred percent, working. 

Gia Miller: And calling each other on the phone about this page or that story or whatever. 

Justin Negard: We have started doing almost like a day in the life of a publisher sort of thing, which is almost laughable because I think our typical day is not standard for most, even most publishers, although we have a lot of respect for the busy schedule of any publisher.

But we’ve branched out now as well. And we haven’t needed to, but we wanted to. So, we branched out into a lot of video work. We have a heavy digital footprint. We are very involved in social media. We even launched an app recently.

I mean, we have a lot of plates spinning at once. The magazine is still probably our main event, but videos have picked up tremendously.

So, every single day, if you look at our calendar, we have a chunk of time where we are reaching out to advertisers, where we are working on layouts, where we are writing stories, where we are going to local events, where we are filming videos. I mean, it’s nonstop, truly, truly nonstop to the extent, and I say this with a lot of humor, that people in our region recognize us now, which is kind of kind of flattering and weird.

Sometimes, we eat in other towns where our magazine doesn’t mail to because people recognize our faces. They know us from social media, from me running around with the camera everywhere we go. It’s a lot.

We also have interns, collaborators. So, we’re juggling a million things, and then we’re talking to someone like yourself.

Samir Husni: So, my typical last question is what keeps you up at night these days?

Gia Miller:  Trying to get everything done. I’m thankful we’re not a monthly because we would not be functioning humans if we were. 

But what keeps us up? You know, on my end, now we have a lot of writers who freelance for us. And so, it’s where is this story and when do I need to get that one in? People missing deadlines, that stuff keeps me up.

And advertising, which is the part of the business I hate the most, selling ads. That’s not my skill set. 

Justin Negard: I personally have so many things in front of me. What keeps me up is definitely working. Gia and I are texting each other until sometimes one, two, three in the morning, depending on what we’re working on. So literally, that’s what keeps us up.  Working on the magazine itself. But as soon as that’s done, I have videos to work on. We’re working on the app.  We’re running. There’s just so much to juggle. But it’s rewarding.

We’re proud of the results. And that’s something that I think is worth mentioning. It definitely feels like work. I’m not someone who says it doesn’t feel like it feels like work, but we’re so proud of it.

We’re building something. We’re not just working.

Samir Husni: Congratulations and a job well done. Keep up the good work.

Gia Miller: Thank you.

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Ori Magazine: “An Antidote To What We’ve Been Seeing In The Travel Industry,” Kade Krichko, Founding Editor, To Samir “Mr. Magazine™” Husni.  The Mr. Magazine™ Interview

March 1, 2024

“I think there’s a lot of red flags when it comes to starting a print publication right now, but I would almost argue that not as many as three or four years ago,” Kade Krichko

Ori “is a word that started out of convenience, but it’s really turned into something very representative of what we’re trying to do with the magazine, which is connecting east, west, north, south, all of it. And it shows. I mean, I glanced through the first issue, and you get that global feeling within the pages, which I can call like a coffee table magazine.” Kade Krichko

Kade Krichko, Founding Editor, Ori magazine

Call it love of print, love for travel, love for storytelling, love for going national and global… or, for short, call it Ori. The new magazine for travel from the source.

Kade Krichko is the man behind Ori. His love for print, travel, storytelling, and going global is manifested in the first issue of a beautiful coffee table type magazine.

I reached out to Kade and chatted about Ori, its origin, its concept, and its roadmap for the future. What follows is the lightly edited interview with Kade, but first the soundbites:
On the name Ori: That was our travel from the source idea that we built this magazine on, and then Ori, the name is kind of funny, but Ori is short for origin, also for original, for orient, all these ideas of direction, right?

On role of print in a digital age:  For us, it was the idea of, again, this antidote of this digital scrolling world that we live in, where everything moves so fast. And we, even magazines, are moving so fast.

On what else besides the magazine they are doing: But, yeah, we want this to be a community that’s represented. And so, part of that is having some merchandise that people can wear and that will, you know, bring up some questions at the dinner party. Like, oh, what is Ori? That’s interesting.

On the action the magazine will generate: When that curiosity is piqued, people want an action step. So, when they’re excited about traveling and they like the way that we see the world and travel the world, why not travel with us and go have these experiences with us?

On the biggest challenge he is facing:  So I think, you know, establishing a path forward, not being afraid to adjust that path, and then explaining and bringing people along that journey with you has been the biggest challenge, but also one of the greatest creative challenges I’ve had in my career.

On the most pleasant moment: I think hearing from creatives and their feedback has been the most rewarding element of my career, maybe even my life.

On his expectations for 2025: I hope that we have launched one to two more trips that are associated with some of our content and that we have a group of curious travelers that are not only reading our magazine but are offering feedback and that are letting us know what parts of the world they want to know more about.

On what keeps him up at night: Besides typos? I go to bed at night full of ideas and anxious to wake up the next day and implement them or explore them.

And now for the lightly edited conversation with Kade Krichko, founding editor, Ori magazine:

Screenshot

Samir Husni: First, congratulations on the new magazine. 

Kade Krichko: Thank you so much.

Samir Husni: Are you out of your mind to start a print publication in a digital age? 

Kade Krichko: I am the right kind of out of my mind, I think. Yes, I think there’s a lot of red flags when it comes to starting a print publication right now, but I would almost argue that not as many as three or four years ago. So, yes, there were some warning signs, and obviously some of these bigger companies have had a very, very tough time of late. And I think what we’re seeing is a rebirth, or maybe a safety valve that is the independent magazine. So, in that respect, I feel like I have entered a completely different lane than some of these other publications that are struggling right now.  But, yeah, obviously a little bit scary to start a print publication in the age of digital, right? 

Samir Husni: So, tell me a little bit more about Ori. I mean, it’s a travel from the source and the name, the origin. How did you come up with this idea to have a travel from the source magazine? 

Kade Krichko: I think you kind of nailed it a little bit in the question. Because Ori, for me, not only did I never think I’d start a print publication, I never thought I’d start a travel print publication. But what Ori is, is kind of an antidote to what we’ve been seeing in the travel industry, which is this idea of, we are a travel magazine, but I’m almost explaining as we are a magazine for travelers, because the travel magazines of old were going to these places, they were talking about their experiences, and they were coming home and explaining what these places were like, but really from the perspective of parachuting in and then parachuting out.

So, this idea of traveling from the source is actually reaching out to the source, being the people who live in these destinations, the people who live in these countries, the people who live in these towns, that work as journalists, that work as storytellers, that work as teachers, that work in restaurants, and having them explain what makes their home so great, or so interesting, or so dynamic. So, in that sense, it’s not a total shift, but a little bit of a pivot, and the idea of getting stories from the people who are living it.

That was our travel from the source idea that we built this magazine on, and then Ori, the name is kind of funny, but Ori is short for origin, also for original, for orient, all these ideas of direction, right? Originally, I started with Origen, I like speaking Spanish, I’ve spent a bunch of time in Spanish-speaking countries, and all of my friends told me they wouldn’t read my Spanish travel magazine.

I was like, come on guys, humor me a little bit, but ultimately they won out, and I decided, you know what, you’re right, Origen only represents part of the world.  If we cut that in half, we have a base word, Ori, which is Latin, which, you know, Origem is Portuguese, I’m not sure what origin is in Italian, so I’m not going to mispronounce it, but it also starts with Ori.  And we have all these Latin words that Ori itself means to begin, to rise, to appear.

But then we look at Japanese and we have origami, and Ori there means opportunity. So, that was beautiful and something that I was like, wow, that’s potent,  that’s, you know, east to west crossing over.  And then I had another friend tell me that, wow, I didn’t know you spoke Hebrew, and I said, well, I don’t.  And he’s like, well, Ori means light in Hebrew.  I was like, oh, wow, now we’re connecting, you know, this is a word that’s connecting.  And I was at an event this weekend in Brooklyn, we had a magazine launch party in Brooklyn, New York, and I had someone come up to me and be like, did you know Ori in Nigeria is actually a very important metaphysical force that is associated with destiny? And this idea that when your Ori is in line that you are living your best life and this whole thing that I had no idea about, you know.

So, it’s a word that started out of convenience, but it’s really turned into something very representative of what we’re trying to do with the magazine, which is connecting east, west, north, south, all of it. And it shows. I mean, I glanced through the first issue, and you get that global feeling within the pages, which I can call like a coffee table magazine.

But at the same time, I mean, it’s like you said, it’s travel from the source. 

Samir Husni: So, tell me, when you came up with the idea and finally determined on the name of Ori, and why twice a year?

Kade Krichko: That was another creative risk we took. We have some modeling with other publications that have done this recently, especially in the independent space.

You have, you know, the Mountain Gazette, which is a mountain lifestyle magazine. You have some more niche mountain and sports publications that are doing a victory journal in Brooklyn, New York. There’s Sports Culture Magazine.

For us, it was the idea of, again, this antidote of this digital scrolling world that we live in, where everything moves so fast. And we, even magazines, are moving so fast. You see The New Yorker, which is ultimately the pinnacle of a lot of what we do as journalists.

And they’re publishing so frequently that people don’t have time to finish that magazine before the next one shows up. And for us, we really wanted people to sit with our magazine. We wanted them to read it cover to cover, hopefully because they enjoy it, but if not, because they have the time to do it at the very least.

And maybe they find enjoyment when they actually have to slow down and read it.  So, we figured, you know, people are going to get angry either way. And if people get a little frustrated that there’s not another magazine for them to read, we’re creating our own demand in that sense.

We want people to be excited for the next magazine and have it show up and then be ready to consume and to learn and to experience what we’ve been putting together.

Samir Husni: And I’ve noticed not only you launched a magazine, but you launched also like a store with goods that people can order and buy. And tell me about the whole brand.

I mean, what’s the goal in 2024?

Kade Krichko: I think, yeah, in 2024, you need to offer a little bit more than just the publication. And if we’re not, we aren’t releasing anything digitally. We do have a blog that will have, you know, useful travel information and fun stories.

But, yeah, we want this to be a community that’s represented. And so, part of that is having some merchandise that people can wear and that will, you know, bring up some questions at the dinner party. Like, oh, what is Ori? That’s interesting.

And then also, yeah, just that idea of representation.  And then also something we’re doing recently is we’ve launched trips that are in association with the magazine. Because we feel like the magazine is about piquing curiosity.

When that curiosity is piqued, people want an action step. So, when they’re excited about traveling and they like the way that we see the world and travel the world, why not travel with us and go have these experiences with us? So, we have kind of tied this into the full circle experience. Read with us, then come see the world with us idea.

So, in the spring, we’re going to Basque Country, Spain, a place that I lived for a number of years, connecting with some friends there. And kind of living this mantra that we’re pushing in the magazine, this idea of going to the source to learn about things. We’re going and interacting with local businesses, with local wineries, with local restaurants, with local guides, and trying to emulate what we do in the pages out in the real world.

And, you know, I think the shop connects with the magazine, connects with the trips. We want to create this ecosystem, this community, rather, that once you’re kind of bought into it, you really can be a part of it. And you can help, you know, you can help us spread the word, but you can also use it to connect with other folks, including the people who put the magazine together.

Myself, I’m an email away. I mean, we’re super small.  Our staff is two, maybe three, depending on the day, because sometimes our designer is working with us, but most of the time he has a real job. Good for him. But yeah, we want this to be approachable.  And we thought that having, you know, some merchant some connection to the product was part of that.

Samir Husni: So tell me, Kade, what was the most challenging moment you faced from the moment you came up with the idea to the launch of the magazine?

Kade Krichko: Well, that is a great question, because it all kind of molds into one massive mountain that I’ve been climbing. I think the challenge has been turning. The vision is very clear for me of what I would like to do with Ori and what we would like to do as a community.

But it has been hard to translate that in today’s landscape, that I feel like there’s a set of boxes that people are comfortable with, and we rest comfortably outside of that box. So trying to show people that there are multiple ways to consume this information, to enjoy this experience, has been the most difficult. These conversations help. I think you and I getting to talk, you know, helps you understand what we’re doing and hopefully some others to understand what we’re doing. But I don’t, I’m not able to have that conversation with everybody every day. So I think, you know, establishing a path forward, not being afraid to adjust that path, and then explaining and bringing people along that journey with you has been the biggest challenge, but also one of the greatest creative challenges I’ve had in my career.

Something I really enjoy. Get me talking and I won’t stop, because I really do believe in this product, but I also believe in this platform. I think what we’re doing is somewhat innovative in our space, as far as, you know, supporting storytellers and yeah, something I can go on and on about.

That’s been the challenge, is doing something a little bit different, believing in it and then translating it.

Samir Husni: And what was the most pleasant moment you had?

Kade Krichko: I think hearing from creatives and their feedback has been the most rewarding element of my career, maybe even my life. And when I say creatives, I mean writers, I mean photographers, I mean illustrators and artists. I’ve had so many people that I’ve worked with in just the short amount of time reach out and say thank you, and that this was something that they’ve been waiting for, and that they never thought it would come, and that they wish us the best. When somebody wishes you the best, you feel a responsibility to keep going and to make sure that you make them proud. So when the magazine did come out this past November, our first issue, to then get a second round of thank yous and wows and this is better than we imagined, that’s a great feeling. And part of the thank you is this creative grant that we’ve built into our magazine, which again, when I speak of innovation, I didn’t think this was something innovative, and it’s not innovative in the nonprofit space, but perhaps in the publishing space.

Every subscription we get, we take a portion of that subscription revenue and we put it into a safe bank account, and we watch that grow as we gain subscribers. And then once our issue comes out, we go back to our subscribers, folks like you and me, who have read the magazine, and we ask them, what was your favorite piece from this magazine? What really resonated with you? And we basically have a vote, and when that vote is tallied, we award that money that we’ve been saving to a creative team, so a photographer and a writer, to fund their next project.

