Print Is Dead. (Long Live Print!)

THE PERSON BEHIND THE PERSON BEHIND THE CAMERA—Close your eyes and picture a classic Rolling Stone cover. Dozens probably come to mind—portraits 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. They're 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?It's the photo editor. But who thinks about the photo editor?Photo editors are essential—especially at a magazine like Rolling Stone—for 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. They're the ones keeping shoots on track when the talent shows up two hours late. They're the ones coaxing photographers into greatness—the 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. They're under-thanked. Underseen. Too often unknown. This is the paradox of their work: When a shoot goes well, it looks effortless. When it doesn't, they take the bullet.Laurie Kratochvil, Rolling Stone's visionary director of photography from 1982 to 1994, knows this all too well.—This episode is made possible by our friends at Commercial Type and Freeport Press. A production of Magazeum LLC ©2021–2025

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

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

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

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

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

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

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

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

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

“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. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

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. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

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. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

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. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

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. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

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. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

THE WINNER—Clang! Clink! Bang! Hear that? It's the sound of all the hardware that Jake Silverstein's 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, Jake's superpower is his “vigorous and institutionally-shrewd support of skilled reporters with strong voices pursuing projects that were just a little beyond the paper's ordinary comfort zone.” Here's a theory we set out to test in this interview—one that we've floated in our newsletter, The Spread, for years now: Is The New York Times Magazine the best women's magazine out there? Yes, we're talking about the stories they produce under Jake, like Susan Dominus's ASME-winning, game-changing story about menopause and hormone replacement therapy, and Linda Villarosa's feature shining a light on the Black maternal health crisis. But we're 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 supreme—and 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 on—you get the idea! So, did Jake agree with our women's mag theory? And what is it like to have the deep resources it takes to make these kinds of stories these days? You'll have to listen to find out.—This episode is made possible by our friends at Commercial Type and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

THE HEART OF ROCK ‘N' ROLL—There's a saying about the Velvet Underground's first album: it didn't 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 “America's Only Rock ‘n' Roll Magazine” 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 who's 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 Barry's death. A documentary about Creem's heyday in 2020 helped lead to a resurrected media brand, founded by JJ Kramer, Barry's son, and launched in 2022. The copy on the first issue's cover: “Rock is Dead. So is Print.”Totally typical Creem-assed fuckery. And still totally rock n roll, man. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

FARM-TO-NEWSSTAND PUBLISHING—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 Canada's—if not the world's—leading 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 you'll find that both Max and Nicola are anything but. They are, quite simply, Master Chefs. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

NOT THE SAFE CHOICE—Most magazines are not political. Unless, that is, you create a bilingual Arabic-English language magazine about design out of Beirut. Or another bilingual magazine about women and gender—also out of Beirut. Then, perhaps, your intentions are a bit less opaque.Maya Moumne is a Lebanese designer by training who now divides her time between Beirut and Montréal. She is the editor and co-creator of Journal Safar and Al Hayya, two magazines that attempt to capture the breadth and diversity of what we inaccurately—monolithically—call “the Arab World.” Both magazines are also examples of tremendous design and, frankly, bravery.The subject-matter on display here means the magazines have limited distribution in the very region they cover—which is both ironic and the exact reason the magazines exist. That both have also been noticed and fêted by magazine insiders in the West is perhaps also something worth celebrating.Maya Moumne is a designer. Of the possibilities for a better and more inclusive future for everyone, everywhere.[Production note: This conversation was recorded prior to the violence in Lebanon. We send our best wishes to the staff of Journal Safar and Al Hayya and hope they are safe. And mostly we wish for a peaceful future for all.] Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

CHAMPION OF A BETTER FUTURE—Wired magazine feels like it's been around forever. And perhaps these days any media that has been around for over 30 years qualifies as forever.It has, certainly, been around during the entirety of the digital age. It has been witness to the birth of the internet, of social media, of cellphones, and of AI. It feels like an institution as well as an authority for a certain kind of subject. But what is that subject? Because Wired is not just a tech publication. It never was.Katie Drummond is the editorial director of Wired, a position she has held for just over a year. This job is the closing of a circle in a sense, because her first job in media was as an intern at Wired. She has worked almost exclusively in digital media since, for a range of outfits—many of them shuttered—proof of the vagaries and the reality of media in the digital age.At Wired Drummond oversees a robust digital presence, including video, the print publication, as well as Wired offices in places like Italy, Mexico, and Japan. She says that Wired “champions a better future” … meaning Wired seems like the publication of the moment, in many ways, at the intersection of tech, culture, politics, and the environment. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

EVERYONE IS A SALESMAN—In 1995, New York magazine declared Martha Stewart the “Definitive American Woman of Our Time.” And, as the saying goes (sort of), behind every Definitive American Woman of Our Time is another Definitive American Woman of Our Time. And that's today's guest, designer Gael Towey.But let's back up. It's 1982, and Martha Stewart, then known as the “domestic goddess”—or some other dismissive moniker—published her first book, Entertaining. It was a blockbuster success that was soon followed by a torrent of food, decorating, and lifestyle bestsellers.In 1990, after a few years making books with the likes of Jackie Onassis, Irving Penn, Arthur Miller, and, yes, Martha Stewart, Towey and her Clarkson Potter colleague, Isolde Motley, were lured away by Stewart, who had struck a deal with Time Inc. to conceive and launch a new magazine.Towey's modest assignment? Define and create the Martha Stewart brand. Put a face to the name. From scratch. And then, distill it across a rapidly-expanding media and retail empire.In the process, Stewart, Motley, and Towey redefined everything about not only women's magazines, but the media industry itself—and spawned imitators from Oprah, Rachael, and even Rosie.By the turn of the millennium, Martha Stewart Living Omnimedia, as it was rebranded in 1997, included seven magazines, multiple TV projects, a paint collection with Sherwin-Williams, a mail-order catalog, Martha by Mail, massive deals with retailers Kmart, Home Depot, and Macy's, a line of crafts for Michael's, a custom furniture brand with Bernhardt, and even more bestselling books. And the responsibility for the visual identity of all of it fell to Towey and her incredibly talented team. It was a massive job.We talk to Towey about her early years in New Jersey, about being torn between two men (“Pierre” and Stephen), eating frog legs with Condé Nast's notorious editorial director, Alexander Liberman, and, about how, when all is said and done, life is about making beautiful things with extraordinary people.—This episode is made possible by our friends at Mountain Gazette, Commercial Type, and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

