The longtime leader of Dr. Seuss Enterprises discusses the responsibility that comes with managing the valuable vault of books and IP left by the author and illustrator of such indelible children’s books as “The Cat in the Hat,” “Green Eggs and Ham” and “Horton Hears a Who.” She details the company’s approach to expanding with content beyond the original Seuss canon, and she outlines the reasoning behind the recent flurry of new Suess-related movies, TV shows and books.
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Episode Transcript
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Speaker 1 (00:00):
M Welcome to Strictly Business Varieties, weekly podcast featuring conversations
with industry leaders about the business of media and entertainment.
I'm Cynthia Littleton, co editor in chief of Variety Today.
(00:20):
My guest is Susan Brandt, President and CEO of Dr
Seus's Enterprises. Dr SEUs is truly Sue Jannaris. The sixty
or so books left behind by author and illustrator Theodore
Geisel are incredible and enduring work. From The Cat in
the Hat to the Lorax to Oh the Places You'll Go.
It's uniquely resonant across generations. As Brandt puts it so well,
(00:45):
Dr SEUs really represents childhood for so many. As a
writer and a reader, I'm marvel at how his books
grow with you at every age you learn something new.
Brandt has the responsibility of managing the archive and keeping
the world of SEUs fresh. Based in San Diego, Dr
SEUs Enterprises is the for profit company that is owned
(01:07):
by a foundation. The proceeds from SEUs Enterprises work go
to support children and family focused charities in the San
Diego area. In our conversation, Brandt explains how the company
is thinking about the content marketplace at this time of
incredible demand for established titles. She also shares the sweet
story of how following her heart by moving to San
(01:29):
Diego led her to twenty four years and counting with
the brand she loves. That's all coming up on today's
episode of Strictly Business. Susan Brant, President CEO of Dr
Seuss Enterprises, thank you so much for joining me today.
(01:51):
Thanks for having me. You are the steward of all
things Dr SEUs that managed the the archive and all
of the electual property left behind by the amazing, amazing
author illustrator Theodore Geiselm better known to millions as Dr SEUs.
So I would like to start at the thirty foot view.
(02:11):
You are in such a unique position with the steward
of this incredible, incredible marquee content at this moment in
time when there is so much demand for content, so
many different avenues to take. Truly beloved, I P, how
are you? How are you looking at this landscape? How
are you managing? How are you managing things? And all
of the And have no doubt the incoming calls are tremendous. M. Well,
(02:35):
first of all, we do take stewardship very seriously, Dr SEUs.
You know we're blessed with this beautiful I P. And
would we take that responsibility quite seriously myself and everyone
else on the team. UM, we also take really seriously
the relationship that our fans have with this property were
so unique. UM, you alluded it, alluded to it. Generations
(02:57):
have grown up with Dr SEUs. It really represents its childhood. Uh.
It represents that bond between parents and children, UM. And
as such, you have to be very careful with what
you do with this content. UM. Then we also watch
and we say, what are where are the places that
we can further that relationship? Where can we take this
beautiful i P? And how can where can we deliver
(03:19):
it um to where our fans are in fact consuming it?
And that's why you see us actively involved in things
like streaming UH films, UH podcasts, stage shows, you know,
even cruise ships. UM. If there's an opportunity to reach
our audience and deepen that relationship, that bond, that's what
(03:41):
we're looking at. When you are working with content that
is beyond the you know, the original canon of what
Dr SEUs left left? How do you what is the
gut check? How do you determine the quality to control
that this is worthy of the Sieus brand. I think, Um,
you have to pick your partners really carefully. Uh, in
any venture, whether obviously you know you're making T shirts
(04:04):
or cruise ship partnership, You've got to make sure and
we try to make sure it's always best in class.
And that's where meeting that team, uh, seeing what they've
done before, having discussions about how they might utilize the property,
That's where your gut comes in, UM, And then I
think you trust you know those partners, you really do.
There is a sense of letting go. UM. You if
(04:26):
you do find and you find the experts and your
gut tells you that's the right team. You know, you
we understand the DNA of it they entertand the expertise
of their genre, you have to let them go. And
so there is a bit of a leap of faith,
UM that says, I'm going to give you this this property,
and you're gonna you're gonna caretake it. There's checkpoints for sure. UM.
(04:48):
You know all the way, I'm very actively involved in
the major entertainment deals. So I'll work with the product,
the producing parties, the creative teams, on films, on television,
even the cruise ships, but all the way down owned
you know, every member of the team is touching those products.
So um so, so I think it does go back
to finding those right those right team members, those partners,
(05:09):
and really partnering with them. But it does sound like
you said, you said you you're checking in every step
of the way, you know, every iteration, because as you know,
it takes you know, it doesn't take long to tarnish
even a gold plated brand with Yeah, um, we are
notoriously tough. I understand. Uh in our approval rights where
(05:33):
that is when people uh enter in an agreement with us.
That is something that I have been told is like, wow,
no one gets these approval rights. We do. Um, we
do and and and we also have a proven truck
track record of not holding up productions. That's when people
are nervous about and I get it. Um, you know,
production is expensive and when you have to go back
(05:53):
to the rights holder, uh, you know, the potential for
loss of dollars. We get it, and we've been able
to do that so successfully in the past that people say, okay,
and we That's what I mean about being a partner.
You have to know when you can jump in what's
important to change, um and you know what's important for
that brand, right, what's important for SEUs? So where will
(06:14):
I push back and where where will I not um?
But yeah, it's it's it's certain rights me out, is it?
Of course we know that the industry is you know,
the the industry is in the middle of a huge
content boom and a huge moment of globalization where we
are really seeing for the first time borders really kind
of being erased by gigantic platforms. So there's a lot
(06:36):
going out on the marketplace. But is there Is that
the reason why we're seeing a lot of sious initiatives
in media right now or is it just kind of
coincidental that things have been brewing for a while and
this is when a lot of them have come to fruition. Well,
things have member and it takes a while to do
these deals for sure, but um, the opportunity for where
we can place this content is exploding, right and so
(06:58):
there's all these opportunity us for us to develop new content.
Deals do take time, and sometimes they all tend to
happen around the same time. A lot of the news
that you're hearing, particularly a preschool slate our Warner Brothers,
since we have three felts with Warner Bros. Actually, Um,
those obviously had been in the works for a while. Uh,
(07:19):
they just happened to all get tied up at the
same time. But a lot of this is being generated
by the opportunity to create content for a different delivery,
like again podcasting. Um, that's we're not yet in that space.
