Afleveringen
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A BETTER-BUILT MAGAZINE
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When a company publishes a magazine, or at least an âeditorialâ product, for whatever reason, it is called custom publishing. I have a long editorial background in custom. And custom has a surprisingly long history itself.
How long?
John Deere started publishing The Furrow in 1895. The Michelin Star started as a form of custom content: what better way to sell tires to monied Parisians than by enticing them to take a drive to the countryside to try a great restaurant?
Amex Publishing famously published Travel + Leisure among other titles for decades. That in-flight magazine you once enjoyed on your flight overseas? That, too, is custom publishing.
Now, after some down years, custom publishing is leaning waaaaay into print again. Henrybuilt is an industry leader in designing and constructing well-built products and furnishings for the home. Henrybuilt is not, however, a company that you would think is screaming for a magazine.
But the qualities that make a great magazineâattention to detail and craft, the curation of ideas, hard workâare the very qualities that have made Untapped, a âdesign journal that looks back to look forward.â
Led by editor-in-chief Tiffany Jow, Untapped is a smart, well-designed magazine that avoids the pitfalls of most design journals in being free of jargon and thus accessible.
With an enviable level of editorial freedom, Jow has created an editorial product that richly explores livable spaces and champions âideas-driven work.â The result is a growing media entity across platforms independent of Henrybuilt while hewing closely to its brand. Itâs good stuff.
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This episode is made possible by our friends at Freeport Press.
A production of Magazeum LLC ©2021â2025
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THE PERSON BEHIND THE PERSON BEHIND THE CAMERA
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Close your eyes and picture a classic Rolling Stone cover. Dozens probably come to mindâportraits of music legends, movie stars, political icons, cultural rebels. Bruce. Bono. Madonna.
These images are etched into our cultural memory as more than mere photographs. Theyâre statements.
But when we remember the cover, and maybe even the photographer, how often do we remember the person who made it all happen? The one who dreamed up the concept, found the right photographer, navigated the logistics, managed the personalities, and ultimately brought that unforgettable image to life?
Itâs the photo editor. But who thinks about the photo editor?
Photo editors are essentialâespecially at a magazine like Rolling Stoneâfor decades its covers defined our visual culture. Behind every iconic cover is a photo director making hundreds of invisible decisions under pressure and facing tight budgets, unpredictable talent, and shifting editorial winds. Theyâre the ones keeping shoots on track when the talent shows up two hours late. Theyâre the ones coaxing photographers into greatnessâthe person behind the people behind the camera.
Photo editors are expected to be tastemakers, producers, diplomats, caterers, and art directors all at once. Although their work is everywhere, their names are not. Theyâre under-thanked. Underseen. Too often unknown. This is the paradox of their work: When a shoot goes well, it looks effortless. When it doesnât, they take the bullet.
Laurie Kratochvil, Rolling Stoneâs visionary director of photography from 1982 to 1994, knows this all too well.
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This episode is made possible by our friends at Commercial Type and Freeport Press.
A production of Magazeum LLC ©2021â2025
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Zijn er afleveringen die ontbreken?
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ITâS LE MONDEâS WORLD AND WEâRE JUST LIVING IN IT
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Name a major newspaperâanywhere in the worldâand you will find a magazine. Or two. Or three. The New York Times is the obvious example of this. The Times of London is another obvious example. And now more and more legacy newspapers from around the world are publishing their magazines in English.
La Repubblica in Italy publishes D. And now Franceâs venerable Le Monde is out with M International, a glossy biannual that distills their weekly M magazine for an English-speaking audience.
Long called âthe newspaper of referenceâ in France, Le Monde occupies an oversized space in the French media. When the Olympics returned to Paris, Le Monde decided to create an english version of their newspaper for the web. Then they decided to create the magazineâin Englishâsomething that not just added an extra piece of land to their media ecosystem, but one that pleased their advertisers as well.
