Inside a gorgeous new building on Music Row, SESAC continues to champion its songwriters by sharing professional experience, words of encouragement, and an enthusiastic attitude to its incredible roster of talent. Some of the newest signings to SESAC are award-winning songwriters Lee Brice, Rosanne Cash and Jamey Johnson.
As two of the most visible members of the Nashville music industry, Kelli Turner, who has led some of the company’s most important licensing negotiations, and Dennis Lord, who is a fierce advocate for the rights of songwriters and intellectual property, provide leadership within the organization and throughout the community.
Turner heads up the Nashville office, overseeing a staff of 105 in a strikingly modern, nearly 39,000-square-foot space. In her role as Executive Vice President, Operations, Corporate Development and Chief Financial Officer, Turner monitors a multitude of departments with an indispensable eye for detail. She has been recognized as one of the leading women in the industry by Billboard and T.J. Martell Foundation. Turner joined SESAC in 2014.
Lord is SESAC’s Executive Vice President of Creative & Business Affairs. He leads the Creative Services team, which is responsible for the recruitment and signing of songwriters. This year marks his 20th anniversary with the company. With his guidance, SESAC has significantly expanded its representation of successful songwriters and composers. His signings include Zac Brown, the Kurt Cobain estate, Randy Newman, R.E.M., Adele and many others.
Lord has been a fixture in the Nashville music industry since the 1980s, when he wrote Travis Tritt’s breakout hit, “Country Club.” For two decades, he has set the tone for SESAC’s outstanding relationship with songwriters, and remains highly regarded within the community.
Sam Kling—SESAC’s Senior Vice President, Creative Operations—is responsible for helping create and execute growth strategies for SESAC’s creative departments. He also manages the creative operations’ day-to-day objectives. Kling is based in SESAC’s Los Angeles office, yet travels to Nashville frequently to immerse himself in the city’s unique musical culture.
Also on the creative team is Shannan Hatch, Vice President, Creative Services. Always striving to help songwriters reach the next level, she manages the Nashville-based Creative Services team. Her strong relationship with the Nashville songwriting and publishing community has resulted in significant and strategic growth for the SESAC roster. In 2014, she received the elite recognition as one of MusicRow’s Rising Women on the Row. Following a career in publicity, Hatch joined SESAC in 2002.
ET Brown, Lydia Schultz, and Cristina Wheeler – who each hold the title of Manager – are vital members of SESAC’s Creative Services team by being knowledgeable in all areas of the songwriting field, from royalty statements to new legislation affecting songwriters’ rights. Because they interact with songwriters every day, their optimism and integrity are essential to the team’s overall success.
SESAC Nashville representatives stay actively involved in the careers of their songwriters, whether they’re keeping tabs on a newcomer, introducing new revenue streams, or presenting trophies for writing the year’s biggest hits. In fact, the SESAC Nashville Awards traditionally kick off the industry’s award season each fall, honoring the year’s most prominent country and Americana titles.
In Nashville and beyond, SESAC is a cornerstone of the music industry. On behalf of the most progressive performing rights organization in the U.S., Dennis Lord and the Creative Services team regularly seek out the top industry gatherings in Nashville to ensure that SESAC remains at the forefront of the community. At every level, from the writing room to the arena stage, their dedication to songwriters is undeniable.
The MusicRow awards issue also features the winners of MusicRow‘s 29th annual MusicRow Awards, which was held Wednesday, June 29 at SESAC and sponsored by Anderson Benson insurance in the CMA event space.
Inside the print issue are exclusive articles with producer busbee and his work with Lady Antebellum’s latest Capitol Nashville project, Heart Break. The Entertainment Services Division of storage facility Iron Mountain is examined in a spread with the billion dollar company’s Sr. Vice President Jeff Anthony and Nashville-based project manager Barry Cardinael. Additional edit includes G Major Management’s Virginia Davis and the work she has done with Big Machine Label Group’s Danielle Bradbery and headliner Thomas Rhett. Kathy Anderson of Nashville’s Anderson Design Studio additionally talks interior design for projects including RCA Studio A, Grand Ole Opry, Blake Shelton’s Ole Red bar, Alan Jackson’s AJ’s Good Time Bar, Gavin and Joey DeGraw’s Nashville Underground, among other projects for Carrie Underwood, Dierks Bentley, Reba and Vince Gill. Law firm Milom Horsnell Crow Rose Kelley detail the legal hangups with copyright infringement actions in the magazine’s concluding piece.
