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Friday 20 January 2017, 11:46 | By Andy Malt
CMU Beef Of The Week #339: Donald Trump v Ticket Touts
And Finally Artist News Beef Of The Week
As it stands, Donald Trump is already the US president who CMU has reported on more than any other before. And as of this moment, he’s not even president yet. But something about Trump has really got under the skin of musicians and the music community.
Artists have been standing up to denounce him ever since he launched his campaign to become leader of the free world, though numerous music industry organisations have been falling over themselves to write open letters to the President-Elect since his election win making various demands and requests. But up until now, it’s Trump’s inauguration, and the various events surrounding it, which has generated the most amusing stories.
The one I’ve chosen as this week’s Beef Of The Week initially appears to be very much in that latter category. However, it is true that this story doesn’t quite deliver the punch the headline suggests it will. Still, I’m sticking with it for a number of reasons.
For one, a misleading headline that isn’t really backed up by the facts seems wholly appropriate in a world where accusations of “fake news” keep getting thrown around by a pathological liar. Plus the mild tragedy of the actual story here is really a lot more fun than the bold promise of its headline.
On the face of it, the New York Daily News this week appeared to run a story that those pesky ticket touts were struggling to shift tickets for Trump’s swearing in ceremony. Surely, you’d think, all those supporters distrustful of everything they read and all the haters distrustful of everything he stands for would both want to be there to see with their own eyes the man himself being officially made their president. Apparently not. No one wants that at all. Or so suggests the headline.
Touts, hey? Grr, and all that. If there’s one thing we hate more than Trump it’s ticket touts, right? I mean, right? Those bastards, building gold swimming pools full of cash off the back of hardworking musicians, sportspeople and, in this case, soon-to-be-presidents. It’s about time they all got knocked down a peg or two. So hey, here’s a Trump story with a happy ending.
However, for those few of us who actually read the NYDN’s report, it turned out that this story was about just one tout. And an occasional tout at that, rather than someone who makes his living flogging on tickets for profit. Quickly the focus of the beef becomes less touts v Trump, or Trump v touts, but one man locked in a battle with himself. A tussle between bold self-confidence and creeping self-doubt.
Tickets for this event are, in fact, free of charge. However, Yossi Rosenberg, a self-professed “marketing genius, independent short film star and lifelong bachelor” who from time to time resells tickets to make a bit of extra money on the side, did not get any free tickets. Instead, he bought a pair off someone on Craigslist for $700, hoping to double his money.
Immediately he made it known to the world via his Facebook account that he had a pair of these much sought after tickets available. He apparently relisted them on Craigslist too. But no buyers came forth.
“I thought they would be in demand”, Rosenberg told NYDN on Monday. “I got offers before I got them, but then I get them and everybody balked”.
Possibly no one was expecting to be charged $1400 for a pair of tickets originally given out for free. Or maybe our plucky hero just wasn’t looking in the right places.
Keen to at least make his money back, he began listing the tickets on white supremacist websites. Surely racists would want to pay over the odds for them. Racists love Donald Trump. But not these racists, apparently. Perhaps they were poor racists.
At a loss to what to do, he gave it one last shot in the only place that remained: the noticeboard in his office. Amazingly, even that didn’t result in a sale. Although he did eventually get an offer.
“Someone offered me $200 for the pair”, he said. “I guess [Trump’s] approval ratings aren’t that high, right?”
Maybe. Although to be fair, $100 each for some complimentary tickets is still quite a lot. Also, it only takes a small amount of searching online to find tickets for the event at closer to that price – along with official warnings not to hand over money to anyone for them. Had he done more of that searching himself, Rosenberg might not have spent $700 on them in the first place.
Still, the professed Democrat who voted for Hillary Clinton in November eventually resigned himself to his fate: There is no way he’s going to break even on this sale, and as the event draws ever closer, it seemed less likely that he’ll make any return on it at all. Only one thing for it.
“I never intended on going”, he confirmed, that being the modus operandi of a ticket tout. “I really thought I’d see some profit. If I don’t sell them for what I paid within 72 hours, I’m just going to go”.
Of course, you might smell something slightly fishy about all of this. You probably smell something fishy about all news these days, given that you’ve all been primed to assume that everything is now made up. Still, you’d be right to wonder whether it’s entirely reasonable to take this story at face value.
It has the air of a prank, and stars a man who is no stranger to getting himself in the news under slightly bizarre pretences. If nothing else, Rosenberg has now admitted that he never actually put the tickets for sale on any white supremacist sites. Bad luck, racists.
That said, from his Facebook posts this week, he does appear to have a pair of tickets for the inauguration event, so if you’re really keen to go, he may as yet be your only hope. Although you’d better make him a good offer and quickly, because it does appear that he’s already on his way to Washington, DC.
Whether or not the touting story is true, I really hope he makes it to the ceremony. I’ve invested more in following this story than I ever imagined. I just want to know what he thinks of it. I want someone with a sense of humour to witness what goes on at that event first hand. I want to know if it holds the answer to what actually counts as “typically and traditionally American”. Last night’s pre-inauguration concert didn’t give much clue, despite Kanye West not being asked to appear because he failed to fit those criteria.
Most of all, I want the big reveal here to be – not that a man never actually tried to sell a pair of tickets he in truth got for free – but that Donald Trump never actually won the election. Now that would be a surprise ending I could get into. It would be the greatest trick since David Copperfield walked through the Great Wall Of China. A wall which may yet be dismantled and rebuilt along the border of Mexico next week if these hopes are not fulfilled.
READ MORE ABOUT: Donald Trump | Secondary Ticketing | Yossi Rosenberg
Friday 20 January 2017, 11:05 | By Paul Vig
Vigsy’s Club Tip: Rum N Riddim at Electric Brixton
Club Tip CMU Approved
Rum N Riddim returns tonight with a monster line-up, billed as a celebration of reggae star and stalwart of the night Sweetie Irie’s birthday.
Heading up the bill is Manchester grime MC Bugzy Malone, who’s worth turning out for on his own. But as well as him, there’s CMU fave Congo Natty, Mungos Hifi, Jamie Rodigan and more, all in the house for some Jamaican infused bass flavas.
The man behind the night, Benny Page, will also be on hand for a set with birthday boy Sweetie Irie.
Friday 20 Jan, Electric Brixton, Town Hall Parade, London, SW2 1RJ, 10pm-5am, £5-20. More info here.
READ MORE ABOUT: Bugzy Malone
Friday 20 January 2017, 09:39 | By Andy Malt
CMU Podcast: Paul McCartney, Donald Trump, videos on Facebook
Artist News Business News Gigs & Festivals Labels & Publishers Legal Setlist
CMU’s Andy Malt and Chris Cooke review key events in music and the music business from the last week, including Paul McCartney suing Sony/ATV over his rights to the Lennon/McCartney catalogue and a round-up of the many music-related Donald Trump stories. We also answer a listener question about the value of putting music videos on Facebook – should artists being focussing on this or not? The CMU Podcast is sponsored by 7digital.
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Stories discussed this week:
• Paul McCartney goes legal over the US reversion right
• Donald Trump’s inauguration has performers booked (so far only one has pulled out)
• Bruce Springsteen tribute act pulls out of Trump inauguration event
• Donald Trump definitely rejected “legendary group” from inauguration party for charging too much
In brief…
• Sony Entertainment CEO confirms his departure
• Pandora to axe 7% of its workforce
• Former financial advisor admits to stealing nearly $5 million from Alanis Morissette
• Michael Buble pulls out as BRIT Awards host
READ MORE ABOUT: Alanis Morissette | BRIT Awards | Donald Trump | Michael Buble | Pandora | Paul McCartney | Sony Corp | Sony Music Publishing
Thursday 19 January 2017, 11:37 | By Chris Cooke
Paul McCartney goes legal over the US reversion right
Artist News Business News Labels & Publishers Legal
Ah, the US reversion right. That’s fun isn’t it? Paul McCartney has sued Sony/ATV fearing that it might as yet seek to block his reversion right by equating ‘Hey Jude’ to ‘Girls On Film’. Because if you listen carefully, they are basically the same song.
So, as every copyright fan knows, in 1978 US Congress introduced a ‘reversion’ or ‘termination’ right into the country’s copyright law, which says that songwriters who assign the rights in their songs to another entity have a one-time opportunity to terminate that assignment and claim back their intellectual property.
This right kicks in at 35 years, though the rules are slightly different for songs assigned before 1978, which means the reversion right party only really cranked into action a few years back. That in turn means that some of the technicalities surrounding the whole termination process are still being ironed out.
One of the big fat technicalities is how the reversion right applies for songwriters who assigned their rights to a music publisher through a deal done outside the US, via a contract that is ultimately under the jurisdiction of a non-American court. Does the reversion right still apply, in that the writer has the right to claim back their IP within the US, even if the publisher then retains the rights everywhere else in the world?
That was the consensus (hope?) among British songwriters old enough for the reversion right to be kicking in. But when Duran Duran filed the paperwork required to terminate the US part of the publishing deal around their early works, the publisher – now a Sony/ATV subsidiary – said “no way Jose, read your contract, brush up on your English contract law, those songs are ours until the day you die, suckers”. I mean, I’m paraphrasing slightly. But only slightly.
When Duran Duran took the matter to court last year, Sony/ATV won. At the time the band’s Nick Rhodes told reporters: “This gives wealthy publishing companies carte blanche to take advantage of the songwriters who built their fortune over many years, and strips songwriters of their right to rebalance this reward. If left untested, this judgment sets a very bad precedent for all songwriters of our era”.
Now, Paul McCartney has been busy of late filing termination notices against Sony/ATV in relation to the slightly famous Lennon/McCartney catalogue, so Rhodes’ remarks got him wondering about the Duran Duran ruling. “Yeah, it does set a bit of a bad precedent for all songwriters of our era doesn’t it?” he pondered. “But, erm, hey, guys, does it set a bad precedent for one songwriter in particular?”
Because, see, while Sony/ATV hasn’t said it’s opposing McCartney’s bid to reclaim the American rights in his Beatles songs, nor has it confirmed that it’s not. Hence the filing this week in the New York courts. “Rather than provide clear assurances to Paul McCartney that defendants will not challenge his exercise of his termination rights, defendants are clearly reserving their rights pending the final outcome of the Duran Duran litigation in the UK”, says the lawsuit.
Sony/ATV, which has already reached a deal with the Lennon estate over its share of these songs, obviously doesn’t want a big bust up in the courts with McCartney, for PR reasons as much as because of any precedents that legal dispute could set. Talks between the two parties, including Sony/ATV boss man Marty Bandier, have seemingly been ongoing for a while, though the ruling in the Duran Duran case turned things a bit frosty.
If the dispute does actually go before a judge, it would be a very interesting case, in that it would test the rights of non-US songwriters in America under US copyright law rather than under English contract law. If the courts in New York and London ultimately disagree on those writer’s rights, well that would be fun.
Responding to McCartney’s legal filing yesterday, Sony/ATV said in a statement: “Fuck Paul McCartney. Fuck The Beatles. Fuck Wings. Fuck The Fireman. Fuck The Frog Chorus. Fuck loving me do. Fuck tickets to ride. Fuck letting it be. Fuck helping your friends. Fuck days in the life. Fuck Lady Madonna. Fuck Eleanor Rigby. Fuck Penny Lane. Fuck Michelle. Fuck yesterday. They can all fuck off”.
Oh, no, hang on, my bad, that’s not Sony/ATV’s statement, I mixed up my papers. Responding to McCartney’s legal filing yesterday, Sony/ATV said in a statement: “Sony/ATV has the highest respect for Sir Paul McCartney with whom we have enjoyed a long and mutually rewarding relationship with respect to the treasured Lennon & McCartney song catalogue”.
The statement then added: “We have collaborated closely with both Sir Paul and the late John Lennon’s estate for decades to protect, preserve and promote the catalogue’s long-term value. We are disappointed that they have filed this lawsuit which we believe is both unnecessary and premature”.
Yeah, I preferred the other response.
READ MORE ABOUT: Paul McCartney | Sony Music Publishing
Thursday 19 January 2017, 11:35 | By Chris Cooke
Former financial advisor admits to stealing nearly $5 million from Alanis Morissette
Artist News Legal
The former business manager of Alanis Morissette has admitted to embezzling more than $7 million from the singer and other celebrities, which is quite an achievement really.
Jonathan Schwartz took $4.7 million from Morissette herself. She went legal over the matter last year, after she hired a new financial advisor who audited the singer’s accounts and found millions were unaccounted for.
Schwartz provided financial services to Morissette and others via a company called GSO Business Management, which promptly fired him when the embezzlement claims came to light.
Although he originally alleged that the unaccounted monies had been invested on behalf of his clients in an illegal marijuana growing businesses that couldn’t provide the required paperwork, Schwartz eventually admitted to stealing the cash for himself.
He agreed to enter a guilty plea to the resulting criminal charges yesterday, with his lawyers now trying to negotiate a plea deal that could get his jail time down from a possible 23 years to as low as four years. Schwartz’s legal rep argued that – other than the initial marijuana investments lie – her client has cooperated with investigators and accepted responsibility.
Morissette, who sued both GSO and Schwartz last year, has seemingly settled both cases, with the finance firm saying it has repaid all the monies stolen by its former employee.
Meanwhile GSO is also suing its former exec, and its lawyer Chris Reeder yesterday called Schwartz’s actions “shocking and disappointing”, adding: “The company is very happy he’s being brought to justice and held accountable for his actions”.
If you’re wondering what Schwartz did with the $7 million, GSO says he used the cash to fund “a lavish lifestyle”, with things like a $50,000 trip to Bora Bora and some fun times in a Bahamas casino that lost him $75,000.
READ MORE ABOUT: Alanis Morissette
Thursday 19 January 2017, 11:30 | By Chris Cooke
US record industry lobbying group makes copyright demands of new Congress
Business News Digital Labels & Publishers Media
Seemingly bored of penning missives to the now very imminent new President of the United States Of America, the US music industry has decided to send a letter to members of the newly appointed Congress in Washington requesting that they take a few minutes off depriving millions of poor people from life-saving healthcare to tackle three of the peculiarities of American copyright law.
The letter comes from musicFIRST, which brings together various groups repping record companies and recording artists. As a result, the three copyright technicalities the letter focuses on relate to recordings rather than songs, so there’s no talk about consent decrees and 100% licensing. And the lobbying group has always had a particular focus on radio, so not even safe harbours appear.
The three issues on which musicFIRST wants Congressional assistance are the lack of a general performing right with the American sound recording copyright, the whole pre-1972 debacle, and fucking compulsory licences.
US copyright law is highly unusual in only providing sound recording copyright owners with a digital performing right, so that AM/FM radio stations don’t need to get a licence from or pay any royalties to labels or artists. American record companies have been lobbying to get a proper performing right in line with their counterparts around the world for years, but so far without success.
Writes musicFIRST in its new letter to Congress: “Terrestrial radio must join EVERY other platform that builds a business delivering copyrighted content and compensate artists for their music. Radio in the US is a big business – ten companies control 50% of the US market, and long-gone are the days when radio helped ‘discover’ performers”.
That latter point relates to the long-delivered excuse from the US radio sector as to why it shouldn’t pay royalties to labels. Airplay is promo, it argues, and labels and artists should be grateful for that without demanding payment.
But, says musicFIRST, “only a small percentage of songs played on radio are new, and music fans overwhelmingly look to streaming and other platforms to discover music. The imaginary argument that radio ‘compensates’ artists by promoting them in the era of social media, digital services and 24 hour entertainment news doesn’t hold up anymore”.
It goes on: “Big radio makes billions by playing (predominantly older) music, pure and simple. In any other market-based arrangement they would have to compensate the owner of that music at market rate. Congress can very easily fix this”.
The whole pre-1972 thing stems from the fact that US-wide federal copyright law only protects sound recordings released since 1972. Earlier tracks are protected by state-level copyright law, which has caused all sorts of legal wrangling, especially since federal law was updated to say that online and satellite radio should pay royalties, putting labels and artists who own pre-1972 tracks at a disadvantage.
“It’s an inexplicable anomaly in federal law that even the Library Of Congress can’t explain”, writes musicFirst. “Older artists have been forced to chase large, profitable music services across multiple state courts in lengthy and expensive litigation to pursue basic compensation for their valuable catalogues”.
And finally, compulsory licences, which force artists and labels to license certain kinds of services at rates set by a statutory body or a court. Now, compulsory licences aren’t an oddity of American copyright law – they’re found in lots of copyright systems – but the compulsory licence that covers personalised radio services like Pandora is more unusual, and it’s that compulsory licence musicFIRST takes aim at.
Though, of course, Pandora has now shifted over to direct licensing and is no longer using the compulsory licence administered by SoundExchange. Which means it now gets to be the good guy in musicFIRST pronouncements, while other services still utilising that licence and therefore paying the statutory rates – most notably satellite broadcaster SiriusXM – get to be name checked as the bad guy.
“Digital services like Pandora use a market-based rate”, the letter notes, but “satellite services like SiriusXM use a grandfathered below-market rate. We want every business that delivers music to consumers to thrive and grow, but they all should pay a market-based rate to the artists and creators that they depend on”.
So, to conclude, hey women and men of the mighty American Congress, stop killing poor people and occupy your time fixing dumb copyright laws instead.
READ MORE ABOUT: musicFirst | US Congress
Thursday 19 January 2017, 11:22 | By Andy Malt
Gregg Nadel named Elektra president
Business News Industry People Labels & Publishers
Gregg Nadel has been promoted to the role of President at Warner Music’s Elektra Records in the US. Nadel has been General Manager of the Atlantic division since 2015, and was previously Atlantic’s Senior VP of A&R and Marketing, having joined the company in 1997.
“Atlantic has a homegrown tradition of nurturing our leaders from within the family, and Gregg is a shining example of that philosophy”, says Atlantic CEO Craig Kallman. “He has literally grown up at this company, evolving into one of the most gifted and admired A&R people in the business, while at the same time becoming a marketing ace for superstars and new artists alike”.
He continued: “Each label within Atlantic has a distinct, independent point of view, and Gregg has proven time and time again that he has the vision, taste, deep knowledge, and broad experience that make him the perfect choice to carry the esteemed Elektra name into the future”.
“I am THRILLED to be part of a new chapter in the history of this revered label”, beamed Nadel. “Since the day Jac Holzman launched Elektra as an indie label nearly 67 years ago, the label has stood for quality, driven by an artist-centric, entrepreneurial spirit. I’m looking forward to carrying on that tradition by making Elektra a home for special artists with unique visions. Having spent my entire career in the Atlantic family, being given the opportunity to oversee one of its legendary labels is a dream come true”.
Originally founded in 1950, Elektra was dormant for a number of years after being merged with Atlantic in 2004, before being relaunched in 2009.
READ MORE ABOUT: Atlantic Records | Elektra Records | Gregg Nadel | Warner Music
Thursday 19 January 2017, 11:19 | By Chris Cooke
Entertainment marketing agencies Frukt and Rogers & Cowan come together
Business News Deals Marketing & PR
London-based music/brand partnerships agency Frukt is integrating itself with LA-based entertainment PR firm Rogers & Cowan, with the two companies now set to operate under the “vertical leadership” of CEO Mark Owens and COO Rich Davis.
And who doesn’t like a bit of vertical leadership? I mean, I heard you saying the other day how much you like horizontal leadership, but you’re an idiot. Personally I’ve only ever had anything to do with vertical leaders. They’re the business.
The two agencies – which both now have bases in LA, New York and London – are already in common ownership, being part of Interpublic, one of the big four communication agency groups. Interpublic picked up Frukt via its Octagon Entertainment Group division in 2012.
By bringing the operations of the two agencies together, Interpublic is creating – and I quote – “a team of pop culture power brokers”. Yep, those are words they actually used. But, I hear you ask, how does this team of pop culture power brokers spend their days?
Well, “working on behalf of brands and talent to provide access to the music, touring, film, television, video gaming, technology, fashion, digital content and location-based entertainment sectors, all supported by best-in-class services informed by strong research and analytics”.
Oh yeah, don’t forget the strong research and analytics. I forgot the strong research and analytics once and five people died. Though even the strong research and analytics is nothing compared to “the added connectivity and currency of representing more than 150 A-list artists, athletes, influencers and musicians”.
“This is a culmination of a long-term vision to bring together and strengthen our collective pop culture brand and entertainment services”, reckons the boss of the Octagon Sports And Entertainment Network, Rick Dudley. “Our new offices in Los Angeles and London, refreshed branding and updated websites reflect our investment in the people and culture of both brands, and our confidence in Mark and Rich to take the group to new heights”.
Glorious.
READ MORE ABOUT: Frukt | Interpublic | Rogers & Cowan
Thursday 19 January 2017, 11:13 | By Andy Malt
Converge to release Jane Doe live album
Artist News Releases
Converge have announced that they are releasing a live performance of their 2001 album ‘Jane Doe’ on 3 Mar, recorded at the Roadburn Festival in the Netherlands last year.
No less than five different versions of the record are being pressed on vinyl, with the original album’s artwork, created by frontman Jacob Bannon, reimagined by a different visual artist for each. Florian Bertmer, John Baizley, Randy Ortiz, Thomas Hooper and Ashley Rose Couture all contribute, each coupled with a different colour vinyl, which is nice. Buy them all.
Is it worth buying though? Is it? Well, is it? This performance of the title track should answer your question (also, the answer is obviously yes anyway):
READ MORE ABOUT: Converge
Thursday 19 January 2017, 11:10 | By Andy Malt
Kelly Lee Owens announces debut album
Artist News Releases
Kelly Lee Owens has announced that she will release her debut album, ‘Kelly Lee Owens’, on 24 Mar. About time! Kelly Lee Owens is great. She is almost certainly better than you.
The album features a tribute to Arthur Russell, titled ‘Arthur’, of whom she says: “He wrote music and stayed true to his vision up until the day he died. He didn’t compromise as an artist, and those are the kind of people I look up to – people who know what they want”.
Newly released from the album is ‘Anxi’, a collaboration with Jenny Hval (also better than you, bad luck). Owens says of working with Hval: “It has been my most freeing and open collaboration so far, and my first time working with a female. It was a very powerful experience for me, I felt she brought something strange and quite beautiful”.
I bet you’d like to hear that, wouldn’t you? Well it just so happens I have it right here:
READ MORE ABOUT: Kelly Lee Owens
Thursday 19 January 2017, 11:05 | By Andy Malt
Michael Buble pulls out as BRIT Awards host
Artist News Awards
Michael Buble has reportedly, and somewhat unsurprisingly, pulled out of hosting the BRIT Awards next month. Buble cancelled all professional engagements last November after his three year old son was diagnosed with leukaemia, but it had been hoped that he would return for the big UK music industry prize giving ceremony.
An unnamed source told The Sun: “It was a difficult call but Michael has decided to pull out of hosting the BRIT Awards. Out of respect for Michael the producers gave him as much time as he needed to make the decision, which they completely understood. He would have put a unique stamp on the night so it’s a real shame, but at the moment his priority is his family”.
A number of people have apparently already pounced upon the opportunity and put themselves forward. Some are suggesting that organisers will bring back Ant & Dec for a third consecutive year. Maybe they could get Peter Kay back, remember what a resounding success that was last time?
Elsewhere in BRITs news, Robbie Williams has this morning been announced as one of this year’s performers. This follows his stupid and entirely pointless BRITs Icon show last year.
“I’m delighted to be performing at the BRITs once again”, says Williams. “It’s always a special night for music – this year feels like a big one”.
The ceremony will take place at the O2 Arena in London on 22 Feb.
READ MORE ABOUT: BRIT Awards | Michael Buble | Robbie Williams
Thursday 19 January 2017, 11:03 | By Andy Malt
CMU’s One Liners: Five After Midnight, Kobalt, Hanni El Khatib, more
Artist News Business News Deals Labels & Publishers One Liners Releases
Other notable announcements and developments today…
• ‘X-Factor’ third place runners-up Five After Midnight have signed to Syco. “It is very rare that a group can sing”, comments Syco MD Tyler Brown. “They are energetic”, nods Simon Cowell.
• Kobalt is to provide services and funding to country star Keith Urban’s new publishing company Boom. “Boom”, says Kobalt Nashville’s Jesse Willoughby. “Kobalt”, adds Urban. “Kobalt”, smiles Kobalt president Richard Sanders.
• Hanni El Khatib has announced that he will release new album ‘Savage Times’ on 24 Feb. Here’s a song from it, ‘This I Know’.
• Dirty Projectors have announced that they will release new album, ‘Dirty Projectors’, on 24 Feb. From it, this is ‘Up In Hudson’.
• Madonna: Not a fan of Donald Trump.
• Fiona Apple: Not a fan of Donald Trump.
• Coco Rose and Anohni: Not fans of Donald Trump.
READ MORE ABOUT: Anohni | Boom | Coco Rosie | Dirty Projectors | Fiona Apple | Five After Midnight | Keith Urban | Kobalt | Madonna | X-Factor
Thursday 19 January 2017, 10:58 | By Andy Malt
Donald Trump definitely rejected “legendary group” from inauguration party for charging too much
And Finally Artist News Gigs & Festivals
Donald Trump’s inauguration is tomorrow. It’s finally here! And across all of the many parties and balls in his honour, there will be musicians performing, despite what you’ve been claiming. Oh, what? You’re still slightly underwhelmed by the line-ups? Yeah, well, they could have booked a big name rock band that you would have heard of, they just decided not to. FOR CHARITY.
Yeah, so, in a vague story definitely not leaked by Trump’s team as an attempt to save face, TMZ reports that negotiations reached a reasonably advanced stage with a “legendary group” to perform at some inauguration event or other (they’re not clear which). However, that band wanted more than $1 million to perform. And that was just too much. Every penny spent on talent for the show is a penny not donated to charity.
The Inauguration Committee has apparently received more than $90 million in donations to make sure Donald Trump is welcomed in the humble manner he desires. Whatever is left over at the end will be donated to a charity or charities unnamed. So really, asking for such a high fee makes the band look bad. However, even after Trump himself pleaded with them to drop their price, they refused and he told the committee to move on.
It is claimed that the group are in the Rock N Roll Hall Of Fame, so you can have a guess at who it might have been by casting your eye over the list here. I reckon it was Abba, for sure. Or maybe Beastie Boys. Green Day? Wait, it must be Guns N Roses. And you know they’d probably turn up late anyway. Oh, NWA were inducted last year, weren’t they?
It’s not Garth Brooks, if that’s what you’re thinking. He’s not a group, nor is he in the Rock N Roll Hall Of Fame. Legendary? Well, let’s just leave it. All you need to know is that, despite speculation, he’s not performing for Trump. And this week he explained why.
Although there were some discussions about him playing, Brooks told fans in a Facebook Live chat on Monday, he ultimately “left it up to karma”, whatever that means. And then, would you bloody believe it, he ended up having a load of tour dates booked in Cincinnati starting this weekend making a trip to Washington tomorrow impractical.
Brooks answered the question because, during the video broadcast, his team informed him that around 75% of comments were related to the inauguration. And many of those weren’t appeased by his explanation. Ah well. Closing off, Brooks said: “Can’t thank you Obamas enough for serving this country, and may God hold Trump’s hand in the decisions that he makes in this country’s name”.
One artist who will be performing for Trump is former Motown singer Chrisette Michele, who will reportedly play at the official inauguration party. However, she’s apparently asked for this to be kept a “big secret”, according to New York Daily News, due to fears of a backlash. These fears grew after Jennifer Holliday decided to pull out of the event following anger from her fanbase. So make sure you don’t tell anyone about this. Even on the night if she does play.
Also performing for Trump are Audioslave, who are reuniting for an inauguration ball. I say “for” Trump, it’s more against Trump, as they’ll be playing Prophets Of Rage’s Anti-Inaugural Ball in LA tomorrow night.
The band formed in 2002 by Rage Against The Machine’s Tom Morello, Tim Commerford and Brad Wilk, and Soundgarden’s Chris Cornell have not performed together for eleven years. Also on the bill will be the more recent post-RATM band Prophets Of Rage, plus Vic Mensa, Jackson Browne, Jack Black and the Los Angeles Freedom Choir.
“The Anti-Inaugural Ball is a celebration of resistance”, said Morello in a statement announcing the show. “Resistance to racism. Resistance to sexism. Resistance to homophobia. Resistance to bullying. Resistance to environmental devastation. Resistance to fascism. Resistance to Donald Trump. We are staring down the barrel of a dystopian nightmare unless we act now, unless we fight back now”.
READ MORE ABOUT: Audioslave | Chrisette Michele | Donald Trump | Garth Brooks | Prophets Of Rage
Thursday 19 January 2017, 09:46 | By Paul Vig
Approved: Fjaak
CMU Approved
Fjaak is an electronic music trio comprising Felix Wagner, Aaron Röbig and Kevin Kozicki, who grew up together in Berlin and connected with the techno scene in their formative years. They began to put out music in 2009, signing to 50Weapons in 2014, and here they are with their debut album on Monkeytown.
It’s a diverse affair, but there are some quite techy tracks in there. ‘Gewerbe 15’ brings forth Eurotech of the past while phat beats avail in ‘Fast Food’. And the highlight is ‘Fjkslktr’ (featuring label bosses Modeselektor).
Fjaak are big stalwarts of the live electronic music scene and have toured extensively with their live sets. Last year Fjaak let Fact into their Berlin studio for an Against The Clock feature, which resulted in a progressively building techno jam captured on film and released on this LP. Watch that video here, and watch the video for the single, ‘Wolves’, here:
Stay up to date with all of the artists featured in the CMU Approved column in 2017 by subscribing to our Spotify playlist.
READ MORE ABOUT: FJAAK
Wednesday 18 January 2017, 11:26 | By CMU Editorial
Themes announced for CMU Insights @ The Great Escape 2017: Export, royalties, media and drugs
Business News Education & Events The Great Escape 2017 Top Stories
Today we announce the themes of the four conferences that will make up the CMU Insights @ The Great Escape programme in Brighton this May.
Once again CMU@TGE sits at the heart of the TGE Convention programme aimed at the 3500 industry delegates who attend Brighton’s marvellous festival for new music each May.
The CMU@TGE conference is basically four conferences in one, taking place over two days in two spaces at the Dukes @ Komedia cinema. Each conference puts the focus on one particular theme, with a mix of insight presentations, case studies, one-on-one interviews and panel debates.
This year’s CMU@TGE programme includes…
The Export Conference
In an increasingly connected world, is it easier than ever for new artists to go global, or is access to investment and on-the-ground support still key? We provide a user-friendly guide to taking new artists global, learning from past recipients of the Music Export Growth Scheme. Plus how to get the most out of showcase festivals and what, exactly, does Brexit mean for the music industry in the UK and beyond?
The Royalties Conference
We track all the money as it goes from sale, sync and stream to artist and songwriter, via labels, distributors, publishers and collecting societies. How are your music rights really making money and where do all the royalties go? Including global collective licensing explained; the shift to direct licensing in live; and digital’s big transparency problem.
The Media Conference
We explore the challenge of making money out of music media in the digital age. Great music journalism may get the clicks, but can it generate revenue in an era where so much advertising spend goes to social and search? Is the future of music media a combination of branded content, unpaid writers and click-bait headlines? Plus is music radio really ready for its impending collision with the streaming platforms?
The Drugs Conference
Following the battle for Fabric, we ask what clubs, promoters, law enforcement and licensing officials should really be doing to save lives. What practical measures can be taken to ensure the safety of our customers? And what about drug culture within the music community? How can artists embrace the sex, drugs and rock n roll lifestyle without damaging their health and that of those around them?
The CMU@TGE conferences sit alongside a series of Courtroom Conversations presented by The Great Escape’s industry partners, plus an assortment of parties and showcases, the aim being to help the industry contingent at The Great Escape to truly learn, network and discover while they are in Brighton.
The CMU@TGE programme taps into the year-round reportage that you find in this here CMU Daily – and the research and training courses of CMU Insights – to offer a unique conference experience. And for those delegates keen to use their TGE experience to further their own personal professional development, this year they will be able to tap extra pre and-post event resources and a pre-event seminar by opting into CMU@TGE Industry Extra.
Confirming the themes due to be explored at The Great Escape this year, Event Manager Kevin Moore said: “The CMU conference programme at The Great Escape has repeatedly led the way in recent years by putting the most current music industry talking points under the spotlight, often for the first time, whether that be the power of playlists and the YouTuber, the evolving label/manager relationship, the industry’s myriad data challenges, or the need to address mental health in the music community. This year’s topics look set to continue that trend”.
“Plus, since we launched the ‘four-conferences-in-one’ format”, he continues, “our conference programme has really stood out by delving much deeper than your average music industry event, so to better enlighten, education and inspire our delegates”.
To find out more about the thinking behind this year’s themes check out this Insights Blog by CMU Business Editor Chris Cooke. And don’t forget, all the TGE Convention activity is in addition to the Great Escape festival programme, which is shaping up to be extra special this year.
Details of key speakers for each of the four CMU@TGE conferences will be announced next month. Meanwhile, get a delegate pass for full access to the TGE convention and festival HERE, or a convention-only pass to access just the conference HERE.
READ MORE ABOUT: CMU Insights | The Great Escape
Wednesday 18 January 2017, 11:25 | By CMU Editorial
CMU and The Great Escape launch new scheme for first time speakers
Business News Education & Events Top Stories
As we announce the themes to be explored in the CMU@TGE conferences this year, we are also launching a new scheme encouraging industry execs who have never spoken at a music conference before to put themselves forward for consideration, with the promise of free public speaking training and coaching for those who are selected to take part in the proceedings.
Says CMU Business Editor Chris Cooke: “In an ever evolving industry, it’s important to get as wide a range of voices on stage at events like our CMU@TGE conferences. We’ve always tried to encourage some first time speakers onto our conference stage, but this year we wanted to formalise that process, in a bid to discover budding new speakers who we’re not aware of, but who have some fascinating new insights to share”.
He goes on: “Speaking at a big music conference for the first time can be a nerve wracking experience, and that can be what stops certain important voices from getting heard at events like ours. That’s why we have decided to offer free public speaking training and coaching to our first time speakers”.
“It’s amazing how beneficial a practice run can be, while a simple pre-event conversation can help a new speaker organise their thoughts and hone the story they have to tell”, he continues. “I’m really excited to be able to offer that little bit of support to new speakers this year, and hope we’ll get some people on stage this May who’ll then be appearing at other conferences in the coming years”.
As the CMU@TGE conferences focus on four specific themes, obviously the new speaker programme is geared towards those working in relevant areas of the music industry. Though first time speakers equipped to talk about other topics are also invited to put themselves forward, as there are opportunities to speak at other CMU Insights and CMU:DIY events that take place throughout the year.
For more information on the programme and to sign up, click here.
READ MORE ABOUT: CMU Insights | The Great Escape
Wednesday 18 January 2017, 11:23 | By Andy Malt
Notting Hill Carnival at risk of a “Hillsborough scale tragedy”, police warn
Business News Gigs & Festivals Legal Live Business
Police have warned that the Notting Hill Carnival is at risk of a “Hillsborough scale tragedy” if steps are not taken to improve safety. An increase in violent crime and overcrowding at the annual event are key areas of concern, says a new report by the London Assembly Police And Crime Committee.
As one of Europe’s biggest carnivals, the event is a major operation, with over 50,000 performers and a million visitors over two days policed by up to 7000 police officers each day.
The new report says that there were 450 arrests at the 2016 event, up from 300 in 2015 and the highest number since 2008. Though more than the rise in arrests, it was a rise in violent crime which police said was worrying, with four near-fatal stabbings last year.
“Public concern about the level of crime at Carnival is nothing new”, says the report. “But we are now seeing a rise in more serious and violent crimes: this year four stabbings almost became murders. Traditionally, the vast majority of offences have been related to theft and drugs. The number of violent crimes, however, is rising. Several of those violent incidents were serious and nearly resulted in loss of life: something that has not happened at Carnival in over a decade”.
The report also noted points of overcrowding that put the public in danger. In particular, it singled out an area of Ladbroke Grove where people have to push together to allow carnival floats and support vehicles through. Also, in an area of All Saints Road, safety barriers collapsed three times in 2016, due to the number of people attempting to get close to the soundsystems.
Chair of the London Assembly Police And Crime Committee Steve O’Connell says in the report that “alarm bells are ringing” over the event, adding: “We want Carnival to succeed, but it has reached a tipping point where the status quo is not an option. The previous mayor got a grip on London’s New Year’s Eve fireworks; the current mayor now needs to do the same with Notting Hill Carnival”.
“The police warn of the risk of a ‘Hillsborough’ scale tragedy; it would be foolish to ignore these voices”, adds Met Police Public Order Commander David Musker. “Each year, and last year was no exception, we came exceptionally close to a major catastrophic failure of public safety where members of the public would face serious injury”.
The report concludes: “We have heard of a number of possible changes to Carnival which could both help return it to its roots as a celebration of Caribbean culture and enhance public safety. Organisers need to give serious consideration to any changes, big or small, that will improve both safety and the overall Carnival experience”.
In its recommendations, it adds that the mayor’s office should provide “advice and guidance” to help find a “more formal and financially sustainable footing” – the cost of policing last year’s event having come in at £7 million.
Speaking to The Guardian, race relations activist Lee Jasper, who authored a report into the Carnival in 2004, while working for then London Mayor Ken Livingstone, said that he was “underwhelmed” by the new report, saying that it largely raised concerns he had identified thirteen years ago. However, he said that he agreed that the event has grown too big to be organised by a volunteer group.
“It’s tokenistic, I think it lacks insight”, he said of the report. “I think they haven’t done their homework, I think they don’t understand Notting Hill Carnival. And if you meddle with Notting Hill Carnival and you don’t understand it, trust me, there’ll be huge repercussions. It’s not something which you can get wrong”.
Sadiq Khan is yet to comment.
READ MORE ABOUT: Notting Hill Carnival
Wednesday 18 January 2017, 11:22 | By Andy Malt
Hip hop podcast host Taxstone arrested over TI show shooting
Artist News Legal
The host of the Tax Season hip hop podcast Daryl Campbell, aka Taxstone, has been charged in relation to that fatal shooting at New York’s Irving Plaza, ahead of a performance by TI, last May.
As previously reported, one person was killed and three injured in the shooting, which took place backstage at the show. The dead man was named as Ronald McPhatter, bodyguard of rapper Troy Ave, aka Roland Collins, who was later arrested and charged with attempted murder and possession of an illegal weapon. CCTV footage shows Collins, who was also injured during the incident, entering the backstage bar and opening fire.
Initial reports alleged that Collins was targeting fellow rapper Maino, who had just left that stage, and with whom he had been feuding. However, it now seems that police believe the incident related to another of Collins’ feuds, with Campbell.
He was arrested on Monday, after several months of investigation, say prosecutors. A federal complaint states that his DNA was discovered on the murder weapon, which was found hidden in a van used to take Collins to hospital after he was shot. In particular, it says, DNA on the base of the gun’s magazine indicates that Campbell was the person who loaded it.
Neither man has actually been charged with McPhatter’s death. However, at an arraignment yesterday Assistant District Attorney Hagan Scotten repeatedly told the court that Campbell fired first, according to DNAinfo. “He had a gun in his hand and he murdered someone”, he said at one point, arguing that Campbell should not be granted bail.
Prosecutors pointed to a number of statements Campbell had made on his podcast, several mocking Collins, as indications of guilt. In particular, one comment made shortly before the shooting was held up, in which he questioned Collins’ use of bodyguards, suggesting this was a sign of weakness.
“I can protect myself as a man, so I’m not thinking about rolling with six goons”, he said on the podcast. “When I see you walking up with six dudes, bang-ba-ba-ba-ba-ba-ba-ba – I want to embarrass somebody, and that’s why I started bullying Troy Ave, you know what I mean?”
The prosecution’s request to deny bail was not granted, with the judge setting it at $500,000 – the same as that granted to Collins. However, Campbell will be kept under house arrest, allowed only to leave, wearing an electronic tag, to record his podcast and to meet with his legal team.
He will appear in court again on 16 Feb.
READ MORE ABOUT: Irving Plaza | Taxstone | TI | Troy Ave
Wednesday 18 January 2017, 11:20 | By Andy Malt
UK Music boss Jo Dipple to step down
Business News Labels & Publishers
Chief exec of the music industry’s trade body of trade bodies, UK Music – Jo Dipple – has announced that she will step down from the role later this year. In June, in fact, which gives her the opportunity to take the whole summer off. I assume that’s why she’s doing it. Shit, let’s all resign in June.
“Jo has led the organisation to robust health”, whispered UK Music Chair Andy Heath, giving out the news. “Under her leadership, UK Music successfully challenged [the Department For Business, Innovation and Skills] in the courts over new copyright legislation, helped introduce a Live Music Act, amended [Department For Communities And Local Government] planning law, launched an anti-piracy education campaign, published ‘Measuring Music’ and ‘Wish You Were Here’ and prevented the government from cutting BBC music services”.
“Her work in launching the UK Music Skills Academy led to a sea-change in training strategy for the sector”, he continued slightly louder. “Seventy new apprenticeship jobs were created and there exists now a structured approach to improving entry-level access, ensuring open recruitment and driving diversity policies”.
And then finally, he boomed: “Jo has built an outstanding team full of talent and ambition and has made UK Music into a highly visible presence. I have really enjoyed working with her over the course of more than eight years”.
Dipple has been boss of UK Music for five years, after three years spent as its head of government relations. She said of her departure: “I am privileged to have worked with successful industry bosses and supremely talented musicians and creators. Music is part emotion and part business and the UK gets both right over and over again. The founders of UK Music were determined to secure the very best regulatory landscape for this outstanding industry. Its members will continue to bring a practical and business-like approach to opportunities and challenges ahead”.
She’s not worried that there’ll be any bother about finding a replacement for her either, despite giving five months notice. “UK Music will attract the very highest candidate to take this role”, she said. “It is a unique body with an exceptional membership”.
Maybe – well, as a trade body of trade bodies that counts a trade body of trade bodies as one of its members, it’s certainly unique.
READ MORE ABOUT: Jo Dipple | UK Music
Wednesday 18 January 2017, 11:19 | By Andy Malt
T In The Park ordered to repay £50,000 to Scottish government
Business News Gigs & Festivals Legal Live Business
Live Nation subsidiary DF Concerts has been ordered to return one third of a £150,000 grant from the Scottish government that it received for T In The Park in 2015.
As previously reported, the grant was provided to aid T In The Park’s now, I think it’s fair to say, pretty disastrous move from Balado in Kinross to Strathallan Castle. The funding proved controversial, and Scottish Culture Secretary Fiona Hyslop was called before the Scottish Parliament to justify handing it over.
Criticisms included suggestions of “cronyism”, after it emerged that the grant was organised by a one-time aide of former SNP leader Alex Salmond who was working for the festival firm at the time. Others also questioned why DF Concerts, a profitable business majority owed by Live Nation, needed the money.
Hyslop was cleared of any wrongdoing, and in March last year Audit Scotland reported following a review that there had been a “clear rationale for the grant”, and that Hyslop’s department had attached clear and appropriate conditions to the financial award.
It is one of those conditions that has now come into play. The grant was meant to cover the three year agreement that DF Concerts had with Perth & Kinross Council to stage T In The Park at Strathallan Castle. However, it was announced in November, after two tricky years at the new site, which let to a slip in DF’s profits, that the festival would not go ahead in 2017.
With the decision not to put on the event this year, the Scottish government has said it now requires the return of the £50,000 that was supposed to cover year three of that deal.
A Scottish government spokesperson told reporters yesterday: “We have advised DF Concerts of the repayment that is due and expect repayment to be completed shortly”.
A rep for DF Concerts confirmed: “DF Concerts will be paying back the Scottish government grant as per the contract”.
Although the official line is that T In The Park is taking “a year out”, some in the Scottish music community are questioning whether it will actually return in 2018. DF Concerts is meanwhile planning to put on a new, non-camping event in Glasgow over what would have been the T In The Park weekend this year.
READ MORE ABOUT: DF Concerts | T In The Park
Wednesday 18 January 2017, 11:17 | By Andy Malt
Apple announces App Store price increase driven by Brexit
Business News Digital
Theresa May yesterday confirmed that the UK is blindly stumbling towards a disastrous exit from the European Union, with politicians ill-equipped to deal with the task ahead. But let’s all take our minds off that with some lovely digital content. Oh no, we can’t, because all the prices are going up due to Brexit and now we can’t afford to be entertained anymore.
Over the top? Perhaps. But Apple is putting up prices on the iOS and Mac app stores by almost 25% and blaming it on Brexit and its impact on the value of the pound. So that’s a thing that has happened. Also, the whole thing about politicians being idiots is true too. Bunch of fucking idiots.
The price hikes mean that apps which used to cost 79p will now cost 99p, and so on. In an email to developers yesterday, according to The Guardian, the company explained: “When foreign exchange rates or taxation changes, we sometimes need to update prices on the App Store”.
Last year, Apple also implemented a 20% price rise on its computers, blaming the fall in the value of the pound to the dollar then too. Further currency fluctations ahead could result in further price rises, particularly if we’ve got at least two more years – and more likely a decade – of uncertainty to look forward to.
Still, we could all stop this if everyone in the UK who doesn’t want what Theresa May is proposing runs down the channel tunnel, sits down in Brussels and refuses to leave. Possibly metaphorically.
READ MORE ABOUT: Apple
Wednesday 18 January 2017, 11:16 | By Andy Malt
Youth Music launches Give A Gig Week
Artist News Education & Events Gigs & Festivals Live Business
Youth Music has confirmed details about its Give A Gig Week fundraising campaign. The charity, which supports disadvantaged young people and children through music making, is calling on musicians, promoters and venues to hold a fundraising show between 24-31 Mar this year.
“We’re really excited about Give A Gig Week”, says Youth Music CEO Matt Griffiths. “The money raised from the 100 gigs across the country will ensure that young people experiencing challenges in their lives can regularly make music. Musicians, bands and those making music for fun know first-hand the personal and social benefits of music-making and how it can help overcome really difficult situations. I urge you to get involved and put on a gig so that many more young people have that opportunity too”.
Youth Music ambassador Laura Mvula adds: “Give A Gig is a really good idea because it allows singers, musicians and venues to do what they’re already doing for the benefit of a young person”.
Meanwhile, Rizzle Kicks, who started making music with the charity, say: “Without Youth Music we wouldn’t have got to where we are today, honestly! We’re supporting Give A Gig cos we want others to have the same opportunities for making music that we did”.
For more info, and to sign up to put on a show, click here.
READ MORE ABOUT: Youth Music
Wednesday 18 January 2017, 11:15 | By Andy Malt
CMU’s One Liners: Kelis, Ministry Of Sound, Green Day, more
Artist News Business News Deals Gigs & Festivals Industry People Live Business Media One Liners Releases
Other notable announcements and developments today…
• Kelis has signed a new deal with talent agency UTA in the US, according to The Hollywood Reporter. She will continue to be repped in the UK by Coda for live work.
• Ministry Of Sound has appointed Andrew Akuffo as its new Director Of Events And Brand. “Andrew is a vital addition to the Ministry Of Sound team”, says Ministry Of Sound Group CEO Jonathan Bevan. Lucky he agreed to join then.
• Green Day: Not fans of Donald Trump.
• TI: Not a fan of Donald Trump.
• Jamiroquai are back. They’re going to play a load of festivals around the world, and it seems there’ll be some new music. Here’s a short video.
• David Rodigan is going to publish his autobiography, ‘My Life In Music’, on 2 Mar. “I was reluctant to publish an autobiography but I was frequently told by artists that I needed to ‘write it down'”, he says. So he has.
READ MORE ABOUT: Andrew Akuffo | David Rodigan | Green Day | Jamiroquai | Kelis | Ministry Of Sound | TI | UTA
Wednesday 18 January 2017, 11:12 | By Andy Malt
We’d have the new Ed Sheeran album already, if it weren’t for Donald Trump
And Finally Artist News Releases
Donald Trump’s not even president yet, but it’s already looking like his stint in the White House is going to make it very hard to plan an album release campaign. U2 have already said they’ve cancelled the release of their new album because it no longer seems relevant in the wake of Trump’s election win. Now it turns out that Ed Sheeran’s new album ‘Divide’, set for release in March, was supposed to come out last November.
“The plan was to come [back] in September and then the album was meant to come in November”, Sheeran told Zane Lowe on Beats 1. “But the week the album was coming out was the week of the presidential elections [and] that was just a shitstorm of media. I was like, obviously if I come out with a record then no one’s gonna care. Then the week after [the election] Bruno [Mars] came out, the week after [that] The Weeknd came out and I was like…”
Yeah, those albums did do alright in the end, didn’t they? But what fun is it releasing an obviously Q4 album in Q4? No, Q1 is the quarter for our Ed. And he agrees. “It feels like a clean start this year though. Any time I’ve come out there’s always been another person”.
You hear that, all other artists releasing new music in Q1? Ed Sheeran just said you’re shit. To be fair, I think Ed Sheeran’s allowed to do that.
READ MORE ABOUT: Donald Trump | Ed Sheeran
Wednesday 18 January 2017, 09:58 | By Andy Malt
Approved: Griff Lynch
CMU Approved
Former Yr Ods frontman Griff Lynch released his debut solo single ‘Hir Oes Dy Wen’, last year, which introduced his DIY pop sound and outlook – its title translating from Welsh as ‘Long Live Your Smile’, he describes the lyrics of his debut as a “cocktail of deaths, breakups and boredom”.
Set for release next month, the follow-up, ‘Don’t Count On My’, is another joyfully miserable slice of rough-around-the-edges pop. “Don’t cry for me”, sings Lynch. “I wouldn’t cry for you, if I had feelings too”. Lovely, really. This is exactly the sort of thing we need in 2017. More please.
Listen to ‘Don’t Count On Me’ here:
Stay up to date with all of the artists featured in the CMU Approved column in 2017 by subscribing to our Spotify playlist.
READ MORE ABOUT: Griff Lynch
Wednesday 18 January 2017, 08:03 | By Chris Cooke
Insights Blog: CMU@TGE 2017 in five steps
Insights Blog The Great Escape 2017
We’ve just announced the themes for the CMU Insights @ The Great Escape conference that sits in the middle of the TGE Convention each May, the programme of events for the 3500 industry delegates that attend Brighton’s festival for new music each year. Here we talk you through this year’s CMU@TGE conference in five steps.
1. Four conferences in one
There are a lot of music industry conferences around the world these days, which can make it tricky ensuring that your music industry conference stands out, to offer that something a little bit different.
But we like doing things a little bit different here at CMU. That’s why we said “fuck” in the middle of that serious report on those complicated copyright complexities. And you thought we were just being silly. Which we were. But you know, it’s also part of that ‘let’s do something different’ strategy.
That’s why two years ago we revamped the conference we present at the heart of the Great Escape Convention each year, so that now we basically present four different conferences in one, delving deeper into the big issues of the day.
We pick the four topics that have most filled the collective minds of the CMU team in the last twelve months and present a whole day of talks, case studies interviews and panels around each of those themes. This year our four conferences cover export, royalties, media and drugs.
2. The Export Conference
Brexit hey? That’s all turning out to be a barrel of fun times, isn’t it? But what does it mean for British music? The truth is, it’s actually too soon to say. But it’s not too soon to consider what Brexit might mean for the UK copyright regime, for music companies who base their European operations out of London, and for bands who want to play their music across the continent.
After chairing one of the first ‘what Brexit means for music’ panels for the BPI last September, I left the stage with some valuable insights, and lots of questions. We’ve been seeking answers to those questions ever since and will present them during our Export Conference next May.
But don’t worry, it’s not going to be all about bloody Brexit. We are committed to making the proceedings 87% upbeat by discussing how new talent can go global in the streaming age via a series of case studies from acts who have done just that. Along the way we’ll look at the role showcase festivals, initiatives like the Music Export Growth Scheme, and on-the-ground business partners play in achieving success.
3. The Royalties Conference
As I like to tell audiences at our CMU:DIY events for new talent, “if you write songs or record music, welcome to the copyright industry, take your seats, let’s talk technicalities”.
For songwriters and artists, copyright is all about money. But where exactly does that money come from and, more importantly, where does it go as it passes from licensee to creator? I’m going to tell you exactly where it goes in our Royalties Conference. Expect a very big diagram.
Also expect some more digital dollar talk, because we’re returning to the big transparency issue. If one thing was clear from the series of round tables I chaired for the Music Managers Forum on the streaming market last year, it’s that there remain far too many unanswered questions about digital income.
To crack this challenge we need to be more specific: who should be more transparent about what exactly? This is what we are going to address in the Royalties Conference.
4. The Media Conference
As someone who owns a media company but writes about the music industry, there’s something I’d like to say to all you music types out there. If you think the music industry is fucked (it isn’t), you should come take a look at the music media business (it is).
While music journalism generates plenty of clicks – clicks don’t always mean prizes. Not when search engines and social networks get all the ad spend. So how do you make money out of music media in 2017? Branded content? Spin-off events? Brand licensing deals?
We’ll be looking at the music media business models that seem to be working, and will then consider what that means for the art of music journalism. Because music journalism’s an art right? Well, writing deliberately misleading but alluring click-baity headlines is definitely an art.
There’ll be some time to wonder about the future of radio too. People keep talking about the streaming services becoming future record labels, but as far as I can see they’re all busy becoming future radio stations. So what does that mean for your good friends over on the FM dial?
5. The Drugs Conference
I was in Tallinn when Islington Council decided to revoke Fabric’s licence last year, which is why guests at that city’s Nordic Hotel Forum were disturbed in the middle of that night by the loud exclamation of “oh for fucks sake, that’s not how you save lives”.
Unusually for 2016, the Fabric licensing debacle had a positive conclusion, but along the way it provoked a very interesting debate about what the live industry could and should be doing to provide the safest possible environment for its customers. Shutting down best practice venues is clearly not the way to do it, but what is? We are lining up the experts to share their knowledge on this tricky topic next May.
Meanwhile, we will also put the spotlight on drugs within the music community. Since our focus on mental health at last year’s CMU@TGE it’s been stressed to me a number of times how, often, this issue goes hand in hand with the problem of addiction. With a number of practical initiatives now under way to better support everyone in the music community, we’ll be continuing the debate on how to ensure a healthy music industry this May.
You can access the whole CMU@TGE conference, plus the wider Great Escape convention and festival programme – which is looking brilliant by the way – by buying a delegates pass here. Convention-only tickets are also available here. I hope to see you there!
READ MORE ABOUT: The Great Escape
Tuesday 17 January 2017, 11:17 | By Andy Malt
Five killed in shooting at Mexico’s BPM Festival
Business News Gigs & Festivals Legal Live Business Top Stories
It has been confirmed that five people were killed and fifteen injured during a shooting incident at Mexico’s BPM Festival in the early hours of Monday morning. Four people – including three security staff – were shot dead, while a woman was killed in a stampede as people ran to escape.
The ten day festival, which takes place in beach town Playa Del Carmen’s various nightclubs, was drawing to a close when a lone gunman opened fire at the Blue Parrot venue. Initial rumours of a second incident at the event’s official closing party at another site turned out to be false.
“It is with great sadness to share that police have confirmed reports of a lone shooter outside the Blue Parrot nightclub in Playa Del Carmen earlier today, which resulted in four fatalities and twelve injured”, said organisers in a statement. “The violence began on 12th Street in front of the club and three members of the BPM security team were among those whose lives were lost while trying to protect patrons inside the venue”.
They continued: “The BPM Festival has been working closely with the local authorities throughout the festival to ensure public safety and security for all visitors. We are overcome with grief over this senseless act of violence and we are co-operating fully with local law enforcement and government officials as they continue their investigation”.
At a press conference yesterday, Miguel Angel Pech, the state attorney of Quintana Roo, in which Playa Del Carmen sits, said that a man, who is yet to be identified, attempted to enter the venue at around 2.30am, but was turned away because he was carrying a weapon. He then opened fired, and was “repelled” by the three security guards who were killed, who were also apparently armed. Pech added that the incident was not an act of terrorism.
One of the people who died has been named as Canadian security guard Kirk Wilson. In a statement, his employer INK Entertainment said: “Our team is overcome with grief over this terrible tragedy, and would like to express our sincerest condolences to his family and friends for their loss. Kirk will be missed by the entire INK team”.
Wilson had worked at a number of venues and music events, including touring with Nelly Furtado. Her guitarist Sean Kelly said on Facebook, according to Billboard: “This is just devastating … Kirk Wilson was a kind and beautiful soul, and a devoted family man. I had the great pleasure of working and travelling with Kirk, as he was part of the touring team for Nelly Furtado on security detail. Always smiling, positive, and concerned for the wellbeing of others. RIP my friend”.
In a TV interview following his press conference yesterday, Pech said that it had not been ruled out that the incident was related to a fight between criminal gangs or to an extortion racket.
READ MORE ABOUT: BPM Festival
Tuesday 17 January 2017, 11:16 | By Andy Malt
Arrests made in Istanbul and Orlando nightclub shootings
Business News Legal Live Business
Arrests have been made in relation to two separate shooting incidents that occurred in nightclubs in the last year, one in Turkey and one in the US.
Police in Istanbul yesterday arrested the man accused of carrying out an attack on the Reina nightclub on New Year’s Eve, killing 39 people and injuring dozens more. So called Islamic State subsequently claimed responsibility for the attack.
It had been feared that the man, named as Abdulkadir Masharipov, had fled Turkey altogether. However, a large scale manhunt tracked him to a friend’s house, still in Istanbul. According to reports, Masharipov was found with his four year old son. The friend and three women have reportedly also been detained.
In the US, Noor Salman, the wife of the man who opened fire at the Pulse nightclub in Orlando last June, has been arrested by the FBI, facing charges of perverting the course of justice.
As previously reported, Omar Mateen killed 49 people in an attack on the gay club, claiming allegiance to IS a number of times during the assault. He was killed during an operation to release hostages being held in the venue.
Salman was questioned by police after the attack, but released without charge. She has previously said that she had no prior knowledge that her husband was planning to carry out the shooting. According to the New York Times, as well as being charged with obstructing the investigation, Salman has also been changed with aiding and abetting.
In a statement, her lawyer Linda Moreno said: “Noor Salman had no foreknowledge nor could she predict what Omar Mateen intended to do that tragic night. Noor has told her story of abuse at his hands. We believe it is misguided and wrong to prosecute her and that it dishonours the memories of the victims to punish an innocent person”.
READ MORE ABOUT: Pulse Orlando | Reina
Tuesday 17 January 2017, 11:15 | By Chris Cooke
MCPS agrees ‘memorandum of understanding’ in response to CRM Directive
Business News Labels & Publishers
The UK music publishing sector’s mechanical rights society MCPS has penned a nice little ‘memorandum of understanding’ to explain how it is endeavouring to comply with the collective licensing regulations that were set out in the European Union’s Collective Rights Management Directive, even though it doesn’t really have to. So that’s nice.
The new rules governing collective licensing across the EU stemming from the 2014 CRM Directive went into effect last April. Among other things, the Directive aimed to give the members of collecting societies – or ‘collective management organisations’ if you prefer – like the UK’s PRS and PPL, more oversight, flexibility and transparency. Because who wouldn’t want more of that? I’m all for more oversight, flexibility and transparency, me.
But what about MCPS? It – of course – represents the ‘mechanical rights’ in songs, as opposed to the ‘performing rights’ repped by PRS. The two organisations have long worked closely together in various guises, with PRS doing most of the legwork, so that licensees almost don’t need to know the difference. But they remain separate organisations, and that close alliance is currently under review.
Whereas PRS is owned by its members, MCPS is actually owned by the Music Publisher’s Association. That ownership arrangement – and the society’s management structure – means, says MCPS, that it doesn’t actually meet the definition of a ‘CMO’ under the EU Directive.
Nevertheless, MCPS says it “wishes to show its commitment to the principles of the Directive by setting out publicly the ways in which it either achieves or strives toward alignment with the UK regulations to the extent that is possible given the ownership structure of MCPS”.
To that end, it has been liaising with the government’s Intellectual Property Office, which oversees the regulations set out in the CRM Directive in the UK, resulting in this here ‘memorandum of understanding’, which will now be reviewed annually.
Says the IPO’s Ros Lynch: “We welcome the conclusion of this memorandum of understanding, which gives valuable clarity to MCPS’s members and users about the standards they can expect. We look forward to continuing to work with MCPS to monitor their progress”.
Meanwhile the boss of the MPA and MCPS, Jane Dyball, added: “MCPS wholeheartedly welcomes the CRM Directive’s principles of transparency, representativeness, accountability, efficiency and fairness and fully appreciates the commitment shown by the IPO in ensuring full compliance with those principles throughout our industry”.
READ MORE ABOUT: MCPS
Tuesday 17 January 2017, 11:14 | By Chris Cooke
PPL and PRS launch combined licence for community radio
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The UK collecting societies PPL and PRS For Music yesterday announced the launch of a new joint licence for community radio stations, meaning such broadcasters will be able to secure a single licence for the music they play, covering both the recording rights repped by PPL and the song rights repped by PRS.
The two rights organisations are in the process of launching a new joint venture, of course, so to offer single music licences to a greater number of licensees, though that JV will only be operating in the public performance domain, and therefore won’t license broadcasters.
Which means that while the handful of existing joint PPL/PRS licences, that all apply to public performance, will be taken over by the new venture once it goes live, this new combined licence will sit outside that new venture, and will be administered day-to-day by PPL.
The new joint licence will be available to AM/FM community radio stations with a broadcast licence from media regulator OfCom. That means to qualify for the new PPL/PRS licence, a station must fit OfCom’s definition of ‘community radio’, which means they will be “not-for-profit organisations that create direct links with their listeners, providing training opportunities and other social benefits to their local areas”.
As with the JV in the public performance space, the aim of PPL and PRS working together on licensing community radio stations is to simplify the licensing process for the licensee.
Says PPL Chief Licensing Officer Jez Bell: “We are delighted to be able to offer this new joint licence for community radio stations with PRS For Music; the first joint tariff for us in the radio broadcast sector. Community radio plays a huge role in engaging with local listeners and stations are very often run by volunteers – we have spoken to our existing licensees and the Community Media Association and this simplified joint licence is a result of that consultation. Approximately 240 on-air community radio stations will benefit from the new joint licence, as well as any future stations”.
And if you were wondering what PRS Director Of Broadcast Andy Harrower was thinking about all this, he added: “Radio can play an important role in bringing local communities together, with music helping to create vibrant and engaging programming for its listeners. Working together with PPL, we are pleased to be able to help community radio stations by ensuring that music licensing is made as easy as possible for those who keep the stations up and running behind the scenes”.
READ MORE ABOUT: PPL | PRS For Music
