State Champ Radio Business
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Walter F. Ulloa, the Latin media veteran who founded Entravision Communications, died unexpectedly of a heart attack over the New Year’s holiday weekend, his company announced. He was 74 years old.
At the time of his death, Ulloa was the chairman and chief executive of Entravision, a global digital marketing and media company that boasts more than 4,500 technology and consumer brand clients, according to Ulloa’s LinkedIn page. He co-founded the company with Philip Wilkinson in 1996.
In the U.S., Entravision is known mainly for its robust media offering, which includes 55 television stations, making it the largest independent broadcaster of Univision-affiliated stations in the country, and 47 radio stations, most of them Spanish-language.
Ulloa, who was Mexican-American, grew up in California and graduated from USC. He later attended Loyola Law School. He started his career in media at KMEX-TV, Univision’s flagship television station in Los Angeles, where he worked multiple jobs, from production manager to news director to CEO, before launching Entravision.
Especially at a time when Spanish-language media was not in the hands of Latinos, Ulloa was a trailblazer who saw early on the possibilities in the field and recognized the power of Latin ownership.
“Walter Ulloa was a visionary businessman who took a Spanish-language TV station and built it into a global enterprise,” posted congressman Chuy García (D-IL) on Twitter. “His commitment to empowering the Latino community was his guiding star and his passion. My thoughts are with his family and the many friends he leaves behind.”
Walter Ulloa was a visionary businessman who took a Spanish-language TV station and built it into a global enterprise. His commitment to empowering the Latino community was his guiding star and his passion. My thoughts are with his family and the many friends he leaves behind. https://t.co/tANjo6Li73— Congressman Chuy García (@RepChuyGarcia) January 4, 2023
After earning his first Latin Grammy nomination for his work on Rauw Alejandro’s Trap Cake, Vol. 2, YENSANJUAN (real name: Roberto Rivera Elias) signed a global publishing deal with Rimas Publishing. In addition to Alejandro, the emerging Puerto Rican songwriter, who says he’s “living one of the most exciting moments of my career,” has worked with artists such as Sebastian Yatra and Feid. He joins Rimas’ star-studded roster, which includes Bad Bunny, Eladio Carrión, Mora, Súbelo NEO and Tempo.
Variety show host, singer, songwriter and entrepreneur Pat Boone has reorganized his 2,300-song catalog, which consists of both his own works and others he acquired over the years from other talents. As a songwriter, Boone penned the lyrics to “The Exodus Song (This Land Is Mine)” and a number of film scores, but his catalog also contains compositions and recordings he purchased from others along the way, including cuts from David Gates, Leon Russell, Ralph Carmichael, Paul Smith, Donn Thomas, Jimmy & Carol Owens, Roger Dollarhide and Mort Lindsey, as well as masters from Boone’s Gold Label by legacy artists such as Jack Jones, Sha Na Na and Toni Tennille. Boone’s catalog, which is held under the self-owned companies Spoone Music and Cooga Music, will team up with Honolulu-based Craft Brewz Music, a creative agency specializing in catalog data collection and film/TV licensing. Spoone also has partnerships with Sweet on Top, a company that’s subpublished by peermusic, to pitch Boone’s catalog for placements.
Lickd, a music licensing platform for content creators, has partnered with Warner Chappell Music. Under the deal, which expands upon the partnership Lickd has already forged with the publisher’s parent company, Warner Music Group, Lickd will provide YouTube creators full, precleared access to use WCM’s music catalog in their video content.
Sony Music Publishing is currently holding its first-ever West Africa songwriting camp in Accra, Ghana, Jan. 5-12, 2023. Organized by Wale Davies, the company’s head of A&R, Africa, the camp will encompass a week’s worth of sessions, wellness activities and community outreach workshops to further the development of the next generation of songwriters in the region.
Sony Music Publishing U.K. has signed rising artist Naomi Kimpenu to a global publishing agreement. Awarded the Rising Star honor at the 2022 Ivor Novello Awards for her songwriting skills, the newcomer is already gaining the attention of Jack Saunders and Sian Eleri of BBC Radio 1.
Concord Music Publishing and Stax Records collaborated to host a songwriter workshop at Stax Music Academy in Memphis. The two companies have collaborated for the last three years on other songwriting workshops, but this is the first time they’ve been able to host the classes in person. Young students got instruction from hit-makers like songwriter Varren Wade, founding Soulsville president/CEO Deanie Parker, Concord senior vp of A&R Jeremy Yohai and Concord senior manager of A&R Matthew Megan.
For the first time ever, Billboard is introducing a peer-voted award to its annual Power 100 ranking of the music industry’s most influential executives. This new Power Player’s Choice Award will honor the executive whose peers believe has the most impact across the music business over the past year, from recording and publishing to touring.
Voting will be open to all Billboard Pro members, both existing and new, with one vote per member.
The first round of voting will begin Jan. 6, with an open call for nominees.
The second round of voting will begin Jan. 11, in order to narrow down the top 20 nominees into the final five top executives.
The third round of voting will begin Jan. 13, to select the winner from that list.
Voting will close Jan. 17.
If you are not yet a member of Billboard Pro, you can join here.
The man accused of murdering Migos rapper Takeoff was released from a Houston jail late Wednesday (Jan. 4) after posting a $1 million bond, court records show.
According to filings in Harris County court and from the Harris County Sheriff’s Office obtained by Billboard, Patrick Xavier Clark posted bond on Wednesday and was released at 8:47 p.m. local time. He’s due back in court for a hearing on March 9.
Bond had initially been set at $2 million, but Clark’s lawyers argued that that figure was excessive and potentially unconstitutional — essentially a backdoor to simply denying bond altogether. After they demanded the figure be lowered to $100,000, the judge agreed to reduce it to $1 million on Dec. 14.
Court records show Clark will still be under 24/7 hour arrest, cannot have any contact with anyone involved, and will be required to wear a GPS monitor that can immediately notify prosecutors and defense attorneys of any violations. He must also submit to drug testing and cannot drink alcohol, as court records indicate that “alcohol was a factor in the offense.”
A representative for the late star did not immediately return a request for comment on Clark’s release. Clark’s lawyer also did not respond to a request for comment.
Takeoff (born Kirshnik Khari Ball), 28, was shot and killed Nov. 1 during a private party he attended at 810 Billiards & Bowling in downtown Houston with his uncle and bandmate, Quavo. The musician was killed by “penetrating gunshot wounds of head and torso into arm,” according to a report from the Harris County coroner’s office. Clark, 33, was arrested on the east side of Houston on Nov. 1 and charged with murder; another man, 22-year-old Cameron Joshua, was arrested and charged with the unlawful carrying of a weapon.
Sony Music has reached a settlement to end a lawsuit that claimed the name of Future’s chart-topping album High Off Life infringed the trademark rights of a creative agency that uses that exact same name.
High Off Life LLC sued Sony in 2020, alleging the label had “destroyed” the smaller company’s brand by using the name for the title of Future’s eight studio album. Though Sony argued an album name was protected by the First Amendment, a federal judge refused to dismiss the case last year.
But in a motion filed Tuesday, both sides agreed to end the case. The terms of the settlement, like whether any money exchanged hands or any names would be changed, were not publicly disclosed. Attorneys for both sides did not return requests for comment.
High Off Life reached the top spot on the Billboard 200 in May 2020. It was originally set to be titled “Life Is Good” – the name of the album’s third single – but the name was switched at the last minute as the COVID-19 pandemic swept made life somewhat less than good.
That was a problem for High Off Life LLC, which filed a trademark infringement lawsuit in October 2020 against Sony and Future’s Freebandz Productions. The company claimed it had been selling “High Off Life” apparel since 2009, had launched a creative agency under the name in 2017, and operates a hip-hop YouTube channel called “High Off Life TV.”
The case claimed that Sony’s promotion of Future’s album had buried the smaller company in search results: “Overnight, Defendants destroyed HOL’s investment of many years and many thousands of dollars into building consumer recognition.”
To beat the lawsuit, Sony and Freebandz cited something called the Rogers test — a legal doctrine that makes it very difficult to win lawsuits over the use of brand names in “expressive works” music. The rule says that authors have a First Amendment right to use trademarks in their work unless it explicitly misleads consumers, or is completely irrelevant to the artwork.
That argument might have prevailed eventually, but U.S. District Judge Scott Hardy ruled in April that it was too early to make that call. The decision allowed the case to proceed into discovery, where both sides to gather evidence and build their cases.
Amazon is set to lay off more than 18,000 workers, CEO Andy Jassy said in a note to employees Wednesday.
The majority of the cuts will impact staffers in the Amazon Stores and People Experience and Technology divisions, the latter of which includes teams involved in Human Resources. Impacted employees will be contacted beginning Jan. 18, though the company had already begun laying off staff in November across its devices and books businesses, which include products like Alexa, Fire TV and Kindle.
The 18,000 figure — which represents roughly 1.2 percent of Amazon’s 1.5 million global workforce, as of last September — is larger than the latest reported layoff figures at the e-commerce giant; in November, timed to the earlier round of cuts, the company was expected to cut around 10,000 roles.
“This year’s review has been more difficult given the uncertain economy and that we’ve hired rapidly over the last several years,” Jassy said in his note, which was shared publicly Wednesday evening after the Wall Street Journal first reported the updated figures. “Amazon has weathered uncertain and difficult economies in the past, and we will continue to do so. These changes will help us pursue our long-term opportunities with a stronger cost structure; however, I’m also optimistic that we’ll be inventive, resourceful, and scrappy in this time when we’re not hiring expansively and eliminating some roles.”
Amazon most recently reported an earnings miss for the third quarter, with net income falling from $3.1 billion to $2.9 billion year over year. The company has continued its big spending in entertainment with deals for the NFL’s Thursday Night Football, which is commanding a $1 billion yearly spend for the streaming rights, and the $465 million price tag for the first season of Lord of the Rings: The Rings of Power. Last year, Amazon also closed its costly $8.5 billion acquisition of the MGM studio.
But the tech and e-commerce behemoth is not alone in facing the negative impacts of an ongoing downturn. In November, Meta said it would lay off 11,000 staffers, or roughly 13 percent of its workforce. Earlier Wednesday, Vimeo and Salesforce announced layoffs ranging in the 10 to 11 percent range, respectively.
This article was originally published by The Hollywood Reporter.
Downtown Music Holdings has acquired Curve Royalty Systems, a company that specializes in royalty processing for digital income, it was announced Thursday (Jan. 5). Curve will now be a part of Downtown Music, a division that focuses on servicing the professional music industry.
In recent years, Downtown has pivoted away from its previous role as a traditional publisher and rights holder by selling off its 145,000-song catalog and putting its efforts into building a service-focused music company to tap into the growing cohort of DIY artists and professionals. The company has quickly amassed a suite of service tools via acquisitions including Curve, FUGA, CD Baby, Soundrop, AdRev and more. Downtown is also an active investor in companies like Beatbread and Vampr.
Though Downtown is integrating Curve into its suite of offerings for distribution and monetization, the royalty processing firm — which can distill multiple royalty statements into one cohesive report — will continue to serve its existing client base of over 1,000 labels and publishers worldwide. This includes Warp Records, Ingrooves, Mad Decent, MRC, Royalty Solutions Corp, Domino Recording Company, Hospital Records/Songs in the Key of Knife, Cal Financial and Alta Financial. Since its inception in January 2019 by co-founders Tom Allen, Richard Leach and Ray Bush, the company says it has processed nearly $4 billion in revenue.
Downtown Music president Pieter van Rijn said of the deal, “In Downtown Music, we’ve combined innovative technology and industry-leading services to create an offering that empowers music businesses and their creators. Curve perfectly complements our mission to be the leading music industry platform and their past work speaks to their high standards and pioneering technology.”
Downtown CEO Andrew Bergman added, “For some time, we have been admirers of the technology and service quality that Tom and Richard have been building at Curve. As we got to know them and their team, it became ever more obvious that their dedication and forward-thinking vision were a great fit for Downtown. Accuracy, precision, timeliness, and innovation in royalty services are core to Downtown’s mission of supporting creators and the businesses that serve them. Welcoming the Curve team to Downtown is another important step in furtherance of our mission.”
A prominent ’90s hip-hop duo is suing Universal Music Group for withholding royalties tied to what they’re alleging is a “sweetheart” deal the label reached with Spotify in the late 2000s.
Filed Wednesday (Jan. 4) in U.S. district court in New York by attorneys representing Andres Titus (Dres) and William McLean (Mista Lawnge), members of the hip-hop duo Black Sheep, the lawsuit claims UMG owes its artists approximately $750 million in royalties deriving from the company’s stock in Spotify. Under a licensing deal they claim UMG and the streaming giant reached in 2008, the label agreed to receive lower royalty payments in exchange for equity in the then-nascent streaming company. But Titus and McLean say the label breached their contract with Black Sheep and other artists by withholding what they argue is the artists’ rightful 50% share of UMG’s now-lucrative Spotify stock — and otherwise failing to compensate them for the lower royalty payments they received as a result of the alleged deal.
“Rather than distribute to artists their 50% of Spotify stock or pay artists their true and accurate royalty payments, for years Universal shortchanged artists and deprived Plaintiffs and Class Members of the full royalty payments they were owed under Universal’s contract,” the complaint reads. Titus and McLean further claim that Universal deliberately omitted from royalty statements both the company’s ownership of Spotify stock and the lower streaming royalty payments that resulted from its alleged deal with the streaming service.
“Over time, the value of the Spotify stock that Universal improperly withheld from artists has ballooned to hundreds of millions of dollars,” the complaint continues. “These and the other wrongful conduct detailed herein resulted in the Company’s breaching its contracts with artists, violating the covenant of good faith and fair dealing that is implicit in those contracts, and unjust enrichment at the expense of its artists.”
In a statement sent to Billboard, a UMG spokesperson denied Titus and McLean’s claims: “Universal Music Group’s innovative leadership has led to the renewed growth of the music ecosystem to the benefit of recording artists, songwriters and creators around the world. UMG has a well-established track record of fighting for artist compensation and the claim that it would take equity at the expense of artist compensation is patently false and absurd. Given that this is pending litigation, we cannot comment on all aspects of the complaint.”
According to the lawsuit, Titus and McLean signed a record contract with Polygram in July 1990 (later amended and revised in July 1991) as Black Sheep — the duo best known for the hit rap single “The Choice Is Yours (Revisited)” from their RIAA Gold-selling 1991 album A Wolf in Sheep’s Clothing. Black Sheep’s record contract was then assumed by UMG after the company merged with Polygram in 1998.
UMG acquired just over 5% of Spotify shares “in or around the summer of 2008” in a licensing agreement in exchange for lower royalty payments, the complaint adds, citing a 2018 Music Business Worldwide report. It claims that Universal acquired additional Spotify shares through its 2011 purchase of EMI, which had acquired shares in the streaming company around the same time, the suit alleges. It then cites UMG’s own prospectus, released in September 2021, revealing that the label held roughly 6.49 million, or roughly 3.35%, of Spotify shares as of June 30, 2021, valued at 1.475 billion euros ($1.79 billion).
It’s worth noting that UMG’s stake in Spotify has become significantly less lucrative since June 30, 2021, however. As of Wednesday’s closing price, UMG’s stake in Spotify is now worth just $560 million — the result of Spotify shares falling 70.5% over the past 18 months. Notably, Spotify isn’t the only streaming service UMG has equity in; according to the same prospectus, it also owns 0.73% of Tencent Music Entertainment shares, a stake that’s currently worth $112.5 million.
Included as an exhibit in the complaint is Black Sheep’s amended July 1991 contract with Polygram, which states that royalties paid to Titus and McLean “‘shall be a sum equal to fifty percent (50%) of [Universal’s] net receipts with respect to’ the ‘exploitation’ for any ‘use or exploitation’ of ‘Master Recordings’ created by Plaintiffs.” The plaintiffs claim they and other UMG artists are thereby entitled to 50% of the labels’ Spotify stock but that UMG has failed to pay it. This demand stems from a couple of broad assumptions: that all artists in the class signed similar contracts and that they were similarly not compensated with a portion of UMG’s stock holdings in Spotify.
The plaintiffs are asking for compensatory damages, punitive damages and an injunction “or other appropriate equitable relief” requiring UMG “to refrain from engaging in deceptive practices” as outlined in the lawsuit.
UMG isn’t alone among the major labels in acquiring Spotify stock — both Sony and Warner Music, as well as indie Merlin, also have or had stakes in the company. In May 2018, Sony sold half of its 5.707% stake in Spotify for an estimated $761 million, while that same month Merlin announced it sold its entire stake for an unknown amount and had shared the proceeds with its members. Warner followed suit in August 2018 when it sold its entire 2% stake in the streamer for $504 million, with the company announcing that around $126 million of the proceeds would be paid out to the company’s artists.
UMG has yet to sell any of its stock in the streaming giant.
-Additional reporting by Glenn Peoples
You can read the full lawsuit below.
A federal judge has tossed out a sexual abuse lawsuit filed against Marilyn Manson by model Ashley Morgan Smithline, citing the fact that she failed to retain a new lawyer after splitting with her old legal team last fall.
Smithline’s lawsuit, one of many claims of sexual abuse filed against Manson (real name Brian Warner) over the past two years, alleged that the rocker raped and abused her multiple times between 2010 and 2013. But in an order issued Tuesday (Jan. 3), Judge Fernando L. Aenlle-Rocha dismissed the case.
The reason? After Smithline split with her attorney Jay D. Ellwanger in October, the judge gave her until Dec. 5 to find a new lawyer — or to explain how she’d handle the case on her own as a so-called pro se litigant. She never did either, leading to Tuesday’s decision.
“Plaintiff has not filed a response as of the date of this order,” the judge wrote. “The court, therefore, dismisses this action … for plaintiffs failure to prosecute the action.”
The case was dismissed “without prejudice” — meaning Smithline could still refile the same claims at some point in the future. She could not immediately be located for comment; Ellwanger did not return a request for comment.
In a statement to Billboard, Manson’s attorney Howard King praised the outcome: “We thank and commend Ashley Smithline for dismissing her claims against Brian Warner without seeking or receiving anything in return. Ms. Smithline has refused to be manipulated by others who are trying to pursue their own agendas against Mr. Warner. We wish her well and will continue to work to assure that a significant price will be paid by those who have tried to abuse our legal system.”
Manson has faced multiple accusations of wrongdoing over the past two years.
Evan Rachel Wood, who began publicly dating Manson in 2007 when she was 19 and he was 39, accused him in a February 2021 Instagram post of “grooming me when I was a teenager” before he “horrifically abused me for years.” Those allegations were followed by separate lawsuits from Smithline, former assistant Ashley Walters, Game of Thrones actress Esme Bianco and a Jane Doe accuser.
In her lawsuit, Smithline made graphic and disturbing allegations of sexual assault against Manson. She alleged that she and Manson began a consensual relationship in 2010, but that it “quickly became apparent that consensual sex was not enough for Mr. Warner.”
“Ms. Smithline awoke from unconsciousness with her ankles and wrists tied together behind her back and Mr. Warner sexually penetrating her,” Smithline’s lawyers wrote in the lawsuit. “Ms. Smithline told Mr. Warner to stop and said no multiple times, and Mr. Warner told her to ‘shut the fuck up’ and ‘be quiet.’”
Manson has denied all of the allegations against him and even filed his own defamation lawsuit accusing Wood and another woman of orchestrating the many legal attacks against him. In the March 2022 complaint, he said Wood’s own “malicious falsehood” was part of an “organized attack” aimed at derailing his career, in which she had “secretly recruited, coordinated, and pressured prospective accusers to emerge simultaneously.” Wood denies those allegations.
Mexican pop star Gloria Trevi is facing a new lawsuit over a decades-old claim of sexual assault against two minors.
In a civil complaint filed in Los Angeles on Friday (Dec. 30), two Jane Does allege the singer-songwriter and her ex-producer, Sergio Andrade, “groomed” and “exploited” them when they were between the ages of 13 and 15 back in the early 1990s.
The lawsuit, independently obtained by Billboard and first reported on Wednesday by Rolling Stone, does not specifically name Trevi or Andrade — listing them only as anonymous Doe defendants — but based on the timeline of events and the details of the albums included in the suit, it’s clear that Trevi and Andrade are the defendants.
According to the plaintiffs, Trevi and Andrade used their “role, status, and power as a well-known and successful Mexican pop star and a famous producer” to coerce sexual contact with them over a course of years, much of it occurring in California. As a result of the sexual harassment, abuse and assault, the Plaintiffs have “suffered severe emotional, physical and psychological distress, including humiliation, shame, and guilt.”
The 30-page lawsuit, which includes claims of childhood sexual abuse, harassment and/or assault, was filed just days before the expiration of California’s Child Victims Act, which temporarily suspended the statute of limitations for sexual abuse lawsuits. After a three-year window of availability, the deadline to file such long-delayed lawsuits was Dec. 31, 2022.
The new allegations against the “Todos Me Miran” singer come nearly 20 years after she was acquitted by a judge and found not guilty on charges of rape, kidnapping and corruption of minors. This resulted in the immediate release of Trevi, who was being held at a prison in Chihuahua, Mexico and faced up to 25 years behind bars.
The previous trial occurred after Trevi, Andrade and backup singer María Raquenel Portillo, also known as Mary Boquitas, were arrested in January 2000 in Rio de Janeiro for allegedly luring young girls into a cult-like pornographic ring. Former vocalist Karina Yapor, who filed criminal charges against the so-called Trevi clan, alleged that backup recruits wanting to join the band were forced to have sexual relations with Andrade.
A representative for Trevi declined a request for comment.
Read the entire lawsuit here:
