History of DEAF LIFE

“What we’re doing is a labor of love. We earn no money from DEAF LIFE. We’ve put many exhausting hours into producing the highest-quality product we can. I and my tiny staff are doing this on behalf of the Deaf community. It’s our way of being involved—and helping to make positive changes.”—Matthew S. Moore

In 1984, Matthew S. Moore, a recent graduate of Rochester Institute of Technology, incorporated his own tiny, independent media company, now called MSM Productions, Ltd. That summer, he produced and directed Deaf Magazine, a half-hour magazine-format show focusing on Deaf issues and personalities. It was the realization of an old dream. The program was opened-captioned, and featured attractive graphics and original theme music. Deaf Magazine aired on WOKR, Rochester’s local ABC affiliate, in Summer 1984, and drew unanimously favorable responses.

Moore wanted to make Deaf Magazine a regular series. He drew up a detailed prospectus with a demographical analysis, outline of several proposed topics, and an estimated budget. But he wasn’t able to secure the corporate funding to make the series a reality. Like many other independent producers, he ran into obstacles at every turn. He approached the Small Business Administration, and was told, “Sorry, we can’t help media producers.” The money just wasn’t there. Many local corporations had contributed to the 1984 Olympics in Los Angeles. As a result, the funding pools were dry. Without funding, the proposed Deaf Magazine series was forced to remain just that--a proposal on paper.

On paper? After encountering one frustration after another, Moore came up with the idea of starting a magazine as a way to raise the necessary funds. He already had extensive experience with print media, having edited his high-school newspaper (The Reflector, Indiana School for the Deaf). In 1982, he founded and directed the Student Communication Center (SCC) at NTID. Moore wanted NTID students to get hands-on experience in print and video media. His goal was to establish a student-run multimedia team that would both publish (a newspaper) and produce (TV programs). NTID’s official publications, written by hearing professionals and printed by an outside company, had no student involvement. Under Moore’s leadership, the SCC team published a newspaper, Perspectives, and produced a TV show, Sharing, which aired after he had graduated. Several former SCC co-workers were ultimately recruited for the new adventure.

The first volunteer was Charles Bancroft, an old SCC staffer majoring in Printing Production Technology at NTID. One evening in 1985, while having dinner together, Moore told Bancroft about his new idea: to start a “commercial” magazine for deaf people. Bancroft enthusiastically joined on, and for several years, was the company’s “tech guy” and Production Manager. Moore also told his family and friends. Several acquaintances thought it was a great idea, and the volunteers’ staff list grew.

Linda Levitan, a student majoring in Painting/Illustration at RIT, already had a B.A. degree in English (from New York University) that she’d somehow never been able to put to use. In September 1986, having learned about the upcoming magazine, she sent in some samples of her writing. Moore liked her work, contacted her, and assigned her to do a book review for the Trial Issue. She was quickly recruited as Copy Editor.

At the time, there was no independent magazine for deaf people run by deaf people. There were several existing publications, but they were either house organs or newsletters (which could not take an independent approach), or newspapers.

The new venture would have a twofold aim: to keep deaf readers informed of what was happening (issues, events, and personalities) in an entertaining, accessible way, and to educate hearing readers about a much-stereotyped, much-misunderstood minority culture. Moore envisioned a colorful, slick-format trade-size magazine with advertisements for “mainstream” products (like cola and jeans) in addition to the traditional deaf-oriented ads for TTYs and assistive devices.

ASL users have an expression glossed as “deaf life” and which literally means “the reality of being deaf.” Moore chose it for the title.

Negative attitudes in the Deaf community presented the toughest obstacle of all. The next big problem: timing. The projected publication date had to be pushed back several times. The Trial Issue, originally slated for publication in Summer 1986, was a year late.

In June 1987, the long-delayed Trial Issue was finally published. Copies were mailed out to 2,300+ purchasers in most of the states, who’d paid $2.50 per copy, sight unseen. Compared with the current issues, this was quite a primitive affair, but, excepting the cover story—a follow-up on NTD’s founding members—it was in color. And it gave readers a glimpse of what was possible.

In the meantime (while rounding up subscribers), the MSM team started Deaf Rochesterians’ Newsmagazine, covering local events. That venture lasted a year and a half. Finally, Moore decided to go ahead and start publishing DEAF LIFE on a monthly basis. The Gallaudet “DPN” uprising had created major shock waves throughout the Deaf community and beyond. The money wasn’t there, but the time was ripe. Deaf Rochesterians’ Newsmagazine folded, and the MSM Productions team focused its energies wholly on DEAF LIFE. The first monthly issue, with a cover story on Dr. I. King Jordan, was published in July 1988.

Lack of funding meant that Moore had to curtail his original plan to have a full-color magazine and settle for a mostly black-and-white one with color reserved for the cover and a few inside pages. But, he reasoned, a black-and-white magazine can still look good.

Gradually, DEAF LIFE established a loyal base of subscribers, readers, and advertisers. DEAF LIFE has a very high pass-along rate. Many subscribers loan or give their copies to friends, students, co-workers, and relatives, or donate them to school libraries or classrooms. Doctors, counselors, and other professionals leave copies in their waiting rooms. Teachers use it in their classes. Copies are read and reread until they literally wear out! There are a number of Canadian and a smattering of international subscribers, including an enthusiastic Japanesee “bloc.”

From the start, the DEAF LIFE team has sought to upgrade the magazine—both design and content. Everyone has input. A sleek new logo was introduced in the July 1992 issue.

There have been several noteworthy contributors, hearing and deaf, who have sent in series, columns, articles, reports, clips, essays, letters, and poems—and suggestions.

Several DEAF LIFE covers (and the DeafLife.com logo) were designed by Deaf artists, which fits in nicely with Moore’s goal of supporting and encouraging Deaf artists and designers.

DEAF LIFE isn’t just news and profiles and controversies. It’s about connecting, too. The DEAF LIFE team believe in what they’re doing and see it was a way of serving the community, of bringing people together. Requests for information and referrals continue to come in, poignant letters from parents of newly-diagnosed deaf children, from late-deafened adults who find themselves isolated, from hearing students who are thinking about becoming sign-language interpreters and feel a little scared, from teachers who want to photocopy “HPO” installments for their classes. Every such letter is a reflection of the impact DEAF LIFE has on their lives . . . and can have.

One of the advantages of independence is being able to say what needs to be said, without regard to the official “party line.” DEAF LIFE has NO official ties to any organization, agency, or institution. And that’s the way they want it.

As DEAF LIFE grew, Moore wanted to “keep on the pulse of the Deaf community.” In June 1991, DEAF LIFE established an Advisory Board, consisting of Bernard Bragg, Julianna Fjeld, Bill Graham, Alice Hagemeyer, Bob Panara, and Frank Turk. These were respected deaf professionals from a variety of backgrounds (culturally-Deaf to late-deafened) whose opinions and guidance were valued. This in no way diminished DEAF LIFE’s proudly independent stance.

One of DEAF LIFE’s regular features was a question-and-answer column,“For Hearing People Only.” This proved so popular that Moore and Levitan decided to publish the columns in book form. In Spring 1992, Moore established a subsidiary, Deaf Life Press. In September 1992, Deaf Life Press published For Hearing People Only, an expanded compilation of the first 48 installments. It was a hit. The first edition was sold out before June 1993. Plans for a second edition were immediately put in the works. By then, Deaf Life Press was busily at work on its second book. The third edition of For Hearing People Only, published in April 2003, has been a best-seller. Several books have been published to date; more are being planned.

What makes DEAF LIFE unique? For one thing, it’s written and produced by Deaf people.

For another thing, it’s a magazine for the Deaf community—a forum for the free sharing of “inside” and “outside” views--i.e., “DeafView,” “A Few More Words,” “Oh, No! Not Again!”, and “Letters to the Editor.” Readers are offered plenty of opportunity to get involved. And, judging from the steady flow of letters DEAF LIFE gets, they do.

