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The 2023 Latin American Music Awards (Latin AMAs) — which aired for the first time on the Univision Network since its debut on Oct. 8, 2015, on Telemundo — reached a cumulative audience of 5.1 million total viewers 2+, Billboard has learned.  

Univision’s inaugural event, which took place April 20 at the MGM Grand Garden Arena in Las Vegas, averaged 2.1 million total viewers 2+ and 829,000 adults 18-49, drawing in +31% more key adult 18-49 viewers, and +41% more adult 18-34 viewers than the 2022 edition. The red carpet pre-show “Noche de Estrellas” averaged 1.3 million total viewers 2+ and 481,000 adults 18-49, who tuned in to all or part of the three-hour live broadcast across Univision, UniMás, and Galavisión.

“The success of this year’s Latin AMAs is a testament to the strength of our network portfolio, and our ability to deliver on what moves our audiences — music, and quality live entertainment,” said Ignacio Meyer,  president U.S. networks, TelevisaUnivision, in a statement. “We are thrilled with the results of what was our first edition of one of the most prestigious events in music, and look forward to continuing to play a vital role in driving fresh and innovative cultural experiences that unite Latinos.” 

Additionally, the awards ceremony that was hosted by Clarissa Molina, Galilea Montijo, Julian Gil, and Natti Natasha became the No. 1 program on all of TV, regardless of language during primetime with U.S. Hispanics among total viewers 2+, adults 18-49 and Adults 18-34. Univision finished as the No. 1 broadcast network and No. 2 overall for the entire night, outperforming ABC, CBS, NBC, FOX, The CW, and Telemundo among adults 18-49 and adults 18-34. 

Under the theme “Somos un Movimiento” (We Are a Movement), the 2023 Latin AMAs also had a strong social media presence, ranking as the most social TV program with 6.0 million total interactions across Facebook, Instagram, Twitter, and YouTube combined — nearly doubling figures of the 2022 edition. 

The awards show featured musical acts such as Anuel AA, Becky G, Peso Pluma, Wisin, Carlos Vives, Manuel Turizo, Danna Paola, Grupo Frontera, and Chiquis, to name a few. Karol G was the big winner of the night, taking home eight awards including artist of the year. Bad Bunny, on the other hand, won album of the year for Un Verano Sin Ti, and Bizarrap, won the coveted new artist of the year.

Carlos “Charly” Pérez, who for over two decades led public relations and later promotion for Universal Music Latino, has been named senior vice president for communications and public relations for Warner Music Latina, effective immediately, Billboard has learned.
Pérez will be based in Miami and report to Roberto Andrade Dirak, managing director of Warner Music Latina, with whom Pérez previously worked closely with when Andrade Dirak managed Colombian star Sebastian Yatra.

In his new role, Pérez will craft strategies to promote WM Latina’s artists and people across a wide range of different media outlets to a business and consumer audience. He will also work closely with Ruben Abraham, svp of marketing and artist strategy, as well as Hector Ruben Rivera, svp and head of A&R, Latin Music, who both also report to Andrade Dirak. 

Pérez is widely recognized as a beacon of knowledge, integrity and professionalism in the Latin music world as well as for his knack for singling out promising new acts, having pushed for early coverage of future superstars like Karol G, Feid and Sebastian Yatra, to name just a few.

Pérez is also particularly valuable given his deep knowledge of the pop, urban and regional Mexican markets.  

Indeed, he started out 26 years ago working as an assistant to the International department at Mexican media company Televisa, where he later became a label manager.  He later joined Univision Music Mexico as a label manager, focusing largely on regional Mexican music and working with acts like Los Tigres del Norte, Ana Bárbara, Banda El Recodo and Jenni Rivera, and subsequently moved to Miami as press and television coordinator. 

Pérez rose steadily through the ranks and after Univision Music was acquired by Universal Music Latin Entertainment, he worked as national publicity director. In 2020 he was promoted to international vice president of public relations and promotions, overseeing the parent label, Machete Music and Capitol Latin and working closely with regional Mexican labels Fonovisa and Disa.

“I’m very happy and grateful for this huge opportunity to become part of the Warner Music Latina team,” said Pérez. “I’ll bring my experience to bear as we continue to evolve our company, enhancing our value proposition to artists, and positioning ourselves as a leader at the intersection of music and technology.”

Roberto Andrade Dirak adds: “Charly is an amazing addition to the team here at Warner Music Latina.  His knowledge and experience transcend genres and borders, and he’s helped take some of the best Latin music to every corner of the world, empowering the careers of the artists he’s collaborated with.  We’re delighted to have him join us.” 

Pérez leaves Universal on good terms.

Global superstar Shakira will be honored as Billboard’s Woman of the Year at the first-ever Mujeres Latinas en la Música, or Latin Women in Music, gala. The two-hour music special, hosted by Ivy Queen and Jacqueline Bracamontes and honoring Latin women in music, will be taped at the Watsco Center in Miami on May 6 and will air exclusively on Telemundo May 7 at 9 p.m. ET/8 p.m. CT.

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A first of its kind for Latin music, Mujeres Latinas en la Música celebrates Latin female artists, executives and creatives who are proactively working for positive change, inclusion and gender parity in the music industry. Superstars Ana Gabriel, Emilia, Evaluna, Goyo and Thalia will also receive special awards at the inaugural event presented by Billboard with Telemundo.

Shakira’s honor comes in the wake of an extraordinary year that has seen the superstar break records with the biggest Spanish-language debut of 2022 (“Monotonía” featuring Ozuna). Then, in January 2023, her “Shakira: BZRP Music Sessions #53” debuted at No. 9 on Billboard’s Hot 100 chart, making her the first woman to reach the Top 10 on the chart with a song in Spanish. “Sessions” also made history as the most-streamed Latin track in 24 hours in Spotify history and the most-viewed Latin track on YouTube in 24 hours with over 63 million views, and it broke 14 Guinness World Records.

“Shakira is the ultimate Woman in Music. Thanks to her, Latin women all over the world have been empowered to write and perform deeply personal music. She created a movement all on her own, and continues to be more relevant than ever today, with grace, a deep tradition of giving back, and enormous talent. She is the definition of a Woman in Music,” said Leila Cobo, Billboard’s chief content officer for Latin/Español.

“Shakira has been pivotal in shaping the vibrant and diverse landscape of Latin music and music in general throughout her career. Her passion, talent and creativity have broken barriers and empowered generations to embrace our identity through music, and we are incredibly proud to recognize her as Woman of the Year in the industry,” said Ronald Day, president of entertainment and content strategy for Telemundo.

Shakira has sold more than 95 million records worldwide, making her one of the best-selling music artists of all time and the top-selling female Latin artist of all time. Her global success as a crossover artist opened doors for other Latin artists to enter international markets. She is the most-viewed Latin female artist, and one of the top 10 artists overall of all time on YouTube with over 20 billion cumulative views, and the most-streamed female Latin artist of all time on Spotify.

Aside from her stellar industry accolades, at the age of 18, Shakira created the Pies Descalzos Foundation, who have built and adapted nine public schools in Cartagena, Barranquilla, Guajira and Quibdó, with six in construction. The foundation has raised over 40 million dollars since inception and impacted more than 150,000 children and nearly 900,000 families.

The inaugural Latin Women in Music event was announced earlier this year as an expansion of Billboard’s Women in Music franchise. Billboard and Telemundo aim to further elevate Latin music globally and celebrate the women who have made a concrete impact on Latin music through their artistic achievements, or through tangible, noteworthy actions that have brought measurable recognition and opportunity to women, effecting positive change to the industry as a whole.

Shakira will join the previously announced lineup of powerhouse women shaping the music industry. Honorees include Ana Gabriel, who will receive the Living Legend Award; Emilia, who will receive the Rising Star Award; Evaluna, who will receive the Tradition and Future Award; Goyo, who will receive the Agent of Change Award, and Thalia, who will receive the Global Powerhouse Award. Additional information about Billboard Mujeres Latinas en la Música, including performers and presenters, will be announced in the coming weeks.

Tickets to attend Billboard Mujeres Latinas en la Música live in Miami on May 6 are on-sale now. For more information and to purchase, visit BillboardMujeresEnLaMusica.com. For the latest news, visit BillboardMujeresEnLaMusica.com, or follow Billboard on Instagram, Facebook, and Twitter at @billboard. Join the conversation using #BBMujeresLatinas and visit BBMujeresLatinas.com for more information.

This week, our New Music Latin roundup — a compilation of the best new Latin songs, albums, and videos recommended by the Billboard Latin and Billboard Español editors each week — is powered by new music from Carin Leon, a Feid and Sean Paul team up, Alejandra Guzmán and Carla Morrison, to name a few.

Regional Mexican singer Leon delivers the soulful “Primera Cita” that was born out of an experiment, he told Billboard. “This song a surprise for us since it was an experiment for our Tiny Desk recording — we made a little soul and fused it with regional Mexican to create something exciting.” The track spotlights his soul-deep raspy vocals and his ability to convey feelings through his songs and melodies with more traditional Mexican sounds. If you’re a Carin Leon fan, this will not disappoint.

Additionally, Mexican singer-songwriter Morrison released a powerful track inspired not only by her own life, but it was also written to become the title track for the film “With This Light,” which honors the life of a Honduran community leader who throughout her life, he helped more than 87,000 children escape poverty, by providing them housing, education, and security. “Todo Fue Por Amor” focuses on its message about the healing power of love.

Also on the list are Feid and Sean Paul’s first collaborative effort “Niña Bonita” and Espectro Caudillo’s “4’20’88,” which previews his upcoming album that promises to be an “impactful and thought-provoking exploration of stories shaping Tijuana’s history and identity.” 

Vote for your new favorite release below, followed by our weekly New Music Latin playlist:

Get tickets to the first-ever #BBMujeresLatinas on May 6 in Miami: billboardmujeresenlamusica.com

For Rimas Entertainment CEO Noah Assad, it was a night to celebrate. On Feb. 1, seven years after signing Bad Bunny, Assad, 32, took the stage to accept the Executive of the Year award at the annual Grammy-week Billboard Power 100 event to honor the most important executives in the business. In front of an audience that included Universal Music Group CEO Lucian Grainge, HYBE Chairman Bang Si-hyuk and music mogul Clive Davis, Assad, sporting white sneakers and a ponytail, accepted the award from fellow Puerto Rican Bad Bunny. Minutes later, manager and executive Scooter Braun told Assad from the stage: “You’re the best of us now.”

Bad Bunny’s fifth studio album, Un Verano Sin Ti, ended the year at No. 1 on the Billboard 200 — the first non-English album to do so — and his 81 concerts in 2022 grossed a record $434.9 million. Assad was the force behind a lot of this success, as the artist himself noted onstage. “There is no Bad Bunny superstar without Noah,” he said in halting English, then handed Assad the obelisk-shaped plaque. “Without [Bad Bunny],” Assad said as he accepted the award, “a lot of my dreams would have never become true.”

The same could be said of another figure, Rafael Ricardo Jiménez Dan, who founded Rimas nine years ago but has had no interaction with Bad Bunny or the company’s other stars. He went unmentioned in Assad’s acceptance speech, andfew of the executives in that room even knew that he existed. Jiménez says he was the sole owner of Rimas — which manages, records and publishes Bad Bunny — until 2018, when he says he made Assad a 40% owner, though a source close to Assad disputes that description of their initial deal. Before that, Jiménez had been a vice minister in authoritarian leader Hugo Chávez’s Venezuelan government; while in the regime he worked to modernize the country’s information systems and was charged with helping oversee the development of a national ID that Chávez wanted to deepen his control over the populace.

Also unknown to most of the Power 100 attendees, Assad had spent the last few months embroiled in negotiations, which were so intense they continued through the year-end holidays, that would buy Jiménez out of Rimas. After working to build Rimas together for nearly a decade, the relationship between the two men broke down, and for the past five years, multiple sources say, Assad has been pushing to get him out, for “business reasons,” says the source close to him. When Rimas was initially formed in March 2014, Assad believed Jiménez was simply an investor who owned restaurants and packaging companies. 

After they started working together, Assad began to hear talk about Jiménez’s connections to the Chávez regime, but when Assad inquired on one occasion, Jiménez told him he had “nothing to hide,” according to the source close to Assad. Now, though, Jimenez may finally be on his way out.

Under the terms of Sony Music Group’s potential deal with Rimas, which is still under discussion, Sony would put up capital toward buying out the 60% stake owned by Jiménez and, through an ownership restructuring, assign a significant minority stake to its independent distribution subsidiary, The Orchard. Bad Bunny, who does not currently have a stake in Rimas, could get some equity and Assad could get a bigger stake in the company, which Billboard estimates could be valued at more than $300 million overall, not including publishing. Together, sources say, Assad and Bad Bunny would likely emerge from the deal controlling Rimas, although the agreement is still being discussed. A separate Rimas publishing arm, also believed to be 60% owned by Jiménez and 40% by Assad, which Billboard estimates is worth about $70 million, will likely be sold in a separate deal, sources say.

Jiménez, Assad and a spokesperson for Sony Music Entertainment declined to comment about any deal in the works.

The size of the potential deal speaks to the growing sway of Latin music and especially of Bad Bunny, who has helped grow the San Juan-based Rimas into a 100-person company that essentially functions as a label, publisher, manager and booking agency and also works with other Latin artists like Arcángel and Karol G.

In a series of email exchanges through his lawyer, Jiménez gave Billboard an unprecedented look at his unlikely journey from an army captain raised in Portuguesa, a rural part of Venezuela, to one of music’s most successful behind-the-scenes investors. The image that emerges is that of a savvy operator who positioned his business enterprises in ways that benefitted from his government connections in Venezuela — and who in both his five-year government career and his second life in the U.S. music business has remained out of public view while playing a role in the lives of prominent people, like an unseen gravitational force. 

Jiménez, 56, who played violin in Venezuela’s youth orchestra system and got his first taste in the music industry managing a Venezuelan urban duo, formed at least a dozen companies from 2005 to 2013, in Venezuela and the Caribbean, and he also served as CEO of a cardboard and paper packaging firm that Chávez nationalized. He tells Billboard that the funding to start Rimas and his life in the United States came from a Miami restaurant and from a company that imported food products from Brazil and other countries.

Assad was always thought to be the co-founder of Rimas. Although he privately acknowledged the company had a silent partner, he previously told Billboard on the record that he co-founded the company with José “Junior” Carabaño, a 20-year-old Venezuelan graffiti artist. But Jiménez tells Billboard that after meeting a 22-year-old Assad in 2012, he formed Rimas in Puerto Rico in March 2014 and hired Assad as an employee — an arrangement that continued until 2018, when Assad became part-owner after he “agreed to assume more responsibilities.” A source close to Assad disputes that claim but wouldn’t provide more detail. Billboard was unable to obtain documentation of the initial deal terms.

Assad “demonstrated a great talent in the artist development side of the business and worked hard to scale up the growth of the company,” Jiménez says, adding that he brought Assad aboard as part of “a strong team of talented people were brought aboard to take over the day-to-day operations.” 

Jiménez would not tell Billboard how much he initially invested in Rimas. A 2017 corporate filing for Risamar Business Group, the entity Jiménez used to hold his share of Rimas, shows $1.34 million in assets and $648,098 in liabilities. Property records show that, in 2014, while still living in Caracas, Venezuela, Jiménez also purchased a foreclosed property in an exclusive beachfront neighborhood in San Juan for $390,000 in cash to turn into Rimas’ first offices and recording studios.

Rimas Entertainment’s first office in San Juan, Puerto Rico.

Juan R. Costa

Assad served as the face of Rimas in the music business, but Jiménez says he led the company for four years before effectively handing the reins to Assad. Until then, Jiménez had to approve — and often vetoed — artist signings that would exceed the company’s budget, and he was also kept apprised of the label’s other big decisions, including the very important one to sign Bad Bunny. Jiménez was copied on the April 11, 2016, email from Rimas attorney Jessie Abad to Assad about the “360 deal and songwriter agreement” for Benito Martínez Ocasio (Bad Bunny), according to a copy of a partially redacted email in a civil case in San Juan and one person familiar with the matter. 

From Army Captain to Vice Minister

Like many leaders in Venezuela, Jiménez’s career started at a military academy. He graduated in 1987, No. 3 in his class. He finished the same year as Diosdado Cabello and Jesse Chacón, he noted, both of whom participated in Chávez-directed coup attempts in 1992; Rodolfo Marco Torres was a class below them. All three went on to become high-level officials in the Chávez regime.

Venezuela’s legacy as one of the wealthiest and most-stable democracies in the region began to change on Feb. 4, 1992, when Chávez, then a disaffected army officer, led a failed coup attempt. Once out of prison, he rose to fame and was elected president in 1998 on an anti-establishment platform. A disciple of Cuban leader Fidel Castro, he later veered toward autocratic socialism by silencing opposition parties, packing the courts, harassing the media and nationalizing more than 1,000 businesses.

While Chávez’s “missions to save the people” initially helped stem poverty, his policies laid the foundation for the oil-rich country’s descent into full-blown dictatorship after his death in 2013. His legacy also included “an institutionalized kleptocracy the likes of which the world has never seen before,” Marshall Billingslea, former assistant secretary for the Office of Terrorist Financing and Financial Crimes in the U.S. Treasury Department, wrote in 2021. Over the past two decades, Chávez and Maduro, his successor, “and their cronies,” Billingslea wrote, “plundered at least $300 billion from state assets.”

President of Venezuela Hugo Chavez gives a speech during the closing session of the 4th PetroCaribe Summit in the Camilo Cienfuegos refinery Dec. 21, 2007 in Cienfuegos, Cuba.

Sven Creutzmann/Mambo photo/GI

Jiménez, who was commissioned as an army captain, retired from the military in 1999, by which time he had earned degrees in both law and systems engineering. Once Chávez took power in 1999, the new president initiated a sweeping modernization program, and Jiménez’s knowledge of telematics, which involves the long-distance transmission of computerized information, proved valuable. He joined the government in late 2002, serving initially in a management and technical unit that oversaw the operational side of the Judiciary, helping to digitize the country’s law enforcement and criminal and civil administration.

After he was briefly ousted from office in 2002, Chávez launched Misión Identidad (Mission Identity), a program that became a cornerstone of his “Bolivarian Missions,” or social programs, and a way for him to tighten his hold on power after the failed coup —at the expense of civil liberties. Its focus became developing a national ID card with biometric data embedded in a chip that would be modeled after China’s smart card, which Beijing uses to track social, economic and political behavior. Chávez launched his ID program in 2003, employing a Cuban company to help implement it, according to the Center for a Secure Free Society (SFS), a conservative national security think tank in Washington, D.C., that has testified in Congress about the dangers of the Venezuelan regime.

Mission Identity involved transitioning Venezuela’s passport and naturalization system from what was called ONIDEX to the higher capacity SAIME system. Beginning around 2003, Jiménez worked with a hand-picked team on the automation of the project, according to two people familiar with the matter. SAIME went online in 2009. President Nicolás Maduro, Chávez’s successor, finally rolled out the national ID, later called the carnet de la patria, or “fatherland ID,” in 2018. (Jiménez would not comment on whether he worked on the transition to SAIME.)

Jiménez’s government career peaked in March 2006 when Chacón appointed him vice minister of legal security in the Interior Ministry. That led to a seemingly plum assignment the following January when he became one of five directors of Mission Identity, according to a government document.

Chávez officials in 2007 allegedly used Mission Identity to provide false identities to Cuban agents to enter Venezuela, and to facilitate the travel of suspected Islamist terrorists, Colombian guerillas and drug traffickers, says the SFS.

Despite his official designation as a director, Jiménez says he “personally never worked with Mission Identity” and that the directorate had “no decision-making authority.” He resigned from the Interior Ministry after about a year and a half, “due to frustration with the government’s unwillingness to fairly and justly apply the rule of law.” (Jiménez provided a copy of his resignation letter signed on Oct. 11, 2007, by Pedro Carreño, the Interior Minister at the time.) He adds that he “sought to implement several projects aimed [at] improving legal certainty, to guarantee a better participation of the civil society and to increase the standards of transparency but these were obstructed and stopped by the minister (Carreño) above him.”

Jiménez overlapped in the Interior Ministry by about five months with Tareck El Aissami, a powerful member of the regime who served as a vice minister through September 2008, and then as Interior Minister from 2008 to 2012. The Trump administration sanctioned El Aissami in 2017 and the Justice Department indicted him in 2019 for alleged international narcotics trafficking and money laundering; U.S. Treasury officials have also been investigating his ties to the terrorist group Hezbollah. (El Aissami responded to the accusations in 2017 on Twitter, calling them “infamy and aggression; Maduro said he had “delivered the strongest blows against the heads of drug trafficking” in Venezuela.)

Venezuela’s Vice President Tareck El Aissami delivers a speech during a rally against the secretary general of the Organization of American States (OAS), Luis Almagro, in Caracas on March 28, 2017.

FEDERICO PARRA/AFP via GI

El Aissami was the chief architect of the national ID program, according to Joseph Humire, who heads the SFS, and who testified to Congress about the program in 2015. El Aissami also allegedly oversaw a multiyear program to sell hundreds, if not thousands, of legitimate Venezuelan passports for as much as $50,000 apiece to people from Middle Eastern countries, says Mauricio Claver-Carone, former senior director for Western Hemisphere Affairs at the National Security Council. (Delcy Rodríguez, then Venezuela’s foreign minister, told CNN in 2017 that allegations of selling passports and visas were “totally” false.)

Through his lawyer, Jiménez says he has “no knowledge” of the passport-selling program and “has never had any personal, business or political relationship with Mr. El Aissami.” Jiménez’ lawyer adds that “the presence of individuals like Mr. El Aissami was one of the factors that led Mr. Jiménez to resign.” 

On the Money

Jiménez was initially reluctant to discuss his investment in Rimas, which he first told Billboard derived from “private business activity,” without offering more details. He later clarified that the funding came from a food import company and a restaurant in Miami, as well as a line of credit he said was from a bank in Florida, “which was secured by his assets in Florida.”

Risamar Business Group also controls a Florida-based food company of the same name. The company’s website says it specializes in “high-quality, ethically produced snack foods, canned fruits and vegetables, cleaning supplies and animal care products.”

In October 2006, at the peak of his career in the Chávez regime, Jiménez also started an import-export food company in Venezuela, Agropecuario Ravigg C.A. It imported food to Venezuela from Brazil, Argentina and other countries, generating a net profit of 8,897,246 bolívares ($1.4 million) in 2013, according to the Registry of National Contractors (RNC). Ravigg shipments from January to May of 2014 alone totaled $7.9 million in value, according to Venezuela’s National Center for Foreign Commerce (CENCOEX). The firm, which is 85% owned by Jiménez and still operates, did business as food shortages were beginning to mount in the country after the price of oil plummeted. Food imports became controversial in 2019 when the U.S. Treasury Department sanctioned a Colombian national and others for allegedly orchestrating a scheme that enabled Maduro and his regime to “significantly profit from food imports and distribution in Venezuela” as far back as 2016. (Ravigg was not named in the sanctions.)

When asked to clarify if Ravigg was the company he was talking about that helped him fund Rimas, Jiménez said it was not and that he had been referring to a third “international food-trading entity,” founded in 2008, which he declined to name.

Jiménez also handled a variety of Venezuelan government contracts through Rialfi Consulting C.A., a company he set up in August 2005, seven months before joining the Interior Ministry. By the following August, when he was a vice minister, Rialfi landed a contract with the Venezuelan Institute of Social Services (IVSS), which manages employee pension funds. 

Between 2006 and 2018, Rialfi completed 17 contracts, 15 of which were with government-controlled companies or institutions, including the national oil company Petróleos de Venezuela, the Bank of the Treasury and Banco de Venezuela. (Jiménez was still listed as CEO in 2019; Rialfi is 100% owned by Consorcio Riso C.A., which Jiménez also controls.)

In an email, Jiménez says no funds from Rialfi were invested in Rimas and notes that with the “year-to-year devaluation of the bolívar, those proceeds would have had very little value if they were ever converted to dollars.” (A government document from 2019 shows Rialfi had total assets of 2.84 billion bolívares, worth $6,100 in December of that year, when the currency was cratering from hyperinflation of 9,586%.) 

After Jiménez resigned from the Interior Ministry in October 2007, he didn’t stop doing business with the government. Since Jiménez left his post, Rialfi has executed at least 14 contracts with Chávez-controlled companies or institutions, according to the 2019 document. Jiménez says the contracts were granted “via a public bidding process.”

Jiménez, downplays his government service, describing himself as “an entrepreneur for over 20 years in different industries, including food and beverage, technology, packaging, hospitality and entertainment.” In April 2010, the board of Envases Internacionales S.A., a cardboard and paper packaging firm, named him CEO (and majority shareholder, he says); two months later, Chávez nationalized the company, in what became a common practice of appointing current or former military officers to lead companies the government had taken over. 

Jiménez eventually controlled or ran at least 15 companies in Venezuela and Panama, and later in Barbados, Florida and Puerto Rico, according to corporate records. 

He made his first foray into the music industry in Caracas in 2011, when he started managing and funding Kent & Tony, a newly formed urban act. The duo wanted to work with Puerto Rican producers Los de la Nazza, and in October 2012, Assad, their manager, flew with the producers to Caracas to work with the Venezuelans in the studio. Jiménez asked Assad to also manage Kent & Tony, and in January 2014, they signed a license agreement with Siente Music.

After that, Jiménez moved quickly, founding Rimas two months later in Puerto Rico, when he saw an opportunity “for a well-run full-service independent label focused on a genre that was growing exponentially.”

Helpful to the early interactions between Assad and Jiménez, say two people familiar with the matter, was Carabaño, the son of a Venezuelan folk singer from Barquisimeto popular with military veterans. Later, working with Assad at Rimas, Carabaño signed Venezuelan artists like rapper Big Soto. (Carabaño did not respond to requests for an interview.)

After Chávez died in 2013, Jiménez left Venezuela in November 2014, he says, and moved to the Miami area, where he had already bought a house in 2008 for $925,000 with his now wife Dayva Soto Vallenilla, a former Venezuelan judge, in Weston, a suburb known as Westonzuela for its popularity with Venezuelans. They purchased the home about six months after Jiménez left the Chávez government. They emigrated at a time when U.S. officials were allowing in few Venezuelans with high-level government backgrounds. Jiménez maintained his connection to his native country, traveling from Miami to Caracas 10 times between December 2014 and July 2018, according to Venezuelan passport records. 

Rimas to Riches

“I’m from a place called Carolina, Puerto Rico,” Assad said to the audience of about 400 at the Billboard Power 100 event. Assad’s hometown, just outside of San Juan, is known as “Tierra de Gigantes” (Land of Giants), for 7-foot-11-inch resident Don Felipe Birriel González and for baseball star Roberto Clemente, the first Latin player named to the Hall of Fame.

By 2013, Assad was living in a small apartment in Carolina while organizing parties and booking performers in Colombia and other Latin American countries. By that time, he had already been managing future reggaetoón star Ozuna. Soon after, Assad created a YouTube business, striking the first direct partnership in Puerto Rico with the platform to more easily monetize content, says Mauricio Ojeda, YouTube’s manager of label partnerships, U.S. Latin. He says he first met Assad in San Juan in early 2014 — before Rimas existed — and decided to partner with him because of his connections to the underground Latin urban scene on the island. At the time, major labels and important markets like Mexico were not optimistic about the future of reggaetón and Latin trap music, and Ojeda says he was looking to recruit a partner in Puerto Rico, where the scene was heating up.

Jo-Ann Toro

“We spoke for hours, we hung out in Puerto Rico, he introduced me around,” says Ojeda, who says he also met Jiménez during that period. “[Assad] said he was going to come out with a ‘road map and a plan’ for becoming a YouTube partner,” says the YouTube executive.

YouTube signed a deal with Rimas in February 2015, Ojeda says, for a partnership that involved sharing revenue from video ads and other monetization features like channel memberships and merch sales. “This was providing the artists the opportunity to export their content and reach their audiences, during a time when nobody was really paying attention to them,” Ojeda says.

In 2016, with the YouTube partnership and Jiménez’s financing in place at Rimas, Puerto Rican rapper Eladio Carrión, an early Rimas signing, introduced Assad to Martínez, a then college student calling himself Bad Bunny, who was appearing at a Ponce show with Carrión. At the time, Bad Bunny was earning money for school by working as a bagger at the Econo supermarket near his home in Vega Baja. Martínez dropped out of the University of Puerto Rico at Arecibo, where he was studying audiovisual communication, and switched to a sound engineering program at the College of Cinematography, Arts and Television. (He chose his stage name after posting a picture of himself as a child wearing a bunny suit and a dour expression, then created a Twitter handle.) 

After Bad Bunny uploaded some of his early music on SoundCloud, Assad in April 2016 signed him to the 360 deal with Rimas, collaborating on some early tracks with DJ Luian’s label Hear This Music.

Eventually, as Assad’s differences with Jiménez became increasingly apparent, Assad began seeking better opportunities for himself and his team, says a source close to Rimas. Days before Hurricane Maria hit Puerto Rico in September 2017, Assad met with manager Scooter Braun, whom he’d long admired, about a potential deal in which Braun would provide investment, making Jiménez aware of their discussions, according to multiple sources. The deal got close to the finish line but didn’t come to fruition. 

Econo market in Vega Baja where Bad Bunny worked before Rimas signed him.

Alexei Barrionuevo

By mid-2020, with Bad Bunny’s success accelerating, Rimas had moved into newer offices in San Juan’s Miramar neighborhood on the top floor of a small office building. That November, Assad branched out, forming his own management agency, Habibi, which signed Karol G. The industry took notice: Even before Sony Music started negotiating a deal to help Assad buy out his majority partner, other companies were sniffing around Rimas, including HYBE, which has prioritized adding Latin companies to its portfolio. 

This month, Bad Bunny and Rimas made history yet again when the Puerto Rican star performed at Coachella as the first Spanish-language headliner. The next night, Karol G, whose fourth studio album, Mañana Será Bonito (Tomorrow Will Be Beautiful) debuted at No. 1 on the Billboard 200 in March, performed on Saturday Night Live.  

Behind the scenes, Sony and Rimas continue to work on the deal that could give both Assad and Jiménez — two driven hustlers from different generations and different worlds — keys to their futures. Assad would get the freedom to pursue his mogul dreams without an investor pulling at the purse strings, while Jiménez is expected to pocket what Billboard estimates could be more than $200 million for his stakes in the recording and publishing businesses he formed less than a decade ago.

Additional Reporting By Marcos David Valverde and Ed Christman

Sony Music Corp. is in the process of helping Bad Bunny manager Noah Assad — the CEO of Latin music label and management company Rimas Entertainment — buy out his partner, Rafael Ricardo Jiménez Dan, a former Venezuelan government official who has a 60% majority stake in the company, sources familiar with the matter tell Billboard.
Rimas — which manages, records and publishes Bad Bunny — also has a label and management roster that includes Arcángel, Eladio Carrión, Jowell & Randy and Tommy Torres. The company was founded in 2014 in Puerto Rico and now has about 100 employees.

According to sources, Sony will participate in a buyout of Jiménez, who has not been involved in running Rimas’ day-to-day operations since 2018. That will result in a reshuffling of the company’s ownership and will likely leave Bad Bunny with an equity stake in the firm— and either Assad, or the combination of Assad and Bad Bunny, with majority ownership.

However the deal is ultimately financed, Sony itself is expected to wind up with a significant minority share in Rimas, which it will assign to The Orchard, its rapidly growing music distribution and artists/label services powerhouse that currently distributes Rimas.

Billboard estimates that Rimas Entertainment — the record label and the management company — has a valuation above $300 million without including the company’s publishing assets, which sources say are not currently being considered as a part of this transaction.

Assad and Jimenez, respectively, also have the same 40–60% ownership stakes in the music publishing assets, Jiménez tells Billboard. The publishing company, which includes some Bad Bunny songs and was launched by Assad, Jiménez and lawyer Carlos Souffront, is also up for sale. The sellers are seeking a $70 million to $75 million valuation for the overall publishing company, those sources add. As on the recorded music side, Assad plans to retain his stake in the song catalog, which means that the Jiménez stake could potentially fetch $42 million to $45 million.

Assessing a valuation for the publishing deal is tricky, sources say, because many of Bad Bunny’s songs are still widely popular, which makes it harder to calculate how much their plays will decay until they level off and become a predictable income stream, likely in a decade or two from now. As it is, the Rimas publishing portfolio —which is currently being administered by Universal Music Publishing Group — has about $5 million to $7.5 million in net publisher share (gross profit after paying songwriter royalties), a level it is expected to maintain over the next few years.

The music publishing portion of Jiménez’s Rimas holdings have been shopped to private equity players, sources say, and there is currently no known buyer. That’s in contrast to the hoped-for sale of the label/management holdings, which appears to have only been offered to Sony. However, sources wonder if Assad has matching rights on the publishing assets, which means that he could also arrange a deal to buy the Jimenez publishing stake if he matches the highest offer.

Jiménez is being represented for the expected publishing sale by Brian Richards, co-founder and managing partner of the investment advisory firm Artisan. On the record label/management side of Rimas, sources say Jiménez is being advised by Mitchell, Silberberg & Krupp partner Joel Schoenfeld, the former general counsel of eMusic and BMG’s senior vp of business affairs before that; and by Colin Finkelstein, the former CFO for EMI Music, who sometimes consults with investors on music assets and also owns and runs a few artist management firms. 

Both deals are said to be very complex, and sources say they have been in the works for months — with some wondering whether the deals have been stalled due to friction between the two partners, Jiménez and Assad.

Another looming issue may be how much financial capacity Sony Music Group has to close deals right now. As Sony negotiates the stake in Rimas, it is reportedly also in talks to acquire part — or possibly all — of the Michael Jackson estate in a deal that could carry a valuation of $1.5 billion to $2 billion.

The question is whether Sony’s corporate leadership in Japan has signed off on the funding and the completion of both deals and if the costs involved in the deals might force Sony to choose to between them.

If both deals are completed, sources suggest that they would likely still need to be approved by regulators. Under the Hart-Scott-Rodino Antitrust Improvements Act, as of Feb. 27, 2023, any merger and/or acquisition that has a transaction value of more than $111 million — or if the contemplated combined entity will have total assets of more than $445 million — must file and seek regulatory approval.

Assad, Jiménez, Sony, Finkelstein, Schoenfeld and Richards either declined to comment or didn’t respond to requests for comment. 

Additional reporting by Alexei Barrionuevo

Peso Pluma had a big night at the 2023 Latin American Music Awards on Thursday (April 20), where he performed “Chanel” alongside Becky G. But prior to his Latin AMAS debut, Peso stopped by the red carpet to tell Billboard all about the launch of his record label. 

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“It’s called Double P Records,” he reveals. ”La Doble P” is Peso’s alter ego. 

The Mexican newcomer is the CEO and head of A&R of his indie label, which was created as a subdivision of Prajin Records and already has signed three artists: Jasiel Nunez, Tito Laija, and Raul Vega.

“I’m looking for artists who are hungry,” he explains, “who have that ambition and winner mentality. We want to support young people who have all the talent in the world and want to succeed in this [career], and to know that everything is possible if they have a dream.” 

Peso will present his indie label with the debut of his corrido single “Rosa Pastel” in collaboration with Jasiel Nunez.

On the night, Karol G was the big winner with eight trophies, while Becky G collected four and Bad Bunny scooped three.

Nominations for the 2023 Latin AMAs — based on streaming, sales, radio airplay, tours, and even social media interactions data provided by Billboard and Luminate during the eligibility period (Feb. 12, 2022, through Feb. 4, 2023) — are led by Bad Bunny with 11 nominations. He’s followed by Becky G and Daddy Yankee, each with nine nominations. For the first time since its debut on Oct. 8, 2015, the ceremony — which is taking place at the MGM Grand Garden Arena in Las Vegas — will be broadcast live simultaneously on Univision, UNIMÁS, and Galavisión.

Get tickets to the first-ever #BBMujeresLatinas on May 6 in Miami: billboardmujeresenlamusica.com

Prince Royce was honored with the Pioneer Award at 2023 Latin AMAs for helping internationalize bachata well beyond its borders. 
The Bronx native, who appeared donning a white blazer with black baggy but classy slacks, began his performance crooning the slinky song “Me EnRD.” He was soon joined by two generational talents: Dominican bachata trailblazer Zacarías Ferreíra and rising Colombian artist Manuel Turizo.

The song then transitioned to the “Stand By Me” cover that made Prince Royce a star. The oldies but goodies song became an example of how music from different genres can get the bachata treatment and sound beautiful, which Royce helped do. “This song is very special to me, the song that started it all,” said the honorary artist. Turizo helped provide a great doo-wop vocal beat, while Ferreíra lent his dolce vocals to the song.  

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“Prince, brother, in my house, in Colombia, not only in Colombia, but for all of us Latinos — and for my career — you were a great influence for me to start listening to bachata, for me to love bachata. So it’s an honor to be here with you singing this song,” Turizo told Royce as he handed him the Pioneer award. 

Turizo’s own first-ever bachata song “La Bachata” (2022) peaked at No. 1 on the Tropical Airplay chart. “I’ve been a big fan of the genre since I was little, and that’s what motivated me to release a bachata,” he previously told Billboard of the hit. “It’s definitely the first song I do in this genre, but it won’t be the last one. More bachata songs will come, with the favor of God and in due time.”

“First of all I want to thank Zacarías Ferreíra and Manuel Turizo for being with me at this moment. Zacarías is a person who has inspired me a lot, Manuel for representing bachata in your own way,” said Royce upon receiving his award.

Ferreíra, who rose to fame in the late ‘90s, early ‘00s, was one of the first international exporters of the century-old Dominican style from the island. 

“I started with few resources and it was difficult but I never gave up. Back then, it was just a dream. Many people said criticisms, that it was bachata lite, bachata pop — [but] it was a bachata that really reached the whole world. It became international, and to be part of that growth for me is an honor to represent my culture. It is impressive how this genre has grown a lot. I never imagined this growth,” said Royce.   

Nominations for the 2023 awards — based on streaming, sales, radio airplay, tours and even social media interactions data provided by Billboard and Luminate during the eligibility period (Feb. 12, 2022, through Feb. 4, 2023) — are led by Bad Bunny with 11 nominations. He’s followed by Becky G and Daddy Yankee, each with nine nominations. For the first time since its debut on Oct. 8, 2015, the ceremony — which is taking place at the MGM Grand Garden Arena in Las Vegas — will be broadcast live simultaneously on Univision, UNIMÁS, and Galavisión.

Get tickets to the first-ever #BBMujeresLatinas on May 6 in Miami: billboardmujeresenlamusica.com

Mexican music titan Pepe Aguilar was honored with a special legacy award at the 2023 Latin American Music Awards, which took place Thursday, April 20 live from Las Vegas.

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None other than his daughter, recording artist Ángela Aguilar, took the stage to present the award to her father. “When I was a little girl, I didn’t know what I wanted to be, but I knew I wanted to be like him,” she offered. “My father has sold millions of albums, he’s a songwriter, singer, producer, entrepreneur but most of all, a great man. I have the great privilege and great pride to recognize the greatest exponent of Mexican music. The man I most admire and love the most, he’s the artist that has represented Mexico in the best way. My father, my hero, Pepe Aguilar.”

An emotional Pepe Aguilar took the stage, humbled by his daughter’s words. “Thank you so much,” he began the speech. “I accept this but I don’t feel like I personally deserve this because all I’ve done in life is to follow my heart and my passion, and that is Mexican music. Honestly, if it’s legacy or not, one thing I will say is that, God willing, I will continue to do what my heart tells me to do, and my heart tells me to respect my traditions, to move forward with Mexican music — which is mariachi, banda, norteña. And that’s the legacy, more than a person, it’s the energy that represents regional Mexican music. Y viva México!“

His tribute continued with a special medley by Banda El Recodo, Carin Leon and Rubén Blades, who sang some of Aguilar’s most well-known songs including. Leon gave “Perdóname” the norteño treatment, El Recodo got everyone dancing with the Sinaloa banda version of “Son Las Dos de la Mañana” and Blades gave “Por Mujeres Como Tú” a salsa twist. One of the best performances of the night that, deservingly, got a standing ovation.

Nominations for the 2023 awards — based on streaming, sales, radio airplay, tours and even social media interactions data provided by Billboard and Luminate during the eligibility period (Feb. 12, 2022, through Feb. 4, 2023) — are led by Bad Bunny with 11 nominations. He’s followed by Becky G and Daddy Yankee, each with nine nominations. For the first time since its debut on Oct. 8, 2015, the ceremony — which is taking place at the MGM Grand Garden Arena in Las Vegas — will be broadcast live simultaneously on Univision, UNIMÁS, and Galavisión.

Get tickets to the first-ever #BBMujeresLatinas on May 6 in Miami: billboardmujeresenlamusica.com

One of the most anticipated performances of the night at the 2023 Latin American Music Awards in Las Vegas was song of the year winner Becky G and rapidly rising corridos star Peso Pluma onstage in Las Vegas. 

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The two hitmakers arrived onstage to perform their corridos “Chanel,” with Becky rocking a rugged yet sexy denim and tank combo, while Peso had on a white leather sports jacket with hockey team logos. They trade verses like two star-crossed lovers, yet even a Chanel bag couldn’t salvage their romance: “I took you to Chanel/ Also chose from Cartier/ And one day she left me/ To one day never to return,” Peso barked back against a snarling acoustic backdrop.

With a laid-back voice, or bien tumbada, and an octave deeper than usual, the Mexican-American performer sang of leaving the past behind her for brighter days ahead. “I will remember you forever in my life, baby/ And even though I know I’ll never be able to see you again/ And for that I love you, baby,” she remarks. 

Earlier in the evening Becky G won song of the year for “MAMIII” alongside Karol G, and best collaboration – regional Mexican. “My Mexican blood is everything to me, it is the blood that runs through my veins,” Becky to accept the award. “It doesn’t change the history of my last name, Gómez, which for me is a pride to be able to carry on every stage, on every platform, in every opportunity. So thank you to all my people in Mexico, viva México! And also, to all my 200 percenters out there. You are enough. And we will continue moving forward together.”

The Inglewood, Calif., star brought Pluma to the stage in Indio for weekend 1 of Coachella, where they performed “Chanel.”

Peso Pluma is the first regional Mexican act to enter the top 10 of the Billboard Hot 100, alongside Eslabon Armado, with their song “Ella Baila Sola.” This week he appears on the chart six times, an unprecedented feat for any artist of the regional genre. “Chanel” is Becky G’s first single from an upcoming all-regional Mexican album she’s set to release later this year, with more collaborations to be announced soon. The Chicana hitmaker is also slated to perform at weekend 2 of Coachella on Saturday.

Nominations for the 2023 Latin American Music Awards — based on streaming, sales, radio airplay, tours and social media interactions data provided by Billboard and Luminate during the eligibility period (Feb. 12, 2022, through Feb. 4, 2023) — are led by Bad Bunny with 11 nominations. He’s followed by Becky G and Daddy Yankee, each with nine nominations. For the first time since its debut on Oct. 8, 2015, the ceremony — which is taking place at the MGM Grand Garden Arena in Las Vegas — will be broadcast live simultaneously on Univision, UNIMÁS, and Galavisión.

Get tickets to the first-ever #BBMujeresLatinas on May 6 in Miami: billboardmujeresenlamusica.com