We don’t ask them what their next project is, we don’t tell them it has to be with us, we give it to them and we say, we believe in you. And to have that belief, I’ve been on the other side as a writer, to have that belief from an editorial staff, you feel like you can move mountains. You feel like you can do anything if somebody’s like, I believe in you. It’s not just me saying that, it’s all of our subscribers saying, we believe in you, your storytelling, and we want to see what you do next, and we’re following along. And so as far as gratification goes, we just awarded our first creative grant, and actually you’re one of the first people to officially know this, but we awarded it to a creative team out of Mexico City, a female writer and a female photographer,  Tamara de Anda and Eunice Adorno. And so they will be receiving our first creative grant this week, and we’ll be able to use that for whatever they want moving forward.

And we’re excited to see where they go, and I think a lot of people will be following along now because they want to see where their money goes, right?

Samir Husni: That’s great. So you and I are talking in January of 2025, what would you tell me you’ve accomplished in 2024?

Kade Krichko: I love this. We should hire you on our business side of things to keep us focused. By 2025, I hope we have three magazines out the door. I hope that our creative grant has grown into something that people in the media industry cannot ignore, that this is a new way of doing things in publishing, that at this point, I hope multiple magazines are copying us because I don’t want to be the only one that’s rewarding creatives in our small space. I hope that we have launched one to two more trips that are associated with some of our content and that we have a group of curious travelers that are not only reading our magazine but are offering feedback and that are letting us know what parts of the world they want to know more about.

Hopefully that’s not just in the U.S. and North America, we hope that that is all over the world. Our first issue went to 13 different countries. We’ve only really done marketing in the U.S. and very limited marketing. Marketing being reach out to my friends and say, hey, this is pretty cool. t’s something we’ve been working on. You should check it out.

So, yeah, to be a little more global as a global magazine, I think would be absolutely amazing.

As a pipe dream of mine is to offer this in different languages. But that might be a 2026 conversation.

Samir Husni: If I come unannounced to visit you one evening at home, what would I catch you doing?  

Kade Krichko: I would probably be trying to put my laptop down, but I would be doing so while cooking  and listening to music. I think those are the two things that help me recenter myself in the evening time and also continue learning while relaxing. I think cooking and music are both really fluid and imperfect, similar to language, similar to some kinds of storytelling.

So yeah, I’d probably be playing some music from some part of the world that I hadn’t heard yet and cooking a dish with what I have in the kitchen, hopefully with more than one person in the apartment, but I’ll do it for myself and for a new friend too.

Samir Husni: Excellent. And what keeps Kade up at night these days?

Kade Krichko: Do we really want the answer to that?  Besides typos? I think that Ori has ignited an energy in me that I haven’t felt in a long time.

I go to bed at night full of ideas and anxious to wake up the next day  and implement them or explore them. I wish I was getting more sleep because it does keep me up at night, but that is a fire I feel really gifted to have, that every day I wake up very motivated to make this thing better and to see where it can go. And I’m sure you get that a lot from, especially like self-starters and people in the independent space, but I do think it’s true.

I think the people who hang around the longest have that. And I think finding satisfaction in that is often the hard part, but when you do align those two things, it’s intoxicating. It’s an incredible feeling.

Samir Husni: Thank you and good luck on the future of Ori.

h1

Kent Johnson, CEO Of Highlights for Children, To Samir “Mr. Magazine™” Husni: “There Are Things That You Do On Paper And In Print, Ways You Process That Can Be Unique From Digital.” The Mr. Magazine™ Exclusive Interview…

February 14, 2024

“I’m an incredibly strong believer in print. And I’m in no way anti-digital or anti-screen. What we try to obsess on is what are all the modalities that one can put into action to create an experience for a kid. And I do believe in puzzling. There are things that you do on paper and in print, ways you process that can be unique from digital. And that’s really important to have in the spectrum of experiences.” Kent Johnson…

“But for us it’s never about bells and whistles of tech or print. It’s about how do you use the capabilities of the technology for the experience that you’re trying to create for the kids. And print is incredible. It’s in the backseat of the car; you can take it with you. You can write in it, share it; it’s batteries never run out.” Kent Johnson…

Highlights for Children was founded in 1946 by Garry Cleveland Myers, Ph.D., and Caroline Clark Myers, who just happen to be the current CEO Kent Johnson’s great-grandparents. And even though Kent is a direct descendant of the company’s founders, he initially had no aspirations to work in the family business. But as fate would have it, he officially joined the company in 2005 and continues to be inspired by the mission to help children become their best selves – curious, creative, caring and confident – and motivated by the challenge of carrying that philosophy into new markets around the world.

And speaking of new markets, this Ph.D.-toting physicist partnered with Google recently to create a special edition Highlights|Google magazine as a resource for parents and kids to navigate their digital lives by knowing how to evaluate trustworthy content, protect privacy, and also to deal with the emotional experiences that occur in kids’ online lives. The issue was shared with all of their subscribers as a bonus for being a part of the Highlights world. Creating a kinder, safer world for all is always the goal. Including online.

I spoke with Kent recently and we talked about this latest endeavor with Google. Also about the mission of Highlights in general and how it hasn’t changed since the magazine’s founding in 1946. The care for children hasn’t changed, nor has the concept that some things can make the world a better place, such as Highlights for Children in all its’ many forms.

And now the Mr. Magazine™ exclusive with Kent Johnson, CEO, Highlights for Children.

But first the soundbites:

On whether he was out of his mind to launch a new print magazine in 2023: Are we out of our minds? We are out of our minds. (Laughs) But it has nothing to do with launching brainPPLAY I think, and you taught me this, good magazine launches are not about launching magazines. It’s about thinking through what’s the community you’re serving, where is there a need, what are you trying to achieve with an audience.

On the role of print in this digital age: I’m an incredibly strong believer in print. And I’m in no way anti-digital or anti-screen. What we try to obsess on is what are all the modalities that one can put into action to create an experience for a kid. And I do believe in puzzling. There are things that you do on paper and in print, ways you process that can be unique from digital. And that’s really important to have in the spectrum of experiences.

On how 2023 was for his business: 2023 was hard. We’ve had an interesting journey coming through the pandemic. The pandemic was so disruptive to so much of society, it did create a lot of need for at home learning. And things that would be beneficial for kids. So it actually sort of helped our business grow when the pandemic came.

On what he would hope to say he’d accomplished in 2024: Here are some of the things that we’d like to see. We care about making progress in the way that we interact with our customers. Digital marketing is an area that we have to get better at. So, I would want to say to you that we really understood how to talk to our customers better and reach them better. We have a number of different ideas. It’s not just about throwing more money to Google and Meta, it’s about talking to our customers differently.

On whether he’s still trying to implement his great grandparent’s mission today, only using different ways: We might articulate it a little bit differently, but I think that what drives us and drives me is there is a consistency through life, from the mission and the purpose, when they founded that company back in 1946 to today, we have very aspirational goals. My great grandparents had some foundational ideas that seem as important today as they ever have – that children are important, that childhood is important, that children learn best through positive example and play, that they are capable of far more than we often assume. Some of the ways we reach them have changed, we learn more all the time about how to be that positive example. But the essence of our values remains the same.

On news he wanted to share: Last year we got into a conversation with the Google Foundation about their desire to make a difference for children in trying to broker the risks, the challenges, the realities of life on the Internet. We live in a digital world and people need skills. People need to protect themselves, they need to be Internet Awesome, not Internet Naive, not Internet Unsafe.

On being partners with Google, not enemies: I always wondered how Highlights and Google could have a more positive impact together. Maybe that’s different than the others. (Laughs) We are a content company; we are a publisher, but we’re a kid company. So we have to think about things through that lens.

On whether children are better off today than they were five years ago: My opinion is no, they’re not. I wish it weren’t true. I think income disparity, the negative impacts on mental health and education of the pandemic. Since 2019 to now, we see significant increases in mental health issues, significant challenges around educational issues and school attendance.

On what keeps him up at night: Everything. (Laughs) The pace of change; wanting to have as much success as possible launching preschool curriculum; addressing the cost structures around digital marketing and print production and distribution. I will always talk about purpose and mission, but the economic challenges for the magazine industry, for print, for the U.S. economy, for distribution; the economic challenges are real for us and everyone else in the industry.

And now the lightly edited Mr. Magazine™ interview with Kent Johnson, CEO, Highlights for Children.

Samir Husni: You’re one of the few companies that launched a new magazine in 2023. Are you out of your mind?

Kent Johnson: Are we out of our minds? We are out of our minds. (Laughs) But it has nothing to do with launching brainPlay. I think, and you taught me this, good magazine launches are not about launching magazines. It’s about thinking through what’s the community you’re serving, where is there a need, and what are you trying to achieve with an audience.

So for us, yes we did launch brainPlay as a magazine. Our objective was about serving what we want to cultivate as a special interest across all of our Highlights subscribers. And the tagline for brainPlay is it’s a magazine for puzzle people. So we know that a large fraction of our readers for Highlights love Hidden Pictures; they love some of the brain games; some of the features within Highlights that inspires critical thinking, so puzzling is a significant thing that they like.

We hear the complaint of why is there only one Hidden Picture puzzle? We know that consumers want more. So we wanted to create the special interest add on in a sense. Now it is a standalone magazine; it’s a 6X frequency. But create for those puzzling kids, which frankly we think every kid should be a puzzling kid, our world is in need of children who grow up with the critical thinking, the insight and the innovation skill that we think is developed through a love of puzzling.

So we wanted to serve those kids. And additionally, we wanted to serve them as an extension of Highlights, but we thought if they really could experience broader senses of all the different types of puzzles we had, that it might invite them and their families into our larger puzzling franchise products. And a lot of those are books; some are digital, but many are books that are sold at Target and Walmart and Barnes & Noble.

So we have a large array of ways for kids to experience puzzling and we thought okay, identify yourself as a puzzling kid, experience that every other month as an extension and as a gateway to more puzzling from Highlights or from other companies. So yes, we launched a magazine, but we don’t think we’re out of our minds to believe that our world would be a better place if more puzzling kids got to exercise that puzzling itch.

Samir Husni: What’s the role of print in this digital age?

Kent Johnson: I’m an incredibly strong believer in print. And I’m in no way anti-digital or anti-screen. What we try to obsess on is what are all the modalities that one can put into action to create an experience for a kid. And I do believe in puzzling. There are things that you do on paper and in print, ways you process that can be unique from digital. And that’s really important to have in the spectrum of experiences.

And I think there’s incredible puzzling online. There are incredible apps; there are incredible digital experiences; we have been investing as well in our highlightskids.com, in different kinds of puzzling experiences; our Hidden Pictures app. And nobody in their magazine can touch the Hidden Object and have it animated fill in, I think that’s pretty cool.

But for us it’s never about bells and whistles of tech or print. It’s about how do you use the capabilities of the technology for the experience that you’re trying to create for the kids. And print is incredible. It’s in the backseat of the car; you can take it with you. You can write in it, share it; it’s batteries never run out.

And I do think away from the distractions that are always present on a digital device, print does allow a little bit of a different puzzling experience. The question is how do we use print as part of our mission to help children become their best selves?

Samir Husni: How was 2023 for your business?

Kent Johnson: 2023 was hard. We’ve had an interesting journey coming through the pandemic. The pandemic was so disruptive to so much of society, it did create a lot of need for at home learning. And things that would be beneficial for kids. So it actually sort of helped our business grow when the pandemic came.

But this echo of the pandemic, in terms of inflation and cost pressures, and the reality that the cost pressures in normal economy inflation are one thing, but the inflationary pressures in direct mail and paper and printing, like significantly worse inflation experienced in direct mail printing paper.

So we have had to shrink the business a bit, driven not by any sort of weakness in the brand and how people respond to our marketing efforts, but in the dramatic costs of customer acquisition through channels that we relied on.

So 2023 for us was a year of talking about what’s our strategy for source transformation. We want to think of ourselves where we create subscriptions, not just as a business model of 12 issues mailed to you a year, that’s one way that we define subscription, but internally we’re talking about subscriptions as a relationship, so it has to be more than those 12 issues.

There has to be benefits in ways that a family would say I’m a Highlights subscriber and I have all of these different things: print, digital, other relationships. Maybe even the way I think about myself as a parent in my relationship to Highlights as a subscriber.

So we’re talking a lot about how do we transform the sources of how we bring people into that relationship with us because a lot of what we’ve done as a magazine industry overtime: direct mail, certain other marketing techniques, it’s just become too expensive.

So we’ve had to shrink some traditional sources, which did cause the business to contract, and we’re working really hard at not only acquiring new magazine subscriptions, but also building those relationships. And we need new sources of how we bring people into that relationship.

And I’ve actually gotten excited about it. I kind of wish we’d started it – we were reliant on things that we knew didn’t have a long term future. I said to my board, this may be one of the best things that’s happened to us because it’s forcing us to rethink how we initiate relationships with customers. And I think what we’re building is a more long term, sustainable better business. And also a business that could be better focused on serving the customer.

Samir Husni: If you and I are having this same conversation at the end of the year, what would you hope to tell me you had accomplished in 2024?

Kent Johnson: Here are some of the things that we’d like to see. We care about making progress in the way that we interact with our customers.. Digital marketing is an area that we have to get better at. So I would want to say to you that we really understood how to talk to our customers better and reach them better. We have a number of different ideas. It’s not just about throwing more money to Google and Meta, it’s about talking to our customers differently.

In some cases for us we want to tell you that we had some really successful partnerships, maybe where we’re bringing different brands to bear, to reach and connect to customers through their knowledge and trust of Highlights, but also maybe their relationships with other brands that they know in their market.

I think I’d want to be telling you about how we’re getting younger customers well. I’d want to be telling you about the idea that we changed the way we communicate with families and facilitate community across families.

Last year we acquired a company called Tinkergarten, which is this really neat outdoor learning experiential child-driven set of ideas and curriculum activities. But there’s a really well demonstrated approach to creating communities across the teachers of these outdoor activities and the parent participants. We have so many submissions to our High Five Magazine, of parents showing with pride, what their child made either in the kitchen or as a craft inspired by something in High Five.

So I’d love to be telling you that we found ways to activate those parents, not only to share with us, but to share with each other and their friends and family. Because sharing that kind of experience and modeling for each other, the activities that come off the page is a piece of building community that for us can be transformative.