We are having discussions. It's really exciting. Um. That didn't
really exist pre pandemic. There really wasn't a huge There
was some, yes, but it wasn't as as prolific as
(07:41):
not nearly as much attention for sure overall. Yeah, yeah,
so we listen, you know, you pay attention, you listen. Um. Uh,
you just have to see what's moving and and and
what's appropriate. We're not always also concerned with being a
first mover. Sometimes we do. Ofttimes we wait and we
say is this appropriate for this brand and our families?
(08:03):
Is this space where we want to be? Um. So
you may not always see us move first. Um, sometimes
we do, but oftentimes we're very We're watching and saying
is this the right move for us? Yes? Sometimes the
deal is just kind of all culminated around the same time.
Is the Sush brand at first Plush You think of
the Sus brand as fairly you know, two to five,
(08:24):
two to six year old age range. But is it
broader than that? I mean, of course it has the
love of parent, you know, it has that multigenerational that's invaluable.
But in terms of the core the core readership, is
is it that younger? Is it? Is it? Well? I
mean fundamentally, you know, the company was built on books.
You know, yes, eighty three years ago, you know, four
or five books. We have absolutely grown into a global
(08:45):
entertainment company. But the core those books. You know, we
speak to the preschoolers, we speak to the early readers absolutely,
but we've been able to take those books and parlay
and build beyond that. UM. We certainly have an audience
in teens. That's why we can do collaborations like The
Supreme or Kylie Jenner. UM. That's way our films. We've
got five films and collectively be one point five billion
(09:07):
at the box office. You can't do that with a
preschool only property, right, So we've had this and I
think part of the reason we can do that UM
is I'd say we're really smart, but I think Ted
Geisel was really smarter. You know, his his stories have
such universal messages and themes that you really kind of
never outgrow that, right, You never outgrow a concern for
(09:28):
the environment or an understanding of wide diversity. So it's
so important, um, because those themes you never ever grow.
We can take that, and we can take those characters,
um and remain relevant as people age. So we've got
you know, teens, we've got young adults, we've got parents,
we've got teachers, we've got grandparents, um, and we can
(09:48):
talk to each one of them. Uh, done right in appropriately.
You also recently announced on the book front and really
fascinating initiative on the book front that also kind of
raises the tantalizing suggestion that there is quite an archive
of Dr SEUs and Theodore Geisel drawings that exist that
(10:09):
you are now going to kind of share and put
out in the world for creators of all different backgrounds
to come in and make new works inspired by some
things that that are left. So that I have the
image of a very colorful spire tower that is the
archive of of works. Tell me, tell me a little
(10:30):
bit more map about that project and about the archives
that still are left perhaps to you know, to look
through and to look through for content. And I don't know.
The day that we're recording this podcast, every single motorcycle
in Los Angeles is going down my street. I would
just like to know. It's a work from home Friday
and all the motorcyclists are out. But anyway, tell us
(10:54):
about the book Seuss Book Initiative. Well, I hate to
burst your bubble. I'm with the archives. Look like you
can keep your tower in your head. It's in a library. So. Um.
When Ted died, Audrey Geisel, his widow, donated all of
his notes and his sketches, everything to the to the
UCSD library, which was renamed the Geisl Library. Um. So
(11:19):
it's a library. It's in the library. Um. And as
any artist is, uh, Ted wasn't linear, right, they don't
start middle end right there. They're extremely creative. Um. And
so Ted would just draw draw things doodle. Um. He would.
He had hit different folders like things that's a villains
(11:40):
and all these really interesting yeah right, all these really
interesting little characters and sketches or places, just locations. So
they were just ideas. And I think maybe. I mean,
I didn't get the chance to meet to guys all one.
I feel like I know, but I don't. I would
imagine he was testing things on to see if there
a story here or I don't know, or just doodling.
(12:00):
So while there's also the library all the original sketches
for the books that are published, which, let me just
tell you if you're a fan, is amazing. Um. It's
like you can see his thinking yeah, but then there's
also yeah, right, super cool. But then there's also um,
just again these sketches, and they're just beautiful characters. So
there's characters, there's locations, there's crazy machines that just didn't
(12:22):
go anywhere. They were just his um. And so our
thought was, um, I I spent a lot of time
with the archives. I just helps me understand the man,
which helps me care take get us better. And so
I saw these and I thought, we need to do
something with this, and why not take these and allow
these new and emerging voices um to you know, keep
(12:43):
that legacy alive and let them take it and say
do they do these stories? Or sorry? These images inspire
a story. And so the thought is to let emerging
artists take you know, a sketch. You could be a character,
it could be a place, it could be you know,
a machine, and come up with their own story and
write a book, a beginner book for readers in their style,
(13:05):
their prose, their artistic style, um, the you know their characters, um,
and tell the story. And then these books would also
just have a quick aside um maybe the four of
the backwards. It would say their process, like why did
they like the hummingbirds? And what why did that spine
this beautiful story? Um? I just love the idea. It's
also actually in keeping with what Ted Gasl himself did.
(13:26):
So Ted started the division at Random House called Beginner Books,
and he was pressed logo again one of those things
that just is such a trademark of quality to parents
for generations, just utterly invaluable in terms of again that
that that what it's what it speaks to about what
that book is going to represent for that child. You know,
(13:46):
so many people to that end. So because when it
was a beginner book, Ted put his cat and hat
and the logo on it. Right, This was part of
the the division of Random House, part of the what
do you call it? Um? I can't remember the name.
Of it for the books. But anyway, UM, so that's
why there's other authors that have that logo on there.
So many times people say, what do you do You know,
I work for doctors. Oh my god, I love doctors SEUs,
(14:07):
I love Go dog Go And I always say that's
a great book. But at the beginning book you know
it's not a Doctor Seu's book. Um, but it was
in the same thing. So Ted worked with emerging UM
illustrators and authors at that time to help basically kind
of teach them how do you write a book it's
appropriate for early readers. And we are not no, we
don't have to teach anyone. But the idea of giving
(14:29):
a platform to new and emerging artists is certainly consistent
with um what SEUs is all about. And so those
will start as books and conceivably, you know, that's more.
