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Brittany Luse and Eric Eddings worked hard to bring their Black culture podcast, The Nod, to life in 2017. While working full-time as employees on other programs for Gimlet Media as well as on an independent podcast called For Colored Nerds, Luse and Eddings brainstormed The Nods concept, recorded and edited a sample 20-minute episode along with a 10-minute segment and a trailer, and then pitched the show to the higher-ups at Gimlet Media, a podcasting network that has since been acquired by Spotify. They eventually got the green light and began releasing an episode a week for nearly three years. On their show, they shared their thoughts about culture and events, and in Luse and Eddings eyes, they made The Nod, not Gimlet or Spotify.

Our show is the way we, Brittany and I, see the world, Eddings tells me. We call ourselves Blackness biggest fans. We dont call ourselves, necessarily, experts. We feel like we have a unique way of looking at things, and our show is our exploration of that.

But when Eddings and Luse thought about expanding The Nods universe beyond podcasts, they ran into a problem: Spotify owns all of the rights to the brand, meaning if they wanted to shop The Nod name around for a book deal, movie deal, or any other use of its name, theyd need Spotifys permission.

At the end of the day, investing in someones talent isnt the same as having the talent yourself, Luse tells The Verge. Its very strange that [Spotify and Gimlet] are the only people who can claim ownership over [The Nod and its segments].

Luse and Eddings are only two of the podcasters who have begun speaking out about the constraints of their podcasting contracts, which were written before they hosted successful shows. Misha Euceph tweeted about lacking control over her show covering Muslims lives in the US, which is owned by Southern Californias KPCC. Tracy Clayton and Heben Nigatu, the hosts of BuzzFeeds now-canceled Another Round, also recently tweeted their desire to own their podcasts back catalog, aka their RSS feed, which not only contains their shows former episodes but also gives them the ability to publish new ones to existing subscribers.

BuzzFeed could easily curry some favor from me (and I imagine others) by granting me and [Clayton] the rights to the [Another Round] back catalog, a thing that is free and is easy to do, Nigatu wrote. Under the hashtag #FreeAnotherRound, former and current BuzzFeed staff tweeted in support along with other media figures even Lin-Manuel Miranda joined in.

These hosts dont own their shows because they created and hosted the series while employed by a media company that paid their salaries. But the intimate format of podcasts can make that corporate control contentious. Listeners and hosts feel connected, and fans want to see shows continue even after a network cancels them, as in the case of Another Round. Thats why control over a podcasts back catalog, or RSS feed, has become a focal point for hosts. Once they leave a network or their show ends, the podcast networks have free rein to pivot their feed, insert new ads, or even relaunch a show with a new host.

The podcast feed is the thing, like, it is the keys to the kingdom, says Amanda McLoughlin, CEO of Multitude Studios, a podcast collective and production company. It is the only way that you connect with 100 percent of your audience. People can have social media personally that listeners go ahead and follow, future projects mailing lists, but your audience is totally and utterly composed of the subscribers to your RSS feed.

This means that if hosts want to tell their listeners about a new project, the single best way to do so would be through audio published on their already established feed. Access is crucial. But companies have reasons to not want to fork over control of a show they funded and arent obligated to give up: they can reuse that feed to kickstart a new show, launching with an audience thats built on the work of the former hosts. On top of marketing potential, companies can also continue making money off RSS feeds, even after shows end, because of dynamic advertising, which lets them insert ads into old shows that might gain listens.

Thats what people are talking about. The fact that even though I have left and youre no longer paying me a salary, you continue to make money on the work that I did for you, and I am left with nothing, McLoughlin says. I cant talk to my audience. I cant make money on that work.

What makes the podcasting environment especially fraught is that not all creators are treated equally. Other Gimlet Media employees worked out co-ownership deals, for example, Luse says. At BuzzFeed, Ahmed Ali Akbar, the host of See Something Say Something, says he didnt pay for the transfer of his RSS feed when he went independent and started supporting himself off Patreon. A BuzzFeed spokesperson says the company still puts ads into his show, but that Akbar could take the podcast to another network if he wanted. Akbar tells me the decision was made by executive leadership at BuzzFeed News. (He didnt reply about whether this was unique to his contract and written and agreed upon ahead of time.)

Its often big names with the leverage and the power to negotiate who are able to avoid restrictive contracts. Joe Rogan, for example, is licensing his show and feed to Spotify exclusively and will share in the ad revenue. Kim Kardashian West also isnt giving Spotify full ownership of her show.

