Joe Revill, Head of E-Publishing and Syndication at Are Media, discusses the company's transformation from a traditional print powerhouse to a leading omnichannel content and commerce platform in the Australian market.
By leveraging its expertise in print, digital, e-commerce and social commerce, Are Media has successfully adapted to the changing media landscape, with a primary focus on serving Australian women through data-driven insights from their proprietary "Insiders" community. This research helps shape content and guides their approach to both print and digital publishing, including branded content and e-commerce partnerships.
A key part of Are Media's evolution is its emphasis on content commerce, blending brand partnerships with performance-driven models like affiliate marketing. Joe Revill highlights successful campaigns, such as their partnership with Amazon for Prime Day, the company’s affiliate marketing strategy, and AI’s growing role in content creation – including the launch of Content Shop, a new platform that simplifies the licensing of high-quality images for businesses and small creatives.
Joe underscores that print has proven to have ongoing relevance, particularly in luxury markets, where print remains an important part of the media mix.
Also available on Spotify and Apple Podcasts
Transcript
Ruairí Doyle
[00:07] Hi everybody and welcome to a new episode of the PressPectives Podcast. I am your host Ruairí Doyle and I am here to help us dive into the latest trends and ideas in technology and publishing together with incredible guests from all over the world. So whether you are an industry pro, a curious learner or just looking for some inspiration, you are in the right place.
Today, we are joined by Are Media, who are Australia and New Zealand's leading omnichannel content company connecting with 9 out of 10 Australian women every year through a premium portfolio of publications across lifestyle, entertainment, fashion, beauty, homes and food. From its print heritage, Are Media has been diversifying its revenue base and pursuing strategies around verticalization and e-commerce to transform the business and ensure it remains relevant.
In a fast-changing media landscape. Today, we can see how the company has transformed into an omnichannel content commerce company across print and digital e-commerce, social commerce, branded experiences, events, native content, and deep creative integration for brands and consumers. For this episode, and to learn more about what Are Media are doing, we are joined by Joe Revill, who is the head of e-publishing and syndication at Are Media.
Joe, good afternoon or good morning, I guess, for you in Australia. You are very welcome to the pod.
Joe Revill
[01:36] Good morning. It's pretty early here. Thanks for having me. I'm really looking forward to having a chat today with all your listeners.
Ruairí Doyle
[01:43] Thanks, Joe. Before we get into the work of Are Media, I'd love to hear a little bit about your own story. You have held advertising and partnership roles on both the agency and client-side and companies like Saatchi, Qantas, Bauer, Discovery, Pacific Mags. And now, of course, you are with Are Media. What's your own story and how did you get into this wonderful world of media that keeps us all very busy?
Joe Revill
[02:14] Yeah, it's been quite the journey. I've been lucky to work across a lot of different media types, but it actually started, I came out of university as a traditional illustrator before the digital age. So I was there with a paintbrush and a pen, you know, doing illustrations for publications. That was great. I loved the creative side, but then part of that job was traipsing around London with a portfolio under my arm and going to see various creative directors and bearing my soul. And that got a little bit, a little bit uncomfortable at times. I thought, you know what? I just think I need six months at an office job, just a temp job, anything. So I went to a temp agency. They found me a job.
And that job happened to be in a print factory that printed, you know, about 50 different publications. And so for me, that was, this is really interesting. I thought it was going to be a stopgap, but actually it ignited something in me. I love that job. I love the smell of the print presses. And from there, I was just, you know, fascinated by the whole process. So that led on to me thinking, funny, really interesting seeing how people consume content.
What they enjoy reading and that went on and on. And then as you mentioned at the top there, I got was lucky enough for over 20, nearly 25 years now to go through all sorts of media types. And then I kind of come full circle now because I'm back in a company with print in its veins. After all the world of digital and TV, here I am back again.