That's more I t P. Will they be branded some
form of Dr Seus's dot dot dot, or will use
the name Seue Studios. So just like you see the
(14:50):
inner book logo on like Go dog Go, Um, you'll
see a Sue Studios logo on someone's book. Um, but
it's their book. They on the copyright, their book, right,
it's just under our line of books in print. In
print was the word I was trying to think before imprint. Uh,
this is not an imprint. This is a line of books.
And I guess in the publishing business there is a
difference between the two. And is I think I know
(15:12):
the answer to this, but I am curious. Is there
any is doctors? Is Dr Seuss always a kids and
family brand? Is there a version of Dr SEUs that
could be more adults? I mean I realized some of
the movies have aimed, you know, a little broader audience,
But is there something that would that could you know,
if you were to do with a fully adult themed property,
(15:35):
Is that then out of the realm of consideration? No,
I mean maybe we've talked about it. Um, I mean
could we do so? For example, Ted guys on these
notes are in the library as well. He gave lectures
on how to write children's books. Um, that could be cool, right,
Like maybe you do we do a book that teaches
you know, adults, Like how do you write a children's book? Um,
(15:58):
we've toyed with books on our um, you know, taking
those early sketches and you know, doing in a book
that it's truly because they are beautiful, they're like piece
of art, you know, and doing that type of a book.
So the answers, we've thought about it. It's something done,
haven't haven't on the right idea quite yet, but I
think it's conceivable. Why not don't run off with thing
(16:20):
one or thing to stick around to hear more from
Dr SEUs Enterprises CEO Susan Brand and we're back, just
like the sneeches on the beaches with more from Dr
Seuss Enterprises, CEO Susan Brand. Because it's such an interesting
(16:44):
life and the legacy is there have there there must
have been inquiries about doing a a more traditional Hollywood bio.
Pick of Theodoreguisle is that does that ever come across
your desk? I know you have a background in film.
You would previously work for twenties Century Fox. I didn't.
I worked in the home entertainment division though, so a
little removed from the lot. We were the hanger on ors,
(17:04):
you know, like, uh, you were making the money and
back in those were in the money. Yes, I've always
been a classic marketer, so I took that approach with
how entertainment and when I when I was there it
was actually h S type tapes, So it was it
was it was back in the day. Um, yeah, of
course we've been we've been approached. Um, we had a
partnership with Illumination Entertainment with Christmall and Andre uh and
(17:28):
Chris and I did spend a lot of time thinking
about could we do a biopick, how would we do
it and how would we make it special and unique?
And just couldn't figure out the story, couldn't figure out
the angle um for for the film. So just haven't
quite figured that out yet. But would you say it's
something that is kind of still simmering somewhere in the
idea stage or uh DC is not seriously considering it.
(17:50):
Not right now, We've got three films that will focus
on right now and we're very excited about. Those are
the films that I alluded to with Horner, right so
you had mentioned John Shoe, uh Hand Gela and Bad
Robot with the plus you'll go. We have two other films. Um,
it's working also with Warner Animation Group. We have The
Cat in the Hat and we have The Thing Movie.
So right now, and as you're alluded to as well,
(18:12):
we've got a lot of content with Netflix. We're focused
on those right now. We're not actually seeking another film
right now. It sounds like you've got to let you've
got a lot going on. When you do a deal
with Netflix, given the you know, given the i P
that you bring to the table, do you own the
underlying series? Is that? Does that become a property of
doctors Enterprises? Or does Netflix? Does that property? Lie You're
(18:36):
asking me to go back to that contract and take
it through. Typically, and I have to go look at
the Netflix deal. I don't remember. Typically, like when you
do a film, the studio is a copyright to the film.
That's very normal. Um So I would imagine that we
we probably scheduled, strutted of that way. Honest, you don't remember, um.
But all these rights are very outlined, you know in
your contract what they can do, what you can do,
(18:57):
who can utilize it, etcetera. UM, I just don't know
the underlying copyright. I would astly imagine it's Netflix, um
because that's how we do our films. That's what most is.
Um So for example, to check you on special, the
TV special that was originally MGM, they have the copyright.
So it's usually how this is down to copyright's held
by the studio. How the Grinch stole Christmas? Yeah, yeah,
(19:18):
the chech on special. Um So, I honestly don't you know,
I'd have to go back. I'd be surprised if it's
not structured that way, is there? I mean, can you
give me an example of sort of again bringing that
kind of ip utterly utterly unique, you know, I p
that that gives you leverage in dealmaking when you're when
you're talking about media or any kind of exploitation of
(19:40):
those rights. Well, you know, we're just fortunately we come
to the table with Dr sus so you know we
can and I'd like to think we're fair but tough negotiators.
You know we're going to get, you know, a good
above market deal, both in terms of the financials. Control
is important to us um any kind of ancillary you
(20:02):
know rights will will will negotiate. That gives you, you
know a bit of leverage without having I can't really
get into all the details, but it does allow you
some leverage. That said, we are always motivated to do
a fair deal for both parties. Doesn't make sense if
you do a deal that really is one side either way.
Eventually one party is not happy. So we really do
try to be good partners. You know, we're gonna fight
(20:24):
hard for what we think is right. But at the end,
it's got to be a fair, fair deal for both.
When I standed on copyright, that's to what what's created
the you know, obviously the characters that we come with
we keep. Those are ours, and there are always ours.
Nobody ever gets those. Yeah, but the new entity that's
created is probably you know, it's probably Netflix is a
carerate like I got. I have to look at the deal.
So I think I can appreciate that distinction. And that's interesting.
(20:47):
You know, obviously, thank you, thank you for for for
candor there um. And do you see it's interesting because
I would imagine, you know, I think you mentioned to
me before as a statistics, something like one out of
every four family or child born in the United States
gets get some form of Doctor SEUs book in their
(21:07):
first year. Is if I'm repeating that first book as
a first book, Yes, our first book one and four
gets the Doctor SEUs book as their first book. One
of the means yeah, yeah, that is just excuse me,
that's just a you know, kind of a stunning level
of reach. Um, do you so, I mean, again, those books.
I'm sure that just that there's a certain sales volume
(21:29):
that there's just always. But do you see when you
have new TV or film content in the market. Do
you see an appreciable spike in the sales of those
classic books if the content aside to you know, if
the content is tied to it, or if there's just
a moment where people are talking about Dr SEUs again. Um, certainly,
if we have a really exciting and successful uh product,
(21:51):
whether it's a film or its television as we like
to say, all boats rise. Um. You know, it's not
usually just whatever you know, book this, this the entergy
may be based on. It's literally our our portfolio rises. Um.
And that's books that could also be licensed products as well.
So successful entertainment projects really help the entire portfolio. M
(22:15):
And tell us a little bit about how the Doctors
to Enterprise is structured. I understand that it's basically the
overarching entity that owns it is a foundation. Yeah, so
we're definitely for profit. It's really interesting, Uh people always
think we're a non for profit or they'll called taka
tak us like we're the estate, which I think is interesting.
I think that goes to the good will there is
(22:37):
for the property. UM. We do first and foremost we're
about being good to children, UM and being good to families.
Everything we do we use that barometer. Is this good
for kids? Yes? So I think that's where some of
the beautiful halo where people think we're a non for
profit but we're not. We're for for profit organization. UM.
Since autre past. We are owned by a foundation, but
(22:58):
we are not the foundation. We simply are able to
provide money to the foundation so that they can do good.
Uh Huh, that's awesome. That's gotta be. That's gotta that
in and of itself has got to be outfully for
every every bit of dollars and you know, start repay
our bills. But after that, you know, the money goes
to a foundation. UM. And and they do good in
the world. And that's a that's a nice feeling. What
(23:21):
what size of an operation do you have? Your based
in San Diego or in San Diego? You know, UM,
we never like to give absolute numbers. We're smaller than
you think. Uh. And yet I always say, um, you know,
there are hundreds, if not thousands of people are in
the world and work on and it's because we have
a very unique way of working. We do have a
(23:41):
core team that works in San Diego, Los Angeles, and
actually have one in the Midwest right now. UM. But
we a partner with a lot of licensing. We love
a lot of agents, so we have licensing agencies that
work with us in Europe, UH in Australia, UH in
Latin America, in Asia. We also work with agencies that
help us in the entertainment space and the publishing space
(24:02):
to work at I C M C A. UM. We
work with a lot of different agencies that rep us,
you know in their various that we work with full
publishing agencies Chris Brown. Um, So we have a lot
of people that are on our team that are helping
sell and manage our relationships. So in that regard, we
really do have hundreds, if not thousands, They're just not
(24:23):
in a direct payroll. I chuckle. Thinking of the response
that you must get when people ask you what do
you do and you said, I'm the CEO of dr SEUs,
that must be kind of a I'll tell you I
love my job and I also love getting to tell
people this is what I do and people say I
love Doctor SEUs, and my response is always I do too.
I do too. You know, I love this body of work.
(24:47):
It's great when you can absolutely say that. Tell us,
how did you get there? You've been there more than
twenty years now. I like to say, I join when
dinosaurs were still whirl in the earth. Um. Yes, I've
had the good fortune to work here since n so
for a long time. You know, a little bit of luck.
A little bit of luck got me here. Um. I
(25:07):
was working in Los Angeles, was working for toye such
a Fox Film corporation in Home Entertainment International, and my
then boyfriend now husband had an opportunity in San Diego
and he says, you know, would you move to San Diego? Yes,
yes I will. And people said, oh my gosh, you're
you're throwing your your career away for a guy. I'm like, yeah,
because it's the right guy. Through said career away. I
came down here and I read the newspaper that Doctor
(25:30):
SEUs was doing a movie and I wouldn't work, and
I was going to just figure out what I was
doing down here, and so I wrote to Doctor Seuss
and I sent them a cover letter and rhyme, which,
oh my god, it cringe now, and it's it's just
the luck came from I sent to them in the
day that the head of the board, I said it
to him, received my resume. They were deciding at that
(25:50):
day whether or not they were going to hire somebody
to help them as a license and they were split
words split on this other woman, and they said, well,
this resume just kidding, let's talk to this. It was
Susan A. Sullivan time this time is susanal Sullivan um.
And so I came in and I got the job.
So I just happened to open the newspaper that day.
I just happened to get the resume before they made
the decision to hire this other hire this other woman.
(26:12):
And I loved it so much. A stage went four
years later, I'm still here, Susan. You have to tell
us at least one of the rhymes in that cover letter.
You have to you have to. I've got I will
try to find it for you. Something. I don't have
it here. I wish I kept it, uh you know,
but I don't know. I thought it was clever at
(26:33):
the time, and I look back, like this is silly
and so I got rid of it. I'll find it.
I'll find it. I think one thing, I think, you
know a few generations of variety reporters have had the fun.
You can't do it all the time, you can't overdo it.
But every so often, every couple of years, that there
comes a project or an opportunity where you can write
a story in Susie and dialogue and rhyme, and you
(26:55):
just you just do it with apologies to the master,
but knowing that that, but knowing that, you know, you
think about just the love of language and the playfulness
that those books, that that work inspires it. It's true.
I just I find it again as a writer. I
just find it so awe inspiring to step back and
think about what it stands for and what it means.
(27:15):
And so I think, you know, I know that he
would appreciate that it resonated that long and that people
care so much. It's really it's exciting. Let Madre Audrey,
his his his wife, his past used to say, she
used to think Ted would be tickled. She's always say
Ted would be tickled that we're still talking about him
(27:36):
and his works. Um, And I love to think that
that he'd still be tickled that people care. Still we do.
M uh, Susan, let me ask you to take another
step back and tell me in your path into marketing
and into business, what was it? What was it in
your you know, early career or or background. What was
it that put you on the path that you to
(27:56):
get you to where you are today? What made you
get into this into the industry, the entertainment industry. Absolutely well, Um,
I always wanted to work in business. Even as a child,
I played office, which is funny. I made my brother
be my secretary. Um. Yeah. But I also about when
I when I had the opportunity to do so that
(28:17):
I would only work on a product or with a
company that I truly cared about. So I really wasn't
interested in working you know, perhaps working for there's nothing
wrong with it, but I wasn't interested in working with
like a progre and gamble and soaps or things that
I just not a ship out care. So I only
wanted something I was passionate about so I could spend
the amount of time learning and you know, being excited.
Uh So what did that mean? I worked in a
(28:39):
wine business. Um, I worked for artists and Julio Gallery
actually worked for them. I was in meetings with them.
I mean, how stink cool as that? Yeah, I worked
in the luxury resort business. Uh. And I got to
work in the film business. Uh. So that when the
opportunity work at doctors SEUs came, you know, that was
another love. Um, so I got to work in that
business as well. So it was really picking companies or
(29:02):
products that I found incredibly engaging and interesting and saying, yeah,
I'll do that, and that's what I did. Thanks for listening.
