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Meet Trisha Sakhuja-Walia: CEO of Brown Girl Magazine

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Trisha Sakhuja with dark hair wearing a white dress with red stripes while kneeling down next to her small couch chair with her elbow on the chair.
Source: Trisha Sakhuja-Walia

Trisha Sakhuja-Walia is the co-founder and CEO of Brown Girl Magazine.

Brown Girl puts out digital diverse content for South Asians “to share an unabashed platform for self-expression, cultural anchoring, and dialogue.”

For the past 7 years, she’s worked to make Brown Girl more than an online platform. Although at the infancy of the company its targeted audience were South Asian women in the USA, it has expanded way past that.

Today, their platform is for South Asian people, regardless of age, gender, or location. In 2017, Trisha quit her full-time job to transform her once passion project, Brown Girl, into her career. In her eyes, Brown Girl was more than a publication, it was a vision.

What services does Brown Girl Magazine offer to their readers?

We are offering premium content that relates to young South Asians living in the diaspora, as well as a platform and community to voice their opinions, thoughts, and ideas. Essentially, we are a safe and open platform that caters to young South Asians.

Why are you working in this industry? What drew you in?

I’d always had an affinity with the news, I just never thought I would be officially working in it day in and day out. I’ve always had an interest in news and content curation. That interest has turned into the need and importance of storytelling and documenting our people’s present and history.

In the more recent future, it’s become a place for me to make sure we are documenting our stories so the next generation can understand what it was like for South Asian Americans.

How has Brown Girl Magazine been able to stand out from other online publications?

The biggest thing that helps us stand out is the fact that we’ve been able to ride this wave for almost a decade now. We’ve been very diligent in publishing and pushing content that we believe our community needs and benefits from. We’ve been the most consistent content platform there has been in the past decade.

Similar to BLENDtw, Brown Girl Magazine uses storytelling as a vehicle for community building and empowerment. Why do you think that method is so effective?

It allows readers and the everyday average user to engage with our content without having to scroll through heavy-duty news. It allows for easier user engagement.

You have acquired the shares of your two former business partners at the company, why did you want to continue and ultimately take over Brown Girl Magazine?

I believed in the value of the work that we were doing. For me, I’m always looking at Brown Girls’ potential 5 to 10 years from today. That’s what drew me in to quit my full-time job and pursue this whole-heartedly.

I myself have been with Brown Girl Magazine for 7 years, but this is the first year I went full time. No one at Brown Girl was pursuing this full-time up until one year ago. There was potential for us to grow but we need more bandwidth time and more than anything we need capital.

How has the mission of Brown Girl Magazine changed over time?

The mission actually hasn’t changed and I’m really excited about that part. The mission has always been to be a platform that empowers and informs South Asians.

I think the only thing we’ve done is evolve that mission, so it included other people. For instance, in the beginning, we started off as a portal for specifically young South Asian women living only in the United States.

A few years later, we realized that we were seeing traffic from different countries around the world. We were actually catering to South Asians living in the diaspora not just in the United States.

We are also catering to men and readers over 35. It’s beyond gender and age.

We’re a platform for South Asian people as a whole, living in the diaspora.

It’s the new year. What do you hope to see Brown Girl Magazine accomplish in the new year?

One of our biggest goals this year is to become fully sustainable. This is something we haven’t been able to do in the past and as a media company, it is a little harder, especially one that is run by women of color. Our big goal this year is to raise capital and to be sustainable.

On your CEO Note online, you state that BGM’s vision is to “To serve as an anchor for South Asians who believe in gender equality by remaining steadfast in publishing multimedia content.” Can you elaborate on the importance of this vision and your connection?

Something that we’ve been able to do and wanted to bring more of is the focus on all people regardless of their orientation, gender, background, or economic status.

Basically, to be a place that can generate excitement and user engagement regardless of who you are.

We want to be able to cater to everybody in whatever capacity we can through different forms of media.

What advice would you give to women who are intimidated to take the leap into the business world?

The number one thing is knowing you have financial support. That’s the only realistic way to do it because I’m not here to sell a dream.

I’m here to let women know that pursuing a business or a passion of yours is possible, but it’s only possible once you have financial support.

Having that financial security is first and foremost, so you are mentally, emotionally, and physically able to pursue your business without worrying if you could pay your next bill.

I do believe in anyone who is going to take that leap is to really ensure they are financially stable to take on that extra challenge of running a business.

