“One belongs to New York instantly, one belongs to it as much in five minutes as in five years.” -Tom Wolfe
Ever dreamed of working in the Big Apple? Whether you’re a writer, photographer, marketer or publicist, the city that never sleeps is sure to have something for you. Check out these cool positions that could have you living your big city dreams.
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U.S. veterans facing lung cancer must understand that there’s still time to file for crucial benefits, and help is available to make the most of a claim
CHESTNUT HILL, MA / ACCESS Newswire / March 19, 2026 / U.S. veterans who developed lung cancer after exposure to toxic substances during military service have more ways than ever to pursue crucial benefits offered by the U.S. Department of Veterans Affairs (VA) as provisions tied to recent federal legislation continue to roll out.
Expanded protections under laws such as the Honoring Our PACT Act have greatly broadened eligibility for veterans suffering from illnesses linked to toxic exposure, such as lung cancer.
While cigarette and tobacco smoke are a common cause of lung cancer, asbestos, burn pits, and other harmful chemicals also could contribute to a diagnosis. U.S. veterans must remain aware of this if they’re newly diagnosed.
"Many veterans risked exposure to cancer-causing substances during deployments without knowing the long-term health risks," said Sam Timpe, a representative from Lung Cancer Group, a national organization supporting families affected by lung cancer. "Seeking help from VA-accredited agents is crucial to proving the need for these benefits."
The PACT Act, signed into law in 2022, marked one of the most significant expansions of veteran health care and disability benefits in decades. The legislation created new presumptive conditions tied to toxic exposures, including several respiratory diseases and cancers.
For U.S. veterans with lung cancer, the act allows them to pursue:
VA disability benefits
Expanded VA health care coverage
Survivor benefits for families
Retroactive compensation in certain cases
U.S. veterans who served in regions where burn pits and airborne toxins were common may now qualify for lung cancer VA benefits, even if their claim was previously denied.
This is crucial to understand because active lung cancer could be considered a 100% disability, allowing veterans to maximize their monthly disability payouts and reduce their health care bills if they get VA cancer care.
In addition, veterans diagnosed with lung cancer in recent years may now qualify under new presumptive condition rules that were not previously available when they first sought benefits.
"Some U.S. veterans assume that if their claim was denied years ago, nothing can change," Timpe explained. "But expanded federal legislation means many cases deserve to be revisited."
Health advocacy organizations say education remains one of the biggest challenges to helping U.S. veterans with service-related lung cancer, with many not realizing they may now qualify for benefits.
Public awareness campaigns running through 2026 will help veterans learn:
How toxic exposure may relate to lung cancer diagnoses
When filing deadlines could impact eligibility
Which federal programs may now apply to them
Advocates encourage veterans experiencing symptoms or those previously diagnosed with lung cancer to review their options under current federal law.
U.S. veterans and families seeking more information about lung cancer and potential benefits can learn more by visiting Lung Cancer Group’s official website.
The site helps veterans and civilians understand how exposure to asbestos and other toxins causes asbestos, treatment options, and ways to seek benefits and compensation.
Contact:
Sam Timpe
(855) 346-6101
sam_timpe@lungcancergroup.com
1330 Boylston St., Suite 400, Chestnut Hill, MA 02467
SOURCE: Lung Cancer Group
View the original press release on ACCESS Newswire
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media-news
Bruno Patino has a name for what comes next. At CPH:SUMMIT in Copenhagen, the Arte president outlined what he calls a “relationship economy,” a framework in which media companies survive AI disruption through structural coalitions rather than technological arms races.
His remarks at the documentary summit, delivered under the banner “Media Sovereignty: Rethink, Envision, Redefine,” are the clearest articulation yet of a strategy European public broadcasters have been building toward for years while their commercial counterparts chase scale.
The speech gives language to a split happening across global media. One camp is consolidating platforms and verticalizing content delivery. The other is building horizontal alliances that pool resources without merging operations.