Be sure to leave us a review at Apple Podcasts.
We love to hear from listeners, and please go to
Variety dot com and click on Newsletters to subscribe to
(29:25):
our free Strictly Business newsletter. As always, tune in next
week for another episode of Strictly Business.
M Welcome to Strictly Business Varieties, weekly podcast featuring conversations
with industry leaders about the business of media and entertainment.
I'm Cynthia Littleton, co editor in chief of Variety Today.
(00:20):
My guest is Susan Brandt, President and CEO of Dr
Seus's Enterprises. Dr SEUs is truly Sue Jannaris. The sixty
or so books left behind by author and illustrator Theodore
Geisel are incredible and enduring work. From The Cat in
the Hat to the Lorax to Oh the Places You'll Go.
It's uniquely resonant across generations. As Brandt puts it so well,
(00:45):
Dr SEUs really represents childhood for so many. As a
writer and a reader, I'm marvel at how his books
grow with you at every age you learn something new.
Brandt has the responsibility of managing the archive and keeping
the world of SEUs fresh. Based in San Diego, Dr
SEUs Enterprises is the for profit company that is owned
(01:07):
by a foundation. The proceeds from SEUs Enterprises work go
to support children and family focused charities in the San
Diego area. In our conversation, Brandt explains how the company
is thinking about the content marketplace at this time of
incredible demand for established titles. She also shares the sweet
story of how following her heart by moving to San
(01:29):
Diego led her to twenty four years and counting with
the brand she loves. That's all coming up on today's
episode of Strictly Business. Susan Brant, President CEO of Dr
Seuss Enterprises, thank you so much for joining me today.
(01:51):
Thanks for having me. You are the steward of all
things Dr SEUs that managed the the archive and all
of the electual property left behind by the amazing, amazing
author illustrator Theodore Geiselm better known to millions as Dr SEUs.
So I would like to start at the thirty foot view.
(02:11):
You are in such a unique position with the steward
of this incredible, incredible marquee content at this moment in
time when there is so much demand for content, so
many different avenues to take. Truly beloved, I P, how
are you? How are you looking at this landscape? How
are you managing? How are you managing things? And all
of the And have no doubt the incoming calls are tremendous. M. Well,
(02:35):
first of all, we do take stewardship very seriously, Dr SEUs.
You know we're blessed with this beautiful I P. And
would we take that responsibility quite seriously myself and everyone
else on the team. UM, we also take really seriously
the relationship that our fans have with this property were
so unique. UM, you alluded it, alluded to it. Generations
(02:57):
have grown up with Dr SEUs. It really represents its childhood. Uh.
It represents that bond between parents and children, UM. And
as such, you have to be very careful with what
you do with this content. UM. Then we also watch
and we say, what are where are the places that
we can further that relationship? Where can we take this
beautiful i P? And how can where can we deliver
(03:19):
it um to where our fans are in fact consuming it?
And that's why you see us actively involved in things
like streaming UH films, UH podcasts, stage shows, you know,
even cruise ships. UM. If there's an opportunity to reach
our audience and deepen that relationship, that bond, that's what
(03:41):
we're looking at. When you are working with content that
is beyond the you know, the original canon of what
Dr SEUs left left? How do you what is the
gut check? How do you determine the quality to control
that this is worthy of the Sieus brand. I think, Um,
you have to pick your partners really carefully. Uh, in
any venture, whether obviously you know you're making T shirts
(04:04):
or cruise ship partnership, You've got to make sure and
we try to make sure it's always best in class.
And that's where meeting that team, uh, seeing what they've
done before, having discussions about how they might utilize the property,
That's where your gut comes in, UM, And then I
think you trust you know those partners, you really do.
There is a sense of letting go. UM. You if
(04:26):
you do find and you find the experts and your
gut tells you that's the right team. You know, you
we understand the DNA of it they entertand the expertise
of their genre, you have to let them go. And
so there is a bit of a leap of faith,
UM that says, I'm going to give you this this property,
and you're gonna you're gonna caretake it. There's checkpoints for sure. UM.
(04:48):
You know all the way, I'm very actively involved in
the major entertainment deals. So I'll work with the product,
the producing parties, the creative teams, on films, on television,
even the cruise ships, but all the way down owned
you know, every member of the team is touching those products.
So um so, so I think it does go back
to finding those right those right team members, those partners,
(05:09):
and really partnering with them. But it does sound like
you said, you said you you're checking in every step
of the way, you know, every iteration, because as you know,
it takes you know, it doesn't take long to tarnish
even a gold plated brand with Yeah, um, we are
notoriously tough. I understand. Uh in our approval rights where
(05:33):
that is when people uh enter in an agreement with us.
That is something that I have been told is like, wow,
no one gets these approval rights. We do. Um, we
do and and and we also have a proven truck
track record of not holding up productions. That's when people
are nervous about and I get it. Um, you know,
production is expensive and when you have to go back
(05:53):
to the rights holder, uh, you know, the potential for
loss of dollars. We get it, and we've been able
to do that so successfully in the past that people say, okay,
and we That's what I mean about being a partner.
You have to know when you can jump in what's
important to change, um and you know what's important for
that brand, right, what's important for SEUs? So where will
(06:14):
I push back and where where will I not um?
But yeah, it's it's it's certain rights me out, is it?
Of course we know that the industry is you know,
the the industry is in the middle of a huge
content boom and a huge moment of globalization where we
are really seeing for the first time borders really kind
of being erased by gigantic platforms. So there's a lot
(06:36):
going out on the marketplace. But is there Is that
the reason why we're seeing a lot of sious initiatives
in media right now or is it just kind of
coincidental that things have been brewing for a while and
this is when a lot of them have come to fruition. Well,
things have member and it takes a while to do
these deals for sure, but um, the opportunity for where
we can place this content is exploding, right and so
(06:58):
there's all these opportunity us for us to develop new content.
Deals do take time, and sometimes they all tend to
happen around the same time. A lot of the news
that you're hearing, particularly a preschool slate our Warner Brothers,
since we have three felts with Warner Bros. Actually, Um,
those obviously had been in the works for a while. Uh,
(07:19):
they just happened to all get tied up at the
same time. But a lot of this is being generated
by the opportunity to create content for a different delivery,
like again podcasting. Um, that's we're not yet in that space.