But other, smaller podcasters have had to start over when they leave a big network but want to keep their show alive. Failing Upwards, for example, a former Barstool Sports podcast, had to rebrand as Throwing Fits in January after its hosts left the network. The show started a new feed from scratch and had to regain its audience under a new name. Its now funded through Patreon.

Hosts often have little negotiating power when starting a show, especially when theyre already working at a media company and dont yet have an audience. These deals offer hosts some real advantages for one, networks front production costs and provide a structure for shows to sell ads and market themselves, while independent hosts have to do that all on their own. Plus, networks give hosts a steady salary, health care, and a team of producers and editors to help them bring their vision to life. Luse and Eddings say Gimlet allowed them to make the show they wanted full-time, which they especially valued during a time when they both wanted and needed a consistent income after making their independent show for years.

Eddings says the benefits of a network could outweigh the loss of their name and catalog, but only if the ownership rules were consistently applied not selectively given to people who have the name recognition or resources to negotiate their own deals. Luse and Eddings say that being Black likely factored into their negotiations, whether unconsciously or not on Gimlets part.

Who could have known that when we were structuring these very one-sided deals five, six, seven years ago that there would be so many more lucrative opportunities to explore new platforms using original podcasting content, Luse says. Or who would know that a company like Spotify or someone like Kim Kardashian would be interested in figuring out how to monetize their content through a platform such as podcasting?

Spotify declined to comment.

Podcast contracts, like Luse and Eddings, are structured similarly to past music contracts, points out writer Cherie Hu in a piece first published in the Hot Pod newsletter. Networks own the IP and entire catalog of episodes indefinitely, like labels often do with albums. Unlike podcasters, however, even musicians locked out of their own content are allowed to tour under their name, release merch, and put out derivative works.

In contrast, Hu wrote, many modern podcasting and digital-media contracts appear to seek to buy out all of a producers intellectual property, encompassing the original deliverable and all resulting derivative works.

This means that podcasters like Eddings and Luse not only have to ask for permission to publish new podcast episodes, but they also need Spotifys blessing to sell anything else with The Nod name and likely give the company a cut in exchange. Currently, The Nod podcast is on pause while the team works on a video version of the show for Quibi. Gimlet negotiated that deal, and Luse and Eddings are executive producers on the show and no longer Spotify employees.

The same goes for Euceph, who worked at KPCC and didnt own her show. Like many other studios, SCPR owns the rights to the content we produce, says Herb Scannell, president and CEO of Southern California Public Radio, to The Verge. But we are also actively having conversations with Misha about the future of the show and evaluating our creator engagement models.

Both Euceph and The Nods treatment is standard across companies; most networks retain control over the shows they pilot. BuzzFeed CEO Jonah Peretti said as much in a tweet reply to Another Round host Nigatu.

Investing in content and transferring the IP free of charge is not a small thing, he tweeted. It never happens.

In a leaked Slack chat and in that tweet, Peretti said he offered the Another Round IP, or its name, to the hosts for free, but wouldnt give them access to their RSS feed without charging. He suggests the hosts could license their feed.

Yes, you giving us the show to take somewhere else was an unprecedented move, but that is not a reflection of your goodness, kindness, or love of the show, Clayton tweeted in response. Its a reflection of the sad state of media and how it uses Black content creators every day.

Peretti responded, ultimately saying his lawyers and the hosts could talk and try to come to an agreement, likely one that would involve Nigatu and Clayton paying for access to their show. A spokesperson says the company is offering Nigatu and Clayton an agreement similar to the one See Something Say Something has. Nigatu and Clayton didnt respond to a request for comment.

Although most podcast contracts are restrictive, some networks are trying to upend the system. Juleyka Lantigua Williams, the CEO and founder of the Lantigua Williams & Co. network, says she shares all IP and ownership rights with creators, listing both their names on trademark requests. She fronts the cost of production to start, but once the show makes enough money to pay her back, she shares the revenue, whether it comes from ads or a movie deal, with the show creators. If they ever wanted to take their show outside the network, theyd have to pay her back for the upfront costs, which would then give them ownership of their feed. She says the most valuable part of these podcasts is to iterate beyond them across forms and platforms. Sharing revenue incentivizes creators to aim high.

Because that is the most important thing, I always want to find collaborators who also think about their ideas in multiple ways and in multiple platforms, she says. And so doing a contract that pleases them and their creativity is basically the way that you create really fertile soil for ideas and innovation because who doesnt want to be supported in their growth? Who doesnt want to be encouraged to dream really big?

For companies that dont work these deals out from the start, creators have turned to unions for more of a voice. Gimlet Medias union, however, is still in negotiations with Spotify, and BuzzFeed News union hasnt ratified a contract with BuzzFeed, either, though both are seeking some control over employees creative works. Luse notes that, right now, most podcast networks essentially own hosts faces, voices, ideas, thoughts, opinions, and writing indefinitely.

The point is that that day has come, Luse says. Were here, and were really and truly past the point where we can continue as an industry to present creators with deals like this, its not ethical. Its not fair.

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The hosts of The Nod want Spotify to hand over their podcast - The Verge

Trump has told advisers and allies he expects a vaccine for the novel coronavirus to arrive this fall, a timeline for which there is no certainty, and he wants aides to offer both facts and a message of optimism to the public, a senior administration official said.

Since the federal governments Covid-19 task force discontinued its daily briefings in May, Pence has taken on most of the administrations coronavirus messaging responsibilities through interviews with local news outlets, outreach to religious groups and engagement with key constituencies. Several of his trips outside Washington in the past two months have featured informal updates on state reopenings, disease transmission and the status of a vaccine.

Now, Trump aides are trying to decide whether to put the national spotlight back on what they have spent months arguing is a series of state and local issues that had previously been relegated to the vice presidents office.

Cutting back on the briefings left a void that was filled by the media and the presidents political opponents in order to mislead people, and it resulted on the administration being put on the defensive, a second senior administration official said.

Core to their conundrum is the president himself. Trump loves the spotlight, and his briefings during the heart of the crisis turned into protracted events that sometimes stretched for two hours with the president straying off message and generating negative headlines.

Those sessions have no end goal and just focus on the political issue of the day, said another senior administration official. A large group of advisers in the White House think it would be more effective to do more regionally focused press than national briefings.

The coronavirus void at the White House after a historic stretch of briefings by the president himself is highlighting the holes in Trumps latest approach as he focuses on other matters while blaming the media for focusing on the coronavirus.

Trumps handling of the virus risks damaging his standing even further, making him look out of touch with even his own supporters in red states now struggling with the virus resurgence.

You cant spin a pandemic, said David Axelrod, the former senior adviser to former President Barack Obama. I mean, everyone is living with it. The reality of it is too obvious.

The best thing to do in a crisis any crisis if you are president is to be as forthcoming as possible and to allow the professionals who are experts to take the lead, Axelrod said. During the H1N1 virus back in 2009, I think every briefing, but one, was held at the CDC. They were the lead agency. They had the best info.

The CDC has held a three briefings since mid-March though the agencys director recently promised to reinstate more regular briefings. The latest briefing by the White House coronavirus task force took place Friday at the Department of Health and Human Services. Pence also visited the U.S. Public Health Service Commissioned Corps headquarters in Rockville, Md., on Tuesday to offer remarks and answer reporters questions.

At the request of President Trump, Vice President Pence is pleased to provide the White House Coronavirus Task Force briefings to the American people, Pence spokesman Devin OMalley said.

Last year, it was anti-vaxxers. Now, its anti-maskers. How the same activists are once again turning a public health issue into a culture war and why its a big problem for state lawmakers and school teachers.

Some White House officials, such as Meadows, want Dr. Deborah Birx, a global infectious diseases expert on the White House task force, to become the face of the coronavirus response and make appearances on local media in hard-hit areas like Texas, Arizona and Florida. Birx joined Pence on his trip last Sunday to Texas, where they met with Gov. Greg Abbott and pleaded with the public to wear protective masks. She is expected to travel to Arizona with Pence on Wednesday as that state struggles with an overwhelming surge in coronavirus cases.

The White House is also working on a public service announcement on Covid-19 that features Surgeon General Jerome Adams, Birx and Food and Drug Administration Commissioner Stephen Hahn.

The governments top infectious disease expert, Dr. Anthony Fauci, is viewed by some White House aides as an expert who promotes too much fear-mongering, even though hes an icon in public health circles and generally seen as trusted by the public in surveys.

Before a Senate panel on Tuesday, Fauci warned the U.S. could see an explosion of daily cases if the coronavirus continues to spread. The rise in cases in the South and the West puts the entire country at risk, he added.

We are now having 40-plus-thousand new cases a day,Fauci said. I would not be surprised if we go up to 100,000 a day if this does not turn around. And so, I am very concerned.

Trumps handling of the coronavirus has become a line of political attack for Democrats presumptive presidential nominee, former Vice President Joe Biden. Biden devoted the majority of a speech in Wilmington, Del., on Tuesday to criticizing the Trump administrations response to the virus and outlining the steps he would take if he is elected in November.

Month after month, as other leaders took the necessary steps to get the virus under control, Donald Trump failed us, Biden said. He argued the White House should offer weekly updates on vaccine distribution and production and that Trump should send a clear signal on wearing masks.

Public health experts say the administrations messaging on the virus, dating to January, has been contradictory and confusing: from Trump assuring Americans the virus would be gone by April to the administrations advice on wearing masks to Trumps own promotion of hydroxychloroquine, a controversial drug unproven for treatment of Covid-19. They say all of that has contributed to the U.S. under-performance compared with Europe and other advanced economies.

The briefings we saw previously were basically propaganda exercises, said Gregg Gonsalves, an assistant professor in epidemiology at the Yale School of Medicine. They provided a bare minimum to the public on how to protect themselves, and they were often a vehicle for misinformation and disinformation.

If we have briefings, they need to be science-based. They need to be fact-based, Gonsalves added. We are not asking that much out of this administration.

Link:
Shout or stay silent? Trump team splits over coronavirus surge - POLITICO

- Phase 2b CONTROL study is evaluating TMB-001 (topical isotretinoin) in subtypes of rare genetic keratinization disorder -

- Company also advancing Phase 2b clinical trial evaluating TMB-002 (topical rapamycin) for treatment of facial angiofibromas in tuberous sclerosis complex with 70% of trial sites now open -

WOODCLIFF LAKE, N.J., July 01, 2020 (GLOBE NEWSWIRE) -- via NEWMEDIAWIRE -- Timber Pharmaceuticals, Inc. ("Timber" or the Company) (NYSE American: TMBR), a biopharmaceutical company focused on the development and commercialization of treatments for orphan dermatologic diseases, today announced that all 11 sites across the U.S. and Australia participating in the Phase 2b CONTROL study evaluating TMB-001 (topical isotretinoin) are now initiated and patients with moderate to severe congenital ichthyosis (CI) are actively enrolling. The company also announced that 70 percent of sites participating in a Phase 2b clinical trial evaluating TMB-002 (topical rapamycin) for the treatment of facial angiofibromas (FAs) in tuberous sclerosis complex (TSC) are now open and enrolling patients.

Our team has been working tirelessly with clinical trial investigators and researchers amid the COVID-19 pandemic to ensure we could open as many trial sites as possible, quickly and safely, and allow enrollment of patients who are eligible and eager to participate, said John Koconis, chief executive officer of Timber. The collective efforts of our team made these significant milestones possible during an extremely challenging time. We look forward to continuing patient enrollment as we rapidly advance our promising clinical development programs for those with limited treatment options.

CI is a group of rare genetic keratinization disorders that leads to dry, thickened, and scaling skin. The Phase 2b CONTROL study is a randomized, parallel, double-blind, vehicle-controlled study to assess the efficacy and safety of two concentrations of TMB-001 for the treatment of moderate to severe subtypes of CI. The Phase 2b CONTROL study is targeting enrollment of 45 patients aged nine years old and older. People living with CI may have limited range of motion, chronic itching, an inability to sweat normally, high risk of secondary infections, and impaired eyesight or hearing. Moderate to severe subtypes of CI, including X-linked ichthyosis and lamellar ichthyosis, affect about 80,000 people in the U.S. and more than 1.5 million globally. In 2018, the U.S. Food & Drug Administration (FDA) awarded an Orphan Products Grant to support Phase 2a and Phase 2b clinical trials evaluating TMB-001.

The Phase 2b clinical trial evaluating TMB-002 for the treatment of FAs in TSC is targeting enrollment of 120 patients across 16 sites globally. TSC is a multisystem genetic disorder resulting in the growth of hamartomas in multiple organs. There are about 40,000 people living with FAs from TSC in the U.S., and about 800,000 globally.

About Timber Pharmaceuticals, Inc.

Timber Pharmaceuticals, Inc. is a biopharmaceutical company focused on the development and commercialization of treatments for orphan dermatologic diseases. The Company's investigational therapies have proven mechanisms-of-action backed by decades of clinical experience and well-established CMC (chemistry, manufacturing and control) and safety profiles. The Company is initially focused on developing non-systemic treatments for rare dermatologic diseases including congenital ichthyosis (CI), facial angiofibromas (FAs) in tuberous sclerosis complex (TSC), and localized scleroderma. For more information, visithttps://www.timberpharma.com/.