Amazon’s latest announcements, modest on their own but revealing in aggregate, show what the consolidation path looks like when executed with precision. And the death of Kiki Shepard, co-host of “Showtime at the Apollo” for 15 years, is a reminder of what gets preserved and what gets forgotten when business models shift.
Patino’s framing is sharper than typical summit rhetoric. A “relationship economy,” in his formulation, means treating partnerships as primary infrastructure rather than opportunistic deals.
Arte, the Franco-German public broadcaster, has spent the past decade building exactly this: co-production agreements with Nordic broadcasters, shared commissioning frameworks, distribution partnerships that treat content as a collective resource rather than a proprietary asset. The bet is that AI will commoditize production at the lower and middle tiers, making pooled editorial judgment and audience trust more valuable than raw output volume.
The tension is structural. European public media can pursue this path because public funding insulates them from immediate commercial pressure. Whether any commercial player follows remains genuinely open.
Amazon is building the consolidation alternative with characteristic method. Prime Video India announced a comedy feature partnership with HRX Films, the production banner owned by Bollywood actor Hrithik Roshan.
“Mess,” directed by Rajesh A. Krishnan, is the second collaboration between Prime Video and HRX Films after the previously announced thriller series “Storm.” Neither project is a tentpole in the Western sense. They signal Prime Video’s continued investment in regionally specific content that locks Indian subscribers into the ecosystem.
On the same day, Audible announced a companion podcast for “LOL: Last One Laughing,” the Prime Video UK comedy competition series. Hosted by series participant Roisin Conaty, the podcast extends the show’s reach across Amazon’s audio platform and creates a content loop: Prime Video drives Audible listenership, Audible reinforces Prime Video engagement, both feed subscriber retention.
This is the inverse of Patino’s coalition model. Where Arte builds horizontal partnerships to share risk and preserve editorial independence, Amazon builds vertical integration to consolidate audience relationships and eliminate switching.
Both strategies acknowledge the same underlying pressure: AI-driven commoditization makes owning direct audience relationships more valuable than owning production capacity. They’ve chosen opposite structural responses.
Kiki Shepard died Monday from a heart attack at 74. Variety reports she co-hosted “Showtime at the Apollo” from 1987 to 2002, working alongside a rotating cast of emcees that included Steve Harvey and Sinbad.
The syndicated variety show, filmed at Harlem’s Apollo Theater, gave Shepard a platform that virtually no other Black woman held in syndicated television during that 15-year run.
“Showtime at the Apollo” operated in the syndication economy that predated streaming consolidation, when local stations programmed weekend variety shows to fill time blocks. That ecosystem is gone. The show survived as a brand, cycling through network homes and format iterations, but the specific role Shepard occupied (hosting a nationally syndicated variety program week after week for over a decade) no longer exists in television’s current structure.
Deadline confirmed her death through her representative. She held that hosting role longer than most of her emcee partners, providing continuity to a show that celebrated amateur talent and Black musical tradition in a media landscape that offered few comparable platforms.
The Patino speech and the Amazon announcements represent the strategic fork. Media companies with patient capital and mission-driven mandates can pursue coalition models that preserve editorial diversity. Media companies optimizing for subscriber retention will pursue vertical integration that treats content as connective tissue between services.
Both paths are rational. They produce fundamentally different media ecosystems.
For professionals navigating this split, the implications are tactical. Coalition-focused organizations (public broadcasters, mission-driven nonprofits, some independent studios) will prize collaborative capacity and multi-stakeholder project management. Platform-focused organizations (Amazon, Netflix, Disney) will prize cross-format thinking and ecosystem integration skills.
The middle ground is shrinking. Traditional media companies that can’t commit to either path will continue to struggle for strategic clarity.
If you’re looking to position yourself in this landscape, browse open roles on Mediabistro focused on content strategy and platform integration. If your organization is building for either the relationship economy or the consolidation path, post a job on Mediabistro to find professionals who understand which game you’re playing.