THE BRAND CALLED US—In the summer of 1995, I got an offer I couldn't refuse. It came from my guests today, Alan Webber and Bill Taylor, the founding editors of Fast Company, widely acknowledged as one of the magazine industry's great success stories. Their vision for the magazine was an exercise in thinking different. Nothing we did hewed to the conventional wisdom of magazine-making. Our founders came from politics and activism born in the ivy halls of Harvard. Our HQ was far from the center of the magazine world, in Boston's North End—“leave the pages, take the cannolis.” And Fast Company was not a part of the five families of magazine publishing. It wouldn't have worked if it was.  I was one of the first people Alan and Bill hired, and as the magazine's founding art director, I could tell Fast Company was going to be big. And it was big. Huge, in fact. Shortly after its launch, a typical issue of the magazine routinely topped out at almost 400 pages. We had to get up to speed, and fast.Its mission was big, too. Bill and Alan's plan sounded simple: to offer rules for radicals that would be inspiring and instructive; to encourage their audience to think bigger about what they might achieve for their companies and themselves, and to provide tools to help us all succeed in work … and in life. Their mantra: Work is personal. The effect, however, was even bigger. The magazine was a blockbuster hit, winning ASME awards for General Excellence and Design. It was Ad Age's 1995 Launch of the Year. Bill and Alan were named Adweek's editors of the year in 1999. It even spawned its own reader-generated social network, the Company of Friends, that counted over 40,000 members worldwide. And it brought together an extraordinary team of creatives who, to this day, carry on the mission in their own way—including the founders. Nearly thirty years after the launch of the magazine, Alan is currently serving his second term as the mayor of Santa Fe, New Mexico. Bill is the best-selling author of Mavericks at Work, among other books, and continues to lead the conversation on transforming business. We often said that Fast Company was the one that would ruin us for all future jobs. It was a moment in time that I and my colleagues will treasure forever. I am thrilled to be able to share that story with you today.—This episode is made possible by our friends at Mountain Gazette, Commercial Type, and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

SHE LOOKS FORWARD TO YOUR PROMPT REPLY—Jody Quon's desk is immaculate. There's a lot there, but she knows exactly where everything is. It's like an image out of Things Organized Neatly.She rarely swears. Or loses her temper. In fact she's one of the most temperate people in the office. Maybe the most. She's often been referred to as a “rock.”She remembers every shoot and how much it cost to produce. She knows who needs work and who she can ask for favors.She's got the magazine schedule memorized and expects you to as well. She's probably got your schedule memorized, too. She's usually one of the first in the office and last to leave. In fact, on the day she was scheduled to give birth to her first child, she came to work and put in a full day. When her water broke at around 6pm, she called her husband to say, “It's time.”I don't know if any of this is true. Except the baby thing. That is true. Kathy Ryan told me so.I had a teacher in high school, Ms. Trice. She was tough. I didn't much like her. She would often call me out for this or that. Forty years later, she's the only one I remember, and I remember her very fondly. In my career, I've often thought that the best managing editors, production directors, and photography directors were just like Ms. Trice. These positions, more than any others, are what make magazines work. They're hard on you because they expect you to be as professional as you can be. They make you better. (I see you, Claire, Jenn, Nate, Carol, and Sally.)I suspect that a slew of Jody Quon's coworkers and collaborators feel that same way about her. Actually, I don't suspect. I know. I've heard it from all corners of the magazine business. I heard it again yesterday from her mentor and good friend, Kathy Ryan.“She just has that work ethic,” Ryan says. “It's just incredible when you think about it. The ambition of some of the things that they've done. And that has been happening right from the beginning. Ambition in the best sense. Thinking big. And she's cool, always cool under pressure. We had a grand time working together. I still miss her.”Jody Quon is one of those people who makes everybody around her better. That's what I believe. And after this conversation, you probably will, too.es.”—This episode is made possible by our friends at Mountain Gazette, Commercial Type, and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

CHIC, BUT MAKE IT NICE—It's a cliché because it's true: in the fashion world, you've got your show ponies and you've got your workhorses. We mean it as a compliment when we say that Samira Nasr truly earned her place at the helm of the 156-year-old institution, Harper's Bazaar. Don't get us wrong; Samira is seriously glamorous—she's the kind of woman who phrases like “effortless chic” were invented to describe. But she did not cruise to her current perch on connections and camera-readiness alone. Rather, she worked her way up, attending J-school at NYU, then making her way through the fashion closets of Vogue, Mirabella, Vanity Fair, InStyle, and Elle—where we met in the trenches, and got to see firsthand how she mixes old-school, roll-up-your-sleeves work ethic and her own fresh vision. When Samira got the big job at Bazaar in 2020, she became the title's first-ever Black editor-in-chief. The Bazaar she has rebuilt is as close as a mainstream fashion magazine gets to a glossy art mag, but it is far from chilly. As she has long put it, “I just want to bring more people with me to the party.” Which, when you think about it, is a brilliant mantra for a rapidly shifting era in media and culture. How to keep a legacy fashion magazine going circa 2025? Drop the velvet rope.The timing for this mantra could not have been better. After her first year in the role, Bazaar took home its first-ever National Magazine Award for General Excellence. In our interview, Samira talked about remaking one of fashion's most legendary magazines — plus, jeans, budgets, and even the odd parenting tip. We had fun, and we hope you—This episode is made possible by our friends at Mountain Gazette, Commercial Type, and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2024