Single copies of the MusicRow Awards issue are available for purchase at musicrow.com and included with yearly subscriptions at no additional cost.
Photo: Gomez Photography
Exclusive: Clint Lagerberg Talks Career And Smash Hit “Blue Ain’t Your Color”
/by Sarah Skates“Blue Ain’t Your Color” was voted Song of the Year at the recent MusicRow Awards. Lagerberg called from his studio in Thompson’s Station to discuss the win. Read more in the new issue of MusicRow magazine, or subscribe to MusicRow today.
Tell me about your career as a producer.
I’ve been in town about 12 years. I’ve been playing guitar forever. Early on, I started recording myself on a four-track so that I could critique my playing.
I’m not the typical Nashville track guy. It’s become part of my process but the song is most important for me. The track is the easy part.
My production process is I don’t want to use stock sounds, I want everything to be unique. We’re creating a sonic vibe that totally fits what the artist is about and we search for it.
In addition to co-writing “Blue…” you produced Steven Lee Olsen’s recording of it, which ultimately ended up being pitched to Keith Urban. How did you approach the recording?
“Blue…” came at the end of the record. The recording of it was cool because we knew it needed to be very sparse and the song kind of has the production in it already. You really need to step out of its way, and not do too much. But we had to do something to make it fit more sonically with the rest of the record. It was so cool to see what Keith did with it. He took it even further back with simplicity, which to me was so cool. I loved hearing it that way.
How have you handled all the success this year?
While Keith was taking “Blue… “ to No. 1, I was building a studio at our new house. I was working around the clock to finish the studio because I had a deadline for a record with the band Everett, so they could pitch it to a label. Meanwhile “Blue…” is climbing the charts and we are getting award nominations.
I’m a little bummed that I didn’t get to fully immerse myself in the excitement of it all, because I was so tired from working. My wife and I went to the Grammys, and that was the first moment I got to soak it up a little.
Then it really hit me at the No. 1 party. I had just finished the EP for Everett. I probably slept 15 hours in two weeks. When I got to the mic at the party it all hit me. Everything I might have missed. All the emotions, the celebrations, seeing my wife and daughter in the audience. It was so hard to talk. It was very powerful. And to be standing up there with great friends, Hillary and Steven. And also Missi Gallimore and Keith. It was very cool to be there in that moment.
Now I’m rested and getting back to work in the studio with Everett. It was all worth it, because there are major offers.
What have you learned as a songwriter?
To get a “yes” in a “no” town really helps. You’ll get 1,500 “no’s” but one “yes” will make up for that and more. It prepares you for the next round of “no’s.” Part of you wonders, “How can I recreate this?” There’s no way to choreograph this kind of thing. We couldn’t make it happen again. It was so organic. And that’s the answer: just keep making the best music you can. Dive in deep as you can and then let whatever is going to happen, happen.
Exclusive: Photos Of Anderson Design Group’s Nashville Work
/by Eric T. ParkerIn this bonus web piece, MusicRow highlights some of her work, spread from Carrie Underwood (The HQ management offices and nursery), Kix Brooks (Cumulus office, Arrington Vineyards), Pam Tillis, Josh Turner, Steve Wariner, Reba, Vince Gill, Dierks Bentley and Deana Carter, The Green Hills YMCA, Arrington Vineyards, Eastland Café, Famous Saloon, Sinema restaurant and a handful of Opryland suites, the Grand Ole Opry’s 2010 restoration of the backstage and dressing rooms.
In addition her work extended to several homes, record companies and publishing companies for Tony Brown and many label headquarters from the 1990s, including MCA Records, Arista Records, Polydor Records.
Tony Brown (R) with Kathy Anderson. Photo: Natalie Creel
Her most current work includes Alan Jackson’s AJ’s Good Time Bar, Blake Shelton’s Ole Red bar, Gavin DeGraw and his brother Joey’s Nashville Underground, a new restaurant in Printers Alley called Black Rabbit, offices for ole publishing, and remodeling Starstruck Entertainment and the RCA Studio A complex.
Pick up a copy of the MusicRow Awards print issue to read the full feature and how the DCR helps entertainment companies monetize their archived media. Or subscribe to MusicRow to receive your complementary issue.