This media news roundup is automatically curated to keep our community up to date on interesting happenings in the creative, media, and publishing professions. It may contain factual errors and should be read for general and informational purposes only. Please refer to the original source of each news item for specific inquiries.
Topics:
media-news
Something worth watching across today’s job listings: the line between “creative” and “audience growth” keeps dissolving. An art director at a regional magazine is expected to think about digital engagement. An audience strategist at a storied newsroom needs to understand editorial voice. A media strategy director at a streaming company has to connect content discovery to subscriber retention.
These aren’t hybrid roles born from budget cuts. They reflect a genuine shift in how media organizations think about the relationship between making things and getting those things in front of people. The companies hiring right now want professionals who can hold both ideas in their heads at once.
Today’s featured roles span print, digital news, and subscription streaming, but they share that common thread. If you’ve spent your career building audiences through strong creative work or creating strong creative work informed by audience behavior, this is your market.
Why this one matters: Regional lifestyle magazines that are thriving in 2026 tend to have one thing in common: a distinct, ownable visual identity. Virginia Living is hiring a hands-on Art Director to lead design across print and digital, with real creative ownership over everything from conceptual photography direction to typography and layout. This is a genuine leadership role at an award-winning publication, not a production design seat.
Apply for the Art Director role at Virginia Living
What makes this role distinct: The Forward, one of the most important voices in Jewish media since 1897, is looking for someone to grow its next generation of loyal readers and supporters. This isn’t a standard social media management position. You’ll be designing engagement experiments, tracking what drives real community connection, and shaping how the newsroom thinks about its relationship with audiences across newsletters, social, and in-person programming. For anyone who cares about building social media presence with editorial integrity, this is a rare opportunity at a mission-driven publication.
Apply for the Audience Deputy Director role at The Forward
The compensation picture: Gaia is posting a $145,000 to $165,000 base for this senior leadership role, plus an incentive plan tied to business outcomes. The streaming platform, based in Louisville, Colorado, wants someone who can architect full-funnel media strategies connecting audience discovery to subscriber acquisition and retention. You’ll translate business objectives into privacy-safe, data-informed media plans that scale nationally, working with publishing, creative, data, and agency partners.
Apply for the Director of Media Strategy role at Gaia
The mission angle: Avalon is a full-service fundraising agency working with nonprofits in environmental conservation, social justice, cultural arts, and progressive causes. This fully remote Paid Media Manager role puts you in charge of executing and optimizing digital advertising campaigns across paid search, social, and programmatic channels. Every campaign you run directly supports organizations raising funds to power their missions. If you want your media buying skills to connect to something larger, this deserves a close look.
Apply for the Paid Media Manager role at Avalon Consulting
If your resume still separates “creative skills” from “audience and analytics skills” into distinct sections, consider reorganizing it. The roles being posted today reward professionals who can demonstrate both, not as separate competencies but as an integrated way of working. Whether you’re designing magazine layouts or building paid media campaigns, the employers hiring right now want to see evidence that you understand who the work is for, not just how to make it.
Tailor your portfolio and case studies to show the audience the impact of your creative decisions. That single shift in framing can be the difference between landing an interview and getting passed over.
Topics:
Hot Jobs
The media industry is getting priced, story by story and deal by deal. Google is redirecting traffic through new channels while starving the old ones. Warner Bros. Discovery and Paramount are discussing a merger where CNN might be treated as a secondary asset.
The Times of London says digital subscriptions now cover the cost of its entire 700-person newsroom. And the UK government just reversed course on weakening copyright protections against AI training.
Distribution economics, consolidation math, subscription proof points, and intellectual property rights are all converging on one question: can professional journalism build a sustainable business, or does it become a loss leader for entertainment conglomerates and AI companies?
Google Discover is emerging as a real referral channel for breaking news, even as organic search traffic continues to crater. According to data reported by Press Gazette, US publishers are seeing genuine traffic gains from Discover for time-sensitive stories.