We are having discussions. It's really exciting. Um. That didn't
really exist pre pandemic. There really wasn't a huge There
was some, yes, but it wasn't as as prolific as
(07:41):
not nearly as much attention for sure overall. Yeah, yeah,
so we listen, you know, you pay attention, you listen. Um. Uh,
you just have to see what's moving and and and
what's appropriate. We're not always also concerned with being a
first mover. Sometimes we do. Ofttimes we wait and we
say is this appropriate for this brand and our families?
(08:03):
Is this space where we want to be? Um. So
you may not always see us move first. Um, sometimes
we do, but oftentimes we're very We're watching and saying
is this the right move for us? Yes? Sometimes the
deal is just kind of all culminated around the same time.
Is the Sush brand at first Plush You think of
the Sus brand as fairly you know, two to five,
(08:24):
two to six year old age range. But is it
broader than that? I mean, of course it has the
love of parent, you know, it has that multigenerational that's invaluable.
But in terms of the core the core readership, is
is it that younger? Is it? Is it? Well? I
mean fundamentally, you know, the company was built on books.
You know, yes, eighty three years ago, you know, four
or five books. We have absolutely grown into a global
(08:45):
entertainment company. But the core those books. You know, we
speak to the preschoolers, we speak to the early readers absolutely,
but we've been able to take those books and parlay
and build beyond that. UM. We certainly have an audience
in teens. That's why we can do collaborations like The
Supreme or Kylie Jenner. UM. That's way our films. We've
got five films and collectively be one point five billion
(09:07):
at the box office. You can't do that with a
preschool only property, right, So we've had this and I
think part of the reason we can do that UM
is I'd say we're really smart, but I think Ted
Geisel was really smarter. You know, his his stories have
such universal messages and themes that you really kind of
never outgrow that, right, You never outgrow a concern for
(09:28):
the environment or an understanding of wide diversity. So it's
so important, um, because those themes you never ever grow.
We can take that, and we can take those characters,
um and remain relevant as people age. So we've got
you know, teens, we've got young adults, we've got parents,
we've got teachers, we've got grandparents, um, and we can
(09:48):
talk to each one of them. Uh, done right in appropriately.
You also recently announced on the book front and really
fascinating initiative on the book front that also kind of
raises the tantalizing suggestion that there is quite an archive
of Dr SEUs and Theodore Geisel drawings that exist that
(10:09):
you are now going to kind of share and put
out in the world for creators of all different backgrounds
to come in and make new works inspired by some
things that that are left. So that I have the
image of a very colorful spire tower that is the
archive of of works. Tell me, tell me a little
(10:30):
bit more map about that project and about the archives
that still are left perhaps to you know, to look
through and to look through for content. And I don't know.
The day that we're recording this podcast, every single motorcycle
in Los Angeles is going down my street. I would
just like to know. It's a work from home Friday
and all the motorcyclists are out. But anyway, tell us
(10:54):
about the book Seuss Book Initiative. Well, I hate to
burst your bubble. I'm with the archives. Look like you
can keep your tower in your head. It's in a library. So. Um.
When Ted died, Audrey Geisel, his widow, donated all of
his notes and his sketches, everything to the to the
UCSD library, which was renamed the Geisl Library. Um. So
(11:19):
it's a library. It's in the library. Um. And as
any artist is, uh, Ted wasn't linear, right, they don't
start middle end right there. They're extremely creative. Um. And
so Ted would just draw draw things doodle. Um. He would.
He had hit different folders like things that's a villains
(11:40):
and all these really interesting yeah right, all these really
interesting little characters and sketches or places, just locations. So
they were just ideas. And I think maybe. I mean,
I didn't get the chance to meet to guys all one.
I feel like I know, but I don't. I would
imagine he was testing things on to see if there
a story here or I don't know, or just doodling.
(12:00):
So while there's also the library all the original sketches
for the books that are published, which, let me just
tell you if you're a fan, is amazing. Um. It's
like you can see his thinking yeah, but then there's
also yeah, right, super cool. But then there's also um,
just again these sketches, and they're just beautiful characters. So
there's characters, there's locations, there's crazy machines that just didn't
(12:22):
go anywhere. They were just his um. And so our
thought was, um, I I spent a lot of time
with the archives. I just helps me understand the man,
which helps me care take get us better. And so
I saw these and I thought, we need to do
something with this, and why not take these and allow
these new and emerging voices um to you know, keep
(12:43):
that legacy alive and let them take it and say
do they do these stories? Or sorry? These images inspire
a story. And so the thought is to let emerging
artists take you know, a sketch. You could be a character,
it could be a place, it could be you know,
a machine, and come up with their own story and
write a book, a beginner book for readers in their style,
(13:05):
their prose, their artistic style, um, the you know their characters, um,
and tell the story. And then these books would also
just have a quick aside um maybe the four of
the backwards. It would say their process, like why did
they like the hummingbirds? And what why did that spine
this beautiful story? Um? I just love the idea. It's
also actually in keeping with what Ted Gasl himself did.
(13:26):
So Ted started the division at Random House called Beginner Books,
and he was pressed logo again one of those things
that just is such a trademark of quality to parents
for generations, just utterly invaluable in terms of again that
that that what it's what it speaks to about what
that book is going to represent for that child. You know,
(13:46):
so many people to that end. So because when it
was a beginner book, Ted put his cat and hat
and the logo on it. Right, This was part of
the the division of Random House, part of the what
do you call it? Um? I can't remember the name.
Of it for the books. But anyway, UM, so that's
why there's other authors that have that logo on there.
So many times people say, what do you do You know,
I work for doctors. Oh my god, I love doctors SEUs,
(14:07):
I love Go dog Go And I always say that's
a great book. But at the beginning book you know
it's not a Doctor Seu's book. Um, but it was
in the same thing. So Ted worked with emerging UM
illustrators and authors at that time to help basically kind
of teach them how do you write a book it's
appropriate for early readers. And we are not no, we
don't have to teach anyone. But the idea of giving
(14:29):
a platform to new and emerging artists is certainly consistent
with um what SEUs is all about. And so those
will start as books and conceivably, you know, that's more.
That's more I t P. Will they be branded some
form of Dr Seus's dot dot dot, or will use
the name Seue Studios. So just like you see the
(14:50):
inner book logo on like Go dog Go, Um, you'll
see a Sue Studios logo on someone's book. Um, but
it's their book. They on the copyright, their book, right,
it's just under our line of books in print. In
print was the word I was trying to think before imprint. Uh,
this is not an imprint. This is a line of books.