Is there anything else you’d like to say about Brown Girl Magazine?

I think we are on the cusp of something great. Now, it’s just a matter of pushing forward and becoming sustainable in our community.

By: Vivianna Shields

Spotlight

Meet Scott Hughes: The Entrepreneur Who Built One of the Largest Online Book Communities

Are you a book junkie? Find out how Scott Hughes built OnlineBookClub, a free online community for book lovers with over 2 million members.

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Scott Hughes

Are you a book lover?

If you are, then you need to check out OnlineBookClub.org, a free online site for book lovers around the world.

The online site features book reviews, book & reading forums, and useful tools that enable you to store, track and list books you have read or want to read.

Scott was only 19 when he launched OnlineBookClub.

The idea of creating OnlineBookClub originated after Scott, a book fanatic, realized that there were too many restrictions for in-person book clubs such as tight deadlines on book reading, a limited selection of books, and little freedom to pick books to read. 

Scott wanted to leverage the power of online discussions and create a flexible space where people all over the world could easily find people to chat about any book at any time. That is how OnlineBookClub came to life. 

Building the online platform was a rewarding experience for Scott, but it was far from easy.

For 7 years, Scott ran the business and paid himself nothing from it. During those years, he worked odd jobs to pay his living expenses and put food on the table for his two kids. 

“I remember one month I had to go to the coinstar machine at the bank with my spare change on the 10th of month just so I could cover the rent, but I did it.”

The hardest part of creating the platform for Scott was finding time to run the business while juggling his day job and raising two kids. It was difficult for him to find a work-life balance but he made it work despite the hardships. 

At the end of 2014, Scott finally took a leap of faith, gave up his side jobs, and went full-time at OnlineBookClub. He knew that to make it work, he had to devote himself completely to the online site.

And his efforts paid off. 

The platform is thriving with over 2.7 million registered users as of November of 2021.

Scott’s team recently released an e-reading app meant to compete with Amazon Kindle, called OBC Reader, which is available on both the Google Play Store and the Apple Store.

The revenue of the platform primarily comes from paid online advertising and professional services to authors and publishers, such as editorial reviews and manuscript editing.

Scott is proud of the work he has accomplished so far, especially of the community he has built.

“OnlineBookClub has always been filled with kind people who have a strong sense of togetherness and community. It’s like a second family for us.” 

Scott’s journey has been full of ups and downs, but through it all, he is grateful for all the experiences-good ones and bad ones.  

When asked to advise young entrepreneurs just starting, he has the following to say:

“The journey never really ends. If you make a million dollars, then you might chase a billion. Even if you reach all your financial goals and lose interest in that side of things, your mind will create new different goals. So it’s never about reaching some destination. When you look back on it, in many ways the most challenging times are also seen most fondly.”

He also believes that entrepreneurs need to be driven by something other than money. 

“I’ve found in my anecdotal experience and just from watching the world around me that those who desperately chase money are the least likely to find it. In contrast, when you work hard on yourself and your real dreams, money chases you. Money–and even health and physical fitness–are only really ever a means, not an end in themselves. Without some kind of vision or passion to be the real end, the real goal, the real dream, it’s like driving a car with no gas.”

Scott’s story is a great reminder that anything can be achieved with perseverance, passion, and hard work.

So, if you are just starting, make sure to stay tuned for his upcoming book, “In It Together: The Beautiful Struggle Uniting Us All,” which will be released soon.

You can connect with Scott on Instagram, Facebook, or Twitter for more information about OnlineBookClub and get updates about his latest projects. 

 

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Spotlight

‘Halloween Kills’ Cast & Crew Explain the Slasher

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(from left) Karen (Judy Greer), Laurie Strode (Jamie Lee Curtis) and Allyson (Andi Matichak) in Halloween Kills, directed by David Gordon Green.

Article by Riley Farrell

The cast and crew of Halloween Kills told Blendtw why the latest slasher’s gore is anything but gratuitous in a year like 2021. 

Jamie Lee Curtis, Andi Matichak, Anthony Michael Hall, Kyle Richards, Malek Akkad, David Gordon Green and Jason Blum tell horror fans to expect carnage. After all, Halloween Kills must live up to its title.

Chainsaws buzzing and bats swinging, Halloween Kills is a current-day cathartic catastrophe – and no character is safe – according to producer Jason Blum of Blumhouse Productions.