We spoke to Louis Dreyfus, the CEO of Le Monde about the business case for English, how the magazines attract new readers to the newspaper, the power of print, and how AI is one of the reasons Le Monde can create in english in the first place.
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This episode is made possible by our friends at Freeport Press.
A production of Magazeum LLC ©2021â2025
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TWIST & SHOUT
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âPhilip Burkeâs portraits donât just look like the people he paintsâthey actually vibrate. Just look at them. With wild color, skewed proportions, and emotional clarity, his illustrations have lit up the pages of Rolling Stone, The New Yorker, Time, and Vanity Fair, capturing cultural icons in a way that feels both chaotic and essential.
But behind that explosive style is a steady, spiritual core.
Burke begins each day by chanting. It sounds like this: âNam MyĆhĆ Renge KyĆ. Nam MyĆhĆ Renge KyĆ. Nam MyĆhĆ Renge KyĆ.â It means âdevotion to the mystic law of cause and effect through sound,â he says. The chant grounds Burke and opens a space where true connectionâon the canvas and in lifeâcan happen.
This daily practice is more than a ritualâitâs a source of creative clarity.
Burkeâs rise was rapid and raw. Emerging from Buffalo, New York, he made his name in the punk-charged art scene of the 1980s with a fearless, high-voltage style. But it was through his spiritual journey that the work began to transformâless about distortion for shock, and more about essence, empathy, and insight. Less funhouse mirror, more human.
Our Anne Quito spoke to Burke about how Buddhism reshaped his approach to portraiture, what it means to truly see a subject, and why staying presentâboth on the page and in lifeâis his greatest creative discipline.
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This episode is made possible by our friends at Commercial Type and Freeport Press.
A production of Magazeum LLC ©2021â2025
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THE NEW, NEW COFFEE GENERATION
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On todayâs show weâre creating a storm in a coffee cup about everyoneâs cup of joe. Weâre spilling the beans about your morning brew. Youâre going to hear a latte puns about your cuppa, your high-octane dirt, your jitter juice, your elixir, and by the time weâre done you will have both woken up and smelled the coffee.
Luke Adams is the editor in chief of Standart, a magazine about a bean that was first cultivated in Ethiopia in the 9th century and within a few hundred years had many of us hooked. It is a subject obviously and extravagantly rich in history, lore, and possibility.
What it is not, however, is a paean to what Luke calls âcutting-edge coffee-making geekery.â
Rather, Standart is about growers and roasters. It is about cafes and third spaces. It is about culture. It is, in other words, about you, the coffee drinker. It attempts to bring together a disparate potential readership around a singular subject, one that not too many actually talk about. Because while cafes encourage conversation, that conversation is rarely about what weâre drinking. Even when itâs a âdamn fine cup of coffee.â
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This episode is made possible by our friends at Freeport Press.
A production of Magazeum LLC ©2021â2025
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THE WHISTLEBLOWER
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I was a reporter and editor in newspapers, including Chicago Todayâwhich had no tomorrowâthe Chicago Tribune, and the San Francisco Examiner. I made a shift to magazines becoming TV critic for People, where I came up with the idea for Entertainment Weekly, launching in 1990.
After a rocky launchâa story I tell in my new book, MagazineâI jumped ship for the Daily News, then TV Guide, and finally the internet at Advanced Publications. I left to teach and write books about the fall of mass media in 2006. My name is Jeff Jarvis, and this is The Next Page.
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This episode is made possible by our friends at Freeport Press.
A production of Magazeum LLC ©2021â2025
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IN THE REALM OF THE SENSES
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Psychedelia has an image problem. At least thatâs what editor and journalist Hillary Brenhouse realized after she saw through the haze.
Both in art and literature, psychedelia was way more than tie-dye t-shirts and magic mushrooms. Instead of letting that idea fade into the mist, she kept thinking about it. And the more she looked, the more she realized maybe she should create a magazine to address this. And so she did.
