THE REST OF THE STORY

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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, 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 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 it’s digital.

Those in the “west” would be better served by understanding it. Because everything and everyone is, ultimately, connected.

On another note: this is the final show of season 2. We’ll be back after a short break to continue exploring the future of magazines, and the magazines of the future.

©2024–2025 The Full-Bleed Podcast is a production of Magazeum LLC. Visit magazeum.co for more information.

EVERY DAY IS MOTHER’S DAY

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If The Full Bleed’s second season had a theme, it just might be “We Made A New Magazine During the Pandemic.” Listen to past episodes and you’ll see that our collective and unprecedented existential crisis ended up producing a lot of magazines.

Melissa Goldstein and Natalia Rachlin met as coworkers at the lifestyle brand Nowness in the UK. Later, with Melissa in LA and Natalia in Houston, they bonded over their new status as mothers: they had given birth a day apart.

And they both found that magazines aimed at mothers were deficient. These titles spoke of babies and parenting and the decor of the baby’s room, but they rarely spoke of the moms as… people.

So they created Mother Tongue, a fresh look at womanhood and motherhood, and a kind of reclamation of both terms. The magazine functions as a conversation between like-minded moms from everywhere. Plus, like all modern media brands, Mother Tongue has great merch.

The election looms large, of course, over the magazine and our discussion—we spoke a week after it and let’s just say both Melissa and Natalia were still processing the results. But Mother Tongue is not going to shy away from talking about that either.

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This episode is made possible by our friends at Freeport Press.

©2024–2025 The Full-Bleed Podcast is a production of Magazeum LLC. Visit magazeum.co for more information.

IMAGINE FRIENDSGIVING AS A MAGAZINE

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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.”

©2024–2025 The Full-Bleed Podcast is a production of Magazeum LLC. Visit magazeum.co for more information.

THE HEART OF ROCK ’N’ ROLL IS STILL BEATING

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There’s a saying about the Velvet Underground’s first album: it didn’t sell a lot of copies but everyone who bought it went on to form a band. Not everyone who read Creem went on to form a band, but almost everyone who ever wrote about rock music in a significant way has a connection to Creem.

Founded in Detroit in 1969 by Barry Kramer, Creem was a finger in the eye to the more established Rolling Stone. Creem called itself “America’s Only Rock ‘n’ Roll Magazine” and its cheeky irreverence matched its devotion to its infamous street cred. Punk, new wave, heavy metal, alternative, indie were all championed at Creem.

Writers and editors who worked for Creem read like a who’s who of industry legends: Lester Bangs. Dave Marsh. Robert Christgau. Greil Marcus. Patti Smith. Cameron Crowe. Jann Uhelszki. Penny Valentine. And on and on and on.

The magazine stopped publishing in 1989 a few years after Barry’s death. A documentary about Creem’s heyday in 2020 helped lead to a resurrected media brand, founded by JJ Kramer, Barry’s son, and launched in 2022. The copy on the first issue’s cover: “Rock is Dead. So is Print.”

Totally typical Creem-assed fuckery. And still totally rock n roll, man.

©2024–2025 The Full-Bleed Podcast is a production of Magazeum LLC. Visit magazeum.co for more information.

FARM-TO-NEWSSTAND PUBLISHING

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The pandemic screwed a lot of businesses over, but it did a real number on the restaurant industry. Beset by low margins at the best of times, Covid was to the business what a neglected pot of boiling milk is to your stove top. But Max Meighen, a restaurant owner in Toronto decided to fill in his down time by … creating a magazine. Because of course he did.

And so he cooked up Serviette, a magazine about food that feels and looks and reads unlike any other food title around.

Nicola Hamilton came on as Creative Director soon thereafter. She had worked for a number of Canadian titles and during Covid, founded Issues Magazine Shop, one of Canada’s—if not the world’s—leading independent magazine shops. Because of course she did.

Food magazines, like all media, have gone through a lot recently, and the changes wrought by digital media have been amplified by Influencers, TikTokers, Instagram recipe makers, Substackers, bloggers, you name it. The food industry is ruthless and not for the weak. And I think you’ll find that both Max and Nicola are anything but. They are, quite simply, master chefs.

©2024–2025 The Full-Bleed Podcast is a production of Magazeum LLC. Visit magazeum.co for more information.

THE ROADS NOT TAKEN

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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.

©2024–2025 The Full-Bleed Podcast is a production of Magazeum LLC. Visit magazeum.co for more information.

NOT THE SAFE CHOICE

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Most magazines are not political. Unless, that is, you create a bilingual Arabic-English language magazine about design out of Beirut. Or another bilingual magazine about women and gender—also out of Beirut. Then, perhaps, your intentions are a bit less opaque.

Maya Moumne is a Lebanese designer by training who now divides her time between Beirut and Montréal. She is the editor and co-creator of Journal Safar and Al Hayya, two magazines that attempt to capture the breadth and diversity of what we inaccurately—monolithically—call “the Arab World.” Both magazines are also examples of tremendous design and, frankly, bravery.

The subject-matter on display here means the magazines have limited distribution in the very region they cover—which is both ironic and the exact reason the magazines exist. That both have also been noticed and fêted by magazine insiders in the West is perhaps also something worth celebrating.

Maya Moumne is a designer. Of the possibilities for a better and more inclusive future for everyone, everywhere.

[Production note: This conversation was recorded last month prior to the violence in Lebanon. We send our best wishes to the staff of Journal Safar and Al Hayya and hope they are safe. And mostly we wish for a peaceful future for all.]

©2024–2025 The Full-Bleed Podcast is a production of Magazeum LLC. Visit magazeum.co for more information.

GOOD TROUBLE

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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 (language be damned). 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.

©2024–2025 The Full-Bleed Podcast is a production of Magazeum LLC. Visit magazeum.co for more information.