Furthermore, DEAF LIFE is a magazine for the Hearing community. Moore recognizes that change is a mutual process. Improving the conditions of the Deaf community demands not only a strong sense of Deaf pride and responsibility, but also recognition by the Hearing community that Deaf people have their own linguistic and cultural identity. Contributions, questions, and suggestions from hearing readers are valued. And if hearing readers complain about being snubbed by deaf folks, deaf readers have their own complaints about hearing folks!

DEAF LIFE has welcomed “oppositional” views and opinions from all factions of the community, including views that are not popular with Deaf Culture advocates. “We seek to promote free discussion and debate of controversial topics,” says Moore.

The magazine has gradually taken a more political slant in support of Deaf Culture. Says Moore: “DEAF LIFE belongs to the Deaf community. We have to take a stand.” But even today, Moore finds deaf people who believe that DEAF LIFE is run by hearing people!

One astounding fact about DEAF LIFE is that the staff earns nothing from it—not Moore, not Levitan. Most of its writers contribute for free. All revenues are re-invested into the company and go towards the cost of printing, upgrading the equipment, and improving the coverage. The team very rarely takes anything close to a vacation. Levitan says, “The only ones who get rich are the readers. We want DEAF LIFE to enrich their lives. We’re not making any dough on this.” It boils down to this: DEAF LIFE is a labor of love.

DEAF LIFE is still a young publication. It’s growing and expanding. Even though the DEAF LIFE staff takes pride in their achievements, they are never satisfied. Indeed, they’re constantly striving to improve the quality and depth of the coverage, the appearance of the magazine, its timeliness and appeal. It’s an incurable itch. There are an endless variety of issues that need to be addressed, contributors’ articles to be prepared, stories to be written, follow-ups to do. More books, too. Expanding Web services. And videos . . . why not? “Migawd,” says Moore, “there is so much to do. There is sooo much to do.”




