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Magazeum

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Podcasts about magazines and the people who made (and make) them.

96 episode

Magazeum

updated 2 hari yang lalu

Beranda serial•Feed

Podcasts about magazines and the people who made (and make) them.

96 episode

All episodes

1
Louis Dreyfus (CEO: Groupe Le Monde) 36:06

2 hari yang lalu36:06

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36:06

IT’S LE MONDE ’S WORLD AND WE’RE JUST LIVING IN IT — Name a major newspaper—anywhere in the world—and 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 France’s venerable Le Monde is out with M International , a glossy biannual that distills their weekly M magazine for an English-speaking audience. Long called “the newspaper of reference” 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 magazine—in English—something 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. — This episode is made possible by our friends at Freeport Press . A production of Magazeum LLC ©2021–2025…

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Philip Burke (Illustrator: Rolling Stone, Vanity Fair, The New Yorker, more) 52:25

9 hari yang lalu52:25

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TWIST & SHOUT — Philip Burke’s portraits don’t just look like the people he paints—they 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: “ Nam Myōhō Renge Kyō . Nam Myōhō Renge Kyō . Nam Myōhō Renge Kyō .” It means “devotion to the mystic law of cause and effect through sound,” he says. The chant grounds Burke and opens a space where true connection—on the canvas and in life—can happen. This daily practice is more than a ritual—it’s a source of creative clarity. Burke’s 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 transform—less 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 present—both on the page and in life—is his greatest creative discipline. — This episode is made possible by our friends at Commercial Type and Freeport Press . A production of Magazeum LLC ©2021–2025…

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Luke Adams (Editor-in-Chief: Standart) 42:52

16 hari yang lalu42:52

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THE NEW, NEW COFFEE GENERATION — On today’s show we’re creating a storm in a coffee cup about everyone’s cup of joe. We’re spilling the beans about your morning brew. You’re going to hear a latte puns about your cuppa, your high-octane dirt, your jitter juice, your elixir, and by the time we’re 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 “cutting-edge coffee-making geekery.” 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 we’re drinking. Even when it’s a “damn fine cup of coffee.” — This episode is made possible by our friends at Freeport Press . A production of Magazeum LLC ©2021–2025…

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Jeff Jarvis (Editor: Entertainment Weekly, more) 48:19

23 hari yang lalu48:19

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THE WHISTLEBLOWER — I was a reporter and editor in newspapers, including Chicago Today —which had no tomorrow—the 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 launch—a story I tell in my new book, Magazine —I 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 . — This episode is made possible by our friends at Freeport Press . A production of Magazeum LLC ©2021–2025…

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Hillary Brenhouse (Founder & Editor-in-Chief: Elastic) 40:46

30 hari yang lalu40:46

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IN THE REALM OF THE SENSES — Psychedelia has an image problem. At least that’s 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. — This episode is made possible by our friends at Freeport Press . A production of Magazeum LLC ©2021–2025…

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Françoise Mouly (Art Editor: The New Yorker, more) 59:53

5 weeks yang lalu59:53

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WHEN EUSTACE MET FRANÇOISE — I first met Françoise Mouly at The New Yorker ’s 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 bubble—hockey, baseball, Leonard Cohen—and so not yet aware of her groundbreaking work at Raw magazine. Much time has passed since that fortuitous day and I’ve thankfully caught up with her ouevre —gonna get as many French words into this as I can—through back issues of Raw and TOON Books. But mostly with The New Yorker , where we have worked together for over 30 years and I’ve been afforded a front-row seat to witness her mode du travail , her nonpareil mélange of visual storytelling skills. Speaking just from my own experience, I can’t tell you how many times at the end of a harsh deadline I’ve 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 won’t 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 manipulation—a hairline move forward here, a nose sharpened there. Or ideas that mostly worked turned on their head—with the artist's permission, of course—to suddenly drive the point all the way home. For Françoise, “the point” is always the point. Beautiful pictures are fine, but what does the image say? Françoise maintains a wide circle of devoted contributing artists—from renowned gallery painters to scribbling cartoonists, and all gradations between—from whom she regularly coaxes their best work. I thank my étoiles chanceuses to be part of that group. And now, an interview with Françoise. Apparently. —Barry Blitt — This episode is made possible by our friends at Commercial Type and Freeport Press . A production of Magazeum LLC ©2021–2025…

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Alex Heeyeon Kil (Editor-in-Chief: Monochromator) 26:13

6 weeks yang lalu26:13

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EVERY DAY IS MOTHER’S DAY — 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 … … Sorry. I failed physics the last time I took it and I would fail it again. I’m not telling you about my shortcomings for any reason, because a podcast about my shortcomings would be endless. But I thought I’d look up the word when confronted with Monochromator magazine, which aims to “deconstruct selected films under a shared monochrome to reconstruct them for social relevance.” Look, that’s 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, it’s very interesting reading and not heavy. And editor Alex Heeyeon Kil is not even sure she’s 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 you’ll understand what you’re seeing better than I ever will. — This episode is made possible by our friends at Freeport Press . A production of Magazeum LLC ©2021–2025…

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David Granger (Editor: Esquire, GQ, more) 1:13:45