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Opry Backstage and Dressing Rooms
Opry backstage. Photo: Chris Hollo
Opry backstage. Photo: Chris Hollo
Opry dressing room. Photo: Chris Hollo
Opry dressing room. Photo: Chris Hollo
Opry dressing room. Photo: Chris Hollo
Porter/Dolly Opryland Suite
Porter Dolly Suite. Photo: Shannon Fontaine
Porter Dolly Suite. Photo: Shannon Fontaine
Sinema Nashville
Sinema Nashville: Photo: Shannon Fontaine
Sinema Nashville: Photo: Shannon Fontaine
Sinema Nashville: Photo: Shannon Fontaine
Arrington Vineyards
Arrington Vineyards. Photo: Anderson Design Studio
AJ’s Good Time Bar
AJ’s Good Time Bar. Photo: Patrick Sheehan
AJ’s Good Time Bar. Photo: Patrick Sheehan
AJ’s Good Time Bar. Photo: Patrick Sheehan
AJ’s Good Time Bar. Photo: Patrick Sheehan
AJ’s Good Time Bar. Photo: Patrick Sheehan
AJ’s Good Time Bar. Photo: Patrick Sheehan
CMA Expands Popular Songwriters Series Across Europe
/by Lorie Hollabaugh“CMA’s expansion of the Songwriters Series around the world over the last several years has been a key strategy and mission for the organization,” said Sarah Trahern, CMA Chief Executive Officer. “Fans in the U.K. and throughout Europe have long welcomed Country Music artists and songwriters from the Nashville community, and to see the continued local support and growth of the genre is thrilling.”
Tickets for the concerts go on sale Friday, June 30.
Oct. 3 O2 Shepherd’s Bush Empire – London, UK
Oct. 4 Sage Gateshead – Gateshead, UK
Oct. 6 St. Luke’s – Glasgow, UK
Oct. 7 St George’s Hall – Liverpool, UK
Oct. 10 Melkweg – Amsterdam, Netherlands
Oct. 11 Grofenwoehr Main Post – Grofenwoehr, Germany
Oct. 12 Columbia Theater – Berlin, Germany
Oct. 14 Vasateatern – Stockholm, Sweden
Oct. 15 Rockefeller Music Hall – Oslo, Norway
On The Cover: 2017 ‘MusicRow’ Awards Issue
/by Jessica NicholsonAs two of the most visible members of the Nashville music industry, Kelli Turner, who has led some of the company’s most important licensing negotiations, and Dennis Lord, who is a fierce advocate for the rights of songwriters and intellectual property, provide leadership within the organization and throughout the community.
Turner heads up the Nashville office, overseeing a staff of 105 in a strikingly modern, nearly 39,000-square-foot space. In her role as Executive Vice President, Operations, Corporate Development and Chief Financial Officer, Turner monitors a multitude of departments with an indispensable eye for detail. She has been recognized as one of the leading women in the industry by Billboard and T.J. Martell Foundation. Turner joined SESAC in 2014.
Lord is SESAC’s Executive Vice President of Creative & Business Affairs. He leads the Creative Services team, which is responsible for the recruitment and signing of songwriters. This year marks his 20th anniversary with the company. With his guidance, SESAC has significantly expanded its representation of successful songwriters and composers. His signings include Zac Brown, the Kurt Cobain estate, Randy Newman, R.E.M., Adele and many others.
Lord has been a fixture in the Nashville music industry since the 1980s, when he wrote Travis Tritt’s breakout hit, “Country Club.” For two decades, he has set the tone for SESAC’s outstanding relationship with songwriters, and remains highly regarded within the community.
Sam Kling—SESAC’s Senior Vice President, Creative Operations—is responsible for helping create and execute growth strategies for SESAC’s creative departments. He also manages the creative operations’ day-to-day objectives. Kling is based in SESAC’s Los Angeles office, yet travels to Nashville frequently to immerse himself in the city’s unique musical culture.
Also on the creative team is Shannan Hatch, Vice President, Creative Services. Always striving to help songwriters reach the next level, she manages the Nashville-based Creative Services team. Her strong relationship with the Nashville songwriting and publishing community has resulted in significant and strategic growth for the SESAC roster. In 2014, she received the elite recognition as one of MusicRow’s Rising Women on the Row. Following a career in publicity, Hatch joined SESAC in 2002.
