Rimas Entertainment
Tony Dize has inked a record deal with Rimas Music, and will make his highly-awaited comeback with new music, Billboard can exclusively announce today (Sept. 24). With a trajectory that spans over 20 years, the Puerto Rican artist born Tony Feliciano Rivera gained popularity as “La Melodía de la Calle” (the melody of the streets) thanks to his smooth vocals that backed his signature romantic reggaetón sound.
Rimas — home to Bad Bunny, Arcángel, and Eladio Carrión, to name a few — will not only “revive his classic reggaeton sound but also propel his music into the future, pushing the boundaries of Latin music,” according to a press release.
“This is a very important moment for Rimas and for Tony Dize,” said Junior Carabaño, co-founder of Rimas, in a statement. “Tony’s signing is a testament to our ongoing mission to work with artists who have not only shaped the culture but continue to drive it forward. Over the past year, we’ve been committed to making this partnership a reality, and it’s an honor that Tony has trusted us for this new chapter in his career. Together, we aim to take his timeless sound to new heights and reach even broader audiences worldwide. We can’t wait to make history together.”
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On the Billboard charts, Tony secured nine entries on the Hot Latin Songs chart including “El Doctorado” at No. 8 in 2010. The song also reached No. 1 on Latin Rhythm Airplay for two weeks that same year. In 2014, he peaked at No. 2 on the latter chart with “Prometo Olvidarte.”
He additionally secured his first and only entry on the Billboard 200 chart with his debut album, La Melodía de la Calle, in 2008. He reached No. 1 on Latin Rhythm Albums in 2009 with La Melodía de La Calle (Updated); and in 2015, his set La Melodía de La Calle, 3rd Season, debuted at No. 1 on both Top Latin Albums and Latin Rhythm Albums charts.
Most recently, he was a featured artist on Bad Bunny’s “La Corriente,” part of his Una Verano Sin Ti album. The infectious collab earned Dize his only entry on the Billboard Hot 100 chart in 2022, and on both Global charts: No. 17 on the Billboard Global 200 and No. 20 on the Global Excl. U.S.
On the heels of the signing, the “Permitame” singer will release his new single “Quisiera,” accompanied by a conceptual video directed by Nuno Gomes.
Rimas Publishing, known for its influence in urban music and its management of stars like Bad Bunny, Arcángel and Eladio Carrión, is launching Faith Sounds, a platform dedicated to supporting and elevating Christian music artists, Billboard Español can announce today (Sep. 16) exclusively. The project seeks to offer a formal structure and advanced resources to Christian artists, providing collaboration opportunities, songwriting camps and a support network to boost their careers.
Faith Sounds is not a recent idea, but rather the evolution of a commitment that Rimas Publishing has maintained since its beginnings: supporting music with a positive message, Emilio Morales, managing director of Rimas Publishing, and Christopher Hernández, who will lead the marketing division, tell Billboard Español. “This was born from a need to be able to give even more visibility to these significant artists within our roster,” says Hernández. “The goal is to elevate them, create new collaborations and take them to different areas that perhaps they could not have reached on their own.”
The platform currently has a roster of 12 artists, covering a wide range of genres within Christian music. Among the most notable names are Lizzy Parra, a Christian trap singer from the Dominican Republic; as well as producer Barajas; Christian reggaeton artist Gabriel EMC; and gospel crooner Shamaai, all three hailing from Puerto Rico.
Additionally, they have established key alliances with companies such as Adarga Entertainment, and the Gospel Music Association (GMA), which has allowed them to access new opportunities in the niche and give greater visibility to their artists at important events such as the Dove Awards. According to Morales, the support of influential Christian companies has allowed Faith Sounds to gain credibility and establish itself in the sector.
Faith Sounds also seeks to foster collaboration between Christian and secular music artists. Camps have already been held in conjunction with Capitol Christian Music Group, with talents from both sides participating. “We invest in ensuring that our A&Rs, who are exposed to the biggest artists and producers in the world — the same person who may be serving Cris MJ, Lyanno, or Eladio [Carrión] one day — are the same persons who will be providing service to the client who is participating in the camp,” Morales adds.