Elastic is a magazine of psychedelic art and literature. It says so right there on the cover of the beautiful first issue that just launched. So this is not your standard issue lit or art mag. After all, this is one backed by ⊠Harvard, and UC Berkeley, and a couple of major foundations.
Hillary Brenhouse has learned a lot about the craft and the business of making and selling magazines this past year. Lucky for us, she and her team are quick studies. You can see it on every page of Elastic. And she also may have redefined the literary magazine. Without a single tie-dyed t-shirt or magic mushroom in the lot, man.
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This episode is made possible by our friends at Freeport Press.
A production of Magazeum LLC ©2021â2025
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WHEN EUSTACE MET FRANĂOISE
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âI first met Françoise Mouly at The New Yorkerâs old Times Square offices. This was way back when artists used to deliver illustrations in person. I had stopped by to turn in a spot drawing and was introduced to Françoise, their newly-minted cover art editor.
I should have been intimidated, but I was fresh off the boat from Canada and deeply ensconced in my own bubbleâhockey, baseball, Leonard Cohenâand so not yet aware of her groundbreaking work at Raw magazine.
Much time has passed since that fortuitous day and Iâve thankfully caught up with her ouevreâgonna get as many French words into this as I canâthrough back issues of Raw and TOON Books. But mostly with The New Yorker, where we have worked together for over 30 years and Iâve been afforded a front-row seat to witness her mode du travail, her nonpareil mĂ©lange of visual storytelling skills.
Speaking just from my own experience, I canât tell you how many times at the end of a harsh deadline Iâve handed in a desperate, incoherent mess of watercolor and ink, only to see the published product a day later magically made whole, readable, and aesthetically pleasing.
Because Françoise prefers her artists to get the credit, I assume she wonât want me mentioning the many times she rescued my images from floundering. I can remember apologetically submitting caricatures with poor likenesses, which she somehow managed to fix with a little digital manipulationâa hairline move forward here, a nose sharpened there. Or ideas that mostly worked turned on their headâwith the artist's permission, of courseâto suddenly drive the point all the way home.
For Françoise, âthe pointâ is always the point. Beautiful pictures are fine, but what does the image say? Françoise maintains a wide circle of devoted contributing artistsâfrom renowned gallery painters to scribbling cartoonists, and all gradations betweenâfrom whom she regularly coaxes their best work. I thank my Ă©toiles chanceuses to be part of that group.
And now, an interview with Françoise. Apparently.
âBarry Blitt
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This episode is made possible by our friends at Commercial Type and Freeport Press.
A production of Magazeum LLC ©2021â2025
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EVERY DAY IS MOTHERâS DAY
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A monochromator is an optical device that separates light, like sunlight or the light from a lamp, into a range of individual wavelengths and then allows âŠ
⊠Sorry. I failed physics the last time I took it and I would fail it again. Iâm not telling you about my shortcomings for any reason, because a podcast about my shortcomings would be endless.
But I thought Iâd look up the word when confronted with Monochromator magazine, which aims to âdeconstruct selected films under a shared monochrome to reconstruct them for social relevance.â Look, thatâs what it says on the website.
But when you read the magazine, you get it. This is politics and social issues filtered through big movies. How big? The first issue uses Barbie and Oppenheimer to examine the rise of American power (hard and soft).
Having said that, itâs very interesting reading and not heavy. And editor Alex Heeyeon Kil is not even sure sheâs editing a film magazine. She sees Monochromator as a discussion about the real world using fictional stories, in this case movies. And her team, divided between South Korea and Germany, publish this annual magazine knowing they might step on more than a few landmines.
Strap in. Or turn on a lamp and take a look at the light and maybe youâll understand what youâre seeing better than I ever will.
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This episode is made possible by our friends at Freeport Press.
A production of Magazeum LLC ©2021â2025
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A MAN AT HIS F*#KING BEST
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While several interesting themes have surfaced in this podcast, one of the more unexpected threads is this: Nearly all magazine-inclined men dream of one day working at Esquire. Some women, too.