ET Brown, Lydia Schultz, and Cristina Wheeler – who each hold the title of Manager – are vital members of SESAC’s Creative Services team by being knowledgeable in all areas of the songwriting field, from royalty statements to new legislation affecting songwriters’ rights. Because they interact with songwriters every day, their optimism and integrity are essential to the team’s overall success.
SESAC Nashville representatives stay actively involved in the careers of their songwriters, whether they’re keeping tabs on a newcomer, introducing new revenue streams, or presenting trophies for writing the year’s biggest hits. In fact, the SESAC Nashville Awards traditionally kick off the industry’s award season each fall, honoring the year’s most prominent country and Americana titles.
In Nashville and beyond, SESAC is a cornerstone of the music industry. On behalf of the most progressive performing rights organization in the U.S., Dennis Lord and the Creative Services team regularly seek out the top industry gatherings in Nashville to ensure that SESAC remains at the forefront of the community. At every level, from the writing room to the arena stage, their dedication to songwriters is undeniable.
The MusicRow awards issue also features the winners of MusicRow‘s 29th annual MusicRow Awards, which was held Wednesday, June 29 at SESAC and sponsored by Anderson Benson insurance in the CMA event space.
Inside the print issue are exclusive articles with producer busbee and his work with Lady Antebellum’s latest Capitol Nashville project, Heart Break. The Entertainment Services Division of storage facility Iron Mountain is examined in a spread with the billion dollar company’s Sr. Vice President Jeff Anthony and Nashville-based project manager Barry Cardinael. Additional edit includes G Major Management’s Virginia Davis and the work she has done with Big Machine Label Group’s Danielle Bradbery and headliner Thomas Rhett. Kathy Anderson of Nashville’s Anderson Design Studio additionally talks interior design for projects including RCA Studio A, Grand Ole Opry, Blake Shelton’s Ole Red bar, Alan Jackson’s AJ’s Good Time Bar, Gavin and Joey DeGraw’s Nashville Underground, among other projects for Carrie Underwood, Dierks Bentley, Reba and Vince Gill. Law firm Milom Horsnell Crow Rose Kelley detail the legal hangups with copyright infringement actions in the magazine’s concluding piece.
Single copies of the MusicRow Awards issue are available for purchase at musicrow.com and included with yearly subscriptions at no additional cost.
Photo: Gomez Photography
DISClaimer: Lee Brice, Jordan Davis Lead New Singles Offerings
/by Robert K OermannDierks Bentley got so bent that he can’t remember anything. Toby Keith is endorsing weed. Adrian Johnston celebrates “Adult Beverages.” Parker Howard is boozing it up. I’m feeling kinda dizzy, just from listening.
Of the non substance-abuse singles here, Lee Brice has the Disc of the Day. Jordan Davis earns our DisCovery Award.
MARK McKINNEY/Rainey Day Money
Writers: Mark McKinney; Producer: Eric KcKinney/Mark McKinney; Publishers: none listed; MM
– Laid back and mellow, this flows along like a slow summer day. “I’d rather run out of money than run out of time,” he sings in defense of spending his savings on vacation time.
BRETT YOUNG/Like I Loved You
Writers: Brett Young/Jesse Lee; Producer: Dann Huff; Publishers: Super Big/Caliville/Big Machine/Purple Cape/Honey Lee/ole, ASCAP/BMI; BMLG (track)
– His singing voice is especially expressive and engaging on this accusatory address to a lover who’s left him. This guy has some soul.
PARKER WILLINGHAM/You Get Me Every Time
Writers: Parker Willingham/Kate Hart/Paula Hallmark; Producer: Kate Hart; Publishers: CCM Songwriters S Group/Composer Club, no performance rights listed; Apple Row (track)
– Promising. He sings strongly and writes with tightness, economy and finesse. An impressive debut.
DIERKS BENTLEY/What The Hell Did I Say
Writers: Copperman/Kear/Tompkins; Producer: Ross Copperman; Publishers: EMI Blackwood/Songs By Red Room/Year of the Dog/Champagne Whiskey/Round Hill/Big Loud/Play Animal, BMI/ASCAP; Capitol (track)
– He called her drunk late at night. Now she digs him, but he can’t remember what he said to her. The rocking, busy track with its electric-guitar roaring underscores his confusion.