With Faith Sounds, Rimas Publishing seeks to continue breaking patterns and offer Christian artists a broader and more diverse audience by breaking down barriers between Christian and secular music.
Rimas Entertainment has announced new corporate appointments, adding two key executives to its leadership team, Billboard has learned.
Rodrigo Prichard has been named general manager of Rimas Entertainment, and will begin July 1, reporting directly to the company’s chief operating officer, Jorge Bracero. Kristen Quintero-Garriga has been named vice president of brand partnerships under RIT.MO, Rimas’ new division that acts as a creative consultancy and sales force.
“I am thrilled to welcome Rodrigo Prichard and Kristen Quintero-Garriga to our corporate leadership team,” Bracero said in a press statement. “Their deep knowledge and experience in the music industry and in creating strategic alliances are invaluable to us at this time of growth and evolution. I am confident that their leadership will be crucial in further driving Rimas’ success in the future.”
Prichard, who was vp of legal and business affairs at Universal Music Latin before joining Rimas, will oversee all departments of the record labels within the Rimas conglomerate (Rimas Music, Sonar, Nain Music) in Puerto Rico, the United States and all other markets.
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Prior to joining Rimas, Quintero-Garriga was market manager at Puma Energy LATAM, Burger King and Advice Global. In her new role, she will lead brand partnerships, offering her expertise to Rimas, Habibi, Rimas Sports, Fundación Rimas and Rimas Nation, among others.
“Rimas is what all other brands aspire to be right now: agile, smart and passionate,” Prichard expressed. “I am honored to join this family of visionary professionals and look forward to contributing to the brand’s success.”
Quintero-Garriga added: “The speed and efficiency with which each business line under Rimas Entertainment has developed have created great opportunities to forge strategic alliances with local and international brands, which we will capitalize on. We are focused on creating unparalleled collaborations with brands and our world-class artists, athletes and events that we are bringing to Puerto Rico.”
Ñengo Flow has signed an exclusive record contract with Rimas Entertainment in a bid for his international expansion, Billboard can announce today (Oct. 31). The alliance that includes touring, merchandising, and brand partnerships strategies, “marks a significant step in the evolution of the reggaeton genre pioneer, known for the distinctive touch of his rhymes and […]
Rimas Publishing — home to renowned songwriters and producers such as Bad Bunny, Eladio Carrión, Mora, and Súbelo NEO — has inked a strategic partnership with music metadata Muso.AI, Billboard has learned. Focused on businesses, catalogs, and individual profiles, the new deal will provide a new standard for next-generation transparency that will directly benefit Rimas’ […]
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
Bad Bunny‘s label and management company, Rimas Entertainment, is responding to accusations the super star artist “illegally used” an Afro-pop act’s song. Bunny’s team responded by saying they paid to use the material in question and, hence, its use in the track “Enséñame a Bailar” was not infringement.
Earlier on Thursday (Feb. 9), emPawa Africa founder Mr Eazi — himself a popular Nigerian singer — issued a press release claiming Bad Bunny used his artist Joeboy‘s song “Empty My Pocket” without consent in the track “Enséñame a Bailar” off Bad Bunny’s blockbuster 2022 album, Un Verano Sin Ti. Mr Eazi claimed he had been trying to settle the case privately since the record’s release nine months ago.
Listen to the first few seconds of two songs and the case could seem obvious. The jubilant rhythms of the Dëra-produced Joeboy track “Empty My Pocket” appear prominently as an interpolation and at the 2:30 minute mark on “Enséñame a Bailar,” where one can even faintly hear Joeboy’s vocals.
“We will not accept Bad Bunny and Rimas denying Joeboy and Dëra credits and a share in the ownership of a song they wrote, composed and, in Joeboy’s case, even performed on,” said Ikenna Nwagboso, co-founder and head of label services, distribution, and publishing with emPawa Africa, in a statement. “Give Joeboy his credit, publishing and royalties on the song, and give Dëra a producer credit alongside those already given to Bad Bunny’s Producers.”
emPawa Africa is demanding that Bad Bunny and Rimas Music grant Joeboy publishing, songwriting and feature credits on “Enséñame a Bailar,” and credit Dëra as the track’s co-producer. Though the statement seemed to threaten legal action, no lawsuit has yet been filed.
Not so fast, says Rimas Entertainment, which is denying any wrongdoing.
“We are deeply concerned by the copyright infringement accusations made by Oluwatosin Oluwole Ajibade (Mr Eazi), the founder of emPawa Africa, on the track ‘Enséñame a Bailar,’” a company spokesperson told Billboard Español in a statement. “We want to make it clear that at all times, Rimas Entertainment has acted properly and has followed standard industry protocols.”
The Rimas statement continues, “Before releasing [‘Enséñame a Bailar’], Rimas purchased the master track from record producer Lakizo Entertainment, listed as the track’s creator and owner in numerous public sources [editor’s note: including Spotify as of Thursday]. After the [‘Enséñame a Bailar’] release last year, emPawa contacted us, claiming ownership over the master. Our lawyers have had many communications with emPawa in an effort to resolve the ownership dispute between emPawa and Lakizo, but emPawa has so far failed to provide proof of ownership. Instead, emPawa has chosen only to send us a heavily redacted contract that did not confirm their claims and only served to raise more questions about the validity of their claims. Our numerous efforts to obtain the unredacted version of the agreement from emPawa have not been successful. It is entirely untrue that we have been unresponsive.”
For an artist to sample another act’s track, they must typically clear master and publishing rights for the recording and underlying composition, respectively. At time of publishing, a Rimas could not confirm whether the company had secured rights use the “Empty My Pocket” composition, but in the company’s statement noted, “Regarding the song’s composition, emPawa has also failed to forward documents to prove that they are authorized to act on the writer’s behalf.”
The Rimas statement concluded, “We look forward to resolving this matter cordially and are waiting for emPawa to provide us with the necessary documents that validate their claims.”
In 2019, Mr Eazi and Bad Bunny actually collaborated on the outro track “Como Un Bebé” — produced by Nigerian duo Legendury Beatz — off Bunny and J Balvin’s joint album Oasis.
Un Verano Sin Ti was released on May 6, 2022, becoming just the second Spanish-language album to reach No. 1 on the 66-year old chart Billboard 200. (the first was Bunny’s previous album, 2020’s El Último Tour del Mundo). It also became Spotify and Apple Music’s most-streamed album in the U.S. and globally.
Rapper Vico C has signed a record deal with Nain Music, a division of Rimas Entertainment, Billboard has learned.
Previously signed to EMI Latin, where he released albums such as En Honor a la Verdad and Desahogo following his release from prison in the early 2000s, Vico C is kicking off a new phase in his career with a new deal and an upcoming studio album due in May.
“During these times, when it’s a great necessity to put out content that’s pure, a new platform opens to continue to do what I’ve always done with my music: touch hearts and revolutionize a lost society,” Vico C said in a statement. “That’s why I think the most important part of my union with Nain/Rimas is the liberty they’ve given me to express what I want.”
The Puerto Rican artist, born Luis Armando Lozada Cruz, became one of the most recognized and respected Latin rap artists of the 90s with songs such as “Me Acuerdo,” “Bomba Para Afincar,” “La Recta Final” and “Viernes 13.” On the charts, Vico C has eight entries on Billboard‘s Top Latin Albums, three hit the top 10, and three entries on both Hot Latin Songs and Latin Airplay.
“It’s a privilege to work with an artist of this stature with a great trajectory like Vico, who’s legacy in Latin music and and in the new generations is still in full force,” added Fidel Hernández, CEO of Nain Music.
Vico C is managed by his wife Sonia Torres.
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