Co-presenter Nod have returned, and this time they have resigned from Gimlet Media and Spotify and are taking their work to SiriusXM’s Stitcher. Brittany Luse and Eric Eddings tell Limit today they are relaunching their black cultural performance For colored nerds this fall, which they created, hosted and produced before working at Gimlet. The podcast is widely available and is not exclusive to a single platform.
Stitcher produces the program together with them, and SXM Media sells exclusively commercials. The co-presenter last published a For colored nerds period in 2017, but the same input will be revived for return.
In particular, Eddings and Luse have complete control over their program – they own the sound masters, the rights to the feed and derivative works – and they have a revenue-sharing agreement with Sirius. (The specifics of the deal, such as how much Stitcher paid them to come in and how much advertising revenue they received, were not disclosed.)
“I can’t tell you how great it feels to have the kind of flexibility, independence and real support we have right now,” Luse says in a chat Limit. “Industry is no longer in its infancy; the industry is maturing, so I think people’s expectations of what they’re looking for in ownership agreements and things like that are changing. “
The ownership of the deal was particularly critical for Luse and Eddings spoke in June 2020 their frustration with Gimlet’s control Nodinput and IP. The duo introduced, hosted and produced the show and felt they owned it, but they never did it.
“Providing institutional support is not the same thing as producing a real product,” Luse says in this recent debate. “So I think the industry will eventually have to bend to a situation where there are organizations that provide institutional support to people who want to make quality voice without requiring them to give up all their ownership as well.”
There are still challenges in the sector related to intellectual property rights and ownership, even if it is a memorable issue. The Ringer and Gimlet unions sought to reach an agreement on intellectual property rights, but were unable to secure anything in their final agreement with Spotify. In with chat Hot PodNick Quah last August, before any agreements were made, Lowell Peterson, CEO of the Writers Guild of America East, called the battle for intellectual property “uphill”.
“The ability to participate in the fruits of creative work and maybe even harness it alone or stay involved either financially or creatively if it becomes something bigger … yes, it has certainly been a problem,” he said at the time.
Eddings acknowledged in our recent discussion that more resources need to be readily available to independent content providers who may not know how to start creating, pitching, and eventually owning a program, especially when negotiating with large companies.
“I feel like we sometimes have to whisper by asking a lawyer,” he says as an example. “It has to become something that has been normalized and standardized because it is very important.”