THE SHOP AROUND THE CORNER—“I was a publication designer for 20 years, making book covers at Knopf with Sonny Mehta, Carol Carson, and Chip Kidd. Later, in the early aughts, I made stories and books—and other things—at Martha Stewart Living. Then I took a brief adventure to graduate school—to learn a new trade. And finally I moved to The New York Times, where I helped create several of its legendary digital products, like NYT Cooking.In December 2020, I bought a building on the Delaware River—and opened the Frenchtown Bookshop.My name is Barbara deWilde … and this is The Next Page.”—This episode is made possible by our friends at Mountain Gazette, Commercial Type, and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2024

A PRETTY COMPLICATED ORGANISM—Like many of you, I was stunned by what happened on November 5th. It's gonna take me some time to reckon with what this all says about the values of a large portion of this country. As part of that reckoning—and for some much-needed relief—I've opted to spend less time with media in general for a bit. But on “the morning after,” I couldn't ignore an email I got from today's guest, New York magazine editor-in-chief David Haskell. [You can find it on our website].What struck me most about his note—which was sent to the magazine's million-and-a-half subscribers—was what it didn't say.There were no recriminations. Nothing about how Kamala Harris had failed to “read the room.”  Not a word about Joe Biden's unwillingness to step aside when he should have. No calls to “resist.” In fact, the hometown president-elect's name went unspoken (as it is here).What Haskell did say that left a mark on me was this:“I consider our jobs as magazine journalists a privilege at times like this.” I was an editor at Clay Felker's New York magazine, the editor-in-chief of Boston magazine, and I led the creative team at Inc. magazine. And it was there, at Inc. that I had a similar experience. It was 9/11.I wrote my monthly column in the haze that immediately followed the attacks, though it wouldn't appear in print until the December issue. It was titled, “Think Small. No Smaller.” In it, I urged our community of company builders to focus their attention on the things we can control. This is how it ended:What we can say for certain is that the arena over which any of us has control has, for now, grown smaller. In these smaller arenas, the challenge is to build, or rebuild, in ourselves and our organizations the quiet confidence that we still have the ability to get the right things done.For all the attention that gets paid to EICs, most of the work you do is done through the members of your team: writers, and editors, and designers, and so many others.My friend, Dan Okrent, the former Life magazine editor and Print Is Dead guest, once said, “Magazines bring us together into real communities.”—This episode is made possible by our friends at Mountain Gazette, Commercial Type, and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2024

WHAT MAKES STEVE BRODNER HAPPY—When your boss tells you to track down an amusing Steve Brodner factoid to open the podcast with, and one of the first things you find is a, uh, a “dick army,” welp, that's what you're going to go with. Lest you judge me, I can explain. Brodner's drawing of this army was inspired by a guy who was actually named Dick Armey (A-R-M-E-Y)! He was Newt Gingrich's wingman back in the nineties. I thought to myself, the people need to know this.However, with the election now a few days behind us, maybe the time for talking about men and their junk is over? What you really want to learn about is this Society of Illustrators hall of famer's career. Brodner's work, which has been called “unflinching, driven by a strong moral compass, and imbued with a powerful sense of compassion,” has been featured in Rolling Stone, The Washington Post Magazine, Esquire, The New Yorker, and many others.In this episode, Brodner talks about how the death of print has led to the current misinformation crisis. As it gets harder and harder to tell what's true, the future becomes increasingly uncertain. Even his most biting drawings are rooted in truth. “Satire doesn't work if you are irresponsibly unreasonably inventive. If satire doesn't have truth in it, it's not funny.”A production note: This episode was recorded exactly one week before the election. As our conversation began, we took turns telling stories about memorable election night parties, and our plans for November 5th. Here's Steve, talking about his  plans…—This episode is made possible by our friends at Mountain Gazette, Commercial Type, and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2024

SHE'S OUR TYPE—Everybody knows that in May 2023, a jury found Donald Trump liable for defaming and abusing E. Jean Carroll, and awarded her $5 million. And everybody also knows that in January 2024, another jury found Trump liable for defamation against her to the tune of $83.3 million. P.S., with interest, his payout will now total over $100 million. But not everybody remembers—because we are guppies, and because, ahem, Print is Dead, y'all—that E. Jean is a goddamn swashbucking magazine-world legend: a writer of such style, wit, and sheer ballsy joie de vivre that she carved out a name for herself in the boys club of New Journalism, writing juicy and iconic stories in the ‘70s and ‘80s for Outside, Esquire, Playboy, and more—and then finally leapt over to women's magazines, where she held down the role of advice columnist at Elle for, wait for it, 27 years. Elle is where we intersected with E.Jean and where we first saw up close her boundless enthusiasm and generosity for womankind. We'll also never forget sitting at one of the magazine's annual fancypants dinners honoring Women in Hollywood—these are real star-studded affairs, folks—when Jennifer Aniston stood up to receive her award and started her speech with a shoutout to her beloved "Auntie E.,” whose advice she and millions of other American women had devoured, and lived by, for decades. Here's the truth: The woman that most of the world came to know through the most harrowing circumstances imaginable really is and has always been that fearless, that unsinkable. It's not a persona—it's the genuine article. And when you hear her stories about how hard she slogged away for decades to finally get her big break in publishing, listeners, you will have a whole new respect for her. As E. Jean tells us herself in this interview, she does very, very little press. So we couldn't be more honored that our friend and idol and The Spread's most enthusiastic hype woman sat down after hours with us for this interview. We just hope we did her justice!—This episode is made possible by our friends at Mountain Gazette, Commercial Type, and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2024