Ruairí Doyle
[03:38] And I can really relate to that. The power of the printing press. My first job was a software engineer for independent news and media PLC who back in the day owned APN, which I think now is part of ARN or something like that in Australia. And it was a PLC back in the day. And I remember being at the printing press and seeing that in operation, smelling it, but hearing the roar of those rollers and drums and everything like that. It's quite, captivating. But I'm interested to know too, from that background, the illustration background, is there anything from those creative days or that creative training that you still lean on or integrate into how you lead and operate today?
Joe Revill
[4:30] Yeah, there is. Whilst my role here is not to be the creative on our titles or any of our publications, part of the kind of e-publishing is working with know, partners like Apple News, et cetera, who convert our content for their format. And we obviously approve everything along the way with the help of the creative directors. But I have a keen eye for that design and how things look along the way. So it definitely helps. I think throughout my whole career, it's been useful at various times. Even if it's drawing someone a leaving card, you know, that does happen from time to time too.
Ruairí Doyle
[05:05] And what brought you then to Are Media?
Joe Revill
[05:14] Yeah, so with Are Media, I kind of finished up my career with TV. I was looking for a change. I'd actually gone across to Pacific magazines to lead their sales team. And as you may know, Pacific was owned by 7 West Media at that point. And then they actually sold the business to Are Media, to our owners, Mercury Capital. So that was, whilst I didn't transition straight away,
And I then had colleagues here in this company who kind of called me up and said, hey, we've got a little project we want you to help us with. That was actually around our cookbooks. And then I came in and that was going to be a quick three-month project. And then here I am many years later, you know, loving my time and getting involved with all the digital publications, which is a really interesting time.
Ruairí Doyle
[06:03] Let's talk about what Are Media have done and are doing to engage readers. I know there has been a good bit of research done to see what resonates with readers down there. How have you been able to meet those reader needs?
Joe Revill
[06:13] So our purpose at Are Media is to be a champion for women, for our audience, they're our consumers. So we make it our mission to understand and know women as an audience better than any other publisher.
We run many types of research, be it what you can learn from your SEO, what you can learn from your Google Analytics. But also, we have a proprietary panel of individuals. We call it our Insiders Community. There's 14,000 of them. So we run many surveys with these individuals to test products, to find out what they like to consume, how they like to consume it.
Formats, what's trending, and that's really important for us. So that's how research, that kind of research allows us to then create the content that they want to read, but also to understand their behaviors. So this is where we've learned the importance of our brand voice when it comes to maybe shopping and, you know, trusting what they can and should or should not purchase via an online environment. Because it's just, it's just so saturated out there. So for us, that's a really important part of what we do.
Ruairí Doyle
[07:35] Quite an impressive panel, the 14,000 in the insider community. Right now, Are Media's titles such as Elle Australia, the Australian Women's Weekly, Better Homes and Gardens, to name just a few, are available, of course, in both print and digital. Formed affiliate business relationships with the hottest brands. Can you tell us a little bit about some of the most successful brand partnerships that you've had to date?
Joe Revill
[08:06] Yeah, that's a good question. It's one of, you know, when you think about it, it's how to define a successful, most successful brand partnership, right? Because not so long ago, and especially with print and just your traditional print-related websites, a successful campaign would be measured on your delivery of impressions or you know, the reach you've achieved through your magazine and that display advertising, which is all very important, all very valid, but it's really hard to gain attribution and for the buyer, for the advertisers to understand what was working and what's not across their media mix. So that's kind of led us to really lean into the content commerce side of things and build our marketplaces because with something like a marketplace or an affiliate partnership, what that does is it's really a performance model, right?
Advertisers know the attribution. So they're not getting that media wasted. And that's important because there's some amazing executions we can do across all of our platforms and still very important. a lot of, especially our luxury brands still really lean into that heavy print luxury environments. But for other smaller advertisers, that can be kind of out of reach from a budget perspective and or a resource perspective. So hence this lean into content commerce. But to go to the original question and in terms of a really successful brand partnership, one we did recently was for Amazon and they approached us as a traditional publisher, which was really interesting. And what they wanted to promote was their prime day sales. So what we actually delivered for them was a huge campaign.