Turns out thatâs also true for todayâs guest, which is a good thing because thatâs exactly what David Granger did.
âBut all this time Iâd been thinking about Esquire, longing for Esquire. It'd been my first magazine as a man, and I'd kept a very close eye on it.â
Unless youâre old enough to remember the days of Harold Hayes and George Lois, for all intents and purposes, David Granger IS Esquire. And in his nearly 20 years atop the masthead, the magazine won an astounding 17 ASME National Magazine Awards. Itâs been a finalist 72 times. And, in 2020, Granger became a card-carrying member of the ASME Editors Hall of Fame.
When he arrived at Hearst, he took over a magazine that was running on the fumes of past glory. But he couldnât completely ignore history. Here, he pays homage to his fellow Tennessean, who ran Esquire when Granger first discovered it in college.
âWhat Phillip Moffitt did was this magical thing that very few magazine editors actually succeed at, which is to show their readers how to make their lives better. And while he's doing that, while he is providing tangible benefit, he also coaxes his readers to stay around for just amazing pieces of storytellingâor amazing photo displays or whatever it isâall the stuff that you do because it's ambitious and because it's art.â
Upon taking over at Esquire, Grangerâs instinct was to innovateâalmost compulsively. Over the years, heâs introduced some of printâs most ambitious (and imitated) packaging conceits: What Iâve Learned, Funny Joke from a Beautiful Woman, The Genius Issue, What It Feels Like, and Drug of the Month, as well as radical innovations like an augmented reality issue, and the first print magazine with a digital cover.
Over and over, those whoâve worked with Granger stress his sense of loyalty. Ask any of his colleagues and youâll hear a similar response: âDavid Granger is one of the finest editors America has ever produced. He also happens to be an exceptionally decent human being.â
At his star-studded going-away party after being let go by Hearst in 2016, Granger closed the evening with a toast that said it all: âThis job made my life, as much as any job can make anybodyâs life. It had almost nothing to do with me. It had everything to do with what you guys did under my watch. Iâve done exactly what I wanted to doâthe only thing Iâve ever wanted to doâfor the last 19 years. Iâm the luckiest man in the world.â
We talked to Granger about retiring some of Esquireâs aging classics (Dubious Achievements, Sexiest Woman Alive), his surprising and life-changing Martha Stewart Moment, and what really went wrong with the magazine business.
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This episode is made possible by our friends at Commercial Type and Freeport Press.
A production of Magazeum LLC ©2021â2025
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EVERY DAY IS MOTHERâS DAY
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If The Full Bleedâs second season had a theme, it just might be âWe Made A New Magazine During the Pandemic.â Listen to past episodes and youâll see that our collective and unprecedented existential crisis ended up producing a lot of magazines.
Melissa Goldstein and Natalia Rachlin met as coworkers at the lifestyle brand Nowness in the UK. Later, with Melissa in LA and Natalia in Houston, they bonded over their new status as mothers: they had given birth a day apart.
And they both found that magazines aimed at mothers were deficient. These titles spoke of babies and parenting and the decor of the babyâs room, but they rarely spoke of the moms as⊠people.
So they created Mother Tongue, a fresh look at womanhood and motherhood, and a kind of reclamation of both terms. The magazine functions as a conversation between like-minded moms from everywhere. Plus, like all modern media brands, Mother Tongue has great merch.
The election looms large, of course, over the magazine and our discussionâwe spoke a week after it and letâs just say both Melissa and Natalia were still processing the results. But Mother Tongue is not going to shy away from talking about that either.
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This episode is made possible by our friends at Freeport Press.
A production of Magazeum LLC ©2021â2025
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âTHATâS WHAT HAPPENS WHEN YOU HAVE GRAPHIC DESIGNâ
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Simon Esterson is one of the most influential figures in British magazine design shaping the field for decades with his distinctive approach to editorial work.
Unlike many designers who built their careers within major publishing houses, Esterson chose a different path, gravitating toward independent publishing where his influence could be greater and his contributions more impactful. This decision allowed him to play a key role in fostering a rich culture of design-led publications.
