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If it’s Friday that means another spin around the Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across the music industry.
Blue Raincoat Music co-founder Robin Millar will step down as the company’s chairman and take on a new role as creative consultant. Founded in 2014 by Millar and former Chrysalis CEO Jeremy Lascelles, Blue Raincoat Music began life as an artist management company before branching out into publishing in 2016 and, then, recorded music when it acquired Chrysalis. Reservoir purchased BRN and the entire Chrysalis catalog in 2019, but kept Millar and Lascelles on board to run day-to-day operations. In his new role, Millar will advise on creative decisions across the company’s roster and continue to oversee mixing and mastering operations across the company. He’ll also remain a director on the board and a significant shareholder across Blue Raincoat. “The simple fact is that Blue Raincoat would not be the company it is today without Robin’s involvement,” said Lascelles. “He has been an unbelievable partner, bringing relentless positivity, focus, and ambition to our plans. He has a brilliant business brain, is a fiercesome negotiator, and has been an inspiration to me and everyone within the company.”
Experienced music lawyer Lynn Gonzalez joined Granderson Des Rochers as a partner in the firm’s music practice group. Gonzalez is fresh off a decade-long tenure at Def Jam, where she rose to executive vp/head of business affairs and business development at the label. Prior to Def Jam, she worked in legal roles at Razor & Tie Entertainment and then Atlantic Records, where she also was a founding member and then president of the Black Women In Entertainment Law Foundation, providing mentorship and scholarships to women of color in entertainment law. At GDR, whose music-related clients have included J.Cole, H.E.R., J Balvin and Bernie Taupin, among many others, Gonzalez will work on matters including music publishing, licensing and intellectual property. “Joining GDR means joining a team that puts artists first – a mantra that resonates with me from my time working with labels,” Gonzalez said. “With this guiding principle in mind, together, we’ll protect their creativity and ensure they thrive in a music industry that celebrates their unique voices.”
Warner Chappell Music hired Rachel Jacobson to the role of svp, creative sync. In the newly created role Jacobson will oversee an also-new team that’s solely focused on sourcing and developing songwriters for creative opportunities in sync. “We’re reimagining our approach to the creative side of sync at Warner Chappell to better align with the rapidly evolving media and streaming landscape,” says Jacobson. –Kristin Robinson
Sound Talent Group added agent Jason Parent and his roster of bands to its ever-expanding New York office. Parent arrives after a decade at APA/IAG, where he developed acts including Meet Me @ the Altar, Cloud Nothings, Oso Oso, Grayscale and Kuckle Puck, among others — all of whom came with him. He joins Jake Zimmerman, Eric Powell and John Lashnits in the agency’s NYC outpost. STG made its debut in 2018 after Dave Shapiro, Tim Borror and Matt Andersen made for the exits — on good terms — at United Talent Agency. “When we had the chance to bring [Parent] to STG, we jumped on that opportunity,” said Anderson. “Jason is an incredible agent with an amazing roster of bands, and we’re excited to have him join the team.” STG’s current roster includes Black Veil Brides, Built to Spill, Calle 13, Dave Navarro, Eve 6, Gwar, Hanson, Ice Nine Kills, Killswitch Engage, Opeth, Saliva, Story of the Year, Vanessa Carlton, Zakk Wylde and hundreds more.
Downtown Music president Pieter van Rijn joined the board of directors of Downtown Music Holdings. Van Rijn, a regular fixture on Billboard‘s annual list of Indie Power Players, joined Downtown Music a year ago from FUGA, where he’d served as CEO since 2014. He joins Downtown’s existing board of directors, including independent directors Alison Moore and Kelli Turner, who joined in January 2022. “When we first set out to transform Downtown Music, our B2B division, into a fully integrated suite of business service offerings, we were fortunate to have such a strong executive in our organization who could help us execute on that vision,” said Andrew Bergman, CEO of Downtown Music Holdings. “The addition of Pieter to our board further demonstrates Downtown’s commitment and mission to empower creators and the businesses that serve them.”
Did someone say FUGA? The Downtown-owned distributor continues its expansion into Germany, Switzerland and Austria with the appointment of Desiree Vach as general manager of the Deutsch-speaking triad. In her new role, Vach will lead FUGA’s business development, service offering and brand presence in the region, as well as oversee the Berlin office. She reports directly to Liz Northeast, the svp of Europe, Middle East, and Africa. Vach joins FUGA following a nine-year tenure at Ingrooves Music Group, where she oversaw operations in the GSA region.
Change is afoot at German indie distributor Zebralution, with company co-founder Kurt Thielen announcing he’ll step down at the end of the year. Two industry veterans will fill Thielen’s considerable shoes: Konrad von Löhneysen, founder of the Embassy of Music label, will join as co-CEO in October 2023, while current Zebralution COO Tina Jürgens will also be promoted to co-CEO, effective in January. The shakeup portends the company’s international growth ambitions, and follows the expansion into North America earlier this year — led by co-founder Sascha Lazimbat as U.S. director and president. Founded in 2004, Zebralution currently has a portfolio of more than 3,500 labels and audio book publishers from all over the world. “I look back on 38 exciting years as CEO,” says Thielen. “I am immensely proud of what we have achieved with Zebralution as pioneers in the industry. I can’t think of a more opportune moment for this change in responsibility.
Kygo‘s Palm Tree Crew hired Karan Ram as president of its festivals and events unit. Ram arrives from touring festival specialists Breakaway, where as president he more than doubled the company’s events held in 2023. Prior to Breakaway, he founded Moment Entertainment, a producer of concerts and events on college campuses that was later acquired by Pollen. “We’re excited to welcome Karan to Palm Tree Crew and to have him bring his expertise and passion to our team,” said Myles Shear, co-founder of Palm Tree Crew. “As the President of Palm Tree Crew Festivals and Events, he will play a pivotal role in scaling our brand to even greater global heights.”
ICYMI: Warner Music hired 30-year Disney veteran Bryan Castellans as the label group’s next executive vice president and chief financial officer, effective Oct. 16 … Monica Damashek has been named head of label partnerships of North America for Spotify. She succeeds Vic Trubowitch, who has moved to the music product strategy … Warner Chappell Music locked down Guy Moot and Carianne Marshall, CEO and COO, respectively, until late March of 2028 … and Jann Wenner was swiftly excised from the Rock & Roll Hall of Fame Foundation board of directors after making inflammatory remarks about Black and women artists.
Melissa Maskan joined boutique indie publisher OTM as head of North America and svp of creative. Based in L.A. and reporting directly to OTM founder Alex Sheridan, Maskan will manage the org’s U.S. efforts, namely sync and A&R. She joins after six years as evp of A&R at Third Side Music, where she helped to develop all-cappers SOFI TUKKER and ODESZA, among others. Supporting Maskan at OTM will be Rob Hunt (head of A&R) and Emily Keating (svp of sync). “[Maskan] heading up our US business will add immeasurable value to our offering there and now provides OTM with a platform for further growth,” said Sheridan.
Production music company FreshTracks Music added three new executives to its recently launched UK division. Tayo Kazzim joins as head of sales after stints at PRS for Music, Imagem and Extreme Music; Josie Kiely is the new senior client account manager, following roles at Warner Chappell and PPL; and Charley Dunlop serves as client account manager, having previously worked at Sky, KPM/EMI and BAM.
ESMAA, the Gulf-based music rights organization, appointed Saqer Al Qassimi as head of business development and government relations. The Emirati national is tasked with growing membership and supporting the org’s licensing efforts throughout the UAE and Gulf region. ESMAA claims to be the only music organization of its kind in the Gulf — in that it works with international entities whose disciplines focus on either performing, mechanical and/or neighbouring rights in order to find solutions to simplify music licensing in the region.
Last Week’s Turntable: GoodTalk Takes Shape
On Wednesday (Sept. 21), members of ASCAP turned out for the organization’s 12th annual We Write the Songs concert at the Coolidge Auditorium in Washington, D.C.As in previous years, the concert was held to celebrate gifts from The ASCAP Foundation to the Library of Congress “of the original manuscripts, lead sheets, lyrics sheets, photos and letters of some of America’s greatest creators of words and music,” according to a press release.
Co-hosted by The Library of Congress, Librarian of Congress Carla Hayden and The ASCAP Foundation president Paul Williams, the night featured performances by songwriters and producers performing songs they wrote or co-wrote. They included Jermaine Dupri, performing “Confessions/Confessions Part II” (Usher) and “We Belong Together” (Mariah Carey); Madison Love, performing “Kings & Queens” (Ava Max) and “Turbulence” (P!nk)”; Pasek & Paul, performing “Waving Through a Window” (from Dear Evan Hansen) and “This is Me” (The Greatest Showman); Matthew West, performing “My Jesus” (Anne Wilson) and “Truth Be Told”; and closing act Jimmy Jam and Terry Lewis, performing “Human” (The Human League) and “Miss You Much” (Janet Jackson).
The night’s performers were introduced by members of Congress from both sides of the aisle, including Rep. Mark Green (R-TN), who introduced West; Rep. Hank Johnson (D-GA), who introduced Dupri; Rep. Jerrold Nadler (D-NY), who introduced Pasek & Paul; and Congressional Songwriters Caucus co-chairs Rep. Ted Lieu (D-CA), who introduced Love, and Rep. Ben Cline (R-VA), who introduced Jam and Lewis.
“To us music creators, the Library is the Fort Knox of our copyrights — thank you for being our allies in protecting creators’ rights,” said Williams, also ASCAP’s president/chairman as well as a songwriter, at the event. “We have ASCAP members from all 50 states, in each and every district of our great nation. Some of our songwriters and composers may not be household names, but their songs are instantly recognizable and beloved by millions, all thanks to the hard work they put in behind the scenes to soundtrack our lives.”
The concert was held ahead of ASCAP’s annual Stand With Songwriters advocacy day in D.C. on Thursday, during which songwriters and composers were slated to meet with members of Congress. This year, a particular focus was on the growing influence of artificial intelligence (AI), with ASCAP members on hand to urge lawmakers to adhere to the six key principles for AI adopted by the ASCAP board of directors earlier this year.
In addition to songwriters and producers who performed at the We Write the Songs concert, those slated to participate in the advocacy day included songwriter-producer Cirkut along with ASCAP songwriter, composer and publisher board members Bob Bruderman, Desmond Child, Marti Cuevas, Sharon Farber, Dan Foliart, Ree Guyer, James M. Kendrick, Evan Lamberg, Michelle Lewis, Alex Shapiro, Jonathan Singer and Jimmy Webb.
ASCAP additionally invited its songwriter, composer and music publisher members from all 50 states to join in the lobbying effort via social media all week long.
Check out photos from the We Write the Songs event below.
Image Credit: Mariah Miranda/ASCAP
Elizabeth Matthews, ASCAP CEO (center), with Jimmy Jam and Terry Lewis at ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
Image Credit: Mariah Miranda/ASCAP
Nicole George-Middleton, ASCAP SVP of Membership and Executive Director of The ASCAP Foundation (center); with Jimmy Jam, Terry Lewis, Benj Pasek and Justin Paul at ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
Image Credit: Mariah Miranda/ASCAP
Rep. Judy Chu, Jimmy Jam and Elizabeth Matthews, ASCAP CEO, attend ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
Image Credit: Mariah Miranda/ASCAP
Jimmy Jam, Sen. Bill Hagerty, Paul Williams, ASCAP President and Matthew West attend ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
Image Credit: Mariah Miranda/ASCAP
Paul Williams, ASCAP President and Chairman of the Board speaks at ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
Image Credit: Mariah Miranda/ASCAP
Benj Pasek and Justin Paul perform at ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
Image Credit: Mariah Miranda/ASCAP
Matthew West performs at ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
Image Credit: Mariah Miranda/ASCAP
Madison Love performs at ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
Image Credit: Mariah Miranda/ASCAP
Carla Hayden, 14th Librarian of Congress, speaks onstage at ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
Image Credit: Mariah Miranda/ASCAP
Rep. Hank Johnson speaks onstage at ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
Image Credit: Mariah Miranda/ASCAP
Jermaine Dupri performs at ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
Image Credit: Mariah Miranda/ASCAP
Jimmy Jam and Terry Lewis perform at ASCAP Foundations “We Write the Songs” Event in Washington, D.C. on September 20, 2023.
He is one of the most sought after artists in the agency world and now he finally has major a booking team behind him.
Oliver Anthony has signed with UTA for exclusive worldwide representation in all areas.
“We’re honored to represent such an authentic artist, and excited to put together a global strategy to bring Oliver Anthony and his music to the people,” shared UTA co-head of Nashville Jeffrey Hasson and music agent Curt Motley in a statement to Billboard. Some of UTA’s other clients include Brittney Spencer, Megan Moroney, Parmalee, Elvie Shane, Ian Munsick and Jamey Johnson, who has performed recently with Anthony.
The “Rich Men North of Richmond” singer’s profile skyrocketed in August after a performance video went viral, generating more than 69 million views on Youtube and leading to a historic No. 1 debut on the Billboard Hot 100 chart. With that song, Anthony became the first artist ever to top the chart without having appeared on it previously.
“Rich Men North of Richmond” is also the first song by a solo male to debut at No. 1 on the Hot 100 and Hot Country Songs charts simultaneously. The Farmville, Virginia, native’s other songs — such as “Ain’t Gotta Dollar,” “90 Some Chevy” and “I Want to Go Home” — have also earned solid streaming numbers.
A quick bidding war followed, with music executives from all around the country to try to sign the hot new phenom. One label head told Billboard at the time, “I don’t think I’ve ever seen anything like this before.” Rapper Gucci Mane even posted on Instagram that he wanted to sign Anthony to his label and needed help finding him. Anthony, who sings of populist ideals that have grown him a grassroots following, seemed largely nonplussed by the newfound attention. He told social media followers he was determined not to make any rash decisions and that he had turned down record deals worth upwards of $8 million.
Meanwhile, Anthony has continued to perform for his new fanbase with a number of regional shows that have grown from the Eagle Creek Golf Club and Grill in Moyock, N.C., on Aug. 19, to Tootsie’s Orchid Lounge’s annual block party in Nashville last weekend on Sept. 17, where he notably performed with a full band for the first time. While in Nashville, Anthony apparently made his new agreement with UTA — marking his first major deal since breaking out.
Coming up, Anthony is slated to perform two sets at the upcoming Louder Than Life Festival, which opens Thursday (Sept. 21) and runs through Sept. 24 at the Highland Festival Grounds at the Kentucky Exposition Center in Louisville, Ky. And then he has a sold out show at Smokies Stadium in Sevier County, Tenn., scheduled for Sept. 28.
Earlier this month, Anthony canceled a Sept. 27 concert at Cotton Eyed Joe in Knoxville, Tenn., due to a disagreement over ticket prices, which were listed at $99 and $199 for a meet and greet. Anthony posted to social media discouraging his fans from buying the tickets, explaining that he didn’t agree to those prices. Anthony explained his friend had been acting as his booking agent and he booked the show without asking what the ticket prices were. (The venue later responded, saying the high prices were the only way it could cover Anthony’s $120,000 booking fee.) Anthony continued to say his shows “never cost more than $40, ideally no more than $25,” pointing out that two of his four recent shows were “completely free.”
When Anthony’s co-manager Draven Riffe spoke with Billboard in August, he said the artist is “very passionate about bringing other unknown, unheard musicians up and helping them get their music out as well” — and that help also means providing jobs for those in Anthony’s community where he can. “We’re doing all the booking ourselves,” Riffe said, adding the Anthony is booked through the end of the year. “We’re trying to keep everything in-house as much as we can… If we could have a hand in helping get a person a job they’ll love then we want to do that rather than contracting it out to something that we don’t even know where the money is going.”
Additional reporting by Jessica Nicholson.
Lizzo is facing another explosive lawsuit filed by a former employee.
On Thursday (Sept. 21), Asha Daniels — a clothing designer who worked on Lizzo’s Special Tour earlier this year — filed a complaint in Los Angeles Superior Court alleging sexual and racial harassment, disability discrimination, assault, illegal retaliatory termination and more. In addition to Lizzo, the lawsuit names wardrobe manager Amanda Nomura, tour manager Carlina Gugliotta and Lizzo’s Big Grrrl Big Touring company as defendants.
In the lawsuit, Daniels claims that after being hired to join the superstar’s world tour in February 2023 to alter and repair the wardrobe she’d previously designed for Lizzo’s dancers, she was “almost immediately…introduced to [a] culture of racism and bullying” and that she “suffered constant anxiety and panic attacks” as a result. In one allegation, she claims that Lizzo’s dancers were forced to change in “small, tight changing areas…with little to no privacy” and that the stage crew, “primarily white males, would lewdly gawk, sneer, and giggle” while watching them dress. She alleges that after expressing concern to Nomura about the lack of privacy, the wardrobe manager “laughed” and “advised” her not to tell anyone else about the issue or try to fix it.
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The complaint contextualizes these incidents as part of “a set up to humiliate, degrade, alienate, and, in some cases, fire, the Black female performers.” Notably, three of these dancers — Arianna Davis, Crystal Williams and Noelle Rodriguez — made similar allegations after filing suit against Lizzo and Big Grrrl Big Touring in August. Their attorney, Ron Zambrano of West Coast Employment Lawyers, is also representing Daniels in her case.
While Lizzo isn’t directly implicated in any of the incidents outlined in Daniels’ complaint, the “About Damn Time” singer is effectively accused of turning a blind eye to the toxic behavior of her employees, including Daniels’ direct boss Nomura, who bears the brunt of the allegations.
“Throughout the entirety of her employment,” the lawsuit alleges, Daniels — a Black woman — witnessed Nomura making “racist and fatphobic comments,” including by mocking Lizzo and her background dancers, “doing an offensive stereotypical impression of a Black woman” and referring to Black women on the tour as “‘dumb,’ ‘useless’ and ‘fat.’” After allegedly confronting Nomura over her behavior, Daniels claims Nomura “ignored” her and proceeded to directly target her with harassment.
In one particularly inflammatory allegation, Daniels claims that Nomura rolled “a heavy rack of clothing” over Daniels’ foot. When Daniels allegedly told Nomura she needed to sit down “as her foot was in serious pain,” she says Nomura “shoved” her into the clothing rack “while asserting Plaintiff should not make excuses about her foot.” Claiming that the shove from Nomura caused her to “roll her ankle,” Daniels says that when she showed up for work the following day wearing Crocs to “minimize the pain,” Nomura demanded that she change into tennis shoes even after Daniels told her they were painful to walk in.
The suit accuses Nomura of a litany of other offenses, including making threatening statements against Daniels and the rest of the crew “on several occasions,” shoving a crew member after the crew member threatened to quit and saying that she would “kill a bitch if it came down to it” if anyone threatened her job. She also claims that Nomura discouraged her from interacting directly with Lizzo or Lizzo’s boyfriend — and that if she ever did, she should avoid dressing “attractively” to avoid the singer becoming “jealous.”
More broadly, Daniels claims she experienced frequent sexual harassment by the Big Grrrl Big Touring team. Among other offenses, she alleges that a backstage manager “sent a photo graphically depicting male genitalia” on a group chat that included her and more than 30 other tour employees. In another accusation that distinctly echoes the lawsuit filed by Lizzo’s former dancers, Daniels says she witnessed Nomura, crew members and Lizzo’s management “openly discussing hiring sex workers for lewd sex acts, attending sex shows, and buying hard drugs” and that she felt pressured to join those activities.
Daniels further claims that after informing Gugliotta of the behavior she’d witnessed — and after being “informed” that her complaints were relayed to Lizzo — she was fired by Lizzo’s team roughly a month after she began work on the tour. On the day she was fired but before she was informed of her termination, she also alleges she was “denied medical care” after suffering “an allergic reaction” and “pressured” to continue working after informing Nomura and Lizzo’s management about it.
In the aftermath of her experiences, Daniels claims she “continues to suffer ongoing anxiety and PTSD,” “migraines,” “brain fog, and “fatigue” from the experience.
Gugliotta and a representative for Lizzo did not immediately respond to Billboard‘s request for comment. A contact for Nomura could not immediately be located.
Daniels is asking for damages including unpaid wages, loss of earnings and deferred compensation; general damages “including but not limited to” emotional distress; other special damages including for medical expenses; punitive damages; and more.
Two days after the August lawsuit was filed, Lizzo refuted the allegations on social media, stating the dancers’ claims were as “unbelievable as they sound and too outrageous to not be addressed.”
“These sensationalized stories are coming from former employees who have already publicly admitted that they were told their behavior on tour was inappropriate and unprofessional,” she added. Later that day, the dancers appeared on CNN This Morning to rehash their allegations and called Lizzo’s statement “disheartening” and “incredibly frustrating.”
Two weeks later, Lizzo’s Big Grrrls dance team released a statement in support of the singer, saying they “had the time of our lives” on the tour and continuing, “The commitment to character and culture taking precedence over every movement and moment has been one of the Greatest lessons and Blessings that we could possibly could ask for.”
Following the initial lawsuit, lawyers for the dancers stated that six more people had approached them with similar stories about Lizzo, though Daniels’ lawsuit is the first to emerge in the nearly two months since.
Lizzo is due to be honored with the Black Music Action Coalition’s Quincy Jones Humanitarian Award at the organization’s 2023 gala on Thursday.
For 2023, Billboard introduces the Latin Power Players Choice Award, a peer-voted accolade chosen by Billboard Pro members to honor the executive they believe has made the most impact across the Latin music business over the past year. After three rounds of voting, Billboard Pro members have chosen Walter Kolm, founder and CEO of WK […]
Lyor Cohen discussed “a future where generative AI has a profound impact on music” at the annual Made on YouTube event on Thursday (Sept. 21). YouTube’s longtime global head of music is nothing if not enthusiastic about artificial intelligence and its potential ability to supercharge music-making. Cohen told the attendees that “AI tools are opening up a new playground for creativity;” AI “can be used by artists to amplify and accelerate their creativity;” and AI can usher in “a new era of musical creativity.”
Cohen was joined by Charlie Puth, who played some piano and showed off his beatboxing, and Warner Music Group CEO Robert Kyncl. Kyncl acknowledged that not everyone in music is as excited about AI as Cohen seems to be: “Change is unsettling; we are in that period of change.” He proposed charting a path forward where AI enthusiasts can gain from the technology while artists who are wary of it are somehow shielded from its impacts.
Artists “will create and they will use all kinds of tools to create… that’s their job,” Kyncl said. “It’s our job, the platforms and the music industry, to make sure that artists like Charlie who lean in [to AI] benefit. It’s also our job together to make sure that artists who don’t want to lean in are protected.” He pointed to the success of YouTube’s Content ID system, which helps the platform track user-generated content, as a potential model, because creators can choose to monetize that UGC or block it depending on their preferences.
YouTube previously signaled its interest in being part of music’s AI-driven future in August when it announced an “AI Music Incubator” that will include input from Anitta, Juanes, Ryan Tedder, Rodney Jerkins, and many others.
“This group will explore, experiment and offer feedback on the AI-related musical tools and products they are researching,” Universal CEO Lucian Grainge wrote in a blog post. “Once these tools are launched, the hope is that more artists who want to participate will benefit from and enjoy this creative suite.”
At the Made on YouTube event, CEO Neal Mohan also discussed a suite of new tools for creators that aim to put “the creative power of AI into the hands of billions of people.” These include Dream Screen, which “lets you create AI-generated video or image backgrounds for Shorts by typing in an idea,” and a search function that “will act like a music concierge” when it comes time to find a track to place into a video. “Our creator can just describe her video, and if she wants she can even include information about the length or type of song she’s looking for, and Creator Music suggests the right track at the right price,” Mohan explained.
Jade Beason, a YouTube creator, told the crowd she “spend[s] a lot of time trying to find the right music for videos” and is sometimes “guilty of actually just using the same song [over again] because I just can’t find the right one.” “Music has the ability to change how your audience actually feels when they’re watching your content,” she continued. “It’s the difference between someone seeing a video of yours and laughing or crying… so the idea that we can do this easily amongst everything else is actually quite wild.”
The Jenni Rivera Estate has filed a lawsuit against Cintas Acuario, a West Coast-based indie label owned by the late singer’s father Don Pedro Rivera. Ayana Musical, another music company also owned by him, is named in a complaint filed on Wednesday (Sept. 20) in California by Jacquelin Campos — who last year took over as head of the Jenni Rivera estate.
According to the 39-page lawsuit, before and after the singer’s untimely death in 2012, the música mexicana star’s father, along with the companies aforementioned, “exploited” sound recordings and musical compositions written, recorded, produced and performed by Jenni during her lifetime. Furthermore, the defendants “exploited Jenni’s name, image and likeness to the tune of tens of millions of dollars,” the complaint alleges.
The civil case also claims that the plaintiffs have “repeatedly” asked the companies to “act in accordance to the terms of agreements entered into by Jenni during the early part of her career” and to stop claiming to own and control rights to Jenni’s music. The companies have refused to do so, according to the suit, which is why the Jenni Rivera Estate has decided to file the lawsuit, “holding each of them liable for their unlawful acts” and seeking the return of money collected and withheld from the plaintiffs.
While owned by Don Pedro Rivera, the lawsuit says the day-to-day operations of the company are carried out by Jenni’s siblings, Rosie Rivera — who previously served as head of the Jenni Rivera estate — and Juan Rivera. “This matter provides a perfect illustration of the significant and lasting impact that money, power, and greed can have on a family,” the lawsuit reads.
Cintas Acuario did not return Billboard‘s request for comment at press time.
Jenni entered her first recording agreement with Cintas Acuario in 1993 when she began her career. According to the lawsuit, the three-year deal provided Cintas with “several” rights to the sound recordings and albums recorded, produced and distributed under the 1993 Recording Agreement. It also granted the rights to manufacture and distribute merchandise in connection to the promotion and sale of her music. In return, Cintas was “obligated” to provide Jenni with statements and make royalty payments to her on a quarterly basis. According to the complaint, “the obligation to account and pay royalties owed to Jenni in connection with the 1993 deal was never waived or otherwise terminated. Thus, the foregoing obligations subsisted in favor of plaintiffs as Jenni’s successors-in-interest, following her death in December of 2012.”
The most successful woman in regional Mexican on the Billboard charts, Rivera died in an small aircraft accident in 2012 at the age of 43. She has a total of 19 entries on Top Latin Albums, 12 of which reached the top 10 and seven of which topped the chart. She has earned a total of 12 entries on the Billboard 200 and has 14 top 10 hits on the Regional Mexican Airplay tally. Most recently, Jenni’s children released the posthumous album Misión Cumplida.
In a press release issued in light of the lawsuit, the Jenni Rivera Estate said that it is “grateful for the support and understanding of the fans during this challenging period” but will refrain from making any further statements.
Read the lawsuit below:
Sibling duo Mau y Ricky launched their new independent label, Why Club Records, in partnership with Warner Music Latina. According to a press release, the new imprint will not only act as a home for the duo — who were previously signed to Sony Music Latin — but will also “look to impact culture through music with a purpose, supporting artists who have something to say and want to break through the mold.” About Why Club Records, Mau y Ricky said: “We trust [Alejandro] Duque and [Roberto] Andrade as the ideal partners for this new stage. We are working on the most important album of our career so far.” The Miami-based duo’s first single under the new label, “Vas a Destrozarme,” will drop Oct. 5. – Griselda Flores
Round Hill Music acquired Austin-based neighboring rights agency Rident Royalties, which deals with film/TV composers and production music. With the acquisition, Round Hill’s existing neighboring rights platform, Sound Hill, expands to more than 1,200 performers and 120 record labels. The deal also allows it to tap the production music and TV/film score neighboring rights markets and expand into additional territories. Rident Royalties owner/president Chris Kennedy will serve as co-head of Sound Hill alongside Róisín Brophy.
Virgin Music partnered with independent publisher, record label and management firm Position Music, which boasts a catalog of more than 35,000 songs. Under the deal, Virgin Music will distribute Position Music’s new releases and existing catalog while helping to market, promote and develop Position’s frontline label roster, which includes artists, songwriters and producers such as Judah & the Lion, Kyle Dion, Ryan Oakes, Kid Bloom, Layto and Fantastic Negrito.
Atlanta-based management company Crown World Entertainment, founded by CEO Vincent Searcy, acquired Indie Distro and, with the purchase, launched Crown World’s new independent distribution arm, CWE Distro. The company will now offer music distribution to all streaming platforms as well as data insights, brand strategy, digital marketing, synch licensing, neighboring rights and content monetizations. For $29.99 a year, emerging artists who sign up for CWE Distro will keep 100% of their royalties, receive guaranteed distribution to more than 50 digital service providers and more. Plans for established artists are available by invitation and require no subscription fee. The first releases from CWE Distro are “Find Someone” by singer-songwriter Eric Bellinger and WifeyBaby’s “Stingy.”
Independent podcast company Acast partnered with royalty-free music platform Slip.Stream in a deal that will allow Acast podcasters to access more than 70,000 songs for use in their content. All 100,000 Acast podcasters will receive “Pro Level” access to Slip.Stream free for six months and a discount offer to upgrade to an annual Pro plan after that.
In other Acast news, the company partnered with podcast network Luminary to expand the reach of selected Luminary Original podcasts. Under the agreement, five shows — including Joking Not Joking with Mo Amer and Azhar Usman and How I Masaba with Masaba Gupta — will be made available to listeners across all platforms via Acast. Additionally, Acast will serve as Luminary’s exclusive monetization partner for these podcasts across all platforms. Luminary will also utilize Acasts’s recently launched Acast+ Access capability to allow listeners to access exclusive content on the listening app of their choice.
ASM Global will operate the new, 185,000-square-foot Henrico Sports & Events Center slated to open at Virginia Center Common in Glen Allen, Va. in October. The Henrico Sports & Entertainment Authority board of directors, which oversees the center, approved an initial five-year contract in July, with the option to extend it annually for up to five additional years. Under the deal, ASM Global will provide staff and oversee the venue’s day-to-day affairs, including managing the box office, contracting with vendors, handling maintenance, event management, food and beverage concessions and licensing and permits. The Henrico Sports & Entertainment Authority will continue leading on scheduling to make sure the venue, which boasts a capacity of 3,500, is available for county events including high school graduations and tournaments. ASM Global will help to fill off-peak times with local programming including sports clinics, leagues and camps.
Also in ASM Global news, the company secured venue operations and management rights for Connect Conference Centre (known as C3 and formerly known as Opportunity Pavilion) in its second Dubai-based deal after the Coca-Cola Arena. Located in Expo City Dubai, C3 will host a number of events for the upcoming United Nations Climate Change Conference (COP28) which runs from Nov. 30-Dec. 12.
Lastly at ASM Global, the company renewed its management deal with the 475,000-square-foot Huntington Convention Center of Cleveland for five years. Forthcoming plans at the venue include the creation of a Sky Lounge with a view of the Rock and Roll Hall of Fame and Lake Erie.
Dreamus, a Korean entertainment company and subsidiary of Korean multinational SK Planet that handles distribution and events for K-pop artists including Twice, Psy and MissA, is now using the cryptocurrency and blockchain platform Avalanche. Under the partnership, users of Dreamus’ ticketing app OK Cashbag can now buy Avalanche-backed tickets, allowing Dreamus “to build a ‘Blockchain Ticket Total Solution Service,’” according to a press release. The company will use Avalanche to enable easy digital transactions, get around scalpers, stop secondary market abuse and address issues around counterfeit tickets. Dreamus plans to launch a secondary ticketing marketplace later this year.
House music label Defected Records partnered with demo submission platform LabelRadar, which is under the umbrella of The Beatport Group’s music services division. Under the deal, Defected and its sub-labels (including D4Dance, DFTD, Glitterbox, Big Love, Soulfuric, Nu Groove, Classic, 4TTF, DVINE Sounds, Stay True Sounds and The Remedy Project) will now field demo submissions from artists around the world via LabelRadar’s streamlined process. This marks the first time in Defected’s history that the label has allowed demo submissions.
Amazon Music is the exclusive livestream partner of this year’s Life is Beautiful Music and Art Festival, which returns to Downtown Las Vegas for its 10th anniversary Sept. 22-24. Sponsored by JBL and Boost Infinite, the livestream will be available on Prime Video and the Amazon Music channel on Twitch starting at 5 p.m. PT each day of the festival.
Afterparty, a platform that scales one-to-one fan interactions for creators, has raised $5 million in funding in a round led by Blockchange Ventures with participation from existing investors Acrew Capital, Act One Ventures and Tamarack Global along with new investors Wilson Sonsini and Vinny Lingham. Afterparty will use the funding for product development, including AI voice, photo and video messaging. The new AI platform, dubbed Afterparty AI, will give fans “24/7 on-demand access to conversations with their favorite creator’s AI,” with images and videos created with the platform becoming “one-of-a-kind collectibles unique to each fan who generates them – all of which are verified on the blockchain and can easily be shared on social platforms,” according to a press release. Each interaction and piece of content fans share becomes a “point of access” to exclusive experiences allowing them to connect with creators one-to-one.
Live Music Society, a non-profit that has given over $3 million in grant funding to small venues and listening rooms across the United States since 2020, has partnered with international music residency The House of Songs to reestablish the latter’s presence in Austin. Under the deal, House of Songs — which has brought together artists from over 30 countries for songwriting sessions — will establish a new hub in Austin after pulling out of the city during the pandemic.
Levellr, a company that helps artists use messaging tools like Discord to reach fans, raised a $1 million pre-seed round led by Crush Ventures. The company’s clients include Fred again.., Pink Pantheress, Gorillaz, Swedish House Mafia and Maisie Peters. The money will be used to hire additional employees and grow into new verticals including sports and gaming.
Music rights and metadata management software platform Orfium signed an agreement with Japanese entertainment company Avex to manage its music catalog on YouTube. Under the deal, Orfium will work to maximize the monetization of Avex’s repertoire using its AI-based matching technology.
Music financing service RoyFi teamed with earthprogram, a quasi-record label and provider of business development solutions for the music industry. Under the partnership, artists can apply to access funds directly through RoyFi via the new earthprogram website, allowing a “consistent through line of support and career development from the beginning of consultancy with earthprogram through capital provision and financial literacy education with RoyFi,” according to a press release.
Instrument brand Gibson and its charitable foundation, Gibson Gives, partnered with Purdue Polytechnic Institute’s School of Mechanical Engineering Technology (MET) program that will provide experiential learning to students in MET’s guitar lab. Via Gibson Gives, Gibson will gift guitars from its collection to be showcased in the class’ lab; provide direct monetary support to the Purdue guitar lab to ensure it remains operational throughout the year and facilitate the hiring of undergraduate teaching assistants; assist in providing essential lab supplies and materials required to design and manufacture stringed instruments; and provide insights and experiences from Gibson’s trained luthiers and executives throughout the semester. Support will extend at least through the 2023-24 academic year.
There’s been an executive shuffle at Spotify. Monica Damashek, who previously served as the company’s North American lead of international music, has been named head of label partnerships North America, according to an internal memo obtained by Billboard. She succeeds Vic Trubowitch, who has moved to the music product strategy team for artist expression at […]
Big Hit Music, the longtime label home of BTS, announced its plans to sign exclusive agreements with all its members and also “work with the group on their future releases from 2025 onwards.” “With the renewal of their contracts, we are looking forward to supporting BTS’ group activities expected in 2025,” Big Hit’s parent company […]