SOUL SURVIVOR—Just about every magazine Richard Baker worked for has died. Even one called Life.Also dead: The Washington Post Magazine, Vibe, Premiere, and Parade. Another, Saveur, also died, but has recently been resurrected. And Us Magazine? A mere shadow of its former self.Sadly, Baker's career narrative is not that uncommon. (That's why you're listening to a podcast called Print Is Dead). But Richard Baker is a survivor. He's survived immigrating from Jamaica as a kid. He's survived the sudden and premature loss of three influential and beloved mentors. And he survived a near-fatal medical emergency in the New York subway.Yet, in the face of all that carnage, Richard Baker just keeps going. To this day, he's living the magazine dream—“classic edition”—as a designer at a sturdy newsstand publication (Inc. magazine), in a brick-and-mortar office (7 World Trade Center), working with real people, and making something beautiful with ink and paper.—This episode is made possible by our friends at Mountain Gazette, Commercial Type, and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2024

SMILING THROUGH THE APOCALYPSE—In the past few weeks, Will Welch has taken a bit of flack for letting Beyoncé promote her new whiskey label on the cover of GQ's October issue, with an interview that one X user described as “an intimate email exchange between GQ and several layers of Beyonce's comms team.”Whether that kind of thing rankles you or not—and yes, we asked him about it—in the five years since Welch took over, GQ seems to be doing as well or better than everybody else in the industry. Why? Ask around. He's got a direct line to celebrities, who consider him a personal friend. He's got real credibility with The Fashion People. And because of both of these things, advertisers love him.Perhaps most importantly, his boss Anna Wintour loves him. The Atlanta-born Welch started his career at the alternative music and culture mag the Fader in the early aughts, and jumped to GQ in 2007. For a decade under EIC Jim Nelson, he operated as the magazine's fashion-and-culture svengali, eventually becoming the creative director of the magazine and the editor of the brand's fashion spinoff, GQ Style.In 2019, Wintour tapped him for the big job: Editor-in-Chief of GQ—a title that in 2020 was recast in the current Condé Nast survival-mode as Global Editorial Director of GQ, overseeing 19 editions around the world.After speaking with Welch only a few hours after the Beyonce cover dropped, we get what all the fuss is about. He is a great sport with good hair and just enough of a Southern accent who is confident-yet-never-cocky about his mission at GQ.Let other people bemoan the “death of print.” Will Welch is having a blast at the Last Supper. —This episode is made possible by our friends at Mountain Gazette, Commercial Type, and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2024

WHEN ‘HOUSE' IS NOT A HOME—Dominique Browning jokes that after the interview for this episode, she might end up having PTSD. After more than 30 years writing and editing at some of the top magazines in the world, Browning has blocked a lot of it out.  And after listening today, you'll understand why.At Esquire, where she worked early in her career, Browning says she cried nearly every day. There were men yelling and people quitting. Apartment keys being dropped off with mistresses. A flash, even, of a loaded gun in a desk drawer. At House & Garden, where she ended her magazine career in 2007 after 13 years as the editor-in-chief, the chaos was less Mad Men and more Devil Wears Prada. It was glitzy Manhattan lunches mixed with fierce competition and co-workers who complained that her wardrobe wasn't “designer” enough. The day she took the job, she says she felt like she had walked into Grimm's Fairy Tales. (Her friends had warned her that it was going to be a snake pit.) When the magazine unexpectedly folded on a Monday, she and her staff were told they had until Friday to clear out their offices. “Without warning,” she says, “our world collapsed.” —This episode is made possible by our friends at Mountain Gazette, Commercial Type, and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2024

VIVE LA CREATIVITE!—There are many reasons for you to hate Fabien Baron (especially if you're the jealous type).Here are 7 of them:• He's French, which means, among other things, his accent is way sexier than yours.• He's spent an inordinate amount of time in the company of supermodels like Naomi Campbell, Christy Turlington, and Kate Moss.• He gets all of his Calvin Klein undies for free.• Ditto any swag from his other clients: Dior, Louis Vuitton, Burberry, or Armani.• When he tired of just designing magazines, magazines went and made him their editor-in-chief.• He was intimately involved in the making of Madonna's notorious book, Sex. How intimately? We were afraid to ask.• Also? Vanity Fair called him “The Most Sought-After Creative Director in the World.”With our pity party concluded, we admit “hate” was probably the wrong word, because after spending time talking to him, it's easy to see why Baron has been able to live the kind of life many magazine creatives dream of—and why he's been so incredibly successful.His enthusiasm is contagious. It's actually his super power. And it's a lesson for all of us. When you get next-level excited, as Baron does when he can see the possibilities in a project, his passion infects everybody in the room. And then, when you learn that Baron believes he's doing what he was put on this earth to do, and claims that he would do it all for free. You've kind of got to believe him.I never, ever worried about money. I never took a job because of the money. Because I think integrity is very important. I think, like believing that you have a path and that you're going to follow that path and you're going to stay on that path and that you're going to stick to that. And that's what I'm trying to do. Welcome to Season 5 of Print Is Dead (Long Live Print!)—This episode is made possible by our friends at Mountain Gazette, Commercial Type, and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2024

THE FIFTH—You cannot overstate how much Tom Bodkin has changed the Times. In fact, you can say that there was the Times before Tom and the Times after Tom.The Times before Tom threw as many words as possible at the page, with little regard for the reader. The Times before Tom thought tossing a couple of headshots on the page was all the visual journalism we needed. The Times before Tom held to a hierarchy where designers were the other, somehow not quite journalists.Then there is The New York Times after Tom.Tom taught us that design was not only integral to journalism, it was in fact integral to storytelling at its height. The front page that listed the COVID dead was more powerful than any one story could ever be.Roy Peter Clark, the writing guru at the Poynter Institute, captured it best: “Nothing much on that front page looked like news as we understand it, that is, the transmission of information,” he wrote. “Instead it felt like a graphic representation of the tolling of bells. A litany of the dead.”Personally, Tom taught me something that made it easier to lead the newsroom in the digital age: Design demands a level of open-mindedness to the possibilities of different types of storytelling. It also rewards collaboration, since the most perfect stories are told by different disciplines working together to convey the best version of the truth every day.Those, in fact, are the qualities that mark the modern, digital New York Times. Qualities that honestly have made it the most successful news report of the day.Hard to imagine we—certainly not I—would have been prepared for this new world without Tom's leadership.—This episode is made possible by our friends at Mountain Gazette, Commercial Type, and Lane Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC & MO.D ©2021–2024

DUTCH MASTER—Dutch-born, California-raised designer Hans Teensma began his magazine career working alongside editor Terry McDonell at Outside magazine, which Rolling Stone founder Jann Wenner launched in San Francisco in 1977.When Wenner sold Outside two years later, Teensma and McDonell headed to Denver to launch a new regional, Rocky Mountain Magazine, which would earn them the first of several ASME National Magazine Awards. On the move again, Teensma's next stop would be New England Monthly, another launch with another notable editor, Dan Okrent. The magazine was a huge hit, financially and critically, and won back-to-back ASME awards in 1986 and '87.Ready for a new challenge — and ready to call New England home — Teensma launched his own studio, Impress, in the tiny village of Williamsburg, Massachusetts. The studio has produced a wide range of projects, including startups and redesigns, as well as pursuing Teensma's passion for designing books.Since 1991, Teensma has been incredibly busy: He was part of a team that built a media empire for Disney, launching and producing Family Fun, Family PC, Wondertime, and Disney Magazine. He's designed dozens of books and redesigned almost as many magazines. And he continues to lead the creative vision of the critically-acclaimed nature journal, Orion.You might not know Teensma by name, but his network of deep friendships runs the gamut of media business royalty. Why? Because everybody loves Hans.When they designed the ideal temperament for survival in the magazine business, they might as well have used his DNA. He's survived a nearly 50-year career thanks to his wicked sense of humor, his deep well of decency, and above all, his unlimited reserves of grace.You're gonna love this guy. Print Is Dead (Long Live Print!) is a production of Magazeum LLC & MO.D ©2021–2024

THE ART DIRECTOR'S ART DIRECTOR—Janet Froelich is one of the most influential and groundbreaking creative directors of all time. For over two decades, she lead the creative teams at The New York Times Magazine and its sister publication, T: The New York Times Style Magazine. In this episode, Froelich recalls her own personal 9/11 story, and what is was like to be in the newsroom on that awful day, as well as how she helped create the magazine cover that inspired and informed the memorial to the Twin Towers and those who lost their lives there. She talks about other Times magazine covers that left a mark, about her early years as an artist living in SoHo and hanging out at Max's Kansas City, and why you should never be afraid to hire people better than you. Print Is Dead (Long Live Print!) is a production of Magazeum LLC & MO.D ©2021–2024

A HANDY MAN—Photographers are gearheads. They're always throwing around brand names, model numbers, product specs.So when legendary photographer Eddie Adams asked today's guest, Dan Winters, if he knew how to handle a JD-450, it was a no-brainer. He had grown up with a JD-350. So yeah, the 450 would be no problem.But here's the funny thing: the JD-450 is not made by Nikon. Or Canon. Or Fuji. Or Leica. Not even his beloved Hasselblad. Nope. The JD-450 isn't made in Tokyo, Wetzlar, or Gothenburg.The John Deere 450 bulldozer is made in Dubuque, Iowa, USA.And what Eddie Adams urgently needed right at that moment, was someone to backfill, level, and compact a trench at his farm, which, coincidentally, was prepping to host the first-ever Eddie Adams Workshop, the world-renowned photojournalism seminar, at his farm in Sullivan County, New York, near the site of the 1969 Woodstock music festival.Get to know Dan Winters a little bit, and none of this will come as a surprise to you. It also won't surprise you that the bulldozer incident isn't even the funniest part of the story of how Winters got to New York City in 1988 to launch what has become one of the most distinguished careers in the history of editorial photography. A career which began with his first job at the News-Record, a 35,000-circulation newspaper in Thousand Oaks, California.The secret—spoiler alert—to his remarkable career, Winters will say, “is based in a belief that I'm being very thorough with my pursuits and being very realistic. I'm not lying to myself about the effort I'm putting into it. Because this is not a casual pursuit at all. This is 100 percent commitment.”Well, that, and out-of-this-world talent and vision. Print Is Dead (Long Live Print!) is a production of Magazeum LLC & MO.D ©2021–2024