Halloween Kills is the 12th movie in Michael Myers’ macrocosm, with the 13th, and allegedly final, movie coming out in 2022. When seriously injured Laurie Strode thought she killed Michael Myers after 42 years of trailing him, his annual bloodbath recommences. Sick of living at the mercy of “pure evil,” the town’s vigilantes revolt against the boogieman. 

 

“Subtlety is not this film,” said director David Gordon Green, on fitting in as much bloodshed as possible in 105 minutes.

 

The cast filmed Halloween Kills two years ago and shelved it due to the pandemic, until now.

Picking up where Halloween (2018) left off, the film explores the aftermath of collective trauma, said Green. Given everything that’s ensued in the last two years, viewers do not have to live in Haddonfield to understand suffering, and inversely, resilience. 

 

“We’ve taken a slasher movie and it’s landed in a time of cultural relevance because of our public consciousness,” said Green. “Though [the movie is] grotesque, there are moments when we feel the humanity underneath the surface of this movie monster.”

 

Halloween Kills brought back two characters from the 1978 Halloween in Tommy Doyle (Anthony Michael Hall) and Lindsey Wallace (Kyle Richards), the two children who Laurie babysat during Michael’s initial attack. Hall and Richards did not require much persuasion to hop on the franchise, said Green.

 

Halloween kills

Jamie Lee Curtis as Laurie Strode in Halloween Kills, directed by David Gordon Green

The callbacks of all-grown-up characters, of course, evokes nostalgia. But the twist on the trope is that, instead of running from Michael, the kids now face him head-on, said Richards. Hall, who described Halloween Kills as a “thrill ride” and “freight train,” said the slasher hinges on human resilience.

 

“We summoned something deep in themselves and decided to fight back, we’re not just survivors but fighters,” said Hall.

 

Resilience as a motif snugly fits within the cultural zeitgeist, even earning a title as Forbes’ 2021 word of the year. Though coincidental, the visceral and violent images in Halloween Kills harken to audiences’ nihilistic experiences of the past 18-months. Producer Malek Akkad said the slasher film can paradoxically be pertinent yet escapist for viewers who’ve experienced the horror genre by simply reading the news.

 

“It’s tough for everybody right now and this movie’s just a fun release,” said Akkad. “There’s nothing more cathartic for people watching than to see a final girl like Laurie.”

 

For reference, the final girl trope, pioneered by the character of Laurie Strode in John Carpenter’s 1978 Halloween, represents the heroine left standing at the end of a horror movie who is charged with defeating the antagonist. Film theorist Carol J. Clover coined the term in her 1992 book, ‘Men, Women, and Chainsaws: Gender in the Modern Horror Film.’ The final girl has been observed in many films, including The Texas Chain Saw Massacre, Alien, Friday the 13th, A Nightmare on Elm Street and Scream.

 Scream queen Jamie Lee Curtis said she was unaware of the meaning and dialogue surrounding the final girl until recently. She argued, even though the trope has immense cultural significance, the original idea of the final girl is uncomplicated.

 

“The term is just about the tenacity of women to survive because, the truth is, women have survived through a lot,” said Curtis.

 

No characters know survival better than the Strode women. Andi Matichak, who plays Laurie’s granddaughter, and Curtis agreed that their favorite behind-the-scenes moment centered on feminine resilience in spite of harsh conditions.

 

Halloween Kills

Michael Myers (aka The Shape) in Halloween Kills, directed by David Gordon Green.

It was a frigid 4 a.m. shoot, and the three generations of Strode ladies were alone in a truck, coated in fake blood, with only each other and a camera rig for warmth, Matichak described. This moment was the last time Laurie, Karen and Allyson were on screen together.

 

“It was a powerful moment to lean on each other and feel the weight of the project,” Matichak said.

 

Cutting through the sweet moments is the slasher at the heart of the story, said Curtis on the “high octave, frenzied” plot of Halloween Kills. For audiences who’ve lived through the chaos of the past two years, Halloween Kills should match their fast pace of existence.

 

“The past is irrelevant, you’re so in the present moment,” said Curtis.

 

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Spotlight

Waving Through A Big Screen: ‘Dear Evan Hansen’ Cast Talks Film Adaptation

With Ben Platt reprising his Tony-winning role as the show’s titular character, a whole new Hollywood cast takes on Broadway.