Forward-Looking Statements

This press release contains certain forward-looking statements within the meaning of Section 27A of the Securities Act of 1933 and Section 21E of the Securities Exchange Act of 1934 and Private Securities Litigation Reform Act, as amended, including those relating to the Company's product development, clinical and regulatory timelines, market opportunity, competitive position, possible or assumed future results of operations, business strategies, potential growth opportunities and other statements that are predictive in nature. These forward-looking statements are based on current expectations, estimates, forecasts and projections about the industry and markets in which we operate and management's current beliefs and assumptions.

These statements may be identified by the use of forward-looking expressions, including, but not limited to, "expect," "anticipate," "intend," "plan," "believe," "estimate," "potential, "predict," "project," "should," "would" and similar expressions and the negatives of those terms. These statements relate to future events or our financial performance and involve known and unknown risks, uncertainties, and other factors which may cause actual results, performance or achievements to be materially different from any future results, performance or achievements expressed or implied by the forward-looking statements. Such factors include those set forth in the Company's filings with the Securities and Exchange Commission. Prospective investors are cautioned not to place undue reliance on such forward-looking statements, which speak only as of the date of this press release. The Company undertakes no obligation to publicly update any forward-looking statement, whether as a result of new information, future events or otherwise.

For more information, contact:

Timber Pharmaceuticals, Inc.John KoconisChief Executive Officerjkoconis@timberpharma.com

Investor Relations:Stephanie PrincePCG Advisory(646) 762-4518sprince@pcgadvisory.com

Media Relations: Adam DaleyBerry & Company Public Relations (212) 253-8881adaley@berrypr.com

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Timber Pharmaceuticals Announces All CONTROL Study Sites Open and Enrolling Patients with Moderate to Severe Congenital Ichthyosis - GlobeNewswire

2021 Can-Am Maverick X3 X rs Turbo RR

The 2021 Can-Am Maverick X3 X rs Turbo RR with Smart-Shox Technology has the industrys first fully self-adjustable suspension, providing superior performance, control and comfort

VALCOURT, Quebec, June 30, 2020 (GLOBE NEWSWIRE) -- BRP (TSX: DOO; NASDAQ: DOOO) and its lineup of Can-Am Off-Road vehicles have been on a roll recently, leading the performance off-road world. But never one to take success for granted on and off the track, Can-Am is about to push the boundaries even further with the introduction of Smart-Shox technology, available on the highly anticipated Can-Am Maverick X3 X rs Turbo RR for 2021.

Smart-Shox technology is an industry-first, fully self-adjustable suspension technology for superior performance, control and comfort. It is the only suspension in the industry that controls both compression and rebound for enhanced precision, delivering superior ride and handling, no matter the terrain or conditions. Even better? Shock adjustments are a thing of the past now drivers can dominate at the touch of a button.

It doesnt matter if youre a pro or a weekend warrior, this technology will make your rides better, says Casey Currie, winner of the 2020 Dakar Rally in a Can-Am Maverick X3. Smart-Shox is one of those game-changing innovations that brings a smile to my face knowing Ill have a competitive advantage over anything else out there. With Smart-Shox, the Maverick X3 sticks to the ground in a way Ive never experienced, and I cant wait to get out and race.

There are three major benefits to Smart-Shox semi-active suspension technology:

What does this mean? Better tracking of the ground surface for increased traction. Better launches. More comfort on undulating terrain. And the feeling youre truly connected to the ground as lesser machines struggle to keep up.

Why do you care? Significantly improved stability means high performance with high confidence.

Why does it matter? Experts need not apply: just get in and drive, and reap all the benefits while the system does all the work. It also means less mechanical stress, with reduced impact loads on key components. And beyond that, the improved ride quality means less rider fatigue, so you dont have to think twice about extending epic days.

Available in store this fall, these elements are what make the 2021 Can-Am Maverick X3 X rs Turbo RR the pinnacle of performance in the Can-Am Maverick lineup, which offers something for everyone. From two-seaters to four-seaters, and the entry-level RS to the new high-end X rs with Smart-Shox, the entire lineup is purpose-built for high performance.

For more technical details and product specs, as well as information about the complete MY21 lineup of Can-Am Off-Road vehicles, visit https://can-am.brp.com/off-road/.