Affiliate campaign mainly, but it was also in print. So we advertised it across in print with QR codes driving to the different deals. We wrote over 50 pieces of specific digital content, which then had the affiliate links back into the hot trending deals of the day, what was going off, what was running out. And alongside that, we were able to promote all of that content across our social footprint.
And all our digital channels, EDMs. And what I found really fascinating with this particular campaign is Amazon is the kind of premier behemoth of digital e-commerce, but they actually wanted us to do a physical print catalog for them. So we produced a little print booklet for them, which we then inserted into all of our weekly magazines, which then went out to our grocery stores over here, our major grocery retail outlets.
Those sorts of companies are coming back and realizing the understanding of these as a traditional publisher with new capabilities, the influence we have on our readers.
Ruairí Doyle
[11:07] Yeah, it's really interesting to hear that Amazon were including those inserts, those types of flyers which you know here in North America, in Canada we see a lot of them. And of course in Europe, I haven't heard today of Amazon doing something like that. How do you guys internally determine, you know, who are the right partners to work with? Cause you know, not everybody's an Amazon that has the sort of product reason reach that Amazon have.
Joe Revill
[11:37] From an advertiser partner, commercial partner angle, is always going to be those brands that align with the content that we create. So we're huge here in food. We lead the food category here in Australia and New Zealand. So that opens up a huge range of clients in the FMCG, fast-moving consumer goods, appliances and ingredients and that kind of thing. And then we also, as you mentioned earlier, the relaunch of Elle magazine, have Marie Claire, that's premium. There's not that many luxury titles, fashion titles out there anymore.
And so that allows us to go and speak to those really luxury fashion brands, your Gucci's, your Pradas, et cetera, and who are regular and very important clients for us. We're always trying to approach new clients, obviously, but we don't have a set criteria. They don't need to be huge. They can be small. We have such a wide range of assets available, all the way from the social media through to print, a whole wide range of budgets we can work within. know, we even in a traditional sense, we've done things like partnerships with luxury travel companies where we've created coffee table books for them under the Gourmet Traveler branding, which have been really successful.
And on the other end, we do these pure affiliate campaign deals directly with those retailers where we have content that we publish from a dedicated team of commercial content writers who write it specifically to attract affiliate clients and via some of the partners like LinkBee and things like that. That notices and finds those deals and pulls them into our ecosystem and then they can trade on a cost per click basis, so a very little level really open as long as it makes sense for our audiences.
You know, we will speak to those people. But I would say as well, if we switch that, who do we partner with? Question as well to like our platform partners or technical partners, that's something else we think a lot long and hard about as well. There's so many different people we can partner with in the case of the digital magazine production side of things, we've worked with a number of people over the years.
And I think there's a lot of it's quite easy for us, for Ruairí yourself and me to, you know, see a shiny new thing come out and you think, that looks really cool. And everyone in the business is like, that's going to be awesome. We're so close to it sometimes it may not be something that oRuairíur consumers really want. We think it's great, but they might not. So the research comes in there again. We use that research to understand what is going to add value for our readers.
Part of the reason or a big part of the reason why we just relaunched our native magazine apps. So the digital versions of our magazines available via an app. They first launched many years ago in the 2010s, maybe just before when iPads were the great shiny thing and everyone was going up, everyone's got to have an iPad. So we launched the magazine apps at that time and they were literally a PDF reader. So you could just swipe past the PDFs.
And we kind of stayed with that format for a long time. And then people at Apple News came along some, you know, with what press reader do with the, you know, the read modes and all of the XML formatted reader experiences. And all of a sudden we were looking really dated and that kind of, you know, when I came into the business, I found, okay, here's an opportunity. So that's why we went through and worked with Branded Editions to then relaunch the apps.