7 weeks yang lalu1:13:45

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A MAN AT HIS F*#KING BEST — 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 that’s also true for today’s guest, which is a good thing because that’s exactly what David Granger did. “But all this time I’d 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.” Unless you’re 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. It’s 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 couldn’t completely ignore history. Here, he pays homage to his fellow Tennessean, who ran Esquire when Granger first discovered it in college. “What 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 storytelling—or amazing photo displays or whatever it is—all the stuff that you do because it's ambitious and because it's art.” Upon taking over at Esquire , Granger’s instinct was to innovate—almost compulsively. Over the years, he’s introduced some of print’s most ambitious (and imitated) packaging conceits: What I’ve 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 who’ve worked with Granger stress his sense of loyalty. Ask any of his colleagues and you’ll hear a similar response: “David Granger is one of the finest editors America has ever produced. He also happens to be an exceptionally decent human being.” 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: “This job made my life, as much as any job can make anybody’s life. It had almost nothing to do with me. It had everything to do with what you guys did under my watch. I’ve done exactly what I wanted to do—the only thing I’ve ever wanted to do—for the last 19 years. I’m the luckiest man in the world.” We talked to Granger about retiring some of Esquire ‘s aging classics (Dubious Achievements, Sexiest Woman Alive), his surprising and life-changing Martha Stewart Moment, and what really went wrong with the magazine business. — This episode is made possible by our friends at Commercial Type and Freeport Press . A production of Magazeum LLC ©2021–2025…

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Melissa Goldstein & Natalia Rachlin (Founders: Mother Tongue) 29:29

8 weeks yang lalu29:29

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EVERY DAY IS MOTHER’S DAY — If The Full Bleed ’s second season had a theme, it just might be “We Made A New Magazine During the Pandemic.” Listen to past episodes and you’ll 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 baby’s 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 discussion—we spoke a week after it and let’s 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. — This episode is made possible by our friends at Freeport Press . A production of Magazeum LLC ©2021–2025…

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Simon Esterson (Designer: Eye, Blueprint, The Guardian, more) 54:18

9 weeks yang lalu54:18

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“THAT’S WHAT HAPPENS WHEN YOU HAVE GRAPHIC DESIGN” — 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, Esterson’s 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. That’s what great designers do. — This episode is made possible by our friends at Commercial Type and Freeport Press . A production of Magazeum LLC ©2021–2025…

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Anja Charbonneau (Founder: Broccoli) 39:51

10 weeks yang lalu39:51

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A WEED GROWS IN PORTLAND — Anja Charbonneau would be the first to admit she didn’t 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 Portland’s 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 “oracle cards”—while also spearheading an advocacy group, and a whole lot more. If anything has changed, ironically, it’s 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 that’s good for you and your soul. — This episode is made possible by our friends at Freeport Press . A production of Magazeum LLC ©2021–2025…

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Bob Guccione Jr. (Founder & Editor: SPIN, Gear, more) 47:16

11 weeks yang lalu47:16

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THE RETURN OF THE PRODIGAL SON — Nearly 40 years after its launch, Spin magazine has returned to print—and at the helm, once again, is its founding editor and today’s 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 Spin ’s origin story—and Guccione Jr.’s career—has 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 Spin ’s launch, the father/son dynamic was soon fraught with conflict over Spin ’s editorial direction combined with Penthouse ’s declining appeal. That tension led to a deep rift—the two were estranged for years. But Spin survived, thriving under Guccione Jr.’s 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. — This episode is made possible by our friends at Commercial Type and Freeport Press . A production of Magazeum LLC ©2021–2025…

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Kyle Tibbs Jones (Cofounder: The Bitter Southerner) 33:26

12 weeks yang lalu33:26

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THEY’RE FIXIN’ TO CHANGE YOUR MIND — 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, “a beacon for the American South and a bellwether for the nation.” 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 business—and message—truly 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, won’t 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. — This episode is made possible by our friends at Freeport Press . A production of Magazeum LLC ©2021–2025…

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Paula Scher (Designer: Pentagram, more) 52:57

13 weeks yang lalu52:57

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MAKE IT BIG. NO BIGGER — Paula Scher is not really a “magazine person.” But if you ever needed evidence of the value of what we like to call “magazine thinking,” look no further than Pentagram, the world’s 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, today’s guest. Paula has been a Pentagram partner since 1991. She’s an Art Director’s Club Hall of Famer—and AIGA Medalist. She has shaped the visual landscape for iconic brands—Coca-Cola, Citibank, Tiffany, and Shake Shack—always 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 Company ’s editorial mission, in her own distinctively reductive way: “It’s about the ideas, not the people,” she said. It was a game-changer. But Paula isn’t just a design legend—she’s 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 York’s School of Visual Arts, Paula has molded generations of designers who have gone on to shape the industry in their own ways—including our very own Debra Bishop . We spoke to Paula upon the launch of her new, 500-plus page monograph, Paula Scher: Works . — This episode is made possible by our friends at Commercial Type and Freeport Press . A production of Magazeum LLC ©2021–2025…

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Maria Dimitrova & Haley Mlotek (Editors: A Fucking Magazine) 47:20

14 weeks yang lalu47:20

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WTF IS AFM ? — Feeld is a dating app “for the curious” 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 it’s 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 didn’t 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. — This episode is made possible by our friends at Freeport Press . A production of Magazeum LLC ©2021–2025…

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