ADRIAN JOHNSTON/Adult Beverages
Writers: Johnston/Zac Maloy; Producer: Zac Maloy; Publisher: none listed; ASCAP; Just Another Blonde
– The song has a rather simplistic melody and the production is minimal. So it’s up to her wildly enthusiastic vocal performance to “sell” it.
LEE BRICE/Boy
Writers: Jon Nite/Nicolle Galyon; Producers: Brice/Jon Stone/Kyle Jacobs/Dan Frizsell; Publishers: none listed, BMI; Curb (CDX)
– Advice from someone older and wiser. He sees himself in the youngster, so every line has the ring of emotional truth. This man has repeatedly demonstrated his talent for finding extraordinary lyrics, and he has done it again here. Applause from this corner.
JACKIE LEE/Getting Over You
Writers: Jackie Lee/Paul DiGiovanni/Brent Anderson; Producer: Paul DiGiovanni; Publishers: Songs of Universal/Clemmer Time/Chill N Hustle/Wixen/New House of Sea Gayle/ClearBox Rights, BMI/ASCAP, BBR (track)
– His pleading, intense tenor works best on the choruses of this somewhat ordinary heartbreak lament.
TOBY KEITH/Wacky Tobaccy
Writers: Toby Keith/Scotty Emerick; Producer: Toby Keith/Bobby Pinson; Publishers: none listed; Show Dog
– It’s a snappy blues rocker with plenty of lyrical appeal, to put it mildly. Fire one up and tap your toes.
PARKER HOWARD/It Ain’t A Party (Til Something Gets Broken)
Writers: Jeffery Lynn Batson/Will Nance/Stephen Joseph Williams; Producer: none listed; Publishers: Hi-Value/Over the Monster/Wilburns, ASCAP; PH
– It’s a rollicking rocker with a solid backbeat. It’s definitely a good time. The only disconcerting thing is that his tenor is so high that he sounds too young to be singing about drinking, smoking and ogling leather skirts.
JORDAN DAVIS/Singles You Up
Writers: Davis/Steven Dale Jones/Justin Ebach; Producer: Paul DiGiovanni; Publishers: none listed; MCA (CDX)
-It is structured like an r&b song, and production isn’t very “country” either. He has a pleasant, brushed-velvet vocal quality that is mixed up, front and center, in the crunchy instrumental environment. Listenable. Worth your spins.
Frank Tanki Named General Manager At CMT
/by Jessica NicholsonFrank Tanki
Following the news that CMT’s Brian Philips will be stepping down, CMT has named Frank Tanki as General Manager of the brand, expanding his current role as General Manager of TV Land to include oversight of both iconic brands. He will work from both New York and Nashville offices.
A 12-year veteran of Viacom, most recently as the EVP of marketing and creative for Spike TV, Tanki will be responsible for the day-to-day operations at CMT, including Programming, Marketing & Creative and Communications, and will work closely with CMT’s development team to set the overall strategy for the brand. He will continue to report directly to Kevin Kay, President of Spike (soon to be Paramount Network), TV Land and CMT.
In his new role, Tanki will be supported by CMT’s executive team, including Suzanne Norman (SVP of Programming & Operations), Anthony Barton (SVP of Consumer Marketing and Creative), Kurt Patat (SVP of Corporate Communications) and Margaret Comeaux (VP of Production – Music & Events).
Leslie Fram (SVP Music Strategy & Talent) will report to Tanki and Bruce Gillmer, the Head of Music and Music Talent for the Global Entertainment Group.
To centralize development, Jayson Dinsmore (EVP of Development & Production) will now report to Keith Cox, President of Production & Development for the Paramount Network and TV Land.
“I am honored and thrilled to be joining the CMT family,” Tanki said in an internal memo obtained by MusicRow. “I’m a longtime fan of the channel and thoroughly impressed by all the incredible work you’ve done, especially in the last year…Our goal will be to continue CMT’s upward trajectory to further extend the power of our palpable voice. Working together, we’ll develop new opportunities that tap the combined reach of both CMT and TV Land like never before. The opportunities are endless and each of you will play a critical role in our success.”
In the memo, Tanki also thanked Philips for his accomplishments and leadership at CMT.
“Brian has led the brand to an ambitious resurgence; setting a high-bar excellence that I will strive to hit. He has kindly agreed to join me and the senior team as we begin the transition process. And I want to thank him for that commitment.”