So now going from a static PDF reader and magazine apps, they have an RSS feed or website feed from our the associated website. The print content is in read mode, you can translate it, you can have it as audio. We have we are actually just testing and about to lRuairí Doyleaunch next month as a button within that app. So from the user interface, a reader can see something and go shop straight away and then they stay within the app ecosystem and then they are able to transact, make their purchase and still stay within the app. We're not bumping them out to someone else's website to make the purchase.
Ruairí Doyle
[16:19] Are you able to talk a little bit about either the targets or the results that you're seeing in making the switch to omnicommerce in terms of the revenue mix? There's obviously the traditional advertising side of things in print and digital. What are the expectations for the business in terms of how the commerce side can can start to contribute and where are you in that journey, if you're able to share with us?
Joe Revill
[16:52] Yeah, so we're it's interesting because for you know, for a number of years, globally, the decline of print publications, or advertising in print has been, you know, shouted from the rooftops. And so we've been planning for that for some time, which is why we've lent into this new omnichannel approach. But we've been constantly surprised. We keep getting readership growth quarter on quarter. We went through six quarters of readership growth into the March quarter, and then it was flat for the next quarter, which is, in this environment, we'll call that a win. So it's not going down as quickly as we thought it would.
But in the background, we've always been working on this new stream of revenues, which, you know, at some point, the prints going to come down and then there's going to be a crossover point. But I think that crossover point is actually going to be later than we thought, because print is holding its own, even though the other side is really growing. So the mix is definitely switching. And the affiliate and the content commerce is growing. It's growing at pace, we're doubling the affiliate, of content revenue every year is, you know, we've only really started going hard at it for around probably two years.
There's a lot of different partners out there you can work with, which are kind of middleware, if you like, that can connect publishers with affiliate partners. But you can also have direct relationships. And as we're gaining traction in terms of being well-known in the market here in Australia and New Zealand, we see more and more of those direct relationships, which is really important.
Of course, we love working with these third parties as well. They are very beneficial for us and it's a good partnership. But a direct relationship is one less clip of the ticket along the way. So that's something we're getting really good at. We've employed a massive team now of writers dedicated to writing content specifically to attract those affiliate links. So it's, know, and not click-baiting. It's like true editorial content that creates the perfect environment.
To place those affiliate links, whether it's talking about looks on the red carpet, or here in Australia, we do love a beach. Whether it's the sand-free towels or something that are out there, it's not advertising content, we're writing about your day at the beach and all the things you need. And that's really starting to grow at pace for us. On the affiliate side of things, what we've learned along the way is the content obviously needs to feel true, that we write needs to be true to brand, brand voice, and relevant and feel very editorial. We started testing with pulling back all the ad space around our affiliate content that we wrote. So those ad pages would have less brand advertising around them. So in the past, someone might want some native content and say that person, that company was a tomato sauce company, and you're writing about recipes using tomato sauce, and you'd have the fireplace ads all around.
Promoting their product within it and it felt very in your face. Now we can write that content and insert the affiliate link, which is literally the word that can be clicked through and we can pull back the advertising. And we see when we pull back the actual physical advertising, those fireplaces and the pop-ups that are associated with that content, the click-through rates really go up a lot and people stay and don't bounce off as quickly. And then I think we've all been there, you when you're trying to view something, especially on your mobile.
And you know, you get sucked into something called social, you follow the link and next thing you know, you've to pop up ad and you can't see the words and you're like, I'm out. So that was a really key learning for us to get that balance right. think that whilst advertising is still a hugely important part of our business and we don't want to reduce this, you know, unnecessary reduce the inventory we have to sell, but it has to be right in the right environment. And pulling that back when we're already giving people affiliate links, we found had a great effect.
Ruairí Doyle
[21:01] And I believe last year you launched another product called Content Shop, which is an image library. I took a look at it. I searched for spaghetti and a couple of other different searches. And I was just wondering how that's been performing for you to date. What sort of content is performing best over there as well?
