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Tim Leiweke’s Oak View Group has created the entertainment industry’s first paid membership-based theater network, signing iconic venues like New York’s Radio City Music Hall, the Ryman Auditorium in Nashville and Orange County’s Segerstrom Center for the Arts as its first clients. Led by executive director Noël Mirhadi, a longtime music agent in the performing arts and theater space, the new Theater Alliance is modeled after OVG’s Arena Alliance and Stadium Alliance and is being developed to utilize the collective strength of its members to scale up booking, routing and sponsorship sales.
The Theater Alliance will have 18 members in total representing 39 performance spaces including the Madison Square Garden-owned Beacon Theater and Chicago Theater, the ACL Live at the Moody Center in Austin, Texas; the Fox Theatre in Detroit, Philadelphia’s Kimmel Center, the Paramount Theatre in Oakland, the Portland’5 Centers for the Arts and Stifel Theatre in St. Louis.
Each venue is independently run, Mirhadi explains, and “will work with OVG as an extension of their team with the two main pillars being programming and sponsorship opportunities.” That includes working with OVG’s Joe Giordano, vice president overseeing the Theater Alliance and Arena & Stadium Alliance, to identify and expand booking opportunities to more member venues, as well as offer sales and development resources not always available at arts organizations.
“Theaters serve as the heartbeat of their community. I understand and appreciate this sentiment having started as a musician and having gone on to dedicate my professional life and career to music and the arts,” Mirhadi said. “I’m thrilled to have joined Oak View Group as we create and launch our new Theater Alliance, which will support these critically important institutions and help them continue to thrive. ”
Having a presence in the theater world has long been a priority for Leiweke and Chris Granger, president of OVG 360, the company’s venue services division. Besides viewing theaters as an important development platform for the company’s many arena clients, Grangers says the formation of the Theater Alliance is a major opportunity to bring together the country’s leading art institutions.
“At OVG, we not only want to support venues, artists and our corporate partners, we also want to be good stewards of the communities that we’re in,”Granger tells Billboard. “We want achieve success through the arena and stadium alliances, and now the Theater Alliance, by bringing together like-minded venues to book together, sell together, buy together, think together and brand together.”
Granger says that facilities will pay a “mid-six figures” annual contribution for their membership in the theater alliance and that members must make a multi-year commitment to the invitation-only Theater Alliance when they commit to join.
“Our goal is to not just to help our members work in concert to improve their operations and overall guest experience, but, perhaps more importantly, to creatively elevate the arts and attract a new generation of theatergoers from within their communities, because we are all better when the arts thrive,” Granger added.
OVG will announce the inaugural members of the Theater Alliance, which also include the AT&T Performing Arts Center in Dallas, Boston’s Boch Center, the First Interstate Center in Spokane, Loew’s Jersey Theater, the Pabst Theater in Milwaukee, the Paramount Theatre in Denver, the Pittsburgh Cultural Trust and the Tulsa Performing Arts Center, during the Association for Performing Arts Professionals (APAP) conference opening session today.
“The demand for the Theater Alliance was certainly amplified coming out of the pandemic.” Giordano says. “Performing arts venues across the nation, which are traditionally costly to operate, all face similar challenges. The Alliance, under Noël’s outstanding leadership, is eager to continue building the network of top venues in first tier markets to help them meet and exceed their programming and budgetary goals, and bring opportunities to the table that they didn’t even know were possible.”
More information at OakViewGroup.com
With Tuesday’s flurry of festival lineups — including Boston Calling, Bonnaroo, Sonic Temple Festival, and, finally, Coachella — the 2023 North American festival season formally kicked off, and music fans can expect more announcements to follow.
This figurative ringing of the bell is typically reserved for Coachella (and Coachella alone), which usually announces its lineup the first week of January. But when Los Angeles-based concert promoter Goldenvoice didn’t deliver on time — for unexplained reasons — it left some executives wondering what to expect from potential ripple effects throughout the festival circuit.
That’s due to Coachella’s contracts and stature in the business. Coachella’s artist contracts come with radius clauses that give the Southern California festival first right to announce its artist lineup in the region. As such, festivals have worked out a largely unspoken schedule for announcing their lineups after Coachella goes first, and then navigating similar first-announce and radius clauses other major festivals may have.
In this case, Live Nation-owned festivals Boston Calling and Bonnaroo booked 070 Shake, Sofi Tukker and Knocked Out, who were playing Coachella as well. Both lineups were slated to drop on Jan. 10 — but with the morning of the 10th approaching and no Coachella lineup announced, agents for the acts had to check in with Goldenvoice to let them know about the Bonnaroo and Boston Calling announcements.
Making things more complicated was that both Live Nation-owned festivals, along with the Danny Wimmer Presents-owned Sonic Temple Festival in Columbus, Ohio, had coordinated their lineup announcements to take place hours apart on Jan. 10 at the request of the Foo Fighters, who wanted a somber announcement surrounding their return to the stage following longtime drummer Taylor Hawkins’ death last March.
Goldenvoice president/CEO Paul Tollett told the agencies there was no problem with the lineup announcements happening before Coachella, and a small dustup was easily avoided. The episode, however, is illustrative of how a small group of concert promoters, powerful booking agents and contract attorneys regulate and protect the music festival industry.
At the top of that system is Coachella, a cultural and economic juggernaut that sells more than $100 million worth of tickets each year over two weekends in mid-April, making it the first major festival to take place each year. In order to protect the massive investment in artist fees it pays each year, AEG-owned Goldenvoice requires artists to sign radius clauses agreeing not to announce their participation in festivals that take place in California, or in states neighboring California, until after their performance at Coachella. Artists participating in festivals in states not neighboring California generally only have to wait until after the Coachella lineup announcement before publicizing their involvement in other events.
Today, most major festivals use radius clauses to restrict participating artists from performing at competing events that fall too close geographically or chronologically. Managing this complex web of obligations and radius clauses typically falls on an artist’s booking agent, who negotiates the agreements between festivals and artists while managing their client’s radius clause obligations throughout the touring cycle.
In order to avoid violating each other’s radius clauses, since 2014, festivals that take place in the first part of the year have worked on a schedule starting in the first week of January for announcing their lineups. From 2014 to 2020, the lineup for Coachella was announced during the first week of January. But for the last two years, following the pandemic and the cancellation of the 2020 and 2021 festivals, Coachella’s lineup announcement hasn’t taken place until the second week of January, causing minor delays to festival lineup announcements that have traditionally followed Coachella.
While some of Coachella’s critics say the festival’s pole position in the lineup announcement hierarchy affords Goldenvoice far too much power over smaller festivals, one booking agent told Billboard that Tollett is “exactly the type of person you want in that position.”
“He wants to protect his event, which he spends tens of millions of dollars on each year. He’s first in line because his event is the major festival each year,” says the agent. “But if he needs a little more time to announce his festival, he’s going to accommodate the requests of any festival he impacts. He’s fair and always does the right thing.”
Warner Bros. Discovery is exploring a sale of its music assets that could be worth upwards of $1 billion, according to a source familiar with the matter. The catalog is being shopped by famed entertainment attorney Allen Grubman.
While the potential sale — which was first reported by The Financial Times — is still in the very early stages, some of Warner Bros. Discovery’s current music partners could be potential buyers.
Universal Music Group (UMG) already administers the publishing assets, which are likely the largest part of the deal, and Warner Music Group (WMG) distributes WaterTower Music, Warner Bros. Discovery’s in-house record label.
The assets being shopped, including music and production music from the company’s television and film projects, are not the kinds of music rights that have made headlines over the past couple of years as investors have flocked to the music business. Unlike most publishing rights or royalty streams, the Warner Bros. Discovery assets are not tied to the steady growth trend affecting traditional streaming. That’s because relatively few people head to Spotify to stream the soundtracks for Game of Thrones, The White Lotus or Batman, for example, even if the television and film projects are smash successes. As such, these type of assets have historically trade lower than popular music rights — typically in the single-digit multiples.
The asset valuations will likely be tied to broadcast trends, which are growing slower for film and television than for music. But due to the depth of the catalog, which dates back decades, the package will likely be seen as an attractive and stable investment for any major music company or private equity fund.
Warner Bros. Discovery formed last year through the merger of AT&T’s WarnerMedia unit and Discovery Inc.
Warner Bros. Discovery, UMG and Grubman did not respond to requests for comment at the time of publishing. WMG declined to comment for this story.
A Los Angeles judge has rejected Live Nation’s first attempt to end a wrongful death lawsuit over the 2021 murder of Drakeo The Ruler at a music festival, ruling that the late rapper’s family might have a valid case against the concert giant.
In a decision issued on Wednesday (Jan. 11), Los Angeles Superior Court Judge Yolanda Orozco denied Live Nation’s motion to dismiss the case at the outset, ruling that the lawsuit’s allegations, if later proven to be true, could put the company on the hook for Drakeo’s killing.
“[The lawsuit] sufficiently alleges that security was lax at the second checkpoint and that despite the presence of security guards and metal detectors, some vehicles were not adequately searched or not searched at all, thus allowing the assailants to enter the ‘all-access VIP’ area,” Judge Orozco wrote in the ruling.
Seeking to dismiss the case at the outset, Live Nation had argued that the mob attack on Drakeo backstage at the Once Upon A Time in L.A. festival was a unique tragedy and not the kind of thing a concert promoter could have “foreseen” in planning the event — a key requirement in any such negligence case. But in her ruling, Judge Orozco rejected that argument.
“The fact that defendants knew security would be needed for the event, supports the finding that the performing artists’ safety was a concern for defendants and foreseeable to defendants,” the judge wrote.
Wednesday’s ruling is not a decision on the merits of the allegations; it merely allows the case to move forward into discovery, where Drakeo’s family will be able to gather evidence. They will then need to show factual proof that their allegations are true.
A rep for Live Nation did not immediately return a request for comment on Thursday.
Then a rising star in the hip hop world, Drakeo the Ruler (real name Darrell Caldwell) was attacked by a large group of assailants and stabbed repeatedly on Dec. 18 while preparing to perform at Once Upon a Time in L.A. The rapper was rushed to the hospital in critical condition, where he later died from his injuries. The Los Angeles Police Department is investigating the attack, but no criminal charges have yet been filed and a suspect has not been named.
Drakeo’s brother, Devante Caldwell, filed the current lawsuit in February, accusing Live Nation of legal negligence over security measures at the concert that he claimed ranged from “lackadaisical to totally absent.” He said Live Nation should have known that nearby South Central Los Angeles was “rife with gang activity” and should have beefed up protection accordingly.
In seeking to toss the case out, Live Nation’s attorneys argued back in July that such generalizations were not enough to legally put the company on the hook for the attack; they said Caldwell’s lawyers needed to point to a specific previous attack that could have raised red flags for Live Nation. But on Wednesday, Judge Orozco rejected that argument — ruling that a broader awareness of danger could suffice.
“Although the occurrence of a mob/gang attack may have occurred for the first time, defendants may nevertheless be held liable if the facts show that the danger was foreseeable and/or preventable,” the judge wrote.
Devante Caldwell’s lawyer, Jovan Blacknell, did not immediately return a request for comment on the decision.
Read the entire decision here:
South Korea-based media company Kakao Entertainment, which owns Monsta X‘s K-pop record label Starship Entertainment, said on Thursday (Jan. 12) it raised 1.2 trillion won ($966 million USD) from a group of investors led by sovereign wealth funds.
The move signals strong investor interest in Korean music and media. Kakao Entertainment owns three other record labels in addition to Starship: Antenna, Edam Entertainment and IST Entertainment, the latter of which lists The Boyz on its roster. Kakao Entertainment also owns the leading South Korean music streaming app Melon, the North America-based webtoon company Tapas Entertainment and several media production companies and is a subsidiary of the tech conglomerate Kakao Corp.
The company plans to use the investment to “spearhead growth in K-culture worldwide,” including expanding its record labels’ reach through distribution partners and its artists’ fanbases through touring, according to a company statement.
“It’s significant that we were able to secure funds of this scale at a time when both the Korean and global markets face a lot of uncertainty and investment sentiment is weaker,” said Kakao Corp.’s chief investment officer and executive vp Bae Jae-hyun in the statement. “This is [a] testament to the global competitiveness and future growth potential of Kakao Entertainment’s unique IP value chain, which spans multiple categories in the entertainment industry.”
Singapore’s GIC and Saudi Arabia’s Public Investment Fund (PIF) each invested 600 billion won ($484 million USD) as part of the deal, the Korea Economic Daily reported earlier on Thursday. GIC and PIF did not immediately respond to requests for comment.
Kakao Entertainment will issue new shares through a third-party allotment, it said.
ASM Global acquired talent buying agency Madison Entertainment, which works with both small-capacity venues and larger concert series/multi-day festivals. “We are committed to add resources to our promoter and live content division in order to ensure that all of our managed venues continue to be leaders in live-event performances,” said ASM Global president/CEO Ron Benison in a statement. “Under Roger’s leadership, the addition of Madison Entertainment will further grow live music content for our clients, particularly within our industry-leading nationwide theater network.”
DJ Pee .Wee, the “vinyl-spinning alter ego” of rapper Anderson .Paak, signed with the Las Vegas-based MAC Agency for representation. DJ Pee .Wee has several headlining dates on the schedule, including appearances at the Sundance Film Festival and a slot at the Bud Light Super Bowl Music Fest in February. Previous appearances included Spotify Beach with Kendrick Lamar in Cannes, the Ami After Party at Paris Fashion Week and Dave Chappelle‘s set at the Netflix Is a Joke festival at the Hollywood Bowl, among other engagements.
TikTok signed a licensing deal with Saudi Arabia-based Rotana Music Group, whose portfolio includes artists across the Arab world and Gulf region such as Mohamad Abdo and Amr Diab, among many others. “We at Rotana are very thrilled with this licensing agreement, which will facilitate Arab Music reach into the MENA music industry and young communities,” said Rotana Music Group CEO Salem Al Hendi in a statement. “The creative culture in MENA is so vibrant and diverse, and this agreement will enhance the exchange of music content, while promoting and supporting local artists on a proven leading platform for short-form videos.”
Vevo partnered with TikTok to create and program Trending on TiKTok, a new weekly Vevo show that will round up the music videos for the top trending songs on the TikTok platform, alongside clips of creators using the songs in their content. The show will be available across the Vevo networks in the U.S., Canada, Mexico and Brazil and will be a staple TV premiere on Vevo’s FAST (free ad-supported streaming TV) channels, with consecutive airing during peak viewing hours throughout the week.
Warner Music Group (WMG) partnered with digital fashion retailer DRESSX to provide WMG artists with a new revenue stream. Under the agreement, select WMG artists will collaborate directly with DRESSX to design and launch 3D and AR virtual clothing that fans can collect on Instagram, Snapchat and other platforms.
Independent singer-songwriter Cody Jinks’ Late August Records signed a partnership with The Orchard, under which the latter company will provide Late August artists “with the tools and support to build, sustain and elevate their global reach.” The first artist signed to Late August (other than Jinks, who previously started the label as a home for his own music) is singer, songwriter and guitarist Erin Viancourt, who will release her debut album in May 2023. Late August Records will continue to be led by Jinks and his longtime manager Arthur Penhallow, Jr., while Stephanie Hudacek will lead the label’s new Nashville office.
Event technology company Events.com secured a capital commitment of $100 million in the form of a share subscription facility (SSF) from Gem Global Yield (GGY). The investment will accelerate the company’s growth strategy through acquisitions, partnerships and other initiatives. Under the deal, Events.com will be able to draw down up to $100 million following an equity exchange listing. The company — which previously acquired an AI event discovery company, an event sponsorship technology company and a ticketing company — is set to announce a new acquisition soon.
Mastercard will use the Polygon blockchain to host its newly-announced Mastercard Artist Accelerator, which will connect five artists from across the globe with mentors and a “dynamic fanbase as they learn and create in Web3,” according to a press release. Slated to launch this spring, the program will give selected artists exclusive access to special events, music releases and more while teaching them how to build their brand via Web3 experiences including minting NFTs. Music fans will also be invited to purchase a limited-edition “Mastercard Music Pass” NFT that will give them access to the new platform. The Mastercard Artist Accelerator will culminate in a livestreamed artist showcase later this year.
Music marketing firm Feature.fm partnered with YouTube in a deal that will allow Feature.fm users to enjoy access to conversion and attribution data reporting to track streams in YouTube and YouTube Music that came from a Feature.fm smart link. Under the partnership, artists, managers and labels will be enabled to automatically connect YouTube and YouTube Music to their smart links, allowing them to better understand how to effectively market their music on the YouTube platform.
Music and influencer management firm Innovo Management invested in content aggregation platform JamFeed, marking them as the first investor in JamFeed’s second round of financing. JamFeed manages over a dozen TikTok creators/artists — enabling them to build their businesses and connect with fans — and also boasts a brand marketing division. As part of the investment, Innovo co-founder Sam Saideman has been added to JamFeed’s board of advisors to assist in the next phase of the company’s expansion.
Rapper Asian Doll signed a distribution partnership with music tech company Vydia, which will provide her with a suite of services, including video and audio supply chain, global distribution, analytics, rights management, payments and detailed revenue reporting in support of her forthcoming EP slated to drop on Jan. 31. The first new music released under the deal is the single “Sky Falling.”
Country singer Bryan Martin signed with WME for global representation. Martin has a national tour and a new album in the works, with a single, “Wolves Cry,” slate for release on Jan. 27 via Average Joes Entertainment.
Talking Stick Resort is the new name-in-title sponsor of Live Nation‘s 20,000-capacity outdoor Phoenix venue the Ak-Chin Pavilion. The venue is now known as the Talking Stick Resort Amphitheatre.
The National Independent Venue Association (NIVA) partnered with r.Cup, a sustainable platform that provides reusable cups to replace single-use plastic cups. Under the deal, NIVA members in r.Cup operating cities Denver and Seattle will be able to reduce their environmental imprint by using r.Cup’s reusable cup system, with $.01 of every cup used by a NIVA member donated to NIVA’s National Independent Venue Foundation (NIVF). NIVA members in Los Angeles and Milwaukee will also soon have the option to utilize the platform.
Griffen Palmer, winner of a 2020 episode of NBC’s Songland, signed with Big Loud Records, which will release his solo debut single “Second Guessing” — originally crafted during his appearance on Songland — on Friday (Dec. 13). Palmer’s debut album is slated to drop later this year. He previously signed a publishing deal with Big Loud Publishing in 2019.
Get Physical Music added the master and publishing catalog of house-music imprint Definitive Records (Jetstream, Dance Fever, Robot Man) to its portfolio of labels. Definitive co-founder John Acquaviva will remain with the label and continue to be active on the A&R front while working with the Get Physical team.
Canadian lifestyle brand October’s Very Own (OVO) partnered with FaZe Holdings, parent company of gaming and lifestyle brand FaZe Clan, on a collection that will include FaZe Clan and OVO co-branded gaming controllers, mouse pads, hoodies, varsity jackets and more. The collection was made available starting Dec. 21 at OVO’s online store and OVO retail locations. Further initiatives under the partnership are expected later this year.
In a happy ending to one of the music industry’s grimmest and longest tales, John Fogerty has gained worldwide control of his Creedence Clearwater Revival publishing rights after a half-century struggle.
At a time when Fogerty’s peers such as Bruce Springsteen, Bob Dylan and Neil Young are selling their copyrights for hundreds of millions of dollars, the iconic Rock & Roll Hall of Famer has done the opposite: He recently bought a majority interest in the global publishing rights to his historic CCR song catalog from Concord for an undisclosed sum. The treasure trove includes such rock classics as “Proud Mary,” “Down on the Corner,” Fortunate Son,” “Bad Moon Rising” “Up Around the Bend” and “Green River.”
Concord has owned the rights since 2004 when the company bought Saul Zaentz’s Fantasy Records. One of the first moves Concord made was to reinstate and increase Fogerty’s artist royalties, which Fogerty had relinquished to Zaentz in 1980 to get out of his Fantasy deal and had not received in 25 years.
Concord retains the CCR master recordings already in its catalog and will continue to administer Fogerty’s share of the publishing catalog for an unspecified limited time.
Seated on the spacious patio of his Southern California home with his golden retriever, Creedy (short for Creedence) by his side, Fogerty, 77, admits gaining control of his copyrights is a day he never thought would come. “I tried really hard,” he says to get them back in the decades since he signed his label and publishing deal in 1968 with Fantasy but suffered setback after setback at the hands of Zaentz, who died in 2014.
“I’m the dad [of these songs]. I created them,” he says. “They never should have been taken away in the first place. And that hijacking left such a massive hole in me.” With the support and love of his manager and wife of 36 years, Julie Fogerty, he says he had gotten over the anger that plagued him for decades over Zaentz’s treatment, but the longing to own his songs never went away.
John Fogerty
Julie Fogerty
“The happiest way to look at it is, yeah, it isn’t everything,” he says of acquiring a majority, but not full ownership. “It’s not a 100% win for me, but it’s sure better than it was. I’m really kind of still in shock. I haven’t allowed my brain to really, actually, start feeling it yet.” Fogerty, who had retained his writer’s share of his CCR copyrights, also owns the masters and publishing to his solo material, including such hits as “Centerfield,” “Rockin’ All Over the World,” and “Almost Saturday Night.”
The reclaimed CCR copyrights number more than 65, mostly written by Fogerty during the group’s short, but extremely prolific career. As one of America’s seminal rock bands, CCR had a tremendous run, including landing five top 10 albums on the Billboard 200 between 1969 and 1970 before breaking up in 1972. Their popularity continues with new generations: CCR’s Chronicle: The 20 Greatest Hits, released in 1976, has spent 622 non-consecutive weeks on the Billboard 200, the fifth highest of any album on the chart. More than 50 years after its initial release, CCR hit “Have You Ever Seen the Rain” reached No. 1 on Billboard’s Rock Digital Songs Sales Chart in 2021.
Keep On Chooglin’
The latest effort to gain ownership of his publishing began 18 months ago as the Fogertys realized that under U.S. copyright law, rights to his compositions would begin reverting back to him in a few years as the songs turned 56 years old, but that wouldn’t have included rights outside the U.S. “Julie began to think larger and [told Concord], ‘John would like to buy his songs. He’d like to figure out a way’,” Fogerty says.
“While John is having the time of his life out there on the road, with his kids playing with him and celebrating this music, [I thought], why can’t we take those few years left [before the titles revert] and not have them give them to us, but we’ll buy them,” Julie Fogerty says. “Whatever the value plus a little bonus. We’ll figure out how to come up with the money and we’ll just buy that. [Concord’s] not going to lose because they’ll have the value.”
Concord initially declined and Fogerty was once again resigned. “I was sort of a bump on the log going, ‘Never going to happen,’” he says.
Julie Fogerty then brought in Irving Azoff, who had briefly managed Fogerty more than 20 years ago, to help mediate. She says Azoff called Concord chairman and CEO Scott Pascucci and said, “‘Scott, you’ve made so much money on Fogerty. Do you want to be known in the music business as Saul Zaentz or [revered late Warner Brothers Records head] Mo Ostin?’ And I think he heard that. And [Concord president] Bob Valentine has been incredible as well.’” Azoff encouraged the Fogertys to pursue worldwide rights, advising they would have to give up an ownership percentage in order to do so.
“John Fogerty is one of music’s greatest treasures. Now, finally after decades of suffering, I’m thrilled to see John regain ownership of his music,” Azoff tells Billboard in an email. “And kudos to Concord for understanding that doing the right thing for artists is great for their business as well.”
“John’s songs are some of the greatest compositions of the 20th century,” Valentine said in a statement. “We’ve been honored to own and represent these works ever since we acquired Fantasy in 2004. Given the unique set of circumstances around the history of John’s relationship with Fantasy, we were more than happy to oblige John and Julie in working out an agreement for these songs to revert back to him early. And we’re profoundly grateful that John has agreed to partner with Concord for the remaining worldwide copyrights on the share of these songs that we will retain.”
Fogerty was represented by Barnes & Thornburg partner Jason Karlov and associate Amanda Taber. Reed Smith’s Steven Sessa and Josh Love represented Concord.
The winding journey to reclaim his rights and undo the damage from his contentious relationship with Zaentz has been long and, at times, debilitating for Fogerty.
In addition to taking his artist royalties for decades, in 1985, Zaentz sued Fogerty for $144 million, alleging the artist’s then current hit, “The Old Man Down the Road,” ripped off CCR’s “Run Through the Jungle.” Even though Fogerty had written both songs, Zaentz claimed Fogerty was now plagiarizing a song Zaentz owned. After Fogerty won, his effort to be reimbursed for his $1.3 million in legal fees went all the way to the Supreme Court in 1993.
For years, Fogerty refused to play CCR songs live, unable to stomach Zaentz making money off his performances, but he softened his stance in 1987 with a little prodding from Bob Dylan. While at revered North Hollywood, Calif., club the Palomino, Fogerty, Dylan and George Harrison joined headliner Taj Mahal on stage. “The crowd started asking for ‘Proud Mary,’” Fogerty recalls. “Bob looked at me and said, ‘John, if you don’t do ‘Proud Mary,’ everybody’s gonna think it’s a Tina Turner song,’” referencing Ike & Tina Turner’s 1971 cover. “It’s Bob Dylan, for crying out loud. In my mind, I was still committed that I wasn’t going to do those songs, but I decided I guess I can give that up for three minutes.” Later that year, Fogerty began incorporating CCR songs back into his set.
‘They Tried to Erase Him’
Fogerty last tried in 1989 to buy his publishing when he and Zaentz sat face-to-face with legendary rock empresario Bill Graham acting as a mediator. They agreed on a sum, but then months later in final negotiations in the early ’90s, Fogerty says Zaentz doubled the price to a figure Fogerty couldn’t afford. Fogerty went to Warner Chappell and asked if the publishing company would go in on a deal with him. “I met with the top guy, and he looked at me and said, ‘It’s not sustainable.’ That might have been, at least as business kinds of things go, the worst day of my life,” Fogerty says. “I don’t think I could even impart to [Julie] how final that was: ‘There’s no hope for you. You’re dead.’”
He had a freeing revelation shortly thereafter when on a jog, he was listening to a radio therapist counsel a woman who had been with a man who refused to commit to marriage. The therapist told the women her boyfriend was never going to change, and she needed to understand that. “The light goes on in my head as I’m listening and I just fell on the ground,” Fogerty says. “I actually started laughing. I realized it was never going to happen. It was a horrible realization. Anyway, that was the end of that: Saul was a jerk and will be eternally that and, in some way or fashion, I got over that.”
When asked if he now would pursue ownership of his CCR masters, Fogerty says, “My heart of hearts would love if that ever happened, but I’m not actively sitting around worrying about that. The fact that I didn’t own my own songs was much more bothersome to me because of the treatment that I received.”
For now, Fogerty, whose last release was the socio-political track, “Weeping in the Promised Land,” in 2021, is focused on playing live. With his two sons in his touring band, he says, “playing is more joyful now than in any time in my life…. The last years of Creedence got to be like every band that dissolves, it was so tense. I mean, I miss my brother, [Creedence rhythm guitarist] Tom, who passed at a time when we were not really in each other’s lives [in 1990]. I’m looking forward to getting to heaven and playing in God’s band and Tom will be there.”
With control over how his music is used now, Julie Fogerty says she’d like “to take these iconic songs and reintroduce them to the new generation because I think the songs will be around forever,” adding there’s talk of both a biopic and a documentary about Fogerty. “But it’s mostly I think just connecting John to those songs. There were a lot of years where he felt like they tried to erase him.”
For Concord’s part, which released Creedence Clearwater Revival at the Royal Albert Hall last year without Fogerty’s participation, Valentine tells Billboard he hopes regaining his copyrights “gives John a sense of closure for the years of the feelings that he’s had ever since he signed with Fantasy…. Also, hopefully, [with] that sense of peace that it’s a new beginning. We hope he will be reinvigorated and continue to do things that promote the catalog. It’s extraordinarily important — not only culturally as one of the greatest American bands ever, but it’s an important component of Concord’s legacy. We hope it gives him a feeling of partnership and moving forward in a way that makes him feel more invested in the songs and Creedence with us.”
As Fogerty moves into the next chapter with the “lingering specter” that has haunted him for so long finally gone, he says with a big grin, “I’m ready to feel really good about music.”
A lawyer for Marjorie Taylor Greene responded Wednesday to a cease and desist letter from Dr. Dre over her unlicensed use of the rapper’s 1999 smash hit “Still D.R.E.,” promising that the conservative lawmaker would make “no further use” of the song.
Two days after attorneys for Dre threatened to sue the Republican congresswoman for posting a video featuring the song to “promote your divisive and hateful political agenda,” Greene waved the white flag in a brief response.
“We are in receipt of your correspondence of January 9, 2023,” Greene’s lawyer wrote in a copy of the letter obtained by Billboard. “On behalf of Congresswoman Greene, please be advised that no further use of Mr. Young’s copyright will be made by a political committee or via social media outlet she controls.”
Notably, the response letter was signed by Stefan Passantino, a former Trump administration lawyer who briefly made headlines last month over his work representing White House aide Cassidy Hutchinson, a key witness for the House committee investigating the Jan. 6 attack on the Capitol.
The video in question — posted Monday morning (Jan. 9) on Greene’s social media accounts — featured the Republican representative strutting through the halls of Congress in slow motion, grinning at the camera as Dre’s infamous piano riff from “Still D.R.E.” repeats on a loop. By Monday evening, the video had already been disabled by Twitter.
After the video was posted, Dre quickly released a public statement, saying he would never license his music to someone as “divisive and hateful” as Greene. In a letter later that day, his attorney Howard King threatened to sue for copyright infringement — warning Greene that a federal lawmaker “should be making laws not breaking laws.”
“One might expect that, as a member of Congress, you would have a passing familiarity with the laws of our country,” King wrote. “It’s possible, though, that laws governing intellectual property are a little too arcane and insufficiently populist for you to really have spent much time on.”
Wednesday’s response from Greene was exactly what was requested of her by Dre and King, who demanded that she respond with confirmation that the video had been removed by 5 p.m. ET on Wednesday. But it would not prevent the star from still choosing to sue her over the republication of his song, however briefly it existed online.
Perhaps hinting at that possibility, Greene and Passantino’s letter stressed that it should not be read as “an admission of any fact or waiver of any rights or defenses.” Dre’s lawyer King did not immediately return a request for comment on whether he would pursue additional action against Greene.
The response is a notable change of tone for Greene, who on Monday responded to Dre’s threats with a sharply-worded statement to TMZ: “While I appreciate the creative chord progression, I would never play your words of violence against women and police officers, and your glorification of the thug life and drugs.”
Singer and influencer Malú Trevejo is being sued by four former staffers for abuse.
According to the lawsuit, obtained by Billboard, plaintiffs Victoria Barreto, Ralph Colon, Edwardo Vidal and Witchneverson Lacroix allege they “endured mental, emotional, sexual and physical punishment” during their employment with the 20-year-old artist. They are now suing her for battery, defamation and sexual misconduct, among other complaints, and are seeking $4 million in damages.
Trevejo’s ex-employees — who stopped working for her between 2021 and 2022 — also claim that the Cuban-American social media star, who rose to prominence in 2017 with her first single, “Luna Llena,” berated them with racial slurs.
According to the civil lawsuit — filed in Miami against the singer and her company — Trevejo made sexual advances toward Barreto, who was hired in October 2021 as Trevejo’s personal assistant, once she began working for her. Barreto claims Trevejo asked her to “sleep with her in her bed, cuddle with her and watch television, controlling and claiming possession of” her during the course of her employment (which lasted three months). When she turned down Trevejo’s requests, Barreto “experienced increased aggression, dismissive responses” and would be called “stupid” or “dumb,” she claims.
Also in the complaint, Colon, who is listed as Trevejo’s security/bodyguard, claims he was “abused” by her one week after starting the job. According to Colon, Trevejo “frequently ignored” his security advice, “forcing” him to put himself in the line of danger in “avoidable” situations.
In a statement to Billboard, Trevejo’s attorney said, “Ms. Trevejo is aware of the false allegations in the lawsuit and looks forward to defending herself against these baseless claims.”
The lawsuit comes almost five years after Trevejo was granted a motion to disaffirm her obligations under her recording agreement with Universal Music Latino, a division of UMG Recordings. Malú asserted that her contract with Universal Music Latin was void on grounds that she was underage (14 years old) when she signed the recording and co-management agreement with Universal Music Latino imprint In-Tu Linea, adding that it was never certified by the court.
You can read the full lawsuit below.
With 2022 now officially in the books, the U.S. market share report is in: with Bad Bunny, Lil Nas X and Harry Styles leading the way, it was a banner year for Sony Music, as it gained in both overall market share and, more drastically, in current market share on the leading Universal Music Group, narrowing the gap among releases less than 18 months old to 6.58% in 2022 — a chasm that stood at 13.7% at the end of 2021.
But there was good news for UMG, too, as Republic Records rode a red-hot fourth quarter — led by Taylor Swift’s Midnights, the No. 2 album of all of 2022 despite only being released in October — to rank No. 1 among labels in current market share for the entirety of 2022, coming in at 10.38%. That makes it the only label to top double digits in the final ranking of the year. And UMG maintained a double-digit lead in overall market share over second-place Sony, leading 37.54% to 26.87% despite the latter’s gains throughout the year. Interscope Geffen A&M finished the year as the No. 1 label in overall market share once again, coming in at 9.63%, though it was down from the 10.08% share it held at the end of 2021.
Sony’s overall market share grew 0.76% year over year — up to 26.87% in 2022 from 26.11% in 2021 — marking a big stride forward for the music group. That gain was largely at the expense of Universal Music Group, which dropped 0.66% year over year, from 38.20% in 2021 to 37.54% at the end of 2022. Meanwhile, Warner Music Group’s market share grew from 16.06% in 2021 to 19.05% in 2022, though that is not an apples-to-apples comparison; this year, Warner-owned distributor ADA — which distributes dozens of independent labels — was factored into WMG’s market share, adding 2.96% to its total and accounting for almost all of Warner’s jump. (The move more accurately aligns Warner’s distributed market share with the other majors, which also include their distribution wings in their totals.) That switch also explains the commensurate dip for the indie sector, which fell from 19.63% in 2021 to 16.54% in 2022.
In current market share, Universal fell more than 4%, from 37.89% in 2021 to 33.57% in 2022, with all three other major players picking up that slack, led by Sony, which ballooned significantly almost 3 percentage points to 26.99% in 2022 — up from 24.19% in 2021. Warner — even taking into account the 3.32% in current share added by ADA — was also up, from 14.42% in 2021 to 18.30% in 2022 (an increase of 0.56% beyond the ADA bump), while the indie sector went from 23.50% last year to 21.14% in 2022, which is up 0.96% year over year when taking into account the loss of the ADA labels. Universal did, however, raise its catalog percentage from 38.33% in 2021 to 38.94% in 2022, while the other three all fell slightly.
Following Interscope in overall market share, Atlantic remained in second, at 8.89%, although it, too, was down slightly from 2021, when it posted a 9.17% overall share of the market. Republic ended the year in third — the only label in the top five to grow its overall market share year over year — with an 8.44% mark, up from 8.28% through the end of 2021, while Columbia (6.98%) and Capitol Music Group (6.40%) rounded out the top five. (A note on these labels: Interscope’s market share includes Verve [0.85%]; Atlantic’s includes the now-combined 300 Elektra Entertainment Group [2.35%], which would have been good enough for ninth place on its own; Republic’s includes Island [1.51%], Cash Money [0.71%], Big Loud, Imperial and Mercury; Columbia includes some indie labels from distributor RED; and Capitol includes Virgin [1.78%], Motown/Quality Control [1.05%], Capitol Christian Music Group [0.61%], Astralwerks and Blue Note.)
In sixth, Warner Records — which includes Rhino, Warner Latin and a chunk of Warner Nashville in its market share — grew year over year, from 6.16% in 2021 to 6.35% in 2022, having steadily increased its share each quarter of the year. RCA, whose market share stands alone, did the same; the label came in seventh, growing in each quarter to a finish of 5.12% — up from 4.89% in 2021 — wrapping the year strongly with the four-week No. 1 run of SZA’s S.O.S. In eighth, Epic Records also picked up market share, rising to 2.63% in 2022 from a 2.38% share in 2021. Def Jam, in ninth, faltered to 2.07%, down from 2.25% in 2021; while Sony Nashville jumped into 10th, leapfrogging UMG Nashville by growing its market share from 1.99% to 2.04% year over year.
UMG Nashville dropped to 11th, slipping from 2.04% in 2021 to 1.85% in 2022, while Concord jumped from 13th (1.68%) in 2021 to 12th (1.73%) in 2022. Disney — with its early-year Encanto boost — was up to 1.60% in 2022 from 1.40% the year before, good for 13th, while Universal Latin (1.47%) and Sony Latin (1.24%) rounded out the top 15, both up from the year prior as well.
Republic had a big fourth quarter (9.57%), with four major releases — Stray Kids’ Maxident, Swift’s Midnights, Drake and 21 Savage’s Her Loss and Metro Boomin’s Heroes & Villains, all of which debuted at No. 1 on the Billboard 200 — collectively topping the Billboard 200 for eight weeks. That helped boost its current market share from 8.77% through the first three quarters of the year to 10.38% by year’s end, with that late push taking it to No. 1 among all labels in terms of current market share in 2022.
Atlantic, in second place in current share, essentially maintained its level from last year, coming in at 9.15% (from 9.16% in 2021), though it moved up one spot from third place; while Interscope dropped sharply, from a stellar 11.05% in 2021 to 8.72% in 2022, falling from first to third. Columbia and Capitol, in fourth and fifth, respectively, both fell in share, the former from 6.83% to 6.67% and the latter from 5.64% to 4.97%; while Warner and RCA, in sixth and seventh, both grew in share, the former from 4.48% to 4.86% and the latter from 4.37% to 4.65%.
Outside the top seven labels, there was a bigger shakeup in current market share. Epic Records moved up to eighth place, gaining from a 2.04% current share in 2021 to 2.23% in 2022, while Sony Nashville jumped up to ninth, growing to 1.89% from 1.59% in 2021. Alamo made the biggest leap, all the way up to 10th in current share in 2021 at 1.56% in its first full year as a standalone Sony Music label; in 2021, its share was split between UMG and Sony as it was sold midway through the year, making an apples-to-apples comparison difficult. BMG, in 11th, held steady at 1.42%, while Disney, perhaps unsurprisingly, surged into 12th, up to 1.36% year over year from 0.52% in 2021. Def Jam, however, saw its current share sink from 2.21% in 2021 to 1.27% in 2022, finishing 13th, while Sony Latin (1.24%) and UMG Nashville (1.23%) rounded out the top 15.
As is generally the case, catalog market share tracked similarly to overall market share, as older titles generally perform consistently as a percentage of the market year over year. But both UMG and the indie sector grew year over year, while Sony and Warner, the latter accounting for the ADA switch, were both down slightly as well.