And I guess in the publishing business there is a
difference between the two. And is I think I know
(15:12):
the answer to this, but I am curious. Is there
any is doctors? Is Dr Seuss always a kids and
family brand? Is there a version of Dr SEUs that
could be more adults? I mean I realized some of
the movies have aimed, you know, a little broader audience,
But is there something that would that could you know,
if you were to do with a fully adult themed property,
(15:35):
Is that then out of the realm of consideration? No,
I mean maybe we've talked about it. Um, I mean
could we do so? For example, Ted guys on these
notes are in the library as well. He gave lectures
on how to write children's books. Um, that could be cool, right,
Like maybe you do we do a book that teaches
you know, adults, Like how do you write a children's book? Um,
(15:58):
we've toyed with books on our um, you know, taking
those early sketches and you know, doing in a book
that it's truly because they are beautiful, they're like piece
of art, you know, and doing that type of a book.
So the answers, we've thought about it. It's something done,
haven't haven't on the right idea quite yet, but I
think it's conceivable. Why not don't run off with thing
(16:20):
one or thing to stick around to hear more from
Dr SEUs Enterprises CEO Susan Brand and we're back, just
like the sneeches on the beaches with more from Dr
Seuss Enterprises, CEO Susan Brand. Because it's such an interesting
(16:44):
life and the legacy is there have there there must
have been inquiries about doing a a more traditional Hollywood bio.
Pick of Theodoreguisle is that does that ever come across
your desk? I know you have a background in film.
You would previously work for twenties Century Fox. I didn't.
I worked in the home entertainment division though, so a
little removed from the lot. We were the hanger on ors,
(17:04):
you know, like, uh, you were making the money and
back in those were in the money. Yes, I've always
been a classic marketer, so I took that approach with
how entertainment and when I when I was there it
was actually h S type tapes, So it was it
was it was back in the day. Um, yeah, of
course we've been we've been approached. Um, we had a
partnership with Illumination Entertainment with Christmall and Andre uh and
(17:28):
Chris and I did spend a lot of time thinking
about could we do a biopick, how would we do
it and how would we make it special and unique?
And just couldn't figure out the story, couldn't figure out
the angle um for for the film. So just haven't
quite figured that out yet. But would you say it's
something that is kind of still simmering somewhere in the
idea stage or uh DC is not seriously considering it.
(17:50):
Not right now, We've got three films that will focus
on right now and we're very excited about. Those are
the films that I alluded to with Horner, right so
you had mentioned John Shoe, uh Hand Gela and Bad
Robot with the plus you'll go. We have two other films. Um,
it's working also with Warner Animation Group. We have The
Cat in the Hat and we have The Thing Movie.
So right now, and as you're alluded to as well,
(18:12):
we've got a lot of content with Netflix. We're focused
on those right now. We're not actually seeking another film
right now. It sounds like you've got to let you've
got a lot going on. When you do a deal
with Netflix, given the you know, given the i P
that you bring to the table, do you own the
underlying series? Is that? Does that become a property of
doctors Enterprises? Or does Netflix? Does that property? Lie You're
(18:36):
asking me to go back to that contract and take
it through. Typically, and I have to go look at
the Netflix deal. I don't remember. Typically, like when you
do a film, the studio is a copyright to the film.
That's very normal. Um So I would imagine that we
we probably scheduled, strutted of that way. Honest, you don't remember, um.
But all these rights are very outlined, you know in
your contract what they can do, what you can do,
(18:57):
who can utilize it, etcetera. UM, I just don't know
the underlying copyright. I would astly imagine it's Netflix, um
because that's how we do our films. That's what most is.
Um So for example, to check you on special, the
TV special that was originally MGM, they have the copyright.
So it's usually how this is down to copyright's held
by the studio. How the Grinch stole Christmas? Yeah, yeah,
(19:18):
the chech on special. Um So, I honestly don't you know,
I'd have to go back. I'd be surprised if it's
not structured that way, is there? I mean, can you
give me an example of sort of again bringing that
kind of ip utterly utterly unique, you know, I p
that that gives you leverage in dealmaking when you're when
you're talking about media or any kind of exploitation of
(19:40):
those rights. Well, you know, we're just fortunately we come
to the table with Dr sus so you know we
can and I'd like to think we're fair but tough negotiators.
You know we're going to get, you know, a good
above market deal, both in terms of the financials. Control
is important to us um any kind of ancillary you
(20:02):
know rights will will will negotiate. That gives you, you
know a bit of leverage without having I can't really
get into all the details, but it does allow you
some leverage. That said, we are always motivated to do
a fair deal for both parties. Doesn't make sense if
you do a deal that really is one side either way.
Eventually one party is not happy. So we really do
try to be good partners. You know, we're gonna fight
(20:24):
hard for what we think is right. But at the end,
it's got to be a fair, fair deal for both.
When I standed on copyright, that's to what what's created
the you know, obviously the characters that we come with
we keep. Those are ours, and there are always ours.
Nobody ever gets those. Yeah, but the new entity that's
created is probably you know, it's probably Netflix is a
carerate like I got. I have to look at the deal.
So I think I can appreciate that distinction. And that's interesting.
(20:47):
You know, obviously, thank you, thank you for for for
candor there um. And do you see it's interesting because
I would imagine, you know, I think you mentioned to
me before as a statistics, something like one out of
every four family or child born in the United States
gets get some form of Doctor SEUs book in their
(21:07):
first year. Is if I'm repeating that first book as
a first book, Yes, our first book one and four
gets the Doctor SEUs book as their first book. One
of the means yeah, yeah, that is just excuse me,
that's just a you know, kind of a stunning level
of reach. Um, do you so, I mean, again, those books.
I'm sure that just that there's a certain sales volume
(21:29):
that there's just always. But do you see when you
have new TV or film content in the market. Do
you see an appreciable spike in the sales of those
classic books if the content aside to you know, if
the content is tied to it, or if there's just
a moment where people are talking about Dr SEUs again. Um, certainly,
if we have a really exciting and successful uh product,
(21:51):
whether it's a film or its television as we like
to say, all boats rise. Um. You know, it's not
usually just whatever you know, book this, this the entergy
may be based on. It's literally our our portfolio rises. Um.
And that's books that could also be licensed products as well.
So successful entertainment projects really help the entire portfolio. M
(22:15):
And tell us a little bit about how the Doctors
to Enterprise is structured. I understand that it's basically the
overarching entity that owns it is a foundation. Yeah, so
we're definitely for profit. It's really interesting, Uh people always
think we're a non for profit or they'll called taka
tak us like we're the estate, which I think is interesting.
