Richard Stumpf (L) and Chris Farren.
Atlas Music Publishing has acquired the catalog of one of Nashville music’s most successful independent music publishers, Combustion Music, it was announced today by Atlas CEO
Richard Stumpf and Combustion Music owner/President
Chris Farren. The deal marks the opening of Atlas Music Publishing’s Nashville offices and launches a long-term joint venture with Combustion Music under the banner
Combustion Atlas.
Through the deal, Atlas Music Publishing will acquire a publishing interest in hit songs including No. 1s: “Crash My Party” “That’s My Kind of Night” and “Play It Again” by
Luke Bryan; “Bottoms Up” by
Brantley Gilbert; “Good Girl” by
Carrie Underwood; “Hello, My Name Is” and “Strong Enough” by
Matthew West; “Beer Money” by
Kip Moore; “Hey Girl” by
Billy Currington; “Runnin’ Outta Moonlight” by
Randy Houser; “Don’t Ya” by
Brett Eldredge; “Mr. Know It All” by
Kelly Clarkson; “Rewind” by
Rascal Flatts; and “I Hold On” by
Dierks Bentley.
Combustion will continue its relationship with
Ashley Gorley, songwriter of 16 No. 1 Country hits. Gorley was named
Billboard’s 2013 Country Music Songwriter of the Year and has written or co-written over 100 songs recorded by over 50 artists, including Luke Bryan’s “That’s My Kind of Night,” Randy Houser’s “Runnin’ Outta Moonlight,”
Trace Adkins’ “You’re Gonna Miss This,” and three cuts on the new
Dustin Lynch album
Where It’s At.
Combustion will continue to represent the catalogs of
Blair Daly, and
Brett James. Daly has three cuts on the new
Tim McGraw album
Sundown Heaven Town and is co-writer of songs including “Beer Money,”
Rascal Flatts No. 1 song “Stand,” and mega hit crossover “Smile” by
Uncle Kracker. James has 17 No. 1 singles, a Grammy win for “Jesus, Take The Wheel,” and is co-writer of Dierks Bentley’s “I Hold On” and the current
Miranda Lambert/
Carrie Underwood smash “Somethin’ Bad.”
The new Combustion Atlas roster will include Gorley,
Zach Crowell, Matt Jenkins, Jerry Flowers, Bobby Huff, and
Native Run.
VP
Chris Van Belkom, and Senior Creative
Kenley Flynn will remain on board.
Zach Crowell
and Jenkins are co-writers on the No. 1
Dustin Lynch song “Where It’s At.” Crowell co-wrote “Strong” for the 2014 National Chevy Silverado campaign, and co-wrote five songs on
Sam Hunt’s upcoming
Montevallo, which he also produced.
Matt Jenkins is co-writer of
Keith Urban’s single “Cop Car,”
Blake Shelton’s “Good Country Song,” and has cuts on the new
Sam Hunt LP. Jerry Flowers has two songs on Hunt’s LP and has had songs recorded by
Lady Antebellum, Keith Urban, Martina McBride, and Carrie Underwood.
Bobby Huff has success in both the rock and country landscapes, co-wrote
Reba McEntire’s “Turn On the Radio,” and has production and writing credits with
3 Doors Down and
Papa Roach. Native Run (
Rachel Beauregard and
Bryan Dawley) are making waves at radio with their debut release “Good On You.”
“Nashville is without question one of the most important writer towns in the US. We wanted to make a major commitment to the songwriting community here and enter Nashville in the right way—this collaboration with Chris and the Combustion team does just that,” said Atlas’s Stumpf. “The songs in the Combustion catalog are standouts and writers on our roster here are continuously booked with major label artists. We are excited to include these writers in the Atlas new paradigm of music publishing—a mindset built on (1) an authentic, hands on partnership with songwriters, (2) unlocking new paths of consumer discovery for our artists and (3) embracing the industry’s digital future through techniques that maximize song value on streaming services like Spotify and Youtube. Our Nashville roster is going to get a push like they’ve never felt before. It’s going to get very exciting, very quickly!”
“All of us at Combustion couldn’t be happier to be partnering with Atlas Music,” said Combustion’s
Farren. “The history and resources they present and their commitment to and belief in Combustion have set us up to meet this next era of music publishing with strength, creativity and agility. Both Richard and I come from a like-minded independent spirit of building a publishing company, and I look forward to many years of success together.”
Founded in 2001, Combustion Music is headed by owner/President Farren. Since 2009, Combustion has earned 19 No. 1 singles in four genres and cuts on LPs totaling 100 million in sales. Among their accomplishments are the 2006 ASCAP and GRAMMY Country Song of the Year “Jesus, Take the Wheel;” the 2009 Grammy Best Rock Song, Best Rock Performance, and Record of the Year for “Use Somebody” by
Kings of Leon; 2009 ASCAP Country Song of the Year “You’re Gonna Miss This;” 2009 ASCAP Country Songwriter of the Year Ashley Gorley; and the 2013 ASCAP Christian Song, “Hello My Name Is” and Songwriter of the Year
Matthew West.
Stumpf founded
Atlas Music Publishing in 2013, which has a roster of hit-makers and represents songs performed by
John Legend,
Carrie Underwood, Kelly Clarkson, Daughtry,
Luke Bryan, Keyshia Cole, Hillary Duff,
Icona Pop,
Prince Royce, and
Colbie Caillat. The company’s global headquarters is in New York.
The deal was negotiated with the help of The Sukin Law Group and Greenberg Traurig.
[Updated]: Grooveshark Liable for Copyright Infringement
/by Eric T. ParkerAnnounced Monday (Sept. 29), employees and officers of “the world’s largest on-demand music discovery service” were discovered to have uploaded some files themselves. In all 5,977 files were cited; a portion of those allegedly involved in the company-wide effort “to ensure that the music catalog remained complete” after DMCA takedowns. The court specifically found Escape Media Group Chief Technology Officer and co-founder, Josh Greenberg, directly responsible for 144 files, which were streamed 21,000 times. The streaming service, supported by advertising revenue, is the sole business of Escape Media Group.
[Updated (October 1 by MusicRow)]: A statement released by Grooveshark on Tuesday read, “This latest news dealt specifically with an early version of Grooveshark which we dispensed of in 2008 in favor or our current music streaming service. As such we will continue to work with all parties to ensure we respect all artist and songwriter copyrights…Grooveshark’s service has already provided millions of dollars in revenue to artists and labels all over the world, and we are incredibly proud of this.”
[Continuing with the previously reported article]: The present litigation arose – resulting from a 2010 lawsuit by plaintiff UMG for pre-1972 recordings not subject to federal law – when it was revealed Escape Media Group staff were not only uploading music but allegedly destroyed the evidence of having done so.
An appeal may come from Grooveshark, noted attorney John J. Rosenberg to the New York Times. The paper’s Ben Sisario went on, “The next step of the case will be to set damages, and the possibility of a multimillion-dollar ruling against Grooveshark puts the service’s future in doubt.” Digital Music News has the full decision.
Grooveshark currently faces multiple music-related copyright suits.
Similarly, Sirius XM was recently found liable for copyright infringement for pre-1972 recordings from a federal judge in California. Damages remain to be set for that case, which came from The Turtles’ Flo & Eddie seeking $100 million.
Live Nation's Nashville Office Moving To Edgehill Village
/by Jessica NicholsonThe concert company’s Nashville branch will leave its current residence at 1400 18th Ave. S, and take up space in a 9,500-square-foot space on the second floor above Edgehill Cafe. Cassidy Turley broker Rob Lowe expects that Live Nation will move by year’s end.
The building at 1400 18th Ave. S., which has housed Sony Music Nashville and Live Nation, was purchased by Vanderbilt University in July. Sony Music Nashville will join William Morris Endeavor in a new Gulch office space.
Live Nation also recently announced that it will operate the Riverfront amphitheater, which is slated to open in 2015.
Lisa Davis Purcell Named VP Of Development for CMHoF
/by Troy_StephensonLisa Davis Purcell
The Country Music Hall of Fame and Museum has appointed Lisa Davis Purcell as Vice President of Development. She will oversee the efforts to generate contributed income and support its mission to preserve the evolving history and traditions of country music and educate diverse audiences.
“Lisa is the perfect fit for us at this juncture in the museum’s rapid and sustained growth,” said Kyle Young, Museum Director. “She’s a mission-oriented executive and well integrated into both the non-profit and music industry sectors of Nashville. And, as a longtime member of the museum’s Honor Society, Lisa already has demonstrated her commitment to supporting our work.”
“The Country Music Hall of Fame and Museum not only honors and preserves the history of country music, from its folk roots to the present day; it also provides local, national and global audiences with access to artists, artifacts and educational programs that celebrate the power of this uniquely American art form,” said Purcell. “I am honored to have the opportunity to collaborate with the museum’s incredible team of professionals and with the generous volunteers and donors who dedicate their time, talent and treasure to sustain and advance the Country Music Hall of Fame and Museum’s important work.”
For the past seven years, Purcell served as VP of External Affairs for Hands On Nashville. Purcell previously worked in the program and administrative departments of diverse arts organizations, including the Frick Art & Historical Center, Southern Alleghenies Museum of Art, Frist Center for the Visual Arts and the Tennessee Arts Commission. She has served as a grant review panelist for the National Endowment for the arts, and she has worked for music business charity T.J. Martell Foundation, to support medical research.
Purcell holds both undergraduate and master’s degrees in art history from West Virginia University and a certificate in executive leadership from Belmont University.
SaveStudioA Releases Independent Report Refuting RCA Studio A Owner's Claims
/by Jessica NicholsonThe four-page report was compiled by construction management firm Building Trust, Inc., and quotes the estimated cost of updating or “saving” the 50-year-old building at less than $375,000. SaveStudioA says the findings stand in contrast to reports released by Bravo Development’s Tim Reynolds. The Bravo Development set of documents stated that saving RCA Studio A was ‘no longer economically viable,’ citing that the property does not meet building codes, is structurally unsound, has electrical and HVAC problems, water damage, and does not meet requirements for the Americans with Disabilities Act.
“From the time I purchased this building at 30 Music Sq. W., I have been extremely candid about my intentions to fully assess its condition before making any decisions,” said Reynolds in a statement at the time. “I engaged structural, electrical and mechanical engineers to oversee that process and they came back with reports that detailed the extremely poor condition of both the 20,000-square-foot building and the 5,000-square-foot studio. I released those reports to the public several weeks ago so they could understand the situation better. It is based on these reports that I must make my decisions about this building moving forward.”
Songwriter, producer and founder of Save Studio A Trey Bruce disagrees. “If Mr. Reynolds’ claims about Studio A are true, we urge him to welcome the public and news media to visit the building and photograph the ‘catastrophic conditions’ he has described, if they actually exist. Instead, he is trying to keep us quiet with Cease and Desist notices. Our community wants to know why the headlines don’t match the facts.”
Sharon House, a tenant of 30 Music Square West, likened the situation to one the Ryman Auditorium faced in the 1970s, when it was nearly demolished due to its reported state of disrepair. “If anyone threatened the Ryman today, there would be a riot in Nashville,” said House. “Studio A’s music history runs just as deep. We can’t call ourselves Music City if we’re willing to turn our backs on the institutions that have earned us that name. We have to step up as a unified voice and protect the legacy of American music from extinction.”
“This is a Ryman moment,” echoed Bruce. “Let’s get it right.”
The RCA Studio A property was recently named to the Nashville Nine, an annual list of endangered historic properties, which was released by Historic Nashville, Inc. on Sept. 23, 2014.
For more information on SaveStudioA, visit savestudioa.com.
Industry Pics: Kristen Kelly
/by Jessica NicholsonArtist Kristen Kelly has signed a publishing deal with Jim Landers‘ Cavalier Music Group, and is working with Doug Nichols and Chris Alderman at Rough Hollow Entertainment for Management.
IEBA Hosts Agents Power Panel
/by Eric T. ParkerPictured (L-R): Host Virginia Davis, Jeffrey Hasson, Adam Kornfeld, Steve Lassiter, Paul Lohr, Kevin Neal, Aaron Tannenbaum. Photo: Terry Wyatt/Getty Images for IEBA
The 2014 IEBA (International Entertainment Buyers Association) is in full swing at Nashville’s Omni Hotel. The four-day seminar kicked off Saturday (Sept. 27) and concludes after the Honors and Awards Ceremony at the CMA Theater on Tuesday.
In the words of panelist Jeffrey Hasson (Paradigm), Monday’s Agents Power Panel centered “the most lucrative part of an artist’s career.” Joining Hasson was Adam Kornfeld (Artist Group International), Steve Lassiter (APA), Paul Lohr (New Frontier), Kevin Neal (WME), and Aaron Tannenbaum (CAA).
Neal, who left BLA for his current post in May, noted there is a bulk of resources that are now available to his clients. “Jason Aldean has already had a movie and book offer in four months. Those are things that I couldn’t have [previously] brought to the table.”
To that point, Lassiter remarked of his “small-large agency is a full-service agency, so we do have branding, licensing, television and film.” He expressed of the difficulties in getting lost in the various services of a larger agency, where he had spent 13-years.
Developing artists have moved from busses, prevalent in the 80s-90s, to vans, noted Neal. “Clare Dunn played two dates in Chicago with Randy Houser last week for $500 a piece,” he said. “She lost money, but that’s just a stepping stone. At WME it’s great to have a pool to develop artists through touring. It’s exciting to see artists grow through those ranks and fun to put artists in places to develop.”
Managing expectations between agents, artists, management and label is the No. 1 necessity for CAA’S Tannenbaum. “The second thing you need is for an artist and manager to be willing to play for what they’re worth – allowing the promoter to win. Having said that, there’s an enormous amount of value in young artists getting their sea legs at fairs and festivals.”
“You also have to ask what [the opportunity is] setting you up to do next time,” contributed Hasson to the development discussion. “As a team we’re trying to figure out how to make a show close stronger.” To that end, Lassiter noted, “If everything is lined up, it comes down to an artist fans want to see.”
“There are 30 other shows that month at the same club,” warned Kornfeld of depending fully on the promoter. “Management needs to help them get over the hump with outside promotional and creative ideas.”
Lohr discussed gaining “slow and steady” traction without radio airplay with the Avett Brothers. “We hit the suburbs before playing downtown. We didn’t do a lot of free events, and I think that helped because we had a passionate fan base. If you put an artist in front of a crowd prematurely, they’re only as popular as the chicken and waffles.”
Agents battle routing in an oversaturating market, noted Tannenbaum. “It’s a land grab out there. In Country, we try to stay a month away from each other, but we’re reaching a critical mass.” To which Neal replied, “You can’t parachute in on top of each other. There is only so much money in the market.”
“One of the biggest differences with rock, is that there are so many different genres,” suggested Kornfeld of the New York-based Artist Group International. “Our agency could have Billy Joel one night, Metallica, Lincoln Park, it doesn’t matter. The audiences aren’t the same. It’s too bad in Country there aren’t more genres to prevent from cannibalizing the whole audience.”
Future Home of George Jones Museum Announced
/by Kelsey_GradyGeorge Jones
Nancy Jones, widow of legendary Country singer George Jones, announced today (Sept. 29) that she will soon unveil plans to open the George Jones Museum. Located at 128 and 130 N Second Avenue, the popular tourist destination formerly known as Graham Central Station will become a four-story, 44,000-square-foot immersion in the legend and legacy of Jones.
The museum and event center will incorporate a gift shop, restaurant, event space and also a music venue.
“We are overjoyed to share George’s legacy and memory with the Nashville community,” said Nancy Jones. “We hope that this will draw George’s friends and fans worldwide to our great city. George and I made this our home, and he would be happy to know that we found a home to continue his legacy in the heart of Music City.”
Industry Ink: ACM Lifting Lives, ProMO Image, Jason Aldean, "Rize Up For Rizor," Warner Music Nashville, Inspire Nashville
/by Jessica NicholsonACM Lifting Lives, the Academy of Country Music’s philanthropic arm, is dedicated to improving lives through the power of music. Through grant cycles, ACM Lifting Lives provides funding to programs that promote education and healing with a musical connection.
• • •
“We definitely got a few sideways looks and some raised eyebrows when we released this thing,” Aldean said. “It’s so awesome that my fans trust that I have a pretty good ear for the kinds of songs they will like, and that they follow me to new places with each album. I couldn’t be happier with all the excitement around the new music…it definitely feels like we’ve got something pretty cool happening going into album release.”
• • •
Matt Rizor
A benefit will be held for booking agent Matt Rizor on Oct. 6 at Cannery Ballroom. “Rize Up For Matt Rizor” will feature performances from Keith Anderson, Blackjack Billy, and Walker McGuire. A auction will also be held, with items including Nashville Symphony tickets, studio time, Nashville Predators tickets, meet & greet tickets to a Sara Evans show, a six-month membership to Hotbox fitness, and more.
Doors will open at 6 pm., and the event will be held from 7 pm.-10 p.m. Tickets range from $10-35, and are available at rizeup.eventbrite.com, or at the door.
On Friday, Aug. 15, Rizor was walking home on West End Avenue in Nashville and was hit by a dark colored sedan without its headlights on. Rizor was in critical condition at Vanderbilt hospital for a month, and is now at Vanderbilt’s Stallworth Rehab hospital. The concert benefit will aid in paying Rizor’s medical bills.
• • •
Elektra Records artist Jana Kramer was the featured artist performer during Warner Music Nashville’s final Pickin’ on the Patio of 2014. Sponsors for the event included GiGi’s Cupcakes, Aramark, Ajax Turner/Bud Light, Jackson’s and Patron.
Pictured (L-R): Kevin Herring (SVP, Promotion), Scott Hendricks (EVP, A&R), John Esposito (President & CEO, WMN), Jana Kramer, Peter Strickland (EVP & GM, WMN) Tom Martens (Dir., National Promotion), Chris Palmer (VP, Promotion) Lisa Ray (VP, Brand Management)
• • •
Essig co-heads the Nashville office, and represents artists including Tim McGraw, Martina McBride, Ashley Monroe, REO Speedwagon, and others. Prior to joining CAA in 1993, Essig was VP and co-owner of Minneapolis-based booking agency Variety Artists International. He is a 1997 graduate of Leadership Music, and is on the board of the Country Music Hall of Fame, Lifting Lives, Metropolitan Nashville Airport Authority, Monroe Carell Jr. Children’s Hospital, MusiCares, NARAS, NATD, Tennessee Film Commission, Tennessee Performing Arts Center, and the WO Smith School Board.
For more information on Inspire Nashville, visit inspirenashville.net.
• • •
Shelly Mullins
Shelly Mullins has formed ProMO Image, a publicity, marketing, event promotions, and management company. Mullins recently worked for Webster & Associates.
She can be reached at shellylynnmullins@gmail.com, or at 615-516-760.
Warfield Named PD at Nashville's 650 AM WSM
/by Jessica NicholsonDean Warfield
Nashville’s 650 AM WSM has named Dean Warfield as Program Director. Warfield, who has 36 years of radio broadcasting experience, worked most recently at Cumulus Broadcasting. He has also worked in broadcasting at South Central Communications, Clear Channel Broadcasting, and Sony Worldwide. He assumes his new Program Director role at 650 AM WSM today (Sept. 29).
“I’ve had the good fortune to be a part of Nashville Country Radio for 20 years. The opportunity to work with a Hall of Fame air staff at the legendary 650 AM WSM is a true blessing.” Warfield said.
“We are excited to have Dean join us as Program Director of the Legend,” said Randy Bush, 650 AM WSM General Manager. “He brings a wealth of experience, smarts and personality to our staff. And oh, what a voice! Welcome to 650 AM WSM, Dean!”
WSM AM programming includes “Coffee, Country and Cody,” “The Eddie Stubbs Show,” “Station Inn Sessions,” “An Intimate Evening with Eddie Stubbs,” the Grand Ole Opry performances, and more.
Atlas Publishing Acquires Combustion Catalog, Opens Nashville Office
/by Sarah SkatesRichard Stumpf (L) and Chris Farren.
Atlas Music Publishing has acquired the catalog of one of Nashville music’s most successful independent music publishers, Combustion Music, it was announced today by Atlas CEO Richard Stumpf and Combustion Music owner/President Chris Farren. The deal marks the opening of Atlas Music Publishing’s Nashville offices and launches a long-term joint venture with Combustion Music under the banner Combustion Atlas.
Through the deal, Atlas Music Publishing will acquire a publishing interest in hit songs including No. 1s: “Crash My Party” “That’s My Kind of Night” and “Play It Again” by Luke Bryan; “Bottoms Up” by Brantley Gilbert; “Good Girl” by Carrie Underwood; “Hello, My Name Is” and “Strong Enough” by Matthew West; “Beer Money” by Kip Moore; “Hey Girl” by Billy Currington; “Runnin’ Outta Moonlight” by Randy Houser; “Don’t Ya” by Brett Eldredge; “Mr. Know It All” by Kelly Clarkson; “Rewind” by Rascal Flatts; and “I Hold On” by Dierks Bentley.
Combustion will continue its relationship with Ashley Gorley, songwriter of 16 No. 1 Country hits. Gorley was named Billboard’s 2013 Country Music Songwriter of the Year and has written or co-written over 100 songs recorded by over 50 artists, including Luke Bryan’s “That’s My Kind of Night,” Randy Houser’s “Runnin’ Outta Moonlight,” Trace Adkins’ “You’re Gonna Miss This,” and three cuts on the new Dustin Lynch album Where It’s At.
Combustion will continue to represent the catalogs of Blair Daly, and Brett James. Daly has three cuts on the new Tim McGraw album Sundown Heaven Town and is co-writer of songs including “Beer Money,” Rascal Flatts No. 1 song “Stand,” and mega hit crossover “Smile” by Uncle Kracker. James has 17 No. 1 singles, a Grammy win for “Jesus, Take The Wheel,” and is co-writer of Dierks Bentley’s “I Hold On” and the current Miranda Lambert/Carrie Underwood smash “Somethin’ Bad.”
The new Combustion Atlas roster will include Gorley, Zach Crowell, Matt Jenkins, Jerry Flowers, Bobby Huff, and Native Run.
VP Chris Van Belkom, and Senior Creative Kenley Flynn will remain on board.
Zach Crowell and Jenkins are co-writers on the No. 1 Dustin Lynch song “Where It’s At.” Crowell co-wrote “Strong” for the 2014 National Chevy Silverado campaign, and co-wrote five songs on Sam Hunt’s upcoming Montevallo, which he also produced. Matt Jenkins is co-writer of Keith Urban’s single “Cop Car,” Blake Shelton’s “Good Country Song,” and has cuts on the new Sam Hunt LP. Jerry Flowers has two songs on Hunt’s LP and has had songs recorded by Lady Antebellum, Keith Urban, Martina McBride, and Carrie Underwood. Bobby Huff has success in both the rock and country landscapes, co-wrote Reba McEntire’s “Turn On the Radio,” and has production and writing credits with 3 Doors Down and Papa Roach. Native Run (Rachel Beauregard and Bryan Dawley) are making waves at radio with their debut release “Good On You.”
“Nashville is without question one of the most important writer towns in the US. We wanted to make a major commitment to the songwriting community here and enter Nashville in the right way—this collaboration with Chris and the Combustion team does just that,” said Atlas’s Stumpf. “The songs in the Combustion catalog are standouts and writers on our roster here are continuously booked with major label artists. We are excited to include these writers in the Atlas new paradigm of music publishing—a mindset built on (1) an authentic, hands on partnership with songwriters, (2) unlocking new paths of consumer discovery for our artists and (3) embracing the industry’s digital future through techniques that maximize song value on streaming services like Spotify and Youtube. Our Nashville roster is going to get a push like they’ve never felt before. It’s going to get very exciting, very quickly!”
“All of us at Combustion couldn’t be happier to be partnering with Atlas Music,” said Combustion’s Farren. “The history and resources they present and their commitment to and belief in Combustion have set us up to meet this next era of music publishing with strength, creativity and agility. Both Richard and I come from a like-minded independent spirit of building a publishing company, and I look forward to many years of success together.”
Founded in 2001, Combustion Music is headed by owner/President Farren. Since 2009, Combustion has earned 19 No. 1 singles in four genres and cuts on LPs totaling 100 million in sales. Among their accomplishments are the 2006 ASCAP and GRAMMY Country Song of the Year “Jesus, Take the Wheel;” the 2009 Grammy Best Rock Song, Best Rock Performance, and Record of the Year for “Use Somebody” by Kings of Leon; 2009 ASCAP Country Song of the Year “You’re Gonna Miss This;” 2009 ASCAP Country Songwriter of the Year Ashley Gorley; and the 2013 ASCAP Christian Song, “Hello My Name Is” and Songwriter of the Year Matthew West.
Stumpf founded Atlas Music Publishing in 2013, which has a roster of hit-makers and represents songs performed by John Legend, Carrie Underwood, Kelly Clarkson, Daughtry, Luke Bryan, Keyshia Cole, Hillary Duff, Icona Pop, Prince Royce, and Colbie Caillat. The company’s global headquarters is in New York.
The deal was negotiated with the help of The Sukin Law Group and Greenberg Traurig.