The underlying problem remains brutal. Organic search traffic to 64 publishers has dropped 42% since AI Overviews went live. Discover isn’t reversing that. It’s a new pipe that delivers some flow while the main artery gets systematically throttled.
This creates an operational dilemma. Do you optimize for Discover’s algorithmic preferences, which favor breaking news and high-velocity content? Or keep investing in SEO fundamentals that now increasingly serve Google’s own answer boxes rather than sending clicks?
Traffic doesn’t flow where journalism is best or where audience need is highest. It flows where Google’s product priorities direct it. That’s not a partnership.
CNN may not be a priority asset in the ongoing merger discussions between Paramount and Warner Bros. Discovery. As Axios media reporter Sara Fischer told Poynter, deal conversations appear centered on streaming services, sports rights, and entertainment IP rather than the news division that defined the Turner Broadcasting era.
CNN’s revenue model looks fragile next to the annuity-like economics of sports rights or the licensing potential of entertainment libraries. The network still generates cash flow, but the growth trajectory points down as cable subscriptions decline. For dealmakers, that makes CNN something to manage or divest.
If the most recognized brand in cable news isn’t a priority in the biggest media merger of 2026, how does the market value journalism relative to other content categories? Studios and sports leagues can raise prices. News organizations mostly can’t, not without losing audience to free alternatives.
Meanwhile, the information environment keeps deteriorating. A viral video showing a toddler crying at the casket of a fallen US service member was generated by artificial intelligence and shared across social platforms as engagement bait. Poynter’s fact-checking team documented how the fake spread during ongoing military operations, exploiting genuine grief for clicks.
This is the compounding problem. Trustworthy journalism becomes more necessary as disinformation proliferates, but the economic model for producing it erodes simultaneously. Publishers are competing for attention against AI-generated content that costs nearly nothing to produce and is optimized purely for emotional manipulation.
The Times of London reached a milestone most publishers have chased for over a decade: digital subscriptions now cover the full cost of running a 700-person newsroom. Editor Tony Gallagher shared the figure at a Press Gazette event, and it’s the single most concrete proof point of reader revenue in years.
Plenty of publishers have subscription programs. Few can say those programs actually pay for the journalism. The Times hasn’t just built a subscriber base; it’s built one large and stable enough to fund serious reporting infrastructure.
The model depends on advantages not every publisher can replicate: a 200-year brand, a wealthy core demographic, a defined national footprint. But the principle generalizes. If you produce differentiated work that readers can’t easily get elsewhere, some meaningful percentage of your audience will pay.
On the policy front, publishers scored a rare win when the UK government backed down from plans to weaken copyright protections in favor of AI firms. According to Press Gazette, the reversal followed unanimous opposition from the UK news industry, which argued that allowing AI companies to train on copyrighted content without licensing would gut the economic foundation for professional journalism.
The copyright battle is about leverage. If publishers control access to their archives and can negotiate licensing deals with AI companies, they have a revenue stream that doesn’t depend on reader attention or advertiser spending. If copyright gets weakened to the point where AI firms can scrape freely, publishers lose that leverage and end up competing against systems trained on their own work.
The UK decision doesn’t resolve the broader question, but it preserves publishers’ ability to negotiate from legal standing rather than after the fact.
Subscriptions and copyright. One is the economic pillar, the other the legal one. Neither is a complete solution. Both are necessary.
The through-line is valuation. Google is deciding what publisher traffic is worth by redirecting it through Discover. Merger dealmakers are deciding what CNN is worth relative to sports and streaming. The Times is proving what reader loyalty is worth when converted to subscriptions. The UK government is deciding what intellectual property protections are worth in an AI-dominated landscape.
If you’re working at a publisher that still depends primarily on search traffic and display advertising, you may be on a declining curve of unstable publisher economics. The organizations building durable foundations are diversifying revenue, investing in differentiated coverage, and protecting their IP.
If you’re evaluating new opportunities, look for organizations that can articulate a clear answer to the valuation question. What is this publication worth to readers, and how does the business model reflect that?