THE JAZZ OF THE NEWSROOM—In this episode, we talk to George Gendron, the long-time editor [Inc. Magazine] and educator who created one of the first liberal arts-based entrepreneurship programs in America. We talk about his first job working under legendary editor Clay Felker in the early days of New York magazine, how a third-grade book report set him up for a life in publishing, the near-fatal car accident that changed everything, why we should look to TV for the future of magazines, and how to build an economically-sustainable life around doing the work that you love. Print Is Dead (Long Live Print!) is a production of Magazeum LLC & MO.D ©2021–2024

THE ARTIST AS ENTREPRENEUR —Michele Outland has spent her career at some really beautiful magazines. Beautiful ... because she made them that way. Her resume includes stops at Martha Stewart's Everyday Food, Domino, Nylon, and Bon Appétit, as well as the magazine she created and launched with her good friend, Fiorella Valdesolo: Gather Journal.Gather, which only published 13 issues, made a powerful impact on the magazine business. In its five-year run, it won a James Beard Award for Visual Storytelling, an Art Director's Club Award, and 20 medals from the Society of Publication Designers, including being named “Brand of the Year” in 2015.Under her leadership, Bon Appétit won the ASME National Magazine Award for Design along with a slew of SPD awards.We talked to Michele about:  the power of internships, her Korean mother's influence on the way she thinks about food, about how to start a magazine in a post-print world — and when we can expect the return of Gather Journal, the strong female role models who shaped her career, and, of course, PIZZA. Print Is Dead (Long Live Print!) is a production of Magazeum LLC & MO.D ©2021–2024

THE GREATEST STARTUP IN THE HISTORY OF MAGAZINE STARTUPS—We've always had a thing for magazine launches. They're filled with drama and melodrama, people behaving with passion and conviction, and people ... misbehaving. Anything to get that first issue onto the stands and into the hands of readers.Some new ventures seem to sneak in the back door. Who saw Wired or Fast Company coming?Others are to the manner born, and from the most elite print parents. But, even with that pedigree they never gain traction, never display the scrappiness and experimentation that we've come to expect from anything new. (You know who you are).But then, one day, along comes The Greatest Startup in the History of Magazine Startups. A magazine that dares to mercilessly, and humorously, vilify high society. The one that big time journalists pretend to ignore but were first to the newsstand each month to grab their copy. The one that created packaging conceits: Separated at Birth, Private Lives of Public Enemies, Blurb-o-mat, and Naked City. Plus, the adorable nicknames — “Short-fingered vulgarian” — that persist to this day.That's right, we're talking about Spy.And in this episode we'll meet Kurt Andersen who, along with Graydon Carter and Tom Philips, founded what became an instantaneous cultural phenomenon: SPY magazine. The axis of the publishing world tilted when it hit the stands.“Spy was the most influential magazine of the 1980s,” the author Dave Eggers wrote. “It definitely changed the whole tone of magazine journalism. It was cruel, brilliant, beautifully-written and perfectly-designed — and feared by all.”There had never been anything like Spy before.Nothing since has come close. Print Is Dead (Long Live Print!) is a production of Magazeum LLC & MO.D ©2021–2024

WHAT'S BLACK AND WHITE AND RED ALL OVER?— Roger Black is a pioneer. His art direction of iconic print brands and high-profile redesigns, his early embrace of digital publishing technology, and his typographic innovations are hallmarks of a 50-year, trailblazing career.He's refined his design mastery at publications ranging from Rolling Stone to Esquire to Newsweek to The New York Times Magazine. He's written books and started companies. He's worked for clients on every continent.And now, at 73, Black's focus has shifted to type. More specifically Type Network, a font platform launched in 2016, where he serves as the company's chairman.Black's design legacy not only includes memorable makeovers but also the fundamental need for an underlying reason and purpose behind them, often sophisticated, always functional. Throw in his signature color palette—red, white, and of course, black—and you're in business.All that said, Black preaches that the true DNA of a successful brand identity is its typography.We talked to Black about why he left home in the third grade, how an early blunder almost cost him his publishing career, what it felt like to follow in his mother's footsteps at The New York Times, what he thinks are the five best-executed magazines of all time, and about why he's always on the move—and where he's headed next.—This episode is made possible by our friends at Mountain Gazette and Commercial Type. Print Is Dead (Long Live Print!) is a production of Magazeum LLC & MO.D ©2021–2024

THE SLOWER THE BETTER—Given that this is the final show of the season, it is perhaps a bit poetic that our guest today is Rob Orchard from Delayed Gratification. Not that we would plan an episode around a bad pun. Not us. Delayed Gratification is media created to comment on, and offer a counterpoint to, the media. Rob Orchard and his team met each other, for the most part, in Dubai in the early aughts, working on Time Out Dubai. In that magical place on the Gulf they found—no surprise—lots of money and conditions amenable to journalism of all sorts. Then Orchard returned to London … and he didn't like what he found. He and his friends and colleagues were dismayed by the realities of the digital world, the relentless emphasis on quantity over quality, the losing battle between what they wanted to do and the evangelists of SEO and purveyors of click bait, and so they created Delayed Gratification. Inspired by the Slow Journalism movement taking root around the world, Delayed Gratification is a quarterly publication that values contemplation and time, a curation of the important events of the past three months, along with long-form essays and colorful infographics. The result is a reminder that important information, properly curated or edited, continues to be enlightening, informative, entertaining—and extremely important. Delayed Gratification is an indie in the truest sense of the word. And probably the only media that suffers existential quandaries around their own social media. Because Rob Orchard and his team are passionate about getting things right. Not getting there first. Print Is Dead (Long Live Print!) is a production of Magazeum LLC & MO.D ©2021–2024

