In April 1990, while halfway through high school, I wrote a letter about soundtracks to Starlog, a science fiction movie magazine, with the line "Anyone want to start a club? Write me!" tacked onto the end. Starlog printed the letter in issue 153, and to my surprise, people from all over the world wrote me. I started a newsletter in June 1990 titled "The Soundtrack Correspondence List," which I sent to about 15 people. Things pretty much grew from there. A CD review section, Score, was added by Andy Dursin in October 1990. In September 1991 the title became "The Soundtrack Club" (STC) and subscription rates were created. I started to advertise in various places, and the newsletter's readership grew from a few dozen to a few hundred.
The newsletter was given the name Film Score Monthly in June 1992 and expanded upon from its original size of 8 pages. I began my freshman year at Amherst College in fall 1992 with around 300 readers, publishing issues from 12 to 16 pages in length. I continued to edit and publish during my time at Amherst, and had over a thousand subscribers by the end of my freshman year.
Between April 1994 and January 1995, FSM's distribution was taken over by Pearson Publishing in Sea Cliff, New York (home of idiotic high-end audio and video equipment journals, The Absolute Sound and The Perfect Vision). This allowed me to increase the magazine's size to 24 pages each. However, Pearson turned out to be extraordinarily incompetent, and I was a bonehead to use them in the first place. I took back distribution in early 1995 and subsequently sued Pearson for lost distribution monies, which I am still trying to collect.
I graduated from Amherst College in May 1996, and after a blissful summer of decompression at home on Martha's Vineyard, I moved to Los Angeles in October 1996. That's where I am now! In January 1997, FSM underwent a redesign by Joe Sikoryak, professional magazine designer and soundtrack fan, and of this writing I am trying to take it to the next level of circulation and class. FSM currently has around 2500 readers, including a number of composers, producers and industry professionals, and I hope to double this within a year.