His early work at Blueprint, the legendary British design and architecture magazine, set the stage for a career that would lead him to The Guardian, The Sunday Times of London and the Italian architecture magazine, Domus, before establishing his own London based studio, Esterson Associates.
Today, Estersonâs most visible project is Eye, the internationally-renowned journal of graphic design. As its art director and co-owner, he has been instrumental in maintaining its reputation as one of the most essential platforms for design professionals.
Thanks to his nonstop editorial work, Esterson is widely considered to be a mentor and role model for generations of British designers proving that great editorial design does not require vast resources, but rather a clear vision and an understanding of how design can elevate content.
Thatâs what great designers do.
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This episode is made possible by our friends at Commercial Type and Freeport Press.
A production of Magazeum LLC ©2021â2025
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A WEED GROWS IN PORTLAND
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Anja Charbonneau would be the first to admit she didnât have a strategy in mind when she launched her dreamy celebration of all things marijuana, Broccoli magazine, back in 2016. Having worked as a freelance photographer and writer, and then as Creative Director of lifestyle favorite Kinfolk, she started Broccoli with the simple idea to explore Portlandâs then burgeoning cannabis scene and its culture.
Fast forward to today: Anja Charbonneau oversees a publishing conglomerate that produces a number of magazines, books, and something called âoracle cardsââwhile also spearheading an advocacy group, and a whole lot more.
If anything has changed, ironically, itâs that the last edition of Broccoli was the last edition of Broccoli. Yes, there are new magazines on the way, and new books, and new ideas to explore, because Anja Charbonneau does not sit still, even while sitting atop her nascent empire.
From cats to mushrooms to artful snails to all things celestial, Broccoli publishes stuff that tastes great and thatâs good for you and your soul.
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This episode is made possible by our friends at Freeport Press.
A production of Magazeum LLC ©2021â2025
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THE RETURN OF THE PRODIGAL SON
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Nearly 40 years after its launch, Spin magazine has returned to printâand at the helm, once again, is its founding editor and todayâs guest, Bob Guccione Jr.
Launched in 1985 as a scrappy, rebellious alternative to Rolling Stone, Spin became a defining voice in music journalism, championing emerging artists and underground movements that mainstream media often overlooked.
Now, as it relaunches its print edition, Spin will attempt to find its place in a media landscape that looks completely different. But Spinâs origin storyâand Guccione Jr.âs careerâhas been shaped by a complicated legacy. His father, Bob Guccione Sr., was the founder of Penthouse magazine, a publishing mogul who built an empire on provocation and controversy.
Launched in 1965 as a scrappy, rebellious alternative to Playboy, Penthouse was more than just an explicit adult magazine. It was a cultural lightning rod, sparking debates on censorship, free expression, and morality.
Though Penthouse funded Spinâs launch, the father/son dynamic was soon fraught with conflict over Spinâs editorial direction combined with Penthouseâs declining appeal. That tension led to a deep riftâthe two were estranged for years. But Spin survived, thriving under Guccione Jr.âs leadership as it defined a new era of music journalism.
We talked to Guccione upon his return to the magazine he built, and offers a spin-free take on dad, the launch, and the comeback.
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This episode is made possible by our friends at Commercial Type and Freeport Press.
A production of Magazeum LLC ©2021â2025
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THEYâRE FIXINâ TO CHANGE YOUR MIND
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The people behind The Bitter Southerner are many things but they are not, they will remind you, actually bitter. The tongue is planted quite firmly in the cheek here. But The Bitter Southerner is, for sure, like it says on the website, âa beacon for the American South and a bellwether for the nation.â
Sure, why not.
But what started out as an ambitious e-newsletter has evolved now into a ⊠project. Read The Bitter Southerner and you realize how ambitious and radical their businessâand messageâtruly is. This is not just a brand but a movement, a way to talk about the South and Southern things, but through a lens many of us, through our own biases and ignorance, wonât quite see.