RICHARD TURLEY CAN'T STOP, WON'T STOP—Richard Turley is changing the idea of the magazine. Richard Turley has no idea what a magazine is in the year 2024. And in this sense, he is not so different from you or I.Richard Turley's magazines—and there are many—are confrontations, loaded with text, or not, sometimes, but if you ask him, he's not sure what he's doing. He claims to be boring. He once said, “I'm a boring, traditional, formalist thinker” and he probably is, but you have to really know your stuff to get where he's coming from.Where Richard Turley is coming from is England, yes. He got his start at The Guardian. He was then lured to New York to help revamp Bloomberg Businessweek and his work there made art directors everywhere ugly jealous.The secret to Richard Turley's work is the freedom it seems to exhibit. From form. From rules. From common sense. Sometimes even from good taste. But only if you're stuck up. Which Richard Turley is most definitely not.Richard Turley once claimed his design philosophy was “to do something unlikable, repellent, horrible, and ugly.” Richard Turley is punk in a way, but mainstream. He's underground-adjacent. Which just makes him even more punk.Richard Turley has worked at MTV and ad agencies. Richard Turley designed the logo for one of the world's largest sports. Richard Turley now runs his own creative agency. And is the art director of Interview magazine. And co-created Civilization. And Nuts International. And Offal. And has designed a literary magazine, Heavy Traffic. And has just redesigned one of the most iconic magazines in existence. Which one? You'll have to listen to the podcast. But just remember this: Richard Turley is a busy man.I, however, am not Richard Turley. Far from it. Nobody is. Print Is Dead (Long Live Print!) is a production of Magazeum LLC & MO.D ©2021–2024

IT'S COMPLICATED—If Teen Vogue's editorial still surprises you, it might be time to admit that this says more about you than it does about Teen Vogue. And also, perhaps, that you haven't been paying attention. Teen Vogue is not the first magazine aimed at “the young” of course, and it's not the first one to address multiple issues. But…Teen Vogue is the first, perhaps, to make a certain kind of noise.Since well before the Trump presidency, but certainly turbocharged during it, Teen Vogue has mixed tips on fashion and beauty, profiles about the latest girl groups from Korea, and the scoop on the stars of Bridgerton, with political analysis and opinion, stories about identity and social justice, and an election primmer that is maybe one of the most thorough you'll find anywhere.Versha Sharma has been editor since 2021 and has not only maintained all the pillars that make up Teen Vogue but enhanced them. She came to Teen Vogue from overtly political media like Talking Points Memo, NowThis, Vocativ, and MSNBC. And she says she's landed her dream job.Sharma and her team are unabashed and unapologetic about what they do—and know that they are serving a large community of very active young women (65% of the readership) who follow the brand on every social channel imaginable, visit the website by the millions, and attend Teen Vogue Summits—in person!—to listen to their favorite influencers, singers, entrepreneurs, actors and activists talk shop.Sharma feels like the luckiest editor in the industry. But one thing is missing: paper. Teen Vogue  discontinued its print edition more than seven  years ago. Her new dream? Convincing her bosses at Condé Nast to bring it back. Print Is Dead (Long Live Print!) is a production of Magazeum LLC & MO.D ©2021–2024

THE FIFTH— I want you to stop what you're doing for just a moment and imagine we're back in 1998. (Those of you born since then will have to use your imagination). We're on an ASME panel exploring the future of magazines in the digital age. The moderator, eager to get the discussion off to a lively start, turns to you and asks, “What magazine that we all cherish today is least likely to adapt and survive what's coming?” Without hesitation you blurt out “The New Yorker!” The audience murmurs in agreement. “The Atlantic!” someone shouts from the crowd. More murmuring.I'm not surprised. Neither is anybody else in the room. It's almost three decades ago, and yet we've already headed into a new world of “nugget” media—and the total loss of our collective attention spans. Hell, magazines that feature 25,000-word polemics on topics like the squirrels of Central Park are already dinosaurs, even here in 1998.It's a bleak outlook for an institution—I'm talking about The New Yorker—that claims the following heritage:It has survived two world wars and the Great Depression, it's been led by only five editors, ever, in its 71-year history,it didn't use color—or photography!—until its 67th year when a young, supremely talented, and controversial Brit took over in 1992,and it's now run by a former newsman who had never edited anything except his high school newspaper. But here's the thing: It's 2024 and we're looking at a decimated magazine business. Mighty brands and hot-shit startups alike are dead and gone—or running on fumes. The big publishers are divesting from print right and left.And yet, there is a shining light.Today The New Yorker is busy preparing for its 100th anniversary, with that same newsman at the top of the masthead who has brought video, events, podcasts, print (a magazine!)—and even some branded pajamas—together with the most legacy of legacy brands to create a 21st-century media juggernaut.—This episode is made possible by our friends at Mountain Gazette, Commercial Type, and Lane Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC & MO.D ©2021–2024