I think that goes to the good will there is
(22:37):
for the property. UM. We do first and foremost we're
about being good to children, UM and being good to families.
Everything we do we use that barometer. Is this good
for kids? Yes? So I think that's where some of
the beautiful halo where people think we're a non for
profit but we're not. We're for for profit organization. UM.
Since autre past. We are owned by a foundation, but
(22:58):
we are not the foundation. We simply are able to
provide money to the foundation so that they can do good.
Uh Huh, that's awesome. That's gotta be. That's gotta that
in and of itself has got to be outfully for
every every bit of dollars and you know, start repay
our bills. But after that, you know, the money goes
to a foundation. UM. And and they do good in
the world. And that's a that's a nice feeling. What
(23:21):
what size of an operation do you have? Your based
in San Diego or in San Diego? You know, UM,
we never like to give absolute numbers. We're smaller than
you think. Uh. And yet I always say, um, you know,
there are hundreds, if not thousands of people are in
the world and work on and it's because we have
a very unique way of working. We do have a
(23:41):
core team that works in San Diego, Los Angeles, and
actually have one in the Midwest right now. UM. But
we a partner with a lot of licensing. We love
a lot of agents, so we have licensing agencies that
work with us in Europe, UH in Australia, UH in
Latin America, in Asia. We also work with agencies that
help us in the entertainment space and the publishing space
(24:02):
to work at I C M C A. UM. We
work with a lot of different agencies that rep us,
you know in their various that we work with full
publishing agencies Chris Brown. Um, So we have a lot
of people that are on our team that are helping
sell and manage our relationships. So in that regard, we
really do have hundreds, if not thousands, They're just not
(24:23):
in a direct payroll. I chuckle. Thinking of the response
that you must get when people ask you what do
you do and you said, I'm the CEO of dr SEUs,
that must be kind of a I'll tell you I
love my job and I also love getting to tell
people this is what I do and people say I
love Doctor SEUs, and my response is always I do too.
I do too. You know, I love this body of work.
(24:47):
It's great when you can absolutely say that. Tell us,
how did you get there? You've been there more than
twenty years now. I like to say, I join when
dinosaurs were still whirl in the earth. Um. Yes, I've
had the good fortune to work here since n so
for a long time. You know, a little bit of luck.
A little bit of luck got me here. Um. I
(25:07):
was working in Los Angeles, was working for toye such
a Fox Film corporation in Home Entertainment International, and my
then boyfriend now husband had an opportunity in San Diego
and he says, you know, would you move to San Diego? Yes,
yes I will. And people said, oh my gosh, you're
you're throwing your your career away for a guy. I'm like, yeah,
because it's the right guy. Through said career away. I
came down here and I read the newspaper that Doctor
(25:30):
SEUs was doing a movie and I wouldn't work, and
I was going to just figure out what I was
doing down here, and so I wrote to Doctor Seuss
and I sent them a cover letter and rhyme, which,
oh my god, it cringe now, and it's it's just
the luck came from I sent to them in the
day that the head of the board, I said it
to him, received my resume. They were deciding at that
(25:50):
day whether or not they were going to hire somebody
to help them as a license and they were split
words split on this other woman, and they said, well,
this resume just kidding, let's talk to this. It was
Susan A. Sullivan time this time is susanal Sullivan um.
And so I came in and I got the job.
So I just happened to open the newspaper that day.
I just happened to get the resume before they made
the decision to hire this other hire this other woman.
(26:12):
And I loved it so much. A stage went four
years later, I'm still here, Susan. You have to tell
us at least one of the rhymes in that cover letter.
You have to you have to. I've got I will
try to find it for you. Something. I don't have
it here. I wish I kept it, uh you know,
but I don't know. I thought it was clever at
(26:33):
the time, and I look back, like this is silly
and so I got rid of it. I'll find it.
I'll find it. I think one thing, I think, you
know a few generations of variety reporters have had the fun.
You can't do it all the time, you can't overdo it.
But every so often, every couple of years, that there
comes a project or an opportunity where you can write
a story in Susie and dialogue and rhyme, and you
(26:55):
just you just do it with apologies to the master,
but knowing that that, but knowing that, you know, you
think about just the love of language and the playfulness
that those books, that that work inspires it. It's true.
I just I find it again as a writer. I
just find it so awe inspiring to step back and
think about what it stands for and what it means.
(27:15):
And so I think, you know, I know that he
would appreciate that it resonated that long and that people
care so much. It's really it's exciting. Let Madre Audrey,
his his his wife, his past used to say, she
used to think Ted would be tickled. She's always say
Ted would be tickled that we're still talking about him
(27:36):
and his works. Um, And I love to think that
that he'd still be tickled that people care. Still we do.
M uh, Susan, let me ask you to take another
step back and tell me in your path into marketing
and into business, what was it? What was it in
your you know, early career or or background. What was
it that put you on the path that you to
(27:56):
get you to where you are today? What made you
get into this into the industry, the entertainment industry. Absolutely well, Um,
I always wanted to work in business. Even as a child,
I played office, which is funny. I made my brother
be my secretary. Um. Yeah. But I also about when
I when I had the opportunity to do so that
(28:17):
I would only work on a product or with a
company that I truly cared about. So I really wasn't
interested in working you know, perhaps working for there's nothing
wrong with it, but I wasn't interested in working with
like a progre and gamble and soaps or things that
I just not a ship out care. So I only
wanted something I was passionate about so I could spend
the amount of time learning and you know, being excited.
Uh So what did that mean? I worked in a
(28:39):
wine business. Um, I worked for artists and Julio Gallery
actually worked for them. I was in meetings with them.
I mean, how stink cool as that? Yeah, I worked
in the luxury resort business. Uh. And I got to
work in the film business. Uh. So that when the
opportunity work at doctors SEUs came, you know, that was
another love. Um, so I got to work in that
business as well. So it was really picking companies or
(29:02):
products that I found incredibly engaging and interesting and saying, yeah,
I'll do that, and that's what I did. Thanks for listening.
Be sure to leave us a review at Apple Podcasts.
We love to hear from listeners, and please go to
Variety dot com and click on Newsletters to subscribe to
(29:25):
our free Strictly Business newsletter. As always, tune in next
week for another episode of Strictly Business.
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