And this is a little bit unrelated to the magazine industry, but we just announced as a company that we’re launching a Highlights Early Childhood Curriculum. We’re calling it Preschool With A Purpose, we’ve had a team working on this for a couple of years. We’ve built the educational program for an all day, every day preschool program.

So I’d love to be able to tell you that we have this great launch and now kids are experiencing Highlights all day in preschool every day of the week. And they’re taking home an activity every Friday to do at home and that parents are engaging in that way. And that’s a new experience in those settings that’s bringing families into the Highlights relationship.

So someday I want to tell you that we have this huge early childhood program and by the way, 50% of those kids, their families also subscribe to a magazine. That’s not a source that most adult magazines use, but for us it’s so mission-aligned because we’ve always asked ourselves: where are children, what are they doing; is there a way that we can have a positive impact on what’s happening?

And when we talked to preschool teachers and looked at the content that we had already created and the ideas that we had, we knew that we could make a really excellent, innovative preschool curriculum program. So those are a few of the things that I’d want to tell you.

Samir Husni: It seems everything that you do has a purpose: Fun with a Purpose; you even have a chief purpose officer, which no other media company has. Are you still trying to implement the mission your great-grandparents had for Highlights, only using different ways?

Kent Johnson: We might articulate it a little bit differently, but I think that what drives us and drives me is there is a consistency through life, from the mission and the purpose, when they founded that company back in 1946 to today, we have very aspirational goals. We talk about the vision of our company is that if we’re successful, we believe that we’re helping to create a more optimistic and empathetic world where all children can become their best selves.

So it’s a pretty big goal. Our vision statement talks about when we succeed we hope our actions and our impact through the experiences we create ripple out to benefit all society. And we have a society where we’re so far from a situation where all children can become their best selves.

So it is aspirational, but it is the lens that we use to look at everything. We look at capital investment with spread sheets, but we also look at from the lens of what’s the chance that this makes a sustainable, purpose and mission impact? Yes, we do have a chief purpose officer, but I also try to remind everyone purpose is in everyone’s job here.

It’s what motivates me. It’s what sustains us when you have a tough year. You have inflation, okay, we have to overcome that, because we have a higher purpose in what we’re doing. It’s a  conversation that I have in ever hire I make, but I hope that we have it systematized so that it’s a conversation that we have in every employee decision that we make. Are you interested in our purpose? Because if you’re not, you probably don’t belong at our company.

We try to be very clear that it’s the purpose and vision of the company, it’s not just something to make us feel good. It has to drive decision-making; it has to drive prioritization from the board level to every level in the company.

So yes we are implementing my great-grandparents’ mission as much as possible. I’m a believer in capitalism; I’m bullish on our county; I’m bullish on the future; I’m bullish on the innovation that comes from the human spirit. But I’m completely uninterested in being a company that just wants to make money. I think you have to have a higher purpose and when I see that power motivating our employees, it just confirms that that’s the special sauce that has allowed us to survive and succeed. And it’s what’s going to get us the next 78 years.

Samir Husni: Isn’t there some news that you wanted to share with everyone?

Kent Johnson: It ties a little bit with your question about the role of print because I think that we believe some of these powerful, really important digital companies have made print unnecessary. Think of the names that come to mind when you think of the top three most valuable companies.

But let me show you the cover of the special issue we’ve just gotten. You’ll notice a brand on that cover that is not known for their print footprint. And you see the tagline Be Internet Awesome. And I’ll tell you a little bit of the background.

Last year we got into a conversation with the Google Foundation about their desire to make a difference for children in trying to broker the risks, the challenges, the realities of life on the Internet. We live in a digital world and people need skills. People need to protect themselves, they need to be Internet Awesome, not Internet Naive, not Internet Unsafe.

With the pressures and the realities, we have to start younger setting the basis. And as we were having this conversation, at one point together we said if a parent knows they should be educating their kid about these things, they can Google the information. But if you want to make an impact, how would you motivate children and families, how would you reach children and families who are not actively searching for what they need to learn about being safe on the Internet?

Children don’t want to sign up for boring or didactic and what Highlights believes it has mastered in Fun with a Purpose is how to have a kid love it, but take value in learning out of it. So in our conversation with Google we said there’s a lot of understanding in what we should be teaching kids, let’s work together and create something that will draw them into the content.

And out of that came the idea let’s build a full issue, same size, 44 pages; let’s build a special issue of Highlights Magazine; we’ll cobrand it, a special supplement issue, Highlights and Google together. All Google’s knowledge of what curriculum, ideas; Highlight’s special sauce about kids. And so we built the special issue to help bring kids and families into these ideas and move them along.

We also said let’s not just do kids, we’re going to build microsites for parents to help them understand and support, resources for teachers if they want to use it in schools. So we built a lot of that and scaffolding so that people can use this content to start conversations and create experiences that leaves kids safer and more mature and more understanding of the Internet.

And the cool thing is because Google is serious about the impact they want to have on kids in the U.S. and globally, in partnership with them we’re going to be able to send a free copy of this magazine to all 850,000 of our Highlights subscribers as an extra bonus for their subscription relationship with us. And we know that there are many, many kids who don’t subscribe.

So we worked closely with Google and with our business development team. We’re going to distribute another half million copies of this magazine through the Boys & Girls Clubs of America, through Save The Children, through Reading Is Fundamental; also through Blue Star Families to reach military families. So we built the distribution network to get these resources to kids across a whole spectrum of socioeconomic diversity and geography, all of that.

And I just really admire Google’s commitment for that reach and it’s been great to partner with them. But in our first conversation it was, do we believe it’s important to give kids experiences to help them be safer and more thoughtful? Does this fit? And actually, one of my calls after the first conversation was to Chris Cully, our chief purpose officer, and it was, this idea came up, how does this fit in your mind with our purpose?

Samir Husni: You’re the only CEO of a media company that I’ve spoken to lately who is building  a partnership with Google and not having them as a nightmare. (Laughs) When I ask others what keeps them up at night, many respond Google. But it’s good to hear that someone with a purpose is building a partnership with them.

Kent Johnson: I don’t think of myself as being in any particular industry We try to think as big as possible about what partners might care about the same things that we do. One of the reasons we work with Save the Children and have decided to deliberately develop a long term relationship with them is because their footprint and the ability to serve people around the world is proven. They have people on the ground. So when things are going on at the border and we want to send stuff there, we can. We’re able to reach kids in the Ukraine. This was a bit more digital, but we granted some rights to another partner to translate a bunch of our content into Ukrainian.

So Highlights has to be really clear about what we’re good at and then find partners and be really clear about what they’re good at. And I think that’s what Google saw in Highlights and for them, when we were in all of these conversations, they said yes, we really think print could be part of our way of achieving what we want to achieve. Who else besides Highlights would we work with for this kind of thing.

I always wondered how Highlights and Google could have a more positive impact together. Maybe that’s different than the others. (Laughs) We are a content company; we are a publisher, but we’re a kid company. So we have to think about things through that lens.

Samir Husni: You said the first call that you made was to your chief purpose officer?

Kent Johnson: Yes, I called Chris and said hey, here’s this idea we just talked about, how does that fit? She said oh my, we’ve thought so many times, how could we be more helpful to kids. There’s all this fake information; there’s passwords; there’s bullying. She said we try to do some of that in the magazine, but you might be able to do a whole 32 pages of it; we love it.

I think a good partnership like this one, it wasn’t like we had to fret over it. We said if that’s really the goal, to help kids be safer, to be kinder, we’re all in.

We also have a curriculum company and I called the head of it and asked, what about this? Is there a need for this in schools? Would you want to be a part of making a positive impact? We do foundational skills in literacy at our curriculum: math, spelling, vocabulary. And her answer was of course. Digital literacy is a foundational skill. We’re not building curriculum there; we’re not really doing that, but that fits why we exist. In school, we would want kids to get all the basic building blocks of literacy that allowed them to be safe and successful and grow and learn in a healthy fashion.

So for us, the goals were fit with that purpose. And that was the lens. Once that all worked out, then it was time to figure out the details. And I’m probably overestimating how much conversation it took to evolve; I’m certainly not giving credit to an editorial team who were already building all their products for our company, then having to throw another full issue  of brand new content in and say that has to get done as well. We’re really fortunate to have incredible teams. And the Google team was incredible, in terms of feedback and underlying content and partnership.

So there’s a lot of credit to go around and it’s a little more complicated than I said. But we’re going to reach 1.5 million kids at least with content that I believe in my heart and soul is going to make a difference with how they interact with part of their everyday life. So it’s exciting.

Samir Husni: Is Chris Cully the longest serving editor at Highlights? She’s 31 years there now?

Kent Johnson: I’m trying to think. There’s not been a lot of editors at Highlights. Let’s see, my great-grandfather started as editor in 1946 and he died in 1971. So I believe there’s a very good chance that Chris is the longest.  

No matter how long she has served, there is no doubt that her passionate advocacy for children has helped shape Highlights during her tenure, and it’s why she was perfect to step into the role of Chief Purpose Office.

Samir Husni: Are the children in the country better off today than they were five years ago?

Kent Johnson: My opinion is no, they’re not. I wish it weren’t true. I think about income disparity, the negative impacts on mental health and education of the pandemic. Since 2019 to now, we see significant increases in mental health issues, significant challenges around educational issues and school attendance.

We put into place an incredible child tax credit that pulled so many kids out of poverty. And we have not been able to reinstate that and the evidence is that if you can pull kids out of poverty, you enhance their brain development, you enhance their health and nutrition, and you’re helping them be their best selves so that they can contribute over long, successful lives and careers.

Unfortunately, I don’t feel kids are better off today than five years ago and I’m a tireless advocate and a believer that we should invest more in our children because it’s investing in our country’s future and it’s investing in what I believe is our most important asset, our children. And that’s a foundational belief for Highlights for Children.

Samir Husni: My typical last question; what keeps you up at night?

Kent Johnson: Everything. (Laughs) The pace of change; wanting to have as much success as possible launching preschool curriculum; addressing the cost structures around digital marketing and print production and distribution. I will always talk about purpose and mission, but the economic challenges for the magazine industry, for print, for the U.S. economy, for distribution; the economic challenges are real for us and everyone else in the industry.

It’s a hard, hard journey to overcome the structural challenges for magazines and for print in this economy. So I’m kept up just thinking about how do we keep this small, but incredible team that we’ve assembled, how do we keep them emotionally, mentally healthy and energized because we have so many challenges and opportunities to tackle.

More and more since the pandemic, I’m up at night thinking how do we keep our people working at their best? How do we create teams that can really perform and execute when the world out there is so messy and there are so many issues and so much to do.

Samir Husni: Thank you.  


 

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TV Guide, TV Insider magazine and tvinsider.com President Tony Frost & Group Editorial Director, Michael Fell Bring Television Coverage In Print To A Razor-Sharp Level – The Mr. Magazine™ Exclusive Interview…

January 5, 2024

“Customers committing to longer term subscriptions and positive customer feedback. So they’re telling us that they want TV Insider, this is the magazine that they’ve been waiting for. We just have to market it on a larger scale and we have to promote it better…” Tony Frost

“You want to give people real content. There was a lot of lists online, but I think the curation is the key. We’ll pick each of the major streamers and other smaller streamers that our readers are interested in and give them an in depth amount of shows and reporting…” Michael Fell

When you think of the name TV Guide, your mind might go back about 40 years to the heyday of television and its printed cohorts, such as the aforementioned golden phoenix. And I call it a phoenix purposely because the frequency print magazine has definitely risen from the digital age’s ink ashes, along with two more great magazines from parent company NTVB Media:  TV Weekly and  now TV Insider (also frequency). While their accompanying websites are very complimentary and, in the case of tvinsider.com, going strong, you can’t emphasize enough that the print version of the magazines are just as prominent, if not more, than their pixels on a screen.

I spoke with Tony Frost, president and Michael Fell, group editorial director of the titles recently and we talked about the need for a printed streaming magazine that focused and curated television information for the readers. Tony and Michael are firm believers in print, much like yours truly. They see a definite want and need for this print magazine, along with the others. It was a refreshing discussion on something we all three love and have in common: print.

So please enjoy the Mr. Magazine™ exclusive interview…

But first the soundbites:

On what he was thinking in launching a monthly print magazine (Tony Frost): As I told you earlier in the year, Samir, Michael Fell, our group editorial director and editor in chief of TV Guide, carried out a very extensive survey of readers. And we got the response that there was a need for significantly more streaming-focused content. So we decided that we would give it a go.

On whether focused curation is the future of print (Tony Frost): Curation is a very  good word; we have experts – TV Guide’s complete editorial team  – who know TV from the inside out. The same team has brought that expertise to TV Insider. Over the whole year, the 12 issues will give you the most comprehensive guide on what to stream and why you  should watch the editors’ recommendations. The choices are carefully curated.   

On cornering the market on TV magazines and the synergy the publications are producing (Tony Frost): TV Weekly, produced out of NTVB’s Troy, Michigan HQ,  is a double issue and TV Guide is a content-laden triple. Both carry grids for regular channels  – in TV Guide’s case they have been doing this for 70 years. And we launched  TV Insider as a monthly for streamers. We’re covering all bases.

On cornering the market on TV magazines and the synergy the publications are producing (Michael Fell): You ask about synergy, I was thinking about how complementary the magazines are. I’ve always found this fascinating since Andy (DeAngelis) and Larry (MacKenzie) came on board; TV Weekly, as far as the grids and listings go are distributed regionally like TV Guide used to be.

On any changes coming up in 2024 (Michael Fell): A lot of 2023 was just seeing what works. Now we know that something like this can be successful and I think we’re going to be a little more focused on our cover choices.

On how the future magazine material might be decided (Tony Frost): In 2023, the emphasis was on what was the biggest show coming out from which streamer during the month that we went on sale. That’s where we started and continued during  2023. And now it might be that instead of doing the biggest show, we’ll still do a big show, but focus on a specific genre. 

On any predictions on streaming (Michael Fell): The reporting really settled into a certain groove post-strike about the contraction of the streaming services, such as not spending as much money, not going crazy with sequels, and being really focused. But we’re all about the consumers. And to me that’s a great thing, because streaming is THIS big and so if it becomes just THAT big, it becomes easier to handle for the consumers and we can in turn be more focused and curated for them.

On what they’d like to say that they had accomplished within the year (Tony Frost): We’re looking to extend our reach; we’re looking to make the magazine more visible; we’re looking for twice as many subscribers, and we’re seeing very encouraging early renewal indicators.

On what keeps them up at night (Michael Fell): I’m sleeping pretty well. (Laughs)

On what keeps them up at night (Tony Frost): There’s not much that keeps me awake at night, let me tell you. (Laughs too) 

And now the lightly edited transcript of the Mr. Magazine™ interview with Tony Frost, president TV Insider, & Michael Fell, group editorial director and editor in chief, TV Guide. 

Samir Husni: I’m calling 2023 the year of bookazines. We have more than 1,000 bookazines published and less than 100 regular frequency magazines. It may be closer to 50, I haven’t had a chance to count mine yet. Yet, if my memory serves me right, you are the only publisher launching a monthly magazine in 2023. Almost all of the new magazines that came out in 2023 are either quarterlies, bimonthlies, or twice a year. But you have launched a monthly. What were you thinking?

Tony Frost: As I told you earlier in the year, Samir, Michael Fell, our group editorial director and editor in chief of TV Guide, carried out a very extensive survey of readers. And we got the response that there was a need for a significant amount of  streaming-focused content. So we decided that we would give it a go.

And so far, it’s been an exciting challenge. We’re undoubtedly producing a very good magazine, getting a lot of praise from the industry and support from subscribers. And a decent number of them have signed up for a two-year deal, not just one. The numbers aren’t huge, but they are very encouraging. Our first subscription issue  was in April and after eight months we hit our first 12 months subs’ target. That is impressive. And we’re going to build on that in 2024.

We recognize the challenges of print magazine economics in the current climate, so we did take a cautious approach with marketing spend. And we decided that we had to make every test dollar count. The same with newsstand; we’ve been very cautious with our retail presence. But we feel there is support for this title. We used 2023 as an experiment  to see what works on the cover. We’ve gone from the launch issue with Kiefer Sutherland in March and his then new action series, to costume drama with Bridgerton. We’ve done the final season of Billions and  Arnold Schwarzenegger’s first  TV role in Fubar. By the way, Arnold,  loved the magazine – he complimented us big time on it. Plus we’ve tested Sci-Fi on the cover with Marvel’s Loki.

They’ve all sold similar amounts at newsstands, but Bridgerton and Loki seem to be the most solid. So we’ve been learning as we go along – in 2024 we aim to put pedal to metal. For instance, I believe we have a new Bridgerton in the spring, is that right, Michael?

Michael Fell : Yep, May is the next season.

Tony Frost: So we’ll be all over that for our readers. And we have The Walking Dead as well!

Michael Fell: Yes, Rick and Michonne are coming back at the end of February. So we’re looking at that as a possible March issue. And if I could add something to Tony’s response to your original question, the why of it all has to do with the volume of programming.

You can go back a year ago and go online and find television guidance, and some of this is still true today. There are a lot of lists where people will recreate the publicity release list of stuff coming up in a particular month. It’ll just be a list of titles with no information. Or a little plot info. You often find 50 best shows on Netflix to watch now. And I’m looking at that list and I’m thinking I know those aren’t the best shows; I can see they’re just adding a few lines to the press release from the titles. I think there was a need that we saw. A curated, focused, structured need for reviews and guidance where we report on the shows. 

You want to give people real content. It wasn’t there online. We’ll pick each of the major streamers and other smaller streamers that our readers are interested in and give them an in depth amount of shows and reporting. But it’s still something that they can understand and appreciate and take hold of, as opposed to the massive lists and surface reporting that was online. I really think curation is the key.

Samir Husni: So do you think focused curation is the future of print in 2024?

Tony Frost:  Curation is a very  good word; we have experts – TV Guide’s complete editorial team  – who know TV from the inside out. The same team has brought that expertise to TV Insider. Over the whole year, the 12 issues will give you the most comprehensive guide on what to stream and why you  should watch the editors’ recommendations. The choices are carefully curated.   

Michael Fell: The services? It doesn’t stop. It keeps coming up. We cover 10 to 12 of the premier streamers. Our readers will often request info about smaller services like Acorn and Britbox. A big part of what the magazine does is provide the library material. Going back, there’s so much volume on television, is a monthly magazine that has a fair amount of library content; is that worth it to the reader? And we decided internally that it was. 

I told Tony this once; just before we were launching the magazine, I was in Tucson, Arizona visiting my brother and we were talking… do you know Mike Flanagan, Samir? He does a lot of shows on Netflix, like The Haunting of Hill House and Bly Manor. We were talking about some of his series and my brother mentioned how Mike Flanagan reuses some of his actors on different shows.

We were talking about Bly Manor and Midnight Mass and I asked him what about The Haunting of Hill House, which was Mike Flanagan’s first big Netflix series. He was like – what! I never even heard of it. And I was staring at my brother who subscribed to TV Guide magazine, was married and had two kids, one in college and one about to go to college, and I told him that his statement was proof to me that a monthly magazine with as much news stuff as we can, which also has a fair amount of library material, would be of major use to readers. He didn’t know anything about The Haunting of Hill House – and he liked Mike Flanagan’s other shows. I told him that I had a magazine for him that would be launching soon. 

Tony Frost: There’s 82 networks, 42 streamers, and 26 production studios currently. Plenty for us to write about. (Laughs) There’s also a bit of reverse engineering here, which I told you about earlier. First we had our well-established website, tvinsider.com, which has 10 million page views per month, so a lot of the work that Michael’s team does is repurposed on the website creating a natural synergy between the two. Also, tvinsider.com has proved to be a valuable source for new subscribers. So one supports the other and that has been a success.

Next year, apart from putting to use what we learned this year editorially and going deeper into that, we will continue drawing in subscriptions through traditional methods, reach new external audiences by direct mail and we’ve taken on a new digital marketing agency, named  salestube, based in Warsaw, Poland, to optimize paid search and social media efforts across all platforms for an even broader reach. That’s very important. 

As exciting as the material is that Michael’s team creates, we need more visibility; we have to get out there. And our website helps with the visibility. It’s very hard to make an impression at newsstand.  As you said Samir, there are so many SIPs out there. We have a small draw at newsstand which we use to really test covers and   editorial content,  as opposed to bringing in any real revenue. Ultimately, we see TV Insider as a subscription model, but that doesn’t mean in 2024 we won’t attempt some bold moves at newsstand.

Samir Husni: Let me ask you about your company, not only TV Insider. You’ve cornered the television magazine market. You have TV Guide, TV Weekly, and now you have TV Insider. In its heyday, TV Guide used to have 18 million in circulation, when there were no digital guides or anything. Is there any synergy in all of these guides you are producing?

Tony Frost: In this day and age, TV Guide magazine has a million subscribers And is jam-packed with content. That number is still very impressive. TV Weekly is doing well and in TV Guide we’ve just launched  “Extra” –  for subscribers to get digital access to a newsletter and grids updated every 24 hours. We are not standing still!

Michael Fell: In our 2024 preview issue we’re launching a newsletter service called “TV Guide Magazine Extra.” This service is just for subscribers and it’s a weekly newsletter serving two purposes. One is to give them access to online grids and listings, which are being updated every single day.

There is still a lot of appointment viewing, watching network and cable television, so we want to make sure that their literal day-to-day guidance is accurate. So this newsletter is going to provide online links to daily updated grids that are substantial with programming information and plot information that you won’t find anywhere else. Even on websites that already have online grids, the detail that will be provided is amazing. 

And also we’ll update them with new news items and articles within the newsletter for programming information, story information that we may not have been on top of in the previous magazine. So we want to make sure they’re completely updated with story and programming information.

Tony Frost: Last year when paper costs were sky high and most other chargesws were going through the roof, we had to make adjustments. The triple issue is a very robust magazine with a lot of content. 

Michael Fell: Going back to your question, you asked about synergy, I was thinking about how complementary the magazines are. I’ve always found this fascinating since Andy (DeAngelis) and Larry (MacKenzie) came on board; TV Weekly, as far as the grids and listings go are distributed regionally like TV Guide used to be. It’s almost ironic that the guys who came and took over TV Guide had their own guidance products which were being delivered regionally, which we know in publishing and printing, the paper and postage end is extremely difficult. But they are able to put Channel 2 for CBS because they’re locally delivered,

Tony Frost: TV Weekly is a bi-weekly listings magazine,  with regional editions just like TV Guide used to have. It is a valuable tool for many traditional TV users.

Michael Fell: Yes, so we take care of that customer who’s looking for really local information.

Samir Husni: Yes, such as mine is the Memphis area.

Tony Frost: Exactly. So TV Weekly is a double and TV Guide is now a triple. And we have TV Insider as a monthly for streamers. We’re covering all bases. 

Samir Husni: As we look forward toward 2024, will there be any major change coming up in the New Year? As compared to 2023?

Michael Fell: A lot of 2023 was just seeing what works. Now we know that something like this can be successful and I think we’re going to be a little more focused on our cover choices. If you look at all the covers, they’re certainly very broad, covering your hit Netflix dramas, Marvel Sci-Fi’s, maybe we’ll think about DC, I don’t know. (Laughs) I try, I really do try with DC and Zack Snyder, but it’s on and off. The biggest star in the world, Arnold Schwarzenegger, a great serial drama coming from Showtime; we’ve covered all kinds of shows. And I can’t tell you what it is right now, but I think what we’re going to be able to do in 2024 is be more focused on the covers. And really drill down on what’s going to work.

Samir Husni: How do you decide what you’d like for the material to be?

Tony Frost: In 2023, the emphasis was on what was the biggest show coming out from which streamer during the month that we went on sale. That’s where we started and continued during  2023. And now it might be that instead of doing the biggest show, we’ll still do a big show, but focus on a specific genre.

Samir Husni: Do you have any predictions about streaming? Will it continue to go up or is it hitting its status quo?

Michael Fell: The reporting really settled into a certain groove post-strike about the contraction of the streaming services, such as not spending as much money, not going crazy with sequels, and being really focused. But we’re all about the consumers. And to me that’s a great thing, because streaming is THIS big and so if it becomes just THAT big, it becomes easier to handle for the consumers and we can in turn be more focused and curated for them. 

There’s still going to be an amazing amount of overwhelming television and if the reporting from the industry says the sky is falling, we’re still thinking more about the consumers’ point of view. Such as number one: they’re not going to notice and two: it’s around the edges. And now streamers are focusing on, hey, maybe we shouldn’t do that fancy show that no one watched but we got to work with this great director. They’re like, let’s make some more shows that people are going to watch. And that’s all good for the consumer, the watcher, the viewer and that’s our audience. We’re not really industry-focused, we cover the industry, but always from the consumer point of view.

So, there will be some contraction, but I think it’s all good for the viewers. There will be plenty to watch. I’m just not crazy about the people feeling overwhelmed, especially if they’re reading our magazine.

Samir Husni: Let’s imagine that we’re in December 2024, what would you like to tell me you had accomplished throughout the year?

Tony Frost: We’re looking to extend our reach; we’re looking to make the magazine more visible; we’re looking for twice as many subscribers, and we’re seeing very encouraging early renewal indicators. Customers committing to longer term subscriptions and positive customer feedback. So they’re telling us that they want TV Insider, this is the magazine that they’ve been waiting for. We just have to market it on a larger scale and we have to promote it better. 

Samir Husni: My typical last question; what keeps you up at night?

Michael Fell: I’m sleeping pretty well. (Laughs)

Tony Frost: There’s not much that keeps me awake at night, let me tell you. (Laughs ,too)

I did want to say that one of our biggest successes over the past couple of years has been Yellowstone. We covered it from the beginning. TV Guide was the first  magazine to put  Yellowstone on its cover. Our  Yellowstone articles have been repurposed for our website tvinsider.com and we did three SIPs under the TV Guide logo. Obviously, the show has been featured in TV Insider magazine on a regular basis. In November we completed our fourth Yellowstone SIP in a partnership with a360, under the subhead The Complete Story – All Four Seasons. It has sold well in a short time with a cover price of  $13.99. We are happy with the results so far – and so are a360. I use this as an example of how important it is for a company like ours to be nimble and smart … always looking for the next opportunity.

Samir Husni: Thank you.

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Mr. Magazine™ Names TV Insider Magazine 2023 Launch of the Year + 10 Most Notables

January 2, 2024

More Than 1,200 Bookazines And At Least 71 Magazines Were Launched Last Year.

Dr. Jen Ashton,  Full Pour, GeN 3, Greenwood Ave., Highlights Brain Play, Nuts, OVR, The B,Tezza, And Trails Are The 10 Most Notable Launches…

2023 could easily go down in history as the year of the bookazine. More than 1,200 titles were launched last year covering every subject or personality under the sun (dead or alive, may I add). However, in the midst of this ocean of bookazines, there were also some brave souls who decided to buck the trend and publish magazines with frequency.

This image has an empty alt attribute; its file name is tv-insider-first-issue.jpg

Leading the pack was the publisher of TV Guide magazine , which in March brought the only monthly new title in 2023, TV Insider, a magazine for those who want to know what to stream next. That daring monthly launch and the need for a television streaming guide in the midst of all the streaming platforms available , made it easy for Mr.Magazine™ to name TV Insider the 2023 launch of the year. (Look for my interview with the president of TV Insider Tony Frost and its group editorial director Michael Fell on Friday).

And the 10 most notable launches of 2023, with quotes from their first editorial, in alphabetical order are:

Dr. Jen Ashton:  “ From menopause to mental health, from sleep to sugar control, from thinning hair to skin rejuvenation, from weight loss meds to workouts that work – I’ve covered health topics you’ve told me are important to you.  I hear you, and I am fluent in women’s health.” Dr. Ashton, Editor- In-Chief.

Full Pour: “Here at Full Pour, we love a good glass as much as anyone.  Whether it be wine or beer, a spirited sip, an infused creation, a zero-proof selection or even a great cup of coffee or tea, we’re into it all – true beverage lovers through and through.” Lauren Buzzeo, Editor and Publisher.