THE FINE ART OF MAGAZINE MAKING— Imagine this: You're a 42-year-old designer who's only worked at one magazine. Ever. Then one day, unexpectedly, you're tasked to lead the design of that magazine. Now imagine that the magazine is universally lauded as a design masterpiece. Add to that, your immediate predecessors have both been enshrined into every hall of fame across the design and media universe. Heard enough? Well now throw into this mix that your job is only an interim post. Why? Because just as your boss was leaving, his boss was out the door, too. That's right, now you've got to navigate all of … this … while the company is searching for your new boss. And whatever you did that got you a shot at this opportunity the first time? You're gonna have to do it all again. And likely for an editor who's been tasked with coming in and shaking things up a bit.“I'm fucked,” you might think. But you're not Gail Bichler.As you already know, Bichler survived the turmoil that started her tenure at The New York Times Magazine. And the astonishing thing—well, astonishing until you know more—is that Bichler has not only maintained the exalted design standards, she has pushed even further.“Her magazine looks different from Rem [Duplessis]'s, as Rem's did from mine. She's pushed the envelope in dramatically new directions,” says her legendary predecessor—and the woman who discovered Bichler—Janet Froelich. Why? Because Bichler is an artist. And, as Froelich states, “she chooses to work with people who work the way artists work. She's firmly committed to ideas and, most importantly, to journalism.”“What elevates her as a leader is the discipline, structure, and consistency she brings,” says Arem Duplessis, whose departure for Apple created the opportunity for Bichler to move up. “Gail has always been so reverential to the Times' legacy—and she fiercely protects that.”—This episode is made possible by our friends at Mountain Gazette, Commercial Type, and Lane Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC & MO.D ©2021–2024

THE CHERRY ON TOP—Cherry Bombe is a full-course meal. Its founder, Kerry Diamond, created the magazine after working in titles like Women's Wear Daily and Harper's Bazaar, and after working for brands like Lancôme. And in the restaurant industry. She worked in restaurants at a time when everything culinary was in the ascendance in the zeitgeist.That's also when Diamond realized a key ingredient was missing. None of the brash rising stars at the table were women. She had also been hearing from women who found the going in that world challenging. This in an industry that is difficult for everyone to begin with. Out of this came Cherry Bombe.Today, Cherry Bombe is a full-fledged and rising media empire. It's a magazine, sure, but their menu also includes multiple podcasts and a series of wildly-successful events. Their community, called the “Bombe Squad,” meet each other on Zoom, at the events, and form a tightly-connected sisterhood of fans and evangelists for the brand.Diamond makes it sound like she built all of this without a blueprint, and maybe she did. But just like the best recipes, sometimes the tastiest things are the result of the happiest accidents. Print Is Dead (Long Live Print!) is a production of Magazeum LLC & MO.D ©2021–2024

THE HOLLYWOOD REPORTER— In early April, what's left of the magazine industry gathered at Terminal 5 to see who would win this year's National Magazine Awards—the ASMEs. Throughout the evening, the usual suspects stepped up to accept their Alexander Calder brass elephants—the ‘Ellies'—on behalf of their teams at The Atlantic, New York, and The New York Times Magazine. Then came the award for General Excellence, Service and Lifestyle—a category that covers every food, fashion, and fitness magazine in the business.And the Ellie went to… content juggernaut Highsnobiety—a sneaker blog-turned-cool kid media amalgam that encompasses a twice-annual $20-per-issue print magazine, plus a flood of social media, a website that is also an e-commerce platform, and a creative agency that does 360-degree marketing and storytelling for brands.Before the crowd could start scratching their graying heads, a Billie Eilish lookalike in a gray Thom Brown skirt-and-pant suit took to the dais. There were plenty of people in that room who had never given Highsnobiety much, if any, thought. But in that moment, this woman, Willa Bennett, Highsnobiety's 30-year-old editor-in-chief, had officially become a force to be reckoned with. Not only that, but Highsnobiety's business model, which bends rules that had long been sacrosanct in magazine journalism, suddenly appeared to have won the seal of approval from the oldest of the old guard.  The post at Highsnobiety was a major leap for Bennett. Just two years ago, she was the social media manager at GQ. Our friends who worked with her there tell us they thought of her as “the industry's little sister”—hungry, passionate, and looking to translate the magic of magazines to a new generation. They said that even though she's disrupting the magazine as we once knew it, at heart Bennett is a “a magazine junkie who really venerates  the old ways.” And now the surprise win has put her in the spotlight of the establishment media, with The New York Times Styles running a portrait of Bennett in her signature suit-and-tie look on its cover. The win inspired a segment on the Slate Culture Gabfest in which the hosts pondered, “What Is a Magazine Now?”Over in Spreadlandia, we thought, Why not turn that question directly to Willa Bennett herself? In the end, this conversation left us feeling more optimistic than usual about the future of media. It also made us feel old as shit. We hope you enjoy it as much as we did.—This episode is a special collboration with our friends at The Spread and is made possible by our friends at Mountain Gazette, Commercial Type, and Lane Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC & MO.D ©2021–2024

WELCOME TO THE GREAT OUTDOORS—Mountain Gazette is one of those media … things … that only long-time fans really know about, with a long and colorful history. A kind of Village Voice of the outdoors, the first incarnation (1966) of the magazine was about mountains and for “mountain people”—a lifestyle magazine for those who weren't interested in either coast, let alone cities, let alone New York. Like many magazines, the Gazette succumbed to economic forces and shuttered. Twice. Until Mike Rogge, a journalist and film producer, and more important than that, an avid skier and outdoorsman, purchased the archives and the rights at a bar in Denver. The deal was drawn up on a napkin and consummated with a beer. Mostly he bought it because it was there.Rogge felt the media, specifically what he calls the outdoor media, was broken. Especially the advertising model. And he had grown tired of the arcane and opaque revenue streams of the digital world. So he decided to do his own thing. He rejected those models, and plowed into print. And he went big. Literally. The result is a magazine that is a success in every sense of the word: aesthetically, editorially, and financially. It's a black diamond in a magazine world that often feels like a series of bunny slopes. But Mike Rogge and Mountain Gazette have proven something: you can have your mountain and ski it too. Print Is Dead (Long Live Print!) is a production of Magazeum & MO.D ©2021–2024