	“A labor of love”: a brief history of DEAF LIFE “What we’re doing is a labor of love. We earn no money from DEAF LIFE. We’ve put many exhausting hours into producing the highest-quality product we can. I and my tiny staff are doing this on behalf of the Deaf community. It’s our way of being involved—and helping to make positive changes.”—Matthew S. Moore From video to “slick” print In 1984, Matthew S. Moore, a recent graduate of Rochester Institute of Technology, incorporated his own tiny, independent media company, now called MSM Productions, Ltd. That summer, he produced and directed Deaf Magazine, a half-hour magazine-format show focusing on Deaf issues and personalities. It was the realization of an old dream. The program was opened-captioned, and featured attractive graphics and original theme music. Deaf Magazine aired on WOKR, Rochester’s local ABC affiliate, in Summer 1984, and drew unanimously favorable responses. Moore wanted to make Deaf Magazine a regular series. He drew up a detailed prospectus with a demographical analysis, outline of several proposed topics, and an estimated budget. But he wasn’t able to secure the corporate funding to make the series a reality. Like many other independent producers, he ran into obstacles at every turn. He approached the Small Business Administration, and was told, “Sorry, we can’t help media producers.” The money just wasn’t there. Many local corporations had contributed to the 1984 Olympics in Los Angeles. As a result, the funding pools were dry. Without funding, the proposed Deaf Magazine series was forced to remain just that--a proposal on paper. On paper? After encountering one frustration after another, Moore came up with the idea of starting a magazine as a way to raise the necessary funds. He already had extensive experience with print media, having edited his high-school newspaper (The Reflector, Indiana School for the Deaf). In 1982, he founded and directed the Student Communication Center (SCC) at NTID. Moore wanted NTID students to get hands-on experience in print and video media. His goal was to establish a student-run multimedia team that would both publish (a newspaper) and produce (TV programs). NTID’s official publications, written by hearing professionals and printed by an outside company, had no student involvement. Under Moore’s leadership, the SCC team published a newspaper, Perspectives, and produced a TV show, Sharing, which aired after he had graduated. Several former SCC co-workers were ultimately recruited for the new adventure. Moore told Bancroft about his idea: a new magazine for deaf people. Going public The first volunteer was Charles Bancroft, an old SCC staffer majoring in Printing Production Technology at NTID. One evening in 1985, while having dinner together, Moore told Bancroft about his new idea: to start a “commercial” magazine for deaf people. Bancroft enthusiastically joined on, and for several years, was the company’s “tech guy” and Production Manager. Moore also told his family and friends. Several acquaintances thought it was a great idea, and the volunteers’ staff list grew. Linda Levitan, a student majoring in Painting/Illustration at RIT, already had a B.A. degree in English (from New York University) that she’d somehow never been able to put to use. In September 1986, having learned about the upcoming magazine, she sent in some samples of her writing. Moore liked her work, contacted her, and assigned her to do a book review for the Trial Issue. She was quickly recruited as Copy Editor. Negative attitudes in the Deaf community presented the toughest obstacle of all. Why “DEAF LIFE”? At the time, there was no independent magazine for deaf people run by deaf people. There were several existing publications, but they were either house organs or newsletters (which could not take an independent approach), or newspapers. The new venture would have a twofold aim: to keep deaf readers informed of what was happening (issues, events, and personalities) in an entertaining, accessible way, and to educate hearing readers about a much-stereotyped, much-misunderstood minority culture. Moore envisioned a colorful, slick-format trade-size magazine with advertisements for “mainstream” products (like cola and jeans) in addition to the traditional deaf-oriented ads for TTYs and assistive devices. ASL users have an expression glossed as “deaf life” and which literally means “the reality of being deaf.” Moore chose it for the title. Getting it off the ground Negative attitudes in the Deaf community presented the toughest obstacle of all. The next big problem: timing. The projected publication date had to be pushed back several times. The Trial Issue, originally slated for publication in Summer 1986, was a year late. In June 1987, the long-delayed Trial Issue was finally published. Copies were mailed out to 2,300+ purchasers in most of the states, who’d paid $2.50 per copy, sight unseen. Compared with the current issues, this was quite a primitive affair, but, excepting the cover story—a follow-up on NTD’s founding members—it was in color. And it gave readers a glimpse of what was possible. In the meantime (while rounding up subscribers), the MSM team started Deaf Rochesterians’ Newsmagazine, covering local events. That venture lasted a year and a half. Finally, Moore decided to go ahead and start publishing DEAF LIFE on a monthly basis. The Gallaudet “DPN” uprising had created major shock waves throughout the Deaf community and beyond. The money wasn’t there, but the time was ripe. Deaf Rochesterians’ Newsmagazine folded, and the MSM Productions team focused its energies wholly on DEAF LIFE. The first monthly issue, with a cover story on Dr. I. King Jordan, was published in July 1988. Lack of funding meant that Moore had to curtail his original plan to have a full-color magazine and settle for a mostly black-and-white one with color reserved for the cover and a few inside pages. But, he reasoned, a black-and-white magazine can still look good. Gradually, DEAF LIFE established a loyal base of subscribers, readers, and advertisers. DEAF LIFE has a very high pass-along rate. Many subscribers loan or give their copies to friends, students, co-workers, and relatives, or donate them to school libraries or classrooms. Doctors, counselors, and other professionals leave copies in their waiting rooms. Teachers use it in their classes. Copies are read and reread until they literally wear out! There are a number of Canadian and a smattering of international subscribers, including an enthusiastic Japanesee “bloc.” From the start, the DEAF LIFE team has sought to upgrade the magazine—both design and content. Everyone has input. A sleek new logo was introduced in the July 1992 issue. There have been several noteworthy contributors, hearing and deaf, who have sent in series, columns, articles, reports, clips, essays, letters, and poems—and suggestions. Several DEAF LIFE covers (and the DeafLife.com logo) were designed by Deaf artists, which fits in nicely with Moore’s goal of supporting and encouraging Deaf artists and designers. Having impact, making connections DEAF LIFE isn’t just news and profiles and controversies. It’s about connecting, too. The DEAF LIFE team believe in what they’re doing and see it was a way of serving the community, of bringing people together. Requests for information and referrals continue to come in, poignant letters from parents of newly-diagnosed deaf children, from late-deafened adults who find themselves isolated, from hearing students who are thinking about becoming sign-language interpreters and feel a little scared, from teachers who want to photocopy “HPO” installments for their classes. Every such letter is a reflection of the impact DEAF LIFE has on their lives . . . and can have. One of the advantages of independence is being able to say what needs to be said, without regard to the official “party line.” DEAF LIFE has NO official ties to any organization, agency, or institution. And that’s the way they want it. As DEAF LIFE grew, Moore wanted to “keep on the pulse of the Deaf community.” In June 1991, DEAF LIFE established an Advisory Board, consisting of Bernard Bragg, Julianna Fjeld, Bill Graham, Alice Hagemeyer, Bob Panara, and Frank Turk. These were respected deaf professionals from a variety of backgrounds (culturally-Deaf to late-deafened) whose opinions and guidance were valued. This in no way diminished DEAF LIFE’s proudly independent stance. DEAF LIFE has a very high pass-along rate. Subscribers like to share copies with friends. Spinning off One of DEAF LIFE’s regular features was a question-and-answer column,“For Hearing People Only.” This proved so popular that Moore and Levitan decided to publish the columns in book form. In Spring 1992, Moore established a subsidiary, Deaf Life Press. In September 1992, Deaf Life Press published For Hearing People Only, an expanded compilation of the first 48 installments. It was a hit. The first edition was sold out before June 1993. Plans for a second edition were immediately put in the works. By then, Deaf Life Press was busily at work on its second book. The third edition of For Hearing People Only, published in April 2003, has been a best-seller. Several books have been published to date; more are being planned. The shocking truth What makes DEAF LIFE unique? For one thing, it’s written and produced by Deaf people. For another thing, it’s a magazine for the Deaf community—a forum for the free sharing of “inside” and “outside” views--i.e., “DeafView,” “A Few More Words,” “Oh, No! Not Again!”, and “Letters to the Editor.” Readers are offered plenty of opportunity to get involved. And, judging from the steady flow of letters DEAF LIFE gets, they do. Furthermore, DEAF LIFE is a magazine for the Hearing community. Moore recognizes that change is a mutual process. Improving the conditions of the Deaf community demands not only a strong sense of Deaf pride and responsibility, but also recognition by the Hearing community that Deaf people have their own linguistic and cultural identity. Contributions, questions, and suggestions from hearing readers are valued. And if hearing readers complain about being snubbed by deaf folks, deaf readers have their own complaints about hearing folks! DEAF LIFE has welcomed “oppositional” views and opinions from all factions of the community, including views that are not popular with Deaf Culture advocates. “We seek to promote free discussion and debate of controversial topics,” says Moore. The magazine has gradually taken a more political slant in support of Deaf Culture. Says Moore: “DEAF LIFE belongs to the Deaf community. We have to take a stand.” But even today, Moore finds deaf people who believe that DEAF LIFE is run by hearing people! One astounding fact about DEAF LIFE is that the staff earns nothing from it—not Moore, not Levitan. Most of its writers contribute for free. All revenues are re-invested into the company and go towards the cost of printing, upgrading the equipment, and improving the coverage. The team very rarely takes anything close to a vacation. Levitan says, “The only ones who get rich are the readers. We want DEAF LIFE to enrich their lives. We’re not making any dough on this.” It boils down to this: DEAF LIFE is a labor of love. Looking ahead DEAF LIFE is still a young publication. It’s growing and expanding. Even though the DEAF LIFE staff takes pride in their achievements, they are never satisfied. Indeed, they’re constantly striving to improve the quality and depth of the coverage, the appearance of the magazine, its timeliness and appeal. It’s an incurable itch. There are an endless variety of issues that need to be addressed, contributors’ articles to be prepared, stories to be written, follow-ups to do. More books, too. Expanding Web services. And videos . . . why not? “Migawd,” says Moore, “there is so much to do. There is sooo much to do.” Back to Archives Menu