GeN 3: “ While well on its way to becoming an overused buzzword, Web3 is more than just passing hype.  The fundamental concepts behind this arguably overused term are enduring and impactful… While developers continue to create and build, GeN3 steps forward to showcase the latest developments and innovations as they happen.  We are here to tell the story of Web3.” Sarah Block, Editor

Greenwood Ave.: “We seek to uplift entrepreneurs standing on the shoulders of those who came before us and, in doing so, inspire the next generation of Black makers, doers, and dreamers not just in Tulsa, but around the world.  Greenwood Ave. is everywhere.” Trey Thaxton, Founder.

Highlights Brain Play:  “Are you mad about mazes, loco for logic puzzles, and bonkers for board games? If you’re like us, you will love them all.  As “puzzle people,” we are not afraid to take on a challenge. We know that every problem has a solution, and we are determined to figure it out.” The Editors

Nuts:  “ Fashion magazines have traditionally sold dreams. The mood of Nuts is anxiety and malaise—the abortive night out, the workout gone wrong, the branch of Footlocker about to get looted.  Yet there’s something else deep within it, too: for one, the hope that the 21st -century angst expressed by the anonymous voices haunting these monochrome pages might one day be dispelled.” Alex Needham.  (Nuts editor and creative director is Richard Turley).

OVR: “ OVR is about getting out there in our vehicles to responsibly explore and discover the world around us.  Whether we’re forging ahead into the backwoods or taking a well known route on a favorite road trip, it’s all about getting out and enjoying the ride as well as the destination.” Jerry Tsai, Editorial Director.

TEZZA:  “The app started with the two of us, following a passion and building something together just because we love it. The fact that it has grown so much and is used by millions of creators around the world is just as humbling as it is invigorating… And with that we give TEZZA MAGAZINE Issue 01.  This will be the first of many and we can’t wait to feature more artists and creators in the years to come.” xx Tezza & Cole, The Founders.

The B: “ Perhaps you are visiting for the first time, or maybe you attended summer camp or college nearby and now have property in the surrounding area.  Or you’re lucky enough to be a local.  Whatever the case, I expect you relish our creative culture, outdoor pursuits, and good living. The Berkshires speaks to you.” Michelle Thorpe Petricca, Publisher

Trails: “ This magazine is a return to the established route – quality journalism, printed in a real magazine, with a focus on the adventures that encourage us all to get outside – and our chance to improve on it.”  Ryan Wichelns, Editor-In-Chief.

And there you have the cream of the crop from 2023. Looking forward to a healthy and prosperous new magazine year in 2024. Remember, if it is not ink on paper, it is not a magazine.

All the best

Samir “Mr. Magazine™” Husni

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Mike Obert, Publisher Of RLM Magazine To Samir “Mr. Magazine™” Husni, “I Think Print Still Resonates.” The Exclusive Mr. Magazine™ New Launch Interview…

July 6, 2023

“The first issue is always the easiest issue to get out. The second issue is probably the hardest one that you’re ever going to do because it just doesn’t come as easy as the first one did. Then once you hit number three and four, and so on, then I think you get those processes down.”

“You asked something about print earlier. And why I’m still doing print. I still walk into neighborhood houses and see a copy of our magazine on the coffee table or see another magazine on a coffee table. And I was thinking to myself why do people keep this stuff right here? Why are they referencing this stuff on their coffee tables?”

A quarterly print publication that showcases one of the fastest growing cities of the Dallas/Fort Worth area, Richardson Life Magazine (RLM) is as unique and interesting as Richardson, Texas itself. The magazine promotes upcoming events and connects people with their local neighbors while educating and informing them. 

Mike Obert is a businessman extraordinaire and knew the voice and flavor of Richardson would bring people to the magazine like a pied piper. So along with his wife they decided now was the perfect time to breathe life into the dream. And so RLM was born.

Mr. Magazine™ hopes you enjoy this fascinating read with a man who is still a strong believer in print and proves it every time with his new magazine. The Mr. Magazine™ interview with Mike Obert, Publisher, RLM Magazine. 

But first the sound bites:

On why he still believes in print and city/regional magazines in this day and age: I think print still resonates. And for doing city/regional type magazines, I think they’re extremely strong because I believe each city needs some sort of voice or flavor to go to for the information they want and need about some particular city.

On why now was the right time to publish this magazine: I think we’ve had success in some of the community magazines that we’ve done. And we just knew that the city that we were in needed that same sort of voice and there was nothing out there. We looked at it for probably two years and just decided to go ahead and launch this thing. And we’ve had tremendous response and feedback from people saying this is awesome.

On the many hats he wears and which he prefers; being a magazine publisher, ad guy, or outsource person: Probably a magazine publisher. I love that back-of-the-napkin strategy of putting numbers together. And should we do this story or this feature, and can we target these advertisers? So the publishing part to me is very exciting.

On whether it was a walk in a rose garden publishing this magazine or there were some challenges along the way:The launch of the magazine, because of the outsourcing that we do as well, probably made it a little bit easier for us to put it together because the engine was already there to put together a publication and get a website out. 

On how an outsourcing company helps when launching a magazine: I think for me, the outsourcing provided us a lot of that back office-admin type stuff. Sending invoices, tracking payments, making sure ad copy was in. All those small little details that in the past for me has kept me up late at night.

On how he overcame any challenges with the magazine: I think it’s all process-oriented. Creating that process, even as you’re going through it, even if it’s an initial launch; when you’re going through that process you make sure that you’re documenting all the steps so that it’s easier for people to walk in. My take on any city/regional community type magazine that I’ve been a part of, is first off having that formula and the formula being what’s going to be my content?

On whether he and his team have ever questioned what was or was not in the magazine: I think you always kind of second guess it. I’m probably not a perfectionist. To me it’s always get it out, we can fix it and correct it. Print it. I’ve had a lot of conversations with my editor about the digital side of things and it doesn’t have to be perfect to get it out, because you can always change the digital side of things. The print side of things, I get it, let’s make sure that we’re not making a huge mistake or doing something that we don’t want to be out there.

On when someone asks him for advice on starting a new magazine, does he encourage or  tell them they’ve lost their minds: I normally say, don’t do it. That’s the first thing I say, don’t do it. And then I say, why do you think you should do this? And then it’s what I said earlier. I think there’s been a lot of great editorial and content ideas that have been out there. It all comes down to that salesperson. And how are you going to generate revenue. A lot of people overlook that.

On how important it is to him to be a part of the community his magazine is about: I think it’s pretty important that they have the contacts, that they know the people to go after. I always tell people that I’m changing the world one quarter page at a time. I still sell ads. But I think I’m doing it not in an overbearing way. People know what my product is, and they know who I’m reaching.

On what he hopes to say about the magazine in a year: I would say a year from now that we’ll have a more clear formula for each issue. We’ve got a good blueprint in place. I think we’re still tweaking it a little bit, but as I said we don’t want to reinvent every issue. It doesn’t have to have something about new restaurants in Richardson or what new businesses have been launched around here.

On his busyness and when he sleeps: The outsourcing company has taken a ton of work off my plate. I’ve got my own personal executive assistant that does a lot of tasks for me. Before this call, I was on with her talking about the three things I need to get done today, including putting our digital issue up online and getting the social media plan ready for whenever issue number two drops. So all those kind of things are flowing through other people, which will free up the time that I have.

On any critique he’s had so far on the magazine: If I had any type of critique for issue number one it was the distribution and the circulation. Richardson is a town of 100,000, and we sent it to 15,000 people. Kind of cherry picked some of the different neighborhoods, more affluent neighborhoods. So if I had any kind of critique it was why didn’t you send it to 100,000 people? And that costs a lot of money. (Laughs) But that’s the only feedback that I’ve gotten on what I could have done differently.

On anything he’d like to add: There was one thing I was thinking about. I think you said something about print earlier. And why I’m still doing print. I still walk into neighborhood houses and see a copy of our magazine on the coffee table or see another magazine on a coffee table.

On what keeps him up at night: The price of paper. That keeps me up, though I think it’s kind of stabilized a little bit. From the business perspective there’s some things that I’m working on,  such as some acquisitions. And I’m diligently working through a lot of spreadsheets. And it’s dipping my toe in the water versus jumping cannonball style in the deep in and let’s go. So I think that’s the main thing that’s been keeping me up at night right now, how fast do I want to go?

And now the lightly edited transcript of the Mr. Magazine™ interview with Mike Obert, Publisher, RLM Magazine. 

Samir Husni: You’re a man of many hats, including now publishing a magazine for the city of Richardson, Texas. What’s the idea behind publishing a new city magazine, and specifically in print in this day and age? 

Mike Obert: I think print still resonates. And for doing city/regional type magazines, I think they’re extremely strong because I believe each city needs some sort of voice or flavor to go to for the information they want and need about some particular city. And with the decline, I think of newspapers having the daily news content, that information, there still needs to be something that is going to tell the story of a city or a region.  So that’s why I’m a big fan, a huge fan of the city/regional magazines.

Samir Husni: And what about the timing? I take it you and your wife are the engines behind this magazine?

Mike Obert: We are.

Samir Husni: Why did you decide now was the right time for this magazine? 

Mike Obert: I think we’ve had success in some of the community magazines that we’ve done. And we just knew that the city that we were in needed that same sort of voice and there was nothing out there. We looked at it for probably two years and just decided to go ahead and launch this thing. And we’ve had tremendous response and feedback from people saying this is awesome. 

Samir Husni: From the many hats you wear, which one do you prefer? Being a magazine publisher, ad director, or an outsource guy?

Mike Obert: Probably a magazine publisher. I love that back-of-the-napkin strategy of putting numbers together. And should we do this story or this feature, and can we target these advertisers? So the publishing part to me is very exciting. 

Samir Husni: Has this magazine been a walk in a rose garden for you to publish or have you faced some challenges along the way?

Mike Obert: The launch of the magazine, because of the outsourcing that we do as well, probably made it a little bit easier for us to put it together because the engine was already there to put 

together a publication and get a website out. I  always say when launching any type of magazine, you’ve got to have good content and you’ve got to have a salesperson. Without those two things nothing else is going to work. So just making sure that I had those two things in place, I could plug the rest of it in later. 

Samir Husni: What do you surrender from an outsourcing company that helps someone launch a new magazine? 

Mike Obert: I think for me, the outsourcing provided us a lot of that back office-admin type stuff. Sending invoices, tracking payments, making sure ad copy was in. All those small little details that in the past for me has kept me up late at night.

The sending out of emails, where people wake up the next morning and ask, what were you doing up till 1:00 or 2:00 in the morning. Even little things like charging credit cards after an issue goes out; it’s all just a very time consuming, repetitive task. And so the outsourcing firm that we have provides me the extra time so that I can get other things done for the magazine and keep it going.

Samir Husni: Going back to the rose garden, did you have any challenges along the way and if so how did you overcome them? 

Mike Obert: I wouldn’t say it was a thorny Rose Garden. There were roses there and it felt good. But every time you picked a flower you might have had a little bit of a challenge picking that flower because of the thorns on it.

How did we overcome it? I mean, I think it’s all process-oriented. Creating that process, even as you’re going through it, even if it’s an initial launch; when you’re going through that process you make sure that you’re documenting all the steps so that it’s easier for people to walk in. My take on any city/regional community type magazine that I’ve been a part of, is first off having that formula and the formula being what’s going to be my content? I stress with my editors and my content, don’t reinvent the magazine every time we go to press because it’s just going to be too difficult. 

The first issue is always the easiest issue to get out. The second issue is probably the hardest one that you’re ever going to do because it just doesn’t come as easy as the first one did. Then once 

you hit number three and four, and so on, then I think you get those processes down. You figure out what’s going to be easier, pieces of content to be able to do each month, and you’re not trying 

to hit a home run with every issue per se, but you need to have that templated format so that you can generate that content and get that publication to print.

Samir Husni: Did you ever think after the first issue was out that we should not have had this in it or oops we failed to mention this?

Mike Obert: Yes, I think you always kind of second guess it. I’m probably not a perfectionist. To me it’s always get it out, we can fix it and correct it. Print it. I’ve had a lot of conversations with my editor about the digital side of things and it doesn’t have to be perfect to get it out, because you can always change the digital side of things. The print side of things, I get it, let’s make sure that we’re not making a huge mistake or doing something that we don’t want to be out there. 

But at the same time let’s not over polish the apple on every issue. Things are going to happen. So I come from that standpoint of let’s just learn from it and move on. Where my editor was stressing all the way up to the last second, asking did I change that? Is that correct? 

Samir Husni: If somebody asks you about starting a new city/regional magazine, do you encourage them or tell them they’re out of their minds?

Mike Obert: I normally say, don’t do it. That’s the first thing I say, don’t do it. And then I say, why do you think you should do this? And then it’s what I said earlier. I think there’s been a lot of great editorial and content ideas that have been out there. It all comes down to that salesperson. And how are you going to generate revenue. A lot of people overlook that. 

And the ad sales part, it’s not rocket science. But it’s not easy. So just making sure that you’re aligned with that person. A lot of publishers become that salesperson because they are so passionate about their product and their market that they take that part on and people trust them. And so they’re willing to advertise with them. 

But I do tell people whenever they come to me to pause for a second. Make sure that you understand the sales part of it before you just jump in.

Samir Husni: In your case, how important is it for the salesperson to be a part of the community or a resident of the community if you’re going to launch a city magazine? 

Mike Obert: I think it’s pretty important that they have the contacts, that they know the people to go after. I always tell people that I’m changing the world one quarter page at a time. I still sell ads. But I think I’m doing it not in an overbearing way. People know what my product is, and they know who I’m reaching. So I’ll probably get more people calling in about wanting to reach this audience. 

There’s a lot of times you can send out emails or talk to people about getting into the magazine. But I think you need to have somebody that knows the key people and the right people to be able to launch the magazine. 

Samir Husni: If you and I are talking a year from now, what would you hope tell me about RLM? 

Mike Obert: I would say a year from now that we’ll have a more clear formula for each issue. We’ve got a good blueprint in place. I think we’re still tweaking it a little bit, but as I said we don’t want to reinvent every issue. It doesn’t have to have something about new restaurants in Richardson or what new businesses have been launched around here. 

So if you’re coming to me from a year from now, I would say that. I’ve got that formula for the Richardson Life Magazine out. I’ve got a bunch of committed advertisers that are in for a year or two years’ worth of commitments. And we’re getting content that’s coming to us through the front door, and that we’re not having to completely reach out every time. 

Samir Husni: You launched this magazine; you still have your outsourcing business; you have your family to take care of; when do you sleep? 

Mike Obert: (Laughs) It’s a good question. I’m pretty consistent with going to bed as soon as the kids all go to bed. I’m always the first one up around the house so that I can get some things in before things start moving around here.

And it’s summer here. Things are a little crazier than normal. But the outsourcing company has taken a ton of work off my plate. I’ve got my own personal executive assistant that does a lot of tasks for me. Before this call, I was on with her talking about the three things I need to get done today, including putting our digital issue up online and getting the social media plan ready for whenever issue number two drops. So all those kind of things are flowing through other people, which will free up the time that I have. 

Samir Husni: You mentioned that the reaction for the first issue has been very positive. Did 

anybody critique anything?

Mike Obert: If I had any type of critique for issue number one it was the distribution and the circulation. Richardson is a town of 100,000, and we sent it to 15,000 people. Kind of cherry picked some of the different neighborhoods, more affluent neighborhoods. So if I had any kind of critique it was why didn’t you send it to 100,000 people? And that costs a lot of money. (Laughs) But that’s the only feedback that I’ve gotten on what I could have done differently. 

Samir Husni: When is the second issue coming out?

Mike Obert: The second issue is at the printer right now and it should be out very soon. 

Samir Husni: Is there anything you’d like to add?

Mike Obert: There was one thing I was thinking about. I think you asked something about print earlier. And why I’m still doing print. I still walk into neighborhood houses and see a copy of our magazine on the coffee table or see another magazine on a coffee table. And I was thinking to myself why do people keep this stuff right here? Why are they referencing this stuff on their coffee tables?

I’ve had a lot of advertisers that I’ve talked to about the difference between advertising in a city/regional community type of magazine versus just direct mail. And I’m mailing all of our magazines directly to homes. My point always has been when I go to the mailbox and I pick up 

everything out of the mailbox, a magazine doesn’t go straight into the trash. It usually sits out and people will flip through it. 

Sometimes I don’t know if my wife wanted this magazine or not, so I’m not going to toss it out. If I go and I get those 4X6 direct mail pieces, those are typically, if it doesn’t relate specifically to me, those are going straight into the trash. 

So I always think of it of like I’m impacting these local community retailers, businesses and shops by delivering the audience they want to reach. So I’m connecting businesses with consumers. And to me, I think it’s pretty powerful that people hold on to these. They collect them. They know their neighbors, they know the different businesses. So to me, that just gives me a little bit of passion to what I do. 

Samir Husni: My typical last question, what keeps you up at night?

Mike Obert: The price of paper. That keeps me up, though I think it’s kind of stabilized a little bit. From the business perspective there’s some things that I’m working on,  such as some acquisitions. And I’m diligently working through a lot of spreadsheets. And it’s dipping my toe in the water versus jumping cannonball style in the deep in and let’s go. So I think that’s the main thing that’s been keeping me up at night right now, how fast do I want to go?

Samir Husni: Thank you. 

h1

The B Magazine Gets An A+. Publisher Michelle Thorpe Petricca, To Samir “Mr. Magazine™” Husni: “There’s Absolutely A Desire For Certain Segments Of A Population To Enjoy The Print Experience.” The Mr. Magazine™ Exclusive New Launch Interview…

June 19, 2023

“We tend to reach consumers over 40 plus or 50 plus, who grew up with magazines, loved the experience of magazines; who miss magazines. They’ll tell you stories of what their favorite magazines were and how they’ve changed.”

“I believe that there are consumers who want to guarantee that this magazine comes to them. That when they go, when the weather turns and the leaves fall and they move to their second home in Florida or California or Palm Springs or back to Boston or back to the city, they want it in their mailbox. And that consumer is absolutely going to pay for it and go to their mailbox.”

The B, a magazine of the Berkshires, is a regional title that is both very well connected to the Massachusetts area and is a new launch. Michelle Thorpe Petricca is the publisher of the magazine and brings immense talent and experience to this position. Michelle has been a fixture at Condé Nast in the past and carries a lot of deeply held beliefs about magazines, especially print ones.

The B celebrates life in the Berkshires and beyond, but also provides entertainment and knowledge about the area for people moving there or visiting. It’s a stylish title with a host of possibilities. Mr. Magazine™ suggests that you find your copy today. 

So please enjoy the Mr. Magazine™ interview with Michelle Thorpe Petricca, Publisher Of The B Magazine.

But first the sound-bites:

On how it feels to work on a smaller-sized publication than she’s used to: I love a launch. And I was part of Condé Nast with the launch of Lucky magazine, from the very beginning. And it has the same energy and the same excitement. Obviously, not the depths of floors of departments and support, however it’s energizing and thrilling for me to be part of that.

On one of her Condé Nast colleagues’ starting his own media company and magazine: I worked with Alan Katz’s wife for years at Self Magazine. I think Alan and Cheryl are just two very talented people. And I think what it shows is that there are stories to be told in this region, and there’s a lot of enthusiasm and passion for this region. And the fact that both are doing very well speaks to this untapped market in many ways. There’s a real hunger to be closer to the community.

On why she thinks people like herself still believe in magazines and in print: There’s absolutely a desire for certain segments of a population to enjoy the print experience. And I would say that that segment of the population in our community is not going to be Gen. Z though they are enjoying it. We tend to reach consumers over 40 plus or 50 plus, who grew up with magazines, loved the experience of magazines; who miss magazines. They’ll tell you stories of what their favorite magazines were and how they’ve changed.

On whether only print can link the past with the future in the present: You definitely found one of the most powerful platforms that we have at The B, and that literally is the archives of the Eagle which are situated in the basement here of the Clock Tower Building in Pittsfield. And if you came to the Berkshires and I brought you down there, your mind would be blown by the files and the archives of the history of Norman Rockwell, of Tanglewood and the Boston Symphony Orchestra.

On whether the magazine was an easy launch: My husband was from the Berkshires. His family has been here for 100 years. His grandfather moved here from Italy, slept in a tent, built a wonderful business that’s going strong. And I didn’t think that this opportunity was possible, to be able to tap this passion I have for print. And I feel so fortunate that the Eagle recognized and held a high value to print and that they invested in me.

Michelle Petricca, right, with editor in chief Amy Conway.

On any challenges or roadblocks they had to overcome: So what have we overcome? I would say that introducing a new print product, you really had to pass a lot of litmus tests here because I think they’ve seen other publications in the area before and they weren’t always done by magazine people. They may have been done by newspaper people ensuring that you were going to deliver what you promised.

On whether the magazine is moving from controlled circulation to subscription: That is in the works. I believe that there are consumers who want to guarantee that this magazine comes to them. That when they go, when the weather turns and the leaves fall and they move to their second home in Florida or California or Palm Springs or back to Boston or back to the city, they want it in their mailbox. And that consumer is absolutely going to pay for it and go to their mailbox.

On the wantedness factor that print inspires: Yes, exactly. I was spending some time in Barnes & Noble in Pittsfield the other day. Magazines seem to still be alive by the number of publications and special interest titles and the ones that are still available to consumers.

On anything she’d like to add: As far as the B, people want a connection to the community, so much so that even on the grounds where we live there’s a massive reckoning going on with the Native American tribes that lived here. Many of the cultural institutions, like Jacob’s Pillow, which is one of the oldest historic dance sites in the country and Beckett Hits in Beckett. Massachusetts; at the bottom of every single of their email signatures, they say we are on the lands of the Munsee Native Tribes, so there’s a whole connection. The good and the painful in our community. That’s why there’s still so many untold stories here.

On what keeps her up at night: From a professional level, it would be to make sure that we got it right. That it was factually correct. We have a responsibility to do it right. And so oftentimes I circulate stories to the editors here, to other people in our community. To have them look through it to make sure it’s right, because the last thing I ever want to do is have any stain that reflects any print  journalist that is here. So getting it right is important. That keeps me awake at night. 

And now the lightly edited transcript of the Mr. Magazine™ interview with Michelle Thorpe Petricca, publisher The B Magazine.

Samir Husni: Congratulations on The B Magazine.

Michelle Thorpe Petricca: Thank you, I appreciate that.

Samir Husni: How does it feel? Moving from magazines like Lucky and Allure with hundreds of thousands in circulation to launch a small-sized publication, a beautiful publication, but one that elevates like fifteen thousand in circulation?

Michelle Thorpe Petricca: I love a launch. And I was part of Condé Nast with the launch of Lucky magazine, from the very beginning. And it has the same energy and the same excitement. Obviously, not the depths of floors of departments and support, however it’s energizing and thrilling for me to be part of that. 

And then I was also part of US Weekly when it turned from a monthly to a weekly magazine. So I was prepared for the unexpected because the unexpected always happens with a launch. But I would say that being a part of the Berkshire Eagle, which is one of the longest continuously run newspapers in the country, it started in 1892, they have the same commitment to facts and credibility and to getting it right. Much like Condé Nast always wanted to do and does and still does. 

Samir Husni:  Your previous colleague, Alan Katz, also started The Mountains magazine. Now there’s two or three graduates from Condé Nast who started and launched magazines outside.

Michelle Thorpe Petricca: That’s right. In fact, I worked with Alan Katz’s wife for years at Self Magazine. I think Alan and Cheryl are just two very talented people. And I think what it shows is that there are stories to be told in this region, and there’s a lot of enthusiasm and passion for this region. And the fact that both are doing very well speaks to this untapped market in many ways. There’s a real hunger to be closer to the community. 

Alan, his focus is seven counties, so it’s broader. He’s got Sullivan County, Catskills, seven counties. I’m focused on three counties, Berkshire County, Columbia County and Litchfield County. So there is a point of difference there. And there’s a point of difference with our voices. But that being said, I think it’s fabulous. I really do. Allen and his team are doing a great job.

Samir Husni: Michelle, it’s so rare to see small, regional magazines bringing in top publishers,  top editors, national folks, like in your case. Like Amy Conway, who’s been the editor of Health Magazine, and Martha Stewart Wedding. Why do you think people like you and Amy still believe in this business, in print and in bringing a magazine into the world?

Michelle Thorpe Petricca: That’s a great question. There’s absolutely a desire for certain segments of a population to enjoy the print experience. And I would say that that segment of the population in our community is not going to be Gen. Z though they are enjoying it. We tend to reach consumers over 40 plus or 50 plus, who grew up with magazines, loved the experience of magazines; who miss magazines. They’ll tell you stories of what their favorite magazines were 

and how they’ve changed. And maybe they’re not happy about some changes. So there was certainly a desire to bring magazines back into their life.

More importantly, they want the things that magazines are, well-written and visually appealing. And it’s interesting, when I worked at Allure and worked for Linda Wells, she would often talk about how a magazine would bring you to this magical place, and Allure would share possible visions of a different self, of all the possibilities that were out there for you. And how you want to present yourself to the world. 

And so that aspiration and that inspiration is found in print, in these glossy, four color magazines. And when you come to a community, particularly like the Berkshires, you’re seeking pleasure. You’re seeking entertainment. You’re seeking visual experience of the outdoors, art, culture, theater. And so they’re pleasure-seekers and magazines bring a lot of pleasure. They’re very proud of where they live or where they have second homes, or where they’re visiting. And they have it in their homes. That is the greatest compliment. When someone says to me. I have guests coming up this weekend, and I made sure The B was in the guest room for them because they want to know more about where they’re visiting. And so print brings you closer to the experience. I think that that’s why it’s resonating with consumers today. 

The other part of my experience was spending time at a company called Modern Luxury, which published 84 magazines in 22 markets. And so I worked at Modern Luxury while I lived here in the Berkshires and I commuted back and forth. I got to see just how personal it was for these city titles to these particular communities. 

I remember it was Erin Lauder at Estee Lauder who wanted us to plan an event in Dallas,  Neiman Marcus for a launch of one of her fragrances. And I heard from her team that these were the dates available in Dallas. So I call up Neiman’s and said this is when we’re going to have the luncheon and they said, whoa, we can’t do it that date. And I’m like, it’s Aaron Lauder, of course you can do it that day. And they explained, oh, no, that’s the Texas/OU football game day. And all the jets fly in from Oklahoma. And there are big Gala’s and parties all around his event. 

So, I was able to bring that information back from the Dallas team of our local boots on the ground, and of Neiman Marcus local and go back to Estee lauder and say, well, here’s why that date doesn’t work. 

So, understanding the ebbs and flows of a local community are really important and it makes you have a better event or better print project product. Or helps you connect brands and advertisers to that community in a more relevant and more powerful way.

Samir Husni: That art of storytelling is so obvious since you are also reaching to the archives of the newspaper from 1789 on and using some of those pictures. Do you think only print can link the past with the future during the present?

Michelle Thorpe Petricca: What a great question. You definitely found one of the most powerful platforms that we have at The B, and that literally is the archives of the Eagle which are situated in the basement here of the Clock Tower Building in Pittsfield. And if you came to the Berkshires and I brought you down there, your mind would be blown by the files and the archives of the history of Norman Rockwell, of Tanglewood and the Boston Symphony Orchestra.

You’re transported when you walk downstairs and you go into these files of pictures that you’re holding that the Eagle owns. And so I don’t have any obstacles of publishing them. And knowing that there are people here that I can turn to… in fact, they have two Pulitzer Prize winning journalists on their editorial advisory board here. And being able to get it right, which is so important here at the Eagle is to tap those archives to connect the past of our community to the present. 

And so when we take a topic, the summer issue right now is at press, and the theme is music. And music plays an outsized role here in the Berkshires, as you can imagine with the home of Boston Symphony Orchestra all summer long. But it goes back even further than that. 

And our goal is, when this magazine comes out, that local mavens who have lived here for generations, to the tourists who happen to be staying at the Red Lion Inn, to a second homeowner from Williams College who loves the Berkshires, is to surprise them and to educate them, to help bring them closer to this community. 

So we literally went into the fields of a place called The Music Inn, which is in Stockbridge, and was part of an old gilded-age estate called Wheatleigh. The Music Inn was a home in the 1960s  of something called the Lenox School of Jazz, where black musicians would teach white musicians who came over from Tanglewood at night. And that school then turned in the ‘70s into something called The Music Inn where Bruce Springsteen played, the Allman Brothers,  BB King, and we literally went for the music issue and spent time in a place called the Potting Shed, which is a home to this woman now who has a plaque to all the musicians that played on those grounds. 

And so being able to walk those fields and give the history and bring the photographers, such as the talented Ben Garver, who is photographer for the Berkshire Eagle really helps bring the music experience to life. And then it also happened that really well known journalists like Tony Gervino, who was the editor in chief of Billboard Magazine and is currently the editor in chief of Jack Dorsey’s Title, a streaming music platform, happens to have a home in the Berkshires, and he’s like, I’d love to write an article for The B. And so when you live in a community where you can tap this talent, it helps make it an even stronger editorial product.

Samir Husni: You sound like you’re on Cloud Nine. Tell me, has the magazine launch been a walk in a rose garden for you?

Michelle Thorpe Petricca: It was really hard for me to leave Condé Nast in 2013. I mean, Allure was on fire. It was just so successful. And I loved the team. And I loved working with Agnes Chapski and Linda Wells and the whole Condé Nast family.  

I moved for love. My husband was from the Berkshires. His family has been here for 100 years. His grandfather moved here from Italy, slept in a tent, built a wonderful business that’s going strong. And I didn’t think that this opportunity was possible, to be able to tap this passion I have for print. And I feel so fortunate that the Eagle recognized and held a high value to print and that they invested in me. 

And then, of course, Amy Conway, our editor in chief, whose voice… it’s what she’s been able to accomplish in such a short amount of time. And you can tell she was Martha Stewart’s right arm for 20 years. And Amy knows how to tell a story. She really does. And she has been a complete joy and delight to work with, and I mean it. We speak the same language, and we were able to tap a local designer here, Julie Hammil, who creates a lot of visuals for a lot of the cultural economy institutions here such as Berkshire Botanical Gardens, or the Berkshire School. And so we were able to really go local here. And that meant a lot. Yes, I am on Cloud Nine. (Laughs)

Samir Husni: Any challenges or roadblocks that you have had to overcome?

Michelle Thorpe Petricca: So what have we overcome? I would say that introducing a new print product, you really had to pass a lot of litmus tests here because I think they’ve seen other publications in the area before and they weren’t always done by magazine people. They may have been done by newspaper people ensuring that you were going to deliver what you promised. 

So it happened fast. I literally was at an event with Hans Morris, who was one of the saviors of the Berkshire Eagle with a few other individuals who saved this incredible historic newspaper brand. And I was at an event with him, I guess maybe September or October. And we started talking. He used to be president of Visa and now is at NYCA Partners in New York and he knew my experience in magazines. He said let’s do it and I asked, seriously? And he said yes. 

So going from October to launching a magazine in basically April was fast without having hired an editor, without even having a name or an editorial calendar, the specs and the press. It was definitely a lot of sleepless nights. But it was so personal. And that would be an obstacle because I didn’t want to walk into my local grocery store and say hi to my butcher or the florist and for them to say it didn’t really work. I really wanted to make them proud and I would say that was an obstacle. Having to deliver, I would say that was a challenge. 

And then advertising, people literally writing checks from their own bank accounts, ensuring that you are going to deliver on what you’re promising. And ensuring trust in you. It is helpful that they knew who I was and they knew my husband. And they knew the Berkshire Eagle. That could be considered an obstacle. But my goodness, we doubled the number of advertisers and revenue in the summer issue. 

But let’s be clear. This is not necessarily a done success. We have three more issues to go with different editorial themes. We’re experimenting with a wedding issue. And so some of these things are unproven. But I do believe that we have the perfect alchemy at the moment and that things look positive, but it’s not done. You know that path, there could still be plenty of obstacles, especially as we try to figure out a formula for subscriptions versus controlled circulation. Figuring and navigating that I’m sure will be an interesting endeavor. 

Samir Husni: Are you moving from controlled circulation to subscription?

Michelle Thorpe Petricca: That is in the works. I believe that there are consumers who want to guarantee that this magazine comes to them. That when they go, when the weather turns and the leaves fall and they move to their second home in Florida or California or Palm Springs or back to Boston or back to the city, they want it in their mailbox. And that consumer is absolutely going to pay for it and go to their mailbox. 

But I also believe that we could do a hybrid model that has some control distribution in places like Canyon Ranch or fine museums or restaurants. And that we can also still sell it in some places because there isn’t going to be an unlimited number of copies floating around. People are going to see it and they’re going to want it. And if they can’t find it, they’re not going to be happy about it. There’s a wantedness to this and there’s a scarcity model to this, so I do believe that a hybrid model will work. 

Samir Husni: I think that wantedness is an important word you mentioned because. Again that’s what continues to differentiate print from the rest of the media that’s out there.

Michelle Thorpe Petricca: Yes, exactly. I was spending some time in Barnes & Noble in Pittsfield the other day. Magazines seem to still be alive by the number of publications and special interest titles and the ones that are still available to consumers. 

I just think that this is personal to people here. And so when it’s personal and you’re writing about their community, they’re not seeing this online. They’re not reading about this really anywhere else. That it means something different and there’s a different value to it. Especially when you’re supporting their causes that are their passion points. We live in a community that wants to give back, that wants to help out, that supports the arts. That is incredibly inclusive. And our intention is always to profile those saints and eccentrics that really romp our beloved County. And people want to support that and want to be part of that. 

Samir Husni: Is there anything you’d like to add?

Michelle Thorpe Petricca: I guess the question is, if you lived here, Samir, or you were a second homeowner, would you subscribe to The B? 

Samir Husni: (Laughs) Of course I would. My wife always asks me, why are you still getting magazines after we donated all our magazines to the University of Missouri where they are establishing the Samir Husni magazine collection in the library?

Michelle Thorpe Petricca: That’s incredible.

Samir Husni: 188,300 magazines. It took two 18-wheelers. 

Michelle Thorpe Petricca: Do you have photos or a video of that happening? 

Samir Husni: Yes. Actually they are doing a video on the whole transfer of the magazines from my storage units to the Library of Missouri.

Michelle Thorpe Petricca: Will it be on your blog?

Samir Husni: Once they send it to me, I will definitely put it on the blog.

Michelle Thorpe Petricca: Thank you! That’s magical. I can’t wait to see that. As far as The B, people want a connection to the community, so much so that even on the grounds where we live there’s a massive reckoning going on with the Native American tribes that lived here. Many of the cultural institutions, like Jacob’s Pillow, which is one of the oldest historic dance sites in the country and Beckett Hits in Beckett. Massachusetts; at the bottom of every single of their email signatures, they say we are on the lands of the Stockbridge-Munsee Community, so there’s a whole connection. The good and the painful in our community. That’s why there’s still so many untold stories here. 

Samir Husni: As long as you continue telling stories, you will continue to thrive and succeed.

Michelle Thorpe Petricca: I hope so. 

Samir Husni: My typical last question, what keeps you up at night?

Michelle Thorpe Petricca: From a professional level, it would be to make sure that we got it right. That it was factually correct. We have a responsibility to do it right. And so oftentimes I circulate stories to the editors here, to other people in our community. To have them look through it to make sure it’s right, because the last thing I ever want to do is have any stain that reflects any print  journalist that is here. So getting it right is important. That keeps me awake at night.

Even when we lay out the magazine, not being sensitive to advertisers as to where they are placed. Maybe that goes back to my Condé Nast days where, and this is probably not an appropriate story, but I was at Self magazine and we were laying out the magazine and we had a Revlon ad and the Revlon ad said, it’s a good hair day, and it was opposite of a Wonder Bra 

ad that said, who cares if it’s a bad hair day. (Laughs) 

And that was probably 1996 and it still haunts me to this day. You have to make sure that you’re sensitive to if I am this architect or this shop  and I’m opposite this editorial, how does that impact me. And that keeps me up at night on a professional level, because I think about it. It’s their business and they care so much about this ad. And it doesn’t matter if it’s a one six or full page, this means so much to them into their budget into their marketing plans that I really 

want to be sensitive to where that message lands.

Samir Husni: Thank you. 

Check out the second issue of The B here.

h1

Lauren Buzzeo, Editor & Publisher Of Full Pour Magazine To Samir “Mr. Magazine™” Husni: “We Believe In Print.” The Mr. Magazine™ Exclusive Interview…

May 30, 2023

“We believe in print and the transportive nature that it can provide and disconnecting from the blue screen, from the noise, from the constant chaos of our screens in the digital world for just a little bit. And with that in mind, we really wanted to create this beautiful print product that reminds people and returns people to understanding that there is quality to be had behind those experiences and behind those products.”

“And that’s really what we’re aiming for with Full Pour. It’s not you get your subscription, you flip through it in the restroom and you throw it away after five minutes, having not really read or retained any information from it. This is a beautiful package that you see, and you just want to spend time with it. You want to give yourself the excuse and the reason to really dive into the stories, to the beautiful imagery, to the wonderful feel and smell of the paper. I still believe that there is something behind that smell that people love. (Laughs)

According to the world at large, beginning a print magazine in these days and times is a really bad idea. People want the digital experience; the instantaneous gratification they feel when they get something online in a matter of minutes, seconds even. Of course, most of you know how Mr. Magazine™ feels: the word baloney comes to mind. 

To prove my point in a huge way, please allow me to introduce you to Full Pour magazine and Lauren Buzzeo. Full Pour is a new print publication about wine, beer, tea; all kinds of beverages, alcoholic and non-alcoholic. 

I spoke with Lauren recently and we talked about this new magazine and her decades of experience in the business. Working at Wine Enthusiast magazine for 16 years was a position that she stepped away from knowing that she wanted to start her own magazine and do things her own way. And that she did. Full Pour is beautiful and informative. I hope you will get a copy ASAP.

Meanwhile, enjoy this Mr. Magazine™ interview with Lauren Buzzeo, editor and publisher, Full Pour magazine. 

But first the sound bites:

On what she was thinking to start a print magazine in 2023: (Laughs) Obviously, I don’t know; it is a very questionable choice, I know. But honestly at the heart of it, print and magazines are my passion. It’s always been something that I’ve been incredibly passionate about. And certainly from a professional and educational perspective, that’s what I got my degree in, in terms of English and Journalism, and I’ve worked in magazines for nearly two decades now and in publishing production overall. So it’s a format that I know and love and believe in.

On her new business model and the partnerships she’s making: What I came up with is a program that we call our “Flow-Into Community” program. And what that means is our advertising partners, and we will work with only one advertising partner per category per issue. So there’s not going to be tons and tons of advertisements, that’s not the magazine format we’re looking for. We’re really looking for very specialized, high-quality partnerships with dedicated partners that we know and believe in and similarly know and believe in what we’re doing.

On what people have said about the first issue which is out: Issue one is out. It came into the world officially at the end of March, and the response has been so overwhelmingly positive. I’m so grateful for it. I think at the end of the day, I created a magazine that I really felt was needed in the space and that I selfishly, really wanted to read and see myself in. The hopes that there were other people out there like me that wanted to see the same. And the response that we’ve received from the first issue tells us that indeed we were not alone.

On the esoterica of the magazine and whether she is trying to save the world with its creation: You’re right, even down to the mailer that we ship our single issues in. It’s cornstarch-based, it’s not plastic. So it’s 100 percent biodegradable and compostable. Because again to us every little bit that we can do that makes a difference helps. We’re not going to save the world; we’re not going to really change the world, but we can change what we do.

On any challenges she has faced along the way: I don’t know any magazine that’s a walk in a rose garden. But I will say that I am incredibly passionate and incredibly happy and fortunate to have had this opportunity to create this magazine. I wake up and I work all the time, every day. But I am so energized and so happy to be putting that effort and that energy into something that I believe in so greatly. And that has received such wonderful feedback from other people who are appreciative of those efforts as well.

On the uniqueness of the cover, black and white on the front, color on the back: I think at the end of the day we take our content very seriously, and we very much believe in telling the stories behind the bottles in a very informative way. So I’m not necessarily interested in more surface-generated content, more quick takes, infographics, buying lists, things of that nature. We really believe in getting into the stories of the who, the why, the how, the history, the geographic locations, whatever it may be to really provide that information to consumers to empower them to make those purchasing choices on their own for whatever needs they may have.

On the name Full Pour: Honestly, I dreamed it. I created the logo as well. The Pour is my penmanship. The Full part is a font type, but before I designed that, I drew it. It was in my mind, came to me in a dream. And so it was always something around Pour. Singularly “Pour” didn’t really seem to, I don’t know, land or resonate the way that I really wanted it to.

On anything she’d like to add: I’ll say on a side note my favorite page to put together for the spring issue was the contributors page. It brought me such great joy to be able to work with so many wonderful writers, artists, illustrators, and talent from a wide variety of backgrounds and perspectives.

On being her own boss: It feels great, but it feels scary. It feels liberating, but it feels empowering. There are so many emotions that go along with entrepreneurship that are intimidating and can cause apprehension sometimes, but at the end of the day are so infinitely rewarding that it outweighs to me any of the potential downfalls. So yes, it’s been great.

On what keeps her up at night: What keeps me up at night is finding enough hours in the day. I also have two small children. I have an eight year old son and a two and a half year old daughter. So I am a mom in addition to being a business owner. And sometimes finding the balance, the work life balance and the hours in the day to accomplish all of the things that I want to accomplish, is not an easy feat.

And now the lightly edited transcript of the Mr. Magazine™ interview with Lauren Buzzeo, editor and publisher, Full Pour magazine. 

Samir Husni: First, congratulations on the new magazine. 

Lauren Buzzeo: Thank you so much. 

Samir Husni: My first question to you is what were you thinking to start a print magazine in 2023?

Lauren Buzzeo: (Laughs) Obviously, I don’t know; it is a very questionable choice, I know. But honestly at the heart of it, print and magazines are my passion. It’s always been something that I’ve been incredibly passionate about. And certainly from a professional and educational perspective, that’s what I got my degree in, in terms of English and Journalism, and I’ve worked in magazines for nearly two decades now and in publishing production overall. So it’s a format that I know and love and believe in. 

The reason that I stepped away from my former position after nearly 16 years of working at Wine Enthusiast magazine was that for so many people over the last few years there was a lot of dialogue and consideration and retrospective thinking and realignment so to speak, in terms of priorities and what you want to leave your mark on in this world. 

And to me I just saw that there was a need and a desire, hopefully beyond myself, for a new print product, specifically in the drinks media space that was really more of an organic and holistic view of the modern drinks landscape. I think a lot of legacy drinks’ magazines are very much beholding to either their namesake or their legacy audience. I think there’s a tie-in between the two. 

But try as they might to sort of adapt and evolve and integrate other areas in the drinks and beverage world, it just never really lands or feels completely authentic or well-received from their audience that might be expecting something more singular from them, in terms of scope and coverage. 

So to me, knowing how I consumed content and my passion for quality drinks and consumables across all categories, and just seeing other people around me: friends, family, co-workers, other professionals, and how they were enjoying beverages without this sort of dated notion of category exclusivity, to me just seemed like an opportunity for a fresh take from someone who can bring a comprehensive view to the modern drinks landscape. 

So what that means is basically not focusing on one category exclusively, but really 

embracing all of the different beverages that are available today, whether that’s traditional beverage-alc, wine, beer and spirits, but also encompassing the new cannabis-infused beverages, as well as non-alcoholic. And that could be in sort of that bev-alc proxy sort of vein, in terms of a non-alc Negroni or scotch, or whatever it may be. But also beverages like tea and coffee and Kombucha; again, things that we all know, love and consume in social settings with people we love at different circumstances and occasions, just equal opportunity consumption. So it’s really embracing all of those categories.

Samir Husni: Lauren, you’ve been in the business, for like you said, almost two decades. Yet your business model for the magazine is not the traditional. I mean you’re not depending on advertising, you’re charging $20 per issue, which you can subscribe to the legacy magazines for a year for that price. Tell me a little bit about this new business model that you are following and the partnerships that you are making.

Lauren Buzzeo: In addition to having this perspective of leaving my former position and thinking there’s got to be another way; there’s got to be a different way, that certainly correlates to our editorial mission. And in terms of the stories that we’re looking to share in each issue,  it also extends to advertising and partnerships. And so with that thinking of what could be different, what could be better, what could be a new approach to something that honestly hasn’t seen a lot of change in innovation since the invention of a print advertisement, right? What could that look like, what could we do?

So essentially, what I came up with is a program that we call our “Flow-Into Community” 

program. And what that means is our advertising partners, and we will work with only one advertising partner per category per issue. So there’s not going to be tons and tons of advertisements, that’s not the magazine format we’re looking for. We’re really looking for very specialized, high-quality partnerships with dedicated partners that we know and believe in and similarly know and believe in what we’re doing.

So what the “Flow-Into Community” program encompasses is the traditional insertion of an ad space for the partner, a full page ad they’re sort of used to, but it also means that we work with. the client to identify a nonprofit organization in our space. So whether that’s food and beverage at large hospitality, that is improving our community in some relevant, tangible way. 

So in the case of wine, you can look at organizations such as Wine Empowered or Wine Unify; in the case of beer, you can look at the Michael James Jackson Brewing Foundation. In the case of cannabis, you could look at the Last Prisoner Project. And in the case of food, something like World Central Kitchen or City Harvest. So we work with our partners to select a nonprofit that then gets a dedicated spotlight page about that nonprofit’s work that is sponsored by Full Pour and the partner to give visibility, promotion, and space to that nonprofit, in addition to the partner’s traditional full page ad. So both of those placements go into the issue, as well as we have a grapevine page, which is essentially think of it like Kickstarter, but for nonprofits and donations. 

So the grapevine page Full Pour commits a $750 seasonal donation to, and we encourage all of our partners and readers, anybody who’s interested can also make donations into this grapevine page. And then at the end of the issue season, all of the donations received are disbursed to the nonprofit partners for that season’s issue as well. 

So again, we’re talking about a traditional relationship and format in terms of print advertising. But it’s also extending to really try to do something that goes beyond maybe a more self-serving interest for that partner, for that client and really promoting, giving visibility and monetary support and contribution to nonprofits that are really working to make our drink’s world and our world at large a better place.

Samir Husni: So tell me what was the response of the first issue. The initial one is out. Did people say wow, or something else?

Lauren Buzzeo: Issue one is out. It came into the world officially at the end of March, and the response has been so overwhelmingly positive. I’m so grateful for it. I think at the end of the day, I created a magazine that I really felt was needed in the space and that I selfishly, really wanted to read and see myself in. The hopes that there were other people out there like me that wanted to see the same. And the response that we’ve received from the first issue tells us that indeed we were not alone. That people were ready and excited for something new, a fresh take on drink’s journalism, and ready to embrace all of these varied categories that really did not necessarily have a home. A consistent home in a print format like they’ve experienced before. 

So it’s really about building that community. An equal opportunity drinking for everyone, no matter what fills your glass, whether it is wine or a cocktail or a non-alc drink or an infused beverage. We have the content and the space for all of it. And I think it also speaks to just drinking with that category, cross category. I like to say I’m a proud cross drinker, and I think many of us in this modern beverage landscape are. We are enjoying a cup of tea or a great cup of coffee at one point with friends or over a meeting. Whereas we might be sharing a bottle of wine or a special beer on another occasion or on a family outing. So I think it’s really trying to embrace that diversity and that varied landscape that’s out there today. 

In the last question you had asked about the format of the magazine. I just want to touch upon that really quickly because you’re right. We did come out with sort of a different, not only a different model in terms of the editorial content and not only a different model in terms of what we’re striving for with our advertising partnerships, but a different model in terms of the product itself. 

We believe in print and the transportive nature that it can provide and disconnecting from the blue screen, from the noise, from the constant chaos of our screens in the digital world for just a little bit. And with that in mind, we really wanted to create this beautiful print product that reminds people and returns people to understanding that there is quality to be had behind those experiences and behind those products. 

I think a lot of newsstand publications, they are great and they are wide-reaching, but I think that they also have a certain connotation to them in terms of how they feel, the tactile experience the reader takeaway. Whereas if you think of something more in lines of a book that sits on a shelf or a coffee table or whatever it may be, there’s a little bit more staying power, there’s a little bit more impact, there’s a little bit more reverence for the content and the quality behind it. 

And that’s really what we’re aiming for with Full Pour. It’s not you get your subscription, you flip through it in the restroom and you throw it away after five minutes, having not really read or retained any information from it. This is a beautiful package that you see, and you just want to spend time with it. You want to give yourself the excuse and the reason to really dive into the stories, to the beautiful imagery, to the wonderful feel and smell of the paper. I still believe that there is something behind that smell that people love. (Laughs)

Samir Husni: (Laughs too) You’re preaching to the choir here.

Lauren Buzzeo: So this is what we’re trying to offer in terms of the experience of a print product. And it is very much in that sort of independent magazine or zine, which is very hard to define because there is such a variety in terms of formats and quality. But it isn’t that independent vein in terms of quality and that almost middle ground between a newsstand floppy and a hardcover book.

Samir Husni: You wrote a lot about the sustainability and the type of paper, and even the mailing envelope that the magazine is sent in. Are you trying to save the world? Or what are you doing?

Lauren Buzzeo: (Laughs) I would love to save the world, but I don’t think I could do it. But I think at the end of the day everything that I did in creating this magazine was with the question and with the frame of mind of there’s got to be a different way, there’s got to be a better way there’s got to be another way. What can that look like? What can that be? What can we do differently to make a better impact? And that is absolutely extended to production. 

I think a lot of people might not necessarily know the impact that a lot of treatments, in terms of newsstand’s glossy magazines has on our environment, in terms of the laminates that are used for those covers, for those genes, the sourcing of the paper if they’re not environmentally friendly, if they’re not post-consumer waste. 

So yes, we did very intentionally look for production partners that were in line with that thinking. So we do source 100 percent post-consumer waste recycled paper; we do use natural vegetable or soy based inks for all of our printing. There’s no chemical toners. There’s no plastic laminates or chemical laminates that will affect recyclability. 

And you’re right, even down to the mailer that we ship our single issues in. It’s cornstarch-based, it’s not plastic. So it’s 100 percent biodegradable and compostable. Because again to us every little bit that we can do that makes a difference helps. We’re not going to save the world; we’re not going to really change the world, but we can change what we do. We’re not going to save the world. We can try to change the world. That’s what I’ll say.

Samir Husni: You’re so excited about the magazine and that’s great and you’re passionate about it. Tell me, has it been a walk in a rose garden or have you had some challenges? 

Lauren Buzzeo: (Laughs) I don’t know any magazine that’s a walk in a rose garden. But I will say that I am incredibly passionate and incredibly happy and fortunate to have had this opportunity to create this magazine. I wake up and I work all the time, every day. But I am so energized and so happy to be putting that effort and that energy into something that I believe in so greatly. And that has received such wonderful feedback from other people who are appreciative of those efforts as well. 

So no, nothing is a walk in the rose garden. And certainly as an independent magazine, and as a woman-owned, self-funded startup, nothing has been easy and I am wearing more hats than I ever thought I would have been. 

But I am also a Taurus, and thank God for that because I love the challenge and I love to be stimulated. I love to learn new things and to have the opportunity to really dive into all aspects of print production. That part has been a pleasure and a joy and something that keeps me going every single day. 

Certainly from a content perspective, that’s something that I was very comfortable and used to. And even from an overall direction, working with artists and writers was familiar territory. Things like setting up tax considerations. And to even sourcing some of those materials, like the mailing bag, which I did myself as well. There’s a lot of considerations, every step of the way that you don’t really know until you dive into it. But if you believe in it and if you’re passionate about it, it is infinitely rewarding.

Samir Husni: Tell me about your cover. It’s black and white on the front, but the same thing in color on the back. It looks like you want to enter the psychedelic word, but you don’t.

Lauren Buzzeo: (Laughs) I love that interpretation of it. I think at the end of the day we take our content very seriously, and we very much believe in telling the stories behind the bottles in a very informative way. So I’m not necessarily interested in more surface-generated content, more quick takes, infographics, buying lists, things of that nature. We really believe in getting into the stories of the who, the why, the how, the history, the geographic locations, whatever it may be to really provide that information to consumers to empower them to make those purchasing choices on their own for whatever needs they may have. 

This isn’t something where we want to dictate what we believe people should be drinking. Because I don’t think that’s the way to go. I don’t think that that’s what people are generally interested in. And I think that in building our community we want to empower them with the information. 

So in terms of the imagery we’re hopefully supporting a tone that is informative and serious with our content, but still fun and approachable. And I think our cover extends to that intent in terms of wanting to give a wide representation of all of the categories that we cover. So you’ll see representation of all the various main categories in that illustration and in every color illustration to come as well. But again in a very playful, vibrant, energetic format that we hope engages people to dive in, regardless of how serious the content might be.

Samir Husni: How did you come up with the name Full Pour?

Lauren Buzzeo: Honestly, I dreamed it. I created the logo as well. The Pour is my penmanship. The Full part is a font type, but before I designed that, I drew it. It was in my mind, came to me in a dream. And so it was always something around Pour. Singularly “Pour” didn’t really seem to, I don’t know, land or resonate the way that I really wanted it to. 

So after a lot of deliberation with a lot of words to combine with it, I sort of landed on Full because that’s what we’re about, embracing the full category of drinks, beverages available to us. And also living a full and satisfying life. And the way that the beverages intertwine with our lives to give us that feeling of fullness and satisfaction.

Samir Husni: Is there anything you’d like to add?

Lauren Buzzeo: I’ll say on a side note my favorite page to put together for the spring issue was the contributors page. It brought me such great joy to be able to work with so many wonderful writers, artists, illustrators, and talent from a wide variety of backgrounds and perspectives. 

And that is something that I am so keen and happy to continue doing with every issue of Full Pour, which is working with a wide range of contributors who bring different perspectives and energy to all of these different stories because we all come into various drinks and opportunities at different points and from different experiences and perspectives in our lives. 

And I think that it’s important to give platform to all of those various capabilities and potentials in terms of entry points. So I love working with so many diverse voices and talents, and I really can’t wait to share more in the issues to come.

Samir Husni: How does it feel to be your own boss?

Lauren Buzzeo: It feels great, but it feels scary. It feels liberating, but it feels empowering. There are so many emotions that go along with entrepreneurship that are intimidating and can cause apprehension sometimes, but at the end of the day are so infinitely rewarding that it outweighs to me any of the potential downfalls. So yes, it’s been great. 

And that is also largely reason why I did want to do this as an independent, self-funded project. I did want to just answer and speak to myself. I had a very clear vision. I didn’t want it to be compromised in any way, whether that was editorially, financially, or partners commercially. I really wanted to be true and authentic to what I believe this should and could be. And will work my hardest to keep that up for as long as I can.

Samir Husni: My typical last question, what keeps you at night?

Lauren Buzzeo: What keeps me up at night is finding enough hours in the day. I also have two small children. I have an eight year old son and a two and a half year old daughter. So I am a mom in addition to being a business owner. And sometimes finding the balance, the work life balance and the hours in the day to accomplish all of the things that I want to accomplish, is not an easy feat. But I think that those are the struggles that we all live with day to day in terms of finding our balance and staying true to ourselves and trying to be our best selves as possible. So I try not to keep myself up too much or for too long at night worrying about that and just do the best I can to meet all of those needs as best as I can.

Samir Husni: Thank you!