Management
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Pipe Bueno has signed a management deal with Business Manager JB (helmed by artist manager Juan Ballesteros) and OCESA Seitrack, Billboard can exclusively reveal today (April 4).
With the new signing, JB & OCESA will develop Pipe’s career at a musical and commercial level in Mexico with the mission of taking his 15-year-long trajectory to an international level.
“We are sure that we signed the best representative of the genre in Colombia, and as an artist, he can transcend,” Ballesteros, who also manages Mike Bahía, Greeicy and Annasofia, tells Billboard. “I think we have a new ballad, mariachi, and pop star that comes with a lot of music and collaborations. We are happy to have this new challenge with Pipe Bueno and I hope that everyone receives it with the same joy and enthusiasm that we do.”
The artist born Andrés Felipe Giraldo Bueno launched his self-titled debut album in 2008, and has since risen to pioneer “la música popular Colombiana,” a musical genre that fuses traditional folk music from the Paisa Region with Regional Mexican elements, such as mariachi and ranchera. The genre is also locally known as “música de cantina” and is played at every parranda, parties that feature local music and food.
The innovative 31-year-old singer-songwriter has laced the genre with urban and pop rhythms by teaming up with artists such as Wisin, Zion, and Darrel, to name a few. Pipe has collaborated twice with his good friend and colleague Maluma on the tracks “La Invitación” (2014) and “Tequila” (2020). The former entered the Billboard Latin Rhythm Airplay chart in 2016.
Agencia Jaque
While working as a partner and manager at Emagen Entertainment Group, Ebonie Ward watched #MeToo gain momentum and #TheShowMustBePaused bring the music industry to a halt in the name of racial justice. In the wake of these movements, “there have been all these indications of putting women of color into leadership positions,” she says, but little in the way of sustained action.
“I’ve seen a lot of Black women, especially in hip-hop and R&B, who are the backbones at many companies. I’ve also seen a lot of women who are actually running these companies, but they’re still not the face,” adds the 2023 Women in Music honoree. “It was time to do something different.
“During COVID-19, I realized that I was limiting myself by not being forward-moving or thinking out of the box,” Ward recalls. So after five years at Emagen, she has opened the doors to her own full-service management firm, 11th & Co (pronounced “co”) — the first management company to be led entirely by women and, specifically, Black women.
In addition to Ward, who’s chairwoman/CEO, 11th & Co’s seven-member executive team includes CFO Alexandria Kindle, chief marketing officer Jenna Magee-Tyson, chief legal advisor Zita Brack, executive vp of lifestyle promotions Imaine Molo, executive vp of tour marketing Krishna Lee and head of A&R operations and administration Asha “DJ Osh” Holland.
“The one thing I love about the women on my team is that they’ve done a multitude of different things: from working in politics, finance, entertainment law and marketing to fashion, DJing, touring and restaurant ownership,” says Ward. “It was important to have a diverse group of experienced people who might not necessarily work with each other traditionally but would be able to come together and bring out the best in each other.”
Based in Atlanta and with plans to open a Los Angeles office, the 11th & Co roster includes Ward’s longtime clients Future, Gunna and Flo Milli, as well as its newest client, NBA player James Harden. “In its own way, sports is very similar to music because a lot of athletes want to get into lifestyle,” she says. “They want marketing.” Ward says she’s also looking forward to working with the Italian fashion house Pucci. (Ward and her executive team are all wearing Pucci in the group photo.)
What was the inspiration for your firm’s name?
My birthday is Sept. 11. And my executive board, staff and client roster now total 11. I’ve always had this synergy around the number 11; it has always felt powerful to me. Plus, I wanted something timeless. Something that would make people ask more about it.
What is your vision for the firm?
I want to do something that is very unorthodox, not one-dimensional. In addition to our music clients, we’ve just added James Harden of the NBA’s Philadelphia 76ers. James has an agent with whom I work very closely, but I’m more like James’ lifestyle manager. He’s his own brand. I went to him and asked if he’d thought about life after basketball. I wanted to help him understand and realize that he needed to pay attention to how he’s perceived off the court. People don’t know his story. He’s very humble and gracious. He’s a board member and minority investor in Saks Fifth Avenue’s e-commerce business [known simply as Saks] and is doing things in the alcoholic beverage world with wine and tequila. And there are other things that we’re helping him build and navigate.
Future, meanwhile, is touring the rest of this spring with Don Toliver and other artists and has a new album coming in 2023 [teased earlier by the rapper as a collaboration with Metro Boomin]. Flo Milli will be performing at Coachella, with her second album due later this year.
From left: Krishna Lee, Imaine Molo, Jenna Magee-Tyson, Ebonie Ward, Asha “DJ OSH” Holland, Alexandria Kindle, and Zita Brack photographed on February 22, 2023 in Los Angeles.
Yuri Hasegawa
What are the challenges of being a Black, female C-suite executive in the music industry?
The first challenge is to be received and respected. Even working with my previous partner [Emagen founder/CEO Anthony Saleh], I’ve walked into rooms and not been addressed, let alone been respected, for knowing this business inside and out. You don’t want to say you didn’t get a deal because you’re a woman. And you don’t want to use your Black card. That’s something a lot of women in this business have to deal with. At the same time, you have to have a level of stamina to sustain yourself through the joys and pains, to be able to accept the word “no,” which can feel defeating. Many of us women don’t protect or advocate for each other. When someone invites you to something, go; get someone’s phone number and call them. Get real information and learn from it. Please tell me when I’m wrong or I didn’t do enough. And then we must be able to take that information gracefully. More women need to do that for each other, especially Black women, because we can be each other’s harshest critics.
Why are there still so few female managers and C-suite executives — especially those of color — in the industry?
More work needs to be done. Aside from holding other people accountable, we need to hold ourselves accountable. As soon as everything came back after the show was paused, a lot of those efforts stopped. Going back into our offices, we need to still have that same hunger and that same fight to hold the industry accountable for what they said they were championing.
In the wake of Gunna’s plea deal before the Young Stoner Life Records RICO trial, does he have new music projects in the pipeline?
Because of the ongoing trial, I really can’t speak to that. But the time will come. Having been incarcerated for seven months, he’s really just getting acclimated to being out of a cell. Sometimes people need to give people an opportunity just to be human. In the meantime, myself and all of my clients have signed [300 Elektra Entertainment chairman/CEO] Kevin Liles’ “Art on Trial: Protect Black Art” petition. People need to understand that this issue affects not just the people who are dealing with it personally, but all of us. It’s a very serious issue that we need everyone’s support to rally behind.
You moved into artist management after meeting Future while operating your own men’s boutique. And you were featured in Emilio Pucci’s recent collection celebration in Switzerland. Will 11th & Co be collaborating with Pucci on other projects?
I have built an amazing relationship with fashion house Emilio Pucci’s new designer, Camille Miceli. I was so honored to be a part of their collection celebration in Switzerland and look forward to us continuing our relationship. 11th & Co will be working with Emilio Pucci to integrate new life to the brand, and I cannot wait to share more once everything is finalized.
Warner Music Group’s chief financial officer Eric Levin told staff on Tuesday that after a “transformative decade” for the company, he will retire at the end of the year, according to an internal memo viewed by Billboard.
Levin said he decided to announce his retirement early in the year to allow the company to move forward with a public search for his successor, similar to WMG’s handling of the successor search for former WMG CEO Stephen Cooper, who stepped down Feb. 1.
Levin joined WMG in 2014, overseeing the company’s global financial operations at a time when piracy and streaming were overhauling the fortunes of companies across the music industry.
“He helped WMG return to growth and profitability, making important contributions to its long-term strategy and the funding of its global expansion and major acquisitions,” WMG CEO Robert Kyncl wrote in a staff memo about Levin’s planned retirement. “Eric will be leaving WMG in a much better place than when he joined it.”
Prior to WMG, Levin was based in China as the North Asia CFO and regional controller for Ecolab, a leading maker of disinfectants, and prior to that he was the CFO of the Hong Kong-based English language newspaper the South China Morning Post.
Levin saw WMG through its 2020 initial public offering, which valued the company at around $12.5 billion, and managed through the leadership transition from Cooper to Kyncl. On Tuesday, Levin wrote that he is “ready to pass the baton to a new CFO.”
“It’s going to be a natural progression, at a natural time,” Levin wrote. “Whoever takes this role will be very fortunate. I’m looking forward to helping set them up for another successful decade of growth.”
Early in Journey’s 2022 arena tour, lead guitarist Neal Schon became convinced people were out to get him. So he stationed two off-duty police officers outside his dressing room, according to sources familiar with the tour. And at a Florida show last spring, Schon and his wife, Michaele, sent an assistant into keyboardist Jonathan Cain’s dressing room to snoop around — to find what, the sources have no idea.
Cain caught the assistant red-handed, and then hired an off-duty officer to guard his own dressing room, the sources say. So for much of the tour — which sold 296,000 tickets and grossed $31.9 million, according to Billboard Boxscore — two of the three musicians who wrote “Don’t Stop Believin’ ” and performed it every night for decades squabbled over whether one guard outranked the other in the event of a dispute between Schon and Cain. “That’s just the level of pettiness and control and conspiracy they came to believe in,” a source says of the Schons.
From the outside, Journey’s business might seem easy — perform hits like “Wheel in the Sky,” “Any Way You Want It” and “Who’s Crying Now” in arenas and watch the money roll in. Most of those guitar-piano-and-whoa-oh-oh classics are from the ’80s, when Journey dominated rock radio and MTV, scoring eight multiplatinum albums and six top 10 Billboard Hot 100 singles, and becoming a bridge between ’70s regular-guy bands like Boston, Styx and Kansas and the more dangerous-looking Bon Jovis and Mötley Crües of subsequent years.
Journey has sold more than 75 million albums worldwide, according to a recent lawsuit involving the band, and Billboard Boxscore reports a career gross of more than $352.5 million on sales of 7.6 million tickets. Journey has also cleaned up on synch licensing for decades — the iconic final scene of The Sopranos in 2007 famously used “Don’t Stop Believin,’ ” and the band’s songs have appeared in Caddyshack (“Any Way You Want It”), Talladega Nights: The Ballad of Ricky Bobby (“Faithfully”) and last year’s season of Stranger Things (“Separate Ways [Worlds Apart]”). And the group’s 2022 tour was one of its biggest ever, nearly doubling the pace of its previous standalone tour in 2017, which took 67 shows to gross $31.7 million.
Recently, though, simmering, passive-aggressive, behind-the-scenes tension between Schon and Cain has blown up into dueling lawsuits and cease-and-desist letters, including one over Cain’s performance at Mar-a-Lago. Journey is hardly the only group to tour and make albums amid acrimony between band members; examples include Sam & Dave, The Kinks and Van Halen. But Journey’s personality conflicts have spread to its business far more than most, and sources say the Schons have run off business and road managers, accountants and longtime band members. In February, Journey’s longtime bank, City National, cut ties with the band, according to sources, hampering the group’s ability to easily pay its day-to-day touring expenses. Even Journey’s official webpage abruptly stopped operating for several weeks in early February before it recently reappeared.
Courtesy Photo
At the Jan. 27 opening show of Journey’s 2023 arena tour, which runs through April, Cain and Schon stood at least 20 yards apart at all times, on opposite sides of the stage at the Choctaw Grand Theatre in Durant, Okla. The 3,000 fans singing along to hit after hit clearly energized the band, especially frontman Arnel Pineda, who sprinted and twirled around the stage. But Cain and Schon barely looked at each other, even when Cain sang these lines from “Faithfully,” the 1983 hit he wrote: “Circus life under the big-top world/ We all need the clowns to make us smile/ Through space and time, always another show.” Another show: Check. Circus life: Check. Shared smiles: Absent.
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Neal Schon has been litigious for years. In 2007, he sued his ex-wife’s mother-in-law for blogging that he didn’t pay child support. (The mother-in-law, who has since died, said she didn’t say that and the case was eventually dismissed.) In 2019, he sued Live Nation, then-promoter for the band. And in 2020, along with Cain, he sued then-Journey drummer Steve Smith and bassist Ross Valory.
That lawsuit settled in April 2021, for undisclosed terms, and Smith and Valory soon left the band, leaving Schon and Cain to publicly turn on each other in the months that followed. In October, Schon sued Cain in Superior Court in Contra Costa County, Calif., for “improperly” refusing him access to a corporate American Express account representing “millions in Journey funds.” In Cain’s Jan. 13 response, he accused Schon of “completely out-of-control” spending, charging the band’s American Express card for what Cain said were $1 million in personal expenses, including — in a single month last spring — $104,000 for jewelry and clothes, $31,000 to the Bergdorf Goodman department store and $54,000 toward his insurance premiums.
The dispute between Schon and Cain even involves Trump. Cain is married to the ex-president’s spiritual advisor, Paula White-Cain, and he performed “Don’t Stop Believin’ ” at Mar-a-Lago. He also appeared at a Las Vegas “Evangelicals for Trump” event three months before the 2020 presidential election. In December, Schon sent a cease-and-desist letter that called Cain’s Mar-a-Lago performance “deleterious to the Journey brand as it polarizes the band’s fans and outreach.” (Cain declined to comment and Pineda did not respond to interview requests.)
This combative back-and-forth might suggest the central tension in Journey is between Schon and Cain, the remaining members of the group’s megastar era. But numerous music sources who have worked with the band over the years say the lead guitarist is obsessed with controlling the band with Michaele, a fan since childhood, who took an interest in Journey’s affairs soon after their 2013 wedding. The actual conflict, they say, isn’t Schon vs. Cain, but rather Schon vs. everyone. “He’s just an impossible human being,” says an industry source, who has worked with the band. “Jonathan, he’s a good guy: ‘I wrote “Don’t Stop Believin’ ” and I’m blessed.’ Neil’s just ‘I’m a superstar.’ ”
The source refers to a 2018 Tampa Bay Times concert review in which critic Jay Cridlin praised the band’s onstage tribute to the late Aretha Franklin. Schon directly emailed Cridlin afterwards, demanding he change the review — it was Schon who orchestrated the Franklin tribute, not the entire band, as Cridlin had reported. In a Times story he published later about his exchange with Schon, Cridlin wrote, “It seemed odd that Schon would go out of his way to make sure readers knew his bandmates had nothing to do with it.”
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The son of a professional singer and a jazz saxophonist and composer, Schon was a teenage guitar hotshot in the early ’70s, when Eric Clapton invited him to jam with Derek and the Dominos onstage at Berkeley Community Theatre, near his home in the Bay Area. Word got around, and both Clapton and Carlos Santana made offers to Schon to join their bands. At 17, Schon picked Santana, then in its post-Woodstock prime, before forming Journey in 1973.
Four years later, frontman Steve Perry ushered Journey into its FM-radio golden age. Perry became the face of the band as Cain underpinned the songwriting with Broadway-style piano and melancholy verses, and Schon electrified the earworms, matching every catchy chorus and Perry high note with a melodic guitar solo.
Over the years, as happens with many successful rock bands, Journey’s business grew into a jigsaw puzzle of financial deals worked out over decades of negotiation. Perry, who quit for good in 1997, landed a deal in which he still makes 1/41 of the band’s net income from recording royalties and touring, after management fees and other expenses. Which means he pocketed roughly $400,000 in 2022 from Journey’s tour alone, according to sources, while sitting at home making TikToks about how much he loves Harry Styles. The remainder is then split among Schon, Cain and Pineda, a cover band singer from the Philippines, whom Schon discovered on YouTube in 2007.
Jonathan Cain, Todd Jensen, Deen Castronovo, Arnel Pineda, Jason Derlatka, and Journey founder Neal Schon perform during the Journey 50th Anniversary Tour at Moody Center on Feb. 22, 2023 in Austin, Texas.
Brian Ach/GI for Journey
In the early 2010s, according to sources, Schon became more litigious and started spending more money, when he became serious with the former Michaele Ann Holt, whose Oakton, Va., high school friends in the ’80s called her Rock Chic Miss, according to Washingtonian. A Journey superfan and once a Real Housewives of D.C. cast member, Michaele first became famous with her ex-husband, Tareq Salahi, as the White House gate-crashers who joined former President Barack Obama’s 2009 state dinner without an invitation. Two years after that, Salahi reported his wife missing to the police and appeared on TV, begging for her return. “I swear to God, I’m missing my wife,” he said through tears. “This is not a joke.”
It came out later, in Salahi’s divorce filings, that when he made that plea, he neglected to mention that he had already received a call about his wife’s whereabouts. It came from Neal Schon. As Washingtonian reported, Schon told Salahi, “This is Neal. I am fucking your wife.”
In 2013, Neal married Michaele, in a pay-per-view wedding that cost viewers $14.95. One of the three dresses Michaele wore was by Oscar de la Renta. Neal wore a long black coat without a tie. Sammy Hagar and Grateful Dead guitarist Bob Weir attended. So did Omarosa Manigault, the Apprentice villain who later worked in — and still later turned against — the Trump Administration. The San Francisco wedding, held in a white tent, had a winter-wonderland theme, with 36 crystal chandeliers and a four-foot-tall, berry-and-custard white cake. Paying customers could watch for up to 12 hours — more than six times the length of a typical Journey concert. Journey performed, of course, and a portion of the pay-per-view gross went to typhoon relief, a cause Pineda favored. The wedding cost between $1 million and $3 million, according to music-industry sources familiar with the band’s finances.
After Michaele left Salahi for Schon, the couple began getting Journey’s publicists to work for them. Emails from the time show Neal and Michaele calling and emailing a publicist late at night, to tweak language and order photos for press releases about Michaele’s divorce. When a publicist responded to an 11:30 p.m. email by saying his business hours were 9 to 5, Neal responded, “sorry we didn’t fit into your biz hours. Lol.” At one point, the publicist emailed, “I rarely answer calls from numbers I don’t have saved. Michaele’s 12:28 a.m response: “Are you still up?”
After she married Schon, Michaele gradually became more involved in various aspects of Journey’s business: She asked to be copied on all band-related emails, according to multiple sources, and sometimes responded by CC’ing as many as 15 other addresses, including those of attorneys and other band employees.
In early 2021, after Smith and Valory settled their lawsuits and left the band, Schon became Journey’s manager.
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By the time Schon started managing Journey, he and Michaele had spent six years scrutinizing trademarks and merchandise and ticket sales. And they came to one conclusion: Journey was getting screwed. That meant everyone had to go, so Schon fired or sued managers, accountants, bandmates and promoters, some of whom had worked with the group for decades. John Baruck, who managed the band for 20 years and oversaw its 2017 induction into the Rock and Roll Hall of Fame, the hiring of Pineda as lead singer and the band’s post-Sopranos renaissance? Gone. Peter Mensch, also one of Metallica’s managers at Q Prime? Gone. Smith and Valory? Gone, when Schon and Cain jointly sued them for $10 million, claiming the two “launched a coup” to take control of the Journey name and “set themselves up for retirement.”
“I took the bull by the horns and started cleaning things up,” says Schon, 68, with matter-of-fact rock star charm on Zoom audio last summer, throwing in a “ha!” or two to illustrate the absurdity of the music business. “It was a mess, I have to tell you, business-wise. It was set up to be chaotic, so you would never be able to have a clue of how messed up it was.”
Schon and Cain took over as Journey’s co-managers in early 2021, splitting the standard 15% fee. (Cain shared some of his 7.5% with Pineda, according to sources.) The idea was to bring order to the business chaos. “I believe the government calls it ‘chaos merchants,’ ” Schon says, in a charming non sequitur, with a soft-spoken laugh. But Schon also created chaos of his own, sources say.
Jonathan Cain, Todd Jensen, Arnel Pineda, Jason Derlatka, Journey founder Neal Schon, Journey co-founder Gregg Rolie, and Deen Castronovo perform during the Journey 50th Anniversary Tour at Moody Center on Feb. 22, 2023 in Austin, Texas.
Brian Ach/GI for Journey
In 2019, the Schons filed a lawsuit against Live Nation, which promoted Journey’s tours, after Michaele alleged that a security employee at the band’s show at Allen County War Memorial Coliseum in Fort Wayne, Ind., “violently assaulted” her and threw her into a PA system while she was taking photos near the stage. (Video on YouTube that seems to show the incident includes no evidence of violence, but it’s blurry, distant and missing several crucial seconds of the alleged confrontation.)
The Schons fired three different law firms that represented them in that case, including one that cited an “irretrievable breakdown of the attorney-client relationship.” They also stopped responding to discovery requests and court orders, prompting an Allen County Superior Court judge to mandate a court appearance. When they didn’t show up, the judge held the Schons in contempt and dismissed the suit last March.
In early 2020, Schon and Cain filed their California Superior Court lawsuit against Valory and Smith, claiming the duo’s “coup” to take over one of the band’s business entities, Nightmare Productions Inc., “placed their own greed before the interests of the band, sowing discontent and discord, jeopardizing the future of Journey.” In a counter-complaint, Valory said Schon and Cain were “deceptive, misleading and false,” and that he and Smith tried to protect Journey from their bandmates’ attempts to trademark logos and song titles to use on merchandise for Schon’s side project, Neal Schon Journey Through Time, which toured briefly in 2019. (Valory, who is no longer in the band, did not respond to interview requests; reached on his cellphone, Smith said, “No, I won’t do a phone interview on or off the record, and if you don’t mind, I have to go.”)
After Schon’s enthusiastic Zoom interview last summer, he declined all further requests to comment. Skip Miller, his attorney, responded to an email list of questions by saying, “Please be advised that your email, and the questions and matters therein, are largely incorrect.” He would not specify which parts were incorrect, but said: “As the band’s founder and leader, Mr. Schon puts Journey above all else. Unlike another band member, he doesn’t think Journey should be involved in politics on any side, red, blue or whatever.” Later, he added, “For Neal Schon, it’s all about making great music for Journey’s fans.”
Journey’s blockbuster 2022 ended with Schon suing Cain, his final remaining bandmate from the “Don’t Stop Believin’ ” years. Schon v. Cain, the legal dispute over the band’s American Express account, is pending in California Superior Court, and representatives for both sides would not comment. By early December, Def Leppard manager Mike Kobayashi confirmed Journey had hired him to take over management from Schon and Cain.
By early February, sources say, Kobayashi was no longer manager.
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Over Zoom last summer, Schon says he became suspicious of the people handling Journey’s affairs before he started doing it himself. At one point — he won’t give the date or context — he asked band accountants how many fans attended each amphitheater show he played. “You did OK,” came the response, according to Schon. “You didn’t do as well as two years ago, when you had 19,000. You had 18,500, or 17,000.” His conclusion: The band’s representatives were lowballing him.
So, Schon says, “I would pay guys in the parking lot and say, ‘How many cars are here tonight?’ And they’d say ‘Dude, they’re plus-five miles out’ — that means about 23,000. With a band like Journey, that has hits like Journey has, you can’t just try to squash them down in a box and make them believe that they’re no longer big.”
During Journey’s business purge of the last few years, one of the managers Schon fired was Irving Azoff, the uber-manager who represents the Eagles, John Mayer, Jon Bon Jovi, Gwen Stefani and others. Azoff wouldn’t comment for this story, but in his lawsuit against Live Nation, Schon says he developed a “medical condition” and criticizes Azoff for nixing “continued off-duty law enforcement protection” for the Schons during the band’s tour. In exchange for forgoing personal security, Azoff agreed to provide the Schons with private-jet transportation, according to the lawsuit. (Neither Azoff nor Baruck — Azoff’s former college roommate, who worked at his management company for years — would comment.)
Azoff’s team, Schon says on Zoom, “ended up doing some great things,” but frustratingly kept the band in amphitheaters when he insisted to managers for years that Journey should be headlining arenas. “What I did was follow my gut instinct, and it was just time to move on,” he says. “We tried Q Prime for a second, and it seemed like it was going to be alright, but, you know, politics come into play.” (A rep for Q Prime declined to discuss Journey.)
By then, Schon thought, “We don’t need these guys, man,” as he remembers telling Cain. “I swear to God, I’m mostly doing everything, anyway.”
Over the last few years, as Schon and Cain managed Journey, they had help from CAA agent Jeff Frasco and AEG Live CEO Jay Marciano. (Neither would comment for this story.) On Zoom, Schon lists Journey’s switch from sheds to arenas as his top accomplishment as manager, and some in the concert business agree. “It’s a much bigger statement for a band to headline an arena than a single day at an amphitheater,” says New York promoter John Scher, who booked the band in the ’80s. “Could they be doing better with a different manager? They seem to be doing OK now.”
Schon’s other business priority is Journey trademarks. He says he was amazed to learn that since 1973, Journey hadn’t trademarked its name or logo, despite selling T-shirts for years at venues, as well as retailers from Walmart to Neiman Marcus. After the Schons realized this, in 2019, Neal and Cain registered 20 of the band’s song titles with the U.S. Patent and Trademark Office, for use on T-shirts, caps and hoodies. (Since Journey’s songs and the recordings are already protected by copyright, this would only cover the song titles for use on merchandise.)
“I’d introduce myself to the CEO and I’d say, ‘I’m Neal Schon, the founding member of Journey, and I now own the trademark for all Journey material. And you guys have kind of gotten yourself in a weird position here, because you’ve been selling tons of Journey merchandise for decades, and we’re seeing peanuts, and I’d like to have an electronic audit,’ ” Schon recalls. “Then a legal team would get on the phone with myself and my wife and they’d say, ‘Well, you know, we weren’t really selling it under the name Journey.’ And I’d go, ‘Well, that’s kind of laughable. I have boxes and cases of stuff in my living room and it’s just from your store and it all says Journey on it.’ ” (A Walmart spokesperson said the company was “not aware of any unlicensed Journey-branded products being sold by Walmart.” A Neiman Marcus spokesperson said he would “need to look into” Schon’s claims, then didn’t respond to follow-up inquiries.)
In fact, the Journey “mark” has been the subject of many years of negotiation among past and present band members. In 1985, the band’s company Nightmare Productions licensed it to a separate partnership, Elmo Partners — Perry, Schon and Cain — according to the complaint in Schon v. Valory.
In a September filing to cancel the trademarks with the U.S. Trademark and Patent Office’s trial and appeal board, Perry declared that Schon and Cain sold the rights to the songs they co-wrote and once owned. As of 2019, according to Merck Mercuriadis, CEO and managing partner of U.K. song-investment firm Hipgnosis, his company owns all recording royalties and publishing that previously belonged to Schon, Cain, Valory, Smith and Herbie Herbert, an early longtime manager who died in 2021. Perry argued that Schon and Cain no longer retained the standing to trademark the songs. Plus, the trio’s 1985 Elmo agreement requires “unanimous agreement and consent” among Schon, Cain and Perry to use a trademarked song for T-shirts or other products.
In his filing to cancel the Schon-Cain song trademark action, which cost him $12,000 in fees, Perry accused the duo of making knowingly “false or misleading” statements. In January, Perry abruptly dropped the motion to cancel the trademarks. Schon used the occasion to rip his current bandmate — Cain — on Twitter: “So much for [Cain] trying to throw me under the bus as he claimed I was blatantly trying to rip off [Perry] while collecting the checks for the very diligent work my wife and I did to protect our Merch.”
While federal trademark registration can be important, Journey already had other ways to assert its rights to logos or song titles associated with the band that appear on merchandise. The band could have protected its holdings through “common-law rights,” says Michael N. Cohen, a Beverly Hills, Calif., an intellectual-property lawyer who specializes in trademarks and represents classic rock bands: “Just by virtue of using the mark, you’ve acquired some degree of rights, but those rights are limited.” In other words, Journey has always had the right to make merchandise deals — just by being Journey.
With Kobayashi gone, Schon seems to have taken over again as manager — with the help of Michaele, whom he recently praised on Instagram for serving as the band’s road manager in 2022, even though the band employed experienced road managers throughout the tour. (Kobayashi didn’t respond to requests for comment.)
By February, Journey may have also lost its bank, and with it the ability to easily pay employees and cover expenses on the road. (A representative from City National declined to comment.) As manager, though, Schon understands an important thing about Journey: If the band puts out a new album every now and then — like last year’s Freedom, which didn’t do nearly as well as its classic ’80s material — the arena dates will keep rolling in.
“Let’s be honest: There’s no new Journey fans,” says Brock Jones, a veteran Nashville and Philadelphia promoter and consultant. “It’s about playing the right markets, playing the right rooms, pricing the right tickets and making sure the package is correct.”
At the Choctaw Grand Theatre, before boisterous fans singing along to every “na-na,” Cain manned his red piano at stage right, while Schon soloed constantly at stage left. After the finale, “Any Way You Want It,” the six band members lined up and group-hugged and fist-bumped, happy to perform again after several months off for the holidays. But Cain and Schon stood at opposite ends of the line. They did not hug each other. They did not bump fists with each other. Finally, Schon bounded off-stage — by himself.
Veteran executive Yvette Medina has been appointed head of Latin music at YMU, the global management company tells Billboard.
Medina joins YMU’s Los Angeles office after launching her own artist management company, Creative Management Firm (CMF), in 2018 with clients such as Paloma Mami and Ecko. According to an announcement, she will continue to manage her current roster (Ecko, De La Cruz and Latenightjiggy) alongside the global YMU team, across all divisions, while overseeing the company’s activities for Latin America and with the wider Latin music community.
“YMU’s global resources and commitment to continue driving Latin music forward on a global scale aligned with my vision and passion, making them a perfect partner,” Medina said in a statement.
With over 18 years of experience in the music industry, Medina has held senior level positions at companies such as CAA, WME and Sony Music Latin. Before launching her own management firm, she was appointed general manager of Roc Nation Latin in 2016.
“Yvette’s experience and reputation speaks for itself. We have been looking for the right partner to establish our presence in the Latin music space for some time as it has exploded in popularity and mainstream visibility,” added Matt Colon, global president at YMU, which represents clients in music, entertainment, sports, publishing and business management. “Yvette’s combination of experience at a talent agency, and as a manager and label executive, has given her a unique skill set perfectly suited to the YMU Music management approach, offering marquee clients a full set of services from a global perspective.”
Rock & Roll Hall of Famer Nancy Wilson has launched a new management company, Roadcase Management, with first client, Portland, Oregon-based singer/songwriter Madisenxoxo.
The Heart co-founder and guitarist tells Billboard that she isn’t worried about balancing her music and her new management role, adding she feels a passion to extend a hand to those coming after her. “I believe rock music still has such a meaningful place in the world and I’m ready to go to bat for the new generation of inspired talent,” she says. “I want to do this because in today’s world new music needs more of a fighting chance to get through to the fans despite the compartmentalized markets.”
Wilson, who holds the titles of Roadcase founder/president and CEO, instantly connected with Madisenxoxo’s sound. “I fell in love with Madisenxoxos music the first time I heard it,” she says. “There is something really competent and surprising in both her writing, production and delivery. For me it feels like a whole new sound we’ve all been waiting to hear. It borrows from a few classic sound genres that evoke a new cultural context at a time when, I think, the culture is ready for it.”
Wilson’s husband and former label executive Geoff Bywater serves as co-founder/president and CEO, while Julia Bywater is vp/chief marketing officer.
Geoffrey Bywater, Bywater’s son who serves as the company’s head of A&R and management, became aware of Madisenxoxo through another artist, McCall, he worked with. “The first demo Madisen sent over was ‘You’re So Pretty.’ Man, the song knocked me out. The blend of genres and storytelling is something I’ve only seen true innovative artists do, and the fact that it’s only been her and her partner [producer] Josh [Horine] is wild.”
“You’re So Pretty,” which comes out later this week, is featured on Madisenoxo’s EP, Mothership, to be released through a distribution deal with Pack Music on April 21. “When we were making all these songs, we were exploring different genres and ideas,” Madisenxoxo said in a statement. “We weren’t limited by any certain sounds. Somehow it ended up being cohesive together in a really cool way that I didn’t expect. I think it was really good for me to branch out and lose focus—in a good way. It enabled us to find sounds that we wouldn’t have been able to find otherwise.”
Wilson says she plans to add more acts to Roadcase’s roster but is in no rush: “Developing a roster will take time as we intend to stick to quality over quantity and seek only the right artists for the right reasons.”
When tickets for Bad Bunny’s El Último Tour del Mundo arena tour went on presale in April 2021, his manager, Noah Assad, was cautiously optimistic.
“I thought we would do well, because it was post-pandemic and everyone wanted to go out, but we went on sale without really knowing — and we did it a year out for that very reason,” says Assad.
For Assad, “doing well” has become synonymous with breaking some sort of record. But even he wasn’t expecting Bad Bunny to have one of the most historic, record-setting runs for an artist in the history of the Billboard charts. El Último Tour del Mundo’s presale date became the top sales day for any tour on Ticketmaster since Beyoncé and Jay-Z’s On the Run II tour went on sale in 2018, and the run sold out 480,000 tickets in less than a week.
Four months after El Último Tour del Mundo wrapped in April 2022, Bad Bunny embarked on his World’s Hottest Tour stadium run, becoming the first artist to ever mount separate $100 million-plus tours in the same calendar year. Ultimately, his 81 concerts in 2022 grossed $434.9 million, the highest calendar-year total for an artist since Billboard Boxscore launched in the late 1980s. The tour broke local revenue records in 13 North American markets en route to becoming the biggest Latin tour ever.
Bad Bunny’s chart dominance made him Billboard’s top artist of the year, by the numbers, the first Latin act and the first artist who records in a language other than English to earn the distinction. His album Un Verano Sin Ti, released in May on Assad’s independent label, Rimas Entertainment, and distributed by The Orchard, became the first non-English set to ever top the year-end Billboard 200 Albums ranking and the first all-Spanish release nominated for album of the year at the Grammy Awards, one of Bad Bunny’s three nods.
“I was very proud about that one, especially because it was 100% a Spanish-language album,” says Assad. “It doesn’t have even a verse in English.”
On top of that, in April, Bad Bunny will become the first Latin act to headline Coachella. And, Assad, 32, is realizing some milestones of his own, including being named Billboard’s youngest-ever Executive of the Year and the first Latino to secure the honor.
His achievement underscores not only the growing worldwide popularity and profitability of Latin music, but also shines a light on what an upstart independent can do — regardless of genre or the backing of a legacy company — when armed with guts, hustle, deep musical knowledge, loyalty and the confidence to break rules and create new ones.
Bad Bunny is signed to Assad’s label, Rimas Entertainment, which originated in 2014 as a digital marketing and distribution company. It has evolved to become a 100-plus-person operation with distribution from The Orchard, with a roster ranging from veterans (Arcángel, Jowell & Randy) to promising newcomers (Mora, Eladio Carrión), many of whom are signed to 360 deals. Rimas ended 2022 at No. 7 on Billboard’s year-end Top Labels chart and at No. 1 on the year-end Top Latin Labels chart, with 23 charting albums by seven artists besides Bad Bunny.
Assad also launched RSM Publishing, which is administered by Universal Music Publishing Group and was No. 1 on Billboard’s year-end Hot Latin Songs Publishers list. And while Bad Bunny is his most visible management client, Assad also started managing Karol G 18 months ago with his new management firm, Habibi, with stellar results. Her 2022 $trip Love tour, promoted by AEG Presents, grossed $69.9 million with 410,000 tickets sold across 33 arena shows in North America — the highest-earning U.S tour ever by a female Latin act, according to Billboard Boxscore.
“Noah has an unmatched understanding of his artists,” says Jody Gerson, chairman/CEO of UMPG. “His instincts about how to market and promote them, as he has done so well with Bad Bunny and Karol G, are among the best I’ve ever seen in the business. As an executive, Noah is loyal, honest, innovative and smart, and these are just some of the many traits that make him a fantastic partner.”
Though only 32, Assad considers himself a “semi-vet. I may be ‘new’ to a lot of people, but I’ve been at this for 12 years,” he says with a laugh. A self-professed reggaetón nerd with long blonde hair that matches his laid-back surfer vibe, Assad — born to a Lebanese father and a mother from St. Croix — grew up in Puerto Rico, and since seventh grade has been “consumed with reggaetón culture.” By 16, he was promoting house parties, booking the likes of Farruko before he became a big name and cultivating relationships with already established acts like Plan B’s Chencho Corleone. “Chencho was the first established artist to simply say yes to me,” says Assad, a favor that has paid dividends for Corleone; “Me Porto Bonito,” his smash collaboration on Bad Bunny’s Un Verano Sin Ti, became the first all-Spanish song to top Billboard’s Streaming Songs chart. That full-circle moment highlights Assad’s reputation for cultivating relationships with contacts to whom he stays loyal. “We work with everybody; we are always coexisting,” he told Billboard last year. Witness his deals with opposing teams at The Orchard and Universal, while his top touring acts — Bad Bunny and Karol G — work with Live Nation and AEG, respectively.
“Noah is similar to Bad Bunny in that he’s also a unicorn,” says Henry Cárdenas, the veteran promoter and founder of CMN, which produced and promoted Bad Bunny’s last two tours, including the stadium tour in partnership with Live Nation. “The guy’s going to create an empire, and he’s a man of his word. I compare him to the old managers, where we closed business with a handshake, and he’s appreciative. Where I’m concerned, he has continued to take me into account, and it harks back to the fact that I worked with him from the very beginning.”
While Assad’s success feels very of the moment — in keeping with his young acts, the relatively recent mainstream success of reggaetón and Bad Bunny’s fondness for releasing music with little or no notice — he’s actually a planner; like his famous client, he takes a long view on success. It wasn’t always this way. As a young promoter, Assad recalls struggling mightily to make a buck (and often getting “hustled”) in what he half-jokingly refers to as “the reggaetón depression era” of 2009-2016, when the music was largely consumed for free and money came almost solely from live shows.
“YouTube was the outlet that turned it into a commercial business,” says Assad, who says he struck an early deal with the platform to monetize the millions of views the music generated for many independent artists and eventually for his own — including a 22-year-old who called himself Bad Bunny. “I didn’t have the privilege to work with an artist who was already established, but I was very fortunate to have Bunny trust me and work with me. Bunny makes me look good,” he says. Alongside his artist, Assad began thinking long term, and even when his actions seem improvised, they are anything but. Take the one-two punch of back-to-back tours with a hit album in between, conceived after ticket prices to Bad Bunny’s arena tour started soaring just after they went on sale in 2021.
“We started getting the heat, but we didn’t think of stadiums until the summer,” says Assad, pointing out that Bad Bunny already had plans to release a new album when the arena tour wrapped. By October, a plan had been made: arenas in February, an album in May and a stadium tour in June to be announced in January with a series of humorous videos featuring Bad Bunny’s girlfriend, Gabriela Berlingari, and Spanish actor Mario Casas. “There’s a lot of pivoting along the way, but we still follow the plan,” says Assad. “And everything we do has to make sense. If it doesn’t make sense, even if it’s beautiful, we pass.”
“Noah is singular in his sense of the moment, commitment to a vision and fearlessness,” says UTA agent Jbeau Lewis, who books Bad Bunny and Karol G. “Noah understands his artists, he always plays the long game, and he’s unafraid to say no.”
Bad Bunny has said repeatedly that he plans to take a break after Coachella, from both recording and touring. But for Assad, the work of growing his business never slows. Last year, in partnership with The Orchard, he launched Sonar, a label for developing acts that already has deals with over 50 artists from around the world, including non-Latin acts. Assad also began a strategic alliance with Live Nation to develop new businesses outside of touring, including Gekko, the restaurant Bad Bunny opened in Miami in August with hospitality entrepreneur David Grutman. Most recently, he announced the launch of Rimas Sports, a stand-alone management company (name notwithstanding, it is not a division of Rimas Entertainment) whose client list already includes the Toronto Blue Jays’ Santiago Espinal and Diego Cartaya, a top prospect for the Los Angeles Dodgers.
Assad says his biggest goal for 2023 has nothing to do with business, however. “I want to fly less, enjoy more and spend as much time as I can in Puerto Rico,” he says. “That’s my goal. People look at me and think that because of the hair I’m from Mississippi or something. But I’m just a kid from Carolina, Puerto Rico, who loves reggaetón.”
This story will appear in the Feb. 4, 2023, issue of Billboard.
Rosalía and her highly-regarded manager, Rebeca León, have amicably parted ways, Billboard has learned. The split comes after an almost six-year stint that saw Rosalía rise from unknown flamenco artist to global superstar. Prior to working closely with Rosalía, León helmed the careers of fellow superstars J Balvin and Juanes.
The split, which sources say was agreed upon under good terms, leaving both parties with “gratitude and pride for everything they have accomplished together,” allows both León and Rosalía to explore new paths. Rosalía has yet to announce new management.
León will focus her energy on her production company, Lionfish Studios, with which she closed a content deal with Sony Music last year. Projects in development include Alice with Gunpowder & Sky; Redemption Song with Fifth Season and director Jessica Kavanaugh; Mona Carmona with José Ignacio Valenzuela, Paul Pérez Pictures, Malule Entertainment and Lucas Akoskin; and Biscayne Baby with Sebastian Ortega and Enrique Murciano, in addition to a project León is developing with Steven Levinson for HBO.
Last year, León was also a co-producer of the Father of the Bride remake starring Andy García. León will also continue working in music projects, including management of st. pedro and a partnership with BRESH via her music company, Lionfish Entertainment.
Rosalía, fresh from performing at the Louis Vuitton men’s show in Paris in January, is in the midst of prepping a series of festival dates, including headlining Lollapalooza in Argentina and Chile and playing the main stage at Coachella in April. She is also close to announcing a deal with Coca-Cola, according to sources.
The León-Rosalía manager-client partnership was widely regarded as one of the most successful in the music industry. In a narrative that closely mimics the movie-like storyline of how a brilliant manger takes a hugely talented unknown artist and makes her a star, León signed Rosalía after watching her perform in Madrid in 2017, at the urging of her then-client Juanes.
At the time, Rosalía was a highly respected and unorthodox flamenco artist, little known outside Spain. Rosalía told Billboard in 2019, “I had never met any manager nor had I had a manager.”
Rosalía told León she was looking for someone to internationalize her and her music and help her grow.
León was hugely impressed.
“I’m never looking for another artist,” she told Billboard in the same interview. “But she was captivating. She was inspiring.” The following day, she watched Rosalía’s videos and saw yet another realm of possibilities.
“She sang flamenco and then she sang hip-hop. Her movement, her attitude, I thought, that’s going to change everything. She had reinvented something.”
Rosalía was in the process of signing with Sony Music Spain, and under León, moved to Columbia in a joint deal with the label.
In the five years that followed, she became perhaps the most elite Latin artist in recent history, recording with the likes of Billie Eilish and The Weeknd, and becoming the first artist that sings in Spanish to ever be nominated for best new artist at the Grammys. She went on to best Latin rock, urban or alternative album for El Mal Querer, which also won album of the year at the Latin Grammys.
Last year, her Motomami also won album of the year at the Latin Grammys and is once again nominated for the since-renamed best Latin rock or alternative album award at the Grammys.
All told, Rosalía has placed six songs on the Billboard Hot 100 and 17 on Hot Latin Songs, including six top 10s.
Music public relations veteran Jake Basden has been named president at the Jason Owen-led Sandbox Entertainment Group. The news was first reported by Variety.
In his new role, Basden will champion a roster of artists that includes Kacey Musgraves, Kelsea Ballerini, Little Big Town, Midland, Faith Hill, Dan+Shay and actress-singer Kate Hudson. He will also work with Sandbox’s various media and entertainment entities, including the Broadway musical Shucked, which premieres this spring.
“Jake is the sort of star executive who recognizes this is not a business of boxes and lanes,” said Owen, Sandbox founder and CEO, via a statement. “He is beloved by all and brings elevation to everything he touches. From conceptualizing events to executing campaigns, there’s no one [else] whose vision can see a project from conception through to not just success, but the highest awards recognition for whatever arena they’re in. Sandbox’s incredible team was formed as an entertainment firm whether it meant movies, television, touring or career direction. Jake excels in all of those spaces.”
“There is so much more to a successful launch, whether it’s an artist’s project, a Broadway show or long-term development,” Basden added via a statement. “Perception can define reality, but you have to back it up with solid strategy and execution. The opportunity Jason has provided allows me to both stretch and take topflight people, TV and motion picture platforms to new places. That thrills me because I believe that marketing done as a well-thought-out strategy yields exponential returns. The Sandbox team is comprised of the highest caliber executives whom I have long admired, and I am grateful for the opportunity to join them.”
Basden previously spent 12 years spearheading publicity efforts at Big Machine Label Group, championing artists including Thomas Rhett, Tim McGraw, Lady A, Glen Campbell and former Big Machine artist Taylor Swift. Basden was named senior vp of global communication for BMLG in 2017. He announced his departure from the label group earlier this month.
Basden, a University of Oklahoma graduate, joined Big Machine from the New York offices of public relations firm Edelman, where he served as a director in their sports and entertainment division. Basden’s career accolades to date include being named Country Music Association (CMA) publicist of the year. He was also named PRWeek‘s Young PR Professional of the Year, and was honored as one of the magazine’s “40 Under 40” in 2019.
Vector Management founders Ken Levitan and Jack Rovner have named Jason Murray president of the artist management company, where he will oversee operations and new business.
Murray is the owner and co-founder of the Canadian indie label and artist management company Black Box Music, which will merge with Vector.
Joining the Vector roster is singer-songwriter-guitarist Charley Crockett, who released his latest album, The Man From Waco, in 2022.
In 2023, Vector is set to release a Rick Rubin-produced album from Kesha as well as new music from Manchester Orchestra. Meanwhile, Country Music Hall of Fame member Hank Williams Jr. will hit the road with current Grammy nominee Molly Tuttle (nominated in the all-genre best new artist category). In addition to its headquarters in Nashville, Vector has offices in New York, Los Angeles and Toronto.
During his career, Murray has worked with rock artists including The Glorious Sons, JJ Wilde and Blanco Brown.
“I believe today, more so than ever before, artists need a management partner that fully understands all aspects of the music business,” Murray said in a statement. “Vector has been that company for decades, and we will continue to build on that ethos as we look forward.”
“We’re thrilled to bring Jason into the Vector team,” Levitan added. “His years of expertise and deep knowledge of this industry are excellent, and we can’t wait for the road ahead together.”
“We look forward to welcoming Jason to our great team here at Vector,” Rovner said. “His knowledge and leadership serve to further strengthen our management team and we couldn’t be happier to have him as part of the next chapter of Vector.”