And the world is listening. Stories from The Bitter Southerner have either won or been nominated for eight James Beard Awards. And now they are up for a National Magazine Award for General Excellence.
We spoke to co-founder Kyle Tibbs Jones about the genesis of the magazine, about what it means, about the community it has found and spawned, and about the future, not just of the brand but, maybe, of the South, and where The Bitter Southerner fits into it all.
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This episode is made possible by our friends at Freeport Press.
A production of Magazeum LLC ©2021â2025
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MAKE IT BIG. NO BIGGER
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Paula Scher is not really a âmagazine person.â
But if you ever needed evidence of the value of what we like to call âmagazine thinking,â look no further than Pentagram, the worldâs most influential design firm. The studio boasts a roster of partners whose work is rooted in magazine design: Colin Forbes, David Hillman, Kit Hinrichs, Luke Hayman, DJ Stout, Abbott Miller, Matt Willey, and, yes, todayâs guest.
Paula has been a Pentagram partner since 1991. Sheâs an Art Directorâs Club Hall of Famerâand AIGA Medalist. She has shaped the visual landscape for iconic brandsâCoca-Cola, Citibank, Tiffany, and Shake Shackâalways with her instinctive understanding of how typography, design, and storytelling come together.
In other words, she plays the same game we do.
In 1993, Paula collaborated with Janet Froelich on a redesign of The New York Times Magazine and built a platform for pioneering editorial innovation that continues to this day. In 1995, she helped me break down Fast Companyâs editorial mission, in her own distinctively reductive way: âItâs about the ideas, not the people,â she said. It was a game-changer.
But Paula isnât just a design legendâsheâs also a complete badass.
Starting out at a time when the industry was still predominantly male, Paula carved out space for herself by fighting for it. Her work at CBS and Atlantic Records redefined album cover design. Later, her rebranding for cultural institutions like The Public Theater and the Museum of Modern Art helped cement the importance of an unforgettable identity system for any organization.
And, as a longtime educator at New Yorkâs School of Visual Arts, Paula has molded generations of designers who have gone on to shape the industry in their own waysâincluding our very own Debra Bishop.
We spoke to Paula upon the launch of her new, 500-plus page monograph, Paula Scher: Works.
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This episode is made possible by our friends at Commercial Type and Freeport Press.
A production of Magazeum LLC ©2021â2025
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WTF IS AFM?
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Feeld is a dating app âfor the curiousâ and its users are an adventurous, thoughtful bunch. And Feeld is also a tech company that happens to be led by thoughtful long-term types who see the value in print as a cornerstone for their community of customers. Enter A Fucking Magazine.
Led by editors Maria Dimitrova and Haley Mlotek, AFM is a cultural magazine about sex that is also not about sex. Maybe itâs about everything. Or maybe my old lit prof in college was right and everything really is about sex. The first issue of the magazine is out and it demands attention because it is beautiful and smart and literate. And also because it feels like something new.
Discussions about AFM also lead to discussions about custom publishing: There is no hiding Feeld in the pages of AFM. All of the money behind the magazine is from Feeld, and half the contributors are also users of the app. Customers, in other words.
As someone who came out of the custom world, I have long said the best custom media were the products of brands that were confident and forward thinking; when a brand saw itself more as patron and less as custodian. Meaning they didnât get overly involved.
Luckily, the higher ups at Feeld are relatively hands off, and allow Maria and Haley to do their thing. Which is very fucking smart.
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This episode is made possible by our friends at Freeport Press.
A production of Magazeum LLC ©2021â2025
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THE WINNER
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Clang! Clink! Bang! Hear that? Itâs the sound of all the hardware that Jake Silversteinâs New York Times Magazine has racked up in his almost eleven years at its helm: Pulitzers and ASMEs are heavy, people!
When we were preparing to speak to Jake, we reached out to a handful of editors who have loyally worked with him for years to find out what makes him tick. They describe an incredible and notably drama-free editor who fosters an amazing vibe and a lover of both literary essay and enterprise reporting who holds both an MA and an MFA. As one New York Times Mag story editor put it, Jakeâs superpower is his âvigorous and institutionally-shrewd support of skilled reporters with strong voices pursuing projects that were just a little beyond the paperâs ordinary comfort zone.â
Hereâs a theory we set out to test in this interviewâone that weâve floated in our newsletter, The Spread, for years now: Is The New York Times Magazine the best womenâs magazine out there?
Yes, weâre talking about the stories they produce under Jake, like Susan Dominusâs ASME-winning, game-changing story about menopause and hormone replacement therapy, and Linda Villarosaâs feature shining a light on the Black maternal health crisis.
But weâre also talking about the woman-loaded top of the Times Mag masthead, on which Gail Bichler, Jessica Lustig, Sasha Weiss, Ilena Silverman, and Adrienne Greene reign supremeâand seriously outnumber their male counterparts.
And we could spend all day name checking favorite writers, like Dominus and Villarosa, but also Emily Bazelon, Danyel Smith, Taffy Brodesser-Akner, Irina Aleksander, Jordan Kisner, Azmat Khan, Pam Colloff, Nikole Hannah-Jones, J Wortham, Wesley Morris. We could go on and onâyou get the idea!
So, did Jake agree with our womenâs mag theory? And what is it like to have the deep resources it takes to make these kinds of stories these days? Youâll have to listen to find out.
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This episode is made possible by our friends at Commercial Type and Freeport Press.
A production of Magazeum LLC ©2021â2025
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THE HEART OF ROCK âNâ ROLL
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Thereâs a saying about the Velvet Undergroundâs first album: it didnât sell a lot of copies but everyone who bought it went on to form a band. Not everyone who read Creem went on to form a band, but almost everyone who ever wrote about rock music in a significant way has a connection to Creem.
Founded in Detroit in 1969 by Barry Kramer, Creem was a finger in the eye to the more established Rolling Stone. Creem called itself âAmericaâs Only Rock ânâ Roll Magazineâ and its cheeky irreverence matched its devotion to its infamous street cred. Punk, new wave, heavy metal, alternative, indie were all championed at Creem.
Writers and editors who worked for Creem read like a whoâs who of industry legends: Lester Bangs. Dave Marsh. Robert Christgau. Greil Marcus. Patti Smith. Cameron Crowe. Jann Uhelszki. Penny Valentine. And on and on and on.
The magazine stopped publishing in 1989 a few years after Barryâs death. A documentary about Creemâs heyday in 2020 helped lead to a resurrected media brand, founded by JJ Kramer, Barryâs son, and launched in 2022. The copy on the first issueâs cover: âRock is Dead. So is Print.â
Totally typical Creem-assed fuckery. And still totally rock n roll, man.
A production of Magazeum LLC ©2021â2025
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FARM-TO-NEWSSTAND PUBLISHING
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The pandemic screwed a lot of businesses over, but it did a real number on the restaurant industry. Beset by low margins at the best of times, Covid was to the business what a neglected pot of boiling milk is to your stove top. But Max Meighen, a restaurant owner in Toronto decided to fill in his down time by ⊠creating a magazine. Because of course he did.
And so he cooked up Serviette, a magazine about food that feels and looks and reads unlike any other food title around.
Nicola Hamilton came on as Creative Director soon thereafter. She had worked for a number of Canadian titles and during Covid, founded Issues Magazine Shop, one of Canadaâsâif not the worldâsâleading independent magazine shops. Because of course she did.
Food magazines, like all media, have gone through a lot recently, and the changes wrought by digital media have been amplified by Influencers, TikTokers, Instagram recipe makers, Substackers, bloggers, you name it. The food industry is ruthless and not for the weak. And I think youâll find that both Max and Nicola are anything but. They are, quite simply, Master Chefs.
A production of Magazeum LLC ©2021â2025
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