Podcasts about periodical

The tale of Sweeney Todd has had many incarnations, most famously the stage and movie musical by Stephen Sondheim. But it all started in 1846 with a serialized telling of the story titled “The String of Pearls” in the weekly magazine “The People's Periodical and Family Library”. Called by some a romance, by others a horror story, it is one of the earliest murder mysteries. In “The String of Pearls”, Sweeney Todd is less sympathetic than in some of his later incarnations – a perfect villain, totally self-seeking with no redeeming qualities. How the deeds of Todd are uncovered and how he is brought to justice make a most intriguing tale, but one probably not suited for the very young and certainly not for the squeamish. This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The tale of Sweeney Todd has had many incarnations, most famously the stage and movie musical by Stephen Sondheim. But it all started in 1846 with a serialized telling of the story titled “The String of Pearls” in the weekly magazine “The People's Periodical and Family Library”. Called by some a romance, by others a horror story, it is one of the earliest murder mysteries. In “The String of Pearls”, Sweeney Todd is less sympathetic than in some of his later incarnations – a perfect villain, totally self-seeking with no redeeming qualities. How the deeds of Todd are uncovered and how he is brought to justice make a most intriguing tale, but one probably not suited for the very young and certainly not for the squeamish. This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The tale of Sweeney Todd has had many incarnations, most famously the stage and movie musical by Stephen Sondheim. But it all started in 1846 with a serialized telling of the story titled “The String of Pearls” in the weekly magazine “The People's Periodical and Family Library”. Called by some a romance, by others a horror story, it is one of the earliest murder mysteries. In “The String of Pearls”, Sweeney Todd is less sympathetic than in some of his later incarnations – a perfect villain, totally self-seeking with no redeeming qualities. How the deeds of Todd are uncovered and how he is brought to justice make a most intriguing tale, but one probably not suited for the very young and certainly not for the squeamish. This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The tale of Sweeney Todd has had many incarnations, most famously the stage and movie musical by Stephen Sondheim. But it all started in 1846 with a serialized telling of the story titled “The String of Pearls” in the weekly magazine “The People's Periodical and Family Library”. Called by some a romance, by others a horror story, it is one of the earliest murder mysteries. In “The String of Pearls”, Sweeney Todd is less sympathetic than in some of his later incarnations – a perfect villain, totally self-seeking with no redeeming qualities. How the deeds of Todd are uncovered and how he is brought to justice make a most intriguing tale, but one probably not suited for the very young and certainly not for the squeamish. This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The tale of Sweeney Todd has had many incarnations, most famously the stage and movie musical by Stephen Sondheim. But it all started in 1846 with a serialized telling of the story titled “The String of Pearls” in the weekly magazine “The People's Periodical and Family Library”. Called by some a romance, by others a horror story, it is one of the earliest murder mysteries. In “The String of Pearls”, Sweeney Todd is less sympathetic than in some of his later incarnations – a perfect villain, totally self-seeking with no redeeming qualities. How the deeds of Todd are uncovered and how he is brought to justice make a most intriguing tale, but one probably not suited for the very young and certainly not for the squeamish. This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The tale of Sweeney Todd has had many incarnations, most famously the stage and movie musical by Stephen Sondheim. But it all started in 1846 with a serialized telling of the story titled “The String of Pearls” in the weekly magazine “The People's Periodical and Family Library”. Called by some a romance, by others a horror story, it is one of the earliest murder mysteries. In “The String of Pearls”, Sweeney Todd is less sympathetic than in some of his later incarnations – a perfect villain, totally self-seeking with no redeeming qualities. How the deeds of Todd are uncovered and how he is brought to justice make a most intriguing tale, but one probably not suited for the very young and certainly not for the squeamish. This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The tale of Sweeney Todd has had many incarnations, most famously the stage and movie musical by Stephen Sondheim. But it all started in 1846 with a serialized telling of the story titled “The String of Pearls” in the weekly magazine “The People's Periodical and Family Library”. Called by some a romance, by others a horror story, it is one of the earliest murder mysteries. In “The String of Pearls”, Sweeney Todd is less sympathetic than in some of his later incarnations – a perfect villain, totally self-seeking with no redeeming qualities. How the deeds of Todd are uncovered and how he is brought to justice make a most intriguing tale, but one probably not suited for the very young and certainly not for the squeamish. This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The tale of Sweeney Todd has had many incarnations, most famously the stage and movie musical by Stephen Sondheim. But it all started in 1846 with a serialized telling of the story titled “The String of Pearls” in the weekly magazine “The People's Periodical and Family Library”. Called by some a romance, by others a horror story, it is one of the earliest murder mysteries. In “The String of Pearls”, Sweeney Todd is less sympathetic than in some of his later incarnations – a perfect villain, totally self-seeking with no redeeming qualities. How the deeds of Todd are uncovered and how he is brought to justice make a most intriguing tale, but one probably not suited for the very young and certainly not for the squeamish. This is a collaborative reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

CHECK, PLEASE — Thanks for tuning in. Just a note before we get going: This is the 50th episode of The Full Bleed, and I, along with the team here at Magazeum, truly appreciate the time you spend with us. Waiting is what I consider a perfect magazine. Not because of its design or the writing, though both are stellar. But mostly because it functions as a closed loop. How? The subject and the audience are one and the same. Waiting, you see, is a magazine about creatives in New York's service industry. And it is a magazine for creatives in New York's service industry. That's a neat trick and also makes me wonder why no one had done this before founder, editor-in-chief, and complete magazine neophyte Adele Blanton hit upon the idea. Adele has done the math: 10 percent of the estimated 700,000 people working in the food and beverage industry in New York are artists of some kind. Artists, actors, writers, dancers. You name it. And that number is a healthy baseline for any publication. Waiting has published three well-received issues and now she and the team behind it has to figure out how to maintain and grow the media. That's one of the many things we talk about on the show. Did we tell you this is our 50th episode? Because it's our 50th episode. — This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

THE INTERNET WILL NOT BE TELEVISED — The tech industry is easy to dislike, admire, ridicule, resent, need, and all of the above. Look, this podcast doesn't exist without tech. But there is also no "enshittification" without tech. Coined by writer Cory Doctorow that word has entered the general lexicon with a speed and ubiquity that might make someone like, I don't know, Shakespeare envious. If he knew what was going on. Which he doesn't. All of this to introduce InFormation, a magazine about tech, but more importantly, a magazine about “what tech is doing to us.” The people behind it work in the industry and so understand it, which makes them dislike it even more. Twenty-five years ago, InFormation was like the Spy magazine of the dot com boom, a bit of a kick in the pants to an industry and a group of people who saw themselves in utopian if not messianic terms. And while they might still see themselves that way (spoiler alert: they most certainly do), a lot of people in the world do not, and so InFormation is back, it has reformed, and is being published again, with the same attitude, that is it continues to kick ass but with more feeling, because Silicon Valley is no longer a place but a mindset, techbros are a thing and a wealthy thing at that, and, well, there's a general feeling that the world has been thoroughly colonized and completely enshittified. — This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

