The Dynamic Landscape of Racquet Magazine
The U.S. Open was not just a sporting event; it was a vibrant celebration for Racquet magazine. The publication hosted a lively rooftop party at Rockefeller Center, where the atmosphere buzzed with energy, thanks to at least seven corporate sponsors. Guests mingled while indulging in Shake Shack burgers and sipping on cocktails crafted with Ciroc. The occasion marked the launch of a new issue, guest-edited by the esteemed David Granger, former editor of Esquire, featuring the iconic Andre Agassi on the cover — a stunning A.I.-generated image that playfully depicted the champion adorned in whimsical pastel pink feathers.
During the tournament, the magazine’s executives engaged with current and prospective business partners, including major brands such as Fila, Rolex, BNP Paribas, and the Saudi Tennis Federation. Just weeks prior, they had even participated in and triumphed at a doubles tournament held at an exclusive grass-court country club in Queens.
However, beneath the surface of these victories lay a tumultuous year of upheaval and transformation within the organization. The two co-founders found themselves embroiled in a contentious dispute, resulting in a series of dueling lawsuits that highlighted their diverging visions for the magazine’s future.
- David Shaftel, the editor of the print magazine, advocated for a path of steady and sustainable growth, firmly believing that Racquet should thrive within its established niche in the media landscape.
- Caitlin Thompson, the publisher, sought a more aggressive and ambitious expansion strategy, aiming to tap into the lucrative business of tennis. She envisioned merchandise collaborations and extravagant parties as essential financial lifelines for the struggling print publication.
- Thompson dreamt of establishing branded tennis clubs worldwide, modeled on the exclusive membership plans of SoHo House.
In this battle for the very essence of Racquet, it became evident that the business-oriented vision ultimately triumphed. In November, Thompson made the decisive move to remove Shaftel from the company, reshaping the future of the magazine in the process.
