Magazeum

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

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

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

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

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

NOTED. (RELENTLESSLY)—When a company publishes a magazine, or at least an “editorial” product, for whatever reason, it is called custom publishing. I have a long editorial background in custom. And custom has a surprisingly long history itself.How long?John Deere started publishing The Furrow in 1895. The Michelin Star started as a form of custom content: what better way to sell tires to monied Parisians than by enticing them to take a drive to the countryside to try a great restaurant?Amex Publishing famously published Travel + Leisure among other titles for decades. That in-flight magazine you once enjoyed on your flight overseas? That, too, is custom publishing.Now, after some down years, custom publishing is leaning waaaaay into print again. Henrybuilt is an industry leader in designing and constructing well-built products and furnishings for the home. Henrybuilt is not, however, a company that you would think is screaming for a magazine.But the qualities that make a great magazine—attention to detail and craft, the curation of ideas, hard work—are the very qualities that have made Untapped, a “design journal that looks back to look forward.” Led by editor-in-chief Tiffany Jow, Untapped is a smart, well-designed magazine that avoids the pitfalls of most design journals in being free of jargon and thus accessible.With an enviable level of editorial freedom, Jow has created an editorial product that richly explores livable spaces and champions “ideas-driven work.” The result is a growing media entity across platforms independent of Henrybuilt while hewing closely to its brand. It’s good stuff.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

THE SYSTEM WORKS—When I decided to launch this podcast back in 2019, it didn’t take me long to realize that I didn’t want to do it alone. The first person I called? Today’s guest, Debra Bishop.I’ve known Deb a little bit for a long time, but well enough to know her insight, humor, and world view would elevate every conversation we’d have. But also, and more importantly, she is without question one of the most consequential editorial designers working today. Deb has helped define the visual and structural DNA of some of the most iconic media brands of the last few decades, from Martha Stewart’s Blueprint, to More Magazine, and now, to The New York Times for Kids.What sets Deb apart is not just her eye, but her mind. She’s a master of creating editorial systems—cohesive, flexible frameworks that hold entire magazines together, giving them both structure and soul. Her designs guide readers effortlessly, creating rhythm, clarity, and a sense of trust.Deb never overdesigns or distracts—she amplifies. Her layouts are confident, elegant, quietly powerful, and often these days, lots of fun. And as a leader and mentor, she’s shaped not just magazines but careers. She’s helped raise the standard for what editorial design can be, and what a creative partnership should look like.Deb makes everything better: the work, the process, the people around her. Her influence is everywhere—including on this podcast—and I feel incredibly lucky to call her a friend and colleague.—This episode is made possible by our friends at Commercial Type and Freeport Press. A production of Magazeum LLC ©2021–2025

A BETTER-BUILT MAGAZINE—When a company publishes a magazine, or at least an “editorial” product, for whatever reason, it is called custom publishing. I have a long editorial background in custom. And custom has a surprisingly long history itself.How long?John Deere started publishing The Furrow in 1895. The Michelin Star started as a form of custom content: what better way to sell tires to monied Parisians than by enticing them to take a drive to the countryside to try a great restaurant?Amex Publishing famously published Travel + Leisure among other titles for decades. That in-flight magazine you once enjoyed on your flight overseas? That, too, is custom publishing.Now, after some down years, custom publishing is leaning waaaaay into print again. Henrybuilt is an industry leader in designing and constructing well-built products and furnishings for the home. Henrybuilt is not, however, a company that you would think is screaming for a magazine.But the qualities that make a great magazine—attention to detail and craft, the curation of ideas, hard work—are the very qualities that have made Untapped, a “design journal that looks back to look forward.” Led by editor-in-chief Tiffany Jow, Untapped is a smart, well-designed magazine that avoids the pitfalls of most design journals in being free of jargon and thus accessible.With an enviable level of editorial freedom, Jow has created an editorial product that richly explores livable spaces and champions “ideas-driven work.” The result is a growing media entity across platforms independent of Henrybuilt while hewing closely to its brand. It’s good stuff.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

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