REALITY BITES —  I am Gen X. I'm telling you this because, well, this is hardly something that is ever relevant to any conversation when, in fact, it is also always relevant to everything. But I just don't talk about it because who cares when I was born, or that we Gen Xers all live in the long and darkest of dark shadow of Boomers, or the loud echo of Millennials, or the annoyingly brash and unknowing living of whatever the other younger generations are called. I'm Gen X, and I just know one thing: there are more of you than there are of me, and there always have been. I'm saying all this because today we're gonna talk about Geezer magazine, as if any Gen X-er in their right mind would ever call themselves a geezer, because that's Boomer stuff. And hey, did you see we're turning 60? For fuck's sake. As if. So yes, Geezer, a magazine by and for Gen X that is both completely irreverent and surprisingly serious and even tender, that balances nostalgia with irony. And while Gen X's favorite word might be whatever, the secret is we care what you think. We always have. You just have to first extract a whole lot of other stuff, that cold exterior built up as a defense mechanism against a world that is stupid, and that for whatever reason the Boomers keep running. Meaning sure, we like to say never mind, but we also sang “Don't You Want Me” and “Debaser.” So just take a chill pill. I promise we'll talk about a rad magazine on today's show.. — This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

THE MAGAZINE'S THE THING — When you chat with a filmmaker who has become a magazine editor you start to note the parallels between filmmaking and magazine making that you never considered before. Ok, that I hadn't considered before. The relationship between editors and art directors, and the relationship between a director and cinematographer, well, that's actually almost the same thing. Editors and writers. Editors and actors. Copy editors and film editors. On and on. It's uncanny. Seen is a magazine about the art of film and filmmaking that comes from BlackStar Projects, home of an annual film festival in Philadelphia and a creative space that “uplifts the work of Black, Brown and Indigenous artists.” Seen grew out of the program notes for the festival and it is everything cinema magazines used to be: thorough, intellectually stimulating, challenging.  Heidi Saman, the editor, trained as a film maker and then worked at Fresh Air for over a decade. She doesn't come from the magazine world. But she's a storyteller. And after you listen to our chat, you, too, will see, perhaps, that making a magazine is a lot like making a movie. — This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

THE JOY OF READING — Newspapers are in trouble and that's not news to you. Print is expensive, the ads moved to Facebook and Google, the classifieds bled over to Craigslist. You know all this. So, hats off to the newspapers that succeed today. And the ones that do, the big ones, the legacy media, have a surprising thing in common: magazines. The New York Times. The Times of London. Le Monde. Germany. Italy. All over Asia. A lot of them produce print magazines as editorial add ons, supplements, not just for reader loyalty and engagement, but as a way to expand inventory for advertisers and a way to diversify business and the brand. That's what The Guardian newspaper is doing and, being The Guardian, they are also doing it differently than their competitive set. How? By taking an existing feature of the newspaper, The Long Read, and reproducing their favorites in a stand alone magazine. A kind of greatest hits package if you will. Well designed. Very printy. Heavy stock. Debossed covers. So why do it? Who benefits? What is the business rationale behind it? To answer those questions, I spoke to David Wolf, the editor of The Long Read, the section and the magazine, about these topics and, mostly, about the joys of immersive storytelling, the state of journalism today, and the absolute joy of long reads in a world of shortened attention spans and general slop. — This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

At the turn of the nineteenth century, British women novelists were publishing more fiction than their male counterparts, yet their place in literary history remains precarious. In British Women Novelists and the Review Periodical (Johns Hopkins University Press, 2026), Dr. Megan Peiser offers a compelling new perspective on this pivotal period by examining the overlooked power of the review periodical in shaping literary reception, authorial careers, and the novel as a genre. Through a dynamic study of the Novels Reviewed Database, 1790–1820 (NRD)—the first dataset to systematically catalog novels reviewed as novels during the Romantic period—Dr. Peiser demonstrates how these reviews operated not as static judgments, but as an interconnected system of influence, circulation, and criticism. Periodicals functioned as central components of the literary marketplace, steering readers' tastes, framing authors' reputations, and reinforcing cultural notions of gender and genre. Examining the context of these reviews—such as Frances Burney's ambivalent negotiations with her critics and the rise and decline of Charlotte Smith's status among the "sister-queen" novelists—Dr. Peiser's analysis foregrounds the gendered dynamics of literary evaluation. By tracing the dialogue between reviewers and authors—especially in novel prefaces—she uncovers how women writers used, resisted, and responded to critical discourse. Peiser also confronts the limitations of traditional literary data by accounting for overlooked voices and diverse forms of authorship. This fascinating literary history argues for feminist bibliographic intervention, restores the complexity of the eighteenth- and early nineteenth-century review ecosystem, and provides a vital scholarly tool to reframe how we understand women's novels and the systems that have shaped literary memory. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

At the turn of the nineteenth century, British women novelists were publishing more fiction than their male counterparts, yet their place in literary history remains precarious. In British Women Novelists and the Review Periodical (Johns Hopkins University Press, 2026), Dr. Megan Peiser offers a compelling new perspective on this pivotal period by examining the overlooked power of the review periodical in shaping literary reception, authorial careers, and the novel as a genre. Through a dynamic study of the Novels Reviewed Database, 1790–1820 (NRD)—the first dataset to systematically catalog novels reviewed as novels during the Romantic period—Dr. Peiser demonstrates how these reviews operated not as static judgments, but as an interconnected system of influence, circulation, and criticism. Periodicals functioned as central components of the literary marketplace, steering readers' tastes, framing authors' reputations, and reinforcing cultural notions of gender and genre. Examining the context of these reviews—such as Frances Burney's ambivalent negotiations with her critics and the rise and decline of Charlotte Smith's status among the "sister-queen" novelists—Dr. Peiser's analysis foregrounds the gendered dynamics of literary evaluation. By tracing the dialogue between reviewers and authors—especially in novel prefaces—she uncovers how women writers used, resisted, and responded to critical discourse. Peiser also confronts the limitations of traditional literary data by accounting for overlooked voices and diverse forms of authorship. This fascinating literary history argues for feminist bibliographic intervention, restores the complexity of the eighteenth- and early nineteenth-century review ecosystem, and provides a vital scholarly tool to reframe how we understand women's novels and the systems that have shaped literary memory. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

At the turn of the nineteenth century, British women novelists were publishing more fiction than their male counterparts, yet their place in literary history remains precarious. In British Women Novelists and the Review Periodical (Johns Hopkins University Press, 2026), Dr. Megan Peiser offers a compelling new perspective on this pivotal period by examining the overlooked power of the review periodical in shaping literary reception, authorial careers, and the novel as a genre. Through a dynamic study of the Novels Reviewed Database, 1790–1820 (NRD)—the first dataset to systematically catalog novels reviewed as novels during the Romantic period—Dr. Peiser demonstrates how these reviews operated not as static judgments, but as an interconnected system of influence, circulation, and criticism. Periodicals functioned as central components of the literary marketplace, steering readers' tastes, framing authors' reputations, and reinforcing cultural notions of gender and genre. Examining the context of these reviews—such as Frances Burney's ambivalent negotiations with her critics and the rise and decline of Charlotte Smith's status among the "sister-queen" novelists—Dr. Peiser's analysis foregrounds the gendered dynamics of literary evaluation. By tracing the dialogue between reviewers and authors—especially in novel prefaces—she uncovers how women writers used, resisted, and responded to critical discourse. Peiser also confronts the limitations of traditional literary data by accounting for overlooked voices and diverse forms of authorship. This fascinating literary history argues for feminist bibliographic intervention, restores the complexity of the eighteenth- and early nineteenth-century review ecosystem, and provides a vital scholarly tool to reframe how we understand women's novels and the systems that have shaped literary memory. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

At the turn of the nineteenth century, British women novelists were publishing more fiction than their male counterparts, yet their place in literary history remains precarious. In British Women Novelists and the Review Periodical (Johns Hopkins University Press, 2026), Dr. Megan Peiser offers a compelling new perspective on this pivotal period by examining the overlooked power of the review periodical in shaping literary reception, authorial careers, and the novel as a genre. Through a dynamic study of the Novels Reviewed Database, 1790–1820 (NRD)—the first dataset to systematically catalog novels reviewed as novels during the Romantic period—Dr. Peiser demonstrates how these reviews operated not as static judgments, but as an interconnected system of influence, circulation, and criticism. Periodicals functioned as central components of the literary marketplace, steering readers' tastes, framing authors' reputations, and reinforcing cultural notions of gender and genre. Examining the context of these reviews—such as Frances Burney's ambivalent negotiations with her critics and the rise and decline of Charlotte Smith's status among the "sister-queen" novelists—Dr. Peiser's analysis foregrounds the gendered dynamics of literary evaluation. By tracing the dialogue between reviewers and authors—especially in novel prefaces—she uncovers how women writers used, resisted, and responded to critical discourse. Peiser also confronts the limitations of traditional literary data by accounting for overlooked voices and diverse forms of authorship. This fascinating literary history argues for feminist bibliographic intervention, restores the complexity of the eighteenth- and early nineteenth-century review ecosystem, and provides a vital scholarly tool to reframe how we understand women's novels and the systems that have shaped literary memory. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

At the turn of the nineteenth century, British women novelists were publishing more fiction than their male counterparts, yet their place in literary history remains precarious. In British Women Novelists and the Review Periodical (Johns Hopkins University Press, 2026), Dr. Megan Peiser offers a compelling new perspective on this pivotal period by examining the overlooked power of the review periodical in shaping literary reception, authorial careers, and the novel as a genre. Through a dynamic study of the Novels Reviewed Database, 1790–1820 (NRD)—the first dataset to systematically catalog novels reviewed as novels during the Romantic period—Dr. Peiser demonstrates how these reviews operated not as static judgments, but as an interconnected system of influence, circulation, and criticism. Periodicals functioned as central components of the literary marketplace, steering readers' tastes, framing authors' reputations, and reinforcing cultural notions of gender and genre. Examining the context of these reviews—such as Frances Burney's ambivalent negotiations with her critics and the rise and decline of Charlotte Smith's status among the "sister-queen" novelists—Dr. Peiser's analysis foregrounds the gendered dynamics of literary evaluation. By tracing the dialogue between reviewers and authors—especially in novel prefaces—she uncovers how women writers used, resisted, and responded to critical discourse. Peiser also confronts the limitations of traditional literary data by accounting for overlooked voices and diverse forms of authorship. This fascinating literary history argues for feminist bibliographic intervention, restores the complexity of the eighteenth- and early nineteenth-century review ecosystem, and provides a vital scholarly tool to reframe how we understand women's novels and the systems that have shaped literary memory. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

AN ART BAR FOR EVERYONE — ArtBar is the perfect name for ArtBar magazine and that's not always the case with the names of magazines. Founded by photographer and filmmaker Sarah Ingram in LA, ArtBar is like a dive bar for artists and their art. It's democratic in its tastes, and wide in its scope. And fun. Sarah wanted to hang with artists and so she created a space for them. Literally. From a recent editorial: "Art Bar is a hole in the wall where the graffiti artists, punks and poets, filmmakers, philosophers, painters, photographers, musicians, and wild-eyed creatures find themselves at the end of the day to tell our stories and share our work." So. A dive bar. And that bar was going to be in print. And she wanted to get the magazine in your hands no matter where you lived. ArtBar is widely distributed, available on newsstands, and seeks more. Sarah wants to create a community, of course, all editors do, but she also wants to create a community of indie magazine folk. She wants to break things and rules and invite like-minds to her art bar and hang out and see some cool stuff and do some cool things. Think I'm taking the dive bar thing too far? Here's that editorial again: "We wanted to foster a place to gather, a common ground to share the stories of our human experiences and how they shape our work. This is a place where we can break things, break rules, get our hands dirty." I wasn't joking. I may joke about a lot of things but not about a magazine set up like a dive bar for artists. Are you kidding? Doesn't this sound like a place you might want to hang for a bit? Can you tell I love dive bars? — This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

THE MAGAZINE OF THE MONTH CLUB — One of the things I've learned while hosting this podcast is that there are a lot of magazines out there. More than I imagined. Meaning there was never a “death of the magazine,” simply a realignment of dollars and attention. If anything, there are more magazines being published than ever.  But, and it's a big but, they are harder and harder to find. There are fewer magazine stores. There are almost no newsstands, at least in North America. And bookstores, well, ok, go to your local bookstore and good luck. Which brings us to Steve Watson. He worked in the industry and he lived what was happening to it. And so he created Stack which is, essentially, a discovery system. Or a club. Call it The Magazine of the Month Club. Join it and you receive random independent magazines from around the world, chosen by Steve—or curated, let's use the word—curated by Steve, and if you like the magazine, great, go out and subscribe to it, and you've just expanded your world.  I asked Steve about the changes in the industry, how he builds community and what the future of magazines might be. He's an optimist. And that makes me feel good about things. — This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

Recorded live on February 26th, 2026   Two people making music on the fly… Bugs In The Basement creates improvised musical journeys from an array of vintage and handmade instruments to modern technologies. Recorded live from our basement studio in the Pacific Northwest, each week we experiment in the process of making exploratory music and soundscapes. Unmixed, unedited and unapologetic.   www.bugsinthebasement.com

NO RESERVATIONS — Welcome to a new season of The Full Bleed. This year, we're going to be talking to makers and creators, of course, but also more about the business of magazines. Because, let's face it, making a magazine is not easy. It never has been. But we're seeing more and more magazines—in print—out in the world and there's a reason for that. At a time where the digital world is a messy place, and that's being polite, magazines are perfectly positioned as a part of an “analog” wave that is going to become more and more important in the media and in marketing.  We open the season with Nathan Thornburgh from Roads & Kingdoms, a media brand that started out as a media brand—stay with me here—with the support of Anthony Bourdain, yes, that one, and then pivoted to becoming a kind of gastronomic tour company with loads of content on their website, and has now published their first magazine. And it won't be their last. Travel, especially these days, is pure analog, a completely human experience. It touches the senses in a way not many things can. Think about Anthony Bourdain's work and you think of how immersed he was everywhere he went. Whether he was writing about the reality of a kitchen or filming a meal of noodles at a roadside stand in Thailand, he was all in. His was a very human-centered media, full of sights and smells and sounds and people. And that's what Roads & Kingdoms will try and replicate. On the page. On every page. — This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

THE VIEW FROM THE WINDOW SEAT—Despite its name, Direction of Travel is not a travel magazine. Sure, it's a celebration of a certain kind of travel, but this is not a publication that takes you somewhere. Unless you think of Air World as a destination. Which I do.Founder Christian Nolle is an AvGeek. Which is not an insult. More an acknowledgement of a state of mind. Christian loves all things aviation. And mostly he loves how it looks and feels and, perhaps more importantly, how it looked and felt.Direction of Travel is a loving homage to route maps, in-flight entertainment, ticket offices, and airports. It is a magazine about the culture of flight and the aesthetics one finds in Air World. And for anyone with even the slightest interest in flight, it is a glorious—and loving—celebration of that world.Regular listeners of this podcast may have noticed that I've been speaking to quite a few people from travel magazines recently, and there are reasons for that. One could argue that no other type of magazine has had to weather such a variety of competition from the digital space. And travel itself is subject to forces that have nothing to do with travel itself. But it remains aspirational even to those lucky enough to travel often.So whether you're a frequent flying business person, or someone who might fly once in a while, the magic of lift off—and touch down—remains.—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

A 5-STAR MAGAZINE (DO NOT DISTURB)—Orlando is the magazine as hotel, quite literally—we'll explain what that means in a bit—a magazine that one can inhabit and live in, a love letter to culture in the most expansive use of the word. It's also very Italian. Maybe because it comes from Italy. More specifically, from the mind of Antonella Dellepiane Pescetto, who is Italian. But more importantly, she is someone with exquisite taste.And, yes, the magazine is set up as a hotel. Just go to the table of contents and you start to see how this concept works. Or visit the website, it's obvious there, too Ad the concept structures all various—and sometime disparate—ideas that go into the making of Orlando.And if you visit the website, again, you'll find courses and tours and podcasts and a Spotify playlist to accompany each story in each issue as well as a boutique, and you can sense the publishing plans as well. But mostly you'll find yourself in a charming confection of a magazine, kind of like something Wes Anderson might have come up with had he been Italian, which might work for you, or not—not everyone loves Wes Anderson, sure—but just like you know a Wes Anderson movie when you see or hear one, once you enter the hotel that is Orlando, you know. You just do. And it's the kind of place you can get comfortable in very easily.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

ONE CITY AT A TIME—There are two kinds of travelers. The first group are those that need to see as many attractions as they can. The second are those that would rather wander around, get a feel for the place they're visiting, and live as much like a local as possible. Neither is better. There's no judgement here. But the people who are behind the bi-annual Fare Magazine are definitely of the latter group.Founded almost ten years ago, each issue of Fare explores a single city, using food as an entry point to talk to locals and tell stories that you won't find in your typical guidebook. You do not read Fare to find lists of must try restaurants. You read it to meet the people that make a city worth living in and worth visiting. You will learn something. And, maybe, this city will go on your list of places to visit. Going from city to city is, of course, not the easiest way to make a magazine, but ten years in, Fare is still going strong, and the business is growing to include new titles and new offers. It's a big world. And I get the sense Fare is going to keep wandering it, meeting the people who make every city taste better.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

A MODERN MAGAZINE EDITOR IN A POST-MAGAZINE WORLD—In the media storm that is 2025, the person you want captaining your ship is smart, decisive, and cool, calm, and collected—in other words, she's Nikki Ogunnaike.The editor-in-chief of Marie Claire, whom we got to know when we worked together at Elle, is the very model of a modern magazine editor, in that—unlike the lifers of old—she hopscotched through a ton of jobs, accruing skills as a writer, a fashion editor, a digital editor and a print editor, and, oh yeah, a social-media savvy multi-platform operator—to become what she is now: someone uniquely equipped to lead a new era of Marie Claire.We talked to Nikki about what it's like to run a modern media brand in a post-magazine world—what does the job of “magazine editor” even mean now? Also: how is the post-Hearst Marie Claire evolving to meet a new reader, or should we say “follower,” and which parts of its original DNA Nikki is working to preserve. Also: Is the “girlboss” back?—This episode is made possible by our friends at Commercial Type and Freeport Press. A production of Magazeum LLC ©2021–2025

THE PURPOSE OF TRAVEL—The world is adrift in travel magazines that tell you to go here and stay there, to order certain foods at “of-the-moment” restaurants. And when you go to these places you find yourself surrounded by other travelers like you, and the only locals you interact with are, maybe, the waiter, or your Airbnb host, or the tour guide taking you on a generic definitely-not-what-the-locals-do tour of the trendiest neighborhood in town. Or you might not even meet a local. Or ever stop looking at the screen on your phone.You will have ticked items off your travel bucket list, but will you have actually traveled? Travel becomes consumption and as with all manner of consumption, you are never quite sated, and hey, there's a media ecosystem out there to help you along.And then there's Ori. Founded by journalist Kade Krichko, Ori bills itself as a “travel, art and education platform” that allows local storytellers to tell their stories on a global scale. It is a magazine that understands travel is an experience first and foremost, and that traveling well means an immersion into people and places, an opportunity to grow and to heal.It's a magazine that assumes you should think about and experience the world around you, and that if you think about it and experience it enough, the world becomes a more interconnected and better place; it becomes a place of wonder.And isn't that why we travel?—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

PART OF THE STORY—Susan Casey has won National Magazine Awards for editing, writing, and design—a feat that may well be unprecedented in the industry's history.In her native Canada, they call people like this “Wayne Gretzky.”She has worked—under various titles—for the following magazines: The Globe & Mail, Outside, Time, Esquire, eCompany, Business 2.0, Sports Illustrated Women, National Geographic, Fortune, and O, The Oprah Magazine. She also worked for the iconic 1990s fashion brand Esprit. These days—literally on any given day—you're likely to find Casey in the water, where she spent much of her childhood, later with the swim team at the University of Arizona, and, as an adult, as the author of four immersive books—all best sellers—about the ocean: The Wave: In Pursuit of the Rogues, Freaks, and Giants of the Ocean; The Devil's Teeth: A True Story of Obsession and Survival Among America's Great White Sharks; Voices in the Ocean: A Journey Into the Wild and Haunting World of Dolphins; and her most recent, The Underworld: Journeys to the Depths of the Ocean.A self-proclaimed “outspoken designer” early in her career, she refused to accept the career path limits others imposed and instead laid the groundwork for a rich creative life.—This episode is made possible by our friends at Commercial Type and Freeport Press. A production of Magazeum LLC ©2021–2025

Quick sunday stream talking, MTG, Mandani at the white house, Kasahogi and if the comey case is falling apart. Sponsors: Sheath.com (PRomo code RYM) Throw this guy a follow: @_InfiniteZeal And check out Periodical.INK To get all the stuff you're trying to read on your phone in print ready to read.

Quick sunday stream talking, MTG, Mandani at the white house, Khashoggi and if the comey case is falling apart.Sponsors:Sheath.com (PRomo code RYM)Throw this guy a follow: @_InfiniteZealAnd check out Periodical.INK To get all the stuff you're trying to read on your phone in print ready to read.

FOOD IS FOR EVERYONE—That meal your grandmother always cooked. Or your mother. Or your father, for that matter. The odors that permeated a kitchen or the entire house. The first taste. The idea of comfort food.So much of who we are and what we remember are about food, sure, but also about place, and most definitely about the person doing the cooking.While many food magazines go beyond food to create the context about the recipes they print, writer and editor Kyle Yoshioka felt they lacked the backstories that make food about more than taste or trends or wine accompaniments. And with no experience in the form, he was part of a team in Portland, Oregon that decided to launch Provecho, a magazine all about the backstories, and especially the culture and communities, behind each and every ingredient that goes into each and every lovingly created dish. And without a single recipe.Provecho, then, is not really a food magazine at all, but a cultural review that uses food as a focal point. It's anthropology that tastes good. One that is, in its own way, creating a community all its own.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

LOST IN TRANSLATOR—There are more than 7,000 languages in the world and there's a good chance that you don't speak or read most of them. Being an English-language speaker is, among other things, a huge privilege in this multilingual world because while it may not be the most widely spoken first language, English is the language that is most widely spoken.There's a chance that you can get by in English almost everywhere. And so English speakers tend not to learn other languages. To their detriment. (And to the resentment of others. But that's another story.)Not all of the world's 7,000 languages are robust enough to support their own media. But guess what—there's a lot of media in this world that isn't created in English. Enter Translator, a magazine of translated journalism and reportage from around the world for, “the open-minded and the language-curious.”And in a world where much of our media is controlled by fewer and fewer people, this kind of wider view of what others are saying and thinking is, perhaps, more necessary than ever. Maybe the only surprising thing about Translator is that it wasn't created … sooner.”—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

AN ELEGY FOR THE ELITE—Michael Grynbaum is a correspondent for The New York Times, where he has covered media, politics, and culture for 18 years. He's reported on three presidential campaigns, two New York City mayors—they're always so boring—and the transformation of the media world in the Trump era. He lives in Manhattan and he's a graduate of Harvard.His first book, Empire of the Elite: Inside Condé Nast, the Media Dynasty that Reshaped America, was published by Simon & Schuster in June, 2025. In the book, Michael chronicles the origins of the company, its go-go boom days in the eighties and nineties, and its more recent post-print transformation into whatever Condé Nast is these days. We'll figure that out later.Michael's bestseller captured a lot of attention when it was published—it's a bestseller and it's the latest in the line of books by and about Condé Nast magazine makers—full of great anecdotes and good stories. The kind of stuff we love here on Print Is Dead (Long Live Print!), and it's extremely readable.—This episode is made possible by our friends at Commercial Type and Freeport Press. A production of Magazeum LLC ©2021–2025

POP GOES PRINT—“Today, creativity feels like it's being squeezed into smaller and smaller boxes. Content is designed to chase likes, rack up views, serve a clear function—a purpose….we're here—to celebrate creativity for creativity's sake, no strings attached. Analog isn't dead; it's the new rebellion.”This manifesto is a part of a striking editorial in the first issue of Playground, a new magazine created out of Singapore by Pop Mart, the maker of the Labubu. I honestly never thought I would a) write that kind of sentence in my life, and b) understand it, but here we are. It's 2025! If  you're unfamiliar with PopMart you are unfamiliar with one of the largest creative companies in the world, one valued almost as much as Disney or Nintendo. Playground is an extraordinary editorial project, championed by creatives and executives in a company that claims its mission is to “light up passion” so that its brand can promote a “galaxy of creative possibilities.” Got all that? So by now you might be asking yourself a fundamental question: Why? Why this thing? And why print? Well, that same editorial anticipates this exact question:“So, why print? Because print makes you pause. You can't swipe past a paragraph in a magazine. You can't multitask while turning a page. Print demands your attention and invites you to linger, to savor, to think…So here it is: our first issue. Take your time with it. Flip through the pages, spill some coffee on it if you must. Just don't try to scroll.” Amen—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

SHE LOVES HER WORK—The word ‘unicorn' gets thrown around a lot these days. But in our book, Sarah Ball is the Real Deal. The editor of WSJ. Magazine is a student of old-guard, in-the-trenches, work-on-a-story-for-years magazine making, which has earned her cred among the Jim Nelsons and David Grangers of the biz.She's also a digital native with a flare for experimentation and a new media scrappiness. Sarah spent her career bridging those divides predominantly at Vanity Fair and GQ where she helped those titles join the digital revolution—much more stylishly and convincingly than many of her competitors.Arguably more than any other editor of her generation, she brings print-era rigor, and also the romance of the whole magazine-making endeavor to digital-era reality. That's why when the Vanity Fair editor-in-chief job came open last spring, Sarah was right at the top of The Spread's list for who should get the gig.The wind blew a different way, as we all know by now, and she's happy at WSJ. But when you listen to our chat, we think you'll get why our money is on her.There's a lot of pessimism in journalism these days for good reason, but we challenge you to listen to this conversation without getting just as swept up as we did in Sarah's passion for magazines. It's almost enough to make us believe that print is not in fact dead. Not yet, at least..—This episode is made possible by our friends at Commercial Type and Freeport Press. A production of Magazeum LLC ©2021–2025

A NEW RECIPE FOR FOOD MAGAZINES—You may think a magazine called Famous for My Dinner Parties would be about food or entertaining—and I wouldn't blame you if you did. You wouldn't be wrong, but you also wouldn't be right.Taking its name from Robert Altman's film, 3 Women, Famous for My Dinner Parties started as a pandemic-inspired digital project among three friends (Junshen Wu, Sandra von Mayer-Myrtenheim and Yannic Moeken) in Berlin and has evolved into a proper magazine and media brand, and along the way has won an engaged and broad audience far beyond Berlin. Something that continues to surprise the founders.The magazine is slightly odd, if I'm being honest, idiosyncratic, thoroughly compelling, and undeniably beautiful. It's also almost entirely done in house, including all the design, photography and writing. And despite this, or maybe because of it, the thing works. Whether or not this method—or lack of one—is sustainable is another question.And just to be clear, there is not a single recipe in the magazine. Just a whole lot of ideas. This is a magazine then, editorially and conceptually, built around vibes. Fuel for a discussion, perhaps, at your next really great dinner party. Whether or not you aspire to any sort of fame.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

THE GOOD CITIZEN—This episode is a special one for us here at Magazeum. We even gave it its own code name: “Project Rosebud” (IYKYK). But if you only know our guest as the grandson of the man who inspired the lead character in the film classic Citizen Kane and the founder of one of the largest publishing empires in the world, you are missing out. Will Hearst could have done the easy thing, but he chose not to. As the current chairman of the Hearst Corporation, Will balances stewardship of a sprawling media empire with a commitment to community and lasting value. Unlike the new breed of media moguls, his leadership is less about compliance and more about the continuing importance of fostering quality journalism rooted in place and purpose.But aside from his role as a suit at the Hearst Corporation, Will's labor of love is Alta—an indie quarterly that champions a distinct West Coast voice, providing a vital counterpoint to the East Coast lens that still dominates the national discourse.Alta is crafted to be held and savored—he thinks of its subscribers as members more than a mailing list. In an age dominated by volume, speed, and algorithms, Will Hearst would like to remind us to slow down, listen deeply, and consume wisely. In times like these, his vision seems almost Quixotic—to see media as craft, culture as inheritance, and storytelling as something lasting. Nevertheless, he continues to charge, shaping a legacy both ancient and urgently new.—This episode is made possible by our friends at Commercial Type and Freeport Press. A production of Magazeum LLC ©2021–2025

THE KIDS ARE ALRIGHT—While it's not true that kids don't read, it may be true that adults aren't teaching kids to read. It's also true that today's children face issues that those of the past didn't. And the pandemic—there's that word again—impacted everyone in ways we're still figuring out, including kids. Perhaps especially kids.There are, amazingly, and encouragingly, many new magazines for children of all ages now. One of them is Anyway, a magazine for tweens founded by two mothers—and long-time friends—who grew up loving magazines and, yes, were worried about their kids' screen time. They also knew that tween issues weren't being addressed properly and that a root cause of some of them was a media landscape that pushed consumers, no matter the age, into silos—or communities—where they could go through life unchallenged.Go to the Anyway website and you are confronted with the slogan: “Growing up is hard. You can do it Anyway.“ This speaks to both kids and parents, another reality of a kids magazine that most magazines don't have to face: you have two very specific markets—kids and their parents—and your readership will eventually age out. Meaning the marketing challenges never end even while reader loyalty does. What does that mean for a media brand?—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

A MODERN FORM OF WORSHIP—Name the five photographers who, more than any others, defined the dramatic shift in the approach to magazine photography in the late eighties and early nineties. There's Herb Ritts, Bruce Weber, Steven Meisel. Richard Avedon, of course. Who's missing? I'm getting to that.Today's guest was discovered while still a student at ArtCenter College of Design in Los Angeles, by Andy Warhol no less, whose upstart (and budget-deficient) team at "Interview" couldn't afford to send a crew to LA for a shoot. His first subject, newbie director Steven Spielberg, launched his photography career, and soon he was shooting for every magazine you could imagine.We're talking, of course, about Matthew Rolston. He, and his fellow rebels, changed everything by bringing both a sensuality and a sexuality to newsstands that big publishing hadn't seen before. Readers ate it up. Ask him to explain this transformation and you'll get a hot take that will completely change how you think about media and celebrity:“I think glamour—and glamour photography—is a substitute for god and goddess worship. The altar is the photo studio. So the goddess comes to the dressing room like she would've come to the preparation chamber of a temple. She's anointed with oils and potions—that would be the hair and makeup team. She's dressed in symbolic raiment—that would be the styling. And she's led to the altar where the adherents kneel before her—that would be me on the floor with my camera. It is really the same thing. It's just a modern, twisted version of the same impulses that we have to idolize people and worship them.” Just this year ArtCenter, his alma mater, presented the photographer, director, author, artist, and educator with its prestigious Lifetime Achievement Award, honoring both his creative legacy and his role as a mentor to the next generation. It's the perfect moment to look back on his remarkable career, and to hear directly from Rolston himself.Our Anne Quito caught up with Matthew in the lead up to the premiere of an evocative new body of work, "Vanitas: The Palermo Portraits," a site-specific installation at ArtCenter, which premieres this weekend.—This episode is made possible by our friends at Commercial Type and Freeport Press. A production of Magazeum LLC ©2021–2025

GUARDIAN AT THE GATEFOLD—Today's guest has become almost synonymous with graphic design and editorial publishing. His career began in the defiant New York “sex press” of the late 1960s, where not-actually-that-surprisingly, as a teenager he was already art-directing magazines like Screw and The New York Review of Sex. That unlikely starting point gave him a rare education in the power of design to command attention and shape meaning.We're talking about designer, author, editor, educator, and true legend, Steven Heller.Heller went on to spend more than three decades at The New York Times, most memorably as art director of The New York Times Book Review. There, he transformed the visual life of the section, commissioning bold, original illustration and making the case—over and over again—that design is not ornamental but integral to editorial voice. Through his advocacy, he helped elevate the status of designers in publishing offices, giving visual thinkers a seat at the table alongside editors and writers.Beyond the newsroom, Heller has been prolific almost to the point of obsession. He has written, edited, or co-authored more than two hundred books on design, creating an extraordinary record of the field's history, ideas, and influences. And most recently, he turned that critical eye inward with his memoir, Growing Up Underground, a candid account of his early years in New York's counterculture publishing scene.Steve is a practitioner, a chronicler, and an advocate for design—and he's also part of the team here at Magazeum. We are thrilled to turn the mic on him for this special conversation.—This episode is made possible by our friends at Commercial Type and Freeport Press. A production of Magazeum LLC ©2021–2025

WHAT ARE YOU WAITING FOR?—Josh Jones has done a lot of things when it comes to magazines: Editor. Writer. Maker. Custom publisher. Mentor. Evangelist. All of the above. Has Josh helped write a book about hip hop in Mongolia? Yes. Has he sat back and watched Gordon Ramsey mash his face into a sandwich? Indeed. Has he written an instructive how to book that reminds the reader to always lift a box of magazines by bending one's knees? Yes, again. For more than 20 years, Josh has been creating magazines, both for resolutely indie concerns and reasons, but also custom publications for the likes of The North Face, Red Bull, Interscope and Nike. And while he has no illusions about the challenges the industry faces, he's also resolutely optimistic about a world that he loves, so much so that his “field guide to publishing an indie magazine” Just Make Your Magazine is, true to its subhead, the “fastest selling self help book.” OK, I don't know if that's true. It probably isn't if I'm being honest. But still. You speak to him and you become an optimist. And this is not just because, as he says in the book, “indie magazine making has never been more popular.”It's also because, and perhaps caught up in the same optimism, I suggest that it's possible we are over the Print Panic of the mid aughts and the industry, as a whole, is now back on a sustained kind of upswing. That's an idea we're going to explore on the show this season. Because there has to be some things that are right in the world, damnit.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

THE REST OF THE STORY—Most people in the world live in what we in the west sometimes dismissively call the “rest of the world.” Depending on where you live, “the rest” probably includes parts, if not all, of Latin America, Africa, and the vast majority of Asia. Much like the tendency of Americans to call the champions of their sports leagues “world champions,” the word “world” is never what it seems.Except when it is.Founded as a non-profit by Sophie Schmidt in 2020, Rest of World is meant to challenge the “expectations about whose experiences with technology matter,” as its mission states. With a global editorial team led by today's guest Anup Kaphle, Rest of World's emphasis on the technological transformation of the daily lives of billions of people is eye-opening, educational, entertaining, and fills in the gaps in our general understanding of how technology is used everywhere. When it won a National Magazine Award last year, one sensed that it had finally arrived to a broader audience.The rest of the world is a big place, perhaps too big for a paper magazine. That's why Rest of World is digital.Those in the “west” would be better served by understanding it. Because everything and everyone is, ultimately, connected.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

IMAGINE FRIENDSGIVING AS A MAGAZINE—The pandemic hit New York first and harder and longer than most places. And as a New Yorker, Joshua Glass was appalled by the eerily quiet and empty city that resulted. He wanted to connect with people, any people, but he wanted quality gatherings, as opposed to quantity. When restrictions on gatherings began to ease up, he started curating a series of dinner parties around town. And these get-togethers led to the creation of Family Style, a media brand that brought all his interests under a single, and perhaps singular, cultural umbrella. The result is, finally, what the people at those highly-curated, and probably well-dressed, dinner parties talked about—and the magazine is the core of a growing brand that encompasses production, events, digital, and social. Family Style is a magazine at the intersection of food and culture—an interesting magazine about interesting people interested in interesting things, all united by a kind of global glossy aesthetic. So is Family Style a fashion magazine, a culture magazine, a food magazine, or an arts journal? The answer is “yes.”—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

Designing a Storage Pool, The Report of My Death Was an Exaggeration, Generic BSD installations on ARM64 UEFI, dmtargetcrypt_ng - Add next-generation implementation, The X Window System didn't immediately have X terminals, The Book of PF 4th Edition Is Coming Soon, Periodical 20 Localized Computing, and more NOTES This episode of BSDNow is brought to you by Tarsnap (https://www.tarsnap.com/bsdnow) and the BSDNow Patreon (https://www.patreon.com/bsdnow) Headlines Designing a Storage Pool: RAIDZ, Mirrors, and Hybrid Configurations (https://klarasystems.com/articles/designing-storage-pool-raidz-mirrors-hybrid-configurations/?utm_source=BSD%20Now&utm_medium=Podcast) The Report of My Death Was an Exaggeration (https://freebsdfoundation.org/blog/the-report-of-my-death-was-an-exaggeration/) News Roundup Generic BSD installations on ARM64 UEFI: results and first impressions (https://mekboy.ru/post/bsd-uefi-arm64/) dmtargetcrypt_ng - Add next-generation implementation (https://gitweb.dragonflybsd.org/dragonfly.git/commit/14e6c73d4c479e4ab26571490758da27da5cbbad) The X Window System didn't immediately have X terminals (https://utcc.utoronto.ca/~cks/space/blog/unix/XTerminalsNotImmediate) Yes, The Book of PF, 4th Edition Is Coming Soon (https://bsdly.blogspot.com/2025/07/yes-book-of-pf-4th-edition-is-coming.html) Periodical 20 — Localized Computing (https://www.chrbutler.com/2024-10-16) Tarsnap This weeks episode of BSDNow was sponsored by our friends at Tarsnap, the only secure online backup you can trust your data to. Even paranoids need backups. Feedback/Questions -Aleksej - RockPro64 (https://github.com/BSDNow/bsdnow.tv/blob/master/episodes/621/feedback/Aleksej%20-%20RockPro64.md) Send questions, comments, show ideas/topics, or stories you want mentioned on the show to feedback@bsdnow.tv (mailto:feedback@bsdnow.tv) Join us and other BSD Fans in our BSD Now Telegram channel (https://t.me/bsdnow)

THE ROADS LESS TRAVELED—Much of travel media comes with a kind of sheen to it. A gloss. Whether you are traveling Italy with a hungry celebrity or cruising Alaska in the pages of a magazine, the photos are big and Photoshopped, the text kind of breathless. And while Afar has plenty of both, it just feels a bit different. It is not a magazine that puts a focus on consumption but on feeling. On the experience of travel.Julia Cosgrove has been atop Afar's masthead from the beginning. She comes from a magazine and journalism family. And despite their warnings about the industry, she joined the family business anyway because what kid listens to their parents? When the founders of Afar Media plucked her out of ReadyMade magazine and told her that no other travel magazine felt experiential to them, she understood and joined the team.Travel media has changed a lot over the years. One has to ask what moves a media consumer more: a magazine article about a beach in Croatia or the TikToks of numerous influencers on that same beach, extolling its virtues, reaching their millions of fans?Afar doesn't care. Because it believes in its mission and marches on, now in its 15th year, inviting its readers to experience the world, by diving in.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

GOOD TROUBLE—Troublemakers is a magazine about society's misfits. At least from the Japanese point of view. A bilingual, English/Japanese magazine, Troublemakers came about as a way to showcase people who were different, who stayed true to themselves, or about the long road those people had taken to self-acceptance.The founders, editor Yuto Miyamoto and art director Manami Inoue, were inspired by a notion that Japanese culture perhaps did not value those who strayed too far from the herd.The magazine has been a success not just in Japan but globally, and perhaps mirrors a trend we see in streaming, for example, of a general public acceptance of universal stories from different places—gengo nanté kinishee ni. Think, especially, of the success of Japanese television and movies like Shogun or Tokyo Vice or Godzilla Minus One. Of Japanese Pop and anime and food. It's an endless list.But Troublemakers is more than just a cultural document. It is proof of something shared, a commonality of human experience that exists everywhere. Speaking to Yuto and Manami, you sense a desire—and an invitation—to connect. With everyone. And that's, ultimately, what Troublemakers tries to do.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

A LIFE OF SLICE—What happens when a pastry chef meets a magazine editor in Brooklyn? No, this isn't the setup for a joke that perhaps three people might ever find funny. But…what do you get when a pastry chef meets a magazine editor in Brooklyn?You get the start of a media brand and a movement and a community. In other words, you get Cake Zine.Started as a post-pandemic stab at reconnecting with the world, Cake Zine is the result of that meet-cute. Tanya Bush, the pastry chef, and Aliza Abarbanel, a magazine editor, took their love of sweets and have created a magazine that is kind of like what you might get if a literary magazine developed a sweet tooth.And threw great parties.Not just in Brooklyn, but in LA, and London, and Paris. And that might become, who knows, not just a new sort of literary salon, but an actual salon. Or cake shop/wine bar. Or a publisher.Tanya and Aliza have plans—perhaps too many—but for now, they are content with creating a smart and tasty magazine that blends fiction, essays, and recipes in a lovingly-blended, skillfully-layered cake.And. They. Have. Plans.But they are also realists and wise enough to know that you can't rush a soufflé. Lest it collapse. Much like these tortured, yeasty metaphors.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

DÉPÊCHE MODE—Viscose Journal calls itself “a journal for fashion criticism” which sounds like a simple enough—and niche enough—premise for a magazine. Founded by Jeppe Ugelvig in Copenhagen and New York in 2021, Viscose has quickly become a vital touchpoint in the fashion world. And it has evolved into something far more complicated than what it still calls itself.In many ways, Ugelvig and his team have created a magazine that is a pure distillation of what a magazine can be. Because every issue of the publication is different—in form and shape and style. In other words, this is a magazine without a literal template. The first issue was called a “bagazine” and came in the form of a crocodile skin handbag. Another issue featured a garment label. And the current issue comes with a cover in the form of a cut-out of a perfume box. The magazine feels like “an ongoing thought process,” not just with the subject of fashion but with the idea of making a magazine itself. And in this sense, it is a mirror not just to the disciplined anarchy of the fashion industry but also into the making of an independent magazine in the 21st century. And that means thinking about the brand, about events, about audience, about the future as a media hub. And that's a lot of thinking.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

THE GOING WAS VERY, VERY GOOD—I'm a writer and the former deputy editor of Vanity Fair. Now if you know anything about me, which statistically you don't, unless—shameless plug—you read my memoir, Dilettante, about my time at Vanity Fair and the golden age of the magazine business. Which, statistically, you didn't.The only reason I have a career at all is because of today's guest on Print Is Dead (Long Live Print). He hired me in the mid-nineties to be his assistant. Or as he likes to say, “rescued me off the scrap heap” and then, like gum on the bottom of his shoe, he could never seem to get rid of me.I'm talking of course about Graydon Carter, former editor of Vanity Fair, Spy, The New York Observer, and now co-editor and co-founder of Air Mail.He's here to talk about his memoir When the Going was Good—a title that, with signature understatement, suggests things were once better than they are now, which feels correct. But his book isn't just about magazines. It's about a time when media was glamorous and powerful and vital. When New York was still New York. When the world he had a hand in shaping still existed.It's not nostalgia, it's a public service, because Graydon didn't just edit and create magazines. He built worlds. He predicted the cultural weather. He made journalism feel essential, and more importantly, cool. I was lucky enough to work for him at Vanity Fair for almost 25 years, back when magazines mattered, when people still returned phone calls, and parties had seating charts instead of hashtags, when the media wasn't just people making videos about sandwiches, and when style wasn't a “brand CoLab,” and when you could still smoke indoors without a visit from HR.You know what? Hold on one second. “Hey! You kids get off my lawn!”Sorry. Graydon began as my boss, but quickly became a mentor, then a friend, and it's a friendship that continues to this day. So enjoy this conversation with Graydon Carter as he looks back on the chaos, the glamour, and the thrill of a better time. Back when, yes, the going was very, very good.—This episode is made possible by our friends at Commercial Type and Freeport Press. A production of Magazeum LLC ©2021–2025