Joe Revill
[21:33] Yeah, so we launched Content Shop as a syndication platform. Like say, it's like a mini Getty or Alame. It's an image library. The reason we launched it was because we would often get reach out from businesses, creatives, architects, all sorts of different organizations that needed images that they'd seen on our pages, in the magazines or on our websites.
And, you know, there was a method for that. was you would email the syndication at Are Media email, and then we'd go through a very manual process of rights approvals and licensing agreements and setting people up in finance, etc, etc. So we recognize that there was demand there for that content, because the images that we create all live in Content Shop. To make this clear to all the other publishers or people listening in is basically our digital asset management system. So every single magazine we send to print, the files, the packages, all of that go into what is Content Shop, into the software that's content shops, everything. There's over 10 million assets in there right now. In fact, I think it's about 12 million when I last looked. So that's constantly growing. But what it didn't have was a market-facing front end.
So we couldn't like you just said, you had to look for spaghetti. People couldn't discover it. I might add campaign. I can just download pay and download that image. It was a long, laborious process too hard for people who are on deadlines that have to get this done by the end of the day. So with Content Shop, what we've launched is a consumer facing site. You can search for what you need from within our magazines. Obviously it's all the categories are linked to our magazines. It doesn't do all kind of categories.
And then you can actually go in, choose an image you can purchase and download the high res instantly. So that gives us a whole new kind of revenue stream, if you like. We always sort of syndicated on a bigger, larger business to business kind of method, but this now makes it available to, especially in Australia and New Zealand, just to the small sole, you know, sole agent designers or small design agency creatives, book publishers.
It's all available to them easily and making it like say, transact by credit card, or they can send us a note and we can just do a quick invoice. It's just a much simpler process. What would have taken a week now takes 10 minutes at most. Hypothetically opens you up to an international audience provided there's like licensing outside of Australia and New Zealand.
Ruairí Doyle
[24:16] How are you promoting Content Shop or how do people learn about Content Shop?
Joe Revill
[24:21] Yeah, so we promote it in Australia or New Zealand via the trade press mainly. As we know, we have many publishing and advertising and creative related trade press here and then to trade with our partners overseas. So to make an actual credit card purchase via content shop, you have to be in Australia or New Zealand. It won't work.
Ruairí Doyle
[24:25] So all the hype in the news publishing world these days and certainly every conference that one attends at the moment is Gen AI. I'm interested to know what's happening at Are Media with Gen AI. You know, everything is possible these days from generating images, generating videos, generating covers, generating articles.
Joe Revill
[25:12] Yeah, sure. And Gen AI, it really is consuming every single article I read at the moment in terms of what's happening with Gen AI and it's moving so fast, so fast, it's incredible. For us, it's something we're really interested in and we see a huge amount of benefits. We are very cognizant, however, about what is ethical within Gen AI in the publishing sense.
Because there's a lot of rights questions, which are still very gray and from like yourself, I've been to lots of conferences on Gen AI and I've been listening and the piece of the puzzle which no one yet seems to quite have the answer to is if someone uses Gen AI, a company to create an image, to create some text using open source learning or open source platforms.
Well, those platforms have gone off and scoured the internet. They found various bits of data to create the output. But who owned that data in the first place? Which makes it tricky. So this is why you're seeing the big deals in the news like News Corp doing the deals with OpenAI. Pitched to our executive team, some pilot ideas of tools they've learned about or seen that they think could be really beneficial to our business and why.
So we went through that process and on the back of that, there's been just over 10 pilots selected for us to then go away, have some budget behind to go and start trialing platforms and make with things. So that's what we're doing. And already we're using it and finding we can do things like for some of our magazines like our weekly is where they always have a cover model, always have a cover model on the picture, just to face. And it might be a puzzle book. Just a happy face, but it doesn't need to be a specific person.
So we've already started trialing and creating synthesized humans for this, you know, with using a lot of our own proprietary data as well. We know we have the full rights to it, so can learn from that and other platforms. And then that can be published, you know, and it doesn't have the need for a photo shoot.
So that's really beneficial, right? It saves that money. So that's one of the kind of pilots and things we've been doing. But there are pilots across lots of things like, you know, in the call centers. So we have call centers for all our subscribers, we're using AI and chatbots and those things we see commonly already, we're trying things like that. But for me, the one that I find really, really fascinating goes back to that ethical creation of imagery, because I've always want for our team more things to sell on Content Shop. And we're going to do so many shoots. I'm like, well, how can we take what we've already got and then look at generating a set of what was 25 original images and making that 500 by taking that content and synthesizing it and re-imagining it with different lighting for different times a day, removing people from the shop, removing pets, adding pets, know, changing backgrounds and interiors, all of this.
So this is where it becomes really interesting. So I'm working on a pilot on that, which solely relies on our own asset library to learn. So there's no open source in there. So then we can own 100% the right to that content with confidence. And you know, either license, obviously, if we were licensing that would make it clear that it was synthesized. I think that's really important to be transparent.
But also, you know, if you need some stock photography for some page fillers or something like that, can be used like that, there's lots going on and there's all sorts of areas of our business, finance, you name it. They're all got ideas and yeah, it's really interesting time. What I will say though, I think you can't sit still on it because you think something's good, think that or that can't get better. And then literally a month later, you know, something else pops up, you think that that is huge. And, and also, of course, Big Tech making a huge run for it, right. So they are doing land grabs all over the place, as we've seen, an interesting one to me was Leonardo.ai, a new generation platform, really cool. They're actually Australian founded and, and owned. And they just got purchased by Canva.
So, you know, it makes perfect sense, right, because Canva have, you know, an amazing suite of tools. But now they have a capability once they've integrated the Leonardo tools into their business, you know, can the age of the old PowerPoint presentation, I think it's days and numbers. Hopefully.
Ruairí Doyle
[30:15] There's been a couple of tries where we were just talking internally last week about Prezi. I don't know if you remember that one where it goes all over the screen. Thanks for sharing those examples from the labs, if we can call it that, at Are Media. I'm wondering if it's happened already or it's on the cards for the team to do a sample test with people. Here's something that was produced in our normal methods of doing a cover shoot and here's one that we generated. Which one was AI, which one wasn't?
Joe Revill
[30:51] Yeah, we've done it. So we have every month our CEO hosts a staff all hands and we have presentations. So everyone joins that. And internally, we have done exactly that. We've done a number of covers. There's like guess which one it is. But we haven't asked the general public to do that kind of comparison yet because I think, as I said, things are moving fast, but you can still spot it like especially in areas like I find greenery in backgrounds, it really struggles with that.
And the other things you have to watch out for is if you've generated something and it's put a poster on the wall that should have some writing, it kind of goes in a weird hieroglyphic, you know, and faces are getting really good, like scary good, but there are sometimes some will look a little bit porcelain or, something just looks a little bit off, like the face doesn't quite match the rest of the body, you know, so there's still some, they call it hallucinations in the gen AI world. But we, have gone externally, not to ask people to compare, but we have gone out and published Gen AI images, like those, some of those like puzzle kind of weeklies and that kind of thing.
Also, we did a cover for Bell, one of our Luxury Homes titles is the 50th anniversary. So we actually created a cover using Gen AI for that. It looks beautiful.
Ruairí Doyle
[32:16] Cool. Any reader feedback or I know sometimes there's royal images that have been doctored and people are spotting them left, and center. Any reader feedback or audience feedback on any of those things?
Joe Revill
[32:32] No, we haven't actually. We're very careful not to use necessarily do it with humans at the moment, because that's when it can get real really, you know, you to be super careful. You know, the cover was an amazing stately home and backgrounds are all there. So that wasn't something that no one's given us any feedback on, although it's just recently come out. the part of our research department, they measure cover performance all the time.
So every single issue, every magazine, they're looking at the covers, they look at the sales data, which covers sold better, and we constantly learn from that. So that's another place where Gen AI comes in, right? Because we can knock out a lot of different cover ideas very quickly. Whereas before, it would take a team of art directors, which are still very important. The art direction needs to be there, but the operators and the pre-press operators to try and put all that together. Whereas, is that piece in the middle?
That engine of Gen AI has made that whole thing a lot quicker. A-B testing covers, I love it. Yeah, we are. And as you mentioned, it's the pace of AI, all the conversations and what you came up with as a pilot in combination with that, everybody's been predicting for a long time that print is in decline and has an endpoint.
Ruairí Doyle
[33:56] So what science have you seen that might not be the full story in terms of how the print world is working for you today?
Joe Revill
[34:06] Yeah, we talked about it a little bit at the top, but we're finding our reshift numbers, they actually have been on the long six quarters of consecutive growth. They were a bit flat the following quarter, but that's still really strong. So the predictions have always been a really steep decline.
And we've seen growth in readership or flat readership. So yes, overall circulation is starting to decline or has been starting to decline for a while, but it's happening at a much slower pace than we thought. And then we are also seeing demand start to come back from advertisers and readers that want to be able to pick up a magazine or want to be able to advertise in a magazine.
One of our sales reps mentioned it and I love it is just that in a time where we've got this cost of living crisis, a magazine is one of the last affordable luxuries. So people go in and that's something they can buy and have for themselves. And we find, especially in that with Elle example, we relaunched Elle magazine, which had been closed in print, but carried on as a digital website proposition and social proposition.
The demand from those luxury advertisers was really strong and they were calling for it back to come back. we relaunched and it outsold all of our expectations and the advertisers were super happy. We launched that as just two issues in this year. So once tried and we went again next year or before and hopefully continuing to grow. So that's a really strong sign that print is, I'm not going to say it's going to make a renaissance, but this place in the media mix is still really important and is placing consumers lives is still really important.
Everywhere I go, any waiting room I go, it's obvious and stereotypical, but there are magazines, normally our magazines that I find in those places. So they get read over and over by so many people, not just the individual that buys them. So I think people are recognizing that. And for advertisers, not only the kind of environment and having somewhere that is less noisy than digital advertising. But something where they know that the reader is leaning in and really spending a bit of time with it and alone time having a cup of tea or a coffee. think that I think that that's becoming more important, which is, which is great to see.
Ruairí Doyle
[36:47] Joe, it's been a pleasure to talk to you and to get to know the Are Media story. We've one last question that we'd like to ask people on this show. Imagine a parallel universe where you never ventured into this never boring world of media. What would you be up to?
Joe Revill
[36:58] Well, I'm a bit of a bicycle fanatic. My wife gets frustrated with me that I have so many bicycles in our garage and complains when she tries to put anything small in the garage. So I think I own a lot of bikes, I ride them sometimes, I tinker with them, I love them. I think I would probably own a bicycle shop, but I would be completely broke all the time because I would want to buy all the new bikes that came out. So I wouldn't really make any money. I think that's where I'd be a poor struggling bicycle shop owner.
Ruairí Doyle
[37:32] Premium bicycle shop owner.
Joe Revill
[37:34] Premium, exactly right. Yeah. Can I say omnichannel? Probably not omnichannel, but anyway.
Ruairí Doyle
[37:42] Joe, it's been a pleasure. Thank you very much for joining us.
Joe Revill
[37:52] Yeah, thanks for having me. It's been a pleasure and great to chat.
Ruairí Doyle
[38:00] And that's a wrap on our latest episode of the PressPectives Podcast. Thank you very much, Joe, for joining us and thank you all so much for tuning in. We will be bringing you new episodes every month, each one featuring a different leader in the world of publishing. So be sure to subscribe on Spotify, Apple Podcasts, or YouTube to catch the latest. Bye for now.