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A boy and girl laughing

Content warning: mentions of anxiety, depression and suicide.

Article by Riley Farrell

All that it takes is a bit of reinvention for Dear Evan Hansen to move from the theatre to theaters, hitting eardrums on Sept. 24 this year.

With Ben Platt reprising his Tony-winning role as the show’s titular character, a whole new Hollywood cast takes on Broadway. Platt, Julianne Moore, Amandla Stenberg, Amy Adams, Danny Pino, Kaitlyn Dever, Stephen Chbosky and Steven Levenson explained the movie’s newfound reach and relevance in an interview with BLENDtw, among other publications.

The Plot Thickens

A boy between two trees in a forest

Dear Evan Hansen

Begrudgingly in therapy for anxiety, high schooler Evan Hansen is tasked with writing daily letters to himself, hence the movie title. After Evan’s peer Connor Murphy kills himself with Evan’s letter in his backpack, Evan’s page is mistakenly thought to be a suicide note from Connor. 

Evan tells a well-meaning white lie that soon darkens with self-interest to get closer to the Murphy family, which includes Connor’s sister Zoe (Kaitlyn Dever), and Connor’s mom and dad (Amy Adams and Danny Pino, respectively). Via fake emails and a fundraiser, what once began as a misunderstanding spirals into an operatic betrayal about teens and their screens. 

Oh, How Times Have Changed (Or Not)

A boy and woman sitting on a couch

Dear Evan Hansen

To address the obvious, it has been a long time since DEH initially premiered in 2015 – but the cast said the musical remains relevant. Things have changed: a pandemic rocked our worldviews and Ben Platt, shockingly, aged.

Platt, 27, played Evan in the original musical version. After the movie trailer dropped in 2021, Platt faced online backlash over playing a character a decade younger, even though he lost 15 pounds and changed his styling routine to appear youthful.

“As a parent, I saw a teenager in Ben’s demeanor,” Julianne Moore, who plays Evan’s mom, said in Platt’s defense.

Speaking of something that’s aged us all, COVID-19, the ideas explored about mental health in DEH six years ago seem timely today, said Dever.

“This film is about feeling isolated, after the pandemic, we’re looking to feel heard,” said the Booksmart actress.

A 2021 study from the National Institute of Health found that anxiety symptoms increased during the COVID shutdowns, making ordering delivery and asking peers to sign your cast daunting. This film was a refreshing counter-narrative on what anxiety looks like, demographically and behaviorally, said Stenberg, who shared an on-set story about the stakes of DEH.

Chbosky, the author of Perks of Being Wallflower, showed a letter to Stenberg that a teenager had written to him after reading the novel. The reader expressed how his suicidal ideation disappeared after reading Chbosky’s book. That book saved him, said Stenberg. After that experience, Stenberg said she felt the movie served as an opportunity for mental health representation, not tokenism.

 “I was excited to be playing a Black girl who is on medication,” Stenberg said of her high-achieving teen character, Alana Beck.

There’s no one face or behavior associated with anxiety, Stenberg said. Stenberg said she’s been prescribed medication as a teenager but has only recently come to terms with the shame she felt about mental health.

 

Movie Magic

A boy alone on a stage wearing a tie

Dear Evan Hansen

The year isn’t the only context that’s changed. The medium by which this sensitive story is delivered has transformed from the live stage to the screen. Freedoms of editing and re-filming takes helped storytelling, said Chbosky, who felt ‘obsessed’ with the spotlighting of each character.

Via camerawork, Chbosky and Levenson said they more innovatively explored symbolism and imagery. The film’s juxtaposition between social media and nature – contrasting screens with sunlight as motifs – is about duplicity in the dark and authenticity in the light, said Chbosky.

 “You can’t have truth without the lie,” said Chbosky.

The filmmaking medium aided in communicating the perils of presenting a fake self online, said Levenson. 

 “We wanted to play with the idea of how fast lies can spread online,” said Levenson. “How untrue things make you feel great and the complicated nature of that.”

Expanded audiences can enjoy the story now that it has transcended the Broadway medium. Though fans of the original musical will encounter changes to the original stage material, Platt said he thinks Evan’s move from the stage to the screen is a step towards accessibility. The message of DEH is magnified when more audience members are added to the conversation, said the Pitch Perfect actor.

 “No matter what, it’s important for me to communicate that there’s nothing that makes you unlovable,” said Platt.

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