About BRPWe are a global leader in the world of powersports vehicles, propulsion systems and boats, built on over 75 years of ingenuity and intensive consumer focus. Our portfolio of industry-leading and distinctive products includes Ski-Doo and Lynx snowmobiles, Sea-Doo watercraft, Can-Am on- and off-road vehicles, Alumacraft, Manitou, Quintrex, Stacer and Savage boats, Evinrude and Rotax marine propulsion systems as well as Rotax engines for karts, motorcycles and recreational aircraft. We complete our lines of products with a dedicated parts, accessories and apparel business to fully enhance the riding experience.

With annual sales of CA$6.1 billion from over 120 countries, our global workforce is made up of approximately 12,600 driven, resourceful people.

http://www.brp.com@BRPNews

Ski-Doo, Lynx, Sea-Doo, Can-Am, Rotax, Evinrude, Manitou, Alumacraft, Telwater and the BRP logo are trademarks of Bombardier Recreational Products Inc. or its affiliates. All other trademarks are the property of their respective owners.

For information: Brian ManningLead, Global Consumer Public RelationsTel: 913.424.9709brian.manning@brp.com media@brp.com

A photo accompanying this announcement is available at https://www.globenewswire.com/NewsRoom/AttachmentNg/84e9b240-f939-48e3-8b41-df3bfff465b3

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Keep the Trophies Coming: Can-Am Set to Continue Leading the Industry with Introduction of Smart-Shox Technology - GlobeNewswire

2020 Nissan Armada towing

The 2020 Armada features best-in-class standard maximum towing capacity of 8,500 pounds, which allows for easy towing of most travel trailers.

NASHVILLE, Tenn., June 30, 2020 (GLOBE NEWSWIRE) -- As the world adapts its summer travel plans, many Americans are turning to recreational vehicles and boats as new ways to get out while maintaining safe distances. In fact, 71 percent of Americans are more comfortable traveling by car than by air, according to a recent omnibus survey conducted by Nissan1. This percentage climbs to 85 percent for those age 65 and older.

Nearly half the survey respondents are also now more likely to take a vacation with a recreational vehicle, and one-third are now more likely to spend money on an RV or boat.

As we emerge as a nation from the stay at home orders, it is clear that Americans want to get back outdoors, said Craig Kirby, RV Industry Association president. We are seeing more and more people turn to RVs as a way to continue to enjoy their summer vacations, while also adhering to social distancing, which will likely be around in some form for the foreseeable future.

With increased interest in camping and boating this summer, 28 percent of Americans have intentions to buy or rent a vehicle capable of towing within the next three months. However, two-thirds of respondents have no experience towing and nearly three out of four have some level of concern with towing.

Towing can be intimidating for first-timers and even those with experience, said Jared Haslam, vice president, Product Planning, Nissan North America. Before hitting the road, its important to do your homework and understand what your vehicle is capable of and, just as importantly, understand that with the right vehicle and a bit of practice, you have all the tools necessary to pull off a dream vacation on wheels.

While towing, Nissans available Trailer Sway Control helps keep trailers in line should wind or bad roads play a role, and the available Tow/Haul Mode with Downhill Speed Control helps drivers maintain control on steep declines and inclines. When preparing for a towing adventure, the available Trailer Light Check system allows one-person hook-up operation checking turn signals, brake lights and running/clearance lights from inside the cab or with the key fob.

Whether its your first summer towing adventure or youre an experienced outdoor enthusiast, Nissan has a complete lineup of tow-capable trucks and SUVs prime for summer adventure, added Haslam.

For more on Nissan trucks and SUVs, media can visit Nissannews.com, and consumers can find buying information at NissanUSA.com.

About Nissan North America

In North America, Nissan's operations include automotive styling, engineering, consumer and corporate financing, sales and marketing, distribution and manufacturing. Nissan is dedicated to improving the environment under the Nissan Green Program and has been recognized annually by the U.S. Environmental Protection Agency as an ENERGY STAR Partner of the Year since 2010. More information on Nissan in North America and the complete line of Nissan and INFINITI vehicles can be found online atwww.nissanusa.comandwww.infinitiusa.com, or visit the U.S. media sitesnissannews.comandinfinitinews.com.

Media Contact:Kevin RafteryNissan Product Communications615-725-5236kevin.raftery@nissan-usa.com

A photo accompanying this announcement is available at https://www.globenewswire.com/NewsRoom/AttachmentNg/27ca1b69-1032-427e-9afe-aad4f64b2e7f

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Nissan survey says: More Americans road tripping with fun in tow this summer - GlobeNewswire