As newsrooms consolidate and business models shift, professionals who can demonstrate reader impact, revenue contribution, or product expertise become more valuable. If you’re building a team that can execute in this environment, post a job on Mediabistro. If you’re looking for your next role, browse open positions where these strategic questions are being answered.
This media news roundup is automatically curated to keep our community up to date on interesting happenings in the creative, media, and publishing professions. It may contain factual errors and should be read for general and informational purposes only. Please refer to the original source of each news item for specific inquiries.
Topics:
media-news
Something worth watching in today’s listings: independent and mission-driven organizations are posting roles that would have lived exclusively at large agencies or corporate media companies just a few years ago. Full-funnel paid media strategy for nonprofits. Digital marketing leadership at an indie book publisher. Remote content management with a direct line to revenue.
These aren’t junior positions padded with aspirational language. They’re senior, strategic roles with real ownership, posted by organizations that need people who can build and execute without a 40-person department behind them. For experienced media professionals who want autonomy and visible impact, this is the part of the market to watch.
Three of today’s featured roles are fully remote or remote-friendly, and all three sit at the intersection of content and performance, where creative instincts meet measurable outcomes. That hybrid skill set is quickly becoming the price of entry for mid-to-senior digital roles across the industry.
Why it deserves your attention: Avalon works exclusively with nonprofit clients in areas like environmental conservation, social justice, and cultural arts. This role manages campaigns across Google Ads, paid social, CTV, and programmatic channels for organizations that depend on fundraising to operate. You’re not optimizing click-through rates for a product launch. You’re helping causes stay funded.
The fully remote setup and the breadth of channels make this especially appealing for paid media professionals who want variety without the chaos of agency life. Avalon’s client roster means you’ll work across multiple verticals and campaign types simultaneously.
Apply for the Paid Media Manager role at Avalon Consulting
What makes this role unusual: Topix is an independent publishing house with a catalog spanning gaming guides, graphic novels, food and drink titles, card decks, and children’s books. The Associate Director of Digital Marketing will lead full-funnel campaigns for frontlist and backlist titles while also mentoring an Associate Publicist. It’s a genuine leadership position at a company small enough that your decisions will be felt across the entire list.
The emphasis on direct-to-consumer marketing, influencer outreach, and platform-native engagement (Amazon, TikTok, Instagram) reflects where book marketing is actually headed. If you’ve been honing influencer and social media marketing skills, this is the kind of role where that expertise translates directly into business outcomes.
Apply for the Associate Director of Digital Marketing position at Topix Media Lab
The opportunity here: Vomela is a full-service visual communications company that works with both global and local brands. This remote Content Manager role sits squarely at the intersection of storytelling and demand generation, covering everything from quarterly e-books and customer stories to daily social posts and SEO-driven web content. The direct connection between content output and revenue growth objectives gives this position a strategic weight that many content manager roles lack.
For writers and editors looking to move into content marketing without abandoning the craft of storytelling, this is a strong fit. The range of formats alone, from long-form e-books to email campaigns to social content, will keep the work from feeling repetitive.
Apply for the Content Manager role at Vomela
If your resume still separates “creative skills” from “performance skills” into two different sections, it’s time to merge them. Every role featured today asks for someone who can write compelling content or build strong campaigns and connect that work to measurable business results. The organizations hiring right now, particularly smaller publishers and mission-driven groups, can’t afford to split those functions across multiple people. They need one person who understands both sides.
That’s good news if you have it. Professionals who can demonstrate content creation alongside analytics fluency and revenue impact are commanding real leverage in this market, especially in remote roles where trust depends on showing your work. Sharpen both edges of that skill set, and make sure your portfolio reflects them equally.
Topics:
Hot Jobs
Robin Levine, founder of Scouted, has noticed a value shift in how the Millennial generation views work.
About previous generations, she said, “It used to be all about an end-goal. You’d do grunt work in a low-level job with the knowledge that it would pay off with promotions and more money in the end.”
But for Millennials, she said, “It’s about the journey. They care less about the end results. They want to enjoy the work itself.”
Levine’s observations are backed up by data. As I’ve written about before, the2016 Deloitte Millennial Survey found that millennials, more than previous generations, prioritize their overall wellbeing when evaluating their work satisfaction. In other words, they want to maximize their wellbeing on their work “journey,” not just the financial payoffs.
Companies need to acknowledge and embrace this work-life integration to maximize the employee wellbeing millennials require.
Think about it like this. Millennials evaluate work in a similar way to how we evaluate our romantic relationships and workout routines. If I want to get married and have kids eventually, but I don’t like the person I’m dating, I’m going to move on to someone else. If I want six pack abs, but I find my 4am crossfit class incredibly painful, I’m going to switch to another program (I got remarkable results from this video!)
In the same way, if I want to make a certain amount of money, and become successful in a certain field (blog writing, for example), but my employer expects me to make edits on drafts immediately, anytime they are suggested, even at 3am on a Sunday, I’m going to find a different employer.
The other part of this is that we have the internet now, so the “finding a different employer” step is easier than ever (and so is the finding another date and fitness program). A simple search on LinkedIn will show me an overwhelming amount of companies looking for blog writers.
Millennials want work to be a source of fulfillment, and they hold work to the same standard as everything else in their lives. That’s the inevitable result of work-life integration. So, instead of helping employees balance personal and work-lives, employers should find ways to make work fit into an integrated life. Let people work where and how they want, and let them set their own limits. Give them work that is meaningful. Let them know you care.
In the end, this will probably help with productivity. Stew Friedman, writing for his book and for Harvard Business Review, claims that many successful people — Sheryl Sandberg, Michelle Obama, Bruce Springsteen — have succeeded precisely because they don’t separate their lives into work and life, but integrate work into everything else.
Communications is an umbrella term for a wide range of jobs, including PR, writing, social media, marketing, fundraising, and more. And while these types of communications jobs can vary in their day-to-day tasks, they all have one thing in common: spreading a message to consumers or businesses. As the job market evolves, so do communications jobs. Think about it. Do we communicate in the same way we did 10 years ago? Of course not.
Here are some ways communications jobs are evolving.
The main reason communications jobs evolve is due to technological advancements. There are more tools to communicate today than there were even five years ago. For example, jobs within social media evolve as social media does. In fact, over the last decade, social media has evolved from one platform to 17+ with over 300 million active users.
Gen Z is bringing a fresh perspective to communications jobs. About one in four workers are part of this generation, and since they’ve entered the workforce, they’ve brought a new work culture—one that is more inclusive, authentic, casual, and honest.
Additionally, they are the most tech-savvy generation yet. They’re more likely to understand new workplace communication technologies than older generations.
As technology evolves in communications, new types of jobs have been created under the communications umbrella. A social media manager wasn’t the same role that it is today.
Today, there are teams dedicated solely to a single social media app.
“Our team has two ‘wings.’ We have what we call the ‘core social’ team, which encompasses Facebook, Twitter, Reddit, and Telegram. And then we have the Instagram team, which is about 8-9 people focused on IG,” shares Travis Lyles, deputy director of social media at The Washington Post.
Since COVID-19 emerged and companies had to quickly adjust their plans, the importance of communication became clear. Employers had to figure out how to communicate effectively with their employees, and employees in communications had to present messages in ways they hadn’t before.
As companies continue to embrace remote work, writing is becoming more crucial than ever.
Communications jobs are not only valued in new ways but are also expected to grow. According to a recent USC Annenberg Study, PR and communications budgets are expected to grow 11% over the next five years.
The U.S. Bureau of Labor Statistics also published statistics to back this prediction: employment within communications is set to grow at a rate of 14% over the next 10 years—faster than the average for all other occupations.
Background: Launched in 1920 as a trade quarterly, Architectural Digest has evolved into a publication that celebrates international design talents and innovative homes. Since then the brand has spawned several international editions as well as AD PRO, a digital division of the brand that focuses on a professional audience, says Allie Weiss, deputy editor, AD PRO.
Visitors to the site will find exclusive content with the quality and authoritative voice that only AD editors can deliver, paired with engaging interactive features—as well as Architectural Digest’s entire 100-year archive.
Freelancers have the best chance of scoring a byline by pitching to the following sections:
Business news: Pitches should cover the operations of design companies, firms, and manufacturers (e.g. businesses shuttering or launching, mergers and acquisitions, changes in direction or company leadership, and new product categories, funding, sales and merchandising techniques, marketing campaigns, or locations.) Word count: 300-500.
General news: Editors want to receive timely news pitches pertaining to the professional design industry in the following categories: product launches, exhibitions, books, awards, studies, events, fairs, auctions, and films. Word count: 500.
Local project spotlights: Editors will accept pitches for new interior design projects (commercial, hospitality, retail, or model units only) in Los Angeles, New York, Dallas, Houston, Atlanta, Chicago, and San Francisco. Word count: 500.
Local events: Pitch local design events (dinners, cocktail parties, book signings, screenings, or panels) in Los Angeles, New York, Dallas, Houston, Atlanta, Chicago, or San Francisco. Word count: 300-500.
What publicists should pitch — and when [lead time]: Publicists are encouraged to share business news regarding their clients (e.g. designers, firms, interior design companies, or manufacturers). And that “news” can cover everything from mergers and acquisitions to changes in direction or company leadership.
Publicists can also pitch local news pertaining to the design industry in Los Angeles, New York, Dallas, Houston, Atlanta, Chicago, or San Francisco. These updates may include events, sales, hires, openings, product launches, real estate news, preservation news, and awards in those cities. Lead time is at least one week before the date of the news or event.
Percentage freelance content: 50%
Percentage of freelance submissions accepted: 30+%
Etiquette: Writers should mention their relevant experience and include links to published articles or their portfolio. If you’d like to send photos along with your pitch, please include a link to a folder with all available high-res imagery and photo credits. Identify the date of when the news will occur, and if an exclusive or interview is available, please let the editors know.
Lead time: At least one week before the news hits (whether a product launch, event, or corporate announcement).
Rights purchased: All rights
Contact info:
Architectural Digest
One World Trade Center, 26th Floor
New York, NY 10007
architecturaldigest.com/adpro
Instagram: @ArchDigestPro
firstname_lastname@condenast.com
Circulation: 250,000
Reach: 37MM+
Frequency: Four issues per year
Background: AFAR is the award-winning travel media brand that positively impacts the world through high-quality storytelling that inspires, empowers, and enriches travelers who care.
In an Afar survey, almost 90 percent of its well-to-do readers said they “visit places most travelers don’t see” and 74 percent agreed that they “stay in one place longer to experience its culture,” even participating in local events. This isn’t your ordinary Hawaiian-shirt-and-fanny-pack-wearing group. Although their median income hovers just over six figures and they enjoy all of the earmarks of luxury, these folks like the taste of real life with their vacationing. The key to piquing editors’ interest is an understanding of these readers, which spend an average of $4,100 annually on personal travel and, as a result, know their stuff.
“We put emphasis on giving readers a deeper dive, a sort of street-level view of a place,” Cosgrove explained. Freelancers interested in contributing need to bring their A game — think affluence and authenticity — to snag a third “A,” as in assignment, for Afar.
Percentage of freelance content: 60 percent
Percentage of freelance pitches accepted: 5 percent to 10 percent
Contact info:
Afar Media
130 Battery Street, Sixth Floor
San Francisco, CA 94111
www.afar.com
Twitter handle: @AFARmedia | Facebook
Email format: FirstName@afar.com or FirstinitialLastname@afar.com
Direct all pitches to:
EDITORIAL at AFAR dot COM