“CMT is one of the most distinct brands in all of media and Frank is the perfect leader to guide the team to new summits of success,” said Kevin Kay, President of Spike, TV Land and CMT. “I am confident that Frank will apply the same ingenuity that has been the hallmark of his career at Viacom to ensure that CMT continues to thrive, while keeping the network true to its brand.”
Chris Bandi Signs With BMG
/by Lorie HollabaughFront row (L-R): Kos Weaver- BMG, Chris Bandi, Sara Knabe- BMG; Back Row (L-R): Bradley Collins- BMI, Chris Olgesby – BMG, Scott Safford – Safford Motley, Brendan Rich – UTA, Daniel Lee – BMG
Artist/songwriter Chris Bandi has signed a worldwide publishing deal with BMG.
Bandi is currently making a splash on Spotify with his song “Man Enough Now” which has soared above 12 million streams and continues climbing. His followup song “Gone Girl” just surpassed one million streams this week.
“We are so excited to have Chris join the BMG family. He is an incredible artist and an equally talented songwriter; a combination we love,” said Sara Knabe, VP, Creative, BMG Nashville. “Chris has been fine tuning his brand of country music and building his fan base throughout the US and Canada, thanks to a healthy dose of work ethic and his dedicated partners at UTA. We are honored to join the team!”
Exclusive: Lauren Alaina Talks New Single with Kane Brown, Tour with Martina McBride
/by Sarah SkatesLauren Alaina was voted Breakthrough Artist-Writer of the Year at the recent MusicRow Awards. The talented 22-year-old called from the road to discuss her award and more. Pick up a copy of the MusicRow Awards print issue to read the full feature, or subscribe to MusicRow today to receive your complementary print issue.
What did you learn during your recent CMT Next Women of Country Tour with Martina McBride?
It was really cool for me to be on the road with a female. I’ve been on the road with Luke Bryan, Jason Aldean, Alan Jackson and Sugarland, but I’ve never been on a solo female tour. I learned so much from her.
She’s the nicest person on the planet, and so much fun. She really took me under her wing and we keep in touch. She’s won all kinds of awards—she’s MARTINA MCBRIDE—and she’s still a good person and cares about people. I love that about her. I learned that you can be gracious always.
She has proved that women can make it in this business. She still goes out and plays shows. That’s what I want—to still be able to play music when I have a family and kids. I learned that talented people and hard workers can make it, regardless if they are male or female. She’s amazing.
You are featured on Kane Brown’s new single, “What Ifs.” How long have you two known each other?
I grew up with Kane and we’ve been friends a long time. We went to Lakeview Middle School in Ft. Oglethorpe, Georgia together.
We had completely different ways of coming into this business. He started with videos online and I started with Idol. Not the traditional ways. It’s cool that we each took a different route. I think when you are from that area, you kind of have to, because no one is there to give you advice.
Now we have “What Ifs” together. We got to shoot a music video in California. It’s super dramatic. I’m in a flowy dress and I’m following him through the wilderness, and we end up on this perfect cliff.
I was like, “How in the heck are we the two kids who were in middle school chorus class?” Back then he was so shy but I made him sing in front of the class. How is this our lives now? It’s crazy and sweet, and it’s meant to be.
Our friendship is special and important. We lost touch for a while and the music reconnected us once he moved to Nashville. Now we have someone from home.
What would you go back and tell those middle schoolers?
Just wait. And don’t ever take “no” for an answer, because one day you’re not going to believe the life that you’re living.
ACM Studio Recording Award Winners Announced
/by Lorie HollabaughThe Studio Recording Awards are voted on by members of the Academy classified in the Artist-Entertainer/Musician-Bandleader-Instrumentalist category, and the Producer-Engineer-Studio Manager sub-category (contained within the Affiliated category). The categories honor the behind-the-scenes musicians, producers, engineers and industry professionals who contribute to the artistry, success and longevity of country music.
STUDIO RECORDING AWARD WINNERS:
(Note: ** Indicates a tie.)
Breaking: Brian Philips Stepping Down From CMT
/by Jessica NicholsonIn a memo obtained by MusicRow, Philips said he had been considering leaving CMT for awhile but was going to stay to help with the recent “brand renewal” of the network.
His full memo is below: